An Art Authentication is not an Art Appraisal ... It's a common mistake in the US that people think an art appraisal equals an art authentication. It could not be more wrong. An art appraisal is an opinion of an item's value in fair market value or replacement value. It doesn't engage the art appraiser's responsibility if the painting is a fake or a copy. Fair Market vs Repalcement Value A/ Fair market value: The amount for which personal property would be sold in a voluntary transaction between a buyer and a seller. The auction value is most of the time considered as fair market value. B/ Replacement value: Replacement value or cost is the price an entity would pay to replace an existing asset at the current market price with a similar asset. Usually, the replacement asset is found in a gallery; that's why a replacement value is often compared with a gallery value. This gallery value is substantial as the value in auction, it may as well be double or triple the value of auction. An art authentication process includes: -Justification of authenticity by comparison with other works by the artist - Establish the place of the artwork in the "catalog raisonne" - Comparison with other works by the same artist of the same period. - Comparison with other artists of the same period or movement. - Research about the history, provenance, etc. - Establish and verify the history of the painting. - Graphology analysis of handwriting. ( rarely) - Signature analysis. ( always) - On-site analysis of the painting. ( if possible ) - Study of the pigments, usually when a COA was denied - Study of the support - Study of the manner. - Wood lamp test. Presentation of the file to the solely universal recognized expert for the artist. Each major artist has his own "SOLELY UNIVERSAL RECOGNIZED AUTHENTICATION EXPERT". COA & Galleries, Auction Houses Sotheby's, Christie's , whatever major gallery do not have the authority to give an authentication certificate for an artwork. Sotheby's and Christie's or any good auction house will consult the solely recognized authentication expert for an artist before accepting it in their auction. They should do so, but we know today that many fakes were sold in these major auction houses. Art expert responsibility Art experts, in general, may give an opinion at their responsibility ( Don't forget that in the US everybody can sue anybody for whatever reason..), for which they can be sued if the sole authenticator refuses to authenticate artwork. In the US because of this possibility to sue an individual or an organization several major institutions so the Warhol-Pollock-Haring-Dekooning-foundation decided to stop the service of authentication. For these painters, if you didn't receive an authentication before they decided to close the authentication service there is one solution left: making a file that proves the item's authenticity with indisputable and verifiable arguments. Art experts are reluctant to put in writing opinions because of the possibility to be sued: See Wildenstein, Warhol Foundation etc
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Laurent Fabius, known as the pillar of the Socialist Party or the President of the Constitutional Council, less as the passionate about art. Son of an antique dealer, friend of Pierre Soulages and Yan Pei-Ming, he has been handling the brush himself for several years. This prompted him to write on the material and spiritual character of polyptychs, the theme of his latest book to be published on October 20 by Gallimard. “Personally, I didn't experience like others this sudden changeover, this vision-click in front of a sculpture or a specific painting. My life with works of art has gone through several stages. The first, until I was thirty, was marked by complete rejection. My father, from a family of antique dealers and an antique dealer himself, took us, still children, almost every week, to visit a museum for hours. It was the overdose. In a second phase, I relearned, as an autodidact, to frequent galleries, artists, specialists, sales rooms, with growing pleasure. In 2007–2008, I was struck by a Standing Woman by Alberto Giacometti, then on view at the Center Pompidou. In front of this figure, of a strength and a touching fragility, I understood better that, to enrich and transmit an emotion, I had to write. In 2010, my first book Le Cabinet des Douze: views on the paintings that make France appeared . Final (?) step: a few years ago, I started painting myself. This allowed me both to better understand the designer's point of view, tempted me to paint large formats and led me to juxtapose panels, often for lack of space. This is the starting point for my research on multiple-panel works and for my forthcoming new book Tableaux pluriels – Journey among the polyptychs of yesterday and today . Through these stages, art has become an essential part of my life. If I were asked, today, what I need to appreciate a work, I would gladly answer, beyond all useful analyses, that for me, in front of a painting or a sculpture, the right criterion is is… goosebumps. » Beaux Arts magazine Sarah Belmont Art expert: https://www.vwart.com/

It quickly rose to become the third most watched film on Netflix. The most recent feature film by Rian Johnson, titled Glass Onion, is a stunning examination of a Greek island. The film focuses on a rich computer mogul... whose collection of works of art smacks of excess and folly. Beaux-Arts will explain to you in a manner that is more or less clear all of the allusions that have been hidden inside it. But there is never any luck involved. Matisse, Rothko, da Vinci, Basquiat, Mondrian, Banksy, Cocteau, Vermeer, and Twombly are some of the artists that come to mind. Even the most impressive art collections in the world can only dream of having a collection comparable to that of Miles Bron (played by Edward Norton). It is found when the viewer approaches the magnificent mansion of the billionaire, alone with its infinity pool and its green garden in the center of an island in Greece. It is eclectic, merging ancient and modern art, and it is known as "The Green Garden." "It seems like the Tate Modern!" cries one of her friends, the corrupt politician Claire Debella (Kathryn Hahn), who, along with six other pals, was invited to a weekend murder party at Miles, which was in full containment. "It feels like the Tate Modern!" The finishing touch to the dish? A live appearance by the Mona Lisa. The picture of Leonardo da Vinci that Claire believes to be a "reproduction" was really the original painting that was loaned by the Louvre museum to the millionaire. "Thank you, epidemic," he announces to his guests while smiling devilishly at them. The Louvre was closed, and there was no water in France, so I went ahead and got a short-term loan for myself. You were required to put some thought into it! A Rothko dangling the wrong way up In point of fact, the filmmaker Rian Johnson favors settings that are crammed to the gills with various pieces of art. Knives Out, his first film, centered on the investigator Benoit Blanc (played by Daniel Craig), and took place in the family home of a successful thriller writer. The home was obviously perfectly decorated, and we recognized in particular the virtuoso trompe-l'oeil (and appropriately) Fleeing Criticism (1874) by Pere Borrell del Caso. This extremely busy design here takes on another connotation that is more profound. It's not simply a classy background with a few winks hidden behind it; it's an essential part of the scene. Because the millionaire looks up to him and expresses the desire to achieve the same level of success that he has, it would seem that he has been successful in transforming him into his alter ego and in permanently tying their destiny. But we won't go into more detail. Let's just say, without giving anything away to you, that the Mona Lisa provides the film with the most magnificent conclusion... See all photographs and read more about the top 15 films ever made on art. "Rick studied art history, and I depended on him to blend pricey classics with pastiches of satirical tendencies in modern art." Rian Johnson, also known as For this body of work, the director sought out Rick Heinrichs, who serves in the role of creative director. The thought? To best evoke the bewildering collection of an absurdly wealthy man, today's entrepreneur whose megalomania could recall that of Elon Musk. "Lack of intelligence and excess of wealth," he explained to Le Monde on December 23, 2022. "To best evoke the bewildering collection of an absurdly wealthy man." These are the elements that go into it. One of the most appealing aspects of this setting is the fact that the Rothko is hung in an inverted position. I counted on Rick, who had a background in art history, to combine pricey treasures with parodies of humorous tendencies in current art. There is a mosaic here that represents Kanye West..." The association of works, some sublime (La Joie de vivre by Matisse hung in a room or a Cy Twombly, Untitled (Bacchus 1st Version V)), others appalling (a monumental portrait of the bare-chested billionaire, ill. above), is in chillingly bad taste. This is the entire genius of this very personal museum: the association of works. Benoit Blanc is irritated by the fact that the toilets are hanging, which is one of the reasons why all of them are there: they are just an outward symbol of riches. a Van Gogh painting titled "Portrait of Madame Trabuc" from 1889, a Matisse painting titled "Icarus" from 1943, and a Degas painting titled "The Absinthe" from 1875–1876 [ill. below]. A state of mental uneasiness Rian Johnson so deftly steers his ship, as he is able to stack up masterpieces that are highly confirmed by Western taste, while at the same time giving birth to an uneasy sense in the face of such an accumulation. According to what the filmmaker had more to say in the pages of Le Monde, "I feel there is a particularly American contradiction between scorn for the wealthy and the temptation to associate money with talent and knowledge." Because he places such a high value on what has already been named and applauded more than he does on his own feelings, Miles Bron is immensely wealthy, but he also has no sense of taste and is thus uneducated. Or Bourdieu's ideas on society in the age of the super-rich. Seen in Beaux-Arts, Mailys Celeux-Lanval
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Between the years 1495 and 1498, the renowned artist Leonardo da Vinci undertook the monumental task of creating one of the most celebrated masterpieces in the history of art, "The Last Supper."
Commissioned for the refectory of the Santa Maria delle Grazie convent located in Milan, this remarkable work not only exemplifies the high Renaissance style but also serves as a profound narrative of a pivotal moment in Christian theology.
The painting depicts the dramatic scene of Jesus and his twelve apostles gathered around a long table, all positioned on the same side, a bold and innovative choice that starkly contrasts with the traditional depictions of the time, where figures were often shown in a more conventional, frontal arrangement. In this composition, the inclusion of Judas Iscariot among the apostles is particularly noteworthy.
His presence at the table adds a layer of complexity to the scene, as it is during this moment that Jesus reveals the impending betrayal, creating a palpable tension within the atmosphere of the painting.
The expressions and gestures of the apostles are meticulously crafted, showcasing a range of emotions from shock to disbelief, as they react to Jesus’ announcement.
A significant point of intrigue surrounding "The Last Supper" is the identity of the figure seated to Jesus' right. Traditionally interpreted as John, the beloved disciple, this figure has sparked much debate and speculation, particularly in light of contemporary interpretations popularized by works such as Dan Brown's "The Da Vinci Code."
Some theorists suggest that this figure could actually represent Mary Magdalene, positing that she was not merely a follower but a significant figure in Jesus' life, perhaps even his partner.
This theory has led to a broader discussion about the role of women in early Christianity and the potential misrepresentation of their contributions throughout history. Furthermore, the painting is rife with enigmatic details that invite deeper analysis.
The presence of unidentified hands emerging from behind the apostles raises questions about the artist's intentions.
Some art historians and scholars propose that these hands might hint at a hidden message or serve as a visual illusion, compelling viewers to look beyond the surface and consider the underlying themes of the work.
Additionally, the absence of a chalice in the scene is striking, as one might expect to see such a symbol of the Eucharist in a depiction of the Last Supper. This absence, combined with the arrangement of the figures forming a "V" shape, has led to various interpretations suggesting that Leonardo may have been conveying a concealed message regarding the relationship between Jesus and Mary Magdalene.
Some studies reference the Agnostic Texts of the Gospel of Philip, which assert that Mary was not only a close companion of Jesus but also the mother of his child. These interpretations challenge conventional narratives and encourage a reevaluation of the historical and spiritual implications of the painting.
In summary, "The Last Supper" is not merely a depiction of a biblical event; it is a complex interplay of artistry, theology, and mystery that continues to captivate audiences and inspire scholarly debate centuries after its creation.
Each brushstroke and compositional choice reveals layers of meaning, inviting viewers to explore the profound questions surrounding faith, identity, and the nature of sacred relationships. www.vwart.com

Date: 1929 – 1932 Central panel: 204 x 204 cm. 80 x 80 in 204 x 102 cm each. Historical context :
Otto Dix is a German painter who voluntarily joined the conflict of the First World War as a soldier. He comes back very rebellious and pacifist. He is also very shocked by the horror and inhumanity of this war. This artist created his work between 1929 and 1932, at a time when nationalist ideas were resurfacing in Germany and people were beginning to forget the terrible suffering brought by the war. Otto Dix therefore wanted to recall them Description :
Left Panel: In the foreground we see a group of soldiers in combat gear: with weapons, helmets and large backpacks. We don't see their faces. We have the impression of a troop going to war. They move into a brown where they disappear and seem to get lost. We notice in the background that the sky is heavy with black and red, which portends violence. Central panel: In the foreground we notice the representation of carnage: we see blood, many corpses piled up, overturned and abandoned, disorder, dirt. One has holes in his legs, and another holds out his hand with his stomach open. They are completely destroyed, deteriorated. We also notice A man appearing alive with a gas mask, as well as a helmet, watching the death scene. He seems petrified. We can't see his face. Above, we see a skeleton. He is depicted as if he was flying. He has a finger pointing at the pile of corpses, the blood... . We also see a burned tree trunk. In the background we can see destroyed cities, ruins, holes, no trace of life. The sky is overcast, we can see smoke. Lower panel: We notice bodies lying next to each other, we don't know if these people are alive or dead. They are in a sort of box and a sort of sheet hovers over them. Right Panel: We see a man, from the front, dressed in white, carrying another human who appears injured. They do not have any military uniform, or it is incomplete. The man walks among bodies on the ground (disfigured and dead men). Around him the land is dilapidated, we can still see holes in the ground. We see a black tree behind the man. The sky in the background is dark and red. Plastic analysis:
• The painting is painted in triptych, which is read from left to right then down, like a kind of story. It is made with paint on wood. This work recalls The Isenheim Altarpiece by Mathias GRÜNEWALD, a Renaissance work. The latter is also a question of death and suffering ( Crucifixion of Christ in the center). • There is contrast. Particularly in the left panel with the man in white and the black background. Otto Dix usually uses shades of brown/red. Brown is also the dominant color, the brown of the earth. Red is used in particular for the stormy sky. The colors are dark, but we can see points of light in certain places like in the central panel. There is a line of force in this painting. It is located in the main panel, it is the skeleton which points to the piled up corpses. Interpretation:
Left panel: Men equipped with helmets and weapons, so they are soldiers. We don’t see their faces  no more individuals, no more humanity. The blood-red sky alludes to the place of combat. These are then soldiers going into combat, to death. We see that these men advance in the mist, and that we see them less and less - death takes them away. Central panel: Again the image of death with the skeleton in the air which shows the dead  death always present. We see that a soldier extends his hand as if to grab something: hand on a white background  looking for help in a universe without humanity. The only living soldier observes this man but remains motionless, he does not move, does not react  No more humanity. The destroyed bodies, opened, the blood strongly recalls the carnage, and the violence of death. The holes on the ground at the bottom probably caused by shells. Dilapidated cities  Carnage of war. Right panel: Living man highlighted by white on the dark, black/red background. This man is not dressed in uniform. We see his face (self-portrait of the artist?). He carries a wounded person - a symbol of humanism. White = hope in a world where death is everywhere. The trunk behind the “savior” as well as this man recalls Christ carrying his cross. Christ/Savior who carries his cross; He carries what will lead him to death = the savior who helps a man; which will lead to his death. Black and red sky, showing horror, and combat, as well as death and hell. Lower panel: Body in a sort of vault  A tomb? A trench ? Are these men alive and dead? They are locked up and cannot free themselves: no life possible. Conclusion : This work is a hyper realistic reconstruction of the carnage and the battlefields. It very intensely shows the horror and violence of war through the presence of blood, corpses and dark colors. We also realize that death is everywhere. The author denounces the barbarity and absurdity of war. Otto Dix painted himself as the savior because he warns us against these atrocities. It highlights what combat really is: Suffering, loneliness, dirt and horror.
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The #MeToo movement has made "violence against women" a social issue that even Pablo Picasso, who died nearly 50 years ago, seems unable to escape, a subject that museums and his grandson, Olivier, wish to approach with "accuracy." Since the 1980s, several controversial works have painted negative portraits of the icon of modern art, whose work has been nourished by his relationships with the women in his life. Fernande Olivier, Olga Khokhlova, Marie-Thérèse Walter, Dora Maar, Françoise Gilot, Jacqueline Roque... so many "muses". Their names are cited in art history, speaking of "identities, personalities very different" and "relationships on which my grandfather never spoke publicly," told Olivier Widmaier-Picasso. The latter devoted two books to the painter, born in 1881 in Malaga (Spain) and died in 1973 in France, in Mougins, "by questioning his still living entourage and the family archives" to "set the record straight". - "Missing" work - "There were ascents, descents, violent works, others very tender, very gentle, but we realize each time that after having exhausted his inspiration, he moves on to something else", adds the son of Maya Widmaier-Picasso. Maya Widmaier-Picasso was born in the union of the Spanish artist with Marie-Thérèse Walter, she was a "privileged confidante of her father until the 1950s". "Without his women, the work would be missing." "#MeToo damaged the artist", recognizes Cécile Debray, director of the Picasso museum in Paris, questioned by AFP on a feminist podcast created by Julie Beauzac, including an episode devoted to Pablo Picasso ("Separating the man from the 'artist') was followed by 250,000 people. However, there is no question of approaching the subject "in a frontal and unequivocal way", continues the museum director. This podcast gives the floor to Sophie Chauveau, journalist and author of "Picasso, the Minotaur" who describes "the irresistible and devastating hold of genius on those who loved him." Ms. Chauveau claims to have investigated "for years" without having access to the family archives. She evokes a "brilliant" painter as much as a "violent", "jealous", "perverse" and "destructive" man, "great seducer" not hesitating to conquer and abuse very young women. "Assertions without reference to historical, approximate, and anachronistic sources", deplores Ms. Debray. - "Idol to knock down" - "The attack is all the more violent because Picasso is the most famous and popular figure in modern art. An idol that must be destroyed," adds Ms. Debray. According to Olivier Widmaier-Picasso, Picasso's descendants never attacked the book, preferring "not to shed any additional light on it." "How do you resist such a personality?" he wonders. "There are those who got away with it and some who struggled. I don't think it was voluntary and conscious, I think he had such a creative force that he was devoted to his art from an early age, and finally, at the end of his life, he was facing the canvas all alone and did not need anyone. However, it is impossible to avoid a debate, he concedes, like the two representatives of the museums in Paris and Barcelona. But "you have to show the work in a didactic, rich and varied way, in its formal radicalness, through a broad presentation of the collection and by inviting contemporary looks", explains Ms. Debray. Among these looks: the French artist Orlan and her series "The crying women are angry", which offers a rereading of the work of Picasso "to put the woman-subject at the center", the Belgian visual artist Farah Atassi, who re-examines the question of the painter and his model, or the French visual artist Sophie Calle, programmed in Paris. "This reflection on Picasso and the feminist or feminine gaze on his work is an eminently current debate, which must not be diverted or caricatured", adds Mr. Guigon. In Barcelona, the Picasso Museum has launched a series of workshops inviting specialists, art historians, and sociologists to offer a diversity of points of view on the work. They are also highlighted by exhibitions devoted to Picasso's sister Lola Ruiz-Picasso, or Brigitte Baer, ​​an art historian specializing in Picasso's engravings. Seen on France24.com © AFP

Hunting antiques in thrift stores and flea markets sometimes allows you to have surprises: buying a Roman bust for $35, only to discover a few years later that it dates from the 1st century AD. This beautiful story comes from the United States where, in 2018, an antique dealer named Laura Young decides to go in search of "something cool" in a second-hand store in Austin, Texas. She quickly sights a sculpted marble bust, slightly dirty and left abandoned under a second-hand clothes table. His price? Just 35 dollars. Laura Young decides to buy it without any idea of ​​its real value. The American, however, has a doubt. The bust, which she knows nothing about, appeared to be "really, really old , " she told the BBC . The woman then embarked on research to date and determine the character that this sculpture represents. The experts follow one another, and the verdict falls: the statue turns out to be a 2,000-year-old Roman bust, which dates back to the 1st century AD. Its value is priceless. Stolen in Bavaria Throughout the expertise, the mysteries surrounding the sculpture arise, particularly on the identity of the character it represents. It would be a Roman general named Drusus Germanicus (38-9 BC), known to have fought in German lands. However, not everyone is of the same opinion. Some believe that it is rather one of the sons of Pompey the Great (106-48 BC), who had faced Julius Caesar during the civil war (49-45 BC). -C) . Its provenance has also been clarified. The bust is believed to be from a replica of a Roman villa in Germany called Pompejanum, built in Aschaffenburg, Bavaria, and badly damaged during World War II. The sculpture would have been brought to the United States by an American soldier stationed in the German city, specifies the British media . Stolen, the bust, therefore cannot be sold by Laura Young and will soon be exhibited in a museum in San Antonio, in the southern United States. At least until 2023 . In a year, the work will indeed make the opposite journey, and will return to Germany. Seen in Slate - Robin Tutenges

Overview of the Engagement FAE.LLC was retained by a private client to provide an independent pre-auction risk assessment concerning a gouache attributed to Pablo Picasso, offered by a major international auction house. Auction Estimate: USD 1,000,000 – 1,200,000 Proposed Transaction: Public auction bidding Scope of Engagement: Advisory opinion only No financial interest held by FAE.LLC in the auction outcome The client sought a risk-based evaluation, not a confirmation of authenticity. Nature of Our Advisory Role FAE.LLC does not authenticate artworks, does not issue certificates of authenticity, and does not substitute for artist estates, foundations, or catalog raisonné committees. Our role in this matter was strictly limited to: Identifying risk factors Assessing market exposure Evaluating consistency with known reference material Advising the client on whether the risk profile was acceptable Summary of Observations (Non-Exhaustive) Based on visual material, documentation provided, and comparative analysis, FAE.LLC identified multiple elements that, in our professional opinion, materially increased acquisition risk, including but not limited to: Stylistic Considerations Elements inconsistent with broadly accepted stylistic benchmarks Weak internal coherence between composition, execution, and gesture Technical Considerations Application characteristics not aligning with expected material behavior Surface and layering observations raising unresolved questions Attribution & Signature Factors Signature characteristics that, in our opinion, warranted caution Integration concerns between inscription and pictorial structure Documentation & Provenance Absence of decisive third-party institutional confirmation Provenance gaps insufficiently resolved for a seven-figure transaction Individually, none of these factors are determinative. Collectively, they created a risk profile deemed unacceptable for the client. Advisory Conclusion Provided to the Client FAE.LLC advised the client as follows: Based on the totality of available information and the absence of authoritative confirmation, proceeding with a bid would involve a level of financial, legal, and reputational risk that exceeds prudent acquisition standards at this price level. Accordingly, the client was advised not to bid. This recommendation was expressed as a professional opinion, not as a statement of fact. Auction Outcome (Publicly Observable Fact) Final Hammer Price: USD 980,000 Result: Lot remained unsold FAE.LLC does not claim causation between its advisory opinion and the auction result. The auction outcome is cited solely as a chronological fact. Why This Case Is Relevant Auction catalogue descriptions, estimates, and scholarly language: Are opinions, not warranties Do not transfer liability to the auction house Place full post-sale responsibility on the buyer Once a work is purchased: Rescission is limited Authentication disputes are costly Market liquidity may be permanently impaired Pre-acquisition advisory is therefore a risk-mitigation service, not a value-enhancement promise. Professional Insight In high-value transactions, the absence of a purchase can represent a successful outcome. In this case: No capital was committed No future dispute exposure was created No reputational or resale risk was assumed From a fiduciary perspective, this constitutes effective advisory performance. Conclusion FAE.LLC’s mandate is not to facilitate transactions, but to evaluate risk. When risk exceeds acceptable thresholds, the correct professional response is to advise restraint — regardless of artist name, estimate, or market excitement. Call to Action Consult before you bid.Once the hammer falls, advisory options narrow dramatically. 🔹 Pre-Auction Risk Advisory🔹 Independent Attribution Analysis🔹 High-Value Acquisition Screening

Not necessarily the most expensive works coming to auction — but 10 artworks I believe deserve a closer look because of their quality, rarity, provenance, estimate, market relevance or potential opportunity.
1. DONALD JUDD — Untitled Christie’s, New York — October 1, 2026Estimate: $1,000,000–1,500,000 WHY WOULD I LOOK AT IT? This is my strongest pick this week. Conceived in 1965 and fabricated in 1969, this red-lacquer bullnose progression is one of only eight unique examples fabricated between 1965 and 1970. The early date, rarity and Barbara Jakobson provenance create a particularly compelling combination. What would concern me? At seven figures, I would want the fabrication history, original surface, condition and relevant documentation examined very carefully before considering a bid. 2. SAM GILLIAM — Region and Mind, 1971 Christie’s, New York — October 1, 2026Estimate: Check current catalogue WHY WOULD I LOOK AT IT? This is a large, early beveled-edge painting purchased directly from Gilliam’s studio in 1971 and retained in the same private Washington collection for more than five decades. That kind of fresh-to-market provenance immediately attracts my attention. What would concern me? Gilliam’s market makes important distinctions between periods, formats and quality. I would compare this specifically with other early-1970s beveled-edge paintings rather than relying on the artist’s general auction results. 3. ANDY WARHOL — Flowers, 1964 Sotheby’s, New York — October 7, 2026Estimate: $2,500,000–3,500,000 WHY WOULD I LOOK AT IT? This is not simply another Warhol Flowers. It was exhibited at Leo Castelli’s original 1964 Flower Paintings exhibition, later appeared in the important 1970–71 Warhol retrospective, is documented in the catalogue raisonné and has effectively remained in the same ownership since 1966. That is serious provenance. What would concern me? Precisely because the history is so attractive, bidders may pay a substantial provenance premium. I would establish the value of the painting itself before deciding how much extra that history deserves. 4. JOHN CHAMBERLAIN — Untitled, 1967 Sotheby’s, New York — October 7, 2026Estimate: $500,000–700,000 WHY WOULD I LOOK AT IT? This may be one of my favorite sculpture opportunities in the upcoming sales. The work was acquired from Leo Castelli Gallery in May 1968 and has remained with the same owner. It is also documented in Chamberlain’s sculpture catalogue raisonné. Early date, Castelli provenance and long-term ownership are all significant positives. What would concern me? With Chamberlain, I would examine the surfaces and structure carefully for alterations, repairs or interventions. Condition can have a meaningful effect on desirability and value. 5. ALMA THOMAS — Red Mums Display Sotheby’s, New York — October 7, 2026Estimate: $500,000–700,000 WHY WOULD I LOOK AT IT? Alma Thomas has moved from being historically under-recognized to receiving substantial museum and collector attention. I would want to determine whether this particular painting combines the date, scale, chromatic intensity and quality that collectors seek in her mature work. What would concern me? Her market has risen considerably. Increasing institutional recognition is important, but it should never be confused with a guarantee of continued price appreciation. 6. WAYNE THIEBAUD — Pie a la mode Sotheby’s, New York — October 7, 2026Estimate: $800,000–1,200,000 WHY WOULD I LOOK AT IT? This work brings us directly into Thiebaud’s iconic food imagery — the subject matter most immediately associated with the artist. Recognizable subject matter can create strong collector demand, particularly when the individual work has the right date, quality and visual presence. What would concern me? A famous subject does not automatically make an exceptional painting. At around $1 million, I would compare the work carefully with other Thiebaud food paintings before deciding on a maximum bid. 7. ROBERT MANGOLD — Light Neutral Curved Area Sotheby’s, New York — October 7, 2026Estimate: $200,000–300,000 WHY WOULD I LOOK AT IT? Mangold is an important figure in American Minimalism, yet his market remains substantially below artists such as Donald Judd. That discrepancy makes certain high-quality Mangold works particularly interesting to examine. This example also comes from the Robert A.M. Stern Collection. What would concern me? Mangold has a sophisticated but narrower collector base. I would consider this primarily as a serious long-term collection purchase rather than a short-term resale opportunity. 8. RICHARD DIEBENKORN — Untitled Sotheby’s, New York — October 7, 2026Estimate: $180,000–250,000 WHY WOULD I LOOK AT IT? At first glance, the estimate deserves attention considering Diebenkorn’s stature in postwar American art. The work also comes from the Caro and James Schneithorst collection, giving it an interesting collecting history. What would concern me? With Diebenkorn, period, medium, scale and subject matter can create enormous differences in value. A relatively low estimate does not necessarily mean an opportunity — it may simply reflect the work’s position within his oeuvre. 9. BETTY WOODMAN — Lush Minoan Pillow Pitcher Sotheby’s, New York — October 7, 2026Estimate: $15,000–20,000 WHY WOULD I LOOK AT IT? This is my sleeper pick. Betty Woodman is represented in major museum collections and played an important role in bringing ceramics into the vocabulary of contemporary fine art. At an estimate of only $15,000–20,000, the relationship between the artist’s historical significance and the market price deserves attention. What would concern me? The secondary market is considerably thinner than it is for painting. I would buy a work like this because of its quality and significance — not because I expected a quick resale. 10. GEORGE CONDO — I Want My Brain Back, 2020 Sotheby’s, New York — October 7, 2026Estimate: $1,000,000–1,500,000 WHY WOULD I LOOK AT IT? This is a large and immediately recognizable Condo acquired from Hauser & Wirth in the year it was painted. It belongs to the psychological portraiture for which Condo has become internationally recognized. What would concern me? This is a relatively recent work, and there is substantial Condo material in the market. At more than $1 million, I would compare it rigorously with earlier and historically more significant examples before bidding. THREE I WOULD RESEARCH FIRST DONALD JUDD The combination of an early conception date, rarity and strong provenance makes this difficult to replace simply by waiting for another Judd to appear. JOHN CHAMBERLAIN A 1967 sculpture purchased from Leo Castelli in 1968, retained by the same owner and documented in the catalogue raisonné is exactly the type of provenance I want to investigate. BETTY WOODMAN At the opposite end of the price spectrum, an estimate of $15,000–20,000 makes this particularly interesting. An artist can be historically important without carrying a million-dollar price tag. THE ART EXPERT’S VIEW A prestigious name does not automatically make a good purchase. Before bidding, I look beyond the signature. I examine the quality, provenance, condition, authenticity documentation, exhibition history, previous auction results, rarity and current market. And sometimes, the most valuable advice an independent art expert can give a collector is very simple: Walk away. Gérard Van Weyenbergh
Fine Art Expert
VWART.com

No matter how we turn the problem in all directions, the market makes the artists. The buyers make the art market, that is, collectors, gallery owners, and the State. And if we say that it is the market that drives the artists, it is because the recognition of the status of the artist goes through their income, mainly the sale of their works. Because despite the abolition of the distinction between affiliates and taxable people, the criterion of annual income (nearly $ 10,000) remains decisive for opening the rights to social protection of authors and thus being considered an artist. The alternative to the market would be the wage that would compensate for the work; in other words, the time an artist spends to produce his work. But it is hard to imagine the painter or the plastic artist going to point to the gallery owner or a public person (State, local community) and work thirty-five hours a week at his employer. A report mentions a possible commission contract to compensate the artist working time. Still, he must turn to the Superior Council of Literary and Artistic Property with the multiple operational, legal, and fiscal obstacles. The former president of the Center Pompidou and the BNF, and future director of the Pinault Collection in Venice must, therefore, rely on the criterion of non-salaried income to distinguish professional, occasional, and amateur artists. But it is trying to regulate the invisible hand of the market with devices that make it possible to reach this famous threshold. $ 10,000 a year is not enough to make a living from your art, but this safety net keeps you waiting for commercial success, especially if the affiliate has other income. By the way, many professions are recognized but complain of being discredited, unlike artists who enjoy a rather flattering image but would like to be recognized. In conclusion, whether the market has the taste and knows how to recognize talent, that's another story.
Seen in Le Monde - Culture

At Boston's Isabella Stewart Gardner, the biggest heist in art history
Spectacular, enigmatic, or dramatic, art thefts never cease to fascinate. Today, we return to a most ambitious robbery perpetrated by fake police officers exactly thirty-two years ago, on St. Patrick's Day in Boston. The loot? Thirteen masterpieces, including a Vermeer, a Manet and a Rembrandt, are still at large...
What the hell happened?" In the early morning of Sunday, March 18, 1990, the security guards were shocked! The relief team found the doors closed before discovering an empty lodge. In the basement, the two night guards were found handcuffed to the pipes, their mouths and eyes covered in adhesive tape. Deliverance for the unfortunate agents, but no relief. They had been neutralized for five hours, and their attackers had clearly stated their intentions: to rob the Isabella Stewart Gardner Museum in Boston. The exterior is unassuming, but the interior, designed like an intimate Venetian palace according to the wishes of its founder Isabella Stewart Gardner (1840–1924), houses an impressive collection of 2,500 paintings, drawings, and objects. Enough to make the wolves salivate… It is dead quiet at the museum when Richard Abath, alias Rick, finishes his rounds shortly after midnight. Apart from the fire alarms that have gone off for no reason, nothing to report. What a surprise when two uniformed cops he observes in the surveillance video images ring the intercom. In the Irish rain that is falling on the city on this St. Patrick's Day night, one imagines that the cops are busier on the road than at the museum. Rick answers: "Police! Routine check. We order you to open up!" Candidly, the guard complies. This is where the trouble begins : the men in uniform ask him to send for his colleague Randy, who is in the middle of a tour. Rick obeys; Randy arrives. As soon as they are gathered, the guards are posted to the wall, handcuffed and tied up: they have been tricked. The two intruders will be able to peacefully roam the galleries of the museum for 80 minutes, each on their own side, as the infrared motion detectors will attest. Well, peacefully is an exaggeration when you see how hastily the frames have been taken down, placed on the floor, and how the canvases have been roughly cut up before being taken away. The museum's director, Anne Hawley , is surprised by some valuable "forgettings" on the part of the burglars, starting with Titian's The Rape of Europa (1562), which is nevertheless unmissable. It is also discovered that the self-portrait of Rembrandt kept at the museum was removed with its frame before being finally abandoned against a wall to stay at home. Despite everything, the fake police officers do not forget to take the magnetic tape of the day's video recordings... A haul estimated at 200 million dollars in 1990 but which, today, would easily exceed a billion! It was a veritable raid! Thirteen abductions were deplored, and not the least of them. Among them was Vermeer's Concert (circa 1666), the pearl of the collection, one of the most delicate compositions by the master of Delft. There was also the loss of two Rembrandt paintings, including Christ in the Storm on the Sea of ​​Galilee (1633), his only recorded seascape. To these must be added a landscape by Govert Flinck, the painting
Chez Tortoni (circa 1875) by Édouard Manet, emblematic of his café scenes, as well as a drawing by Rembrandt, five by Degas, a Chinese Gu vase, and the finial of an eagle from the flag of the Grande Armée. A loot estimated at 200 million dollars in 1990 but which, today, would easily exceed a billion! The goalkeeper's suspicious movement. Due to its scale, the investigation escapes the Boston Police and is entrusted to the FBI. Abath is a suspect: we know that an hour before the thieves arrived, he opened and then closed a side door of the museum without warning his colleague. A precautionary gesture, he claims, which is anything but conventional. A signal perhaps? Another troubling element: the detectors did not record any movement of the thieves in the Manet room that the guard would have been the last to have visited. Could he have picked up Chez Tortoni? Even if the police asked to enter the museum, they would not open it like that; they must first note down the registration numbers and call the central office at the museum management. In 2015, the last incriminating element: the FBI published a surveillance video from the day before the tragedy. Rick opened the door to two men parking their car in front of the museum to chat. The person concerned says he has forgotten everything about this meeting. Nothing conclusive, however; the keeper is never seriously worried. We highlight a nonchalance tending towards incompetence... A more serious lead leads the FBI to one of Massachusetts' most feared gangsters: James J. Bulger, known for his ties to the IRA (Irish Republican Army). The Irish terrorist group is known for stealing works of art. His signature? Setting off fire alarms to divert attention, as was the case at the Stewart Gardner Museum. Bulger denies everything, and there is no evidence to support his suspicions. New evidence is needed. Here it is in April 1994! Director Anne Hawley receives an anonymous letter promising the return of the works for a ransom of 2.6 million dollars. Despite attempts, discussions are short-lived, and hope evaporates. In 1997, Boston Herald journalist Tom Mashberg is invited by antique dealer William Youngworth to enter a hangar. The latter shows him rolled and signed canvases. It is dark, but Mashberg thinks he recognizes Rembrandt's seascape... Unfortunately, it is again a blank: the few oil cracks recovered by the journalist are analyzed. They date from the 17th century but differ in every way from the pigments used by Rembrandt. The “Merlino Gang” and the Lie Detector. A more solid hypothesis leads to the Boston mafia, the "Merlino gang.". As early as 1992, an informant told the police that a certain David Turner knew where the loot was. Carmello Merlino, leader of the gang, was arrested for cocaine trafficking the same year; he offered to negotiate the return of the works in exchange for a reduced sentence. According to the leader, Turner was one of the two fake police officers, accompanied by George Reissfelder, who died in 1991. The person concerned formally denied it during his trial in 2001 but encouraged the authorities to look into the case of Robert Gentile, another mafioso linked to Merlino, who had information on the theft. An accusation corroborated by the testimony of the widow of Gentile's alleged accomplice, Robert Guarente, who died in 2004. Six years later, his ex-wife claims that when he learned of his cancer, Guarente entrusted the stolen works to Gentile. Vigorously questioned in 2012, the latter denied it, like the others, but the lie detector rang when he claimed to know nothing about the night of March 17-18, 1990. It was because of police pressure, his lawyer complained. Moreover, the search of Gentile's residence in Manchester (Connecticut) yielded nothing. With his death in September 2021, all his secrets were erased. So many uncertainties to solve the biggest heist of the 20th century. On March 18, 2013, the FBI put on a brave face by claiming to finally know the identity of the thieves linked to the East Coast underworld. Problem: They are supposedly dead, and the paintings are not located. Not known for its laxity, the police institution nevertheless assures that the facts are now prescribed: return the paintings, and you will have absolution! For its part, the museum continues to venerate the lost masterpieces. True to Isabella Steward Gardner's will that each work remain in place, those responsible have always left the empty frames on the walls. For the 25th anniversary of the theft in 2015, an application allowed a virtual visit where, in three dimensions, the stolen paintings reappeared in their case in high definition.
Supporting the FBI's appeal, the museum promised in 2017 a reward of 10 million dollars to whoever returns the treasures. Something to hope for, since the missing works, when they are not destroyed, often resurface after the death of their captors, the heirs wanting to wash away their crime. A generation: that is precisely the time that has passed since that terrible night of Saint Patrick's Day.
© vwart.com art expert

Independent Art Market Intelligence | October 12, 2026 Ten artworks worth investigating in forthcoming American auctions — selected for quality, provenance, historical importance, and potentially interesting estimates. This week's selection looks beyond the spectacular prices that dominate auction headlines. I have concentrated on original paintings and sculptures, supplemented by a few historically significant works on paper. The works come from established American auction houses, including
Los Angeles Modern Auctions,
Toomey & Co. and
Swann Auction Galleries. My objective is not to recommend ten purchases. It is to identify ten works that deserve further investigation before bidding. All estimates below are in U.S. dollars and exclude buyer's premiums, taxes, shipping and other costs. 1. GEORGE RICKEY — Three Lines Oblique Conical Path, 1972 Auction house: Los Angeles Modern Auctions (LAMA)Location: Los Angeles, California Auction date: October 20, 2026 Lot: 106 Estimate: $100,000–150,000 WHY WOULD I LOOK AT IT? This is an important kinetic sculpture in stainless steel, measuring approximately 87 inches high with a 120-inch diameter. What interests me most is its provenance. The present owner acquired the sculpture directly from George Rickey in 1972. It also has a documented exhibition history, including the Städel Museum in Frankfurt in 1977 and Galerie Schlegl in Zurich in 1997–98. This combination of early date, direct provenance, substantial scale and exhibition history makes the work particularly attractive for research. WHAT WOULD CONCERN ME? Kinetic sculpture introduces considerations that do not apply to paintings. I would want to examine the mechanical operation, structural integrity, conservation history and installation requirements. Transportation and installation could also be expensive. My assessment: One of the strongest provenance stories in this week's selection. View Lot 106, photographs and provenance Los Angeles Modern Auctions (LAMA) 2. ALLEN TUCKER — Storm on the Farm Auction house: Toomey & Co.Location: Chicago, Illinois Auction date: October 23, 2026 Estimate: $6,000–8,000 WHY WOULD I LOOK AT IT? Allen Tucker is an interesting American modernist whose work deserves attention beyond the most familiar names of twentieth-century American painting. This painting is featured among the highlights of Toomey's forthcoming Fine Art auction. At $6,000–8,000, I would investigate whether its quality, date and subject make it an attractive example of the artist's work. The appeal here is the possibility of acquiring a distinctive American painting without paying the premium attached to more fashionable names. WHAT WOULD CONCERN ME? I would want to establish the exact date, dimensions, provenance and condition. Tucker's market is relatively specialized. A low estimate does not necessarily indicate an undervalued painting. My assessment: An interesting candidate for a collector who values American modernism rather than fashionable auction names. View the auction and artwork Toomey & Co. 3. DIEGO RIVERA — Escuela al Aire Libre (Open Air School), 1932 Auction house: Swann Auction Galleries Location: New York Auction date: October 29, 2026 Lot: 265 Estimate: $10,000–15,000 WHY WOULD I LOOK AT IT? Rivera's artistic importance extends far beyond the market for his paintings. His graphic work also reflects his political interests, social observations and commitment to public education. This 1932 work is particularly interesting because of its date and subject. At $10,000–15,000, I would compare its significance with other Rivera works on paper and editions from the same period. WHAT WOULD CONCERN ME? The catalogue's full technical description must be examined before bidding. I would verify the medium, edition details if applicable, printing history, condition and relevant catalogue references. My assessment: An important artist, an interesting historical date and a price level that justifies closer examination. View Lot 265 and the Swann catalogue swanngalleries.com 4. TAKAKO YAMAGUCHI — A Suivre #1, 1982 Auction house: Los Angeles Modern Auctions Location: Los Angeles, California Auction date: October 20, 2026 Estimate: $70,000–90,000 WHY WOULD I LOOK AT IT? This is one of the more intriguing contemporary-art opportunities of the week. A Suivre #1 is a mixed-media work dating from 1982, a relatively early moment in Yamaguchi's artistic career. Yamaguchi has attracted substantial institutional and market attention in recent years. But what makes this work interesting is not simply the artist's increasing recognition. It is the combination of an early date and an estimate that deserves comparison with the artist's more recent auction results. I would investigate how closely this work relates to the visual language that has made her paintings particularly sought after. WHAT WOULD CONCERN ME? Yamaguchi's secondary market is still relatively young and can be volatile. I would not use one exceptional auction result as evidence that every work by the artist should command a similar price. The precise medium, provenance, condition and significance within her early production require examination. My assessment: One of the most interesting research candidates, but not necessarily a bargain. View the artwork and October 20 catalogue Los Angeles Modern Auctions (LAMA) 5. WALLACE BERMAN — Untitled Auction house: Los Angeles Modern Auctions Location: Los Angeles, California Auction date: October 20, 2026 Estimate: $70,000–90,000 WHY WOULD I LOOK AT IT? An original Verifax collage by Wallace Berman is immediately worth investigating. Berman was one of the influential figures of the California Beat and assemblage movements. His Verifax collages are central to his artistic identity, making them particularly relevant to collectors interested in postwar American art. I would much rather examine a work that belongs to an artist's defining creative practice than a less significant work acquired simply because it carries a famous signature. WHAT WOULD CONCERN ME? The exact date, composition, provenance and condition are essential. Berman's Verifax technique also raises conservation questions involving the stability of photographic materials. I would compare this example with documented works in museum collections and established private collections. My assessment: Potentially an important work, provided its quality and documentation justify the estimate. View the artwork and auction catalogue Los Angeles Modern Auctions (LAMA) 6. KARL BENJAMIN — TG #25 Auction house: Los Angeles Modern Auctions Location: Los Angeles, California Auction date: October 20, 2026 Lot: 110Estimate: $12,000–18,000 WHY WOULD I LOOK AT IT? Karl Benjamin was a significant figure in Southern California geometric abstraction. His paintings can be particularly interesting for collectors seeking historically relevant American abstraction at prices below those of the most celebrated New York artists. What attracts me here is the estimate. The auction house's own records show that a work titled TG #25 appeared with estimates of $35,000–45,000 in 2016 and $15,000–20,000 in 2019. The current estimate is $12,000–18,000. That is exactly the kind of pricing history that would make me investigate further. WHAT WOULD CONCERN ME? First, I would confirm that these records refer to the same physical artwork. If they do, I would examine its ownership and auction history, including whether previous offerings sold or failed to sell. A declining estimate does not automatically represent an opportunity. It may indicate that the market has already expressed reservations about the work. My assessment: A particularly interesting case for studying the difference between an auction estimate and actual market demand. View Lot 110 and the artist's auction history Los Angeles Modern Auctions (LAMA) 7. LUIS NISHIZAWA — Girasoles y frutas Auction house: Toomey & Co. Location: Chicago, Illinois Auction date: October 23, 2026 Estimate: $6,000–8,000 WHY WOULD I LOOK AT IT? Nishizawa is an important figure in twentieth-century Mexican art, although his international auction visibility is more limited than that of Mexico's most famous modernists. The still-life subject is particularly appealing for a collector interested in Mexican painting. At $6,000–8,000, I would investigate the quality of the composition and its relationship to the artist's broader production. An established artist with a relatively specialized international market can sometimes deserve more attention than a fashionable contemporary name. WHAT WOULD CONCERN ME? The artist's market is not equally developed in every country. I would compare the painting with sales in Mexico, examine the technique and dimensions, and verify the provenance. I would also want to know whether the estimate reflects the quality of this particular painting or simply the limited American demand for the artist. My assessment: An interesting candidate for collectors of Mexican modernism. View the artwork and October 23 catalogue Toomey & Co. 8. PAUL-ÉMILE PISSARRO — Le Noireau en Juin Auction house: Toomey & Co.Location: Chicago, Illinois Auction date: October 23, 2026 Estimate: $3,000–5,000 WHY WOULD I LOOK AT IT? Here is a modestly estimated work associated with an important artistic family. Paul-Émile Pissarro was the youngest son of Camille Pissarro and developed his own career as a painter. At $3,000–5,000, this work deserves an examination, particularly if it is a characteristic and well-preserved example. I would be interested in its relationship to the Normandy landscape tradition and the artist's documented production. WHAT WOULD CONCERN ME? The Pissarro surname is not, by itself, a reason to buy. The market for Paul-Émile differs considerably from that of his father. I would verify the medium, authenticity documentation, provenance and condition, then compare the estimate with results for comparable works by Paul-Émile himself. My assessment: An accessible entry into a recognized artistic family, but quality must take precedence over the name. View the artwork and auction catalogue Toomey & Co. 9. REMBRANDT VAN RIJN — The Descent from the Cross: Second Plate, 1633 Auction house: Swann Auction Galleries Location: New York Auction date: October 29, 2026 Lot: 46 Estimate: $8,000–12,000 WHY WOULD I LOOK AT IT? This is one of the most historically significant works in the selection. An etching and engraving by Rembrandt, dated 1633, with established catalogue references. The work is documented as Bartsch 81 and New Hollstein 119. For an Old Master print, the state and quality of the impression are fundamental to understanding its value. At $8,000–12,000, I would certainly examine the impression. WHAT WOULD CONCERN ME? The catalogue identifies it as the sixth state of eight according to New Hollstein. It is also described as trimmed at or just inside the platemark. These details matter considerably. Two impressions from the same Rembrandt plate can have dramatically different values. I would examine the quality of the impression, the paper, possible restorations and the precise state before considering a bid. My assessment: An important historical image, but one requiring specialist print expertise. View Lot 46 and its catalogue description Swann Galleries 10. MARTIN LEWIS — Night in New York, 1932 Auction house: Swann Auction Galleries Location: New York Auction date: October 29, 2026 Lot: 219 Estimate: $5,000–8,000 WHY WOULD I LOOK AT IT? Martin Lewis is one of the most interesting American printmakers of the twentieth century. His atmospheric New York scenes capture the city's architecture, artificial light and urban life with remarkable sensitivity. This 1932 etching is particularly interesting because the catalogue describes it as probably an artist's proof, apart from the edition of 135. It is signed and inscribed imp in pencil, and the catalogue identifies Charles S. White as the printer. At $5,000–8,000, I would investigate the quality of this impression. WHAT WOULD CONCERN ME? The designation artist's proof requires careful examination. I would want to establish whether the impression is demonstrably distinct from the regular edition. The condition of the paper, margins, ink quality and printing characteristics are also important. My assessment: One of the more attractive lower-estimate works in the selection, particularly for collectors of American graphic art. View Lot 219, photographs and catalogue description Swann Galleries THREE I WOULD RESEARCH FIRST 1. GEORGE RICKEY — Three Lines Oblique Conical Path The combination of direct provenance, early date, substantial scale and documented exhibitions makes this my strongest candidate for a detailed investigation. 2. KARL BENJAMIN — TG #25 The apparent history of changing estimates is particularly interesting. I would investigate the work's previous auction appearances and determine whether its current estimate reflects a genuine market opportunity. 3. TAKAKO YAMAGUCHI — A Suivre #1 An early work by an artist whose market has changed significantly. The challenge is determining whether the estimate reflects its artistic importance or the enthusiasm surrounding the artist's recent recognition. THE ART EXPERT'S VIEW There is something I find particularly interesting about this week's American auctions. The most expensive artwork is not necessarily the most interesting one. A $150,000 sculpture with exceptional provenance may deserve attention. But so might a $5,000 print with an unusual printing history or a $12,000 painting that has appeared at auction with substantially higher estimates. The real question is not simply what the auction house expects an artwork to bring. The question is what the artwork is actually worth—and why. That requires examining its quality, provenance, condition, historical significance, previous auction results and the depth of its resale market. An estimate is an invitation to investigate. It is not a valuation. And certainly not a guarantee of a good purchase. Gérard Van WeyenberghIndependent Art ExpertVWART.COM Independent commentary for educational purposes. The selections are not guarantees of authenticity, future value or resale performance. All lots should be independently verified before bidding. A final practical note: Swann's published conditions specify a 27% buyer's premium on the first $100,000 of the hammer price, with additional charges possible through certain online platforms. A $10,000 hammer price can therefore become $12,700 before taxes, shipping or other expenses. That difference should be part of every collector's calculation.
Gerard Van Weyenbergh
On the internet since 1999, with the first website for art appraisal and art authentication on the web. Then named vanweyenbergh.com, which was hacked more than 15 years ago..