Item List

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
contact me for information : vwx123@gmail.com or whatsapp: 7602967175

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
contact me for information : vwx123@gmail.com or whatsapp: 7602967175

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
contact me for information : vwx123@gmail.com or whatsapp: 7602967175

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/

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/

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
https://www.vwart.com/blog

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
https://www.vwart.com/blog

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
https://www.vwart.com/blog

The New Rules of Art Risk Intelligence In a market where traditional foundations are retreating and private sales are the new gold standard, "beauty" is no longer enough. You need bulletproof liquidity. "The art market doesn't care if you love a painting; it only cares if the wire transfer is defensible. In the world of $50M+ transactions, a masterpiece without independent risk intelligence isn't art—it's a liability." — FAE.LLC The Illusion of the Public Market For decades, collectors relied on the "Big Two" auction houses and artist foundations as the final word. But the landscape has shifted. Today, Sotheby’s and Christie’s operate primarily as private brokers. Their websites openly state their role as intermediaries in discreet, off-market transactions. The public gavel is becoming a relic; the private contract is the new frontier. But this shift comes with a hidden cost: the erosion of traditional authentication.
The "Ghost Asset" Crisis We are seeing a surge in what we call "Ghost Assets." These are museum-quality works—Monets, Rembrandts, and Picassos—that possess impeccable provenance and visual brilliance but are trapped in a state of illiquidity. Why? Because foundations are playing it safe. Terrified of legal liability, many foundations have ceased issuing Certificates of Authenticity (COAs) altogether, offering only "insertion in the catalogue raisonné." To a bank or a savvy buyer, a catalogue entry is a suggestion; a COA is a guarantee. When a foundation refuses to commit, your $15M asset becomes a "ghost"—present in the room but invisible to the market.
The FAE.LLC Difference: The 5% Standard At FAE.LLC, we don't wait for a bureaucratic "permission slip."
We apply Risk Intelligence. We analyze the "Difficult 5%." While foundations may move slowly or decline to comment, we utilize forensic due diligence to verify the work. Our process involves: Macro-Forensics: Analyzing the "fingerprints" of the brushwork that digital scans miss. Financial Due Diligence: Assessing the market potential of the work in the current private brokerage climate. Independent COAs: Providing the definitive research that foundations—burdened by legal overhead—refuse to issue. The Risk Intelligence Formula In high-value art, the loss of liquidity L can be represented by the lack of definitive authentication. A relative to market demand D:
L= D/A
When A (Authentication) approaches zero due to foundation silence, L (Liquidity loss) becomes infinite. Unlocking Trapped Value Recently, we reviewed a Monet previously held in a private collection for decades. The foundation was non-committal. The owner was told the piece was "unsellable." After our forensic review and independent COA, the piece was successfully facilitated in a $15M private sale. We don’t just look at the art; we look at the potential of the transaction. Our recent case files include works valued at $56M, proving that the private market is hungry for assets that have been properly de-risked.
Your Next Move If you are holding an asset that the foundations have ignored, or if you are considering a $10M+ acquisition, do not rely on "hope" as a strategy. Secure the asset. Verify the risk. Liquidate the ghost. Ready to de-risk your collection?
Note: We decline approximately 95% of submissions to maintain the integrity of our Risk Intelligence.

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

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