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VILLA LA CASSINELLA. LAKE COMOS’ BEST KEPT SECRET A place of extraordinary beauty, tranquillity and elegance, Villa la Cassinella is a secluded private luxury estate on the western shore of romantic Lake Como. Set amongst spacious, perfectly manicured gardens, the property consists of the stunning main Villa, a pool house with cinema and gym and the enchanting Terrace House. Unquestionably one of the world’s finest and most exclusive retreats, it is a truly exceptional destination where up to 17 guests can relax and be taken care of by the full staff including your own private butler. Villa La Cassinella is a rare delight that charms and enthrals at every turn.

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Telephone no: +39 0344 55411

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25/08/2015 10:54

features 20


cover image © Beetles + Huxley/Osborne Samuel; © Helmut Newton Estate; © christie’s; © victoria and albert museum; © apple


SEEN IN A NEW LIGHT How works of art are presented, both in public and in private collections, is one of the most important aspects in achieving maximum enhancement and appreciation.

Amassed over 20 years and housed in their former family home, Christie’s sale of works featured in Sting and Trudie Styler’s collection vividly captures the couple’s keen eye for art and design.

HELMUT NEWTON’S PAGES FROM THE GLOSSIES Fashion photography has helped sell millions of copies of upmarket fashion magazines; at the same time these same glossies provided an international platform for uniquely talented photographers.







Cover: ‘Millionaire Woman’, 2009, photograph by Marc Lagrange, by courtesy of Beetles + Huxley/ Osborne Samuel, from The Photographers 2015, a joint exhibition at the galleries of Beetles + Huxley, 3-5 Swallow Street, London W1B 4DE, and Osborne Samuel, 23a Bruton Street, London W1J 6QG. See also ‘Happenings’, p.12.

sting & trudie SET THEM FREE




Through the many developing periods of handmade English furniture, the period that saw the development of the Arts & Crafts movements is one of the most interesting and well documented.

For centuries clocks and watches have become exquisite works of art— not only for their complex mechanical ingenuity but also for the beauty of their design and craftsmanship.

B EJEWELLED TREASURES A magnificent display of exquisite jewels gives a vivid insight in the crosscultural influences between the Indian sub-continent and the West, an influence that continues to flourish today.



As with any investment, investing in art comes with certain risks. The lure of record-breaking returns on initial investments is enticing, but all savvy investors know where and when to rush in, and when to explore other investment avenues.


REASONS TO VISIT…THE ROYAL ACADEMY, LONDON The Royal Academy of Arts was established in 1768 and has been in Burlington House since 1775. The Royal Academy is internationally renowned for its support for artists, as well as many important and inspirational public exhibitions.

BUILT FOR BOND To mark the 50-year partnership and the recent release of the latest Bond film, Spectre, Aston Martin has created a DB9 GT Bond Edition, limited to just 150 luxury cars.

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48 CollectionS INTERNATIONAL 7

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HAPPENINGS Bringing you a mix of the high-minded, eccentric, regal, random, and entertaining news and events.

A PERSONAL CHOICE Our series presents a favourite picture or object that is our guest’s personal choice. Our guest is Fritz Kaiser, Kaiser Partner.

AUCTION HIGHLIGHTS A buoyant market means record-breaking results continue to occur with regularity. We bring you the latest from the world’s greatest auction houses.

TREASURES Our series highlights a single item of artistry or craftsmanship that is both rare and exquisite.

65  WINE INVESTMENT & THE GENERAL THEORY OF REALITY Investment is business, fine wine is pleasure. Bringing the two together should surely be a marriage made in heaven?


WHERE TO SPEND IT Our diverse selection of the latest high-end must-haves to add to your collection.

STYLE AND DESIGN: WARTSKI’S GREAT DISCOVERY Jewellers to six generations of the Royal Family, as well as a having a clientele of celebrities, it was Wartski, the London Fabergé specialists, who also made the headlines in 2014 by rediscovering the lost Third Imperial Fabergé Egg, valued at £20 million.

40 81 8 CollectionS INTERNATIONAL

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images: © Sotheby’s (Asia and london); ASTON MARTIN LAGONDA LIMITED; © Julian Opie, Alan Cristea Gallery; wartski


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729 | Fine Asian Art 7 th - 8 th December 2015 Viewing: 4th December - 6th December 2015

Special London Preview of selected items 8 th – 11 th November 2015 The Westbury „The Pine Room“ Bond Street, Mayfair, London W1S 2YF

Further details | Nagel Auktionen GmbH & Co. KG | Neckarstrasse 189 – 191 | D-70190 Stuttgart | Tel: + 49 (0) 711 - 64 969 - 0 | contact @

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30/09/2015 14:08

It Figures...

Publisher & CEO Kevin J. Harrington Managing Editor Charles Ford Sub Editor Samantha Coles Contributors Brendan Connolly Katherine Temple Design Friyan Mehta Editorial Assistant Anette Lien

Arts & Collections International’s dedicated website,, features detailed information on each of the 120 luxury hotels promoting the publication in their exclusive rooms and suites.

Production Director Joanna Harrington Production coordinator Iain Wilson Production & Administration Nimar Uddin Editorial OFFICE Arts & Collections International Suite 2 143 Caledonian Road London N1 0SL United Kingdom Telephone: 020 7870 9090 CHICAGO OFFICE Arts & Collections International 730 N. Franklin St. Suite 604, Chicago, IL 60654, USA The opinions expressed in this magazine should not be considered official opinions of The Publisher or Editor. The Publisher reserves the right to accept or reject all editorial or advertising matter. The Publisher assumes no responsibility for unsolicited manuscripts, photographs or artwork. IMAGES are sent at the owners’ risk and the Publisher takes no responsibility for loss.

© 2016 Damson Media

All rights reserved. Reproduction in whole or in part of any text, photograph or illustration without prior written permission from the Publisher is strictly prohibited. Printed in the UK.


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Arts & Collections International has partnered with over 120 of the world’s finest luxury and boutique hotels to provide the highest quality coverage of global art and cultural events, as well as auctions of interest and the latest developments in the global art market. It is this blend of interesting and informative editorial that is most appealing to guests at these premier hotels, who have a great interest in admiring and purchasing fine art and collectables.

All of the exclusive previews, reviews and expert commentary pieces that appear in the pages of Arts & Collections International are also available to view on In addition, the website provides a directory of upcoming auctions by Sotheby’s and other top auction houses, plus exhibitions and popular cultural events, keeping visitors fully informed, as well as providing a comprehensive resource area for collectors and connoisseurs.

Arts & Collections International is published quarterly and is available on subscription for €40 (Europe) or €45 (worldwide) per annum including post and packaging. Please email for further details regarding subscriptions.




the year Jacques Cartier travelled to India to attend the great Delhi Durbar, held to mark the accession of George V as Emperor of India. Page 56

The number of a limited edition of luxury cars, the a DB9 GT Bond Edition, created by Aston Martin. Page 77

20 million

the value in pounds sterling of the long-lost Third Imperial Fabergé Egg, discovered in 2014 by London Fabergé specialists, Wartski. Page 80


Very good reasons to visit the Royal Academy of Arts, London, currently showing ‘Painting the Modern Garden: Monet to Matisse’. Page 68

images: v&a museum; aston martin lagonda limited; royal academy of arts, london; wartski


The year the Hare with the Amber Eyes was made in Japan by ‘Masatoshi’, a netsuke that inspired the bestselling memoir by Edmund de Waal. Page 45

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The boundaries of art and culture, of what defines great art, are ever on the move. New art movements have a history of making us laugh, question, or even ridicule, until—respect

Eduardo Kac Tesão (Horny) 1985 Minitel Artwork A/P, ed. of 2. Amalia Ulman ‘Excellences & Perfections (Instagram Update, 18th June 2014)’, 2015 C-Type print dry mounted on aluminium, mounted on black edge frame.

Images: Courtesy the artist and Arcadia Missa, London © Amalia Ulman; Courtesy the artist and England & Co. Gallery, London © Eduardo Kac


any art movements of the last century went through a stage of derision, a period in the wilderness, gradual acceptance and, usually much later, final adulation. A few artists have lived long enough to have experienced all of these stages, even reaching the ‘respectful’ late stage when any work with an authenticated signature and provenance sets the auctioneers’ phones buzzing and collectors’ pulses racing—a new world record has been set! And the auction itself becomes a spectacle on the evening TV news. These works of art have scaled the heights of respectability, and are established forever, in all parts of the world, as great art. Some may even remember the media reaction to the young Andy Warhol’s Campbell’s Soup Tin and Coca-Cola Bottle. But how is it that art that was once ridiculed, finally becomes embraced by the establishment? Today, most art critics know better than to condemn new art. That ancient and once disreputable tag ‘graffiti’, with heritage dating back to ancient Egypt, Greece, and Rome, is one of the more notable examples that have been preened by the art world to become ‘street art’. Myths and legends surrounding the artist known as Banksy have added a gloss and desirability to street art. There was the failure of the authorities to arrest Banksy in New York, where all street art is illegal, because they simply didn’t know who he was, which only added to the Banksy fun. Then, with prints by Banksy selling at auction last year for close to halfa-million, the graffiti artist has now passed through the establishment’s doors. We also have ‘appropriation art’ making its way onto the scene, into galleries and onto the art market. For ‘appropriation’, read someone else’s (anyone’s) images, ‘appropriated’ and re-presented as original art.

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Above and left: two works in the exhibition ‘Electronic Superhighway’, at the Whitechapel Gallery, London.

For example, a young artist called Sean Fader was surprised to see that an image from his own social media art piece had been appropriated by artist Richard Prince and included in ‘Richard Prince: New Portraits’, at the Gagosian Gallery, New York, twelve months ago. ‘There’s obviously that part of me that’s mad because I’m a poor starving artist with sixfigure student loan debt, and you’re just a giant that runs through Instagram pillaging, taking things into your own museum, and calling them yours,’ said Fader. When artist Amalia Ulman uploaded an image on her Instagram feed that contained the enigmatic words ‘Part 1 – Excellences & Perfections’— continuing, over months, with a series of selfies purportedly showing Ulman’s efforts to become an It-girl in LA—she soon had tens of thousands following her every move in what looked like reality feeds. After five months Ulman finally posted a black-and-white image of a rose captioned ‘The End’. Shortly afterwards Ulman announced to her legion of followers that she had been role playing, staging an elaborate performance called ‘Excellences & Perfections’ via her Instagram and Facebook accounts. Some of the 175 photographs that Ulman created for ‘Excellences & Perfections’ can now be seen in ‘Electronic Superhighway’, an exhibition showing the impact of computer and Internet technologies on art and artists, at the Whitechapel Gallery in east London. Where art is concerned, is social media leading us up the garden path or towards a new respect? As always, time will tell. •


29/01/2016 09:30

Happenings // events

Happenings Bringing you a mix of the high-minded, eccentric, regal, random, and entertaining news and events DAVID HOCKNEY: PORTRAITS & STILL LIFES In July David Hockney returns to the RA with a remarkable new body of work. Embracing portraiture with a renewed creative vigour, he offers an intimate snapshot of the LA art world and the people who have crossed his path over the last two years. His subjects—all friends, family and acquaintances—include office staff, fellow artists, curators and gallerists such as John Baldessari and Larry Gagosian. Each work is the same size, showing his sitter in the same chair, against the same vivid blue background and all were painted in the same time frame of three days. Yet Hockney’s virtuoso paint handling allows their differing personalities to leap off the canvas with warmth and immediacy. » David Hockney RA: 79 Portraits and 2 Still Lifes, July 2 - October 2, 2016; see also pp.6473 for the current exhibition at the Royal Academy of Arts, ‘Painting the Modern Garden: Monet to Matisse’.

© David Hockney Photo: Richard Schmidt; © Trustees of the British Museum

David Hockney, Barry Humphries, 26-28 March, 2015 Acrylic on canvas, 121.92 x 91.44 cm.

A HISTORY OF THE WORLD IN 100 OBJECTS This was the title, inspired by Neil MacGregor, until recently Director of the British Museum, for the groundbreaking BBC Radio 4 series that explores world history from two million years ago to the present. The objects featured in the series can be seen and their stories discovered in the British Museum’s galleries. Pictured here is just one of the 100 objects: The Lewis Chessmen, an early chess set in which the figure of the bishop is present because that can’t be in the original (Islamic) game. The fact that you’ve got a bishop tells you something absolutely central about European society at that moment, when the church is part of all aspects of society—including war. » Neil MacGregor retired as Director of the British Museum in December 2015 after 14 years. The new Director, commencing this spring, will be Dr Hartwig Fischer, who is currently Director General of the Staatliche Kunstsammlungen Dresden).


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Events // happenings

Julian Opie ‘Walking in the Rain’, 2015 Opie’s work is instantly recognisable in public commissions around the world. One of the most significant artists of his generation, his distinctive formal language is the result of digital alteration, presenting images as black outlines and simplified areas of colour; it speaks of Minimal and Pop art, of billboard signs, classical portraiture and sculpture and Japanese woodblock prints. 16 years ago he was perhaps best known for his portrait of Blur for the cover of their album The Best Of Blur, 2000. Julian Opie was born in London in 1958 and lives and works in London. He graduated from Goldsmith’s School of Art, London in 1982. He is represented in the UK by the Alan Cristea gallery, the worldwide exclusive publisher of all of Julian Opie’s limited edition prints, and also by the Lisson Gallery, London.

© Julian Opie, Alan Cristea Gallery; © The Metropolitan Museum of Art, New York; © Landesmuseum Württemberg, Stuttgart, photo: H. Zwietasch

THE WORLD IN PLAY: LUXURY CARDS Only three decks of European hand-painted playing cards are known to have survived from the late Middle Ages. These include The Cloisters Playing Cards, which will form the core of this small exhibition highlighting one of the more intriguing works of secular art from The Cloisters Collection. Examples of cards from the earliest hand-painted woodblock deck as well as 15th-century German engraved cards, north Italian tarot cards of the same period, and the finest deck from the early 16th century will complete the display. Collectively, the figures and scenes depicted on these cards reflect changing world views during a period of tumultuous social, economic, and religious change, charting the transition from late medieval to early modern Europe. » The World in Play: Luxury Cards, 1430–1540, Metropolitan Museum of Art, New York, January 20–April 17, 2016. Queen of Stags, from The Stuttgart Playing Cards (Das Stuttgarter Kartenspiel) German, Upper Rhineland, c.1430 Paper (six layers in pasteboard) with gold ground and opaque paint over pen and ink 7 ½ × 4 ¾ in. (19.1 × 12.1 cm) Landesmuseum Württemberg, Stuttgart (KK grau 15).

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Knave of Horns, from The Cloisters Playing Cards South Netherlandish, Burgundian territories, c.1475–80 Paper (four layers in pasteboard) with pen and ink, opaque paint, glazes, and applied silver and gold 5 3/16 × 2 ¾ in. (13.2 × 7 cm) The Metropolitan Museum of Art, New York, The Cloisters Collection, 1983 (1983.515.3).


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The one unmissable trendsetting show for the entire watch and jewellery industry, where all key players unite to unveil their latest creations and innovations. Be a part of this premier event and experience passion, precision and perfection in action.

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Events // happenings

FIRST STOP … BEETLES + HUXLEY Fine photographs have been a key sector of the fine art market for some time and, as dealers go, London based Beetles + Huxley are one of the very best, recognised as being among Europe’s leading and most innovative photography galleries. Founded in London in 2010 the gallery was established to celebrate the medium in all its myriad forms, from nineteenth century documentary photography to cutting edge contemporary work. The recent show, ‘The Photographers 2015’, a joint exhibition with the Osborne Samuel Gallery—covering themes from portraiture and fashion to photojournalism and industrial landscape photography—included a roll call of some of the greatest names in photography, making available to collectors rare photographs by Avedon, Bailey, Brandt, Capa, Cartier-Bresson, Lagrange, Steichen, to name just a few of the fifty represented. » Beetles + Huxley is currently showing ‘Cape Light’, work by Joel Meyerowitz (until February 20), to be followed by Steve McCurry’s work (February 24 – March 19). » Osbourne Samuel is currently showing ‘Lucien Freud Etchings’ (January 27 – February 27).

Over New York, 1963, Melvin Sokolsky.

Rebirth of Venus Artist: Creative Exchange Agency, New York, Steven Pranica/Studio LaChapelle 2009 by David LaChapelle.

Images © Beetles + Huxley/Osborne Samuel; © David LaChapelle


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A treat for the eye and for the imagination will open at the Victoria & Albert Museum in March. Telling a story 500 years in the making, ‘Botticelli Reimagined’ will be the largest Botticelli exhibition in Britain since 1930. Including painting, fashion, film, drawing, photography, tapestry, sculpture and print, the exhibition will explore the ways that artists and designers have reinterpreted Botticelli. It will include over 50 original works by Botticelli, alongside works by artists such as Dante Gabriel Rossetti, Edward Burne-Jones, William Morris, René Magritte, Elsa Schiaparelli, Andy Warhol and Cindy Sherman. Botticelli (1445-1510) is recognised as one of the greatest artists of all time. His celebrated images are firmly embedded in public consciousness and his influence permeates art, design, fashion and film. However, although lauded in his lifetime, Botticelli was largely forgotten for more than 300 years until his work was progressively rediscovered in the 19th century. » ‘Botticelli Reimagined’, Victoria & Albert Museum, London, March 5 – July 3, 2016.


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Baselworld is universally recognized as the premier event and trendsetting show for the global watch and


jewellery industry. What makes it unmissable is the


brands choose Baselworld as the venue to unveil their


fact that 1,500 of the world’s best and most reputed latest innovations and creations thereby attracting some 150,000 attendees from every corner of the earth. Only in Baselworld will you find all the key players representing every sector from watchmakers to jewellers, from diamonds, pearls and gemstones dealers through to all the relevant suppliers.



Baselworld becomes the focal point of the whole world for eight days a year, as this is where the tone for an entire industry is determined, and trends defined. Within the 141,000 m 2 hallowed halls of Baselworld and amidst the fabulous pavilions of the most innovative and successful global brands, wonders are just waiting to be discovered. Beyond the amazement and excitement lies a bountiful world of business opportunities. The most influential brand CEOs, retailers and press representatives unite under one roof to create this singular setting. More than 4,300 journalists attending and disseminating real time show news to every corner of the planet, help propagate these trends around the world.

As the one and only show where the watch and jewellery industry first presents its innovations and new collections to the market, Baselworld is and remains the most unique annual event. Don’t miss this window of opportunity to witness the spectacular collection of luxury goods, brands and lifestyle. We invite you to dive into this wonderland and be a part of the most important trendsetting show in the world.

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20/11/2015 15:59

Events // happenings

LONG TO REIGN OVER US For the past five months, visitors to Windsor Castle, the Palace of Holyroodhouse and to the Summer Opening of Buckingham Palace have enjoyed special photographic displays marking the reign of Her Majesty Queen Elizabeth II as the longest of any British monarch. » Tickets for a street party to mark Her Majesty the Queen’s 90th birthday in London’s The Mall will cost £150 each, her grandson has announced. Peter Phillips said the ‘Patron’s Lunch’ on 12 June was a not-for-profit event and would have a ‘carnival atmosphere’. Right: Her Majesty Queen Elizabeth II, Coronation Day, 2 June, 1953, photographed by Cecil Beaton.

LONDON’S ART FAIR 2016 The 28th edition of London Art Fair takes place January 20-24, 2016. Annually launching the art world year, the Fair provides a supportive environment for collectors of all levels. Museum quality Modern British art is presented alongside contemporary work from today’s leading artists, covering the period from the early 20th century to the present day. In addition to the main Fair there are also find two curated sections focusing on younger galleries, new work and contemporary photography. » London Art Fair, Business Design Centre, 52 Upper Street, Islington, London N1 0QH.

IMAGES: © René Staud; Images © Photograph: Cecil Beaton. Royal Collection Trust © Her Majesty Queen Elizabeth II, 2015


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For good reason, top-level classic car designs are recognised as works of art, a recognition that not only sees record prices paid at auction ($28 million was the hammer price last year for the 1956 Ferrari 290 MM designed by Scaglietti), museums such as the Museum of Modern Art (MoMA) New York have examples of rare classic cars on permanent display. Our cover image shows the Cistalia ‘202’ SC, 1947, designed in 1946 by the Italian car designer and coachbuilder Pinin Farina, in the collection of Fritz Kaiser of Kaiser Partner. His collection of sportscars of the 1950s and 60s includes major design masterpieces of that period, many of which he regards as works of art. Statistics gathered by the wealth investment firm, Kaiser Partner, reveal that, in investment terms, classic cars have outperformed every other asset sector in the last ten years. See also, pp.74-75.


29/01/2016 16:55

Happenings // events

Art Basil, Miami Beach, 2015.


Images: © the Metropolitan Museum of Art, Photograph by Richard
Avedon, ©The Richard Avedon Foundation; © art basel; © tiffany & co

Art Basel stages three high-quality modern and contemporary art fairs annually in Hong Kong (March 24-26), Basel (June 16-19), and Miami Beach (December 1-4), with the aim of connecting the world’s premier galleries and their patrons. The organizers say, ‘the shows provide collectors an opportunity to spot fresh art trends and discover up-and-coming artists. Art Basel’s exhibition sectors are carefully defined to provide visitors the opportunity to see many different types of important works, from historical masterpieces to the work of the newest generation of artists.’

Jacqueline de Ribes in Yves Saint Laurent, 1962, photograph by Richard Avedon.


THE ART OF STYLE Visitors to New York will not want to miss the exhibition at the Metropolitan Museum of Art featuring the internationally renowned style icon Countess Jacqueline de Ribes. Her originality and elegance established de Ribes as one of the most celebrated fashion personas of the 20th century. The thematic show features about 60 ensembles of haute couture and ready-to-wear primarily from de Ribes’s personal archive, dating from 1962 to the present. Also included are her creations for fancy-dress balls, which she often made by cutting and cannibalizing her haute couture gowns to create nuanced expressions of her aesthetic. These, along with photographs, video, and ephemera, tell the story of how her interest in fashion developed over decades, from childhood ‘dressing-up’ to the epitome of international style.

Paloma Picasso’s Sugar Stacks rings are rich jewels defined by vivid colour and an irreverent attitude. Cabochon gemstones, luscious 
and lighthearted, and dazzling bonbon-inspired pavé designs are chic and simply delicious. ‘The rings can 
be worn alone or 
stacked in cool or 
highcontrast colours that
delight the eye and lift the spirit like 
sugar candies,’ says the designer, whose glittering creations are available at Tiffany & Co.

» ‘Jacqueline de Ribes: The Art of Style’, Metropolitan Museum of Art, New York, until February 21, 2016.


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29/01/2016 16:56

T he greatest charm in the magic of Lake Como Property of the Bucher Family 22021 Bellagio - Lake Como - Italy Tel. +39.031.950.216 - Fax +39.031.951.529

Michelin starred restaurant

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21/01/2016 16:20


Seen in a

New Light

IMAGES © ????

How works of art are presented, both in public and in private collections, is one of the most important aspects in achieving maximum enhancement and appreciation


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Left: Precision’s Evo range combined with controlled daylight provided sympathetic lighting for both canvases and sculpture at the Watts Gallery. Facing page: Lighting designers DPA specified luminaries from Precision Lighting for the General Assembly Room at the Royal Academy of Art.

within the space, but measures should be taken to ensure direct unfiltered natural light doesn’t reach the piece. No collector wishes to see their valuable works’ vibrant colours fade due to uncontrolled daylight. James Curtis, Marketing Manager, Precision Lighting


Should there be any concerns about artificial light sources? Such as the light source being too close to a painting? For example, halogen lights directed into one area of the painting …


Artificial light comes in four main families, incandescent, fluorescent, discharge and solid state. Depending on the light source chosen, there are positives and negatives to consider of each. Halogen was traditionally the light source of choice for many specifiers, for the excellent colour rendering properties and beam control; however they can be inefficient, adding ongoing costs. In addition, forward heat emissions and UV can be an issue. Mounting the luminaire at a suitable distance from the work can reduce this impact, which is why halogen can still be a popular choice for mounting at height. Alex Ruston, Managing Director for RCL

I IMAGES © ?????

n addition to where your prized work of art is placed or hung in your collection, most important of all is achieving that well-balanced lighting effect that helps show off your newly acquired masterpiece to its best advantage. In the first of a 2-part discussion, Arts & Collections talked to Spencer Baxter of Precision Lighting, and Alex Ruston of Remote Controlled Lighting (RCL), to discover more about the intricacies of how to achieve the most effective lighting.


Many collectors are wary of putting their artworks in direct light or

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daylight, especially oil paintings, gouache or watercolours, because of the potential damage from UV rays. What is your view?


Daylight can offer a beautiful ambience to a gallery space, and often considered a vital part of any artificial lighting design. We frequently work with galleries who wish to, or already do, integrate natural light alongside artificial sources within the space’s design scheme. However, direct light from the sun will cause degradation of valuable pieces due to UV light. There is no problem in using the daylight to create a balanced pleasing environment

More recently, solid-state technologies, particularly LED, has become the favourite of specifiers we work with for the collectors market. A combination of efficiency savings, and greatly reduced risk of degradation (while a minimal amount of UV is produced, this is directed behind the LED chip, and therefore at no risk to pieces displayed), has been met with exceptional colour rendering in newer LED technology, offering an ideal solution. James Curtis, Precision Lighting Of course, there are further benefits to LED technology too, including multiple colour temperature offerings, which cam be tuned to suit the colours of the works displayed, and the long lifespan, meaning there’s no additional need for re-lamping. Alex Ruston, RCL


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Would you recommend ceiling lights or wall-mounted lights for a newly acquired painting’s pride of place?


The mounting location of the luminaire is less important than the light cast on pieces by the selected optics, positioning, distance and intensity of the luminaire. In both commercial and public spaces, a combination of track system and spotlights offers flexibility to the space, and we’ve found our Basis Track system has become popular because it can follow the line of the architecture in the gallery, and being able to be factory curved, the track can trace the layout of irregular spaces. James Curtis, Precision Lighting I agree, track mounted spotlights have always been a fond-favourite for galleries. With our fixtures being controlled in both pan and tilt via a handheld remote, the versatility of track mounted RCL luminaires give great options for gallery owners, regardless of if they are private collections or public dealerships. Alex Ruston, RCL Different applications have different considerations. With our stem-mounted fixtures, spotlights can be used effectively in lighting the vertical plane. Working with a lighting design practice at the Courtauld Gallery, where a number of canvases are hung; stem mounted spotlights provided a more creative solution than a typical picture light, with adjustable pan and tilt, the light can be focused on paintings’ key features. Because of the historic styling of the venue, track wasn’t the ideal solution in this case. This solution isn’t limited to the established gallery, but can be a simple solution for collectors exhibiting work in their private residences, too. James Curtis, Precision Lighting

back-light ensuring the works is beautifully illuminated from all viewing angles. Consider the freestanding nature of larger sculptures; care has to be taken when focusing lighting on pieces. For the Tate Britain’s ‘Return of the Gods’ exhibition, the curators were keen to minimise all possible risk to the priceless marble statues, so with our equipment they could install the statues first, then focus the lighting from ground level. Without needing scaffolding or mechanical lifts, the gallery’s team could aim the beams precisely. Alex Ruston, RCL


One often unthought-of criterion for lighting artwork is ensuring luminaires are aesthetically complimentary of the works presented. For gallery spaces where bronze work is displayed, we’ve been able to produce luminaires and track systems in a rubbed bronze finish, machined from premium brass. This ensures cohesion between pieces displayed, and no detraction from the viewing experience. James Curtis, Precision Lighting

Specifiers are much more aware of colour rendering and colour quality optical performance and beam quality, as a response to this RCL dedicated our in house design team to focus on this key criteria to best support the art market. Alex Ruston, RCL


What are the current lighting trends? Would you say subtle but still making a statement? Minimalism, or detailand texture?

It appears that more traditional methods of lighting art using modern technology are on trend, using accent lighting to create focal glow in order to emphasis a piece, with layered ambient lighting, seems to be far more appealing to designers. Adding a play of brilliance via a decorative luminaire will also lift the architecture. Methods such as uniform wall washing are becoming less desirable over recent years due to the lack of sympathy and consideration shown for individual works displayed. James Curtis, Precision Lighting

» In the next issue of Arts & Collections, our two lighting experts give examples how the best lighting effects were achieved in some challenging circumstances. 

Below: Thirty-six remote controlled spotlights from RCL were used to light the marble statues that featured at Tate Britain’s ’The Return of the Gods’ exhibition, 2008.


For sculpture, such as a fine bronze, this must present a quite different lighting challenge?


Yes, sculpture does pose a different lighting challenge; obviously the work to be displayed isn’t viewed on a single plane, as canvases are. As such, sculptural pieces often need lighting from more than one source so that obtrusive shadowing, and the resulting displeasing experience for the viewer, is avoided. The best approach to lighting sculpture is to apply key light, fill light and

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29/01/2016 09:34


Sting & Trudie Set Them Free

Amassed over 20 years and housed in their former family home, Christie’s sale of works featured in Sting and Trudie Styler’s collection vividly captures the couple’s keen eye for art and design By Samantha Coles


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Facing Page: The collection, amassed over two decades, includes works by celebrated artists of the 20th and 21st centuries.


‘Sting and Trudie Styler’s home at Queen Anne’s Gate effortlessly combined luxury, rarity and colour—a skilful balance that created the ultimate London home,’ says Andy Waters, Senior Director, Head of Private Collection Sales, Christie’s London. ‘Each work of art was carefully chosen and the resulting collection is a testament to their informed eye for Art and Design.’ The collection, with estimates ranging from £1,000 to £500,000, features a number of central works by celebrated artists of the 20th and 21st centuries, such as Henri Matisse’s Jazz portfolio: a revolution of pure colour and form depicting a celebration of life. The portfolio marks an essential parting from the artist’s preceding work and is considered one of the greatest and


Below: Henri Matisse’s Jazz portfolio, created in 1947, is considered one of the most influential print series of the 20th century.

head of the couple’s planned move to Battersea Power Station, an extensive collection of 200 lots will be auctioned at Christie’s, London, on 24 February 2016. The couple, who have been married for 23 years, have adorned their home in Queen Anne’s Gate with works collected over two decades. Sting, or Gordon Sumner, first found fame with new-wave rock band Police in the 1980s before embarking on a successful solo career. The singersongwriter will be auctioning his prized Steinway piano, along with works of significant eminence: from ceramics by Picasso, to bold abstracts by Ben Nicholson, remarkable Robert Mapplethorpe photographs to refined 20th century furniture, and the daring primary colours of Matisse’s Jazz series.

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Above: Pablo Picasso’s lithograph Le Corsage à Carreaux, 1949, has a pre-sale estimate of £30,000-50,000.


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Located in the UNESCO world heritage site Lavaux, Switzerland, this exceptional contemporary villa has unique breath-taking views over lake Geneva, the vineyards and the Alps. Enjoy Swiss quality and safety with a substantial net surface area of 4090 sq ft, large panoramic windows and generous volumes with high ceilings of up to 4m specifically designed for art collectors. Enjoy the Mediterranean microclimate in the beautiful garden with wide terraces and magnificent heated pool (18 x 3m), wellness area with sauna, plus outdoor and indoor Jacuzzis. The

villa is also environmentally friendly with state-of-the-art geothermal and solar energy supply for cooling and heating. Lausanne, with its private jet airport, and Montreux, are just a short drive away along with top international schools and universities, excellent fine dining restaurants, boating and sailing, tennis, golf and horse riding. In only 50 minutes you can reach Geneva and in 1 hour and 20 minutes the great mountain resorts of Gstaad, Verbier and Portes du Soleil.

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14/01/2016 16:45


Above: Zeng Chuanzing’s Paper Bride (White) can be seen hanging above the fireplace in the couple’s home. The piece shows the influence of western iconography on the emerging contemporary art scene of China in the 2000s.


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Below: A striking series of panels by contemporary Russian artist, Veronica Smirnoff, which were specifically commissioned for the staircase at the couple’s former family home in Queen Anne’s Gate.

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most prominent print series of the 20th century, and is estimated to sell for up to £350,000. Other works by masters of modern art include Pablo Picasso’s lithograph Le Corsage à Carreaux, 1949, which is estimated at £30,000-50,000. Sting and Trudie Styler also display a strong interest in young contemporary artists of the 21st century, supported by the specially commissioned series of panels by Russian artist Veronica Smirnoff. These striking panels were specifically commissioned for the staircase at the couple’s former family home in Queen Anne’s Gate. The collection includes a grand selection of furniture with works by important Post-War masters: furniture by Jacques Adnet and George Nakashima, stunning Line Vautrin and Piero Fornasetti mirrors and ceramics by Jean Besnard.

Two prominent items, Table Rose and Table bleue by Yves Klein, showcase the artist’s signature designs and beautifully demonstrate Klein’s celebrated relationship with colour, and the powerful emotive responses it can evoke. Among the collection is Sting’s beloved Steinway piano, which occupied pride of place in the music room and is thought to be worth £50,000. A notable highpoint from the selection of drawings up for sale is Gustav Klimt’s Study of a Young Woman in Stockings, which depicts a striding female nude and is from a collection of drawings of the human figure in movement that Klimt created in 1906-1907. ‘Works from the home of Sting and Trudie Styler’ to be auctioned at Christie’s, London on 24 February 2016. •


29/01/2016 09:37



Art & Culture Setting the agenda for corporate funding of arts and culture is moving to a new phase where tomorrow’s challenges and uncertainties cause a complicated equation for the dealmakers By Charles Ford

Many of the leading corporate sponsors have like-minded objectives. Bank of America Merrill Lynch, for example, is one of the world’s leading corporate supporters of the arts, partnering with literally thousands of arts organisations worldwide with the stated aim of uniting diverse communities and cultures. In a policy statement, the Bank says it is ‘committed to a program of cultural support designed to engage communities in creative ways to build mutual respect and understanding; to strengthen institutions that contribute to local economies; to engage and provide benefits to our employees, and to fulfil our responsibilities as a major corporation with global reach that makes an impact on economies and societies throughout the world’. Many cultural institutions have benefitted over the years from the Bank’s Art Conservation Project that provides grants for the conservation of paintings, sculptures, works on paper and manuscripts, archaeological or architectural pieces that are


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significant to the cultural heritage of a country or region or important to the history of art in order to preserve them for future generations. Ernst & Young, who have been strong supporters of the visual arts for more than 20 years, echo similar noble objectives through its view that a cultural environment is an essential part of a buoyant economy and a healthy community. EY is currently into the final year of a three-year arts partnership with Tate, under the banner of EY Exhibitions. The move to longer-term partnerships may be a developing trend. Last year saw the start of Hyundai’s 11-year deal in which the company sponsors Tate Modern’s Turbine Hall. As a very visible part of the deal, brand awareness is now thrust upon the gallery’s estimated five million visitors, with each art installation branded a ‘Hyundai Commission’. Specific and current details of corporate arts funding are hard to come by because neither sponsors nor their arts recipients are keen for their rivals to know the details of these deals. BP’s sponsorship of several events at the Tate was a controversy that made the headlines due to the Deepwater Horizon/BP oil spill in the Gulf of Mexico in April, 2010, and it was only under increasing pressure that figures were eventually revealed showing a sponsorship funding by BP of £3.8m between 1990 and 2006 (an average of a modest £245,000 a year). The figure surprised many in the corporate art world because it did appear that BP had had very good value for its money, despite eco-watchers objecting to Tate accepting BP’s money. Fundraising is a significant area that is of growing importance to arts and cultural institutions. With no figures available for sponsorship, ‘fundraising’ appears to be

more accountable because it includes donations, gifts, legacies, and memberships. 2013/14 figures show a 15 percent increase in fundraising in the culture sector, an increase of around £128m to £476m. However, one of the most significant funding resources comes from the private sector, with the figure for 2014 said to be £655m. Structuring these corporate-cultural partnerships is likely to become more testing than ever in the years ahead, as reciprocal values and trends change for potential business partners. What is certain, however, is that the culture sector will need the oxygen of sponsorship funding more than ever in the face of forecasted government cuts, while the corporations themselves face the challenge of accountability, as well adaptability to recognise new opportunities that serve multiple objectives. •

The culture sector will need the oxygen of sponsorship funding more than ever in the face of forecast new government cuts.


here is hardly a major art or cultural event in the UK that doesn’t have a corporate sponsor, and this sponsorship increases in significance as government funding diminishes (by around 25 percent in recent years). Some recipients of sponsorship funding go so far as to say that without such funding there would be far fewer big cultural events happening in the UK. In our post-industrial economy, philanthropists have continued to support art establishments with bequests, donations and legacies, while corporate institutions are seen to be channelling some of their wealth to the benefit of the arts, and the general public, through art sponsorship and through corporate collections of art.

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Helmut Newton’s Pages from the Glossies Fashion photography has helped sell millions of copies of upmarket fashion magazines; at the same time these same glossies provided an international platform for uniquely talented photographers By Brendan Connolly

Left: Helmut Newton German Vogue Berlin, 1979. Facing Page: Helmut Newton Nova, 1971.


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IMAGES © Helmut Newton Estate


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hen a great photographer is at work, you imagine that every frame will be a work of art. For some, that might even be true, but for Helmut Newton (1920-2004), who captured some of the most memorable images ever published in the glossy fashion magazine, this was not true. It was Newton’s view that ‘the first 10,000 shots are the worst’. He also hated any ‘fine art’ references to his own photography: ‘Some people’s photography is an art. Not mine. Art is a dirty word in photography. All this fine art crap is killing it already.’ But despite what Newton said, connoisseurs and collectors of fine photographs would disagree. When any original Helmut Newton photographs come up for sales these days, there is always hot competition from collectors and museums to acquire them. To take one example, the famous duo of images, Sie Kommen, Paris (Naked and Dressed), Vogue Studios, 1981, a 4-panel gelatin silver print, sold above the high estimate at Christie’s in 2008 at $662,500.

which they were first published, between 1956 and 1998. In 1998, Newton compiled a selection of these high-gloss magazine images in his book, Pages from the Glossies, published by Scalo in Zurich. Long out of print, the book will be reissued this fall by publishers Taschen, while the Helmut Newton Foundation presents the first exhibition of the single- and double-page images featured in this book, exhibited as enlarged facsimiles. They include the original headlines, page numbers, commentary, and captions from the magazines they originally appeared in. This presentation remains true to its source, showcasing more than 230 magazine pages and nearly 500 individual pictures.

At the Helmut Newton Foundation where this exhibition is taking place, American photographer Greg Gorman’s work is also on display. Gorman returns as a guest of the Helmut Newton Foundation following his first exhibition there in 2013. His blackand-white male nudes in ‘June’s Room’ complemented Helmut Newton’s ‘Big Nudes’ in the main exhibition space at the time. For this exhibition, June’s Room will now feature 25 color portraits made by Gorman of prominent musicians, visual artists, and actors, mostly hailing from the United States, including Grace Jones, Andy Warhol, Julianne Moore and David Bowie. 

For the glossies such as Vogue, Elle, Queen, Stern, and others, Newton was the photographer of the 1960s and 70s in particular, and into the 80s. In a memoir he wrote not only about how he liked to work, but also about his long association with Vogue: ‘I had found out that I did not function well in the studio, that my imagination needed the reality of the outdoors. I also realized that only as a fashion photographer could I create my kind of universe and take up my camera in the chic place and in what the locals called la zone, which were working-class districts, construction sites, and so on. To work for French Vogue at that time was wonderful: Who else would have published these nudes or the crazy and sexually charged fashion photographs which I would submit to the editor in chief?’ The current exhibition featuring two world-class photographers, ‘Helmut Newton: Pages from the Glossies | Greg Gorman: Color Works’ (December 4, 2015 – May 22, 2016) at the Helmut Newton Foundation, Berlin, offers us a new perspective on many of Helmut Newton’s iconic photographs. Spanning more than four decades, the images are presented as facsimiles of the original magazine pages in


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HELMUT NEWTON Career timeline

Facing page: Helmut Newton French Vogue Rio, 1962.

IMAGES: © Helmut Newton Estate

Below: Helmut Newton French Vogue Melbourne, 1973.

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1956 (age 36): Extended travels through Europe. In London acquires a one-year contract at British Vogue, which Newton quits after 11 months. Thereafter in Paris and return to Melbourne; contract with Australian Vogue. 1961: Back to Paris, takes apartment in the Rue Aubriot in Marais quarter. Full-time position with French Vogue, occasional editorial photography for British Vogue and Queen. 1964: Until 1966, editorials for French Elle. 1964: Acquires a small house and vineyard in Ramatuelle, not far from St. Tropez, where Helmut and June Newton spend their future vacations. 1966: Renews contract with French Vogue under the new editor-in-chief Francine Crescent. 1970: June Newton (alias Alice Springs) begins her career as photographer: when her husband is ill, she steps in to shoot a cigarette advertisement. 1971: Helmut Newton suffers a heart attack in New York. Convalescence in Lennox Hill Hospital, New York. 1975: First exhibitions of the commercially successful photographer: first solo exhibition in the Nikon Gallery, Paris. 1976: Publication of his first volume of photographs, White Women. 1981: Helmut and June Newton move from Paris to Monaco; they spend the winter months in Los Angeles. 1990: Awarded France’s ‘Grand prix national de la photographie.’ 1992: Awarded ‘Officier des arts, lettres et sciences’ in Monaco as well as presentation of the ‘das grosse verdienstkreuz’ of the Federal Republic of Germany. 1996: Commendation to ‘Commandeur de l’ordre des arts et lettres’ by France’s Ministry of Culture. 2000: Large retrospective for his 80th birthday in the New National Gallery (neue nationalgalerie) in Berlin. The show travels to London, New York, Tokyo, Moscow and Prague, among other cities. 2003: Formal agreement on the establishment of the Helmut Newton Foundation in Berlin with the Prussian Cultural Heritage foundation (stiftung preußischer kulturbesitz). 2004: Helmut Newton dies in Los Angeles. The Helmut Newton Foundation is opened shortly after his death.


29/01/2016 09:40


The Handmade


Through the many developing periods of handmade English furniture, the period that saw the development of the Arts & Crafts movements is one of the most interesting and well documented By Charles Ford

A fine ebonised armchair designed by Edward William Godwin, c.1877.


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with furniture handmade by their craftsmen colleagues. One example was Edward William Godwin, an architect who, with William Morris, around 1867, found the furniture then available in shops so unacceptable in design and manufacture that they set about designing their own. Chairs designed by Godwin are today extremely collectable (and expensive). The Arts & Crafts movement blossomed, with the movement gaining recognition and popularity through such retail stores as Liberty’s, Waring & Gillow, and Heals, to name a few. By the mid-1890s there were new artistcraftsmen leading the way with their fine made furniture—based in the Cotswolds, there was Ernest Gimson, Sidney and Ernest Barnsley, for example, although their work today is seen as more ‘progressive’ than being directly influenced by the Arts & Crafts movement. These furniture makers recognised the potential of their materials—it might be quartercut English oak, inlaid with holly stringing—and they wanted to reveal aspects of construction that were traditionally hidden, such as dovetail joints that did not stop halfway through a drawer front but extended right through, as a visible element of design and construction. With these progressions it was clear that some woodworking machinery certainly had its place in the craftsman’s workshop—for one thing, although handwork and benchwork was a fundamental part of the business, machinery played its part in keeping down the cost of fine furniture. In 1923, Gordon Russell exhibited fine crafted furniture at prices that were reasonable for the times, through machineassisted production. • » In the next issue of Arts & Collections we will look in greater detail at the work of Gordon Russell and some of his artist-craftsmen contemporaries.

IMAGES: © Charles Ford


nglish furniture making has a long and illustrious heritage. Entirely hand-made furniture came from artisan workshops until the advent of the industrial revolution of the mid-19th century. At that point, it was not long before a degree of mechanisation reached both the large-scale and the more humble furniture making workshops. Until that time the word ‘industry’ could not truly be applied to furniture making. Trees were felled with deft blows from axes, the trunks then hauled by horses to the sawyers’ pits where two men with a pit saw took days to saw the trunk longitudinally into planks of various thicknesses. The only ‘mechanical’ aid was the rustic pole lathe, a contraption worked with a tensioning pole and a treadle, that turned often freshly felled timber into legs for tables and especially for chairs. The woodworkers, known as bodgers, would spend months camped out in the extensive English woodlands, turning cleft lengths of timber ready for the chairmakers. Although bodging has taken on a negative meaning today, the bodgers themselves were highly skilled wood turners. Industrial advancement brought with it woodworking machinery—this looked like real progress for what had become the furniture industry. But by the 1880s a movement took hold known as Arts & Crafts, that sought to resurrect the fine quality and craftsmanship— handmade, using the skills and knowledge that had preceded the industrial age. The Arts & Crafts movement embraced all the crafts and decorative arts, including architecture. It put craftsmen and designers, such as William Morris, onto a new social standing: they were no longer simply artisans with a trade, they were artist-craftsmen who applied skills and integrity to their designs and workmanship. It was sometimes the case that architects would equip newly built houses entirely

29/01/2016 10:07

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15/09/2015 10:33

My choice // art

A Personal Choice

IMAGES © René Staud

Our series presents a favourite picture or object that is our guest’s personal choice. Our guest is Fritz Kaiser, Kaiser Partner


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art // My choice


IMAGES © Roland Korner

t was on a business trip to China in 2002 that Fritz Kaiser first encountered contemporary Chinese art. He was particularly captivated by the work of Zhang Xiaogang (b.1958), an artist who has established an international reputation with work shown at major galleries in the UK, Paris, Holland, Brazil, Spain and the USA. ‘I started to collect American Pop Art in the 1980s—Frank Stella, who I’ve known for many years, Robert Rauschenberg, Andy Warhol, Julian Schnabel, Keith Haring and others— then in early 2000 I went to China where Uli Sigg, probably the world’s leading collector of Chinese contemporary art, excited me about this art. I was then able to meet some of the foremost artists, and so my interest as a collector developed from that time. ‘My “Personal Choice” is the picture that hangs on the wall in my office, Zhang Xiaogang’s Little Graduate, 2005. I got to know the artist but it was some time before I decided to buy this painting, which eventually I did, at Sotheby’s. The special appeal to me is in the eyes—for me, the painting in general and the eyes in particular express the aspiration of young people to achieve a career, to strive for a richer life.’ Fritz Kaiser’s art interests are not limited to contemporary Chinese art; he also has a passion for classic cars based on his enthusiasm for automotive design, technology and craftmanship (he was a previous coowner and Chairman of the F1 Red Bull Sauber team). His collection of sportscars of the 1950s and 60s includes major design masterpieces of that period, many of which he regards as works of art. ‘I am a collector rather than an investor and enjoy driving such cars in rallies and at weekends and I like to meet with like-minded people at concours events,’ he says. For the firm of Kaiser Partner, classic cars have also become a new business initiative in recent years, supported by Fritz Kaiser’s launch of The Classic Car Trust. ‘The Trust takes care of major classic car collectors by offering them the full specialist consultancy service package—a kind of classic car collector office,’ he says. The Classic Car Trust, under Fritz Kaiser’s chairmanship, has been gaining international recognition since being launched in 2014 as a main sponsor of the Mille Miglia, the classic car race that attracts huge crowds and

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celebrity enthusiasts from around the world. Kaiser entered five cars for the race from his collection, with celebrity guest drivers such as Hollywood stars Adrien Brody, Luke Evans and designer Paloma Picasso. The Trust has also published a book—Mille Miglia - 1000 Miles of Passion—which tells the history of this famous race with the most important cars in the world. Fritz Kaiser is an entrepreneur, investor and philanthropist. He thinks big but makes his decisions cautiously: ‘Investing and collecting are not the same, there are different goals, aspirations and decision rules. In the past couple of years investment funds and speculators have pushed the classic car market to the level where it is today—an incredibly high-performing asset class. In the last ten years, classic cars have outperformed everything else. 

» Fritz Kaiser is Chairman and majority owner of Kaiser Partner, a wealth advisory and management group looking after some $25 billion of assets, headquartered in Liechtenstein—‘My core business,’ he says, ‘is helping families to protect and grow their private wealth in times of rapid and fundamental change.’

“People ask themselves now where this can go. So investors have started to become more cautious—which means for a collector that he might be able to acquire the masterpiece car he has always wanted for his collection, and at a more reasonable price.” —Fritz Kaiser

Right: Fritz Kaiser, with his painting, The Little Graduate (From My Dream), Zhang Xiaogang, 2005. Facing Page: Fritz Kaiser’s Cisitalia ‘202’ SC, 1947. Designed in 1946 by the Italian car designer and coachbuilder Pinin Farina, the two-seater Cisitalia ‘202’ SC was an aesthetic and technical achievement that transformed postwar automobile body design. A 1946 model has been on display at the Museum of Modern Art (MoMA) for sixty years.


29/01/2016 10:08

auction highlights // news

Auction HIGHLIGHTS A buoyant market means record-breaking results continue to occur with regularity. We bring you the latest from the world’s greatest auction houses



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IMAGES: © Sotheby’s (NEW YORK)

Sotheby’s Contemporary Art auction in New York, November 2015, saw an exceptional Cy Twomly blackboard painting, Untitled (New York City) sell for $70.5 million. The painting not only set a record for the artist at auction, but was also the most expensive work sold at Sotheby’s worldwide in 2015. The painting has been in a private collection for the past quarter century, prior to which it belonged to two esteemed collections: the Saatchi Collection in London and the Collection of Fred Mueller. 

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news // auction highlights

Never Seen Before 2015 was a remarkable year for artist Amrita Sher-Gil, as three of her self-portraits sold for over $2.5 million at various auctions. In March, one self-portrait sold for $2.9 million at Sotheby’s in New York, marking a new record for an Indian woman artist. Another self-portrait, painted in 1931, is one of Amrita Sher-Gil’s undiscovered paintings—never before seen or exhibited. Christie’s offered the oil painting at its South Asian Modern and Contemporary Art auction, in London, June 2015. The work was bought by one of the UK’S wealthiest Indian industrialists for £1.8 million. 

IMAGES: © Sotheby’s (ASIA); © Christie’s Images Limited

China’s treasures A collection spanning over 1,000 years of production from Tang through to the Ming and Qing dynasties will go on sale at Sotheby’s, Hong Kong, in April 2016. The auction, comprised of 100 objects, is thought to be one of the finest collections of Chinese porcelain ever assembled and has a combined pre-sale estimate of more than £20 million. Nicolas Chow, Deputy Chairman of Sotheby’s, Asia, stresses the difficulty of acquiring pieces from the Ming and Quing periods: ‘It is very unusual in the marketplace for a group like this to come up.’ A rare Chenghua blue-and-white ‘palace’ bowl has a pre-sale estimate of £4-6 million, and is so rare that many of the world’s greatest collections lack an example of 15th-century porcelain. Another rarity in the collection is the holy water vessel, which was inspired by a similar object used by Tibetan Buddhists. The vessel has an estimate of £3-4 million, and is thought to have only two companion pieces in the world. 

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29/01/2016 11:57

auction highlights // news

Rare Cars In December 2015, RM Sotheby’s in New York accelerated the collector’s love of the classic automobile with its Rare Car auction. The traffic stopping lot was the Ferrari 290 MM by design house Scaglietti, which sold for $28 million—making it the most expensive car sold in 2015, despite falling short of its high-end estimate. The car was built in 1956 for driver Juan Manuel Fangio, and went on to have an illustrious racing life with F1 champion Phil Hill. Whilst the majority of car auctions attract the more senior bidder, the crowd at Sotheby’s included a younger range of car enthusiasts. Paul Wallman, a House Specialist for Sotheby’s, explained that: ‘Younger buyers are migrating into classic cars who are attracted to the glamour and sex appeal. The new buyers appreciate cars up until the 1980s, because the cars of today are cold and lack charisma and personality ... .’ 

IMAGES © Tim Scott Fluid Images / RM Sotheby’s; © Julien’s Auctions

Can’t buy me love A guitar stolen from the late John Lennon in the 1960s has sold for $2.4 million at Julien’s Icons and Idols auction in California, November 2015. The 1962 J-160E Gibson acoustic guitar was used by Lennon on recordings of a number of Beatles songs, including ‘Love Me Do’, ‘I Want to Hold Your Hand’ and ‘PS I Love You’, and was previously ‘lost’ for over 50 years. The guitar had been in the possession of a novice musician who was unaware the guitar had been stolen from the renowned Beatle several years earlier. Other Beatles highlights from this collection included a pair of Lennon’s trademark ‘granny’ glasses. 


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29/01/2016 10:10


news // auction highlights

The Blue Moon

IMAGES © Sotheby’s (GENEVA)

A new world record was set at Sotheby’s in November 2015, as a 12.03-kt blue diamond was sold for $48 million—an auction record for any diamond, of any colour. The striking blue diamond, dubbed ‘The Blue Moon’, was bought by Hong Kong tycoon Joseph Lau for his daughter, and he renamed the piece ‘Blue Moon of Josephine’ after her. The bidding was intense and competitive, with two telephone bidders locked in a bidding war for eight minutes before the hammer went down, with the precious jewel far exceeding its pre-sale estimate of $35 million. Sotheby’s spokesman David Bennett described the diamond as ‘magical’, and enthused: ‘I’ve never seen a more beautiful stone. The shape, the colour, the purity, it’s magical and everybody, I think, who put it on their finger thought so.’ 

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29/01/2016 10:10

auction highlights // news

Smashing record With many auction records smashed in 2015, it was appropriate that one auction at Bonhams actually featured a smashed guitar. Two Rickenbacker guitars, as played by Pete Townshend, were auctioned at Bonham’s, London in December 2015. Well-known for his on-stage guitar smashing, one of the guitars offered survived his wrath: ‘In the first years of work with The Who in 1964 and 1965 I smashed about seven Rickenbackers,’ said Townshend. The lot was made up of two similar Rickenbackers, one signed by Townshend; the other smashed into pieces and mounted on a board. These two guitars were played during The Who’s 25th anniversary tour in 1989, and were sold for £52,500. 

A Patek Philippe watch donated to the Only Watch auction, held by Phillips in Geneva, November 2015, sold for a record-breaking $7.3 million—the highest price for any wristwatch sold at auction. The pre-sale estimate for the watch was a comparatively modest $700-900,000. A selection of the world’s top brands donated a total of 44 unique watches, enabling the auction itself to raise $11 million—the proceeds of which will go entirely to research into Duchenne Muscular Dystrophy. The money accrued from the Patek Philippe watch, Ref. 5016A-010, contributed over half to the overall total. Another timepiece by Patek Philippe, the Henry Graves Supercomplication, still holds the title of most expensive watch ever sold at auction at $24 million. 


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IMAGES © Phillips /; © Bonhams

Only Watch

29/01/2016 10:11


news news // // auction highlights

Treasures Our series highlights a single item of artistry or craftsmanship that is both rare and exquisite


IMAGES © Christie’s Images Limited 2015; © Michael Harvey

Iron Lady

n 2010 The Hare with Amber Eyes by Edmund de Waal, a leading British ceramicist, became a bestseller that has since been translated into some 30 languages and has won many literary prizes. His family memoir was inspired by The Hare with the Amber Eyes, an ivory netsuke of a hare with raised forepaw and eyes inlaid in amber-coloured buffalo horn. Signed ‘Masatoshi’, Osaka, Japan, c.1880, 3.7cm long (Collection of Edmund de Waal). ‘It is the story of the ascent and decline of a Jewish dynasty, about loss and diaspora and about the survival of objects,’ de Wall writes, adding, ‘I am the fifth generation of the family to inherit this collection, and it is my story too. I am a maker: I make pots. How things are made, how they are handled and what happens to them has been central to my life for over thirty years.’ The Hare with the Amber Eyes has been on show at the Royal Academy of Arts, London, as part of a project Edmund de Waal has conceived and curated, entitled ‘white’, an exploration of the colour white and the impact that white objects have on their surroundings; an interweaving of words and books with sculpture, paintings and photographs. •

A quarter of a century after leaving Downing Street, the belongings of the only woman prime minister, Margaret Thatcher, were sold at a Christie’s auction in London, and in an online-only sale, in December 2015. The unique collection gave an insight into the longest serving prime minister’s personal and political life, and included her notorious power suits. The Iron Lady’s wedding dress was also on sale amongst the 400 lots, which sold for £25,000. A number of the items on sale far surpassed their pre-sale estimates, with the top lot being a Kaiser bisque porcelain model of an American bald eagle, presented to (the then) Mrs. Thatcher by Ronald Regan on 13 June 1984. The lot’s pre-sale estimate of £5,000-8,000 realised £266,500 on the day. Another highlight was Mrs Thatcher’s Prime Ministerial red morocco dispatch box, 198090, which sold for £242,500 against an estimate of £5,000. ‘The market’s response to these historic sales, both the onlineonly sale and the traditional auction, was remarkable, with the overall results for the Mrs Thatcher collection far exceeding presale expectations,’ commented Adrian Hume-Sayer, Head of Sale at Christie’s. ‘Clients from all over the world seized this once in a lifetime opportunity to acquire items which gave insights into both the public and private life of Britain’s first female Prime Minister, who was a political giant on the world stage’. 100 percent of the lots were sold in both auctions. 

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29/01/2016 10:11



For centuries an important influence on European culture, the Italian Alps continue to be a compelling destination, especially in the province of Bolzano, where a luxury chalet offers one of life’s great experiences

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he sublime magnificence and natural chaos of grand mountain ranges with their towering peaks and giddy ravines became a key inspiration to the Romantic Movement of the nineteenth century. Every art form, from painting to music, reflected to a greater or lesser degree the powerful influence of rugged landscapes and wild sturm und drang. People flocked to view the sublime landscapes, and today the magnificence of the Dolomites, lying midway between Innsbruck and Venice, are just as much an attraction for those who love some of the best skiing experiences in the world as well as for those who visit to admire the spectacular mountain scenery and gain an understanding of its significance to the arts in Europe. These are just some of the reasons why Susanna Scott encourages people to visit her luxury chalet, Pine Lodge, Selva, in the Italian Alps, a region as popular for its wildlife as it is for its winter sports. Susanna is not only expert in the cultural aspects of the region; she is also a leading interior designer with a clear vision of how to give her guests the 5-star treatment. A unique aspect of the Pine Lodge is its association with local art and artists. Within the luxury chalet, Susanna and her team are proud to be showcasing the work of two of Italy’s most renowned figurative wood carvers Aron Demetz, Gehard Demetz, both well known to international art organizations and collectors. The serviced chalet, especially built in traditional local style, comfortably sleeps eight in four individually-styled bedrooms, making Pine Lodge popular with family groups and friends, as well as with couples seeking a romantic escape into a romantic world—there’s even an outdoor hot tub and an in-home cinema. Guests also enjoy the luxury of the beautiful indoor pool within the property where there is also combination sauna, offering the effect of dry heat (known as Finnish sauna), damp heat, or infrared, and a relaxation area complete with fridge for cool drinks and teamaking facilities. For guests, Pine Lodge always surpasses their highest expectations. With every creature comfort in place, including a welcoming log fire, Susanna says: ‘Our gourmet chef will present you with some wonderful fine dining experiences which include local and typically Italian dishes, and our professional butler will be pleased to look after you throughout your stay, serving you with afternoon tea and cakes, pre-dinner drinks and canapés, with after-dinner drinks and coffee to follow.’ This experience of a lifetime in the Italian Alps is currently available at a special rate to readers of Arts & Collections …

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Apart from the 1,200km of prepared slopes within this major ski area, from where the most stunning views can be admired, there is also 150km of prepared cross-country skiing track. Alternatively, put on snowshoes and venture into the UNESCO recognised Valle Lunga. In summer, the ski lifts are open to take you up to the high Alps where can enjoy exhilarating walks and enjoy the breathtaking panorama. In late June there are stunning mountain flowers to be seen. There are plenty of adventure activities, too, including bicycle excursions and white-water rafting; you could even experience a ride on the longest zip wire in Europe.

Susanna Scott and her team welcome your enquiries. Please call +39 333 770 0581 Or visit Pine Lodge Dolomites Selva Gardena / Wolkenstein 39048 Dolomites, Italy

11/01/2016 14:05


The Luxury of


For centuries clocks and watches have become exquisite works of art— not only for their complex mechanical ingenuity but also for the beauty of their design and craftsmanship By Katherine Temple


f all the fine objects that we treasure and collect, clocks and watches are amongst the most collected. It was once considered a luxury to have a mechanical means of telling the time, but this soon changed as the quality timepieces themselves became the luxury items—treasured as objects of desire and wonder, personal items imbued with value that goes beyond pure functionality. As works of art, they represent the marriage of innovation and craftsmanship. A current exhibition at the Metropolitan Museum, New York, explores the relationship between the artistry of the exterior form of European timekeepers and the brilliantly conceived technology they contain. Drawn from the Museum’s distinguished collection of German, French, English, and Swiss horology from the sixteenth through to the nineteenth century, the extraordinary mechanical objects on display show how clocks and


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watches were made into lavish pieces of furniture or exquisite jewelry. The creation of timekeepers required clockmakers to work with cabinetmakers, goldsmiths and silversmiths, enamellers, chasers and gilders, engravers, and even craftsmen working in sculpture and porcelain. These craftsmen were tasked with accommodating internal mechanisms by producing cases that, in both shape and function, adapted to timekeeping technologies. Their exteriors are often as complicated as the movements they house. Examining the dialogue between inside and out, adornment and ingenuity, The Luxury of Time exhibition reveals the complex evolution of European clockmaking and the central place of timekeepers in the history of decorative arts. » ‘The Luxury of Time: European Clocks and Watches’ is at The Metropolitan Museum of Art until March 27, 2016 

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IMAGES: The metropolitan museum of art


LONGCASE ASTRONOMICAL REGULATOR (detail) Maker: Clockmaker: Ferdinand Berthoud (French, 1727–1807) Maker: Casemaker: Balthazar Lieutaud (French, c.1720–80, master 1749) Modeller: Mounts probably cast from models by Philippe II Caffieri (1714–74) French, c.1768–70 Case: ebony veneered on oak, with gilt-bronze mounts; Dial: white enamel Height: 90½in. (229.9cm) The Metropolitan Museum of Art, The Jack and Belle Linsky Collection, 1982

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MANTEL CLOCK Maker: Clockmaker: Jean-Baptiste Lepaute (1727–1802) Artist: Augustin Pajou (French, Paris 1730–1809 Paris) Founder: Figures probably cast by Étienne Martincourt (active 1762–1800) French (Paris), c.1780–90 Gilt bronze, marble, enamel Overall: 37 x 41 x 12½in., 379lb. (94 x 104.1 x 31.8cm, 171.913kg) The Metropolitan Museum of Art, Gift of J. Pierpont Morgan, 1917


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In support of

Time for life—with limited edition timepieces in support of Doctors Without Borders/ Médecins Sans Frontières. Each watch raises 100 USD, GBP, or EUR for the Nobel Peace Prize winning humanitarian organization. And still these handcrafted mechanical watches with the red 12 cost the same as the classic models from NOMOS Glashütte. Help now, wear forever. Funds raised are donated to Médecins Sans Frontières USA, UK, or Germany, depending on the specifi c model purchased. For MSF UK, the registered charity no. is 1026588. Available at selected retailers in the three participating countries, as well as online. Find your nearest NOMOS retailer at or order online at

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MONSTRANCE CLOCK Germany (Nuremberg) , c.1570 Gilt bronze; Dial: gilt brass; Movement: plated frame of iron, iron wheels H. 16 x Gr. W. 6¼in. (40.6 x 15.9cm) The Metropolitan Museum of Art, Gift of J. Pierpont Morgan, 1917

CELESTIAL GLOBE WITH CLOCKWORK Maker: Gerhard Emmoser (working 1556, died 1584) Austrian (Vienna), 1579 Case: silver, partly gilded, and gilt brass; movement: brass, steel H. 10¾in. (27.3cm), W. 8in. (20.3cm), D. 7½in. (19.1cm) The Metropolitan Museum of Art, Gift of J. Pierpont Morgan, 1917


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ASTRONOMICAL TABLE CLOCK Maker: Movement probably by Jeremias Metzger (German, c.1525–c.1597) Maker: Signed by Caspar Behaim (Chasparus Bohemus) (Austrian, active 1568–84) German (Augsburg), 1568 Medium: Case and dials: gilded brass; Movement: iron post and frame Dimensions: Overall: 14¼ x 8¼ x 5¾in. (36.2 x 21 x 14.6cm) The Metropolitan Museum of Art, Gift of J. Pierpont Morgan, 1917

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PAIR-CASE WATCH WITH QUARTER REPEATING MECHANISM Maker: Watchmaker: George Graham (British, 1673–1751) Maker: Case maker: William Sherwood Sr. (British, born c.1672, active c.1695–1740) British (London), 1719–20 Medium: Outer and inner cases and champlevé dial of gold Dimensions: .a) Diam. 23/16 in. (5.6 cm); .b) Diam. 23/16 in. (5.6 cm); .c) L. 11/16 in. (2.7 cm); .d) L. 1in. (2.5 cm) The Metropolitan Museum of Art, Gift of Captain Newton H. White Jr. U.S.N., 1952

Below: Apple iWatch Edition, made with 18-kt gold and display screen made of sapphire crystal.


IMAGES: The Metropolitan Museum of Art; APPLE

As many classic watches are taking on the demand for higher technology, it’s no surprise that digital technology giant Apple has produced a contender: the iWatch. With 34 design variants to suit every style and substance requirement, the iWatch also boasts impressive Apple Force Touch technology, a selection of built-in health apps, and even comes in a leather box which doubles as a charging cradle. All models of the Apple iWatch sold out within 30 minutes of pre-orders, proving the modern consumers’ desire for evolving technology paired with classic craftsmanship.


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around the world // art events

Bejewelled Treasures

A magnificent display of exquisite jewels gives a vivid insight in the crosscultural influences between the Indian sub-continent and the West, an influence that continues to flourish today By Brendan Connolly Below: This exhibition showcases over one hundred exceptional jewels, jewelled artefacts and jades from the Al Thani Collection.

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Art events // around the world

Below: Installation view of Bejewelled Treasures from the Al Thani Collection at the Victoria & Albert Museum, London.

With the political upheavals of the 18th and early 19th centuries, production of traditional jewellery gradually moved out of


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IMAGES © Victoria and Albert Museum, London


or centuries, the royal treasuries of India contained vast quantities of precious stones. Diamonds were found within the subcontinent, most famously in the southern region of Golconda. The best rubies came from Burma. Sri Lanka supplied sapphires, and from the 16th century emeralds were brought from South America to Goa, the great Eastern market for gemstones. These were of a size, colour and clarity that had never been seen before. An exhibition at London’s Victoria & Albert Museum showcases over one hundred exceptional jewels, jewelled artefacts and jades from the Al Thani Collection. One of the world’s wealthiest men, Sheikh Hamad bin Abdullah Al Thani, began acquiring Indian jewellery six years ago. The pieces range in date from the early 17th century to the present day, and were made in the Indian subcontinent or inspired by India. They include spectacular precious stones, jades made for Mughal emperors and a gold tiger-head finial from the throne of the South Indian ruler Tipu Sultan. Objects from the collections of the Nizams of Hyderabad show the influence of Western techniques and gem cutting on the work of Indian jewellers. Famous jewels from leading European houses such as Cartier reveal the more significant impact of India on Art Deco jewellery in the early 20th century. These bejewelled treasures highlight the exceptional skills of goldsmiths within the Indian subcontinent. The most recent pieces by jewellers such as JAR and Bhagat also demonstrate that cross-cultural exchanges continue to inspire contemporary jewellery design in India and Europe.

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around the world // art events

palace workshops and into the commercial world. The process accelerated after the establishment of British rule in 1858. In centres like Jaipur, where the maharajas actively supported the manufacture of enamelled kundan work, jewellery was increasingly bought by, or made for, Europeans. Small independent British companies employed Indian goldsmiths, while Indian jewellers established workshops in major cities. Their craftsmen made traditional Indian jewellery or adopted Western styles and techniques with equal facility. The use of Western-cut stones was one of the most significant changes. Their perfectly regular shapes were seen to best effect in open European settings, rather than the closed settings of kundan jewellery. A new railway network allowed jewellers to sell to patrons across the subcontinent, from the Nizams of Hyderabad in the south to Sikh maharajas in the far north.

Right: Pendant brooch set with diamonds and rubies, by Bhagat in Mumbai, India. Below: Brooch set with emeralds, sapphires and diamonds, by Cartier in Paris, France.

Remarkable exchanges took place between India and the West in the early 20th century. European jewellery absorbed Indian influences, while some Indian princely patrons wore contemporary Western jewellery. In Paris, the Ballets Russes inspired a fashion for orientalism with its sensational 1910 production of Rimsky-Korsakov’s Schéhérazade. The stage sets and costumes in vermilion, crimson, indigo, purple, green and gold reflected the colours of the Mughal and Iranian book paintings acquired by European collectors, including the jeweller Louis Cartier.

 At the same time, India’s princes, educated by Western tutors, visited Europe and bought jewellery from leading houses such as Cartier. These relationships grew stronger when Jacques Cartier travelled to India in 1911 to attend the great Delhi Durbar, held to mark the accession of George V as Emperor of India.

 Some Indian rulers later brought their own jewels to Europe to be reset. For the first time in traditional Indian jewellery, the gold associated with kingship and divinity was abandoned for the lightness of platinum. Outstanding jewels of the Indian past continue to inspire designers. Forms drawn from traditional kundan jewellery are adapted to settings of extraordinary

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Art events // around the world

Above {l-r}: These bejewelled treasures highlight the exceptional skills of goldsmiths within the Indian subcontinent. Spinels on a necklace of cultured pearls with dyed green beryl bead, by Mughal Empire. Below: European jewellery absorbed Indian influences, while some Indian princely patrons wore contemporary Western jewellery.


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around the world // art events

lightness and delicacy. Exceptional stones cut in the Mughal manner are combined with gems shaped by the latest precision techniques. A brooch made by Bhagat of Mumbai is set with old Golconda diamonds and smaller stones cut specially for it. An emerald in a brooch by JAR of Paris seems to float on white agate, setting off its cut and beautiful colour within a frame that echoes Mughal architecture. A necklace by Cartier has magnificent red spinels that retain their original irregular shapes, and a Bulgari ring is set with a rare engraved Mughal emerald. All these pieces draw on the complex artistic traditions of the subcontinent, reinterpreting them in a completely modern idiom. 

IMAGES © The Al Thani Collection © Servette Overseas Limited, 2014. Photograph: Prudence Cuming Associates Ltd; © Victoria and Albert Museum, London

» The exhibition ‘Bejewelled Treasures: The Al Thani Collection’, at the Victoria & Albert Museum, London, is sponsored by the London Fabergé specialists, Wartski (see also, pp.76, 77). »21 November 2015 – 28 March 2016.

Above: The pieces in the exhibition range in date from the early 17th century to the present day, and were made in the Indian subcontinent or inspired by India. Below: Ceremonial sword with jewelled gold hilt, c.18801900. Hyderabad, South India.

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The Malta Citizenship by Investment programme or Individual Investor Programme offers citizenship of Malta after a thorough due diligence process and one year of sustained connections with the country,

To qualify under the regulations, a Main Applicant for Malta Citizenship by Investment must be at least 18 years of age and must meet the requirements outlined herein. The main applicant may also add dependents to a citizenship application his/her spouse, children and parents or grandparents, under certain conditions, to benefit under the Malta Citizenship by Investment Programme. Beneficiaries under the Global Residence Programme may also additionally apply for citizenship under this Programme.

WHAT IS THE ‘RESIDENCY’ TEST AND WHAT DOES IT ENCOMPASS? This ‘residency’ test is less uncertain than one might think. The ‘genuine link’ test finds its origins in case law of the European Court of Justice and expects an applicant to demonstrate a real connection with the jurisdiction over a period of at least one year falling short of specifying a minimum requisite day count, as long as evidence of the connection with Malta is compiled by the agent.

ARE THERE ANY RISKS? In my experience handling applications from beginning to approval, the Identity Malta Agency grants prior approval of proposals submitted by approved citizenship agents laying down the various connections that the applicant proposes to put in place to demonstrate his/her genuine connection with Malta. This entirely eliminates the risk of an applicant discovering he has failed to comply after the year has passed, losing more time. And this in line with Malta’s tradition of legal certainty and reliability.

WHAT IS THE PROCESS LIKE? November 2014 saw the first applicants (clients of Chetcuti Cauchi) emerge from the first cycle of applications as approved applicants. It is only at this stage that the significant investment needs to be made and not before. This further eliminates the perceived risk and allows the applicant to invest with the comfort of a final ‘in principle’ approval in hand. On making the contribution to the Malta Social & Economic Development Fund (€650k) and investments in Government bonds (€150k) and renting / buying property in Malta (€16k p.a. / €350k), applicants are entitled to receive their Maltese passport within their entitlement period. This period is of 6 months from citizenship application date for applicants who have been resident in Malta already a year to date. Others need to wait for the passing of this one year in compliance with their pre-approved residence criteria.

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‘FIT AND PROPER’ TEST Applicants must show they are in good standing and repute and will undergo a ‘fit and proper’ test. The Government of Malta is committed to the highest standard of due diligence to ensure only deserving and reputable applicants are allowed to proceed for the grant of Maltese citizenship.

GOOD HEALTH Applicants must show they do not suffer from a serious disease that creates a burden on the Maltese health system.

WHAT ARE THE BENEFITS OF MALTESE CITIZENSHIP? At the end, applicants emerge as citizens of an economically sustainable, politically stable Island of Malta, enjoying the full benefits of European Union citizenship and the identity of a culturally rich and diverse nation. The Maltese passport is dubbed ‘one of the most powerful passports in the world’, enjoying over 160 visa-free destinations for Maltese nationals, including the UK, US and Canada. It is also a very efficient process, since the citizenship application is approved after just 4 months of processing. You will also receive fast track residence cards within 1-3 weeks with Schengen mobility for 18 months and a total of 12 months to passport issue (inclusive of processing time) from date of initial residency. Family eligibility includes parents of main applicant and spouse, minor children, unmarried dependent adult children under 27. Descendants are automatically entitled to citizenship thereafter. Malta is a neutral, safe and stable country with a friendly people living a European lifestyle but with a Mediterranean quality of life.

CONTACT: Dr Jean-Philippe Chetcuti Managing Partner,

22/09/2015 14:52


Risk Reward As with any investment, investing in art comes with certain risks. The lure of record-breaking returns on initial investments is enticing, but all savvy investors know where and when to rush in, and when to explore other investment avenues By Samantha Coles


Below: Amedeo Modigliani’s Nu couché, 1917-1918. Sold for $170.4m.

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transactions for five red Bordeaux wines (Haut-Brion, Lafite-Rothschild, Latour, Margaux and Mouton-Rothschild) from the sales room of Christie’s and wine merchant Berry Bros & Rudd, and discovered annualised real returns of 4.1pc on wine from 1900 to 2012. Elroy Dimson, visiting professor at the Cambridge Judge Business School, said: ‘Life is a little unfair, and wealthy people who buy these assets—in this case wine—if they keep half to drink and sell half, maybe the half they sell could pay for the wine they drink.’ Another alternative investment comes in handbag form, specifically the celebrityfavoured Hermès Birkin bag. A new study from website Baghunter has predicted the

value of a Birkin bag will double over the next 10 years, thus making it a ‘historically safer investment than the US stock market’, and the value has increased at a faster rate than gold: Since 1980, gold has depreciated in value at a rate of 1.5 percent a year. The Birkin bag went up by 14 percent. However, the bag (named after Jane Birkin, who happened to be sat next to the chief executive of Hermès on a flight and complained about how she couldn’t find a weekend leather handbag) is incredibly difficult to obtain. It’s perpetually ‘sold-out’, and has a six-year waiting list compiled of the world’s rich and famous. At auction, the bags sell for as much as $223,000, compared to their retail price of $60,000. 

Below: Hermès Birkin handbags can sell for as much as $223,000 at auction, compared to their retail price of $60,000.

IMAGE: © Bonhams


he global art market is currently thriving, with record-breaking sales of $53.7bn spent in 2015 according to the The European Fine Art Foundation (TEFAF). The U.S. tops the global art market, with China and the U.K. in joint second place. This, paired with the various news stories of exceptional success (for example, in 2013, Peter Doig’s painting The Architect’s Home in the Ravine sold at Christie’s for close to £8m—the seller initially purchased the painting for £314,650) can have us all dreaming of ROI success. However, it is a volatile market, especially when an artist’s popularity changes depending on circumstance: It’s a fact that the prices can soar if the artist dies; Amedeo Modigliani had no success in his lifetime, often trading his paintings for food, and died poor—yet an oil painting of his—Nu couchè (Reclining Nude)—sold for $170.4m at Christie’s in New York, November 2015, a sale which welcomes Modigliani into the exclusive club of deceased artists who have had a work sold at auction for more than $100m. The prices can also soar if the artist dies unexpectedly, igniting a panic, which can see prices rocket. However, for this to happen the artist has to be relatively well known to begin with—the bittersweet cliché of the starving artist achieving post-mortem fame and success is not a regular occurrence. Although there are certain influences to look out for when investing in art (provenance, rarity, authenticity, competition from rival bidders…) there are no set rules for successful investment in fine art—the repeated advice is to invest in what you love, with many experts in the field advising that art should never be bought for investment, but for pleasure and enjoyment. Patrick Connolly, a financial advisor at Chase de Vere, advises: ‘For most people who like art, the most sensible approach is probably to buy something they like and can afford, and, first and foremost, be prepared to keep it just for their own pleasure’. Although an attractive choice, many investors look beyond fine art. Research by a team from the University of Cambridge, HEC Paris and Vanderbilt University, Nashville, Tennesse, shows that red wine outperformed fine art, government bonds and stamps throughout the 20th century. The research analyzed data from 36,271

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20—24 January 2016 Business Design Centre Islington, London N1 Book Tickets 0844 848 0136

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Et № 1 – for all senses

Chapters of Ampersand presents the exquisite unison of a rare Cognac dating back to pre-Phylloxera 1870 with the finest of unique Swedish art glass. In a limited, numbered and signed edition of only 300 pieces worldwide, Et No 1 is an expression of art and taste in perfect harmony. Design by Göran Wärff. Hand made by the Master Glass Blowers at Transjö Hytta.

Cognac by Cognac Tiffon Maitre de Chais Richard Braastad in cooperation with Chapters of Ampersand Master Blender Folke Andersson. |

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12/01/2016 12:13


Wine Investment & the General Theory of Reality Investment is business, fine wine is pleasure. Bringing the two together should surely be a marriage made in heaven? By Charles Ford


ow would you like a regular supply of fine wine that costs you nothing? You would need to make the initial outlay, of course, but after that the wine keeps coming—a bit like solving the conundrum of perpetual motion. The answer is—canny investment. In essence, you buy more than you intend to drink and sell the excess at a later date to fund subsequent purchases. It’s a high-risk game because, unless you’re extremely knowledgeable (and lucky), it may be that you can’t sell your wine with the profit you need in order to stock up again from the proceeds. Another element in this equation that brings us down to earth is the general theory of reality, which is that ∞ = infinity, meaning that I may have to wait a very long time indeed before the wine I buy in 2016 has increased significantly in value to afford me enough profit to … etc., if you get my drift. There’s also a demon called Temptation in many bottles of fine wine whispering ‘drink me!’ That magnum of Lynch Bages 1966 shared with friends all those years ago still haunts me—what might it be worth today! Even more intriguing—what

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Above: Lot 475 in Sotheby’s January sale, Chateau Mouton Rothschild 1998, Pauillac, 1er Cru Classé, 12 bottles, estimate £2,600-3,200.

sumptuous mouthful of perfection would it deliver today? Lock the cellar door and throw away the key is my advice, or put miniature chastity belts on your finest bottles. For strong-minded collectors of wine there are of course good returns on the very finest, destined never to be drunk, but instead passed down the line of waiting investors. Most fine wine once bottled improves with age, as everyone knows. If we’ve been able to buy several cases at one time, don’t you think we should just check on the level of improvement from time to time? Isn’t it important to our knowledge and understanding of fine wine to … taste? The great ones, the really great ones we have had the privilege of tasting, we even remember the exact moment when that famous Pomerol was uncorked. But no, we can’t do that because we’ve thrown the key away, remember? So, if you can keep your wine investment safe, you can stand to turn a profit as the wine becomes scarcer—only a limited amount of fine wine is produced and as bottles are consumed the scarcity value increases. A five-year period would


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IMAGES: © Sotheby’s

be considered a short-term investment by most wine experts, with ten or more years being a better plan. The most reputable wine merchants will advise that only certain wines are set to accrue in value and these wines will tend to be expensive from the outset. For many years the general rule has been to invest only in the highest quality wine from Bordeaux and Burgundy, and although this is a safe strategy, there are some very good investment opportunities in wines from other regions coming onto the market, not only regions in France, but in other notable regions of the world, such as South Australia’s Penfolds Grange. Seeking reliable advice about wine is the safest route to investment success. In the UK, indeed in the world, Berry Bros & Rudd is a leading wine merchant and expert on the topic of wine investment. It is always worth tracking the major wine auction houses, too, where expert advice can be found for the serious investor. For example, Sotheby’s started the year with a January sale of Finest and Rarest Wines with a collection of Bordeaux and Burgundy topped off with Salon Champagne. Bordeaux features an Imperial of Mouton 1989, a trio of Lafite vintages—1998, 1999 and 2000— complemented by Cheval Blanc 1999, Figeac 2000 and Trotanoy 2001—the latter, in 2004, described thus by Robert Parker: ‘This virile, muscular offering’s dense plum/garnet color is followed by aromas of saddle leather, undergrowth, and black fruits. Made in a brooding, medium-bodied, backward style for the vintage, it possesses good weight and richness, firm tannin, and a hint of truffles.’ Highlights from Burgundy include La Tâche 1983 and a selection of 2006 Leflaive. There must surely be compulsory purchases here, as well as compulsory tasting of your purchases to ensure your long-term investment starts well in 2016. • Left: Lot 136 in Sotheby’s January sale, Domaine de la Grange des Pères 2005, Vin de Pays de l’Herault,12 bottles, estimate £720-850.


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Limited Edition - Hand-made label with Swarovski elements

When a product from nature originates in a land that, due to its aspect, microclimate and soil composition, is ideal for vine growing, and when this potential is then harnessed by man’s passion and competence, which, season after season, he perceives, recalls and utilizes, bringing to the winery the very best that Mother Nature has to offer, something unique can be created. Pierangelo Testa was the founder of this alliance. Extrabrut degli Angeli 2009 is the latest fruit of the bond between man and the land created by him, and this masterpiece of the vintner’s craft practised at his Tenuta degli Angeli wine estate was honoured with the highest accolade for quality at the world’s most prestigious international competition.

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ed ag



Az. Agricola Tenuta degli Angeli - Acetaia Testa Via P.Fontana Roux, 5 Carobbio degli Angeli- BG-ITALY | | TEL. +39 035 687130

lia d’Oro · 2

Gold Medal Vinitaly 2014 Gold Medal Vinitaly 2015

18/01/2016 15:08


8 Reasons to Visit …

The Royal Academy of Arts, London

Images: © Benedict Johnson, © Fraser Marr

The Royal Academy of Arts was established in 1768 and has been in Burlington House since 1775. The Royal Academy is internationally renowned for its support for artists, as well as many important and inspirational public exhibitions Selection by Charles Ford


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here are a great many more reasons than eight for visiting the Royal Academy of Arts in London; however, we must limit ourselves to a selection of masterpieces from an exhibition of more than 120. As our thoughts turn to springtime and the promise of warm summer gardens, the latest blockbuster exhibition at the RA is one exceptionally good reason to come to the capital city and centre of the art world. ‘Painting the Modern Garden: Monet to Matisse’ examines the role gardens have played in the evolution of art from the early 1860s through to the 1920s. With good reason, the starting point of this inspiring garden stroll is Monet, who, perhaps more than any other painter in the history of art—through his later and obsessive painting of his garden at Giverny in particular— opened the gate onto a new vision of the garden landscape and its meaning. The paintings displayed at the Royal Academy help us to trace the emergence of the modern garden in its many forms and glories, taking us through a period of great social change and innovation in the arts.

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Here are the paintings of some of the most important Impressionist, Post-Impressionist and Avant-Garde artists of the early twentieth century as they explore this garden theme. Monet, arguably the most important painter of gardens in the history of art, once said that he owed his painting ‘to flowers’. But Monet was far from being alone in his fascination with the horticultural world—the exhibition includes garden-inspired masterpieces by Renoir, Cézanne, Pissarro, Manet, Sargent, Kandinsky, Van Gogh, Matisse, Klimt, and Klee. For these artists and others, the garden gave them the freedom to break new ground and explore the ever-changing world around them. Highlights include a remarkable selection of works by Monet, including the monumental Agapanthus Triptych, reunited specifically for the exhibition, Renoir’s Monet Painting in His Garden at Argenteuil and Kandinsky’s Murnau The Garden II. The exhibition includes some 120 masterpieces from which we have made a small selection, as follows.


Burlington House, Piccadilly Since 1775, Burlington House has been the home of the Royal Academy of Arts, with the Academy itself established in 1768. The most famous of the RA’s founding fathers is Sir Joshua Reynolds who was the Academy’s first President. In two years’ time the Academy will celebrate its 250th anniversary, by which time some major enhancements to the RA’s facilities will have been made.

The exhibition ‘Painting the Modern Garden: Monet to Matisse’ (January 30 – April 20, 2016) has been co-organised by the Royal Academy of Arts and the Cleveland Museum of Art.


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Claude Monet Nympheas (Water Lilies), 1914-15 It was the garden and its lily pond at Giverny that in later life became an obsession for Monet, who created some 250 paintings of water lilies. Oil on canvas, 160.7 x 180.3cm. Portland Art Museum, Oregon, inv. 59.16. Helen Thurston Ayer Fund.



Wassily Kandinsky Murnau The Garden II, 1910 It was in Murnau that Kandinski became a keen gardener, where the inspiration of garden and surrounding Murnau landscapes caused the dramatic and rich intensity of his colours. It is believed that Kandinsky had synaesthia, a condition that causes a person to perceive colour not only as visual objects, but also with sounds of different qualities and intensities. Of colour he once wrote: ‘In general, colour is a means of exerting a direct influence upon the soul. Colour is the keyboard. The eye is the hammer. The soul is the piano, with its many strings. The artist is the hand that purposefully sets the soul vibrating by means of this or that key.’ Oil on cardboard, 67 x 51cm. Merzbacher Kunststiftung.


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Joaquin Sorolla Louis Comfort Tiffany, 1911 This is considered one of Sorolla’s finest works. Its broad expanse of colourful yellow, white, and blue flowers, the deep blue of the waters of Long Island Sound flashing in the background, and the complex whites of Tiffany’s summer suit, together create a work of irresistible attraction. Tiffany’s steady gaze engages the viewer as he pauses at his easel, palette and brushes in one hand, the brush with which he works in the other.


Oil on canvas. 150 x 225.5cm. On loan from the Hispanic Society of America, New York, NY.

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Auguste Renoir Monet Painting in his Garden at Argenteuil, 1873 Renoir and Monet were lifelong friends, often setting up their easels side by side. Argenteuil was a rural escape from Paris at the time of this painting, being just eight miles from the city centre. Today, Argenteuil is a suburb of Paris. Oil on canvas. 46.7 x 59.7cm. Bequest of Anne Parrish Titzell, 1957.614.


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Claude Monet Lady in the Garden, 1867 An early Impressionist work by the group’s leader, Claude Monet. Painting outside, en plein air, the garden is drenched in sunlight but there is also a poignancy in this summer scene in the solitary figure. Oil on canvas, 80 x 99cm The State Hermitage Museum, St. Petersburg.

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More than any other painter in the history of art, Monet opened the gate onto a new vision of the garden landscape and its meaning.




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Pierre Bonnard Resting in the Garden, 1914 A masterpiece of panoramic perspective, radiating a sense of tranquil repose in an idyllic summer setting. Oil on canvas, 100.5 x 249cm. Nasjonalgalleriet, Oslo. Gift 1931 from the Friends of the National Gallery, Oslo. Bought by the collector Walther Halvorsen, 1920, from Galerie Bernheim-Jeune, inv. NG.M.01643.


Henri Matisse The Rose Marble Table, Issy-les-Moulineaux, spring/summer 1917 The artist met Monet in the same year that Matisse produced this remarkable painting, with its cool but intense colours. Oil on canvas, 146 x 97 cm The Museum of Modern Art, New York. Mrs. Simon Guggenheim Fund, 1956.


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The Ritz London 5-star hotel One of the world’s most famous luxury hotels, the Ritz has a total of 136 guestrooms comprised of 111 bedrooms and 25 suites. The exquisite collection of lavishly decorated private dining rooms and residential suites have been retained in their original Italian Renaissance style décor and the majesty of William Kent House is now resplendently reborn. 2 minutes’ walk to the Royal Academy of Arts.

WHERE TO STAY Le Méridien 5-star hotel With its timeless Regency architecture and central location, offering unlimited opportunities for discovery, Le Méridien Piccadilly is recognised as the landmark hotel in Piccadilly Circus. Relax in the authentic, yet modern décor of our hotel rooms in Central London’s most popular locale and enjoy beautiful facilities such as one of the largest hotel indoor swimming pools in London. 2 minutes’ walk to the Royal Academy of Arts.

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Built for


To mark the 50-year partnership and the recent release of the latest Bond film, Spectre, Aston Martin has created a DB9 GT Bond Edition, limited to just 150 luxury cars By Samantha Coles

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Left: Precision’s Evo range combined with controlled daylight provided sympathetic lighting for both canvases and sculpture at the Watts Gallery. Facing page: Lighting designers DPA specified luminaries from Precision Lighting for the General Assembly Room at the Royal Academy of Art.


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Need I remind you, 007, that you have a license to kill, not to break the traffic laws.

been undercover work for Aston Martin, a closely guarded secret until the release of the model in October, 2015. On November 8, 2015, an impressive line-up of current and classic Aston Martins gathered in the Great Court at Blenheim Palace for the premiere of ‘DB10: Built for Bond’. The specially commissioned one-hour documentary tracked the creation of DB10, a model developed specifically for James Bond in Spectre, built in-house by the luxury brand’s design and engineering teams in just six months. Chief Creative Office of Aston Martin, Marek Reichman, said: ‘Since the car was unveiled at Pinewood Studios in December 2014 we have been overwhelmed by the positive response around the world. I’m extremely proud of the team who have brought the DB10 from concept to reality and feel confident that we have created a sports car that epitomises Bond.’ 

The DB9 GT Bond Edition A coveted car for any Bond fan, the limited edition model is equipped with bespoke Bondthemed accessories such as unique sill plaques, exclusive front fender badges, dividers with handstitched Bond Edition gun barrels, sterling silver Aston Martin ‘Wings’ and limited-edition ‘Spectre Silver’ paintwork. The model not only looks the part—with 540 brake horsepower—the 6.0 litre V12 engine can also accelerate up to 60mph in 4.4 seconds, with a 183mph top speed.



or over 50 years Aston Martin has been the sportscar of choice for the bestselling movie legend. The long-standing relationship first took hold in Goldfinger (1964), by then the third of the Bond films. Sean Connery, as James Bond, drives the Aston Martin DB5 in the film, whereas in the book Bond drives an Aston Martin DB Mark III. But, as every Bond fan knows, the DB5 had been introduced by Aston Martin in 1963, so the company decided to use their latest model in the film. A nerdy footnote to Bond history, however, it was a decision that saw the sales of the unique Silver Birch DB5 shoot up, as did Aston Martin’s profile. It’s a partnership that has flourished— spanning a further 12 Bond films, making the Aston Martin as synonymous with the spy as his favourite drink, the Martini. The Aston Martin brand itself epitomises the Bond character: sleek designs, subtle refinement and a dynamic, and of course powerful performance! To mark Aston Martin’s long relationship with James Bond, and to coincide with the release of the latest Bond film Spectre, 150 specially made DB9 GTs have been placed on special reserve to enable the manufacture of the distinctive DB9 GT Bond Edition models. Aston Martin enhanced the company’s celebrations of this partnership by designing, engineering and handcrafting the DB10 model, constructed by a dedicated team at the Aston Martin headquarters in London—a true British pairing. Appropriately, the creation of the DB10 has

» Christie’s will be offering 10 lots of exclusive memorabilia from Spectre, including the only DB10 offered for public sale. London, February 18, 2016.

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Where to

Our diverse selection of the latest high-end must-haves to add to your collection By Anette Lien

BENTLEY’S BEAUTY The Bentley Bentayga first edition was built for none other than the Queen, and the model is the British car factory’s most luxurious car to date. Who wouldn’t want a car with hand-stitched diamond quilted leather massaging chairs and a backseat champagne compartment? You can even get your wedding vows embroidered on the visor if that’s to your liking. Moreover, Bentley has teamed up with Breitling to include an optional dashboard clock—a beautiful enhancement to the car’s interior—covered in diamonds.




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‘My Burberry’ is Burberry’s most personal perfume yet—designed to feature a custom-made monogram. Design-wise, ‘My Burberry’ is inspired by the luxury brand’s iconic heritage trench coat; the hand-tied bow is English-woven gabardine, honouring the fabric invented by Thomas Burberry over 100 years ago. The scent, comprised by British grand floral, intriguingly captures the ‘essence of a London garden in the spring after rain’.

Inspired by Benvenuto Cellini, an Italian Renaissance goldsmith and sculptor to the popes, The Rolex Cellini collection is a contemporary celebration of classicism. They may look like the classic models of Rolex’s past, but the interior is strikingly modern, featuring a self-winding mechanical movement certified as a Superlative Chronometer. The Cellini Dual Time, available in 18 karat gold, is a perfect match for keen travellers as it simultaneously shows the time in two different places. Though is does not promise to erase your jetlag, you can at least keep track of it.


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HOMAGE TO BOWIE David Bowie was a man of both talent and panache. In addition to being a music pioneer, he will also be remembered as an icon of the art world. Rugman’s print of Bowie offers an enchanting tribute to the late singer, portraying him in a halo reminiscent of those appearing in religious paintings of the Renaissance. It shows how much David Bowie contributed to art, as well as being an artwork himself.

A CAT’S WORLD Egyptians were perhaps the first people in the world to appreciate the domestic cat. They would allow them inside temples, and even hold funerals for them, revering cats as deities. One of the greatest treasures in the British Museum is the sacred temple cat donated by Major Robert Grenville GayerAnderson, dating from c.600BC. Cast from a mould of the original, this highly decorated cat wears golden rings, and its silver-plated breastplate is adorned with the eye of the god Horus.

VINTAGE HOLLYWOOD The luxurious 1940-1960s fashion scene is the backdrop for Tiffany’s impressive diamond and rock crystal necklace. Tiffany’s Design Director, Franscesca Amfitheatrof, says she found inspiration in the ‘Hollywood regency’ decorative style, where a statement diamond necklace was the pinnacle of luxury and glamour. This elegant necklace, sporting 18 karat gold chains and rose-cut diamonds, is fast becoming a contemporary masterpiece. The diamonds, cut in hexagonal patterns, create layers of texture that elegantly drape. Ultimately, it was designed to make you feel like a Hollywood star.

A TOUCH OF INDIA For those looking to add some Indian heat into their life, the stunning new collection from Victoria & Albert museum is sure to turn up the temperature. As part of the India festival, the V&A shop will feature a diverse range of products, including authentic scarves, fashion accessories, books, decorations, homeware and colourful prints—all sourced from talented Indian artisans. Inspired by traditional Indian crafts while still utilising a contemporary outlook, the collection makes for a unique glance into Indian culture.


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Great Discovery Jewellers to six generations of the Royal Family, as well as a having a clientele of celebrities, it was Wartski, the London Fabergé specialists, who also made the headlines in 2014 by rediscovering the lost Third Imperial Fabergé Egg, valued at £20 million


By Samantha Coles

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Left: The Fall of the Damned by René Lalique, pendant chased and cast gold supporting a large baroque pearl. Inspired by Auguste Rodin’s work La Porte de l’Enfer (The Gates of Hell), the contorted bodies of the damned are recalled in this jewel.


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he family-run business of Wartski gained mass media attention in 2014 when the company made history by identifying the long-lost Third Imperial Fabergé Egg, a masterpiece of peerless craftsmanship and inventive design. The story goes that after being delivered to Alexander III Emperor by Carl Fabergé, the Emperor gifted the Egg to Tsarina Marie Feodorovna for Easter in 1887. Some 120 years later, a dealer who had purchased the piece for $14,000, intended to sell the exceptionally valuable Egg as scrap metal—unaware of its £20 million value. Prior to the recent exhibition at Wartski’s Mayfair showrooms in April 2014, The Egg had not been shown for over 112 years. It was Director Kieran McCarthy of Wartski, also a lecturer on Fabergé, who identified the Egg, explaining, ‘The dealer brought pictures of The Egg and I knew instantaneously that was it. I was flabbergasted—it was like being Indiana Jones and finding the Lost Ark.’ The firm of Wartski, founded in Bangor, North Wales in 1865 by Morris Wartski, maternal great-grandfather of the present day chairman, has enjoyed substantial success during 150 years of antique dealing. The business flourished under the patronage of Edward VII and has attracted a celebrity clientele, including the fifth Marquis of Anglesey, Frank Sinatra, Ian Fleming, Barbra Streisand, and Jacqueline Kennedy Onassis. In 1911, Emanuel Snowman, Morris Wartski’s son-in-law, opened another branch of the firm in London. For over a decade, he obtained an impressive collection of important works of art, including a gold chalice commissioned by Catherine the Great. He also managed to acquire many treasures that had been confiscated after the revolution of 1917, being among the first to negotiate with the new government of the Soviet Union. Despite being highly successful in antique dealing, the current directors of Wartski also have an outstanding academic presence. They have produced a number of specialist books as well as curating exhibitions (Wartski is currently sponsoring ‘Bejewelled Treasures: The Al Thani Collection’ at the Victoria & Albert Museum—see pp.52-55). This scholarly tradition perhaps stems from


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A. Kenneth Snowman, Emanuel Snowman’s son, who built upon his father’s pioneering work through his innovative research—his first book, The Art of Carl Fabergé, was published in 1953. Kenneth Snowman was immortalized by Ian Fleming, a Wartski customer, in the James Bond novella Property of a Lady (1963), which described Bond in Wartski’s premises, then in Regent Street. Geoffrey Munn, Managing Director of Wartski (and well-known as a regular expert on the BBC’s ‘Antiques Road Show’) has written a number of books on his craft, and has marked Wartski’s 150th anniversary by compiling a comprehensive and colourful history of the firm—from humble beginnings in North Wales to becoming jewellers to six generations of the British Royal family. Intriguingly, there is another Fabergé Egg that Wartski has recorded as ‘lost’. Known as the Nécessaire Egg this masterpiece was last recorded at Wartski on June 19, 1952, when it was sold to a buyer mysteriously named as ‘A Stranger’—for £1,250. 

“I was flabbergasted—it was like being Indiana Jones and finding the Lost Ark.”

Above: The Third Imperial Easter Egg by Carl Fabergé, a gift from Tsar Alexander III to Tsarina Marie Feodorovna on Easter Sunday, 1887. Below: Wartski’s first shop in the High Street, Bangor, North Wales.

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porto montenegro The MediTerranean’s leading luxury ya c h T h o M e p o r T a n d M a r i n a v i l l a g e

Luxury waterfront residences with unobstructed sea and mountain views Five-star Regent Hotel & Residences ‘Superyacht Marina of the Year’ – T YHA 2015 International fashion boutiques, restaurants and spa A year-round calendar of superyacht events, art exhibitions and social soirees

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Profile for Magazine

Arts & Collections: Volume 1 2016  

Arts & Collections International provides the highest quality coverage of global art and cultural events, including auctions of interest and...

Arts & Collections: Volume 1 2016  

Arts & Collections International provides the highest quality coverage of global art and cultural events, including auctions of interest and...