Arts & Collections: Volume 3 2021

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Contents Features

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The tenth anniversary of the death of singer Amy Winehouse is marked by an auction of her property, and exhibition around her work and the publication of an insightful biography



The biannual OnlyWatch charity auction returns, and we present some of the most spectacular examples of custom horological design from the leading creators








No Time to Die is in the cinemas at last, so we look at the style legacy of secret agent James Bond and the many fashions and accessories that make the man


Where do you look for an art investment without breaking the bank? Experts from seven top UK galleries suggest artists and works to follow with a budget of £10,000.


After long delays due to the pandemic, one of the most spectacular art collections of all time is finally coming up for auction by Sotheby’s. From Warhol to Giacometti, it has the lot.

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What responsibility do corporations have to support and encourage the creative world? We look at one company, Mirabaud Group, with a burgeoning art collection

The former house of Sir Benjamin Britten and Peter Pears is a memorial to their work and home to an impressive art collection. Insurers Aston Lark tell us its story.

From paintings to wine, asset investment has many pleasures, but also potential problems. The experts from Morrinson’s offer some advice on how to negotiate the pitfalls.



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With an exhibition about his life and works scheduled to open in Berlin, we look at the controversial images of Helmut Newton

We review a new book by Charles Dellheim telling the story of how Jewish collectors and dealers shaped the worldwide art market


With the pandemic bringing a halt to many live events, how has the art insurance industry had to adapt to the new conditions?

How a converted power station in the Red October district of Moscow has become a hub of artistic events





The World Photography Awards, sponsored by Sony, returns for 2022, and we present some of the most stunning images


Despite the problems of the pandemic, boatbuilders are surging back with new models and new incentives to get on the water

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ART X Lagos return this November with a physical/digital hybrid event celebrating artistic excellence from Africa and its diaspora

How Bentley Motors demonstrated its commitment to diversity and inclusion in an artistic automotive project Arts & CollectionS 5

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Contents Features



















Thirteen monumental sculptures weighing more than 21 tonnes by Venice-born artist Gianfranco Meggiato are on show in Sicily. But what’s the story behind them?

Alastair Meiklejon from valuers Doerr Dallas looks at the global art market, and analyses the implications of the shift from live events towards online and digital presentations

The team from Fine Arts Brokers analyse how the global art sales market is recovering, and ask whether a return to live events marks an era of reengagement with the physical world

What are the implications of the Anti Money Laundering regulations for the art market? We asked the experts from Withersworldwide for their analysis

One single-malt whisky has been maturing for 80 years – now the distillers are ready to launch Gordon & McPhail’s Glenlivet Generations 80 Years Old

This Caribbean island is an enjoyable getaway destination at any time of year, but when is the best time to go to enjoy the weather, the welcome and the holiday facilities?

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This issue’s most exciting events and objects summed up in handy facts and figures

Luxury brands have lost over $7b in value, but familiar names like Porsche and Rolex are fighting back with new pitches for the everhungry luxury market

All the events, exhibitions and shows worth seeing, from German photographers and British glassblowing to traditional antiques and magical realism

Our eclectic roundup of the most amazing items to come up for auction this season, from a Jack Vettriano painting to Al Capone’s pistol and Princess Margaret’s bracelet

From wild horses to Van Gogh, and laughing cavaliers to James Bond, our roundup of the most worthy volumes to put on your bookshelf or coffee table


Our roundup of must-have luxury items, from a glittering piggybank to a Batmobile clock, and a royal handbag to some stunning hi-fi speakers



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Publisher & CEO Kevin J. Harrington Editor Chris Jenkins Design Friyan Mehta Staff Writer Manny Berhanu Features Writers Andrew Mayfair Richard Benson Patricia Savage Production Director Joanna Harrington Production Assistant Delicia Tasinda Digital Manager Amy Golding Office Coordinator Shyla Thompson Editorial OFFICE Arts & Collections 143 Caledonian Road London N1 0SL United Kingdom Telephone: 020 7870 9090 CHICAGO OFFICE Arts & Collections 29 East Madison Suite 809 Chicago, IL 60602 USA

Arts & Collections partners with over 120 of the world’s finest luxury and boutique hotels to provide the highest quality coverage of global art and cultural events, auctions of interest and developments in the global art market. This blend of interesting and informative editorial is most appealing to guests at these premier hotels, who have a great interest in fine art and collectables. Arts & Collections’ dedicated website,, features all of the exclusive previews, reviews and expert commentary pieces that appear in the pages of Arts & Collections as well as news of 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 magazine is published quarterly. For further details regarding contributions and distribution email editorial@ arts &


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. WINE • ART • INVESTMENT • LUXURY PROPERTY • COLLECTABLES • PHOTOGRAPHY

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… the number of world-class works on sale in Sotheby’s forthcoming Macklowe Collection auction


Cover image: Amy Winehouse: Love is a Losing Game by Pegasus (, courtesy of the artist. See feature, p16.

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…the number of years London Glassblowing, founded by Peter Layton, has been in business

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… the power in HP of the motors of the Comitti BREVA 35, a new speedboat on view at the Southampton Boat Show

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© 2021 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.

…the amount in Euros raised by the OnlyWatch charity auctions in its efforts to fund research into muscular dystrophy

…the number of years Gordon & McPhail’s Glenlivet Generations 80 Years Old whisky has been maturing

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…the number of works by photographer Helmut Newton on show in Berlin for the centenary of his birth

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It Figures... 70m

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Luxury Roars Back The world’s top luxury and premium brands have lost over $7b in brand value – but some big names are fighting back


ccording to a recent market report by Brand Finance, the total value of the world’s top 50 most valuable luxury and premium brands is down by five percent, from US$227.1 billion in 2020 to US$219.5 billion in 2021. But what’s a few billion here or there in this market? There are already signs of resurgence, as brands look to hit back after a pandemic-induced slump. Though they struggled during the pandemic, apparel brands dominate the rankings, with the 30 brands that feature accounting for 62 percent of the total market. There were some big losers, such as Coach which lost 31 percent of its value, falling to US$4.7 billion. But the company plans to fight back with triple digit e-commerce growth, a strong rebound across the Chinese market, and the appointment of music-to-movies superstar Jennifer Lopez as the global face of the brand.

Images © PORSCHE

PREMIUM France’s Celine, the fastest growing luxury and premium brand this year, recorded an impressive 118 percent brand value increase to US$1.5 billion by infiltrating the burgeoning Gen Z generation across the Asian market as it rises in popularity. Though many holidays were cancelled and the hospitality sector suffered,

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for the first time the Brand Finance Luxury & Premium ranking includes two hotel brands: Shangri-La (brand value US$2.0 billion) in 29th spot and Intercontinental (brand value US$1.5 billion) in 35th. But some familiar names topped the tables: Germany’s Porsche was by far the most valuable luxury and premium brand with a brand value of US$34.3 billion, making a shift towards sustainability with the Taycan while emphasising the timelessness of class and luxury with its Strategy 2025 programme. Ferrari was also highly rated with a value of US$9.2 billion, its strategy of using merchandise to support brand awareness and diversify revenue streams apparently paying off, placing it ahead of GUCCI, where brand value was down 12 percent to US$15.6 billion. In second place sits Rolex, with a brand value of US$7.9 billion. Despite the challenges of the last year, the luxury watch market has shown remarkable resilience to the pandemic turmoil, with demand remaining stable, though driven by online sales rather than through bricks-and-mortar outlets. Despite the challenges of closed retail outlets, cancelled shows and distribution problems, some things never change, among them the desirability and longevity of the best in luxury goods.  Chris Jenkins Arts & CollectionS 9

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Happenings Arts & Collections has selected a mix of the most unmissable artistic, cultural and entertainment events coming our way in 2021 – lockdowns permitting

sturm und drang Watching the Sun at Midnight at Museum Frieder Burda from August 28th, 2021 to January 9th, 2022, and Headlines from September 3rd–26th, 2021 at Salon Berlin bring together works spanning all phases of Katharina Sieverding’s pioneering and widely appreciated 60year oeuvre. The exhibitions will include videos from the late 1960s as well as her oversized self-portrait series from the 1970s to the 1990s, right up to her contemporary productions. Sieverding’s persistent treatment of contemporary German and global matters has ensured the ongoing relevance of her work over the past 60 years.  Left: Katharina Sieverding, ENCODE XIV, 2006. © Katharina Sieverding, VG Bild-Kunst © Photograph: Klaus Mettig, VG Bild-Kunst Below: Tim Rawlinson, Parallax Twist Freeblown glass, £3,500 Images © KATHERINA SIEVERDING, KLAUS METTIG/VG BILD-KUNST, TIM RAWLINSON/LONDON GLASSBLOWING

glassworks London Glassblowing’s 45th anniversary show features work from more than 30 of the UK’s top glass artists including Alison Kinnaird MBE, Katherine Coleman MBE, Nancy Sutcliffe, Colin Reid, and Tim Rawlinson. Founder Peter Layton, the UK’s oldest glassblower at 84, will pay tribute to fellow glass art pioneer Sam Herman who died earlier this year, and other pieces in the show will range from engraving to sculpting, kiln-formed works, wearable glass art jewellery and more. The show at London Glassblowing in Bermondsey Street runs from September 10th to October 2nd in the gallery and online.  10 Arts & CollectionS

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treasure trove Following an enforced break in 2020, the Winter Art & Antiques Fair returns to Olympia London, celebrating its 30th anniversary, from 2nd-7th November, with the preview on 1st November. The Fair traditionally takes centre stage in the British art and antiques fair calendar, as the gallery of the National Hall at Olympia London is brought to life with 70 of the UK’s finest specialist dealers bringing an exceptional range of over 20,000 pieces, presenting a treasure trove of irresistible art, antiques, furniture, jewellery and collectors’ pieces to discover and buy. Relevant to trade and collectors alike, the flagship event continues to focus on high quality pieces, with prices ranging from £100 to £500,000. 

Left: The Winter Art & Antiques Fair - Objects from Matthew Holder’s Collectors Cabinet, from Antiquity to Regency.

magical realism


Art installation CATACOMB HEARTS by designer Laura Shrewsbury at Modern Druid in Nyack, New York runs from September 22nd to November 1st. New Orleans-based designer-maker Laura Shrewsbury is founder of edgy and glamorous atelier Weapon of Choice New Orleans. The art pieces, inspired by Dr. Paul Koudounaris’ book Heavenly Bodies: Cult Treasures and Spectacular Saints from the Catacombs, include three adorned and bejeweled “holy relics of the Church of Rock and Roll”, and are accompanied by a unique, limitededition clothing and accessories line. Modern Druid is a boutique, art gallery, and event space in Nyack, NY, focused on cultivating the “magical lifestyle” by combining spiritual exploration with art, fashion, scent, and style. 

Below: Georg Baselitz at the studio, 2021 © Elke Baselitz 2021

Right: Catacomb Hearts clothing (Photo credit : Aries Photography New Orleans. Model: Gwendolyn Mann)

SEOUL SURVIVOR Thaddaeus Ropac Seoul will open on 6th October 2021 with an exhibition of new works by Georg Baselitz, whose historic connection with the city dates back to his first institutional solo exhibition in Korea at the National Museum of Modern and Contemporary Art in 2007. On view for the first time, the ten paintings and twelve drawings in Hotel Garni were created specifically with the opening of the new gallery space in Seoul in mind. One of the most important artists of our time, Baselitz shaped a new identity for German art in the second half of the 20th century and has had a profound influence on international art since 1960. The exhibition will coincide with the opening of the artist’s largest retrospective to date, at the Centre Pompidou, Paris. 

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COLLECTIONS // auctions


HIGHLIGHTS We bring you the most unusual, historical, attractive and eye-catching items from the world’s leading auction houses By Richard Benson

for the birds This scroll, mounted and framed, in ink and colour on paper, measures 73 x 60.5 cm. (28 3⁄4 x 23 7⁄8 in.) and depicts one of Chinese artist Huang Yongyu’s favourite subjects, cranes. Inscribed and signed, with four seals of the artist (b. 1924), the piece, To Each His Own, was acquired directly from a visit to the artist’s Beijing studio in 1992. It sold for HKD 562,500 (around £52,000) on an estimate of HKD 180,000 - HKD 280,000 at Christie’s September online auction Summer Reverie: Chinese Paintings Online including the Collection of Zhang Xinjia. 

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the cOMFY CHAIR This magnificent Louis XVI cream-painted walnut lit-a-la-polonaise, attributed to Georges Jacob from the last quarter of the 18th century, is in moulded walnut, carved and lacquered in cream, with fluted baluster uprights crowned with antique vases, and cotton cover decorated with Colefax & Fowler chinoiserie. It sold for €20,000 on an estimate of €12-15,000 at Christie’s September live auction of a Parisian pied-à-terre curated by Hubert de Givenchy. 

RING OF CONFIDENCE One of the most expensive rings to ever sell at a Birmingham auction fetched a total of £175,980 including fees at Fellows Auctioneers. The Kashmir sapphire ring, boasting over 11.9cts, sports a rose-cut diamond surround, and was sold with gemmological reports verifying its origin in the northernmost Himalayan Mountains after a landslide in the Zanskar range revealed the sapphire crystals. Auctioneer Stephen Whittaker described it as “a really superb item of jewellery.” 

al’s sweetheart

IMAGES: © christie’s, fellows, witherell’s

Highlight of an auction of the effects of notorious American gangster Alphonse ‘Al’ Capone is this pistol nicknamed Sweetheart. Capone’s surviving granddaughters are auctioning many of the mob boss’s treasures including the 1911 semi-automatic Colt, with an estimate of $50,000, letters to his son he wrote from prison, a platinum Patek Philippe pocket watch monogrammed with 90 single cut diamonds starting at $12,500, and a matching monogrammed pocket knife. Sacramento, California-based auctioneer Witherell’s said it has authenticated the items included in the collection as belonging to Capone, who died in 1947, and will run the live auction A Century of Notoriety: The Estate of Al Capone, on October 8th. 

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subscription gift This extremely fine and rare, platinum, manual-winding, tonneau-shaped, 38mm gentleman’s wristwatch by F.P. Journe, model Chronomètre à Résonance from 1999, was first sold by subscription only. It has two independent silver and gold colour dials, each with subsidiary seconds at 6; from a limited edition of 20 examples, it sold for €650,000 on an estimate of €250,000 500,000 at Antiquorum’s Important Modern & Vintage Timepieces auction in Monaco. 

royal relic A stunning Art Deco cultured pearl and diamond bracelet owned by H.R.H. The Princess Margaret and worn for her 19th birthday photograph taken by Cecil Beaton in 1949, sold for £396,800 at Dix Noonan Webb at their Mayfair, London saleroom. It was estimated to fetch £30,000-40,000. Comprising a double row of cultured pearls bordering a millegrain-set line of circular-cut diamonds to a diamond and pearl openwork geometric clasp, it dates from c.1925. It was presented in a later fitted red leather Cartier case. It had been previously sold at Christie’s in 2006 in their prestigious auction of Jewellery and Fabergé from the Collection of H.R.H The Princess Margaret, Countess of Snowdon. Frances Noble, Head of the Jewellery Department and Associate Director at Dix Noonan Webb, said: “We are absolutely delighted with the price achieved today... It not only reflects the strength of the current auction market but also the overriding importance of provenance.” 

SILVER SURFERS A collection of six vintage sports cars that belonged to late Rush drummer Neil Peart brought in a total of $3.9 million at auction during California’s Pebble Beach Auctions on Aug. 12th-13th. The sales, organized by auction house Gooding & Company, preceded the area’s annual Pebble Beach Concours d’Elegance automotive charity event. A 1970 Lamborghini Miura P400S sold for the highest amount, at $1.325 million, while a 1964 Aston Martin DB5 sold for $675,000. 

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IN THE SWIM Arrangement in Red, White and Blue (2013) by Scottish artist Jack Vettriano (1951-) sold for £45,000 inclusive of Buyer’s Premium on an estimate of £20-30,000 at Lyon & Turnbull’s Contemporary & Post-War Art Prints & Multiples sale, after exhibition at the Heartbreak Gallery, London. The 15x12 inch oilon-canvas piece is signed on the lower right. Jack Vettriano is a controversial figure in the art world, sometimes dismissed as being populist or derivative, but his work continues to have wide appeal. His film noir-style, often erotic paintings of men and women employ a pared-down realism reminiscent of Edward Hopper, with lonely interior settings implying disconnection of the subjects from their environment and each other. Born Jack Hoggan in Methil, Scotland, the artist taught himself painting while working at other jobs including mining an engineering, and took his mother’s maiden name Vettriano in 1987. Rejected from the University of Edinburgh Fine Arts program, he submitted paintings to a show at the Royal Scottish Academy. One of these works, The Singing Butler (1992), later sold for nearly £750,000 at Sotheby’s in 2004 to become the best-selling fine art print in the United Kingdom at the time. Vettriano now lives and works in London. 



A IMAGES: © antiquorum, gooding & company/MIKE MAEZ, dix noonan webb, jack vettriano/lyon & turnbull, kate pasvol/london glassblowing

rtist and sculptor Kate Pasvol’s Ennerdale Triptych is a stunning three-part piece taken from her Ennerdale Water series and forming part of her Coast to Coast collection. The artwork is created by fusing multiple layers of low iron glass that are then cut, polished and arranged to create tableaux. The piece is inspired by the 190-mile coast-to-coast walk devised by Alfred Wainwright - a long-distance trek which crosses the country across three national parks: The Lake District, The Yorkshire Dales, and The Yorkshire Moors. “Ennerdale is the first water that you encounter in the Lakes on this walk and this work is the first of a series of pieces interpreting the highlights of my journey,” says Kate. “These pieces reflect the different changes that occur as the early morning mist disperses.” Kate Pasvol is a glass artist working in North London, with her roots in Wales. Her landscape blocks are created by using multiple layers of glass stacked in the kiln. Various types of metallic leaf are used and these react with the different surfaces of the glass to make an overall three dimensional image when the work is fired. The stacks are then cut and polished. Kate says: “I have always been interested in exploring in three dimensions through architecture and sculpture. In recent years I have been exploring the medium of glass and have become fascinated by the way it can be used to capture and manipulate light. In my glass sculptures I have tried to use these properties to convey movement.” The Ennerdale Triptych - alongside the other Ennerdale Water series pieces - will be exhibited at London Glassblowing’s 45th anniversary event, which runs from September 10th 2021 to October 2nd. The Ennerdale Triptych is on sale at £2,750. For more information visit

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The Black of Beyond

Ten years after her death, the image of Amy Winehouse still captivates artists and collectors. We look at a new book and an auction of the singer’s memorabilia


By Chris Jenkins

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hen Amy Winehouse died ten years ago, the media feeding frenzy indicated how important the singer had become in popular culture; with every part of her self-destructive history documented by the paparazzi, the tragedy of her death often threatened to overshadow the achievements of her music. Yet, as an artist with an acute and personal visual sense, Amy Winehouse remains a key figure in popular culture, her work already immortalised in exhibitions such as Amy Winehouse: Family Portrait at the Jewish Museum, London in 2017. This issue’s cover artist, street painter Pegasus, whose work Fallen Angel was one of the first artistic responses to her death, said: “I am so pleased that my Amy Angel work means so much to people. I love Amy and the world is a much poorer place without her. Her legacy will be remembered forever and the work the Amy Winehouse Foundation is doing is testimony to her kindness and love for others.”



Now a book by Amy’s stylist, Naomi Parry, offers an affectionate and evocative visual celebration which tells the definitive story of the life and career of Amy Winehouse through photographs and memorabilia and the recollections of those whose lives she touched. With her soulful voice and bold 60s-inspired aesthetic, Amy Winehouse left an indelible mark on both the music industry and pop culture. Featuring stories and anecdotes from a wide range of characters connected to Amy, specially commissioned photography of memorabilia, styled and dressed themed sets incorporating Amy’s clothing, possessions and lyrics, and previously unseen archival images, Amy Winehouse: Beyond Black presents an intimate portrait that celebrates Amy’s creative legacy.

Left: Amy Winehouse, onstage at Bush Hall, Shepherd’s Bush, London, 2nd December 2003, © Karen Robinson Right: Jarvis Cocker Fridge Raid, Coachella Valley Music and Arts Festival, Indio, California, 27th April 2007, © Jennifer Rocholl

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Pool Hall, Cousins, Seven Sisters Road, London, 4th February 2004, Photography by Diane Patrice

With kind support from the Winehouse family, interspersed throughout the book are personal reflections on Amy’s life and work, provided by her friends, colleagues and fans. These include Ronnie Spector, Vivienne Westwood, Bryan Adams, Little Simz, Carl Barât, close friend Catriona Gourlay, Douglas Charles-Ridler (owner of the Camden pub the Hawley Arms), tattooist Henry Hate, goddaughter Dionne Broomfield and DJ Bioux. Each one has a personal story to share and together their anecdotes and reflections build into a complex picture of a much admired but troubled star. Vice Culture Editor Emma Garland puts these insights into context with an introduction that highlights the principal events and achievements in Amy’s life and work, and the key characters that played a part in it. 18 ARTS & COLLECTIONS

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Organized broadly chronologically, the book features newly shot lyric sheets, sketches and ephemera together with contextual photographs and video stills, including album, single and promotional artworks and outtakes. Punctuating the story are photographs of dressed room sets each created, designed and styled especially for the book by Naomi Parry to evoke a period or aspect of Amy’s life or personality, incorporating Amy’s clothing, possessions, lyrics and other memorabilia. Naomi Parry is a creative director and curator based in London. After studying at the London College of Fashion in 2005 she began her career as Amy Winehouse’s stylist. Over the next six years she worked, travelled and even lived with Amy. She has worked with a variety of music artists and been involved in a wide range of projects in fashion, TV and film. More recently, she founded the company Future Archive to

help brands and individuals connect with more people through creative applications of their archive of work. Amy Winehouse: Beyond Black is published by Thames & Hudson at £30.



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Julien’s Auctions presents the Property From the Life and Career of Amy Winehouse auction on November 6th and 7th, 2021. Live in Beverly Hills and online at Julien’s Live, the auction will pay tribute to the British singer and songwriter, featuring some of Amy Winehouse’s most iconic stage, photo shoot and performance worn dresses, shoes, jewellery and accessories that were synonymous with the individualistic style and signature artistry of the five-time GRAMMY Award-winning retro-soul music superstar and pop diva. Along with her most personal items, all will be presented for the first time at auction. Highlighted items of this auction include wardrobe and accessories worn by Amy in her most famous and iconic looks and performances that established her not only as a singular artist of immense talent but also of individual, trendsetting style. Among the stunning items on offer will be the dress worn in her final stage performance in Belgrade in her 2011 Summer Festival Tour – a figure-hugging halter mini dress custom-made and designed by stylist, Naomi Parry, the designer behind Winehouse’s image at the height of her fame from 2006-2011. Amy’s bold red leather heart-shaped purse with velvet lining used at the 2007 BRIT Awards, custom-made and designed for her by Moschino, is another iconic look associated to the singer. Other stage worn wardrobe include a black Tina Kalivas slender fitting skirt with orange dots in a geometric pattern worn by Winehouse at the 50th Annual GRAMMY

Awards in 2008, when she won five of the six awards for which she was nominated. Pieces by Dolce & Gabbana include a D&G slender knee-length leopard print pencil skirt that was hiked up into a mini skirt worn by Winehouse for her performance at the 2008 BRIT Awards. Highlighted items will tour around the world in South America, Europe and the U.S. for the public to view prior to the auction. A portion of the proceeds from the auction will benefit The Amy Winehouse Foundation, established by her parents Mitch and Janis Winehouse with its mission of raising awareness and support for vulnerable young adults with addiction problems. 

Amy: Beyond The Stage Running from November 26th at the Design Museum, London is Amy: Beyond the Stage, telling the story of Amy’s early career through her recordings and teenage notebooks. The exhibition explores the outfits she wore during her greatest performances, and shows handwritten lyrics and personal items that have never been exhibited before, including her blue Daphne Fender Stratocaster guitar. To celebrate the anniversary of Amy’s birthday and the launch of the exhibition, a hand-painted mural will be displayed for two weeks on Camden High Street. 

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If Looks Could Kill

We’ve waited long enough, but at last James Bond movie No Time to Die has been released. What is it about Bond’s style that still attracts us to the “sexist dinosaur”? By Manny Berhanu


ecret agent James Bond makes his 25th (official) on-screen appearance in No Time to Die, in a return to our cinema screens which has been delayed by the pandemic for a year and a half. Actor Daniel Craig’s swansong in the part, the movie marks Bond’s retirement – but we know the ‘sexist dinosaur’, as his boss M once called him, will be back for more. Apart from the action and the womanising, part of the appeal of Bond has always been his sense of style. Here are some of the most stylish and elegant pieces worn by Bond in the new movie. 1. Crockett & Jones Highbury shoes Bond’s footwear is always of the highest quality and this remains the case in the film as he is spotted wearing Crockett & Jones Highbury shoes, also worn in Spectre and Skyfall. This model is a plain fronted three eyelet derby shoe made from the finest calf leather with single Dainite rubber soles. 2. Rogue Territory Waxed Ridgeline Supply Jacket Bond’s rough and ready side comes out with this Rogue Territory jacket, seen in the movie when Bond enters his Aston Martin V8 Vantage from a garage. The jacket worn by Bond is a model without lining and features four pockets. 3. Barton Perreira Joe Sunglasses The Joe is a lightweight, simple and polished black classic rectangular style frame with mineral glass lenses, finished with an all-black colour to give it the ability to be worn with smart or casual clothing. These sunglasses can be spotted on Daniel Craig in one of the first official images for the film, worn with his Tom Ford suit. 20 Arts & CollectionS

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4. Omega Seamaster 300M No Time To Die Watch Bond has worn Omega watches for 26 years since Goldeneye. The new movie features a model from Omega’s collection from February 2020, boasting a ‘tropical’ brown dial with preaged, oversized hour markers, in addition to a distinguished mesh bracelet. The watch is composed from titanium, making it lightweight and everlasting. 5. Tom Ford O’Connor Grey Prince of Wales Suit This elegant and sophisticated Tom Ford jacket features a Prince of Wales or ‘Glen’ check pattern, two front pockets with flaps and three black buttons at the cuff. They suit is worn with O’Conner tailored trousers. This outfit was spotted in one of the very first promotional photos released, which pictured James Bond in London alongside his famous Aston Martin V8 Vantage. This is not the only time Daniel Craig has worn this jacket as back in June 2019 the actor wore the suit when Prince Charles, the Prince of Wales visited the Bond set. 6. N.Peal Navy Ribbed Army Sweater This sweater can be seen worn by 007 in the original poster for No Time To Die. However, it did receive mixed responses. Why was Bond not wearing his signature tuxedo? Well, when you think about Bond’s history as a commander within the Royal Navy, the image makes sense. The sweater is British military styled and features a ribbed commando design in dark blue, with elbow and shoulder patches and a drawstring cord around the neck area. N.Peal sweaters have been worn by 007 in previous films Spectre and Skyfall.

Watching Bond A limited edition set of James Bond watches smashed its auction estimate and sold for a full price of £4,402.20 at Fellows Auctioneers a week prior to the release of No Time To Die. These limited-edition watches from a private collector, gifted in a sleek and stylish presentation suitcase were estimated to sell for between £2,000 - £3,000 in the Watches & Watch Accessories auction, but the final selling price was double its low estimate. The Swatch collection was originally released on the 40th anniversary of the first film - between Pierce Brosnan and Daniel Craig’s stints as 007. Across the world, only 280 of these sets exist. There are 20 timepieces in the set, each relating to a different Bond movie, covering 40 years of cinematic history from Dr. No released in 1962 to Die Another Day released in 2002. As a limited collection, they are all numbered 139 of 280 ever made. The quartz watches were created in the style of their film, with the straps and dials also featuring their film titles and the 007 wording. Previous Swatch Bond releases have featured villains and a Q collection, and the character of Q sports a newer 007 Swatch watch in No Time To Die. Kes Crockett, watch specialist at the family-run firm of auctioneers and valuers, Fellows Auctioneers, said: “It is no surprise that the James Bond collection was one of the top lots in the Watches & Watch Accessories sale. The suitcase featuring the 007 markings is very cool and unique to our auctions. “There was a bidding war amongst four separate bidders as each was keen to get their hands on this unique set.” A case of Bid and Let Die, then? 

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Redefining Luxury For 60 Years A haven for the world’s most discerning travelers, find yourself nestled between the tranquil, turquoise waters and lush, emerald jungle of Paradise Island, most notably featured in Casino Royale [2006].

Experience the legacy and glamour of the Resort’s expansive Versailles Gardens and 12th Century Cloisters. Dine on lavish fare at DUNE by Jean-Georges or live like Bond at Martini Bar & Lounge.

This private oasis offers rooms, suites, villas and residences designed in contemporary Bahamian beach chic and traditional Caribbean elegance. From romantic rendezvous to family escapes, the serenity of The Ocean Club beckons you home.

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To continue dreaming, please visit Follow us on Instagram @fsoceanclub +1-561-931-0620

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INVESTING IN ART Without Breaking the Bank We challenged leading UK galleries to come up with an art investment on a budget of £10,000 – this is where they suggest you could best spend your money

Clara Krzentowski, London gallery director “A vase can as well be a useful furniture, a valuable object and an artwork. All the pieces at Galerie kreo are manufactured using traditional European techniques and expertise.” “Among them stand the most illustrious European craftsmanship institutions and a selection of pieces by the most renown and requested designers around the world. With their innovating design, they create the avant-garde and shape tomorrow’s interior aesthetic.”


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ABOUT THE GALLERY Galerie kreo is recognized as one of the most influential furniture galleries on the international scene. The gallery defines itself as a “research laboratory” dedicated to the production of contemporary pieces in limited editions, created exclusively for the gallery, by the greatest contemporary designers. In parallel with the contemporary production, the gallery also presents a selection of exceptional French and Italian 20th century lighting. Galerie kreo is primarily based in Paris and recently opened a new space in London. The inaugural show will be a Marc Newson exhibition featuring a collection of beautiful shelves. 

Seen here: Jean-Baptiste Fastrez vases Ra, Osiris, Anubis - prices ranges from €5-10,000



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“If your budget is £10,000 and you’re looking for an investment piece, I would highly recommend a David Shrigley original. At £7,800, it’s not far off some of his print prices, which means his originals market hasn’t quite caught up with the print market and therefore has more room to appreciate. Shrigley’s original works on paper aren’t as accessible as the prints, making the opportunity to acquire one at primary market value fairly rare. The five originals that will be showcased at Extraordinary Objects have been selected not only for their comical and aesthetic value, but also I think the text resonates with everyone. Stand out prints for me are I’ve Never Seen You, I Cannot Live Without You, and You Will Not Stop Me From Singing. Animals are highly popular amongst David Shrigley collectors, and if you wanted a triptych with various comical creatures these will look great as a set. Animal-themed prints by Shrigley have recently hammered on average approximately 50 - 250% higher than their estimates at established auction houses, and tend to sell out within minutes of their release.”

I would highly recommend a David Shrigley original - at £7,800, it’s not far off some of his print prices... and therefore has more room to appreciate - Carla Nizzola, Extraordinary Objects

ABOUT THE GALLERY From contemporary art and sculpture, to natural history and antiquities, the Extraordinary Objects collection contains a carefully curated selection of unique pieces, from the contemporary to the pre-historic. There is no specific genre that defines the collection; each object is chosen for its extraordinary nature and the sense of wonder it invokes. Pieces range from £100 to £100,000, but, with not all items for sale, Extraordinary Objects is as much a museum as it is a gallery. The upcoming exhibition My Artwork Is Terrible and I am A Very Bad Person will feature the work of British artist David Shrigley and will run from October 1st – December 4th 2021. 

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artS // BUYING

Elizabeth Xi Bauer, LondoN Edward Sheldrick, Co-founder “Nearly all of the most internationally demanded artists have gone through a process of being recognised as phenomenally talented early in their career. When art experts that run and make decisions for leading exhibitions and museums decide to collect and exhibit these artists, they become progressively validated. The greater the points of validation, the greater the chance of demand increasing.” “As we have seen with the world’s most successful art collectors, it is always best to follow the expert advice of the art museums. Another very successful strategy collectors have adhered to is to collect pieces from important exhibitions.” ABOUT THE GALLERY Founded in 2015, Elizabeth Xi Bauer is a contemporary art gallery based in SouthEast London, an area that has quickly become an art hub. It sources partially validated artists and promotes them to become international museum-grade artists, collected by the likes of Tate, Museum of Modern Art, British Museum, V&A and the Centre Pompidou. With this level of validation achieved, these artists become ripe for launching into the secondary market, following the paths of the most demanded artists with prolific auction results.  Above left: Abraham Kritzman, In His Shoes, 2020, Oil on wood, 60 x 50 cm, £6,900

As we have seen with the world’s most successful art collectors, it is always best to follow the expert advice of the art museums - Edward Sheldrick, Elizabeth Xi Bauer

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BUYING // artS

Levan Lagidze’s message is to share experiences in harmony and gratitude - Katrine Levin, Katrine Levin Galleries

Katrine Levin Galleries, London Katrine Levin, Founder


“Exclusively represented by Katrine Levin Galleries, Levan Lagidze is one of Georgia’s greatest living artists, with admirers from across the globe and work in permanent Museum collections in Georgia, Russia, and the United States. His textured and vibrant pieces are contradictions – both abstract and not, giving all elements – the earth, the sky, our cities a strong sense of equality. His work is full of energy. Paint is applied thickly using a palette knife; colour is rhythmic and harmonious and each canvas is carefully constructed using a complex grid-like structure. He paints within paintings – art within artworks; a mosaic of individual elements that make a masterpiece.” “Prices have been growing rapidly but are still lower than by equally well-established counterparts in the West, allowing for a window of opportunity to afford a true master. A medium format piece (73 x 60cm) is £5,900 and playful small works (35 x 32cm) are only £2,800. For now…!” ABOUT THE GALLERY Katrine Levin Galleries is not a place, it is a destination to Extraordinary Art from Places Less Explored. Art that elevates, inspires and leads to unexpected pleasures and discoveries; Art from unique cultures by great artists you won’t find elsewhere; and Art of enduring value. They regularly exhibit in London, New York, and online. Their next exhibition, Promise, featuring new works by Levan Lagidze, will be held at D Contemporary in Mayfair, London, 15th-27th November 2021.  Right: Levan Lagidze, My Journey, Composition 1

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London Glassblowing “I have often said that contemporary glass is the Cinderella of the art/craft scene, and although still relatively undiscovered, and therefore underpriced, I now feel that as this ‘new’ medium becomes more sophisticated and collectable, studio glass has arrived at the ball and will be there long after midnight. Tim Rawlinson, one of its rising young stars, apprenticed at London Glassblowing. “His fascination with the way light passes through glass informs his brilliantly conceived artworks, which exploit the optical interplays, refractions and distortions of light, colour and form, to continually challenge our perception. There is no doubt in my mind that work of this nature presents extraordinary value for money and will only increase through time.” 28 Arts & CollectionS

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ABOUT THE GALLERY Founded in 1976 by Peter Layton, London Glassblowing is currently celebrating 45 years since its inception. The iconic gallery and studio has hosted and fostered hundreds of artists under its roof. Most recent examples include Elliot Walker, who won Netflix glassblowing show Blown Away 2, plus others such as Layne Rowe and Tim Rawlinson. The 45th Anniversary Invitational Exhibition runs until October 2nd 2021.  Images © LONDON GLASSBLOWING/ALICK COTTERILL

Peter Layton, Owner and Founder

Seen here: Tim Rawlinson, Liquid Light, Freeblown glass, polished, H37 x W25 x D10cm, 12kg, £5,000

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HOFA, London Simonida Pavicevic, co-founder “Mary Ronayne’s work is unique in the way that she uses enamel paints, and her artworks tend to be medium to small in size (100 x 70cm or less), which is ideal for display in a variety of spaces. Mary creates her fluid, whimsical portraits and compositions are using a special technique combining enamel and matte paints. “In fact, there aren’t many contemporary artists who use the same technique because it takes a long time for the paints to dry. Mary basically paints on wood lying flat and leaves it to dry before she hangs it on a wall to view it properly. Her paintings look and feel like porcelain and I think people will find themselves drawn to Mary’s work not just because of their porcelain finish but also because the scenes and people they portray are very relatable.” “The works she’s showing in a solo exhibition at HOFA this October are very quirky and playful, and honestly, I have clients who literally like 10 of her works and who end up buying a few because they find it hard to choose just one piece.”

I think people will find themselves drawn to Mary Ronayne’s work - Simonida Pavicevic, HOFA

Images © HOFA

ABOUT THE GALLERY Since its inception in 2012, HOFA Gallery (House of Fine Art) has specialised in contemporary art by established and emerging international artists. HOFA is determined to feature a multitude of artistic disciplines with an intent focus on exceptional talent, diversity and cultural relevance. Dedicated to supporting rare talent and making their work globally accessible, the gallery works closely with all of its artists to ensure the highest level of excellence and integrity across its locations in London, Los Angeles and Mykonos. 

Seen here: Mary Ronayne, Bathing In Meredith’s Backyard, 2021, enamel on wooden panel (100 x 70 cm), enquire for price

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Diana Tupilis’ artistic style blends centuries-old symbolism and decorative art with a contemporary approach - Matthew Navin, Pictorum Capitis

Pictorum Gallery & UMA Gallery, London Matthew Navin, CEO and Founder, Pictorum Capitis Two artists that have caught the eye of collector and patron, Matthew Navin Boogie Moli and Diana Tupilus - both have a unique style and use various mediums to create their visions. “Boogie Moli is an acclaimed graffiti artist whose works graces the walls of everyone from Raheem Stirling to the upscale Yours Restaurant in Manchester. 30 Arts & CollectionS

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Inspired by the ability of Basquiat to combine colour and form, Moli endeavours to express his own individuality as an artist through utilising the visual excitement of graffiti.” “Diana Tupilus’ artistic style blends centuries-old symbolism and decorative art with a contemporary approach. Her artworks trace the subject’s heritage by visually entrenching their culture across the entire piece through the incorporation of traditional, emblematic designs.”

ABOUT THE GALLERY Founded in 2018 by entrepreneur Matthew Navin, Pictorum Capitis is an emerging art investment gallery group that acts as an incubator and patron for contemporary talent, disrupting the entry barriers of the art market for the next generation of collectors and artists. Their gallery start-up, UMA Gallery, based in Loughton will be opening in October 2021 and their flagship, Pictorum Gallery, will follow suit in Mayfair in February 2022. 


Seen here: Diana Tupilus, Evelyn, enquire for price

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At Last,

the Macklowe Show After legal battles, pandemic delays and much anticipation, Sotheby’s has finally announced dates for the sale of The Macklowe Collection


he sale of the Macklowe Collection, the property of New York construction tycoon Harry Macklowe and his wife Linda, has been much anticipated. Following the couple’s bitter divorce, lengthy legal proceedings and a hard-fought contest for the auction rights, Sotheby’s announced the sale last year, only to be forced to delay it due to the pandemic. Now it’s all back on track, with a global livestream event in early September revealing details of the forthcoming landmark sales of The Macklowe Collection - one of the most important art collections, of any kind, ever to come to the market. Each of the 65 works is a consummate masterpiece in its own right; together they constitute an unrivalled ensemble that charts the high points of Western artistic achievement of the last 80 years. Acquired over the course of half a century, the collection is the fruit of decades of searching, honing, and refining, driven by immense patience and an innate understanding of quality. Estimated to realise in excess of $600 million - the highest estimate ever placed on any collection to come to auction - The Macklowe Collection will be offered across two dedicated evening single-owner sales at Sotheby’s in New York, on November 15th this year, and in May 2022. The first of the two sales will feature 34 works which together encompass an extraordinary breadth of 20th- and 21stcentury art, ranging in date from the 1940s to works painted less than a decade ago. Many artists – among them Jeff Koons, Brice Marden, Agnes Martin, Sigmar Polke, Gerhard Richter, Cy Twombly and Andy Warhol – are represented by multiple works, each marking a distinct moment in their careers, and together forming an 32 Arts & CollectionS

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insightful portrait of the artists’ evolution. The highlights of the show say a good deal about the breadth and quality of the collection. Alberto Giacometti’s Le Nez, (above) conceived in 1947, was cast circa 1964. One of the artist’s most important and powerful sculptures, the striking form of the figure suspended within a cage evokes the fragility, aggression and tension that lie at the heart of Giacometti’s art. Mark Rothko’s No. 7, 1951, (opposite, top right) dates from the key moment during which Rothko developed his signature style of abstraction and mature mode of artistic expression. The towering scale of the painting encourages deep contemplation and a profound optical experience.

Andy Warhol’s Nine Marilyns, 1962 carries an estimate of $40–60m. Of the 20 images of Monroe that Warhol created after her death, there are only six serial Marilyn paintings in which her face is repeated in nine or more screens. This is one of just two from this group in private hands. Cy Twombly’s Untitled, 2007, (opposite, bottom left) has an estimate of $40–60 million, and is one of a group of six monumental paintings known as A Scattering of Blossoms, inspired by the haiku of the 17th-century Japanese poets Bashõ and Kikaku. Gerhard Richter’s Seestück, 1975, has an estimate of $25–35 million. Emanating celestial light on a spectacular scale, this

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Images © SOTHEBY’S


piece is illustrative of the aesthetic and conceptual mastery that have come to define Richter’s revolutionary body of work.

in 1928; this version was enlarged and executed in 1962 and refers to the Cubist forms that Apollinaire championed.

Willem de Kooning’s Untitled XXXIII from 1977 (estimate $12–18 million) and Untitled IV (above, top) from 1983 (estimate $10–15 million) are both major milestones in the development of de Kooning’s art, each testifying to his works’ unbridled glory of colour and majesty of paint.

Sigmar Polke’s Rasterbild mit Palmen, 1966 (above, bottom right) has an estimate of $8–12m. An early triumph of Sigmar Polke’s iconic Rasterbilder (dot paintings) from the 1960s, Rasterbild mit Palmen marks the beginning of half a century of radical experimentation pursued by the artist over the course of his career.

Pablo Picasso’s Figure (Projet pour un monument à Guillaume Apollinaire) has an estimate of $15–20 million. Conceived

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Highlights from The Macklowe Collection are now on view to the public in Sotheby’s

New York galleries until September 12th, after which highlights from the November sale will be exhibited around the world, in New York, Taipei, Hong Kong, London, Los Angeles, and Paris. Overview details on the collection are currently to be found on www.sothebys. com, where the full catalogue complete with essays, videos and interactive features will be available later this autumn. Once the collection returns to Sotheby’s New York galleries ahead of the sale in November, there will also be a full virtual and physical program of talks, tours and other events.  Arts & CollectionS 33

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Time for Giving The return of the OnlyWatch charity auction once again showcases the finest in luxury timepieces. By Manny Berhanu

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by manufacturing a limited-edition luxury watch piece of their own. Over the years, manufacturers such as Patek Philippe, Chanel and Tudor have helped raise substantial amounts of money towards scientists’ research into genetic diseases. Luc Pettavino founded the charity auction after his son was diagnosed with Duchenne muscular dystrophy. He tragically passed away at the age of 21, but Pettavino’s courage never faltered in his mission to help others. As President of Association Monégasque contre les Myopathies, Pettavino has expressed that researchers backing the association “have reached the promising stage of preparation for a first clinical trial in 2022, with the reasonable

hope of changing the lives of thousands of young people and families.” As the ninth edition of the OnlyWatch charity auction gets ever closer, we look at some of the finest and most luxurious timepieces that will be on show at the forthcoming auction. Find out more at

BREGUET – TYPE XX ONLY WATCH 2021 This piece (above) pays tribute to the civilian versions of the Type XX chronograph introduced from the 1950s and 1960s. This precise re-make of Breguet’s renowned pilots’ watch keeps its original 33.30mm diameter, featuring a bronze-coloured dial,



he highly anticipated biennial charity auction of luxury watches returns this November for its ninth edition, again aiming to raise funds for research into Duchenne muscular dystrophy. Since the auction’s inception in 2005, OnlyWatch has raised €70m, due to the generosity of watchmakers, donors, partners and coverage, with this year’s auction aiming to add significantly to the total. The auction will once again be held under the High Patronage of H.S.H Prince Albert II of Monaco, and for the third time is located at the Four Seasons Hôtel des Bergues in Geneva. Fifty-four world-renowned watchmakers will be participating in this year’s auction

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a nod to the extremely rare original models that were coloured this way. This version is held together by a screwed steel case back that contributes to its water-resistant ability of up to 30 metres and features a small seconds sub dial at nine o’clock, and a 30-minute totaliser at three o’clock with an increased diameter, luminous markers and the teardrop-shaped hand.

LOUIS VUITTON – TAMBOUR CURVE GMT FLYING TOURBILLION, ONLY WATCH 2021 This vibrant-looking timepiece (right) is certainly one of the more colourful watches that will be auctioned in November. Its warm, bold and innovative look provides a contemporary signature of Louis Vuitton’s watchmaking collection, adding to their Tambour collection. The 46mm titanium case, with antireflection sapphire crystal encloses a self-winding mechanical movement, the LV 82 Calibre, constructed by La Fabrique du Temps Louis Vuitton. The vibrancy can be explained when focusing on the dial which features a red-to-yellow gradient effect on the base and indexes featuring orange striped sapphires, reflecting the colour code of the charity auction.



Following the 2019 J12 duo that made history, being the first pair of watches to be sold together in OnlyWatch, Chanel has returned with another edition of the matte black and white pairing (right). The J12 PARADOXE comes with a unique design with a high degree of technicality, cutting without breaking two highly resistant ceramic cases of different colours and combining them to make one case. The timepieces are water resistant up to 50 metres and are fittied with the selfwinding Calibre 12.1 movement developed exclusively for Chanel, chronometer-certified by the COSC.

BLANCPAIN - TRIBUTE TO FIFTY FATHOMS NO RAD FOR ONLY WATCH This watch is inspired by an iconic Blancpain historical timing instrument and joins the ranks of the rare and highly prized “No Rad” collector’s items, coveted by watch

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enthusiasts. The model created for Only Watch (right) is distinguished by a chapter ring, hands and a bezel time scale featuring orange-coloured Super-LumiNova. Bespoke to this special piece, this acidulous shade refers to the colour representing Only Watch. The dominant element on the dial remains the “no radiations” logo, whose original yellow and red colours have been replaced by orange and yellow, respectively.

HUBLOT – BIG BANG TOURBILLON ONLY WATCH Similar to the Louis Vuitton piece here, this Hublot creation (not shown) comes with the exuberant colour code of Only Watch 2021. The straps are key to this exuberance, as the watch is supplied with two interchangeable rubber straps in white and OnlyWatch orange. The colour theme continues as five of the 42 components with the 45mm case are cut in transparent, orange-coloured sapphire. The MHUB6035 calibre is entirely designed and produced in the Hublot Manufacture and features a self-winding system ensuring a power reserve of up to 72 hours. On the dial-side, the micro-rotor is visible which enhanced the contemporary nature of the design, finishing off a watch that is both spectacular and sophisticated.


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This watch (right), inspired by the 2021-launched Defy 21 Felipe Pantone, is made of a transparent sapphire 46mm case that reveals an open worked dial, a first in Zenith’s Defy collection, enclosing an El Primero 9020 movement. It is controlled by two independent tourbillons, which function at 5Hz for the timekeeping basis of the movement and 50Hz for the 1/100th of a second chronograph, rotating at rates of 60 seconds and five seconds respectively. The piece is then finished off by “rainbow” PVD coated bridges and a black laser-engraved main plate. The hour markers are covered with a “rainbow” varnish accompanied with the “rainbow” PVD coloured watch hands. The watch will come with a special watch box, signed by the artist himself.

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RICHARD MILLE - RM 6702 CHARLES LECLERC PROTOTYPE This watch (above) was designed to be like a second skin for F1 Driver Charles Leclerc, permitting a sort of ‘symbiosis’ with him. With its satin-finished, bevelled hands and sharp lines, the in-house extra flat calibre CRMA7 actively conveys a sense of strength and power. The tight, taut lines of the rotor, crafted of Carbon TPT and white gold, the bridges and the DLC coated grade five titanium baseplate sharply underscore the sporty quality of this timepiece. The case is crafted in red and white Quartz TPT, composite materials exclusive to Richard Mille possessing extraordinary shock resistance. The comfort strap, entirely seamless, perfectly fits the contours of each wrist, adapting to individual morphology. As the lightest strap the brand has ever created it makes the RM 67-02 the lightest automatic watch of the Richard Mille collection.

ATELIER DE CHRONOMETRIE - AdC21 ONLY WATCH This watch (above, right) provides a more

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stylish and simplified style with a unique timepiece made to symbolise human warmth. True to this concept, the case is developed using the warmest material; 18k pink gold. The stepped shape of the lugs gives a graceful touch to the overall design that is completed by a timeless two-tone pink sector dial with leaf pink gold, and blued steel hands. The result is a noticeable “pink on pink” look. The attractiveness of this indirect centre seconds calibre is characterised by the elegance of the 18k pink gold-plated tone of the bridges, combined with silver accents of the rhodium plated wheels and other parts. A lavish mixture of high-end traditional finishes like handmade frosting, anglage, perlage, étirage des flancs, colimaçonage, polished countersinks, black polish and polished teeth make this timepiece unique.

brand presents a watch that is multifaceted, multiverse and multi-talented. With a length of 43.30 mm and width of 25mm, the case is machined from three blocks of sapphire, with a grade five titanium crown and a sapphire caseback. Movement is powered by the hand-wound BR-CAL 206, and each part of the watch - the case, crown, skull and crossbones - is structured within the many faces that sculpt the surfaces, creating volumes and a 3D image. 

BELL & ROSS - BR 01 CYBER SKULL SAPPHIRE ONLY WATCH Despite the traditional monochromatic theme found on Bell & Ross SKULLS models, this model (right), exclusively made for Only Watch 2021 adopts a brighter orange skull embedded within, as the Arts & CollectionS 37

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How wealth management company Mirabaud is supporting artists and sponsoring creativity


irabaud's active commitment to contemporary art goes well beyond its extensive collection. In line with the values of the group, a pioneer in sustainable and responsible finance, this approach supports not only today’s artists, but also the institutions and events that help bring art to a wider audience, such as the MAMCO museum in Geneva, the Quartier and Nuit des Bains events, the FIAC Hors les Murs and the Zurich Art Weekend. Mirabaud’s commitment reflects the importance of artistic creation in our society, that unique endeavour that challenges us to question ourselves or to look at the world anew. For more than 200 years, Mirabaud has been guided by these values, reflecting about the place of the individual in the world and standing alongside creators. To make its collection as accessible as 38 Arts & CollectionS

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Emerging Committed to the artistic avant-garde since its founding in 1819, the diverse Mirabaud art collection reflects a pluralistic view of our common history and today’s world, bringing together emerging artists including Omar Ba, Antoine Roegiers and Fabien Marti, and confirmed talents like Marina Abramovic, Not Vital, Thomas Ruff and Olafur Eliasson. Mirabaud supports young creators including Swiss and foreign artists, acquiring works and, above all, promoting creativity and innovation. Mirabaud’s living collection constitutes a strong bond that unites the company with its clients and colleagues, who are all invited to share in this unique experience.  Learn about Mirabaud’s collections and arts patronage at


Art and Endeavour

possible, Mirabaud has put the complete catalogue of its collection online, and also lends its works to institutions, allowing the public to see them up close. This commitment extends to the integration of art into the urban landscape, where dialogue between town planning, architecture and creation contributes to enlivening cities. Mirabaud supports the annual FIAC Hors les Murs, which displays sculptures and installations in emblematic public places in Paris, and on the occasion of its bicentenary in 2019, donated to Geneva the work Moon by Swiss artist Not Vital. The monumental sculpture now adorns the Plaine de Plainpalais in the centre of the city. Mirabaud also integrates art into the city, including by illuminating the façade of its company headquarters, which has become a canvas for a Swiss artist Emilie Ding’s work How High You Can Count.

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The Hole Series, 1997 Colour coupler prints in artist’s frame, Artist proof (Ed. 3 + 1AP), 15 parts, each 27.9 x 34.3 cm

OLAFUR ELIASSON How contemporary art echoes sustainable finance

The Mirabaud Group is actively committed to sustainable and responsible finance, an area in which it is a pioneer. The Group, a signatory of the United Nations Principles for Responsible Investment (PRI) since 2010, supports Swiss Sustainable Finance, Sustainable Finance Geneva and Building Bridges. It also promotes internal initiatives responding to environmental challenges and helps raise public awareness about these issues through contemporary art. The works of artist Olafur Eliasson featured in our collection are emblematic of this commitment. A major artist on the international scene, the Icelandic creator, who recently exhibited at the Beyeler Foundation in Basel, puts us before essential questions about the environment and the power of nature. Eliasson is greatly inspired by the mysterious beauty of Iceland’s landscapes, which he expresses in a variety of mediums, including sculpture, photography and works on paper. The countless nuances of texture and colour of the wild and lunar Icelandic universe are infinitely poetic, elevating the most trivial subjects.

I was immediately touched by his work, which I discovered in 2003 at the Venice Biennale. Today, Eliasson is an important part of the Mirabaud Contemporary Art Collection. Indeed, we have dedicated an entire conference hall to him at our head office - a space that, fittingly, is a favoured location for the meetings of our CSR Committee. The photographs in "The Hole Series" celebrate the multitude of different forms that nature offers on a single motif. The series, shot in Iceland, is the unique visual experience of a set of fifteen natural cavities. Through the ambiguity of patterns and spaces present in the wild, Eliasson celebrates nature’s power and its extreme fragility. Mirabaud Group is an international banking group that provides a clientele of private and institutional investors with highly customised investment, private banking and asset management services. Founded in 1819, and led by the 7th generation of entrepreneurs, we have expanded offices in Switzerland, the UK, France, Spain, Luxemburg, UAE, Canada, Brazil and Uruguay. Mirabaud & Cie.indd 1

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Protecting the

Red House The former home of composer Benjamin Britten and tenor Peter Pears thrills with an eclectic collection of contemporary art


By JULIE WEBB, Aston Lark Private Clients director

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he former owners, composer Benjamin Britten and tenor Peter Pears, owned a dachshund, so the ‘beware of the dog’ warning written in Greek on the gate of The red House gives a hint both of the musicians’ humour and of their shared appreciation of Greek history, art and architecture. Part of the newly formed Britten Pears Arts, The Red House also features a wonderful collection of work by 20th century artist John Craxton who captured the sunshine, sailors, goats and gorges of Crete. Here in the Red House garden in Aldeburgh, we met Roger Wright, CEO of Britten Pears Arts, an Aston Lark commercial client, to talk about the recent amalgamation of Britten Pears Foundation (based at The Red House) and Snape Maltings, a musical hub established by Britten and Pears in the late 1940s. Roger said: “Not much happened in the music world during the pandemic but we did manage to join the hands of The Red House and Snape Maltings in March 2020. “It made complete sense. After Britten and Pears’ deaths there were two parts of the legacy represented by the two sites; the Red House, its heritage and collections – and Snape Maltings with the music activity which had started in 1948 with the Aldeburgh Festival. “The Britten Pears Foundation at The Red House was in receipt of the Britten royalties and managed the archive and its collections while Snape focused on music; from concerts featuring the world’s top musicians and the Young Artists’ programme, which celebrates its 50th anniversary in 2022, to community music making and creative health.”


LEGACY “With a combined board we can now better protect the business and the legacy, responding to the world we now live in. “Since the pandemic, like all musical institutions, we have been hit by a drop in finance, such as no royalties from operas and few ticket sales. “The end of the copyright period will come in a couple of decades and we need time to prepare for that change. “Our future is now very bright and there has been a real sense of people coming together – from agents, publishers, composers, performers and production

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communities alongside the realisation of the importance of volunteers and vital necessity of philanthropic support. “Our audiences, visitors and customers have been incredibly supportive and we have sold out concerts – and that is amazing, being in the countryside with an 850-seater international concert hall and a 350-capacity Britten studio in a catchment area which is primarily the North Sea!” The Red House captures the 1960s era with joie de vivre and while most visitors have an interest in Britten and Pears’ music, seeing some of the 1,200-piece art collection alone is worth a visit. The Craxton collection, painted during the 1940s, is a highlight, including as it does Landscape with Flowing Stream, The Mill, Alderholt and Two Greek Dancers (detail, above). Work by Britten and Pears’ friends Mary Potter, John Piper and Sidney Nolan are also featured and visitors will also be taken by a portrait of Britten and Pears by Maxwell Armfield in 1969. It shows the two men with Snape Maltings Concert Hall in the background. Evidently, the artist was never happy with the outcome; the picture originally showed Pears with his arm around Britten’s shoulder, but this was painted out (fortunately a photographic record shows this stage of composition). The eclectic collection also includes

some 19th century gems such as William Blake’s St Paul Striking the Viper at Melita (1803), John Constable’s Portrait of Charles Golding (1824) and a number of etchings and an undated oil, Draining Mills at Crowland, by East Anglian master John Sell Cotman.

Art collectors Given that art lovers are willing to pay large sums of money to own a piece that they find mesmerising and evocative, another issue follows logically: protecting it properly with insurance. Any damage to a piece of art or an antique could cause an emotional upset as many pieces are one of a kind and have sentimental value. Aston Lark are specialists in finding the right insurance solution for art and antique collections. We understand the value of a good policy and will help you protect your investment.  To speak to us about your artwork insurance call 020 8256 4901, or email The Red House opens Thursday to Sunday, 11am to 5pm (last admission 4pm). Entry £8.50 adult (valid for one year), Free - under 16s, NHS staff and carers accompanying disabled visitors. Booking is required. Visit Arts & CollectionS 41

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THE TRUTH TRUTH WILL WILL PROTECT PROTECT THE YOU BETTER BETTER THAN THAN THE THE YOU WRONG INSURANCE INSURANCE WRONG Are you confident your artworks are Are you confident insured properly? your artworks are insured properly? Their value is always changing. And the Their is always changing.and Andsomething the truthvalue is if you’re underinsured truth is if you’re underinsured and something happens, your policy won’t cover the full cost happens, policy won’t cover the full cost of a repairyour or replacement. of a repair or replacement. Our private client insurance brokers make Our client insurance sureprivate that doesn’t happen. brokers make sure that doesn’t happen. We understand the importance of making We theare importance of making sureunderstand art collectors insuring their fine art sure art collectors are insuring their and treasured items correctly. We’refine up art to and treasured items correctly. We’re up to date and open about their value, and can date and their value, andyou can deliver onopen a riskabout strategy that keeps well deliver on a risk strategy that keeps you well protected. Better you hear the truth from us protected. Betteryour youinsurer hear the truth from us now, than from later. now, than from your insurer later. To book your personal consultation To book your personal consultation visit visit or call 020 8256 4901 or call 020 8256 4901 Private Clients Private For theClients exceptional For the exceptional Aston Lark Limited is registered in England and Wales, No. 02831010. Registered office: Aston Lark Limited is registered in England and Wales, No. 02831010. Registered office: Ibex House, 42-47 Minories, London, EC3N 1DY. Aston Lark Limited is authorised and regulated Ibex House, 42-47Conduct Minories, London, EC3N 1DY. Aston Lark Limited is authorised and regulated by the Financial Authority, No. 307663. by the Financial Conduct Authority, No. 307663. AL-PC-053-0721

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WHY USE A BROKER TO INSURE ART AND ANTIQUES Art and antiques are an investment. Although it might seem a tad calculating to mention it, the financial value of a work of original art by an esteemed artist, for example, often appreciates steeply after their death. And given that art lovers are willing to pay large sums of money to own a piece that they find mesmerising and evocative, we think another issue follows logically: protecting it properly with insurance. Money from an insurance payout can’t fully compensate for the loss of a wonderful piece of art, however it can be of practical benefit to investors who are at least protected from losing the financial value of their items as fine art doesn’t do well in a fire or a major water leak, and it certainly doesn’t do well in instances of burglary. Aston Lark are specialists in finding the right insurance solution for

art and antique collections. We understand the value of a good policy and will help you protect your investment, here’s how:

loss. Finding the right insurance cover should never be a decision you have to make on your own.


We understand that any damage to a piece of art or an antique could cause an emotional upset as many pieces are one of a kind and have sentimental value.

By asking you the right questions, we can ensure that your rates are discounted to reflect excellent fire and burglary protections. We can also give you advice on what you could do to make your risk more attractive to our insurers. QUALITY COVER By getting to know what’s important to you, we can advise on what cover you should have. Art collections should be insured on an ‘all risks’ basis with worldwide cover so that they can be taken between locations.


Our in-house claims team will help guide you through a loss and get you the best possible settlement quickly and without fuss. We only deal with policies underwritten by quality insurers, with good financial ratings and stability. We will ensure that you are properly covered, paying the right price for the most suitable policy, and if you have a claim we are here to help.

We agree the claim settlement amount with your insurer up-front so you are not disappointed if you have a

Call our Private Clients team on 020 8256 4901 or email for more information.

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collections // INVESTMENT

The Tricky Art of


The experts from Morrinson Wealth advise on avoiding the pitfalls of asset investment, from fake wines to damage to your valuable artwork

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Kurniawan fooled buyers on the California wine scene, making fake wines in his kitchen and ageing the labels himself. One large investor found that over $4million of the wine he had bought from Rudy was fake.

Small print The art world too can be tricky. While this wouldn’t be counted as a scam, the story of the shredded Banksy painting teaches us one very important lesson about investing – always read the small print! After a successful exhibition of his work in 2006, Banksy gifted his friend with a framed print of his famous Girl with Balloon. When the piece appeared in Sotheby’s auction house in 2018, the painting itself started beeping and then after a few seconds started to shred the canvas of the print from inside the frame. Ironically, the

The value of an investment with St. James’s Place will be directly linked to the performance of the funds selected and may fall as well as rise. You may get back less than the amount invested. Morrinson Wealth is an Appointed Representative of and represents only St. James’s Place Wealth Management plc (which is authorised and regulated by the Financial Conduct Authority) for the purpose of advising solely on the Group’s wealth management products and services, more details of which are set out on the Group’s website

Images © SOTHEBY’S


here are several investments suitable for long term tax and estate planning, but investing in art, fine wine and other collectables has the added benefit of there being something tangible that you can enjoy. At Morrinson Wealth, although we can’t directly help you invest in these commodities, we appreciate that these kinds of investments form part of a truly diversified portfolio. It is always important to do your own research on any investment, but especially within the arts and collectables market. Due to the expertise required in evaluating these kinds of investment vehicles, you should always be aware of paying more than you need to or falling victim to some kind of scam. Wine, for instance is an attractive investment, but you must always seek expert authentication. Scammer Rudy

damaged piece is now more valuable! Art is a fantastic investment and the chance to own something as iconic as a Banksy is very tempting, but be sure that you have the necessary setup for storage or display of your piece, and plan ahead for any eventualities. Whenever a new corner of the investment market opens, such as NFTs (nonfungible tokens), you can be sure that the opportunists and the scammers won’t be long in working out how to manipulate it. We would always advise clients to diversify their investments across several different types of asset classes, to minimise the risk of loss. At Morrinson Wealth, our team is always on hand to help you with your investment planning, regardless of what stage of the journey you are currently on. We offer a personally tailored service and are able to advise on the wide range of investments and services available through St. James’s Place. 

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Don't let Tax erode your arts and collectables Take a look at our article on the Arts & Collections website where we review some of history's most interesting art scams and heists.

UK: 020 7516 5775



Morrison Wealth is an Appointed Representative of and represents only St. James's Place Wealth Management plc (which is authorised and regulated by the Financial Conduct Authority) for the purpose of advising solely on the Group’s wealth management products and services, more details of which are set out on the Group’s website The ‘St. James's Place Partnership’ and the titles ‘Partner’ and ‘Partner Practice’ are marketing terms used to describe St. James's Place representatives. Morrinson Wealth is a trading name of Morrinson Wealth Management LLP.

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07/09/2021 17:55


Voyeur in Vogue A postponed tribute to fashion photographer Helmut Newton is now to open in the place of his birth, Berlin. We look at his enduring and controversial legacy. By Chris Jenkins


Helmut Newton, Thierry Mugler Fashion, US Vogue, Monte Carlo 1995, © Helmut Newton Estate, courtesy Helmut Newton Foundation

The entire exhibition space on the first floor of the museum will chronologically trace the life and visual legacy of the Berlinborn photographer. With around 300 works, half of which are being shown for the first time, the foundation’s curator Matthias Harder will present lesser-known aspects of Newton’s oeuvre, including many of his more unconventional fashion photographs which span the decades and reflect the changing spirit of the times.


riginally scheduled to coincide with the fashion photographer’s 100th birthday, the major retrospective exhibition, HELMUT NEWTON. LEGACY will be launched by the Helmut Newton Foundation in Berlin on 31st October 2021. Postponed for a year due to the pandemic, the exhibition is a retrospective of Helmut Newton’s many iconic images, but also holds a number of surprises from his early work.

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Voyeurism in photography is a necessary and professional sickness. Look at, capture, observe, frame, target. These are the laws of our field. - Helmut Newton

protest, protagonists in a paparazzi story, and more. His clients’ sometimes strict requirements and narrow expectations served as an incentive for him to challenge traditional modes of representation.


The presentation will be complemented by Polaroids and contact sheets that give insight into the creation process of some of the iconic motifs featured, as well as special publications, archival material, and quotations from the photographer. It was in the 1960s that Newton found his inimitable style in Paris, as seen in his photographs of the revolutionary fashion of André Courrèges. Working for well-known fashion magazines, he not only took classic studio shots but also ventured into the streets, staging models as participants in a

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Helmut Newton, Woman Examining Man, Calvin Klein, US Vogue, St. Tropez 1975, © Helmut Newton Estate, courtesy Helmut Newton Foundation

In the 1970s, Newton began to enjoy unlimited creative possibilities while shooting on location - whether by helicopter on the beach in Hawaii or in a Parisian hourly hotel, where he included himself in a lingerie campaign through strategically placed mirrors. Repeatedly testing social and moral boundaries, sometimes he even redefined them. Until the end of his life he continued to both disturb and enchant people with his visions and visualizations of fashion and femininity. No other photographer has likely been published more often than Helmut Newton, and many of his iconic images have become part of our collective visual memory. Now, following intensive research in the foundation’s archives, forgotten and surprising photographs are coming to light. An extensive catalogue will be published by TASCHEN to accompany the exhibition HELMUT NEWTON. LEGACY, and for the duration of the retrospective, June’s Room will host a special exhibition on the work of Newton’s wife June, aka Alice Springs, in memory of the foundation’s president, who passed away in Monte Carlo in April 2021 and has since been laid to rest next to her husband in Berlin.  HELMUT NEWTON. LEGACY 31st October 2021 - 22nd May 2022, at the Helmut Newton Foundation, Jebensstraße 2, 10623 Berlin, Germany. Arts & CollectionS 47

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The question of art restitution has shaken the art world – now one author takes a new view of what this reveals about European culture, Jews and modernity


n 1944, Cleveland-born, Harvardeducated Lieutenant James Rorimer found himself part of the Monuments, Fine Art, and Archives (MFA&A) section of the US Army as a G-5 (Military Government) Specialist Officer. His mission was initially to safeguard historic structures threatened by battle, but after D-Day, the focus shifted to hunting down works of art the Nazis had looted as they ransacked the continent. From 1940 to 1944, the Nazis systematically stripped Jews of any and all prized cultural assets, their aim to make Germany the greatest cultural centre of Europe; in fact, of the world. It was only the Nazis’ dedication to record-keeping that helped Rorimer and others recover the Nazi loot, found in hoards such as in the Bavarian castle of Neuschwanstein. The story of Rorimer’s work, and the wider context of how Jewish collectors accumulated so much fine art, is told in a new book by historian Charles Dellheim, Professor of History at Boston University. Belonging and Betrayal - How Jews Made the Art World Modern poses a question at once obvious and overlooked: how did the owners of the stolen art come to have it in the first place? In the book, Dellheim writes about dealers of Old Masters, champions of modern art, and victims of Nazi plunder, sharing the epic fortunes and misfortunes of those eminent art dealers and collectors who, against the odds, played a pivotal role in the migration of works of art from Europe and Britain to the United States.

to acquire paintings by Old Masters - from Vermeer to Van Dyck, El Greco to Raphael - as well as modern masterpieces by the likes of Monet, Manet, Cézanne, Seurat, Renoir, Pissarro, Picasso, Klimt, Chagall, Degas, Matisse, Modigliani, van Gogh, and Toulouse-Lautrec, and the pivotal role these art connoisseurs played in the migration of these works from Europe to the United States, arguably ushering in modern culture. The story is set against the backdrop of

critical transformations, among them the gradual opening of European high culture, the ambiguities of Jewish acculturation, the massive sell-off of aristocratic family Below: German Jewish art dealer Alfred Flechtheim, one of many persecuted by the Nazis Inset: Belonging and Betrayal, published by Brandeis University Press

ARCHIVES Based on over a decade of research and visits to fourteen archives in four countries, this major work reveals how a small number of Jewish art dealers and collectors came 48 ARTS & COLLECTIONS

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art collections, the emergence of different schools of modern art, the cultural impact of World War I, and the Nazi war against the Jews. We learn of Dutch brothers Henry and Joel Duveen, who the Prince of Wales commissioned to redecorate Windsor Castle and Buckingham Palace and who were later hired to furnish the mansion of J.P. Morgan. They then sold Rembrandt’s Aristotle with the Bust of Homer to Arabella Huntington, second wife of American railway tycoon Collis P. Huntington, who went on to become the force behind the art collection that is housed at California’s Huntington Library. We come to know Bernhard Berenson, the first Jew to be lionized by Boston Brahmin society who could claim Isabella Stewart Gardner as his patron and later, as her art advisor, helped her procure Titian’s The Rape of Europa. And we become acquainted with Nathan Wildenstein, a Jewish textile merchant with a rudimentary education who journeyed to Paris in 1875 to teach himself art by hanging out at the Louvre, and went on to become a dealer who sold Jacques-Louis David’s stunning Portrait of Antoine-Laurent Lavoisier and His Wife to New York oil magnate John D. Rockefeller. Throughout, we’re reminded of the terrible irony that the very successes of these Jews laid the groundwork in resentment and envy for the later, ruthless seizures of their art by the Nazis.


Controversy Of course, the issues raised by Dellheim and others continue to galvanise the art world, with one recent controversy being the exhibition chronicling the life and legacy of Nazi-persecuted Jewish art dealer Max Stern in Düsseldorf’s Stadtmuseum, which finally took place without the support of scholars or Stern’s heirs. Dellheim told us: “What is most striking in the Max Stern case is the relationship between remembrance and restitution. Honouring Max Stern’s life and legacy through a Düsseldorf exhibit seems fitting, proper, and long overdue. In fact, a good exhibit detailing his story and accomplishments should spur German museums (and perhaps private collectors) to return Nazi stolen art… “More than twenty years after the resurgence of interest in the fate of Nazi

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stolen art began in the late ‘90s, new cases keep coming to light. This is not a story without end, but its end is not yet in sight... the concern with stolen art is no substitute for understanding stolen lives. Finally, I think it’s essential to remember that Jews were important actors in, and not simply hapless victims of, European culture.” 

Above: Titian’s The Rape of Europa, and Lieutenant James Rorimer and team at work

Belonging and Betrayal - How Jews Made the Art World Modern By Charles Dellheim, published by Brandeis University Press, September 2021 ISBN: 978-1-68458-056-9 £32.00 Arts & CollectionS 49

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images of The World

One of the world’s most prestigious photography competitions, the Sony World Photography Awards, is back for 2022 – we admire some of the top contenders


he World Photography Organisation has announced the dates and judging panel for the 2022 Sony World Photography Awards. The ceremony takes place at Somerset House in London from 15th April until 2nd May 2022 and in November, for the first time, winners will be on show in the Open Eye Gallery in Liverpool. Entering the 15th year of the competition, the Sony World Photography Awards are for both established and emerging artists, and offer world-class opportunities across 220 countries for exposure of their work and career-building opportunities. The Awards additionally recognise the world’s most influential photographers through the Outstanding Contribution to Photography Awards; previous recipients include Martin Parr, William Eggleston, Candida Hofer, and Graciela Iturbide. Multinational corporation Sony supports the awards to help the continued development of photographic culture worldwide. Entry to the awards is free and photographers are judged anonymously by a panel made up of some of the photographic world’s leading names.  Full competition and categories descriptions can be found at: https://www. (Top) Andre Durao, Rio de Janeiro, The Fatal Kick, Copyright: © Andre Durao, Brazil, entry, Open, Motion, 2022 Sony World Photography Awards (Below) Takrim Ahmed, Dockyard Worker, Copyright: © Takrim Ahmed, Bangladesh, entry, Open, Lifestyle, 2022 Sony World Photography Awards 50 Arts & CollectionS

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(Above left) Vijay Paniselvum, Bugs Mating, Copyright: © Vijay Paniselvum, Malaysia, entry, Open, Natural World & Wildlife, 2022 Sony World Photography Awards (Above right) Arifayan Taiwo, Epe Lagoon, Copyright: © Arifayan Taiwo, Nigeria, entry, Open, Lifestyle, 2022 Sony World Photography Awards

(Left) Hardijanto Budyman, Mirror Mirror In The Locker Wall, Copyright: © Hardijanto Budyman, Indonesia, entry, Open, Creative, 2022 Sony World Photography Awards

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Making Waves I

n common with most other industries, the marine business has suffered through the pandemic, with businesses of all sizes taking financial hits. The UK plays host to over 5,000 leisure, superyacht and small commercial marine businesses, employing around 33,000 people who generate billions of pounds in revenue each year. The entire EU employs 88,000 in the maritime sector, with Spain employing almost 40 percent of people working in European sea-related activities. But other issues like Brexit and climate change have also contributed to the problems of everyone from small boat builders to designer of superyachts. The United Nations Conference on Trade and Development reported in November 2020 that global maritime trade had dropped by 4.1 percent as a result of the pandemic. The cancellation of most 2020 season yacht races in Northern Europe, the 52 Arts & CollectionS

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Mediterranean and North America, right up to the 2020 Rolex Sydney Hobart Yacht Race in December last year, disappointed many fans and businesses; and with the movement of large vessels through different restriction zones, shipping of large pieces of equipment and travel of fans remaining problematic, the industry will have to make revolutionary changes to adapt.

CLARITY There are some positive signs, such as the recent Southampton Boat Show. Last year’s event was axed at short notice, but this year the event, in its 52nd year, was opened by Team GB sailors recently returned from the Olympics in Tokyo. The event featured more than 500 boats and 350 marine brands and had Europe’s largest, purpose-built marina. Among the exhibitors was the UK division of Comitti Boats (, a small

company in northern Italy and one of the few remaining Italian shipyards with a tradition of building classically designed Italian motor boats, showing models including its £300,000+VAT BREVA 35 (seen above), with 500hp Mercury engines. Comitti’s Dr Karen Dickens said: “The Southampton Boat Show was a great way for us to showcase the exciting new designs and evolution of the Comitti brand, and for visitors to find out more about the four model families of the Comitti fleet.” Bodies such as the Spanish Asociación Nacional de Empresas Náuticas (ANEN), the Royal Yachting Association and British Marine are working together seeking clarity on how the British maritime industries will be affected by Brexit in the future, and in the short term, a welcome spike in boat sales due to COVID-19 restrictions on foreign travel has resulted in many brokers in the UK struggling to find enough stock. 

Images © COMITTI

The marine industry has had a tough year, but experts predict that we’ll be heading back to the seas in 2021/2

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JWH@COMITTIBOATSUK.COM +44 (0) 1590 675 444 +44 (0) 7588 578 777 WWW.COMITTIBOATSUK.COM

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11/08/2021 18:40

COLLECTIONS // insurance

Protect and Serve


The resurgence of the art market prompts a new urgency to protect valuable assets. But how does art insurance adapt to change? By Andrew Mayfair 54 Arts & CollectionS

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insurance // COLLECTIONS

the principle is expanded to cover an entire collection, whether of paintings, sculptures, jewellery or other luxury goods, it becomes obvious that a specialist insurance policy is required. Partly, this is because the value of a serious collection extends way beyond its current monetary value – in many cases, a collection represents a family asset which is the basis of inheritable wealth. If there is a difference between 2009 and 2021, it is that the shape of the art market has changed – live auctions and exhibitions have been partly replaced by virtual auctions, digital galleries and online retail. While the live aspect of arts and collections will regroup, some aspects of this change are here to stay.



he global financial crisis in 2009 bore some resemblance to the recent pandemic, in that it had a depressive effect on almost all markets, the art market among them. But, as with 2009, the end of the immediate crisis caused by the pandemic marked a resurgence in the art market, and hence a need for a reevaluation of the importance of insurance to serious art collectors. No serious collector imagines that a standard household insurance policy would cover the loss, theft or damage of a significant and valuable work of art. When

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For instance, the very definition of what is a valuable asset is beginning to change. Fine art policies have always had to cover a huge range of objects, from items as small as a coin or a snuffbox to massive canvasses or vast sculptures. They could be ancient artefacts or the work of contemporary artists; they could be delicate works on paper, precious liquids such as wine or whisky, or items of clothing. The one thing they had in common was that their worth extended beyond that of their raw materials; some aspect of the craftsmanship, rarity or uniqueness of the object made it precious. But around the time of the pandemic, new classes of valuable came into being; virtual artefacts such as digital artworks represented by NFTs, or non-fungible tokens. It could fairly be said that the art insurance world is still getting to grips with these developments. They can’t be damaged by accident or incinerate in a fire, but could an NFT be stolen? The digital security measures surrounding them suggest not, but the ingenuity of the dishonest suggests that at some stage, this claimed security will be tested. Meanwhile, there are certain familiar classes of object which remain by their nature worth special insurance consideration; those that are unique or difficult to replace, collections which would lose value if one item were damaged or lost, old or fragile works, and those which are subjected to risk through being transported, loaned out or stored for long periods.

Cover The one thing that most fine art insurance policies will have in common with a common household insurance policy is that that will be ‘all risks’, though this is a slightly misleading term, because although common dangers like fire, theft and accidental damage will be covered, there will usually be exclusions such as acts of war, nuclear accident, damage by moths and vermin, and what is known as “inherent vice” - loss caused by a quality in property that causes it to damage or destroy itself, such as iron rusting, food deteriorating or certain silks deteriorating. Another way in which specialist art insurance differs from typical household contents insurance is that the value of the item insured can be subjective. In these cases, specialist valuers will be called in to place a value on the items insured, basing their assessment on factors such as the purchase price, typical prices at auction, and projected replacement cost. With values in the art market changing constantly, sometimes seemingly on a whim, regular reappraisal of value is essential.

RISK Another part of the art insurance specialism is the management of risk; better to prevent damage in the first place than to repair it at great cost. Pre-pandemic, a great deal of risk management revolved around the transportation and exhibition of artworks; it was estimated that 50-85% of claims were due to damage or loss in transit. During the pandemic, the emphasis or risk management changed towards the longterm storage of art, sometimes locked up for years in freeports. Most specialist insurers will have their own advisers on issues such as restoration, transportation and long-term storage, or if they do not, will be able to put clients in touch with third-party experts who will help them to mitigate the risk of any loss. Specialist art insurers are already thinking about the challenges involved in protecting the new generation of multimedia and digital artworks. Whatever new ideas artists or collectors throw at them, insurers will adapt to serve the needs of their most demanding and prestigious clients.  Arts & CollectionS 55

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To Moscow! To Moscow!

Left: Katya Filippova, headdress for the show Polonius Right: Ragnar Kjartansson, The Visitors, 2012, Courtesy Migros Museum fur Gegenwartskunst 56 Arts & CollectionS

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A disused power station in Moscow has been converted into an exciting new arts destination by V-A-C Foundation. We take a preview peek

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–A–C Foundation’s new permanent site in Moscow, GES-2 House of Culture, will open its doors to the public on 4th December 2021. GES-2 House of Culture was a disused power station, built in 1907, situated on the Bolotnaya Embankment in the popular Red October district in the centre of Moscow. After its acquisition by V–A–C in 2015, Renzo Piano Building Workshop was commissioned to design the conversion of the main building and adjacent area, based on the intention to preserve the original building as much as possible and turn it into a new urban cultural space. GES-2 House of Culture is an accessible space for people to meet and experience culture together, featuring a cinema and concert hall, a library, shops, a restaurant and café, a playground, workshops, studios and an artist residency block, exhibition halls and an auditorium for public events and performances. Top: GES-2 House of Culture, “a new urban cultural space”, photo Gleb Leonov Left: Ulyana Podkorytova, Támatko, 2021, Photo by Pavel Smirnov, commissioned by V-A-C Foundation



GES-2 aspires to re-imagine traditional Russian ‘houses of culture’, recreational centres that first came about in the late 19th century and which are still popular today. These cultural spaces set out to encourage people to engage with the arts and actively participate in culture. GES-2 aims to do the same, inviting artists from a wide variety of disciplines: choreography, music, theatre, cinema, design and visual arts to work together and act as a storyteller. Forthcoming events include the season, Santa Barbara (4th December 2021 – 13th March 2022), named after the first Western soap opera that aired on Russian television; When Gondola Engines Were Taken to Bits: A Carnival in Four Acts, which includes an exhibition, a rave, a series of stand-up shows and a dance procession; and To Moscow! To Moscow! To Moscow!, bringing together the work of Icelander Ragnar Kjartansson and artists he admires. 

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Art, Africa and

Images © ART X LAGOS

the Future

ART X Lagos return this November with a physical/digital hybrid event celebrating artistic excellence from Africa and its diaspora across a range of media 58 Arts & CollectionS

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or its sixth edition - and its largest fair to date - ART X Lagos will bring together 30 leading international galleries from 15 countries around the world to present work both online and inperson: Cameroon, Côte d’Ivoire, France, Germany, Ghana, Kenya, Martinique, Morocco, Nigeria, Sénégal, South Africa, Spain, Uganda, United Kingdom, and USA. Together, they will showcase 110 artists from over 30 countries, from Angola to Zimbabwe, Morocco to Martinique, and Egypt to South Africa. Of the 30 exhibitors, 15 join ART X Lagos for the first time. Those visiting Lagos in person will be able to attend the fair from 4th-7th November at The Federal Palace, while international audiences will be able to view works online from 4-21 November on ARTXLAGOS.COM and Artsy.

Challenges Since its debut in 2016, ART X Lagos has become known for its ambitious program, which includes ART X Talks - a lively panel discussion series curated by Aude Mgba; ART X Live! - a one-of-a-kind showcase featuring collaborations between some of the fastest-rising artists and musicians on the African continent, curated by Lanre Masha, Faridah Folawiyo and Ayo Lawson; as well as specially curated presentations and interactive projects. These programs have featured an array of emerging and established artists from the continent and diaspora, including Wangechi Mutu, Njideka

Akunyili-Crosby, Yinka Shonibare CBE, El Anatsui, and Hank Willis Thomas. This year’s Curated Projects take the theme “The restful ones are not yet born” and include work by Adéolá Olágúnjú, David Alabo and Kelani Abass, centred on the (re)imagination of the future of the African continent. Each project reflects on the current challenges experienced in Africa, including the aftermaths of colonisation and slavery, along with the consequences of political regimes that contribute to inequality

and sociopolitical exclusion. The projects take inspiration from archives in the past and experiences in the present to imagine diverse possibilities for the future of Africa. The Access Bank ART X Prize, Nigeria’s leading award for emerging visual artists, also returns after a hiatus due to Covid-19. The 2019 winner, documentary photographer Etinosa Yvonne will present a solo exhibition at the fair in November, curated by Wura-Natasha Ogunji. 

Opposite page: Mous Lamrabat, Sugar, Water, Purple, 2019, photography, courtesy of Loft Art Gallery Top: Aboudia, Untitled #1, 2021, mixed media on canvas Left: Alexis Peskine, Sequita, 2020, mixed media on wood Right: Nike Okundaye, Beauty Everywhere, 2017, pen, ink and acrylic on canvas

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regardless of race, creed or sexuality. Rich Morris said: “As a big fan of the Beatles Bentley, minimalist design and bold art, I began playing around with some shapes and colours, sketching and doodling faces and human forms. The final work that was translated onto the car, was then finished in colourful acrylic. The single black line of the design traces enigmatic dancing figures that allow you to project your own thoughts and interpret the faces to be anyone, yet without representing any one single person or thing.”


Bentley Motors’ Unifying Spur embodies diversity and inclusion in its artistic illustrations – but how did the design come about? By RICHARD BENSON


entley Motors’ artist-illustrated Unifying Spur has diversity and inclusion embedded in its heart. As European Diversity Month drew to a close in May, and Pride celebrations around the world were due to kick off, Bentley put out a very visual statement. The Unifying Spur is a uniquely-designed version of the iconic luxury sedan well known to Bentley’s customers and its fans, the Flying Spur. A challenge was set to the Bentley design team to create an automotive artwork that celebrates diversity in all its forms. In-house designer Rich Morris rose to the challenge by creating a piece of four-wheeled art using the nine colours of the Progress flag. His design joins the words “Love is Love” through a single, unbroken line, that traces faces, dancing figures and shapes – representing the unifying power of humanity, 60 Arts & CollectionS

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Diversity in Motion

He continued, “It was very important for me to use all of the colours from the new Progress flag, encompassing each and every person in our society, and diversity in all forms. I’ve tried to interpret these colours with the precision of any Bentley design, adjusting them to reflect the palette of our car interiors and exteriors, with the more muted tones as well as the rainbow of bright shades.” The Unifying Spur follows on from 2020’s Bentley Pride car – a rainbowstriped Continental GT V8 Convertible, which debuted at Cheshire East Pride, at Bentley’s home in Crewe. The Unifying Spur for 2021 was born from its success. It means a huge amount to people across the Bentley business, but also signifies Bentley’s welcoming nature, representing the open arms of the brand to all existing and potential customers. As a combination of automotive and fine arts, Bentley’s Unifying Spur embodies diversity, inclusion and the best in engineering and design. 

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The Bentayga Hybrid. Serenity electrified.

Find your extraordinary at Bentayga Hybrid WLTP drive cycle: fuel consumption, mpg (l/100km) – Combined, weighted 83.1 (3.4). Combined, weighted CO₂ – 82 g/km. The name ‘Bentley’ and the ‘B’ in wings device are registered trademarks. © 2021 Bentley Motors Limited. Model shown: Bentayga Hybrid.

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Monuments to hERITAGE Thirteen monumental sculptures weighing more than 21 tonnes by Venice-born artist Gianfranco Meggiato are on show in Sicily

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British archaeologist Sir Alexander Hardcastle arrived at the Valley of the Temples in 1921 and poured all his wealth into financing the extensive excavation and restoration project. Overwhelmed by the financial crisis of 1929, he tragically died penniless in an asylum. Gianfranco Meggiato pays homage to this English archaeologist by dedicating the exhibition to his memory and legacy. Gianfranco Meggiato said: “When I heard

Above: Gianfranco Meggiato, Lo Specchio dell’Assoluto (The Mirror of the Absolute), 2020-2021



hirteen monumental sculptures weighing more than 21 tonnes by Venice-born artist Gianfranco Meggiato are presented in an outdoor exhibition at the Valley of the Temples Archaeological Park in Sicily, Italy. Titled Quantum Man: There Is No Future Without Memory and curated by Daniela Brignone, the exhibition juxtaposes stunningly preserved Ancient Greek architecture with quantum-theory-inspired contemporary art.

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Above: Gianfranco Meggiato at work Left: Gianfranco Meggiato, Taurus, 2016-2017 Below: Gianfranco Meggiato, Doppio Totem, 2008, and Il Volo (The Flight), 2018-2019, with L’Attimo Fuggente (The Fleeting Moment), 2018-2019

of the sad fate of Sir Alexander Hardcastle – an English archaeologist by now almost forgotten and ignored by most – and realised that 2021 would be the centenary of his commencing work in the Valley, I felt moved to find a way to honour him and restore his reputation, since it was in large part thanks to his passion and generosity that the Valley of Temples came to life a second time and became the UNESCO World Heritage Site it is today.”

Passion Four of the sculptures in Quantum Man: There Is No Future Without Memory have been newly created by Meggiato, who was inspired by a visit to the remarkable ancient temple district – which dates back to the 5th century BC when Sicily was a Greek colony – back in 2018. Each of Meggiato’s sculptures is comprised of a number of individual pieces which are fundamentally sculptures in their own right. It is through combining these individual sculptures that he creates his final pieces – which stand at up to five metres tall. All thirteen of the works have been carefully situated within the Valley of the Temples to prompt a dialogue with the rich cultural and mythological contexts of each of the temples, their gods and their legends. The exhibition runs until January 4th 2022. 

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arts // MARKET

The Race to

Online Selling Post-pandemic, the global art market has had to adapt to a new reality. Is online the shape of the future? By Alastair Meiklejon


Experience Buying art online no longer seemed at odds with the rarefied nature of the art market, rather it seemed entirely consistent with the post-crisis world. Functionality of the digital platforms improved as auction houses pumped millions into enhancing the online experience. Super high-resolution images, detailed condition reports and clever 66 Arts & CollectionS

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Shown online at TEFAF, Leon Tovar Gallery spotlights Latin American artists working in Paris in the 1960s with Cubo y Extensión, 1971, by Jesús Rafael Soto (1923–2005)

schematics designed to show the scale of artwork, all gave the buyer confidence in buying sight unseen. One bonus has been massively increasing the reach and diversity of auctiongoers. The data catchment for auction houses is now immense, with 40 percent of buyers now new collectors, and 30 percent under 40 years of age. International art fairs too have been forced to rely heavily on sophisticated online

presentations, with slick web portals allowing registered visitors to sample the very best of global art and antiques. Certainly the online trend is here to stay – the good news is that people still want to buy art, whichever way possible!  Alastair Meiklejon MNAVA FRSA is Business Development Executive, Senior Valuer and Wristwatch Specialist at Doerr Dallas Valuations, London


ith the stark realities of Covid-19 having thrown unprecedented challenges at all sectors of the world economy, what has this meant specifically for the global art market? The 2019 value of the global art market was put at $64 billion, but was already showing signs of contraction - the Chinese market, which accounts for a third of the world art and antiques sales, had fallen by 10 percent from 2018 to 2019 as a result of internal geopolitical issues. March 2020 brought with it the first of a series of lockdowns which totally changed the landscape of the art market and how it functions. Overnight, auction houses, which accounted for 37 percent of the sales in 2019, were forced to close, as too were galleries who found themselves devoid of their essential footfall, while billions of dollars in sales were lost in the cancellation of international art fairs. Auction houses and the bigger galleries had already been forced to invest heavily in creating an online presence due to the increased international nature of the market, but there was still some reluctance to adopt these methods. All this changed with the onset of the pandemic as global audiences were suddenly forced to engage with the world entirely digitally.

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COLLECTIONS // art market

art restored Despite continuing Covid uncertainty, art market confidence has hit its highest level since 2014. What are the signs of recovery? By the fine art brokers team In association with

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Not surprisingly, the fallout from the pandemic also had a negative effect on aggregate dealer sales, with values declining by 20 percent to an estimated $29.3 billion. Art fairs were the hardest hit though, with the proportion of dealers’ overall revenue from fairs dropping to just 13 percent. That said, dealers’ bottom line improved in many cases due to a dramatic reduction in costs, leaving many questioning the necessity of participating in so many fairs in the future. The good news is that there’s been a strong positive shift in market sentiment over the past eight months. In July 2021, London-based analysts ArtTactic released their latest art market confidence report, which shows a ‘Confidence Indicator’ reading of 80.6, the highest level since January 2014. The survey is based on a poll of over 100 ‘art

insiders’ - which includes collectors, auction house specialists, art dealers, advisors and analysts - and has been a leading industry benchmark since its launch in 2005. The latest reading is up from 44.6 in November 2020 and up a remarkable 89 percent from the pre-pandemic reading in September 2019.

STRONG RESULTS Global auction sales from Christie’s, Sotheby’s and Phillips totalled $5.9 billion in the first half of 2021, up 230 percent from the first half in 2020, as confirmed by ArtTactic’s Lindsay Dewar. Combined sales of the three auction houses in the category of Impressionist, Modern, Post-War and Contemporary Art totalled around $3.6 billion in H1, an increase of 207 percent on 2020 figures.

IMAGES © javits centre/armory show, christie’s


ith the world in and out of lockdown over the past 18 months, it’s been a turbulent time for the art market. Sales have inevitably dropped, but both sellers and buyers have adapted to the enforced reality that most artworks have been offered online, with the result that sales have held up well. In 2020, during the worst period of the pandemic, global sales of art and antiques still reached over an estimated $50 billion - down just 22 percent on 2019 and 27 percent since 2018 - notes Dr. Clare McAndrew in the industry leading 2021 Art Basel UBS report. Sales of fine art at auction dropped by around 30 percent from 2019, but Sotheby’s and Christie’s both compensated by reporting at least a 50 percent increase in private sales.

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art market // COLLECTIONS

Encouragingly, 2021 has also seen a surge in big-ticket art sales. In January, Sandro Botticelli’s Renaissance portrait of a young man holding a roundel sold in New York for a record $92.2 million, the highest ever price achieved for an Old Master at Sotheby’s. A few months later, Picasso’s 1932 portrait of his muse and lover Marie-Thérèse Walter sold at Christie’s in New York for $103.4 million, nearly double its presale estimate. Basquiat’s IN THIS CASE from 1983 also soared above estimate when it sold for just over $93 million, while his 1982 Warrior became the most valuable western artwork ever to be offered in Asia, selling for $41.9 million via livestream from London to Hong Kong.

NEW BUYERS “While experts predict it will take until at least 2023 for the economy to recover, American billionaires have seen their collective wealth grow by an estimated 40 percent since March 2020,” notes Artnet’s 2021 Intelligence Report. Such growth has encouraged sustained activity at the top end of the market. Indeed, 66 percent of the 2,569 high net worth (HNW) collectors surveyed by Arts Economics and UBS Investor Watch in 2020 reported that the pandemic had increased their interest in collecting. What is perhaps more interesting is the strong influx of new buyers. According to the Art Basel UBS report, millennial HNW collectors were the highest spenders in 2020, with 30 percent having spent over $1 million versus 17 percent of ‘Boomers’. Christie’s have stated that in the first half of 2021 30 percent of all buyers were new to Christie’s, and 31 percent of these new buyers are millennials. Auctions in the first half of the year also saw record participation from Asian buyers across all regions and many categories: Christie’s clients in Asia contributed 39 percent of the total value of sales in H1. (The $1.04 billion total in live and online purchases to date is the highest H1 spend in last five years). At Sotheby’s, Asian clients accounted for 50 percent of all bids by value in the first half of the year. As reported in its half year results, Phillips saw 34 percent of its buyers come from Asia, with four of the top lots sold this year going to Asian bidders.

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“The notion of collecting art has long been considered part of a diversified investment portfolio. However, the proliferation of online platforms offering art of all types with secure methods of buying has extended the outreach to millions of potential new buyers,” notes Ray Waterhouse, Chairman of Fine Art Brokers. “Collecting art online at prices from $5,000 to over $5 million is a natural extension of the general lockdown buying mentality. New buyers can also seek advice from many experienced and reliable art advisors such as ourselves for just a small fee.”

Diligence Despite the contraction of sales overall in 2020, aggregate online sales reached a record high of $12.4 billion, doubling in value from 2019, reports McAndrew. According to Christie’s 2021 H1 results, online sales are up 178 percent USD on H1 2020 to £158.8 million (USD $222.7 million). This increase was no doubt buoyed by the landmark sale of Beeple’s Everydays, a digital collage with a unique NFT which sold for $69 million against a starting price of $100, setting the record for the most expensive work sold online. Dealers also benefited from the art market’s shift to e-commerce. The Art Basel UBS report shows that the share of online sales for dealers, including art fair Online Viewing Rooms (OVRs), expanded threefold in 2020 to 39 percent from 13 percent in

2019. Solo online-only presentations have yielded David Zwirner, for instance, more than $20 million since April 2020.

experiences The return of a packed autumn art fair calendar is another cause for optimism. Despite the creation of robust digital programmes and growth in e-commerce, in- person events remain a significant driver of new business. “The whole art world is looking forward to reengaging on a personal level,” says Waterhouse. “All collectors want the possibility of seeing art again, to experience the physical pleasure of standing in front of a painting, sculpture or photograph.” Happily, in-person activity is looking robust for fall activity. In October, Switzerland’s Art Basel will welcome around 272 galleries, close to the 290 at its previous in-person edition in June 2019. A total of 276 galleries are due to show at Frieze London and Frieze Masters - and of course we can look forward to the return of auctions as we used to know them.  Left, Armory Exterior, image courtesy of the Javits Center and The Armory Show Below, Gemma Sudlow of Christie’s selling Basquiat’s IN THIS CASE, image courtesy of Christie’s

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Taken to the Cleaners? What are the implications of Anti Money Laundering regulations for the art market? We asked the experts from Withersworldwide for the answers By Kenneth Mullen

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n January 2020, art galleries, dealers, intermediaries and other art market participants (‘AMPs’) dealing in works valued at €10,000 or more became subject to UK Anti Money Laundering (‘AML’) Regulations (applying the EU’s 5th Money Laundering Directive). Consequently, as regulated businesses, AMPs are legally obliged to register with the UK regulatory authority for AMPs, HM Revenue and Customs (‘HMRC’); as well as setting up AML procedures to verify clients and the transactions they facilitate. In June 2021, HMRC published its first risk assessment (‘Report’). This identifies key areas for AMPs to consider when carrying out regulated activities. HMRC regards it as still ‘too early to fully assess the effectiveness’ of the 2020 AML Regulations, however, taking account of the UK Government’s 2020 ‘National Risk Assessment’ on money laundering and terrorist financing, due to various factors, HMRC views the art market as being at ‘high risk’ of money laundering.

Transactional risks The Report identifies key risk indicators for AMPs across the UK art sector. These include: • Unusual sales or purchase activity: for instance, payment arrangements that do not make commercial sense.


• Anonymity: The Report acknowledges that the art market has traditionally operated in private or through third parties to enable anonymity. Whilst accepting that there can be ‘legitimate reasons’ for this, HMRC observes that an anonymous trading environment benefits money launderers. • Face-to-face sales: HMRC is concerned that sales conducted online, by phone or through intermediaries decrease effective identification of clients and increases vulnerability to money laundering. Without necessarily explaining why, the Report suggests that ‘high-end, luxury-focused’ AMPs are ‘in an excellent position’ to carry out effective customer due diligence (CDD) where their business model includes ‘cultivating and building relationships’ with customers.

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• High-risk jurisdictions: Dealing with clients or counterparties in high-risk jurisdictions is more likely to be linked to money laundering and terrorist financing. The Report recommends that AMPs develop and maintain awareness around high-risk jurisdictions and carefully consider the purpose and nature of any transactions with them.

• Unregistered AMPs: All UK regulated AMPs had until 10th June 2021 to register with HMRC. Under the Regulations, AMPs are required to check whether another AMP they are dealing with is registered with HMRC. If not, the Report recommends not dealing with that AMP and reporting unregulated activity to the UK National Crime Agency.

• Off-record sales: The Report also warns AMPs about dealing with a business who want to deal in cash for, what are ‘off the record’ sales.

• Rental of art and interior designers: The Report points out that rental of art where there’s an obligation to purchase at the contract end could be subject to AML Regulation. It also notes that some interior designers, when buying art for their clients could be regulated AMPs and required to disclose the identity of their clients.

Regulatory risks The Report goes on to highlight risk indicators relating to compliance with the AML Regulations, including: • Reliance on other parties’ customer due diligence (CDD): While it is possible to rely on another party’s CDD (when taking on a new client or accepting payment), the Report notes ‘some misinterpretation of the use of [such] reliance in the art industry’. The art business whose CDD is being relied upon must be subject to UK AML regulation itself or, if non-UK, subject to ‘equivalent’ legislation in another country.

Guidance While the Report is high-level and does not reveal anything fundamentally new in terms of HMRC’s approach to AML Regulation, it does contain useful information. It will be a worthwhile additional tool for UK AMPs to be read alongside the detailed UK AML Regulation Guidance published in 2020. 

• Linked transactions: The Report reminds AMPs that linked transactions cannot be deliberately broken down under the €10,000 threshold that triggers application of the Regulations. For example, a gallery selling three works valued at £6,000 by the same artist to the same seller cannot issue three invoices, claiming they were separate sales. • Data protection: CDD involves collection of personal data of individual clients and counterparties. The Report reminds AMPs that this is permitted for the purpose of complying with the Regulations although data should not be used for other purposes unless legislation permits. • Online verification: HMRC concedes that, due to the impact of COVID, sales are frequently being conducted remotely. These remote sales may receive identity documents, but AMPs still need to take further steps to verify an individual’s identity, for instance by a video call.

Kenneth Mullen is a partner in the Withersworldwide intellectual property and technology team. He advises on IP, technology, data privacy and regulatory issues across a range of sectors, with particular focus on art and cultural institutions, design, luxury brands, entertainment and digital media.

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The art of legal advice Buying, selling and viewing art is one of life’s great pleasures. But it is also a sophisticated business that requires the very best legal advice. We work with international galleries and museums and many of the most successful people and cultural institutions in the world. Whether you are deal making, tax planning or fighting to protect your investment, we have the right lawyers around the world to help. We champion our clients’ interests, locally and globally, from offices across the Europe, US and Asia-Pacific. | +44 20 7597 6364

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From the magnificent wildlife of a desolate island to the stylish adventures of a superspy, and forgotten female painters to the most jovial of male portraitists, we present a selection of essential titles for your bookshelf and coffee-table

THÉRÈSE SCHWARTZE - PAINTING FOR A LIVING Cora Hollema, Peiternel Kouwenhoven St. Fonds Publicatie Thérèse Schwartze, $70

Subjected to a gruelling educational regime by her ambitious German/Dutch/American father, Schwartze’s refined technique and business acumen led her to commissions from the Dutch royal court – while her talent, training, and energy brought her to international fame and fortune, provoking envy, astonishment, and censure. A fascinating hardback with 196 pages and 137 illustrations of the artist’s colourful and eclectic work.


Gloria Fossi | HarperDesign, £26 Following in the footsteps of Vincent van Gogh from his birthplace in the Netherlands to his last days in France, this book, subtitled Capturing The Life of the Artist Through Photographs And Paintings, explores the inspirations behind the artist’s most famous works, based on the 1990 journey of two photographers and art enthusiasts, Danilo De Marco and Mario Dondero, who explored van Gogh’s life by retracing his journey across Europe.


Drew Doggett, fwd. Dr. Jane Goodall Drew Doggett, $95

Fashion turned fine art photographer Doggett’s eight-year project documents the lives of the horses of Sable Island, off Novia Scotia, Canada. Windswept and inhospitable, Sable Island is home to wild horses, seals, and little else. Over 100 of Doggett’s black-and-white images, drawn from his award-winning limited edition print series, transcend wildlife photography to become art; there’s an emotional quality to the work that will leave a lump in your throat. A signed and numbered edition of 250 with a print is available at $375. 74 ARTS & COLLECTIONS

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Paul Duncan spent two years researching over one million images and 100 filing cabinets of documentation - the result is the most complete account of the making of every James Bond film, beginning with Dr. No (1962) and ending with No Time To Die (2020), including the spoof Casino Royale (1967) and Never Say Never Again (1983). With more than 1,007 images in its 648 pages, and an oral history featuring 150 members of cast and crew, this comprehensively updated XXL edition will delight fans of the most successful and longest-running film franchise in cinema history.

THE ART OF DORIS AND ANNA ZINKEISEN Philip Kellaway, Emma Roodhouse, Nicola Evans Unicorn Publishing, £30

Perhaps unfamiliar names today, the Zinkeisen sisters enjoyed spectacular success in the 1920s through to the 1950s, their art and costume designs used for posters, murals on luxury liners, on stage and in film. From their origins in Scotland to their eminence in London and highly productive twilight years in Suffolk, this book captures the careers and struggles against sexism of two unjustly neglected talents.



Lelia Packer, Ashok Roy Philip Wilson, £20

One of the most eminent 17th-century Dutch artists and an iconic portraitist, Frans Hals revolutionised the male portrait through his approach to pose, expression and technique. Published to coincide with the Wallace Collections’s ehibition of the same name, from an in-depth study of The Laughing Cavalier’s charm, to a wider discussion of Hals’ approach to character, the mores of his time and his larger oeuvre and enduring influence, this lushly illustrated paperback shows how Hals was able to achieve a masterpiece at a relatively early stage in his career.

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Philip Kellaway, Tristan Sam Weller Unicorn Publishing, £30 A catalogue of 18th-century Meissen porcelain from a private collection which otherwise would not have been seen by the general public, this illuminating hardback showcases work which is the epitome of the frivolous rococo style which attracts such modern artists as Jeff Koons. With over 100 specially commissioned photographs of figures, tableware and knick-knacks, with detailed entries on their historical context, this book will charm anyone with an eye for the decorative arts. ARTS & COLLECTIONS 75

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A LEGACY IN WHISKY One single-malt whisky has been maturing for 80 years – now the distillers are ready to launch Gordon & McPhail’s Glenlivet Generations 80 Years Old. BY ANDREW MAYFAIR


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n a quiet corner of the north-east of Scotland on the 3rd February 1940, George Urquhart and his father John had the extraordinary foresight and vision to lay down spirit from the Glenlivet Distillery in a bespoke Gordon & MacPhail cask, to be enjoyed after their lifetime by future generations. This decision was made due to Urquhart’s passionate belief that each cask he filled needed to be left to reach its full potential, uninfluenced by commercial pressures. Only when the whisky was deemed ready should it be shared. The time for Cask 340 was to be 80 years – longer than any other single malt Scotch whisky in history. George Urquhart, or ‘Mr George’ as he was fondly known by those who knew him best, knew he would never taste it, but it has become his legacy. Cask curation is the key point in the maturation process, where oak, spirit and time combine to produce a precious and unique whisky. This single malt was carefully nurtured over eight decades by four generations of the Urquhart family that still owns Gordon & MacPhail. On 5th February 2020, the decision was taken to finally bottle the cask’s bounty, leaning on the family’s unique skill and experience. The Gordon & MacPhail Generations range has previously bottled the world’s oldest single malts, which will be superseded in September 2021 when the Generations 80 Years Old from Glenlivet Distillery will finally be unveiled.


Anniversary This is not the first time that Gordon & MacPhail has created such a notable distillation. For over 125 years, through four generations of family ownership, the company has matched its own bespoke casks with spirit from over 100 Scottish distilleries, managing a portfolio of casks with a complex level of expertise. At the very heart of the business lies the sample room – an exceptional liquid library spanning more than a century of Scotch whiskies and featuring a wide range of age profiles and character. But these exceptional snapshots in time are not heirlooms there to impress – they exist to help inform and shape future decision-making and provide an invaluable guide for generations to come. The name Generations signifies the many decades these whiskies have been

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(Left and above) Stephen Rankin, Director of Prestige, Gordon & MacPhail with cask 340 and the world’s oldest single malt Scotch whisky

left to mature and the generations of family ownership of Gordon & MacPhail. The range includes some of the longest-matured single malt Scotch whisky ever to be bottled, including the Generations 70 Years Old from Mortlach Distillery in 2010, Generations 70 Years Old from Glenlivet Distillery (release two) in 2012, and Generations 75 Years Old from Mortlach Distillery in 2015. Generation 80, though, promises to be something really special. ”My grandfather, George Urquhart, formed a close friendship with Alexander Williams at Williams Humbert, who provided the cask for this landmark release which reached Scottish shores in 1940, when World War Two raged in Europe,” remarks Stephen Rankin, Director of Prestige at Gordon & MacPhail Whiskies, and eldest member of the fourth generation of the owning family. “It had initially held mosto (freshly pressed grape juice), then sobretables (new wine post fermentation) before being emptied and filled with mature Sherry for bottling in the UK.” “It is testimony to my family’s unique

experience that the whisky remains so full of vibrant flavor – with a strength of 44.9% ABV – after a maturation never seen before for a single malt.”

History There is an old adage: “the wood makes the whisky”. When the tree harvested to make the cask that cradled this whisky for eight decades started its life, British empress Queen Victoria was a newlywed, Tsar Nicholas 1 ruled Russia, Daoguang was seventh emperor of China’s Great Quing dynasty and a humble young lawyer called Abraham Lincoln was practising out of Springfield, Illinois. The Glenlivet Distillery was founded by George Smith in 1824 in Moray in the north of Scotland, and, sustained by Captain Bill Smith Grant during the challenges presented by the Great Depression and Prohibition in America, Glenlivet’s reputation for producing great whisky continued to grow. In 1940, the Ministry of Food cut malt whisky distilling by one third to ration barley for the war effort. Production of Glenlivet fell by two thirds, adding an extra layer of rarity to this release. Gordon & MacPhail sought to commission a creative partner to design a Arts & CollectionS 77

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Magical “Maturing a single malt Scotch over eight decades is an art. Architecture is an art form, something that like the maturation of fine whisky, should never be rushed,” adds Stephen Rankin. “Both Sir David and Gordon & MacPhail share an investment in the future, both see the significance of creating something exceptional; part of a legacy for future generations.” Adjaye’s oak case crafted by Wardour Workshops in Dorset pays tribute to the role the wood plays in transforming the 78 Arts & CollectionS

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liquid into a magical elixir. “Oak is a primary material, produced from the planet” he says. “I appreciate its preciousness as an integral part of the whisky-making process.” Within the case is a crystal decanter produced by Glencairn Crystal Studio, presenting the whisky as a precious jewel. A generous volume of crystal balances both heft and delicacy. Its very nature and purpose invites you to touch and lift the decanter, bringing joy and pleasure with its tactile presence. Designed to appear as hewn from a single solid block of crystal, for ultimate clarity, the decanter’s curving core needed to be individually hand-blown by experienced artisans. “The ambition was to create a vessel in which Gordon & MacPhail’s unique experience and tradition is transmitted and incorporated,” remarks Adjaye. “Both the oak texture and the use of contrasting inner and outer refracted glass forms culminate in an elevated tactile experience. Even the act of opening it becomes a ceremonial and sensorial process.” “The gentle combination of liquid, weight and form invokes a sense of care, responsibility and slowness. As you pour, a sense of time fades and all that is understood is the preciousness of each drop of liquid.” While similar, no two decanters are exactly the same, reflecting the complexity of the process and its organic nature. The metalwork was also forged by hand.

(Above), skilled craftsmen from Glencairn Crystal Studio hand cutting the crystal decanter, and Sir David Adjaye’s Oak Pavilion which opens to reveal the jewel-like decanter

The auction for the #1 decanter will be conducted by Sotheby’s on 7th October 2021 in Hong Kong.

bespoke As well as receiving the #1 decanter, the oak case and two tumblers, the auction buyer will also receive a unique and rare whisky tasting experience for four in London, conducted by Gordon & MacPhail’s Director of Prestige, Stephen Rankin and attended by Sir David Adjaye OBE; the cask head of cask 340 which cradled the spirit for eight decades, presented in a bespoke frame; and David Adjaye’s original, signed concept drawings for the decanter and oak case, presented in a bespoke frame. Jonny Fowle, Sotheby’s Spirits Specialist says: “Joining forces with Gordon & MacPhail to auction the first 80-year-old whisky is a real thrill for us. It is an incredible feat to have matured a whisky in oak for 80 years and appropriate that it is a Glenlivet cask from Scotland’s first licensed distillery. “As such, it feels only fitting that two companies with such long histories are collaborating to present the world’s oldest whisky at Sotheby’s in Hong Kong.” 


unique decanter and oak case to house their most precious whisky to date: a partner who shared their values of artistry, legacy and craftsmanship. Internationally acclaimed architect and designer, Sir David Adjaye OBE, immediately came to mind as a natural partner who shared the company’s philosophy. Described as ‘an architect with an artist’s sensibilities and vision’, Adjaye recognises and understands the skills and patience needed to produce work that is both distinctive and exceptional. “When collaborating, I’m looking for like-minded partners in terms of their craft, beliefs and traditions. I loved Gordon & MacPhail’s rigour and obsession with their products and their craft – a romantic commitment that enables one to do exceptional things. Our partnership felt so organic” explains Adjaye.

01/10/2021 17:31

Follow Arts & Collections on Instagram Follow @artsandcollections for the latest news and updates on fine arts, luxury collectables and investment trends

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19/07/2021 17:36

COLLECTIONS // where to spend it

Where to


From a posh piggybank to a stunning speaker, we present some desirable luxury collectables and technological marvels for you to splash your cash on BY manny berhanu



greedy piggy Jay Strongwater’s Gatsby Pave Piggy Bank with Crown is an extraordinary piece, decorated with 4,800 Swarovski crystals. The glamourous pink piggy bank gleams with hand-set light rose crystals and is finished with a gold and crystal crown. Initially, it was sculptured in clay to portray the cheery pose, then moulded in metal and completed in 14k gold. Underneath the glistening Gatsby is a hidden area with plenty of space to hide your pounds and pennies. Measuring 5.75” W x 3.5” D x 5” H, the piggy bank comes with a protective box and bag and is currently priced at $2,900.

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time to spare This Breguet Classique Complications watch displays its lightweight 41mm platinum case cover over a crystal-clear silver dial with Arabic numerals and batons as markers. Accompanied by a black alligator strap, this watch oozes class and beauty. The Swiss-made watch comes in original packaging with a set of documents further describing the watch as well as the Breguet 2-year warranty and a free watch winder. Costing £221,400, the watch exemplifies watchmaking ideals of precision, clarity and elegant lines.


Gone to their heads Award winning luxury British milliner Katherine Elizabeth presents her Winter 21/22 collection, which includes 14 glamorous pieces inspired by the way nature took over our cities during the pandemic, and celebrations of ‘life returning to normal’ in the glamorous 1920’s. The couture collection is made from sustainably sourced materials including upcycled felt and faux fur, with selected pieces enhanced with 24k gold plating, elegant halos, Swarovski crystals, and luxurious velour felt. Shown here is Alexa at £590.

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where to spend it // COLLECTIONS


hustler’s delight With over 50 years craftsmanship in manufacturing, Billiards by Brandt has created the Edgewood, a smooth and structured pool table fit for any games room. The modernised look with its streamlined lines and angular plinth, and satin finish make it a statement furniture piece. Complete with accessories the Edgewood is custom built for you, with a choice of rich red ribbon sapele, oak or mahogany finishes and custom billiard cloths. Price is £18,000.

6 music to your ears Vivid Audio’s flagship loudspeaker Giya G1 Spirit will certainly turn heads as well as massaging your ears. Weighing 67.4kg, this is Vivid Audio’s largest and most imposing speaker, belying its curved surfaces and smooth lines. It features the range’s most powerful bass performance as well as reactioncancelling technology within the five separate bass drivers. As a whole, with its striking design, it also delivers the most seamless and transparent sound. A pair of Giya G1 Spirit loudspeakers is priced at £69,000.

IMAGES © jay strongwater, breguet, katherine elizabeth, gamesroom copany, kross studio, vivd audio, dolce&gabbana


Holy timekeeping, batman!


Kross Studio, an independent Swiss manufacturer, has created a first-ofits-kind clock inspired by the Batmobile from Tim Burton’s 1989 movie Batman. The piece has 115 components for the bodywork and 397 for the movement, using only the finest materials, with the bodywork in black aluminium composite along with aeronautical grade scratch protection coating. The time is displayed horizontally by two cylinders and to top it off there is a Batman-symbol shaped key made from mirror-polished steel. Even Bruce Wayne might raise an eyebrow at the cost of $29,900.,

queen of bags Dolce & Gabbana’s Dolce Box Regine bag personifies the brand’s artistry, love and attention to detail. Drawn on a baroque theme and made in the finest wood, resin and gold leaf, it presents an intricately detailed handle and golden friezes of queens radiant in their opulent costumes and regal magnificence, with vintage cornices on both panels. The shoulder strap features high-quality Dauphine calfskin with light gold-plated metal snap hooks. The bag is then finished by a row of curved studs on top. Cost is £6,400.

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01/10/2021 17:33


Winter Sun

IN ST. Lucia If you’re looking to get away from the gloom of winter, the Caribbean island of Saint Lucia is the hottest spot to visit


he island of Saint Lucia’s history as a bone of contention between British and French colonisers is long forgotten, leaving only a legacy of independence, fine weather and a yearround welcome for visitors. Though the ‘winter’ in Saint Lucia is marked only by a slight drop in temperature, high season, from mid-December to midApril is ideal visiting time as it’s sunnier than the wet season from June to November. High season marks the peak of visitor numbers, and the best time to head to the beach to enjoy reliable but not overwhelming sun. If you prefer a quieter time, go for the low or wet season, ideal for last-minute travel. Between the two, the so-called ‘shoulder’, has its good points accommodation is easier to find and may be cheaper. 82 Arts & CollectionS

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ATTRACTIONS The island’s capital, Castries, is full of activity in the week, with attractions including the Vendor’s Arcade, the Castries Market, and La Place Carenage. Sunday is the best day to explore Castries in peace and quiet – take a ferry to nearby Point Seraphine for more souvenir shopping opportunities. At any time of year, Saint Lucia features the very best in amenities for visitors – for instance Sugar Beach, a Viceroy resort, is set in a stunning beach location between the Pitons among 100 acres of lush tropical rainforest, and features stylish accommodation with plunge pools and butler service featured as standard, a Rainforest Spa with a range of signature treatments, and attractions from night snorkelling to activities for children. This summer, Sugar Beach saw

some exciting developments including an extension to the beach dining space, refreshed kitchen and outdoor lounge facilities, new spa, wellness and gym facilities, new luxury poolside cabanas and bar, enhanced panoramic views from the Great Room Restaurant & Bar, five new Beachfront Bungalows, and four Luxury Villa Cottages, each with their own private plunge pool. A Special Events lawn is being created to cater to an increased variety of functions including weddings and parties, and for art lovers, Sugar Beach will be adding to its existing expansive art collection, and will introduce a new art tour experience for guests seeking an educational experience that is culturally immersive. Like St Lucia itself, the welcome at Sugar Beach is a warm one at any time of year. 



01/10/2021 17:32

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02/12/2020 11:23

San Marzano Vini.indd 1

12/07/2021 11:08

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