Europe

Sèvres had high hopes of royal approval and purchase but the Service des Départements was rejected

Delphin Massier, the creator of a large cachepot on stand sold by Dannenberg (28% buyer’s premium) in Berlin, was a member of the dynasty of ceramic artists who worked in Vallauris from the 18th century onwards.

In many parts of the German-speaking world, it was once customary for a newly married couple to drink together from a silver or parcel gilt bridal beaker.

Greek mythology provided François Boucher with an endless source of inspiration. One tale he returned to on several occasions was that of Ariadne and Bacchus.

A late 16th century Iznik pottery dish will surely attract bids at Nagel’s sale titled Six Continents in Stuttgart on February 25.

‘Any half-good work’ by the artist-mountaineer ‘seems to get several phone lines booked’, says expert

Opened in 2024, Sceners Gallery of Paris uses a distinctive vocabulary to promote top examples of historic and contemporary design.

When north German pastor Johannes Jacobsen founded a school of weaving in the then German-Danish border town of Scherrebek in 1896, his intention was driven by nationalism.

This year marks both the 50th anniversary of the opening of Galerie G Sarti and only a few months since the death of its founder.

A notable Irish hunting painting that emerged at Fonsie Mealy (25% buyer’s premium including VAT) at the end of last year drew “very spirited bidding” according to the Castlecomer, Co Kilkenny saleroom.

Working in Japanese urushi lacquer requires patience. Harvested from the sap of the Rhus verniciflua tree, it is built up slowly, layer by layer, each stage requiring careful drying and polishing under controlled conditions.

Pairing old with new has become a familiar tactic in the art market.

The long-running BRAFA Art Fair in Brussels is traditionally one of the earliest events in the international art fair calendar.

When a 16th century white marble bust of an elderly man with a furrowed brow and resolute gaze came up for sale at Nagel (29.5% buyer’s premium) in Stuttgart, it was clear that more than one bidder was confident of knowing either the identity of the artist or that of the subject.