WITH no fairs to preview for who knows how long and no physical exhibitions to flag up or review, I shall devote some of these lockdown columns to show the various ways that the art trade is offering its wares and services on the internet. I shall also take opportunities to look back at the changes in markets and fashions during the 60 years since I first ventured into junk shops, galleries and salerooms as a schoolboy.
Of course, art and antiques traders have been using the internet to advertise themselves for some time, but not all have exploited it as effectively as they might. Many rightly feel that it is still generally best to examine a work of art physically before buying it. Even when one has a catalogue, it is all too easy to make a careless mistake. Leaning against a wall across the room from me is a watercolour for which I made a post-sale bid from the catalogue when it had been bought in. I was so pleased with myself for recognising the artist when the auctioneer had it merely as English School that I failed to check the measurements. It is too big and heavy for me to hang anywhere.
Some things—small bronzes for instance—demand to be held in the hand. When assessing a chair, furniture dealers will immediately examine its underside and the first rule for buying a picture is: look at the back, which may tell you as much as the front. However, even if technology can never eliminate human fallibility, or render the eye and hand redundant, it forges on and virtual exhibitions are a great advance on photographs, in whatever form.
Diese Geschichte stammt aus der April 08, 2020-Ausgabe von Country Life UK.
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Diese Geschichte stammt aus der April 08, 2020-Ausgabe von Country Life UK.
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It takes the biscuit
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