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See also:ART SALES . The practice of selling See also:objects of art by See also:auction in See also:England See also:dates from the latter See also:part of the 17th See also:century, when in most cases the names of the auctioneers were suppressed. See also:Evelyn (under date See also:June 21, 1693) mentions a "See also:great auction of pictures (See also:Lord Melford's) in the Banquetting See also:House, See also:Whitehall," and the practice is frequently referred to by other contemporary and later writers. Before the introduction of See also:regular See also:auctions the practice was, as in the See also:case of the famous collection formed by See also:Charles I., to See also:price each See also:object and invite purchasers, just as in other departments of See also:commerce. But this was a slow See also:process, especially in the case of pictures, and lacked the incentive of excitement. The first really important art collection to come under the See also:hammer was that of See also:Edward, See also:earl of See also:- OXFORD
- OXFORD, EARLS OF
- OXFORD, EDWARD DE VERE, 17TH EARL
- OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
- OXFORD, PROVISIONS OF
- OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
- OXFORD, ROBERT HARLEY, 1ST
Oxford, dispersed by See also:Cock, under the Piazza, Covent See also:Garden, on 8th See also:March 1741/2 and the five following days, six more days being required by the coins. Nearly all the leading men of the See also:day, including See also:Horace See also:Walpole, attended or were represented at this See also:sale, and the prices varied from five shillings for an See also:anonymous See also:bishop's " See also:head " to 165 guineas for Vandyck's See also:group of " See also:Sir Kenelm See also:Digby, See also:lady, and son." The next great dispersal was Dr See also:Richard See also:Mead's extensive collection, of which the pictures, coins and gems, &c., were sold by Langford in See also:February and March 1754, the sale realizing the See also:total, unprecedented up to that See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time, of £16,069. The See also:thirty-eight days' sale (1786) of the Duchess of See also:Portland's collection is very noteworthy, from the fact that it included the celebrated Portland See also:- VASE
- VASE (through Fr. from Lat. vas, a vessel, pl. vasa, of which the singular vasum is rarely found; the ultimate root is probably was-, to cover, seen in Lat: vestis, clothing, Eng. " vest," Gr. to-th c, and also in " wear," of garments)
vase, now in the See also:British Museum. Many other interesting and important 18th-century sales might be mentioned. High prices did not become See also:general until the See also:Calonne, See also:Trumbull (both 1795) and See also:Bryan (1798) sales. As to the quality of the pictures which had been sold by auction up to the latter part of the 18th century, it may be assumed that this was not high. The importation of pictures and other objects of art had assumed extensive proportions by the end of the 18th century, but the genuine examples of the Old Masters probably See also:fell far See also:short of 1%.
England was See also:felt to be the only safe See also:asylum for valuable articles, but the See also:home which was intended to be temporary often became permanent. Had it not been for the See also:political See also:convulsions on the See also:continent, England, instead of being one of the richest countries in the See also:world in art treasures, would have been one of the poorest. This fortuitous circumstance had, moreover, another effect, in that it greatly raised the See also:critical knowledge of pictures. Genuine See also:works realized high prices, as, for example, at Sir See also:- WILLIAM
- WILLIAM (1143-1214)
- WILLIAM (1227-1256)
- WILLIAM (1J33-1584)
- WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
- WILLIAM (c. 1130-C. 1190)
- WILLIAM, 13TH
William See also:- HAMILTON
- HAMILTON (GRAND or ASHUANIPI)
- HAMILTON, ALEXANDER (1757-1804)
- HAMILTON, ANTHONY, or ANTOINE (1646-1720)
- HAMILTON, ELIZABETH (1758–1816)
- HAMILTON, EMMA, LADY (c. 1765-1815)
- HAMILTON, JAMES (1769-1831)
- HAMILTON, JAMES HAMILTON, 1ST DUKE OF (1606-1649)
- HAMILTON, JOHN (c. 1511–1571)
- HAMILTON, MARQUESSES AND DUKES OF
- HAMILTON, PATRICK (1504-1528)
- HAMILTON, ROBERT (1743-1829)
- HAMILTON, SIR WILLIAM
- HAMILTON, SIR WILLIAM (1730-1803)
- HAMILTON, SIR WILLIAM ROWAN (1805-1865)
- HAMILTON, THOMAS (1789-1842)
- HAMILTON, WILLIAM (1704-1754)
- HAMILTON, WILLIAM GERARD (1729-1796)
Hamilton's sale (1801), when See also:Beckford paid 1300 guineas for the little picture of "A Laughing Boy " by
Leonardo da See also:Vinci; and when at the See also:Lafontaine sales (1807 and 1811) two Rembrandts each realized 5000 guineas, " The Woman taken in See also:Adultery," now in the See also:National See also:Gallery, and " The See also:Master Shipbuilder," now at See also:- BUCKINGHAM
- BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
- BUCKINGHAM, FIRST DUKE
- BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
- BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
- BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
- BUCKINGHAM, JAMES SILK (1786-1855)
Buckingham See also:Palace. The Beckford sale of 1823 (41 days, £43,869) was the forerunner of the great art dispersal of the 19th century; Horace Walpole's See also:accumulation at See also:Strawberry See also:- HILL
- HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
- HILL, A
- HILL, AARON (1685-175o)
- HILL, AMBROSE POWELL
- HILL, DANIEL HARVEY (1821-1889)
- HILL, DAVID BENNETT (1843–1910)
- HILL, GEORGE BIRKBECK NORMAN (1835-1903)
- HILL, JAMES J
- HILL, JOHN (c. 1716-1775)
- HILL, MATTHEW DAVENPORT (1792-1872)
- HILL, OCTAVIA (1838– )
- HILL, ROWLAND (1744–1833)
- HILL, SIR ROWLAND (1795-1879)
Hill, 1842 (24 days, £33,450), and the See also:Stowe collection, 1848 (41 days, £75,562), were also celebrated. They comprised every phase of art See also:work, and in all the quality was of a very high See also:- ORDER
- ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
- ORDER, HOLY
order. They acted as a most healthy stimulus to art See also:collecting, a stimulus which was further nourished by the sales of the superb collection of See also:Ralph Bernal in 1855 (32 days, £62,690), and of the almost equally See also:fine but not so comprehensive collection of See also:Samuel See also:Rogers, 1856 (18 days, £42,367). Three years later came the dispersal of the 1500 pictures which formed Lord Northwick's gallery at See also:Cheltenham (pictures and works of art, 18 days, £94,722).
Towards the latter part of the first See also:half of the 19th century an entirely new See also:race of collectors gradually came into existence; they were for the most part men who had made, or were making, large fortunes in the various See also:industries of the midlands and See also:north of England and other centres. They were untrammelled by " collecting " traditions, and their patronage was almost exclusively extended to the artists of the day. The dispersals of these collections began in 1863 with the Bicknell Gallery, and continued at irregular intervals for many years, e.g. See also:Gillott (1872), Mendel (1875), See also:Wynn See also:Ellis and See also:Albert See also:Levy (1876), Albert See also:- GRANT (from A.-Fr. graunter, O. Fr. greanter for creanter, popular Lat. creantare, for credentare, to entrust, Lat. credere, to believe, trust)
- GRANT, ANNE (1755-1838)
- GRANT, CHARLES (1746-1823)
- GRANT, GEORGE MONRO (1835–1902)
- GRANT, JAMES (1822–1887)
- GRANT, JAMES AUGUSTUS (1827–1892)
- GRANT, ROBERT (1814-1892)
- GRANT, SIR ALEXANDER
- GRANT, SIR FRANCIS (1803-1878)
- GRANT, SIR JAMES HOPE (1808–1895)
- GRANT, SIR PATRICK (1804-1895)
- GRANT, U
- GRANT, ULYSSES SIMPSON (1822-1885)
Grant (1877) and See also:Munro of Novar (1878).
These patrons See also:purchased at munificent prices either See also:direct from the easel or from the exhibitions not only pictures in See also:oils but also See also:water-See also:colour drawings. As a See also:matter of investment their purchases frequently realized far more than the See also:original outlay; sometimes, however, the See also:reverse happened, as, for instance, in the case of See also:Landseer's " See also:Otter See also:Hunt," for which See also:Baron Grant is said to have paid £10,000 and which realized shortly afterwards only 5650 guineas. One of the features of the sales of the 'seventies was the high appreciation of water-colour drawings. At the Gillott sale (1872) 16o examples realized £27,423, See also:Turner's " Bamborough See also:Castle " fetching 3150 gns.; at the Quilter sale (1875) See also:David See also:Cox's " Hayfield," for which a dealer paid him 50 gns. in 185o, brought 2810 gns. The following are the most remark-able prices of later years. In 1895 Cox's " Welsh Funeral " (which cost about £20) sold for 2400 gns., and Burne-See also:- JONES
- JONES, ALFRED GILPIN (1824-1906)
- JONES, EBENEZER (182o-186o)
- JONES, ERNEST CHARLES (1819-1869)
- JONES, HENRY (1831-1899)
- JONES, HENRY ARTHUR (1851- )
- JONES, INIGO (1573-1651)
- JONES, JOHN (c. 1800-1882)
- JONES, MICHAEL (d. 1649)
- JONES, OWEN (1741-1814)
- JONES, OWEN (1809-1874)
- JONES, RICHARD (179o-1855)
- JONES, SIR ALFRED LEWIS (1845-1909)
- JONES, SIR WILLIAM (1746-1794)
- JONES, THOMAS RUPERT (1819– )
- JONES, WILLIAM (1726-1800)
Jones's " See also:Hesperides " for 2460 gns. In 1908, 13 Turner drawings fetched £12,415 (See also:Acland-See also:Hood sale) and 7 brought £11,077 (See also:- HOLLAND
- HOLLAND, CHARLES (1733–1769)
- HOLLAND, COUNTY AND PROVINCE OF
- HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
- HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
- HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
- HOLLAND, JOSIAH GILBERT (1819-1881)
- HOLLAND, PHILEMON (1552-1637)
- HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
- HOLLAND, SIR HENRY, BART
Holland sale), the " See also:Heidelberg " reaching 4200 gns. For Fred See also:- WALKER, FRANCIS AMASA (1840-1897)
- WALKER, FREDERICK (184o--1875)
- WALKER, GEORGE (c. 1618-169o)
- WALKER, HENRY OLIVER (1843— )
- WALKER, HORATIO (1858– )
- WALKER, JOHN (1732—1807)
- WALKER, OBADIAH (1616-1699)
- WALKER, ROBERT (d. c. 1658)
- WALKER, ROBERT JAMES (1801-1869)
- WALKER, SEARS COOK (1805—1853)
- WALKER, THOMAS (1784—1836)
- WALKER, WILLIAM (1824-1860)
Walker's " See also:Harbour of See also:Refuge " 2580 gns. were paid (Tatham sale) and 2700 gns. for his " See also:Marlow See also:Ferry " (Holland). The demand for pictures by See also:modern artists, whose works sold at almost fabulous prices in the 'seventies, has somewhat declined; but during all its furore there was still a small See also:band of See also:col-lectors to whom the works of the Old Masters more especially appealed. The dispersal of such collections as the Bredel (1875), See also:Watts See also:- RUSSELL (FAMILY)
- RUSSELL, ISRAEL COOK (1852- )
- RUSSELL, JOHN (1745-1806)
- RUSSELL, JOHN (d. 1494)
- RUSSELL, JOHN RUSSELL, 1ST EARL (1792-1878)
- RUSSELL, JOHN SCOTT (1808–1882)
- RUSSELL, LORD WILLIAM (1639–1683)
- RUSSELL, SIR WILLIAM HOWARD
- RUSSELL, THOMAS (1762-1788)
- RUSSELL, WILLIAM CLARK (1844– )
Russell (1875), See also:Foster of Clewer See also:Manor (1876), the Hamilton Palace (17 days, £397,562)—the greatest art sale in the See also:annals of Great Britain—Bale (1882), See also:Leigh See also:Court (1884), and See also:Dudley (1892) resulted, as did the sale of many See also:minor collections each See also:season, in many very fine works of the Old Masters finding eager purchasers at high prices. A striking example of the high prices given was the £24,250 realized by the pair of Vandyck portraits of a Genoese senator and his wife in the See also:Peel sale, 1900.
Since the last See also:quarter of the 19th century the See also:chief feature in art sales has been the demand for works, particularly See also:female portraits, by See also:Reynolds, his contemporaries and successors.
This may be traced to the See also:South See also:Kensington Exhibitions of 1867 and 1868 and the See also:annual See also:winter exhibitions at See also:Burlington House, which revealed an unsuspected See also:wealth and See also:charm in the works of many See also:English artists who had almost fallen into oblivion. A few of the most remarkable prices for such pictures may be quoted: Reynolds's " Lady See also:Betty Delme " (1894), 11,000 gns.; See also:Romney's " The Ladies See also:Spencer " (1896), 10,500 gns.;
700
See also:Gainsborough's "Duchess of See also:Devonshire" (1876), ro,See also:Ioo gns. (for
the See also:history of its disappearance see GAINSBOROUGH, See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
THOMAS), " Maria Walpole," 12,100 gns. (See also:Duke of See also:Cambridge's sale, 1904) ; See also:- CONSTABLE (0. Fr. connestable, Fr. connetable, Med. Lat. comestabilis, conestabilis, constabularius, from the Lat. comes stabuli, count of the stable)
- CONSTABLE, ARCHIBALD (1774-1827)
- CONSTABLE, HENRY (1562-1613)
- CONSTABLE, JOHN (1776-1837)
- CONSTABLE, SIR MARMADUKE (c. 1455-1518)
Constable's " See also:Stratford See also:- MILL
- MILL (O. Eng. mylen, later myln, or miln, adapted from the late Lat. molina, cf. Fr. moulin, from Lat. mola, a mill, molere, to grind; from the same root, mol, is derived " meal;" the word appears in other Teutonic languages, cf. Du. molen, Ger. muhle)
- MILL, JAMES (1773-1836)
- MILL, JOHN (c. 1645–1707)
- MILL, JOHN STUART (1806-1873)
Mill " (1895), 8500 gns.; See also:Hoppner's "Lady See also:Waldegrave " (1906), 6000 gns.; See also:- LAWRENCE
- LAWRENCE (LAURENTIUS, LORENZO), ST
- LAWRENCE, AMOS (1786—1852)
- LAWRENCE, AMOS ADAMS (1814–1886)
- LAWRENCE, GEORGE ALFRED (1827–1876)
- LAWRENCE, JOHN LAIRD MAIR LAWRENCE, 1ST BARON (1811-1879)
- LAWRENCE, SIR HENRY MONTGOMERY (1806–1857)
- LAWRENCE, SIR THOMAS (1769–1830)
- LAWRENCE, STRINGER (1697–1775)
Lawrence's "Childhood's Innocence " (29o7j, 8000 gns.; See also:Raeburn's " Lady Raeburn " (1905), 8500 gns. Here may also be mentioned the 12,600 gns. paid for Turner's " See also:Mortlake See also:Terrace " in 1908 (Holland sale).
The " appreciation " of the modern See also:continental See also:schools, particularly the See also:French, has been marked since 1880; of high prices paid may be mentioned See also:Corot's " Danse See also:des Amours " (1898), £7200; See also:Rosa See also:Bonheur's " Denizens of the See also:Highlands " (1888), 5550 gns.; Jules See also:Breton's "First Communion," £9100 in New See also:York (1886) ; See also:Meissonier's " See also:Napoleon I. in the See also:Campaign of See also:Paris," 124 in. by 94 in. (1882), 5800 gns., and " The Sign Painter" (1891), 6450 gns. High prices are also fetched by pictures of See also:Daubigny, See also:Fortuny, See also:Gallait, See also:Gerome, See also:Troyon and Israels. The most marked feature of See also:late has been the demand for the 18th-century painters See also:Watteau, See also:Boucher, See also:Fragonard, See also:Pater and See also:Lancret; thus " La Ronde Champetre " of the last named brought £11,200 at the Say Sale in 2908, and Fragonard's " Le Reveil de See also:Venus " £5520 at the Sedelmeyer sale, 1907.
" Specialism " is the one important development in art collecting which has manifested itself since the See also:middle of the 19th century. This accounts for and explains the high See also:average quality of the See also:Wellesley (1866), the See also:Buccleuch (1888) and the Holford (1893) collections of drawings by the Old Masters; for the Sibson See also:Wedgwood (1877), the Duc de Forli See also:Dresden (1877), the Shuldham See also:blue and See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
white See also:porcelain (1880), the See also:Benson collection of See also:antique coins (1909), and for the objects of art at the See also:Massey-Mainwaring and See also:Lewis-Hill sales of 1907. Very many other illustrations in nearly every See also:department of art collecting might be quoted—the superb See also:series of See also:Marlborough gems (1875 and 1899) might be included in this See also:category but for the fact that it was formed chiefly in the 18th century.
The appreciation —commercially at all events—of See also:mezzotint portraits and of portraits printed in See also:colours, after masters of the See also:early English school, was one of the most remarkable features in art sales during the last years of the I9th century. The shillings of fifty years before were then represented by pounds. The See also:Fraser collection (See also:December 4 to 6, 1900) realized about ten times the original outlay, the mezzotint of the ".Sisters See also:Frank-See also:land," after Hoppner, by W. See also:- WARD
- WARD, ADOLPHUS WILLIAM (1837- )
- WARD, ARTEMUS
- WARD, EDWARD MATTHEW (1816-1879)
- WARD, ELIZABETH STUART PHELPS (1844-1911)
- WARD, JAMES (1769--1859)
- WARD, JAMES (1843– )
- WARD, JOHN QUINCY ADAMS (1830-1910)
- WARD, LESTER FRANK (1841– )
- WARD, MARY AUGUSTA [MRS HUMPHRY WARD]
- WARD, WILLIAM (1766-1826)
- WARD, WILLIAM GEORGE (1812-1882)
Ward, selling for 290 guineas as
against to guineas paid for it about thirty years previously.
The H. A. See also:Blyth sale (March II to 13, 1901, 346 lots,
£21,717: I0S.) of mezzotint portraits was even more remarkable,
and as a collection it was the choicest sold within See also:recent times, the engravings being mostly in the first See also:state. The See also:record prices were numerous, and, in many cases, far surpassed the prices which Sir See also:Joshua Reynolds received for the original pictures; e.g. the exceptionally fine example of the first state of the " Duchess of See also:Rutland," after Reynolds, by V. See also:Green, realized moo guineas, whereas the artist received only £150 for the See also:painting itself. Even this unprecedented price for a mezzotint portrait was exceeded on the 3oth of See also:April 1901, when an example of the first published state of " Mrs See also:Carnac," after Reynolds, by J. R. See also:- SMITH
- SMITH, ADAM (1723–1790)
- SMITH, ALEXANDER (183o-1867)
- SMITH, ANDREW JACKSON (1815-1897)
- SMITH, CHARLES EMORY (1842–1908)
- SMITH, CHARLES FERGUSON (1807–1862)
- SMITH, CHARLOTTE (1749-1806)
- SMITH, COLVIN (1795—1875)
- SMITH, EDMUND KIRBY (1824-1893)
- SMITH, G
- SMITH, GEORGE (1789-1846)
- SMITH, GEORGE (184o-1876)
- SMITH, GEORGE ADAM (1856- )
- SMITH, GERRIT (1797–1874)
- SMITH, GOLDWIN (1823-191o)
- SMITH, HENRY BOYNTON (1815-1877)
- SMITH, HENRY JOHN STEPHEN (1826-1883)
- SMITH, HENRY PRESERVED (1847– )
- SMITH, JAMES (1775–1839)
- SMITH, JOHN (1579-1631)
- SMITH, JOHN RAPHAEL (1752–1812)
- SMITH, JOSEPH, JR
- SMITH, MORGAN LEWIS (1822–1874)
- SMITH, RICHARD BAIRD (1818-1861)
- SMITH, ROBERT (1689-1768)
- SMITH, SIR HENRY GEORGE WAKELYN
- SMITH, SIR THOMAS (1513-1577)
- SMITH, SIR WILLIAM (1813-1893)
- SMITH, SIR WILLIAM SIDNEY (1764-1840)
- SMITH, SYDNEY (1771-1845)
- SMITH, THOMAS SOUTHWOOD (1788-1861)
- SMITH, WILLIAM (1769-1839)
- SMITH, WILLIAM (c. 1730-1819)
- SMITH, WILLIAM (fl. 1596)
- SMITH, WILLIAM FARRAR (1824—1903)
- SMITH, WILLIAM HENRY (1808—1872)
- SMITH, WILLIAM HENRY (1825—1891)
- SMITH, WILLIAM ROBERTSON (1846-'894)
Smith, sold for 116o guineas.
At the See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis Huth sale (1905) 83 lots brought nearly £ro,000, Reynolds's " Lady Bampfylde " by T. See also:Watson, first state before letters, unpublished, fetching 1200 guineas. Such prices as these and many others which might be quoted are exceptional, but they were paid for objects of exceptional rarity or quality.
It is not necessary to pursue the See also:chronicle of recent sales, which have become a feature of every season. It is See also:worth mentioning, however, that the Holland sale, in June 1908, realized £138,118 (432 lots), a " record " sum for a collection of pictures mainly by modern artists; and that for the Rodolphe Kann collection (Paris) of pictures and objects of art, including 11 magnificent Rembrandts, Messrs Duveen paid £I,000,000 in 1907. In every direction there has been a tendency to increase prices for really great See also:artistic pieces, even to a sensational extent. The competition has become acute, largely owing to See also:American and
See also:German acquisitiveness. The demand for the finest works of art of all descriptions is much greater than the See also:supply. As an See also:illustration of the magnitude of the art sale business it may be mentioned that the " turnover " of one See also:firm in See also:London alone has occasionally exceeded £I,000,000 annually.
End of Article: ART SALES
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