Demand– Is the artist in demand or an historical importance, whether they are a new young maverick, whether lots of people are participating in the market.
Size- bigger is not always better, but it’s almost certainly more expensive. On the primary market, gallerists tend to price works for each artist at a standard price-multiple based on size. For works that have been sold before, whether at a gallery or at auction, comparison is often made to prices of other similarly sized works by the artist, using a number of price databases such as artnet and Art Price.
Color and Other Unique Attributes
The quality of the cut is very important as this gives a different rhythm and effect to the canvas. The quantity of cut is also important. A single cut is very minimalist and therefore very sought after, but multiple slashes are also sought after on the international market.
Pieces with high-profile exhibition and collecting history cost more, particularly if celebrated names are involved. In a historical context, establishing authenticity, or the possibility of any potential legal claims over ownership, are of paramount importance. In the contemporary market, provenance can involve shoring up an artist’s reputation
Courtesy of Christie’s
The auction lasted the 19 minutes it took to sell a single work for $400 million ($450 million with fees), making it the most expensive piece ever purchased at auction, and likely the most expensive artwork ever sold.
When auctioneer Jussi Pylkkänen announced lot nine: Leonardo da Vinci’s Salvator Mundi (circa 1500), cell phones came out en-masse to capture the event, while a cavalcade of press and primped art world citizens scanned the room for the special red paddles Christie’s handed out to those wishing to bid on the prize. A sale was assured courtesy of a $100 million guarantee.
Pylkkänen opened bidding on the Leonardo at $70 million, and anxious early seconds of tepid reception gave way to a steady pace as $95 million became $110 million became $120 million in short order. The room proved an active audience as the price teetered upward; it produced just one of many audible gasps as bidding hit $200 million, clearing the previous $179.4 million record for any work sold at auction set by Pablo Picasso’s Les Femmes d’Alger (Version “O”) in 2015.
After a $286 million bid from de Poortere, Rotter warbled out a $300 million counter, tying the price that billionaire hedge fund manager Ken Griffin reportedly paid for Willem de Kooning’s Interchange (1955) in 2015, the most expensive art transaction ever publicly reported until Christie’s Wednesday sale.
Rotter called out $400 million on the next bidand that was the end. The room clapped, gasped, and laughed.
Christie’s employees pose in front of a Leonardo da Vinci’s Salvator Mundi. Photo by Tolga
Salvator Mundi, or “Savior of the World,” November 15th, will go on offer in the house’s Post-War and Contemporary evening auction, where it is estimated to sell for $100 million.
An untitled Jean-Michel Basquiat painting sold for $110.5 million in May; in 2015, Pablo Picasso’s Women of Algiers sold for $179 million and an Amedeo Modigliani nude sold for $170 million; and in 2013, an Andy Warhol car crash painting sold for $105.4 million.
A private sale of a Paul Cézanne piece went for about $250 million back in 2012
Calle de Valverde 35
SOTF – an acronym of Store of the Future – combines classical style elements with an innovative in-store experience. Stocking everything from Adidas Originals to Common Projects, with every price point in between, the special thing about SOTF is that you could find yourself selecting a pair of sneakers without barely having to talk to a human being; iPad’s allow customers to check stock – and make a purchase – without ever having to shout on a store assistant.
Via de’ Tornabuoni
17/r 50100 Firenze FI
KM20 (basically the Russian Dover Street Market) is Russia’s go-to destination for everybody who’s desperate to dress well. Not only is this Moscow concept store known for its finely curated selection of brands – Cotweiller to OFF-WHITE, with a bit of Gosha and Heron Preston in between – they’re probably the best place in Russia to do your sneaker shopping too.
Pereulok Stoleshnikov 2
Chapter Harajuku, Tokyo
Tokyo’s Chapter Harajuku is a must-visit location if you’re in Tokyo. Having initially starting out as a tiny spot within a disused junkyard, Chapter Harajuku has served the Japanese city’s local sneaker heads for over two decades, leaving them salivating over the store’s ever-changing selection. You can find anything from classic Chucks to limited edition styles from Nike and Adidas.
3 Chome-22-7 Jingumae
Slam Jam, Milan
A streetwear and sneaker store that often doubles up as an art gallery too, Slam Jam in Milan have been giving the people of Italy’s most stylish city beautiful footwear for over a decade.
Via Giovanni Lanza 1
20121 Milano MI
We’ve never heard of a sneaker store being described as a “multi sensory experience” before, but that’s exactly how SVD’s Barcelona location bill theirs. Born from the ashes of Sivasdesvalso, the store that came before it, it’s a two-floor haven of Adidas, Nike, Yeezy, and everything in between.
RSVP Gallery, Chicago
Originally opened by Virgil Abloh and Just Don Creative Director Don Crawley, RSVP Gallery is as much a treasure trove of art and pop culture relics as it is a go-to luxury sneaker destination.
1753 N Damen Ave
Chicago IL 60647
Stadium Goods, New York City
A store that curates a gigantic line of the planet’s hardest to find sneakers and streetwear.
What’s more, Stadium Goods is set to expand their offerings into Europevia a new partnership with Zalando.
47 Howard St
New York NY 10013
It might look like a convenience store from the outside, but this Clearway Street fashion boutique happens to be one of the most respected sneaker spots in Boston.
6 Clearway St
Boston MA 02115
D&G’s new motto: “Family, Pasta, and Italy!” Photos: Danielle G. Adams/Bloomberg
The duo, Stefano Gabbana and Domenico Dolce partnered with the venerable Italian pasta maker Pastificio di Martino to produce an extremely limited edition tin of pastas along with a D&G-designed apron. Only 5,000 of the tins will be available worldwide.
Now, it’s back at Christie’s, slated to be auctioned on November 15th. Worth an estimated $100 million. Lowy’s addition, a rare 16th-century Italian frame with delicate gold stenciling against a black finish, is itself valued between $40,000 and $50,000, .
Leonardo da Vinci, Salvator Mundi, ca. 1500. Courtesy of Lowy Antique Frames & Fine Art Restoration.
Courtesy of Lowy Antique Frames & Fine Art Restoration.
f the painting—either by country, by region, by date,” he told Artsy last year. “If there was a particular frame that an artist was known to use, that would influence the choice as well.”
Salvator Mundi was thought to have been commissioned by French king Louis XII and his wife, and was mostly likely painted in the early 1500s in Milan.
Courtesy of Lowy Antique Frames & Fine Art Restoration.
Auction of a rare Leonardo da Vinci painting, “Salvator Mundi,” a 500-year-old depiction of Jesus Christ that was once in the royal collection of Charles I but later lost to obscurity.
Christie’s is selling the work, painted around the same time as da Vinci’s “Mona Lisa,” for a private owner—reportedly the controversial Russian Billionaire Dmitry Rybolovlev—to sell alongside Andy Warhol’s striking, 32-foot “Sixty Last Suppers.” The work is Warhol’s “last masterpiece,” Alex Rotter, co-chairman of post-war and contemporary art for Christie’s in New York, said of the sales at a press preview Friday.
- Ann Taylor, the struggling brand now owned by Ascena Retail Group, has launched a $95-per-month apparel rental program in the U.S. with free unlimited shipping both ways, according to the brand’s website.
- Items, which don’t include shoes or accessories, are available in women’s regular and petite sizes 00-14 and XS-XL, the company said. Three boxes, containing three items each from an accumulated online “closet,” are sent out each month. Subscribers must have chosen at least eight items for their Ann Taylor “closet” in order to keep boxes coming, although having 20 items online is advised. An online return notification allows the next box to ship.
- Customers who want to keep any items can buy them at a discount, though by definition they are likely to be pre-worn by others, the company also said. Any item can be kept indefinitely. Laundry is taken care of by Ann Taylor, though those keeping items for a while can launder the clothes themselves as long as they’re kept in pristine condition.
- It’s also predicated on the revolutionary premise from that disruptive apparel service — that people will begin to think of their wardrobes as existing “in the cloud,” making it virtually infinite —
These efforts represent a direct challenge to fast fashion, which relies on ownership on the cheap and a closet’s high turnover rate.
Every November The Salon Art + Design welcomes the world’s finest international galleries exhibiting historical, modern and contemporary furniture, groundbreaking design and late 19th through 21st century art. Visitors will find designs by the great 20th century masters, as well as creative works by today’s most innovative young artists. Look for Art Deco, Mid Century Modern from America, France, Italy, and Scandinavia paired with the work today’s emerging designers.
Han van Meegeren, 1945. Photo by Koos Raucamp. Courtesy of GaHetNa (Nationaal Archief NL).
Knoedler & Company gallery in New York stunned the art world by selling approximately 40 forged paintings supplied by art dealer Glafira Rosales, who claimed to have access to never-before-seen works owned by an anonymous collector. It was revealed that Rosales was actually commissioning paintings from a struggling Chinese immigrant named Pei-Shen Qian of Queens New York, who’d taken classes at the Art Students League of New York. Rosales was paying him thousands of dollars, while the gallery charged millions for the paintings. Five years on, the scandal is still not entirely settled, and the art world is anxiously awaiting news concerning two lawsuits against the gallery and its associates currently being fought in the Southern District of New York.
Michelangelo himself created forgeries. In 1496, he sculpted a sleeping cupid and then buried it to make it appear older. Michelangelo sold the sculpture to a cardinal, who eventually discovered that it was artificially aged. The cardinal demanded a refund from the dealer who sold him the piece but allowed Michelangelo to keep his portion of the proceeds because he was so impressed with the work. The incident added to Michelangelo’s fame, and was praised as a “triumph over antiquity.” (The Renaissance master also had a tendency for copying other artists’ drawings, keeping originals and returning copies in their place.
Popular painter Han van Meegeren, from the Netherlands, criticized for being unoriginal and imitative, set out to prove his talents by forging famous artists. He planned to wait until his paintings attracted critical acclaim, and then he would reveal their true origins, exacting revenge on those who had doubted his talents. Once he achieved financial success from his forgeries, however, the temptation was too great and he continued his criminal activities—activities that went unnoticed even as his work grew sloppy due to alcoholism and a morphine addiction. Eventually one of his Vermeer forgeries made its way into the collection of Hermann Göring, a central member of the Nazi high command. When World War II ended with German defeat, van Meegeren was arrested in his home country for selling Dutch cultural property to the Nazis, an act of treason punishable by death. Confronted with this punishment, van Meegeren confessed. In November 1947, after a highly publicized trial, he was convicted of falsification and fraud charges and was sentenced to one year in prison. (He never served his time, dying before his incarceration.) In 1947, a newspaper poll found van Meegeren to be the second most popular man in the Netherlands, after the prime minister.
Almost every case of forgery, the artist’s motivation is recognition and success – even if it is associated with someone else’s name. Usually, the artist feels underappreciated and is not critically or commercially successful and fooling everyone – the collectors, appraisers and art historians – gives the artist great satisfaction.
Betye Saar in Laurel Canyon Studio, 1970. Photo by Bob Nakamura. Courtesy of the artist and Robert & Tilton, Los Angeles, California.
Betyye Saar unveiled her first overtly political work: a small box containing an “Aunt Jemima” mammy figure wielding a gun at a community center in Berkeley Ca.
Betye’s project called “The Liberation of Aunt Jemima”. It was an assemblage that repositions a derogatory figurine, a product of America’s deep-seated history of racism, as an armed warrior. It’s become both Saar’s most iconic piece and a symbol of black liberation and radical feminist art—one which legendary Civil Rights activist Angela Davis would later credit with launching the black women’s movement.
Saar began collecting racist imagery in the 1970’s. Her Los Angeles studio contained assorted bric-a-brac she carted home from flea markets and garage sales across Southern California, where she’s lived for the better part of her 91 years. One area displayed caricatures of black people and culture, including pancake batter advertisements featuring Aunt Jemima (the brand of which remains in circulation today) and boxes of a toothpaste brand called Darkie, ready to be transformed and reclaimed by Saar. During the late 1800s, America’s “mammy” figures were grotesquely stereotyped images of black women used to sell kitchen products and objects that “served” their owners. These included everything from broom containers and pencil holders to cookie jars.
In a cartoonish Jemima figure, Saar saw a hero ready to be freed from the bigotry that had shackled her for decades.
First, she filled the figurine’s hand (fashioned to hold a pencil) with a gun. In her other hand, she placed a grenade. “She was seeking her power, and at that time, the gun was power,” Saar has said.
Into Aunt Jemima’s skirt, which once held a notepad, she inserted a vintage postcard showing a black woman holding a mixed race child, in order to represent the sexual assault and subjugation of black female slaves by white men. She collaged a raised fist over the postcard, invoking the symbol for black power. Finally, she set the empowered object against a wallpaper of pancake labels featuring their poster figure, Aunt Jemima.
Since the The Liberation of Aunt Jemima’s outing in 1972, the artwork has been shown around the world, carrying with it the power of Saar’s missive: that black women will not be subject to demeaning stereotypes or systematic oppression; that they will liberate themselves.
IVORY LODGE LIONS SANDS, SOUTH AFRICA
LAS VENTANAS AL PARAISO, A ROSEWOOD RESORT, MEXICO
. AMANGIRI, UTAH, USA
LADERA, ST LUCIA
NKWICHI LODGE, MOZAMBIQUE
TSWALU KALAHARI, SOUTH AFRICA
Consumers were outraged following the announcement, but it died down a bit after shoppers realized they could still buy Coach bags — only the corporate name was changing.
Three years ago, Coach announced its intention to grow beyond the Coach brand, acquiring Stuart Weitzman, an upscale shoe brand, in 2015 and Kate Spade & Co., a maker of handbags, apparel, shoes and accessories, over the summer.
Coach has been since 1941, when it began as a family-run workshop in Manhattan with handmade wallets and billfolds. The company announced three years ago that it would reinvent itself — evolving from a “monobrand specialty retailer to a true house of emotional, desirable brands. The name change will take effect Oct. 31.
Nicholas Kirkwood alumnus Alan Buanne
Gucci use of sharp, exaggerated shoulders. Many looks in the collection featured boxy blazers that were reminiscent of the popular style of the ’80s.
Across New York, London, Milan, and Paris, designers employed a diverse cast of models that went beyond the archetypal runway type. This season marked the first time every single show in New York featured at least one model of color, with six of the top ten most-booked models of the city being a minority.
The Wadsworth Atheneum Museum of Art will celebrate the unprecedented art-collection of financier J. Pierpont Morgan (1837-1913) in “Morgan: Mind of the Collector.” Morgan traveled the world and collected more than 20,000 works of art in a 23-year period; his broad acquisitions included sculpture, manuscripts, rare books, prints and drawings, paintings, and decorative arts including silver, porcelain, glass, tapestries, enamels, ivories, and bronzes. museums in America. The exhibition is on view from Sept. 23-Dec. 31, 2017.
The founder of a banking dynasty still in operation today, J. Pierpont Morgan was one of the great financial figures of the late 19th and early 20th centuries. Well-known for his business success, he was also an important philanthropist and became an avid art collector following the death of his father, Junius Spencer Morgan (1813-1890). Pierpont was born in Hartford, Conn., and his family was the third generation to support the Wadsworth Atheneum–his grandfather Joseph was one of the museum’s founders. Accordance with his father’s will, Jack Morgan dispersed more than 1,350 objects from Pierpont’s collection to the Wadsworth Atheneum “for the instruction and pleasure” of the public. The transformative gift formed the core of the museum’s European decorative arts collection; “Morgan: Mind of the Collector” corresponds with the centennial anniversary of that re-foundation.
Morgan’s lifelong fascination with the ancient world, experienced through a biblical lens, led him to collect art and artifacts as he traveled to Rome, Jerusalem, and Egypt. A glass cameo cup on loan from The Corning Museum of Glass is known as “The Morgan Cup” (c. I-99 CE); Morgan acquired it in opposition to advisors who doubted its authenticity, and it proved to be a rare object manufactured in the ancient Roman Empire. In the same vitrine, the bronze “Draped warrior” (c. 510-500 BCE) is one of 90 ancient objects Morgan bequeathed to the Wadsworth Atheneum. Morgan’s affinity for sacred relics belies his deep religiosity–he was a devout Protestant with a lifelong commitment to the Episcopal Church. Drawn to religious art, Morgan collected illuminated prayer books and missals, Bibles, and enameled and metal reliquaries including the “Reliquary of Mary Magdalene” (14th and 15th century), which is said to contain the saint’s tooth and now belongs in the collection of The Metropolitan Museum of Art. A lifelong interest in European history and royalty attracted Morgan to collect objects ranging from literary manuscripts to works of art with impressive pedigrees. Also borrowed from The Met, “The Great Ruby Watch” (c. 1670) once belonged to Baroness Alphonse de Rothschild, wife of the prominent French banker. Decorated with 85 clear rubies and painted enamel, the watch epitomizes Morgan’s fondness for precious jewelry and finely wrought items. “Morgan: Mind of the Collector” is a three-dimensional exhibition with the exception of two paintings. Anthony Van Dyck’s undated oil painting, “Robert Rich, Second Earl of Warwick,” in the Wadsworth Atheneum’s collection was conserved in the summer of 2017 to remove varnish that had discolored over time, elucidating the painting’s refined details and its original subtle yet bright colors. The painting was well known by the time Morgan purchased it in 1902, and he displayed the portrait of the armor-clad Warwick–who reputedly helped to colonize Connecticut–prominently in his home at Princes Gate in London.
- Museums are having a huge boost in their attendance as technology comes into play with art.
- A range of new gadgets is being added to their collections, like iPad-guided gallery tours, eye-tracking devices to track gaze, and symbol decoding software. According to the American Alliance of Museums, U.S. cultural institutions see more than 850 million visits per year — more than most sporting events — and represent about $21 billion in direct economic activity. Those large numbers may continue to grow, as museums boost their technological mobile applications and offerings designed to enhance the experience of tech-savvy visitors.
- Museum attendance has skyrocketed more than ever since computers and iPads entered the art realm, some art experts say. It’s allowing visitors to experience art in a new way, while bringing exhibits to others that may never even set foot in the institution at all.
The museum is the home of the ArtLens Gallery, featuring high-tech gear like eye-tracking, motion detection, and facial recognition that “surpasses barriers” in the service of drawing in art lovers.
Visitors can touch art, favorite the exhibits they like most and create their own tour.
Spaces like the Gesture and Expression exhibit allow visitors to strike a pose like the figures of a painting, while a gaze tracker reveals where a visitor focuses when looking at a work of art.
- The Metropolitan Museum of Art in New York City, attendance had more than 7 million visitors in 2016. The Met recently digitized more than 380,000 images from its collection, making art available to download on any computer, anywhere.
For those who don’t have the resources to afford a visit to the museum, technology goes beyond adding cool gadgets and gears. It introduces art — via iPads in public parks or videos in cab rides, for example — to people who wouldn’t otherwise have the time or resources to visit a museum.
- the app
Lauren Greenfield From the series Generation Wealth
Lauren Greenfield, Xue Qiwenin, 43, Shanghai, 2005. © Lauren Greenfield/Institute. Courtesy of Phaidon Press.
Limo Bob in his Office 2008 Courtesy of Phaidon press
The Fifth Anniversary Party For KM20
Photos by Photo by Sandra Semburg
New York Fashion Week street style Spring/Summer 2018
Photo by Sandra Semburg
Medical students at Columbia University’s College of Physicians and Surgeons, for example, are required to take humanities seminars in their first year, which range in subject from dance to poetry. And in the past few years, more schools, including Harvard Medical School and the University of Texas at Austin’s Dell Medical School, have developed their own arts and humanities programs.
“It’s not just a nice idea to incorporate humanities into medical schools to make the education more interesting,” Flanagan says of such programs. “It’s protecting and maintaining students’ empathy so that by the time they go off to practice medicine, they’re still empathetic individuals.” He notes that while medical students traditionally enter their first year with very high levels of empathy, after three years, research has shown, the exposure to content around death and suffering can cause those levels to plummet. Engagement in the humanities can rectify this problem.
Dr. Delphine Taylor, Associate Professor of Medicine at Columbia University Medical Center, emphasizes that arts-focused activities are important in training future doctors to be present and aware, which is more and more difficult today given the pervasiveness of technology and media.
One of the most popular programs, adopted at schools including Yale, Harvard, and UT Austin, involves students meeting at art museums to describe and discuss artworks. At the most basic level, these exercises in close observation help to improve diagnostic skills—priming students to identify visual symptoms of illness or injury in patients, and (hopefully) preventing them from making misguided assumptions. But it’s also about delving beneath face value.
Photo from the Art Matters event at MoMA, courtesy of Columbia University College of Physicians & Surgeons.
The roller styles retail for $1,995 and are available at Saint Laurent’s boutique
Saint Laurent has made the roller skate somewhat of a signature. In addition to these new, heeled styles, the brand has also shown sneaker roller skate styles, which are new interpretations of its Court Classic high-tops. You can still find the sneaker rollers on
A warrant was put out for a Greek vase aka “bell krater”on view at the Metropolitan Museum of Art which dates back to 360 B.C.,” last week, at which point the museum delivered it to prosecutors. Questions around its provenance arose in 2014 after forensic archaeologist Christos Tsirogiannis published research connecting the vase to Giacomo Medici, an art dealer convicted in Italy for conspiracy to traffic illicit antiquities. Tsirogiannis said he informed the Met to his findings, but received no response. The museum said it reached out formally and informally to Italian authorities about the matter. Frustrated, Tsirogiannis sent his evidence, which includes Polaroid photos of Medici with the bell krater, to Manhattan prosecutors in May. They were sufficiently convinced the piece had been looted from Italy. It is now likely the object will return to Italy. “The museum has worked diligently to ensure a just resolution of this matter,” a spokesperson for the Met told the Times. In another case this week, Manhattan prosecutors seized a second ancient statue, a marble sculpture of a bull head, currently on loan to museum. A Met curator researching the work found it likely had been looted during the Lebanese civil war of the 1980s, and reported the matter to higher-ups at the museum, who alerted Lebanese authorities. They, in turn, contacted American law enforcement to retrieve it. The owners of the work say they hold clear title and have sued New York prosecutors (and antiquities directorate in Lebanon) for its return.
Authorities picked up the five dealers in Jerusalem Israel on Sunday, also finding ancient papyrus fragments, frescos, and other objects, as well as $200,000 in cash. Police say the dealers were linked to the scandal surrounding the purchase of artifacts looted from Iraq by the arts and crafts chain Hobby Lobby. Last month, the company reached a settlement with the U.S. Justice Department that will require it to forfeit the objects and pay a $3 million fine. Israeli police say the five dealers arrested are suspected of tax evasion, tax fraud, and money laundering in connection with the sale of some $20 million in artifacts to Hobby Lobby.
This East Village Roof top cottage – for 3.5 million at 72 East 1st street underneath is a large duplex
Gale Barrett Shrady is the current owner. Shrady’s late husband, Henry Merwin Shrady III, bought the entire walk-up building in the 80s and renovated it to sell, but he kept the fourth and fifth floors as a duplex for his family.
In 1901, Andrew Carnegie donated $5.2 million (equivalent to over $100 million today) to New York City in order to fund the construction of an estimated 30 libraries within the New York Public Library system. At the time, the Carnegie libraries were heated by coal, which meant a live-in custodian was charged with keeping the fires burning. Photos by The New York Public Library’s staff photographer, Jonathan Blanc,
custodians like John H. Fedeler, who lived at the 42nd Street branch of the New York Public Library in the 1930s. (Photo by Jonathan Blanc.)
Fort Washington Branch Apartment
The Unicorn Tapestries, aka “The Hunt of the Unicorn,” are widely considered to be among the greatest artworks in existence.
Comprised of seven monumental tapestries with each measuring 12 feet tall and up to 14 feet wide—depecting exquisitely dressed noblemen with a team of huntsmen and hounds who pursue a unicorn through a flowering forest. The Unicorn is found, slain, carried to a castle, and, in the series’s famous final panel, resurrected, resting in a garden within a circular fence. The mysterious “AE” ciphers, appear on every hanging. Its origins and symbolism still baffle scholars. They have been examined, interpreted, and discussed for more than a century, resulting in no definitive conclusion.
In one of the panels, The Mystic Capture of the Unicorn, the creature is tamed by a willing virgin, who leads the unicorn into an enclosed rose garden to meet its sacrificial fate. In this way, it appears both secular and religious—a duality common in the Middle Ages, when unicorns symbolized Christianity, immortality, wisdom, lovers, and marriage.
The earliest record of the tapestries is a 1680 inventory of possessions located in François VI de La Rochefoucauld’s castle in Paris. In the 1730s, the hangings were moved to the family’s Verteuil château, where they were looted during the French Revolution. The family re-acquired the tapestries in the 1850s—including a severely damaged one, left in fragments—and sent the six complete ones to New York for exhibition in 1922. John D. Rockefeller, Jr saw and purchased and kept them in his apartment until 1937 when he gave them to the Cloisters. The remaining pieces of the seventh tapestry were purchased separately from Count Gabriel de La Rochefoucauld of Paris; the complete series was reunited at the Cloisters’ opening in 1938.
Some believe A and E signify Adam and Eve, while others have claimed it identifies Anne of Brittany, a major patron of the arts who was active in the late 15th century and who, in 1499, married King Louis XII of France—a fitting occasion for the tapestries to celebrate.