M.F. Husain. Peasant Couple, 1950. Oil on canvas. Peabody Essex Museum, Gift of the Chester and Davida Herwitz Collection, 2003. Courtesy of the Peabody Essex Museum, Salem, MA. Photography by Walter Silver.
The question again seems to be do auctioneers need more bidders (a larger bidder pool) or just the right two bidders.
At auction, the final high bid is (largely) determined by the last two bidders — the high bidder and the runner-up bidder. Given that, no other bidders are arguably really necessary. The trick is finding those last two bidders, or “the right bidders” for each property put up for auction.
The Voice of the Brush is a series of exhibitions showcasing works by distinguished Chinese calligraphers -- Gu Gan, Huang Yao, Luo Qi, and Wang Dongling -- at Alisan Fine Arts in Hong Kong from July 5 to Aug 4.
On July 10, Carolyn Wong, granddaughter of Huang Yao, will conduct a walkthrough of the exhibition at 3.30pm. The walkthrough is followed by an English lecture on the life and work of Huang Yao.
I published this blog on June 6, 2018 about the auction industry losing bidders due to some illegal/unethical practices: https://mikebrandlyauctioneer.wordpress.com/2018/06/18/how-the-auction-i...
Often perception is more important than reality; auctions in the United States are no exception. Thus, our question today is, “Does it matter who the other bidder is?”
There are only two types of auctions: with reserve and without reserve. We have written various times about this topic, including here:https://mikebrandlyauctioneer.wordpress.com/2009/11/15/different-types-o...
Targeted at younger collectors, the 'Curated: Turn It Up' artworks auctioned at Sotheby’s Hong Kong totalled HK$47.7 million / US$6 million.
All of the 102 pieces offered found buyers, with 78% realising prices above their high estimates.
If we’ve heard it once, we’ve heard it 100’s of times … this is rare and so it’s valuable, right? There are no 1964-D Peace Dollars known to exist — and thus if one surfaced, there would be tremendous demand to own and thus some value.
But what about that picture of your grandfather standing on the beach in Hawaii in 1936? There’s only one of these pictures so it too is very rare, but is there any value? Not necessarily.
In his retrospective featuring 60 years of practice at the Balai Seni Visual Negara in Kuala Lumpur, Malaysia (2013), Latiff Mohidin’s development was illustrated as belonging to 3 periods. First was the ‘formative period’, followed by the ‘meditative period’ and ‘gestural period’. Langkawi (1976–1980) is illustrated as belonging to the ‘meditative period’, sandwiched between Mindscape series 1 (1974) and Mindscape series 2 (1976).