Word: wildenstein
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Dates: during 1970-1979
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...sale were 201 antiques from the 18th and 19th centuries that once belonged to the famed Wildenstein family of art dealers. The collection was bought in 1977 by Akram Ojjeh, a Saudi Arabian entrepreneur who lives in France. Even Sotheby's normally unflappable chief auctioneer Peter C. Wilson was astonished at the frenetic pace of the bidding, which often drove prices three or four times as high as most dealers had expected. A pair of Louis XV corner cabinets went for $608,920, and a folio cabinet fetched $655,760. But the most breathtaking buy was a garishly ornate...
Owner Ojjeh apparently turned a handsome profit on the sale. He bought the collection from the Wildenstein family two years ago reportedly for $7 million. At the time, he said he wanted the antiques to furnish luxury salons aboard the liner France, which he had bought with the intention at first of turning the mothballed superliner into a floating casino. Last week Ojjeh also sold the France, for $18 million, to Norwegian Shipowner Knut Kloster, who will rechristen the ship Norway and use it for Caribbean cruises...
...Madison Ave.) has a solid group of more than 50 Georges Braque etchings, aquatints and lithographs, and for fans of the Italian maestro Giorgio de Chirico, there is a large survey of his late work, 1936-1975, depressing in its self-parody, hung in the august showrooms of Wildenstein & Co. (19 E. 64th...
...Fillies tend to be fractious, and Allez France, 4, has a habit or two that unnerves her owner, Art Dealer Daniel Wildenstein. One of them is the heart-stopping way she runs a race, loafing along until the head of the stretch, then roaring past the field in a powerful thrust. Last week American-bred Allez France beat the best thoroughbreds Europe had to offer in the 1%-mile Prix de 1'Arc de Triomphe, winning $296,500 and becoming the only other filly besides Dahlia ever to earn $1 million. Back at the stable, keeping the champ happy...
...Odalisque go to France not for "reattribution" but for sale? The Met's reply is that Daniel Wildenstein's opinion was needed, that the painting had to be compared with other Ingres in the Louvre and checked against Ingres documents he had. But the Met rejected Wildenstein's conclusion (he thought the painting genuine), and it seems easier to copy some documents and mail them to New York than to lug a large and valuable painting across the Atlantic. If the Odalisque went to Paris only for study, why conceal its whereabouts from other scholars...