Word: wildenstein
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...that it bore in the upper right-hand corner the bold and flourishing signature: "G. de La Tour Fecit Luneuilla Lother" (Luneville, Lorraine). The monk sent word to Paris, and the Louvre quickly offered to buy it. But the Louvre's bid was topped by Art Dealer Georges Wildenstein, who had somehow managed to get wind of the deal. Wildenstein whisked the painting out of sight, and no one knows to this day whether the rumor is true that he got it for only...
...Wildenstein persuaded the French authorities to let him take the painting to the U.S., and most of those who heard about the action thought the painting was going only to a temporary exhibition. This summer, when the news broke that the Metropolitan had bought it, the French press and public were stunned. Who was responsible for allowing such a masterpiece out of the country? Was it the Louvre, the Administration of National Museums, or, as some reports had it, "some authority higher?" Angry Deputies peppered Minister of Culture Andre Malraux with questions. "Everything in this affair." protested Le Monde...
...increasing financial success has enabled him to repeat parts of the trip each year with his pretty wife. While his wife saw the sights, Kingman sat painting waterfronts in Hong Kong, sidewalk scenes in Rome, Paris and London. The fruits of his fun, on view at Manhattan's Wildenstein Gallery this week, were very like happy dreams: luminous, lighthearted, and full of surprising juxtapositions...
...century. Washington's Corcoran Gallery has been a staunch patron of American art. This week it marks its 100th birthday with a two-city celebration: a loan exhibition at Manhattan's Wildenstein Gallery of outstanding pictures drawn from its collection and its regular biennial roundup of contemporary U.S. paintings in Washington. Founder William Wilson Corcoran was a Washington banker so rich and so well connected financially that he could and did underwrite much of the cost of the Mexican War (1846-48). While new-rich American collectors of the 19th century were turning almost exclusively to European...
...long has this been going on?" asked the late advertising tycoon Albert Davis Lasker (onetime head of Lord & Thomas), one afternoon in 1943. Before him, set up on easels in Manhattan's Wildenstein galleries, stood a $70,000 Gauguin and a $45,000 Renoir. For the man who made such products as Lucky Strike, Palmolive, Pepsodent, Kleenex and Kotex into household words, the world of art was opening. On hand to coach and whet his appetite was his wife Mary, who had majored in art at Radcliffe, gone on to help run a Manhattan gallery...