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Displaying items by tag: saint praxedis

Christie’s evening auction of Old Master & British Paintings realised £44,986,000/ $77,016,032/ €56,547,402. The sale attracted 145 registered bidders from 27 countries across 5 continents. The top price was paid for Venice, the Bacino di San Marco with the Piazzetta and the Doge's Palace by Francesco Guardi From The Baron Henri de Rothschild Collection, a masterpiece dating from the artist’s full maturity which realised £9,882,500/ $16,918,840/ €12,422,303, setting the second highest price for a work by the artist at auction (estimate: £8-10 million). New artist record prices at auction were achieved for works by Willem Claesz. Heda (lot 31); Matthias Stomer (lot 34); The Master of the Annunciation to the Shepherds (lot 36); Luca Giordano (lot 38); and Sir Henry Raeburn (lot 64), among others.

Henry Pettifer, Head of Old Master & British Paintings at Christie’s London: “This sale drew strong and enthusiastic bidding from around the world for the rarest works of the highest quality. The continued breadth of demand for Old Masters was reflected by the fact that bidders from 27 countries across 5 continents registered to bid in this auction. We are very pleased with the results of the works from The Barbara Piasecka Johnson Collection which was led by Vermeer's Saint Praxedis and included a group of Italian Baroque paintings which set new record prices at auction for The Master of the Annunciation to the Shepherds (lot 36: £2,434,500) and Luca Giordano (lot 38: £962,500). Notable prices were also achieved for the masterpiece by Francesco Guardi from The Baron Henri de Rothschild Collection (lot 19: £9,882,500) and the Brueghel the Younger "Road to Calvary‟ (lot 13: £5,514,500), each respectively setting the second highest auction price for the artist.”

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Christie’s auction house says science has confirmed that a disputed painting is the work of Dutch master Johannes Vermeer. The painting could fetch 8 million pounds ($13 million) when it is sold next month.

“Saint Praxedis” is believed to be the earliest surviving work by the 17th-century artist, but there has long been a question mark over its authenticity.

The work was tentatively attributed to Vermeer after it appeared in an exhibition at New York’s Metropolitan Museum in 1969, and the authorship was reinforced in 1986, when leading Vermeer scholar Arthur Wheelock argued it was authentic.

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