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      Antique Wall Tapestries Are Back. Here’s Where to Buy.

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      Leafy antique wall hangings are having a resurgence in the design world, showing up in even the most modern rooms.Picture a tapestry hanging on a wall and the setting is likely a rambling manor house. Lately, however, ornate European examples have been appearing in less expected places, including contemporary Manhattan apartments. “Just as they did in castles in Belgium in the 15th century, tapestries provide an enormous amount of visual impact, warmth and artistry,” says the New York-based interior designer Billy Cotton, 42, who recently installed one as a stand-in for a headboard in an eclectic apartment on the Upper East Side. “They bring something unique that art or wallpaper just doesn’t.”European tapestry, as an art form, dates back at least as far as the Middle Ages, when intricate, outsize weavings depicting everything from wildlife scenes to biblical stories were woven by hand on looms using wool, silk and even gold and silver thread. During their first surge in desirability, between the 15th and 18th centuries, they were found exclusively in the grand abodes of royals and aristocrats — not only because of their prohibitive prices but because of the vast wall space required. Thick and dense, they also acted as insulation, making them ideal for drafty castles. (Henry VIII was a fan.)According to Jim Ffrench, 60, a director at the gallery Beauvais Carpets in Manhattan, antique wall hangings remained as expensive as important oil paintings and other fine art until around the time of the Great Depression, when they fell out of fashion and lost value. “The concept of them being a decorative or secondary art form is very much a mid-20th-century conceit,” he says. “But the upside is that, today, even the best tapestries in the world are still cheaper than a Basquiat.” While that’s a high bar — and figurative woven scenes are relatively rare and priced accordingly — simple verdure tapestries, which depict lush landscape scenes, and fragments of larger pieces can often be found for less than $1,000.In the New York City bedroom of the interior designer Billy Cotton, a verdure tapestry that he found at a Paris flea market acts as a headboard.Blaine DavisA rare wool-and-silk panel woven in Brussels in the early 1500s and depicting a betrothal scene hangs on the wall at the Manhattan showroom of the textile dealer Vojtech Blau.John Bigelow Taylor“The palette and scale of tapestries can lend a room a beautiful openness because, oftentimes, they have an interesting sense of depth in their compositions,” says Adam Charlap Hyman, 34, a co-founder of the New York- and Los Angeles-based architecture and design firm Charlap Hyman & Herrero. In the living room of his New York City apartment, an early 18th-century verdure tapestry — inherited from his grandmother and made in Aubusson, a French town famed for its weaving — takes up almost an entire wall, framing a curved 1970s sofa by the German designer Klaus Uredat.The Manhattan-based architect and designer Giancarlo Valle, 42, often incorporates tapestries with nature scenes — known as cartoons — into his projects because, he says, “they’re like lenses into another world.” Recently he hung a 14-foot-high 17th-century Flemish piece above a midcentury chest of drawers in a client’s otherwise minimalist New York apartment. The piece, which he acquired from an estate, is part of a four-panel set, other panels of which hang in the palatial English manor houses Holkham Hall in Norfolk and Mamhead in Devonshire. “I think their rise in popularity fits in with the larger trends we’re seeing in the art world now for figurative paintings, real life scenes and historical-looking works,” he says, adding that “tapestries are great for rooms that need a big storytelling element or have a very large wall.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Cover Art for ‘Harry Potter’ Sold at Auction for $1.92 Million

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      The watercolor was painted in 1996 by a recent art school graduate from Britain who was working at a bookstore. He was paid $650.The original cover art for the first edition of “Harry Potter and the Philosopher’s Stone” sold for $1.92 million at auction on Wednesday, becoming the most expensive item related to the series, decades after its illustrator was paid a commission of just $650.The watercolor painting, which depicts the young wizard Harry going to Hogwarts from Platform 9¾ at King’s Cross station, was part of the private library of an American book collector and surgeon, Dr. Rodney P. Swantko, whose other rare items were auctioned at Sotheby’s in New York this week.The year before the novel came out in 1997, its publisher, Bloomsbury, hired a 23-year-old from England who had just graduated from art school to design the book jacket, the auction house said. The artist, Thomas Taylor, would go on to establish the world’s conception of Harry Potter, with his iconic round glasses and lightning bolt scar.“It’s kind of staggering, really,” he said about the sale of his painting in an interview on Thursday. “It’s exciting to see it fought over.”Mr. Taylor was working at a children’s bookstore when he submitted sample drawings of wizards and dragons for the publisher in London to review, he said in a 2022 podcast interview. When he was selected, he said, “I was over the moon.”The cover was Mr. Taylor’s first professional assignment. And, at the time, “J.K. Rowling was as unknown as I was,” he wrote in his blog, referring to the novel’s British author.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Why Does Kendrick Lamar Want Drake to Return Tupac’s Ring?

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      At Mr. Lamar’s Juneteenth concert on Wednesday, he made a request for Drake to return Mr. Shakur’s iconic crown ring. Is this about more than just beef between the two rappers?When Kendrick Lamar made his entrance to his sold-out show at the Kia Forum in Inglewood, Calif., on Juneteenth, he did so with a bang. He performed “Euphoria,” a track he released in April during his well-documented feud with Drake, adding a new lyric: “Give me Tupac ring back and maybe I’ll give you a little respect.” The internet went wild.This was Mr. Lamar’s first time performing since his testy dispute with Drake escalated into a volley of diss tracks this spring. For the show, titled “The Pop Out: Ken & Friends,” he brought out fellow West Coast artists such as Dr. Dre, YG, Tyler, the Creator, Schoolboy Q and Steve Lacy, the next generation of musicians from the region after Tupac Shakur. It was a victory lap after unofficially winning the war. Mr. Lamar had been questioning Drake’s authenticity and status among Black musicians and fans, and adding the line about Mr. Shakur’s ring only doubled down on that message.The ring is one of the most iconic jewelry pieces in hip-hop history. It features a 14-karat crown encrusted with cabochon rubies and pavé diamonds. It also bears the inscription “Pac & Dada 1996,” referring to his engagement to Kidada Jones, the daughter of Quincy Jones. The ring, which he designed himself, commemorates both the founding of his media company, Euphanasia, and his romance with Ms. Jones. He wore it at the 1996 MTV Video Music Awards, his last public appearance before his killing.In August 2023, Drake purchased the ring from an auction at Sotheby’s for $1.01 million. That irked Mr. Lamar, who has taken the baton of West Coast rap from Mr. Shakur and has been influenced by his legacy.According to Vikki Tobak, author of the 2022 book “Ice Cold; A Hip-Hop Jewelry History,” jewelry has long been a symbol of allegiance and brotherhood in hip-hop. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Ransomware Group Claims Responsibility for Christie’s Hack

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      The hacking group RansomHub is threatening to release “sensitive personal information” about the auction house’s clients.A hacker group called RansomHub said it was behind the cyberattack that hit the Christie’s website just days before its marquee spring sales began, forcing the auction house to resort to alternatives to online bidding.In a post on the dark web on Monday, the group claimed that it had gained access to sensitive information about the world’s wealthiest art collectors, posting only a few examples of names and birthdays. It was not immediately possible to verify RansomHub’s claims, but several cybersecurity experts said they were a known ransomware operation and that the claim was plausible. Nor was it clear if the hackers had gained access to more sensitive information, including financial data and client addresses. The group said it would release the data, posting a countdown timer that would reach zero by the end of May.At Christie’s, a spokesman said in a statement, “Our investigations determined there was unauthorized access by a third party to parts of Christie’s network.” The spokesman, Edward Lewine, said that the investigations “also determined that the group behind the incident took some limited amount of personal data relating to some of our clients.” He added, “There is no evidence that any financial or transactional records were compromised.”Hackers said that Christie’s failed to pay a ransom when one was demanded.“We attempted to come to a reasonable resolution with them but they ceased communication midway through,” the hackers wrote in their dark web post, which was reviewed by a New York Times reporter. “It is clear that if this information is posted they will incur heavy fines from GDPR as well as ruining their reputation with their clients.”GDPR, the General Data Protection Regulation, is an information privacy law in the European Union that requires companies to disclose when cyberattacks might have compromised the sensitive data of clients. Noncompliance with the law includes potential fines on companies that can rise to more than $20 million.Cybersecurity experts said that RansomHub has emerged in recent months as an especially powerful ransomware group with possible connections to ALPHV, a network of Russian-speaking extortionists blamed for a cyberattack on Change Healthcare earlier this year. Hackers in that case appeared to receive a $22 million payment from the company’s owner, UnitedHealth Group, though United never admitted to sending the money. In April, RansomHub listed Change Healthcare as one of its victims and claimed to be holding onto four terabytes of stolen data.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Hobbled by Cyberattack, Christie’s Says Marquee Sales Will Proceed

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      The auction house failed to regain control of its official website on Sunday but said that its spring auctions would go on, in person and by phone.People gathered at Christie’s New York on Saturday to view art and luxury items that are scheduled to be auctioned. They relied on printouts of catalogs after Christie’s lost control of its official website, which was brought down by a cyberattack.Li Qiang for The New York TimesOfficials at Christie’s auction house said on Saturday that the marquee sales that account for nearly half of its annual revenue would continue, despite the company having lost control of its official website last Thursday in a hack that is testing the loyalty of its ultrawealthy clients amid its spring auctions.Natasha Le Bel, a spokeswoman for the auction house, said that Christie’s New York sales of modern and contemporary art “will take place as planned,” but did not respond to questions of how the online portion of the auction would continue. “We remain committed to providing the highest level of service to our clients and look forward to a successful week,” she said.On Thursday, Christie’s experienced what it called a “technology security issue” that took its company website offline, leaving in place an apology and the promise to provide “further updates to our clients as appropriate.” By Sunday, the site was still down.It was the second time in less than a year that Christie’s had suffered a breach. In August, a German cybersecurity company revealed a data breach at the auction house that leaked the locations of artworks held by some of the world’s wealthiest collectors.Over the weekend, dozens of those potential buyers gathered at the company’s galleries at Rockefeller Center in Manhattan to view the expensive artworks that have a total high estimate of nearly $840 million, and to discuss bidding. Employees led private tours past the giant Andy Warhol “Flowers” silk-screen painting from 1964 that carries a high estimate of $30 million, and down toward the more modestly priced day sales, where a Barbara Kruger artwork proclaiming “You can’t drag your money into the grave with you” had a high estimate of $600,000.Christie’s employees assured some clients in the galleries that its website would be fixed “imminently,” but on Saturday afternoon, when the company still had not regained control, it replaced a temporary landing page on the site since Thursday with another temporary website produced through a free web design company called Shorthand. The temporary site lets viewers browse online catalogs of upcoming sales but does not allow online bidding or registration.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Karl Lagerfeld’s Paris Apartment Sold at Auction for $10.8 Million

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      What happened when Karl Lagerfeld’s last residence, where he worked and where Choupette lived, was offered at auction.Karl Lagerfeld was a mega-collector. Of high-collared white shirts (1,000). Of books (300,000). Of period décor (Art Deco, Memphis Group, 18th-century European). And of homes — at least 20, in Europe and in New York.“He loved buying, redesigning and decorating houses,” said Sébastien Jondeau, the longtime assistant and bodyguard of the fashion designer, who died in 2019 at the age of 85. “It was a true passion.”One of those homes, the Bond-villain-like lair on the Quai Voltaire in Paris that was Mr. Lagerfeld’s last residence — sold at auction at the Chamber of Commerce and Industry of Paris on Tuesday for 10 million euros ($10.8 million). More than 50 attendees gathered for the sale of the 2,800-square-foot apartment, which Mr. Lagerfeld shared with Choupette, his beloved blue-eyed Birman cat. Bidding began shortly after 10 a.m. at 5.3 million euros, and quickly turned into a standoff between two parties: one who was off-site and communicating through an auction official in the room via a landline telephone, the other who was represented by a French lawyer seated in the second row and taking instruction on his cellphone.The sale of Mr. Lagerfeld’s apartment comes at a time of renewed interest in the designer.Christophe Ena/Associated PressThe lawyer, who would not give his name for reasons of confidentiality, appeared to be taking direction in English from his client via a telephone earpiece. Offers bounced between the two bidders by increments of 50,000 to 150,000 euros for nearly 20 minutes, until the lawyer’s bid jumped from 9.3 million euros to 10 million euros. The auction official on the landline with the telephone bidder made a hand motion that her bidder stood down. When the auctioneer, Bertrand Savouré, announced that the apartment had been sold, attendees erupted in applause. Mr. Savouré would not reveal the buyer’s name or nationality.Proceeds of the sale go to Mr. Lagerfeld’s estate, which will be distributed to Mr. Lagerfeld’s seven heirs: the former model Baptiste Giabiconi, who will receive 30 percent; Mr. Jondeau and the former model Brad Kroenig (the father of Mr. Lagerfeld’s godson, Hudson) will each receive 20 percent; and the Chanel artistic director Virginie Viard, Mr. Lagerfeld’s creative muse Amanda Harlech and the Karl Lagerfeld brand executives Caroline Lebar and Sophie de Langlade, who will split the remaining 30 percent, according to the French weekly magazine Le Point.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Met Museum Hires Its First Head of Provenance Research

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      Lucian Simmons is leaving Sotheby’s to lead the museum’s increased efforts to review its collection, which has recently returned looted artifacts, including dozens last year.As part of its more aggressive restitution investigation efforts, the Metropolitan Museum of Art on Friday announced that it had appointed a Sotheby’s executive to the newly created position of head of provenance research.Lucian Simmons will leave Sotheby’s, where he is vice chairman and worldwide head of the restitution department — and senior specialist for the Impressionist and Modern art department — to take on the role of coordinating research efforts across the museum, starting in May.Like museums all over the world, the Met has faced increased scrutiny from law enforcement officials, academics and the news media over the extent to which its collection of more than 1.5 million works includes looted artifacts. In recent years, for example, the Manhattan district attorney’s office has seized dozens of antiquities from the museum to return them to countries including Turkey, Egypt and Italy.In a telephone interview, Max Hollein, the museum’s director and chief executive, said the volume of materials an auction house must review gave Simmons the background necessary to take on a review of the Met’s encyclopedic collection.“He has a vast amount of experience understanding the level of research you need to apply and what timelines you need to set to get to a result,” Hollein said. “He probably had to deal with more issues at Sotheby’s than have many other institutions. You have to vet and scrutinize a huge number of objects. He’s someone who understands the theory but who also has a very practical attitude.”The Met last year announced a major new effort to review its holdings and policies with a view toward returning items it finds to have problematic histories.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Neil Gaiman on the Collectibles He’s Auctioning

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      Art by Moebius, a Christmas card by Gaiman and a Swamp Thing cover are among the items.“I like the idea of spreading joy,” Neil Gaiman, the author of the Sandman series, said in an interview about why he is selling some of the original comic book art, toys and other collectibles he has amassed.During the dark days of pandemic lockdowns, buying art provided a particular comfort, he recalled. Works would arrive and he would “just kvell,” he said. He remembered buying a drawing of Winnie-the-Pooh and Piglet in the snow, by the British artist E.H. Shepard. “If someone comes to the house, I say, ‘Come and look at this,’ if they are the right sort of person,” he said.He views art ownership as custodial. “It’s your job to keep it safe and hope the house doesn’t burn down while it is in your care,” he said. Then someone else can do the same, he said, and “hope their house doesn’t burn down.”Gaiman said he was inspired by his friend Geoffrey Notkin, of “Meteorite Men” on the Science Channel, who auctioned part of his collection of meteorites and donated some proceeds to charity.Gaiman will donate part of the auction proceeds to the Hero Initiative, which is an emergency fund for comics creators, and the Authors League Fund, which benefits writers in financial hardship; he will also give living artists whose work sells part of the proceeds. The items are on display at Heritage Auctions in Dallas, and bidding starts on Friday.More than 100 pieces are up for sale, and Gaiman pointed to some highlights. The author Neil Gaiman said he hopes others find joy in the memorabilia he is shedding.Rozette Rago for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More