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      The Final Hours of a Tastemaker’s Trove

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      The society fixture, decorator and philanthropist Mica Ertegun helped define the tastes of an era. Now her great collections are going on the block.On a steamy afternoon last week, a team of movers from Christie’s padded quietly about a townhouse on a side street on the Upper East Side of Manhattan, yanking strips of packing tape from spools as they began bundling up thousands of artworks and objects for auction. The ripping sound the tape made resembled, in a way, screams of protest.“Can’t we get them to stop?” asked Linda Wachner, an American businesswoman and friend of Mica Ertegun, the woman whose house, until her death in December at 97, this was. “At least for a while.”There was a time in the recent social history of New York City when there would have been no necessity to pose the question “Who is Mica Ertegun?” Readers of the tabloid gossip pages, and almost anyone from a certain social stratum, would have known the name of the woman whose New York Times obituary tidily characterized her as “a doyenne of interior design”; wife of a man, Ahmet Ertegun, whom The New Yorker once called “the Greatest Rock-and-Roll Mogul in the World”; a successful decorator named to Architectural Digest’s AD100 Hall of Fame; a celebrated hostess and designated leader of fashion whose dresses were acquired by the Metropolitan Museum of Art.This, of course, was an analogue era. We don’t live there anymore.We inhabit instead a world in which taste is less developed over a lifetime than acquired overnight through Pinterest boards; a time when the megarich buy trophy art as a form of asset class; when the oxymoron known as “quiet luxury” noisily announces itself in the form of branded clothing or else in houses appointed with arrangements of costly if blandly generic objects approved by arbiters at Goop.From the Reagans to Mick Jagger and Jann Wenner, Ahmet and Mica Ertegun knew seemingly everyone.Winnie Au for The New York TimesThousands of objects from the Erteguns’ collections will fall to the hammer in late fall.Winnie Au for The New York TimesOurs is a sphere galaxies away from the one Ms. Ertegun knew, and, to a certain degree, helped conjure into being. And so the opportunity was not to be missed when, for several hours, this reporter and a photographer were given relatively free rein to wander the paired townhouses the Erteguns inhabited for decades (one for the use of Ms. Ertegun’s successful decorating business, MAC II, founded in 1969 with her partner, Chessy Rayner). We were left to prowl among collections that by day’s end would be wrapped, bundled and carted away, never again to be arranged in that particular manner.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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      Purported Rembrandt Painting Found in a Maine Attic Sells for $1.4 Million

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      “Portrait of a Girl,” a 17th-century work believed to be by the Dutch master, had been hiding in a home in Maine.The attic, long a repository of discarded toys and the like, can sometimes turn up treasures.Late last month, a painting that an auctioneer in Maine discovered and believed to be a work by the 17th-century Dutch painter Rembrandt van Rijn was sold at auction for $1.4 million. The artwork had apparently been stored in the attic of a farmhouse in Camden, Me., for decades.Kaja Veilleux, the owner, appraiser and auctioneer of Thomaston Place Auction Galleries in Maine, said he found the painting, “Portrait of a Young Girl,” on a routine house call. It was among a stack of paintings that he came across while looking through the belongings of a wealthy family’s estate.Mr. Veilleux said in a phone interview that he recognized Rembrandt’s style “right away.”The painting, which shows the girl in a black dress with a white ruffled collar and a white cap, is in pristine condition, Mr. Veilleux said. The portrait was not signed, which is not entirely unusual: Rembrandt did not sign all of his paintings.The portrait was painted on a cradled oak panel and mounted in a hand-carved gold Dutch frame, according to the auction house. A label on the back of the frame attributed the work to Rembrandt, and said that it had been displayed in a 1970 exhibition at the Philadelphia Museum of Art.Maggie Fairs, a spokeswoman for the Philadelphia Museum of Art, said in an email that the museum had looked into it but that it was too hard to confirm if and when the painting had been on display at the museum because of the decades that had passed.Nine people bid on the painting, which sold in August to an unknown European bidder for $1.4 million, making it the auction house’s most expensive painting ever sold. (The owners, as well as the buyer, remained anonymous.)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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      Footage of J.F.K. Shooting’s Aftermath Goes to Auction

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      The footage from 1963, taken by a Texas businessman and seen only by a few, shows the president’s limousine speeding to a Dallas hospital. It is being auctioned this month.Nearly 61 years ago, Dale Carpenter Sr. showed up on Lemmon Avenue in Dallas, hoping to film John F. Kennedy as his motorcade passed. But the president’s car had already gone by, and he recorded only some of the procession, including the back of a car carrying Lyndon Johnson and the side of the White House press bus.So Mr. Carpenter, a businessman from Texas, rushed to Stemmons Freeway, several miles farther along the motorcade route, to try again.There, just moments after Kennedy had been shot, he captured an urgent and chaotic scene. The president’s speeding convertible. A Secret Service agent in a dark suit sprawled on the back. Jacqueline Kennedy, in her pink Chanel outfit, little more than a blur.Kennedy himself could not be glimpsed. He had collapsed and was close to death.A film Dale Carpenter Sr. took of the Kennedy motorcade on Lemmon Avenue in Dallas before the president was shot. Because Mr. Carpenter did not get footage of the president there, he traveled to another part of the route, where he filmed the speeding car bringing the mortally wounded Kennedy to Parkland Memorial Hospital. Footage via RR AuctionFor decades Mr. Carpenter’s 8-millimeter snippets of what transpired in Dallas on Nov. 22, 1963, have been a family heirloom. When he died in 1991 at 77, the reel, which included footage of his twin boys’ birthday party, passed to his wife, Mabel, then to a daughter, Diana, and finally to a grandson, James Gates.Later this month, the Kennedy footage is to be put up for sale in Boston by RR Auction, the latest in a line of assassination-related images to surface publicly after decades in comparative obscurity. The auction house says it is the only known film of the president’s car on the freeway as it sped from Dealey Plaza, the site of the shooting, to Parkland Memorial Hospital, where Kennedy was pronounced dead at 1 p.m. More

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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