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    Paris Is Rising as an Art Market Hub, With Some Way Left to Go

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    Sotheby’s opened a new salesroom and international collectors are arriving for the inaugural Art Basel Paris fair. But visiting is one thing; buying is another.“This is the Mona Lisa of handbags,” said Aurélie Vassy, Sotheby’s head of handbag and fashion sales in Europe, as she unlocked a glass display case and proudly revealed a battered black leather Birkin.“The first in the world, made for Jane Birkin. It’s the beginning,” said Vassy, pointing out the design features of the bag, specially made by Hermès for the Anglo-French singer and actress in 1984. Three years earlier, Birkin had found herself sitting next to the chief executive of the luxury brand on a flight from Paris to London and had sketched the design on the back of a sick bag.This precious fashion icon, on loan from the collection of the pre-owned luxury dealer Catherine B, was one of the star exhibits at the opening of Sotheby’s new salesroom in the Avenue Matignon district of Paris on Saturday. The auction house will hold Surrealism and modern art sales on Friday, just days after the inaugural edition of the Art Basel Paris fair begins in the newly renovated Grand Palais.Aurélie Vassy, Sotheby’s head of handbag and fashion sales in Europe, with the very first Birkin bag.Dmitry Kostyukov for The New York TimesThe Paris art scene is expanding. After Britain’s 2016 vote to leave the European Union, a procession of international gallerists established spaces in the French capital, expecting its underperforming art market to revive at London’s expense.When Art Basel took over the management of Paris’s flagship October fair in 2022, this nurtured hope that the city’s art scene would become a magnet for international collectors. (It ran the fair for a couple of years from a temporary location under the ungainly name “Paris+ par Art Basel” before rebranding for this year’s edition.)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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      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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      Judge Awards Schiele Drawing to Heirs of Merchant Killed by the Nazis

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      The drawing of Schiele’s wife was the focus of a trial at which three parties, all with Jewish roots, argued whether it had been looted by the Nazis and from whom.For three weeks in May a judge in Rochester, N.Y., heard evidence meant to solve the mystery of who really owns a drawing of a smiling woman by the Austrian artist Egon Schiele.For years, the drawing has been in the possession of a foundation named after Robert Owen Lehman Jr., who said he had received the work, “Portrait of the Artist’s Wife,” in the 1960s from his father, a financier who steered the Lehman Brothers investment firm through the Great Depression.But the heirs of two men, Heinrich Rieger and Karl Mayländer, both art collectors who knew Schiele and were killed by the Nazis during the Holocaust, had pursued competing claims to the work as well.During a bench trial at State Supreme Court, the heirs of Rieger, who had been Schiele’s dentist, and the heirs of Mayländer, a textile merchant who is the subject of two Schiele portraits, presented evidence to suggest their relatives had owned the work before chaos and Nazi looting caused countless gaps in the ownership histories of important art.On Thursday, Justice Daniel J. Doyle ruled in favor of the organization founded by the Mayländer heirs, who are now represented by a foundation that pursues the family’s interests. “The evidence presented at trial establishes by a preponderance of the evidence that the Mayländer Heirs have superior title to the drawing,” Justice Doyle wrote in an 86-page decision.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