THE FIRST live-streamed global art auction began at a civilised 6.30pm, cocktail hour in New York, on June 29th. For Londoners it was nearly midnight and for Hong Kongers barely dawn the following day. Oliver Barker, chairman of Sotheby’s Europe, ran the sale from a purpose-built studio with eight screens in the auction house’s London gallery; Joel Mischon, a cinematographer, whose production company makes “The X Factor” and “Strictly Come Dancing”, was called in to choreograph the operation.
The sale on June 29th was the culmination of planning and development that began a year ago when the French telecom magnate and art collector, Patrick Drahi, took over Sotheby’s in a surprise $3.7bn deal. Mr Drahi appointed Charles Stewart, a former investment banker and media executive, as CEO to step up the company’s use of technology. Before the auction visitors were invited to take an online tour of the art and to use augmented reality to place the artworks in their own homes.
Second, the works that sold most easily were trendy, well-priced and in short supply. “The Realm of Appearances”, Matthew Wong’s wonderfully dense landscape from 2018, was estimated to fetch $60,000-80,000. Aspiring buyers were so keen to get their hands on it they left pre-sale bids of up to $850,000 with the auctioneer; after some spirited further bidding, the painting sold for $1.8m. By contrast, more challenging works are very hard to sell virtually, however great they may be.
Oh no!
Nobody cares about this except elitists.
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