Word: newe
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Dates: during 1970-1979
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...permit a collector to deduct contributions from his taxable estate if he has willed his treasures to a museum. The museums of America, Western Europe and Japan have at their disposal millions of dollars for acquisitions. The biggest spenders: France's Pompidou Center, Washington's National Gallery, New York's Metropolitan, the Getty in Malibu, Calif...
...acquisitions from museums, galleries, churches and private homes are seldom recovered, despite intensive international police work. Interpol has an FBI-style Most Wanted list of stolen art works, some dating from 1938. Last week a priceless Tintoretto painting missing for nearly 30 years was recovered by the FBI in New York...
...ferociously competitive business, similar tactics of search and cultivation are used by major auction houses across the U.S.: Robert W. Skinner Gallery in Bolton, Mass.; Adam A. Weschler & Son and C.G. Sloan & Co. in Washington, D.C.; Mortons in New Orleans; San Francisco's Butterfield & Butterfield; West Palm Beach's Trosby Auction Galleries. The so-called country auction where the city slicker might once snap up for a song a Revere salver or a federal highboy is as distant a memory as the nickel newspaper. Says Scudder Smith, editor of Antiques and Arts Weekly, "You look around some...
...auction as a news and social spectacular came to full flower with Sotheby's acquisition of Manhattan's Parke-Bernet in 1964. Christie's, its more decorous rival, came to New York 13 years later and has been more cautious about expanding worldwide. (Sotheby's has 42 international bases, Christie's 29.) Not totally tongue in cheek, Christie's maintains that "Sotheby's is a businessman pretending to be a gentleman, while Christie's is a gentleman pretending to be a businessman...
...insists that the arrangement contains sufficient built-in checks and balances to dispel any suspicion of conflict of interest, many people in the art world are skeptical of any deal whereby an auction house may in effect end up supporting its own market. Says David Bathurst, Christie's New York president: "Using art as an investment scares the hell out of me. There's going to be a flood of money in and out, leaving a sound market devastated because of people who shouldn't have been there in the first place...