{"title":"《市场中的布莱克》,2018年","authors":"R. Essick","doi":"10.47761/biq.232","DOIUrl":null,"url":null,"abstract":"Works by Blake’s circle and followers had a stronger presence in the 2018 auction season than his own productions. Henry Fuseli’s Vision of Orestes, offered by Christie’s New York in January, was bid a few steps over its high estimate to achieve a hammer price of $175,000 ($218,750 including the buyer’s premium). Another dramatic composition by Fuseli, The Faerie Queene Appears to Prince Arthur, fetched almost three times high estimate at Christie’s London in July, thereby setting a record price for a drawing by the artist.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"518 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2019-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Blake in the Marketplace, 2018\",\"authors\":\"R. Essick\",\"doi\":\"10.47761/biq.232\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Works by Blake’s circle and followers had a stronger presence in the 2018 auction season than his own productions. Henry Fuseli’s Vision of Orestes, offered by Christie’s New York in January, was bid a few steps over its high estimate to achieve a hammer price of $175,000 ($218,750 including the buyer’s premium). Another dramatic composition by Fuseli, The Faerie Queene Appears to Prince Arthur, fetched almost three times high estimate at Christie’s London in July, thereby setting a record price for a drawing by the artist.\",\"PeriodicalId\":39620,\"journal\":{\"name\":\"Blake - An Illustrated Quarterly\",\"volume\":\"518 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-04-10\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Blake - An Illustrated Quarterly\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.47761/biq.232\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Blake - An Illustrated Quarterly","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.47761/biq.232","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
摘要
在2018年的拍卖季中,布莱克的圈子和追随者的作品比他自己的作品更有影响力。亨利·富塞利(Henry Fuseli)的《俄瑞斯特斯的幻象》(Vision of Orestes)今年1月在纽约佳士得拍卖行(Christie’s New York)拍出,成交价比最高估价高出了几步,达到17.5万美元(包括买方佣金在内,成交价为21.8750万美元)。富塞利的另一幅戏剧性作品《仙女女王出现在亚瑟王子面前》(The fairy queen appearance to Prince Arthur)今年7月在伦敦佳士得拍卖行(Christie’s London)拍出了几乎三倍于估价的高价,创下了这位艺术家作品的最高价格纪录。
Works by Blake’s circle and followers had a stronger presence in the 2018 auction season than his own productions. Henry Fuseli’s Vision of Orestes, offered by Christie’s New York in January, was bid a few steps over its high estimate to achieve a hammer price of $175,000 ($218,750 including the buyer’s premium). Another dramatic composition by Fuseli, The Faerie Queene Appears to Prince Arthur, fetched almost three times high estimate at Christie’s London in July, thereby setting a record price for a drawing by the artist.
期刊介绍:
Blake/An Illustrated Quarterly was born as the Blake Newsletter on a mimeograph machine at the University of California, Berkeley in 1967. Edited by Morton D. Paley, the first issue ran to nine pages, was available for a yearly subscription rate of two dollars for four issues, and included the fateful words, "As far as editorial policy is concerned, I think the Newsletter should be just that—not an incipient journal." The production office of the Newsletter relocated to the University of New Mexico when Morris Eaves became co-editor in 1970, and then moved with him in 1986 to its present home at the University of Rochester.