Tuesday, 10 November 2026
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It’s Caravaggio-tastic in the news at present. But this latest announcement is quite tantalising. This long known composition from many copies was described by Baglione in detail and was known to have been in D’Arpino’s studio in 1607.
Alfred Wallis occupies an awkwardly comfortable place in the history of British modernism.
Four centuries after Palma il Giovane painted his great altarpiece for Brescia’s Duomo Nuovo, its restoration will provide the occasion for a more intimate encounter with the artist.
A piece of flint, a tangle of vegetation, the worn contours of a bone: Monica Poole found ample material for her imagination in things easily passed over on a country walk.
Angelica Kauffmann and Élisabeth Vigée Le Brun knew the value of a carefully made image, including their own.
The gentleman in black at Montepulciano has spent more than fifteen years waiting for his painter to be agreed upon. On 7 November, scholars will gather to consider him again. It is a welcome opportunity to look closely at a fine portrait whose interest need not depend on whether the name Caravaggio remains attached to it.
A previously unknown drawing believed to be Duncan Grant’s final portrait of Vanessa Bell has been given to Charleston, adding an unexpectedly intimate work to the record of their long partnership. Discovered among family papers during preparations for Tate Britain’s forthcoming exhibition, the pencil-and-biro study shows Bell lying with her eyes closed, her face seen in profile and slightly from below.
Peter and Andrew are about to abandon their livelihood. Beside them, another fisherman remains absorbed in the catch, apparently oblivious to the encounter that will change their lives. That contrast between revelation and everyday work animates Luca Giordano’s The Calling of Saints Peter and Andrew, now receiving its first public showing at the MarteS Museo d’Arte Sorlini near Lake Garda.
An exhibition promises an “absolute masterpiece” by Caravaggio. Its press announcement tells a more qualified story.
Henry Moore’s King and Queen have resumed their watch over Washington. The seated bronze couple, made in 1952-53, are among the familiar figures returning to view as the Hirshhorn Museum’s sculpture garden reopens on 31 October after a four-year transformation by the Japanese artist and architect Hiroshi Sugimoto.
An unusually accomplished sixteenth-century Holy Family, attributed to Giovanni Battista Ramenghi, is among the more intriguing works in Bonhams' forthcoming Old Master sale in Paris.
The 23 November event will consider Mahon’s account of how Tanning tested Surrealism’s conventions across painting, sculpture and writing.
A marble bust offered with a €12,000-€16,000 estimate became the unexpected star of Dorotheum’s Vienna auction on 20 October, selling for €1.925 million including buyer’s fees and VAT. Catalogued as Donna velata, attributed to Antonio Corradini, it arrived in the sale with a modest valuation and emerged with a price belonging to a very different order of sculpture.
Above the rooftops of Rome, Sant’Ivo alla Sapienza’s spiralling lantern has long advertised a church that visitors could find frustratingly difficult to enter. Now the doors beneath it are open again. Borromini’s former university chapel reopened on 27 October after an extensive restoration, returning one of the city’s most inventive Baroque interiors to regular public view.
The auction house says the paintings, separated when a double-sided panel was split in 1936, will be publicly reunited in Cologne on 21 November, each estimated at €200,000-€300,000.
At just 19cm high, Barbara Hepworth’s Figure of 1933 might seem an unlikely work to hold its own in a company of celebrated British sculptors.
A new attribution assembles documents, poetry and technical evidence around a privately owned painting. The difficulty begins when one looks at the picture.…
