I found the article on Richard Sandor, a practical visionary, who invented a financial technique of capping and trading pollutants @ http://www.time.com/time/health/article/0,8599,1732518,00.html interesting because I think his tools, models and ideas may be our best hope for beating climate change.
Useful link:
www.chicagoclimatex.com
Monday, April 21, 2008
Heard On The Street
The thing you are looking for won't occur until you are so discouraged that you stop looking.
Millionaire Fair
The Moscow Millionaire Fair held in Moscow, Russia is an annual fair for the exclusive Russian millionaires of today + it's perceived as the most famous luxury exhibit in Europe, if not the world + the fair is not just for the very rich, it is open for everyone to enjoy, but I think it's the millionaires who buy the real thing (s).
Useful link:
www.millionairfair.ru
Useful link:
www.millionairfair.ru
Chinese Rhinoceros Horn Carvings
I found the article on Chinese Rhinoceros horn carvings @ http://www.iht.com/articles/2008/04/18/arts/raahorn.php interesting because they are stylistically different through various periods influenced by changing scholarly tastes + the value factor = size + color + rarity + quality (signed by known and recognized carvers), just like paintings, jewelry and gemstones.
Useful links:
www.christies.com
www.sothebys.com
Useful links:
www.christies.com
www.sothebys.com
Personality Not Included
Personality Not Included: Why Companies Lose Their Authenticity And How Great Brands Get it Back by Rohit Bhargava is a great book that leads you through the process of properly building a company personality + he explains it all in a practical, understandable way.
I liked it.
Useful link:
www.personalitynotincluded.com
I liked it.
Useful link:
www.personalitynotincluded.com
Hearts
(via Diamond Cuts in Historic Jewelry:1381-1910) Herbert Tillander writes:
Gems which would today be classified as ‘triangular with rounded corners’ or ‘drops’, were at one time described as being heart-shaped. This is clear from many descriptions in French inventories dating from the middle of the seventeenth to far into the eighteenth century. It is quite possible that the term had a long tradition behind it. Another old French term for Heart was chapeau, meaning a tricorne hat.
Gradually, the conventional representation of the human heart became the standard outline. The earliest diamond of this shape that I have come across is in a portrait, A Gonzaga Princess, painted around 1605 by Frans Pourbus the Younger. The large piece of jewelry on the princess’s left sleeve contains a great variety of different cuts. The small Table Cuts and Hogbacks were especially shaped to fit very exactly into the scrolls. The pearly appearance of the small gems at the top of the jewel is puzzling. They may be pearls, but they could equally well be diamonds, like the half-moons in the brooch close to the neckline of the Princess’s dress. If they are diamonds, they are unique in having no facets at all; they must all have been bruted and polished by hand! Of course, they may well be cabochon-cut opaque gems of some other kind.
In August 1968, I analyzed the historical diamonds in a number of collections in Vienna. One of the stones, originally described as a Heart, was a tiny, flat-bottomed, multi-faceted pendeloque set in an oval mount on the Burgundian Court Goblet. Multi-faceted diamonds were not fashionable before the early seventeenth century. It is this fact that has, up to now, led people to believe that it was the final mastering of extensive fashioning that actually created the fashion for Rose Cuts and Brilliants.
E B Tiffany of Henry Birks, the Toronto jewelers, once sent me a photograph of a Heart which is in the Iranian Bank in Tehran. This diamond, said to weigh 22.93 ct, looks very like a Brilliant Cut. It is engraved on the flat end with a text in Persian, which indicates that it was fashioned in 1591 or 1592. It cannot, at that early date, have been an actual brilliant; perhaps it could best be described as a multi-faceted Table Cut.
Tavernier wrote that in 1665, among the treasures of the Mughal Emperor Aurung-Zeb, he saw a ‘trinket’ with a heart-shaped Rose Cut diamond (probably a regular Mughal Cut) weighing 35 ct. The French Blue diamond, when it had been recut in 1673, was also described as heart-shaped. The Blue Heart (31 ct) in the Smithsonian Institution, Washington, DC, is another example of a Heart, and there are another two in a shoulder-knot by Diessbach in about 1673 and now in the Grünes Gewölbe, Dresden.
Gems which would today be classified as ‘triangular with rounded corners’ or ‘drops’, were at one time described as being heart-shaped. This is clear from many descriptions in French inventories dating from the middle of the seventeenth to far into the eighteenth century. It is quite possible that the term had a long tradition behind it. Another old French term for Heart was chapeau, meaning a tricorne hat.
Gradually, the conventional representation of the human heart became the standard outline. The earliest diamond of this shape that I have come across is in a portrait, A Gonzaga Princess, painted around 1605 by Frans Pourbus the Younger. The large piece of jewelry on the princess’s left sleeve contains a great variety of different cuts. The small Table Cuts and Hogbacks were especially shaped to fit very exactly into the scrolls. The pearly appearance of the small gems at the top of the jewel is puzzling. They may be pearls, but they could equally well be diamonds, like the half-moons in the brooch close to the neckline of the Princess’s dress. If they are diamonds, they are unique in having no facets at all; they must all have been bruted and polished by hand! Of course, they may well be cabochon-cut opaque gems of some other kind.
In August 1968, I analyzed the historical diamonds in a number of collections in Vienna. One of the stones, originally described as a Heart, was a tiny, flat-bottomed, multi-faceted pendeloque set in an oval mount on the Burgundian Court Goblet. Multi-faceted diamonds were not fashionable before the early seventeenth century. It is this fact that has, up to now, led people to believe that it was the final mastering of extensive fashioning that actually created the fashion for Rose Cuts and Brilliants.
E B Tiffany of Henry Birks, the Toronto jewelers, once sent me a photograph of a Heart which is in the Iranian Bank in Tehran. This diamond, said to weigh 22.93 ct, looks very like a Brilliant Cut. It is engraved on the flat end with a text in Persian, which indicates that it was fashioned in 1591 or 1592. It cannot, at that early date, have been an actual brilliant; perhaps it could best be described as a multi-faceted Table Cut.
Tavernier wrote that in 1665, among the treasures of the Mughal Emperor Aurung-Zeb, he saw a ‘trinket’ with a heart-shaped Rose Cut diamond (probably a regular Mughal Cut) weighing 35 ct. The French Blue diamond, when it had been recut in 1673, was also described as heart-shaped. The Blue Heart (31 ct) in the Smithsonian Institution, Washington, DC, is another example of a Heart, and there are another two in a shoulder-knot by Diessbach in about 1673 and now in the Grünes Gewölbe, Dresden.
Realism And Impressionism In France
(via The Outline of Art) William Orpen writes:
5
By the first principle of Impressionism, the substitution of simulataneous for consecutive vision, sculpture was affected as well as painting. From the time of Louis XIV France had always had talented and accomplished sculptors at her command, but it was not until the era of Impressionism that she produced a great world-sculptor whose name was worthily coupled with that of Michael Angelo. Among the earlier French sculptors Jean Baptiste Pigalle (1714-85) was a pioneer of Realism, his vigorous and fertile imagination giving his sculpture a certain accent of life and origanility. Jean Antoine Houdon (1741-1828), his pupil, was famous for the power and truth of his portrait busts; Francois Rude (1784-1855) was a still greater liberator of French sculpture from a cramping classicism which slavishly imitated the antique. His famous group ‘Le Départ des Volontaires de 1790’ on the Arc de Triomphe shows Rude’s realism and the nobility of his expression of patriotic feeling. Antoine Louis Barye (1796-1875), both painter and sculptor, the contemporary and friend of the Barbizon landscape painters, achieved high distinction by his lifelike sculpture of animals, and his small bronze are still eagerly sought after by collectors.
It was a pupil of Barye, an even greater modeller than himself, who was to achieve the greatest fame won by any sculptor since Michael Angelo, Auguste Rodin was born at Paris in the same year as Monet, 1840. He was of humble origin, and in his youth had to earn his living by working in a mason’s yard, where he became familiar with the material he was destined to master. For years his only studio was his humble bedroom, and it was here that he modelled his early bust, ‘The Man with the Broken Nose,’ which, when exhibited at the Salon, was acknowledged to be a masterpiece of realism, modelled with a power and truth unknown for generations. When his beautiful statue, ‘The Age of Bronze,’ no in Luxembourg, was exhibited in the Salon of 1877, the authorities were so astonished by its masterly modelling that the sculptor was accused of having taken a cast from life. To prove the falsehood of this accusation Rodin made his next statue, ‘St John the Baptist’ rather more than life-size, and again the modelling was miraculous in its perfection. If the ‘Age of Youth’ with its polished rendering of the graceful form of adolscence reminds us of the best Greek sculpture, this second powerful and lifelike rendering of a mature man is comparable to the figures by the master-sculptors of the Renaissance.
Realism And Impressionism In France (continued)
5
By the first principle of Impressionism, the substitution of simulataneous for consecutive vision, sculpture was affected as well as painting. From the time of Louis XIV France had always had talented and accomplished sculptors at her command, but it was not until the era of Impressionism that she produced a great world-sculptor whose name was worthily coupled with that of Michael Angelo. Among the earlier French sculptors Jean Baptiste Pigalle (1714-85) was a pioneer of Realism, his vigorous and fertile imagination giving his sculpture a certain accent of life and origanility. Jean Antoine Houdon (1741-1828), his pupil, was famous for the power and truth of his portrait busts; Francois Rude (1784-1855) was a still greater liberator of French sculpture from a cramping classicism which slavishly imitated the antique. His famous group ‘Le Départ des Volontaires de 1790’ on the Arc de Triomphe shows Rude’s realism and the nobility of his expression of patriotic feeling. Antoine Louis Barye (1796-1875), both painter and sculptor, the contemporary and friend of the Barbizon landscape painters, achieved high distinction by his lifelike sculpture of animals, and his small bronze are still eagerly sought after by collectors.
It was a pupil of Barye, an even greater modeller than himself, who was to achieve the greatest fame won by any sculptor since Michael Angelo, Auguste Rodin was born at Paris in the same year as Monet, 1840. He was of humble origin, and in his youth had to earn his living by working in a mason’s yard, where he became familiar with the material he was destined to master. For years his only studio was his humble bedroom, and it was here that he modelled his early bust, ‘The Man with the Broken Nose,’ which, when exhibited at the Salon, was acknowledged to be a masterpiece of realism, modelled with a power and truth unknown for generations. When his beautiful statue, ‘The Age of Bronze,’ no in Luxembourg, was exhibited in the Salon of 1877, the authorities were so astonished by its masterly modelling that the sculptor was accused of having taken a cast from life. To prove the falsehood of this accusation Rodin made his next statue, ‘St John the Baptist’ rather more than life-size, and again the modelling was miraculous in its perfection. If the ‘Age of Youth’ with its polished rendering of the graceful form of adolscence reminds us of the best Greek sculpture, this second powerful and lifelike rendering of a mature man is comparable to the figures by the master-sculptors of the Renaissance.
Realism And Impressionism In France (continued)
Sunday, April 20, 2008
Caught Up In The Drama
The title of the article is great: Put a Diamond Under Stress, and You Might Crack -- the actors in the drama include: Ralph O. Esmerian, 68, a collector of American folk art and precious gems who owns the Fred Leighton jewelry company + Merrill Lynch Mortgage Capital, a division of Merrill Lynch & Company + Peter E. Bacanovic, the former Merrill Lynch broker who was sentenced to five months in prison for his role in the Martha Stewart stock case + François Curiel, the director of Christie’s jewelry department + read the full story @ http://www.nytimes.com/2008/04/20/fashion/20jewels.html
The following comments are great lessons in (jewelry) business.
'The estimates are disastrously low. It’s a fire-sale presentation. These are special pieces that deserve some respect. It’s like a magnificent Fifth Avenue mansion being offered for the price of a Third Avenue condo.'
- Ralph O. Esmerian
'Ralph is an artist, not a businessman. In his world, being a week late on a payment is nothing. When he sells a million-dollar piece of jewelry the client might walk out of the store without paying for it. He understands that it takes time for people to liquidate assets. People don’t have money sitting in cookie jars.'
- Helen Davis Chaitman
The following comments are great lessons in (jewelry) business.
'The estimates are disastrously low. It’s a fire-sale presentation. These are special pieces that deserve some respect. It’s like a magnificent Fifth Avenue mansion being offered for the price of a Third Avenue condo.'
- Ralph O. Esmerian
'Ralph is an artist, not a businessman. In his world, being a week late on a payment is nothing. When he sells a million-dollar piece of jewelry the client might walk out of the store without paying for it. He understands that it takes time for people to liquidate assets. People don’t have money sitting in cookie jars.'
- Helen Davis Chaitman
What Do Hedge-Funders Do With All That Money?
(via wsj) According to Alpha Magazine the top 25 fund managers earned US$16 billion in 2007, and what do hedge-funders do with all that money? They spend + according to Prince & Associates, most hedge funders spend their millions on art, jewelry, watches, hotels and spas.
As they say in business, if you have got it flaunt it.
Useful links:
www.alphamagazine.com
www.russalanprince.com
www.exoticexcess.com
As they say in business, if you have got it flaunt it.
Useful links:
www.alphamagazine.com
www.russalanprince.com
www.exoticexcess.com
Green Websites
I found the Green Websites via Time informative + useful.
- Grist
http://grist.org
- TreeHugger
www.treehugger.com
- Dot Earth
http://dotearth.blogs.nytimes.com
- climate conversation
http://www.guardian.co.uk/environment/climatechange
- RealClimate
www.realclimate.org
- Environmental Capital
http://blogs.wsj.com/environmentalcapital
- No Impact Man
http://noimpactman.typepad.com/blog
- EcoGeek
www.ecogeek.org
- Ecorazzi
www.ecorazzi.com
- Switchboard
http://switchboard.nrdc.org
- Mongabay
www.mongabay.com
- ClimateEthics
http://climateethics.org
- Climate Progress
http://climateprogress.org
- WorldChanging
www.worldchanging.com
- PlanetArk
www.planetark.com
- Grist
http://grist.org
- TreeHugger
www.treehugger.com
- Dot Earth
http://dotearth.blogs.nytimes.com
- climate conversation
http://www.guardian.co.uk/environment/climatechange
- RealClimate
www.realclimate.org
- Environmental Capital
http://blogs.wsj.com/environmentalcapital
- No Impact Man
http://noimpactman.typepad.com/blog
- EcoGeek
www.ecogeek.org
- Ecorazzi
www.ecorazzi.com
- Switchboard
http://switchboard.nrdc.org
- Mongabay
www.mongabay.com
- ClimateEthics
http://climateethics.org
- Climate Progress
http://climateprogress.org
- WorldChanging
www.worldchanging.com
- PlanetArk
www.planetark.com
Random Thoughts
The brush can capture in a single stroke the entire tragedy of a life.
- Philippe Pasqua
- Philippe Pasqua
Alchemy Of Glass
A must-visit: The upcoming exhibition at the Corning Museum of Glass in Corning, New York, 'Glass of the Alchemists: Lead Crystal-Gold Ruby, 1650-1750,' will explore how alchemists contributed to the creation of colorless crystal and gold ruby glass, two advances of fundamental importance in the history of glassmaking + the museum is home to the world's most comprehensive collection of glass from all periods and cultures over the past 3,500 years.
Useful links:
www.cmog.org
http://www.iht.com/articles/2008/04/18/arts/raacorn.php
Useful links:
www.cmog.org
http://www.iht.com/articles/2008/04/18/arts/raacorn.php
Christian Louboutin
I found the article on Christian Louboutin @ http://www.time.com/time/magazine/article/0,9171,1731871,00.html interesting because beautiful shoe designs = posture and proportion, just like well-cut gemstones, good proportions, symmetry and finish = total internal reflection + no wonder his shoes are like jewels.
Useful link:
www.christianlouboutin.fr
Useful link:
www.christianlouboutin.fr
The Back Of The Napkin
The Back of the Napkin: Solving Problems and Selling Ideas with Pictures by Dan Roam is a fascinating/insightful book on simple visuals + simple images is as much an art as a skill.
I liked it.
Useful link:
http://digitalroam.com
I liked it.
Useful link:
http://digitalroam.com
The Coxcomb Cut
(via Diamond Cuts in Historic Jewelry:1381-1910) Herbert Tillander writes:
A coxcomb (or cockscomb) is ‘a cap worn by a jester, like a cock’s comb in shape and color’ (Oxford English Dictionary), while Victor Gay’s Glossaire gives this defintion of the French creste: ‘ornament qui pose depuis les premières années du 13ème siècle sur le heaume (helmet), est plus connu sous le nom de cimier (souvent une aigrette de plumes)’. These two terms are used to describe a fancy type of gem cut which was already appearing in inventories in the early fifteenth century: in 1402 Duke Louis of Guyenne had ‘un rubis a crestè’. In 1420 Philip the Good had ‘ung bien gros dyament taillé en façon de creste de cog.’
It is quite evident what type of cut was meant, since it is easy to find such diamonds in various collections. However, it was not common. It was applied only when the rough was suitable and an appreciable amount of weight could be saved. Modern versions are called Multiple Step Cuts, Bent Top Cuts, or simply Bar Cuts. They are fashioned in a variety of outlines and with very varied pavilions.
A coxcomb (or cockscomb) is ‘a cap worn by a jester, like a cock’s comb in shape and color’ (Oxford English Dictionary), while Victor Gay’s Glossaire gives this defintion of the French creste: ‘ornament qui pose depuis les premières années du 13ème siècle sur le heaume (helmet), est plus connu sous le nom de cimier (souvent une aigrette de plumes)’. These two terms are used to describe a fancy type of gem cut which was already appearing in inventories in the early fifteenth century: in 1402 Duke Louis of Guyenne had ‘un rubis a crestè’. In 1420 Philip the Good had ‘ung bien gros dyament taillé en façon de creste de cog.’
It is quite evident what type of cut was meant, since it is easy to find such diamonds in various collections. However, it was not common. It was applied only when the rough was suitable and an appreciable amount of weight could be saved. Modern versions are called Multiple Step Cuts, Bent Top Cuts, or simply Bar Cuts. They are fashioned in a variety of outlines and with very varied pavilions.
Realism And Impressionism In France
(via The Outline of Art) William Orpen writes:
Claude Monet, who is still alive, has also seen pictures he sold for £4 bring thousands of pounds in America and elsewhere. Devoting himself to the painting of landscapes in bright sunlight, he has carried the pitch of painting into a higher key than any artist before him had done. ‘Pine Tree at Antibes’ is a beautiful example of his style at its maturity; radiant colors are laid side by side in small broken touches to suggest the vibration of light, while the decorative arrangement shows that Monet also has taken hints for design from the artists of Japan. Light is always the ‘principal person’ in Monet’s landscape, and since he is always aiming at seizing a fugitive effect, he has insisted on consistency of illumination at particular hours of the day and season. With this object be adopted, since the early eighties, a habit of painting the same subject under different conditions of light. He would set our early in the monrning with a carriage-load of canvases, and arriving at his destination he would start his day’s work, changing his canvas every couple of hours as the light changed. In this way he painted a series of views, all of the same subject, but all different in color and lighting. Among the most famous of these series are those known as ‘Haystacks,’ ‘The Poplars,’ ‘The Thames at Waterloo Bridge,’ ‘Rouen Cathedral,’ and ‘Waterlilies,’ the last being a scene in his own riverside garden at Giverny. When he was a young man M Monet once said, ‘I want to paint as a bird sings,’ and all his pictures have this delicious lyrical quality. While he adopted the rainbow palette and the technique of the small touch—‘the procedure by the touch’ as it is called in France—Monet has never been dogmatic in his use of divisionism.
The elaboration of Divisionism into a rigid scientific theory of painting was the work principally of two younger men; Georges Seurat (1859-91) and the living artist Paul Signac, born at Paris in 1863. But for his early death would have obtained a foremost place in modern art. It was Seurat about 1880 who definitely established the superiority, for the purposes of brilliance and intensity, of ‘optical blending’ to actual blending on the palette. The division of tones, which are never more than a convenience to painters like Monet and Sisley, became a law not to be departed from in the work of Seurat and Signac. This new scientific development of Impressionism became known as ‘neo-Impressionism.’ For a time Pissarro also practised this method of Divisionism with scrupulous exactness, but eventually he adopted a broader and freer manner, though still retaining the general principle of divided color. In addition to Seurat and Signac, the chief exponents of neo-Impressionism have been Henri-Edmond Cross (1856-1910) and the living Belgian painter, Théo van Rysselberg. This method of painting and the scientific theories on which it is based are fully described in M Paul Signac’s book D’Eugène Delacroix au Néo-Impressionisme (Paris, 1898).
Realism And Impressionism In France (continued)
Claude Monet, who is still alive, has also seen pictures he sold for £4 bring thousands of pounds in America and elsewhere. Devoting himself to the painting of landscapes in bright sunlight, he has carried the pitch of painting into a higher key than any artist before him had done. ‘Pine Tree at Antibes’ is a beautiful example of his style at its maturity; radiant colors are laid side by side in small broken touches to suggest the vibration of light, while the decorative arrangement shows that Monet also has taken hints for design from the artists of Japan. Light is always the ‘principal person’ in Monet’s landscape, and since he is always aiming at seizing a fugitive effect, he has insisted on consistency of illumination at particular hours of the day and season. With this object be adopted, since the early eighties, a habit of painting the same subject under different conditions of light. He would set our early in the monrning with a carriage-load of canvases, and arriving at his destination he would start his day’s work, changing his canvas every couple of hours as the light changed. In this way he painted a series of views, all of the same subject, but all different in color and lighting. Among the most famous of these series are those known as ‘Haystacks,’ ‘The Poplars,’ ‘The Thames at Waterloo Bridge,’ ‘Rouen Cathedral,’ and ‘Waterlilies,’ the last being a scene in his own riverside garden at Giverny. When he was a young man M Monet once said, ‘I want to paint as a bird sings,’ and all his pictures have this delicious lyrical quality. While he adopted the rainbow palette and the technique of the small touch—‘the procedure by the touch’ as it is called in France—Monet has never been dogmatic in his use of divisionism.
The elaboration of Divisionism into a rigid scientific theory of painting was the work principally of two younger men; Georges Seurat (1859-91) and the living artist Paul Signac, born at Paris in 1863. But for his early death would have obtained a foremost place in modern art. It was Seurat about 1880 who definitely established the superiority, for the purposes of brilliance and intensity, of ‘optical blending’ to actual blending on the palette. The division of tones, which are never more than a convenience to painters like Monet and Sisley, became a law not to be departed from in the work of Seurat and Signac. This new scientific development of Impressionism became known as ‘neo-Impressionism.’ For a time Pissarro also practised this method of Divisionism with scrupulous exactness, but eventually he adopted a broader and freer manner, though still retaining the general principle of divided color. In addition to Seurat and Signac, the chief exponents of neo-Impressionism have been Henri-Edmond Cross (1856-1910) and the living Belgian painter, Théo van Rysselberg. This method of painting and the scientific theories on which it is based are fully described in M Paul Signac’s book D’Eugène Delacroix au Néo-Impressionisme (Paris, 1898).
Realism And Impressionism In France (continued)
Two Days In An Elevator
This is the story of Nicholas White, who was trapped in an elevator in New York City’s McGraw-Hill building for forty-one hours.
Watch it @ http://www.newyorker.com/online/video/2008/04/21/080421_elevators
What an experience!
Watch it @ http://www.newyorker.com/online/video/2008/04/21/080421_elevators
What an experience!
Saturday, April 19, 2008
Green Companies
I found the Green Start-Up Companies via Time informative + useful.
- Amyris Biotechnologies
www.amyrisbiotech.com
- Nanosolar
www.nanosolar.com
- First Solar
www.firstsolar.com
- Serious Materials
www.seriousmaterials.com
- PetroAlgae
www.petroalgae.com
- eMeter
www.emeter.com
- Solarcity
www.solarcity.com
- ClimateCheck
www.climate-check.com
- Verdiem
www.verdiem.com
- Enphase Energy
www.enphaseenergy.com
- Ausra
www.ausra.com
- Verenium
www.verenium.com
- Finavera
www.finavera.com
- Ergo Exergy
www.ergoexergy.com
- GridPoint
www.gridpoint.com
- Amyris Biotechnologies
www.amyrisbiotech.com
- Nanosolar
www.nanosolar.com
- First Solar
www.firstsolar.com
- Serious Materials
www.seriousmaterials.com
- PetroAlgae
www.petroalgae.com
- eMeter
www.emeter.com
- Solarcity
www.solarcity.com
- ClimateCheck
www.climate-check.com
- Verdiem
www.verdiem.com
- Enphase Energy
www.enphaseenergy.com
- Ausra
www.ausra.com
- Verenium
www.verenium.com
- Finavera
www.finavera.com
- Ergo Exergy
www.ergoexergy.com
- GridPoint
www.gridpoint.com
The Art Of Investing
Only time will tell: I found the article The Art of Investing @ http://www.livemint.com/2008/04/16191717/The-Art-of-Investing.html intriguing + what's worrying is that the bourgeoning Indian art market is attracting a lot of attention worldwide due to the sudden rise of investors and collectors (with/without product knowledge) in various hues and this may be the tip of the iceberg.
Another art market bubble?
Another art market bubble?
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