A lost Salvador Dalí painting bought for £150 is set for auction
It sold for just £150 (€173).
Now, that same artwork - a rare original by none other than the lobster-obsessed, moustache-twirling Surrealist icon Salvador Dalí - is poised to fetch up to £30,000 (€34,700) at auction this October.
The painting in question, titled "Vecchio Sultano (1966)", depicts a regal sultan in a lavish, jewel-encrusted turban, inspired by the tales of The Arabian Nights.
Measuring 15-by-11 inches and created using watercolour and felt-tip pen, the piece is a far cry from Dalí's melting clocks or dreamlike landscapes. But it has been authenticated by leading Dalí expert Nicolas Descharnes, and will go under the hammer at Cheffins' Art and Design Sale in Cambridge.
The origins of the painting trace back to 1963, when wealthy Italian patrons Giuseppe and Mara Albaretto commissioned Dalí to illustrate a Bible. But, true to form, the artist had other plans.
'It seems Dalí was fascinated with Moorish culture and believed himself to be from a Moorish line,' said Gabrielle Downie, an associate at Cheffins. 'While Dalí's work is often some of the most recognisable, this is an unusual piece which shows a different side to his practice when working in watercolour.'
Instead, Dalí embarked on an ambitious series of illustrations inspired by "One Thousand and One Nights", the legendary compendium of Middle Eastern folk tales. Although he initially agreed to create 500 works, he only completed 100.
'It seems that this project was abandoned,' Downie explained.
Half of the completed works were retained by publishing house Rizzoli, which had planned to release the collection - until the pieces were either lost or damaged. Eventually one of the pieces appeared unexpectedly in 2023 when a Cambridge-based antiques dealer spotted Vecchio Sultano at a house clearance sale.
The watercolour will go will go under the hammer at Cheffins' Art and Design Sale in Cambridge on 23 October.
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Euronews
03-08-2025
- Euronews
A lost Salvador Dalí painting bought for £150 is set for auction
Two years ago, a curious watercolour tucked away in a London garage surfaced at a house clearance sale in Cambridge. It sold for just £150 (€173). Now, that same artwork - a rare original by none other than the lobster-obsessed, moustache-twirling Surrealist icon Salvador Dalí - is poised to fetch up to £30,000 (€34,700) at auction this October. The painting in question, titled "Vecchio Sultano (1966)", depicts a regal sultan in a lavish, jewel-encrusted turban, inspired by the tales of The Arabian Nights. Measuring 15-by-11 inches and created using watercolour and felt-tip pen, the piece is a far cry from Dalí's melting clocks or dreamlike landscapes. But it has been authenticated by leading Dalí expert Nicolas Descharnes, and will go under the hammer at Cheffins' Art and Design Sale in Cambridge. The origins of the painting trace back to 1963, when wealthy Italian patrons Giuseppe and Mara Albaretto commissioned Dalí to illustrate a Bible. But, true to form, the artist had other plans. 'It seems Dalí was fascinated with Moorish culture and believed himself to be from a Moorish line,' said Gabrielle Downie, an associate at Cheffins. 'While Dalí's work is often some of the most recognisable, this is an unusual piece which shows a different side to his practice when working in watercolour.' Instead, Dalí embarked on an ambitious series of illustrations inspired by "One Thousand and One Nights", the legendary compendium of Middle Eastern folk tales. Although he initially agreed to create 500 works, he only completed 100. 'It seems that this project was abandoned,' Downie explained. Half of the completed works were retained by publishing house Rizzoli, which had planned to release the collection - until the pieces were either lost or damaged. Eventually one of the pieces appeared unexpectedly in 2023 when a Cambridge-based antiques dealer spotted Vecchio Sultano at a house clearance sale. The watercolour will go will go under the hammer at Cheffins' Art and Design Sale in Cambridge on 23 October.
Euronews
06-07-2025
- Euronews
Why Zurich's creative side makes it a top city break destination
When I checked into my hotel, I noticed a man slumped in the corner of the lobby. He looked dishevelled, more like a jet-lagged backpacker than a guest at a five-star retreat. The front desk staff barely glanced at him, so I thought better of rubbernecking. It wasn't until later, while touring the property and admiring works by Salvador Dalí and Joan Miró, that it clicked. I returned to the lobby, got face-to-face with the man in the corner and realised he was no man at all. He was an art installation. I was at the Dolder Grand, a lavish resort built among Zurich's wooded hills, like a fairytale castle towering over the Zürichsee. Originally opened in 1899 as a Curhaus, or spa retreat, it still attracts the world's well-heeled with Alpine views and quiet luxury. But inside, the Dolder Grand offers a glimpse of a lesser-known Zurich, where art, not just affluence, shapes the experience. With more than 100 pieces by major 20th- and 21st-century artists scattered across the property, the hotel doubles as a gallery, reflecting the city's deep ties to creativity and design. And it's far from an outlier. Public artwork brings unexpected beauty to everyday life Zurich is often seen as the domain of financiers, FIFA officials and other members of the Maserati-driving classes. But it also gave the world Dadaism, the radical movement that emerged in 1916 at Cabaret Voltaire and laid the groundwork for surrealism and pop art. Later, Zurich became the birthplace of Swiss Style, which championed grid-based design, sans-serif typefaces like Helvetica and a pared-back, rational aesthetic that still shapes everything from transport signage to websites. Its creative spirit isn't limited to the annals of history, either. 'Zurich is understated but buzzing,' says Jacqueline Uhlmann, manager of the Löwenbräukunst art centre in the up-and-coming Zurich-West district. 'There's a quiet confidence and a collaborative spirit here, driven less by trend and more by substance. It's a city where design, art, architecture and technology constantly intersect.' Some of that is credit to the city's Kunst im öffentlichen Raum (KiöR) programme. It has commissioned and maintained over 1,300 public artworks, ranging from underpass murals to sculptures in cemeteries and playgrounds. At Zurich Main Station, you're welcomed by Niki de Saint Phalle's purple-and-gold 'Guardian Angel.' At Zürichhorn, Jean Tinguely's mechanical 'Heureka' greets you with spinning parts and surreal charm. Even Bahnhofstrasse, the city's high-end shopping boulevard, hosts Max Bill's minimalist 'Pavilion Sculpture.' 'There's a growing movement around reclaiming and creatively using urban space,' explains Milica Vujcic of Zurich Tourism. Perhaps the most surprising example of Zurich's artistic undercurrent is found inside the last place you should be: the police station. Here, the entrance features a vivid fresco of blooming flowers painted by Augusto Giacometti. Known as 'Blüemlihalle,' it's a landmark you can visit freely – no arrest required. A former industrial district now leads Zurich's creative renaissance Follow the Limmat River west from Zurich's medieval centre and the cobblestones give way to train tracks, industrial towers and a different rhythm entirely. Zurich-West, once the city's manufacturing core, has been transformed into a creative hub humming with energy. At its heart stands Löwenbräukunst, a red-brick brewery transformed into one of Europe's most unique cultural complexes. Under a single roof, you'll find the Kunsthalle Zürich, Migros Museum für Gegenwartskunst and major galleries like Hauser & Wirth and Francesca Pia, alongside Edition VFO, which specialises in limited-edition prints. In one moment, you can be peering at kinetic sculptures and oil paintings, and in the next, you're eating vegan dishes at Bistro LOI or chatting with gallery owners. 'Zurich's strength lies in its diversity and density,' says Jacqueline Uhlmann, Löwenbräukunst's manager. 'While it may be quieter than Basel during art week, it offers a year-round, highly active contemporary art scene with a remarkable mix of galleries, off-spaces, major institutions, collectors and universities – all within walking distance.' That proximity can fuel cross-pollination. Uhlmann explains that the Löwenbräukunst hosts regular meetups that allow anyone interested in art to plug into the district's creative pulse. 'Initiatives like our monthly Art Walk West – a collaboration across the Zurich-West district – are designed to activate and connect with the broader community,' she says. 'It fosters informal conversations that often lead to real collaborations.' Back in the old town, the art spaces offer a different aesthetic. Kunsthaus Zurich, the city's most renowned fine arts institution, is one of the largest museums in Switzerland, housing works by Marc Chagall, Alberto Giacometti and Swiss-born innovator Sophie Taeuber-Arp. But it's not all reverent silence and oil portraits. Recent exhibitions have tackled everything from NFTs to feminist interventions. And if you need a breather, the leafy Heimplatz square outside is perfect for people-watching with a pastry in hand. If you time your visit right, you might also catch Zurich Art Weekend, a three-day event in early summer that features more than 70 exhibitions across the city. Organised just before Art Basel, the annual art weekend involves everything from rooftop talks to guided tours, all free and open to the public. Zurich's hotels offer discovery as well as design Even Zurich's hospitality industry has a creative edge. The vibrant 25hours Hotel Zurich West was brought to life by Swiss designer Alfredo Häberli. The Boutique & Art Hotel Helvetia houses sculptures, paintings, prints and more in its clean riverside space. And then there's the Dolder Grand, where art is everywhere. Reportedly worth over €800 million, its collection is interwoven with the guest experience. One morning, I walked into Blooms, the hotel's garden restaurant, and found a towering Keith Haring sculpture rising from the flower beds. 'Unlike in a traditional museum setting, guests encounter art in a relaxed and inviting atmosphere,' says Markus Granelli, the general manager. 'It encourages lingering, observation and conversation.' You experience that whether you're sipping a cocktail at the Canvas Bar & Lounge – where each drink is inspired by a different piece in the hotel's collection – or admiring a giant mushroom sculpture by Takashi Murakami in the modern wing. There are works by Francesco Clemente, Urs Fischer, Mel Ramos and even Sylvester Stallone. But the piece that lingers is Duane Hanson's 'Traveller,' also known as the man in the lobby. Made with a mix of found materials – clothing, hair, paper tickets – he looks startlingly lifelike. Orlando International Airport has a version, too, and passersby regularly try to wake him. I nearly did the same. While he may not move, let alone talk, the man in the lobby will tell you everything you need to know about Zurich. Art isn't kept behind glass here; it's part of the experience. As Uhlmann puts it: 'It's a place where something is made, not just shown.'
Euronews
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- Euronews
Berlinale 2025 review: 'Ari' - Keeping a heart on your French sleeve
The French have a great term for it: 'à fleur de peau.' Literally, it translates to 'flowering of skin'; it actually means to be emotionally raw or, more generously, to wear your heart on your sleeve. For her follow up to Un petit frère (2022), French director Léonor Serraille's third feature Ari is all about that: not hiding your emotions but exposing them for all to see. It revolves around the titular trainee teacher (Andranic Manet) who collapses in the middle of a school inspector's visit. To be fair, the stringy 27-year-old was on the brink of tears the whole time, clearly overwhelmed by the rowdy scamps and fooling himself that he could maintain the 6-year-olds' attention by teaching them about Surrealist poet Rober Desnos. His poetry; his ties to André Breton; his opium addiction. As if that wasn't enough, he gets shat on by a pigeon after writing his resignation letter. 'These are bad times. I'm clearly not up to it – but who is?' Ari turns to his widowed father (Pascal Rénéric), who is exasperated at his son's lack of commitment and the fact his kid 'ruins and wastes' everything from his job to a former relationship with a certain Irène (Clémence Coullon). He kicks him out of the house, which forces Ari to rekindle relationships with childhood friends he hasn't spoken to in a while. In doing so, discovers that the 'enviable' lives of others are, in some cases, not much better than his own. From that description alone, Ari sounds like it could be an insufferable Gallic Llewyn Davis (minus the guitar). After all, we've all seen plenty of films revolving around disillusioned young men drifting about and waking up to the fact that while societal norms are for sell-outs, they've still been sleepwalking through life. It's then to Serraille's considerable credit that her film dodges everything that could have been a potential quarter-life crisis pity party in order to deliver an intimate character study that boasts a level of tenderness and candour few films portray. It is led by Andranic Manet, who gives a genuinely mesmerising performance. He's a gentle soul, who has clearly suffered from the loss of his mother, as we see in the opening scene – a tender moment all shot in adoring close-ups by cinematographer Sébastien Buchmann. But rather than head straight for the Freudian, Serraille reveals through every social interaction and occasional flashback that Ari is a frustrating but kind-hearted young man who maintains a childlike wonder about life – as evidenced by the questions he innocently but constantly asks, as well as him considering children "the only people who are more or less normal.' Perhaps he feels an affinity for them because he has yet to embrace the responsibilities inherent to adulthood himself? Or maybe he is defined by a sense of loss – not just of a parent, but one regarding a life-determining choice he seems haunted by. This comes to light during an evening with childhood buddy Jonas (Théo Delezenne), a bourgeois nuisance who likes to pontificate about left-wingers and 'stupid miserabilism' without addressing the silver spoon in his glib gob. Buttressed every step of the way by a script that offers authentic sounding conversations – so much so they sound improvised - this is open-hearted gem is a poignant ode not only to an unmoored soul but to the difficulties everyone – of any age – can have keeping their hearts on their sleeves when living in 2025. Granted, mileage may vary depending on your affinity for French films that verge on the Rohmerian. However, the sincerity Serraille conveys without dipping into mawkish waters is impressive; it would take a very hardened soul not to be moved by a film championing growth and connection in a world that often feels devoid of these two very precious things.
