An endangered female Sumatran rhinoceros, recently born at the Sumatran Rhino Sanctuary of Kambas national park, seen next to her mother, Ratu
Photograph: Antara Foto/Reuters
LONDON, Oct. 2, 2023 /PRNewswire/ — As the world continues to navigate the difficult waters of economic uncertainty and turmoil, the fine art market has proved to be incredibly resilient. Despite the challenges, the sector is not only surviving but thriving, enjoying excellent growth and displaying remarkable adaptability. While crypto is ailing and tech stocks struggle, the art market is booming. Waran’s Fine Art, a new London-based rising star on the scene, is poised to capitalise on the thriving arts industry.
The global art market is currently expanding rapidly as we continue to recover from the economic storm wrought by the pandemic. Indeed, the sector held up strongly through the crisis. Although understandably 2020 saw a contraction in the sales value of the worldwide market, by the end of 2021, it had achieved a greater value than that attained in 2019.
In 2023, the whole market size is predicted to surge from the $441 billion posted in 2022 to an incredible $579 billion – an impressive compound annual growth rate (CAGR) of just over 31%. And the juggernaut will continue to make progress. Experts predict that in 2027, the art market will be worth $682 billion, achieving a steady CAGR of 4.2%.
There is ever-increasing demand from collectors and art enthusiasts all over the world, with pieces changing hands for incredible sums. In 2022, one of Andy Warhol’s iconic portraits of Marilyn Monroe, “Shot Sage Blue Marilyn” was sold at a Christie’s auction for a huge $195 million. Earlier this year, sales at Christie’s Spring Marquee Week totalled $922 million, with 34 artist records set.
As the world continues to emerge from these challenging times, there can be no question the art sector is experiencing a significant surge. And it’s part of a distinct trend towards acquiring tangible assets – a movement where art is performing the best. Knight Frank’s 2023 Wealth Report reported that while the market for luxury collectibles in 2022 saw strong gains, fine art led the pack with growth of nearly 30%.
With spiralling demand from seasoned collectors, and new art enthusiasts across the world, it’s no surprise that the appeal of art as an investment has also skyrocketed. Wealth managers cottoned on to the trend some time ago. A 2019 Deloitte report noted that 85% of wealth managers recommended that fine art be included in a balanced investment portfolio.
Today, wealth managers continue to find that the sector has lost none of its allure with investors. A recent study found that 59% of advisers stated their high-net worth clients were looking to invest in art in 2023.
Major players in the hedge fund arena have also embraced art as a rewarding asset class. Steve Cohen, the founder of Point72 Asset Management (and owner of the New York Mets) has been one of the most avid collectors of fine art in the world for many years.
As a rapidly growing UK fine art company, Waran’s Fine Art are delighted to be playing their part in this international success story. Their expertise in sourcing, curating, and selling fine art assets will ensure they continue to contribute to this phenomenon. Here are some of their key insights into the why the global art market is proving to be so strong and resilient.
Increased Global Demand
Demand for fine art has soared as the market has expanded across the world. Vast new markets are emerging in places like China and India, with a new high-wealth class keen to demonstrate their status and wealth by acquiring fine art. Millennials are also driving demand, with a 2021 study finding that the biggest spenders on high art in 2020 were born between 1981 and 1996. These new collectors continue to seek out exceptional pieces, contributing to robust sales and price appreciation.
Digital Revolution
Technology is also driving the surge in the art sector. Online auctions, galleries, exhibitions have made it easier than ever to view and purchase art anywhere in the world. The digital revolution has connected buyers and sellers as never before. The internet has also democratised the market. Once the playground of the rich, investors can now buy shares of artworks via fractional art ownership platforms.
Resilience & Tangibility
Fine art has always been a safe bet regardless of the economic situation. In the 25 years from 1995 to the end of 2020, contemporary art appreciated 14% every year on average. This compares with an annual return of 9.5% for the S&P 500. Art is a real, tangible asset that has low correlation with often-volatile stocks and bonds, and many see it as a hedge during periods of higher inflation.
An Excellent Investment Proposition
Investing in fine art is certainly a compelling proposition. Historically, it has shown continued potential for significant capital appreciation since the mid-1990s. Operating independently of traditional financial markets, it provides a hedge against economic volatility. It makes for an attractive alternative asset class for investors seeking diversification in their portfolio. And of course, this tangible asset offers intrinsic satisfaction beyond financial returns with its aesthetic and cultural value.
Waran’s Fine Art
Dev Waran, founder of Waran’s Fine Art, is proud to be part of this thriving industry. He stated, “Art isn’t confined to museums and galleries; it’s a living, breathing entity that finds its home in the hearts of those who understand its power. In the art market, every sale is a story waiting to be told — a narrative of an artist’s vision and a collector’s appreciation of beauty. The art market is a canvas where creativity meets commerce, where every brushstroke of talent carries the potential to redefine the value of expression.”
For those looking to invest in this booming sector, seeking expert help is essential. Waran’s Fine Art believe that fine art assets should be available to all, and invite art collectors, investors and enthusiasts to explore their curated collection of fine art pieces, which includes works from renowned artists as well as the best of emerging talents.
For more information about Waran’s Fine Art and their amazing collection, please visit https://waransfineart.co.uk/. They can be contacted at [email protected], 02030262029
Company Boilerplate
Waran’s Fine Art embarked on its journey in 2023, and since then, we have been committed to redefining the art experience for enthusiasts and collectors across the United Kingdom. With a foundation built on a passion for art and an unwavering dedication to artistic expression, our founder has been instrumental in facilitating over £20,000,000 in art piece sales, fostering connections between artists and collectors that transcend traditional boundaries. As a United Kingdom-based art company, we take pride in curating and promoting exceptional works of art that not only capture the essence of the human spirit but also serve as investments in culture. We are more than just an art business; we are custodians of creativity, champions of innovation, and advocates for the enduring power of visual expression. Welcome to Waran’s Fine Art where the canvas of possibility stretches beyond imagination.
We have associations with artists like Mr controversial. We’ve secured sales of Simeon Stafford, Alan Davie, Adrian Heath, Paul Feiler, Mark Lancaster and Damien Hurst.
Photo – https://mma.prnewswire.com/media/2236343/WARANS_FINE_ART.jpg
SOURCE waran’s fine art
It was a busy summer for the art professionals tasked with sorting through the fallout of discredited dealers and intermediaries. August saw multiple court filings advance the case of the New York-based adviser Lisa Schiff and her now-shuttered companies, Schiff Fine Art and SFA Advisory, whose works of art are being liquidated to satisfy creditors amid two civil lawsuits seeking at least $1.8m. Schiff is also cooperating with an ongoing investigation into her business practices by the US Attorney’s Office.
In the same month, liquidation firm ThreeSixty Asset Advisors opened an online auction offering nearly 300 pieces of art and ephemera comprising the last remaining inventory of the Los Angeles-based Ace Gallery. Sales proceeds from the lots, which together carried an estimated minimum value of $230,000, went to repaying debts incurred by the gallery ahead of its 2013 bankruptcy. (Ace’s founder, Douglas Chrismas, is also awaiting trial on federal charges of embezzling more than $260,000 from the gallery’s bankruptcy estate; he maintains his innocence.)
Although there are important differences in the legal circumstances of Schiff’s companies and Ace Gallery, both cases could only progress thanks to the undersung work of appraisers and advisers, whose role in such inquiries includes determining which works are (and are not) in a debtor’s possession; how much (or how little) value the works have in their present state; and whether any outside parties have a legitimate ownership claim to any of them.
Picking apart the status, value and condition of works of art is far from straightforward when alleged deceptions and substantial debt collide in the US art market. So how are pieces identified and assessed within such complex situations?
Compiling a picture of the works and their value is never going to be a perfect science, and there will always be different perspectives
Caroline Sayan, Cadell advisory
“It’s fundamentally a role of ‘putting the pieces together’,” says Caroline Sayan, the president and chief executive of international advisory firm Cadell. “Compiling a picture of the works and their value is never going to be a perfect science, and there will always be different perspectives, but it will, at least, enable the process to move forwards.”
Within liquidations of art holdings, appraisers are appointed relatively early by the party overseeing the process, as part of their broader goal of recovering as many assets from the debtor entity as possible, deducting a fee and paying dividends to parties able to demonstrate ownership of property or creditor status. Debts are paid off in a particular order, with secured creditors (who disbursed loans or credit agreements backed by an asset) and employees typically prioritised. When dealers face insolvency, artists most often become secured creditors by virtue of consignment agreements for unsold work or unpaid invoices for proceeds from sales.
Although Schiff initiated a bankruptcy alternative called an “assignment for the benefit of creditors”, the process still broadly resembles bankruptcy in that her companies’ assets were transferred to a trust to be liquidated by an independent third party.
In insolvency cases, often-complex investigations are needed to confirm who has ownership of works and how much they are worth Alexander Grey/Unsplash
Bankruptcy and business lawyer Douglas J. Pick, the assignee in Schiff’s case as of August, commissioned Winston Art Group (described in court papers as “a well-known and highly respected art advisory”) to counsel him in “identifying, marketing and ultimately liquidating the Art Property” of Schiff Fine Art, in addition to “soliciting interest in the Art Property for purchase”.
Part of the liquidation process also involves determining when a debtor may lack clear title to a work in its possession. Potential third-party ownership claims hovered over certain pieces in Schiff Fine Art’s inventory, as outlined in an 11 August court filing, and over certain works in the auction of Ace Gallery’s holdings. A further 23 lots in the latter were by artists who could not be identified.
In both civil and criminal lawsuits, lawyers may also pull on a range of expertise to develop their case. “There is often a race to find the best appraiser or expert,” says Fred Clark, a senior associate of corporate and commercial law at London-based firm Boodle Hatfield. “Sometimes the appraiser is appointed by a party before court applications are made as part of the pre-action correspondence. However, it is common for a court to order that X number of opinions are sought. The parties will usually try to agree upon the appointments, but if that fails the presiding judge will decide for them.”
No matter how an appraiser is chosen, assuring the neutrality of their advice is paramount. Although in the US there are Congressionally approved frameworks for the trade, such as the Uniform Standards in Professional Appraisal Practice (USPAP), there is no business license for art appraisers. Professional bodies such as the Appraisers Association of America and the International Society of Appraisers provide guidance on reputable service providers; the former organisation includes more than 900 independent appraisers and affiliated professionals who have passed an entry exam and agreed to amass at least 70 continuing education credits in the field every five years.
Similarly, where an art historical opinion is sought regarding a work’s authenticity, investigators and legal teams must navigate the dealers, auction-house specialists and art historians with specific expertise to determine the most qualified opinion or set of opinions.
In legal proceedings over ownership, parties often involve the Art Loss Register, an international database of missing objects, to document works as “in dispute” to prevent further resales, encourage settlement or provide factual evidence, such as who searched for an item when or what provenance was provided.
In addition to authenticity, provenance and title issues, appraisers and advisers also face the challenge of properly valuing the work or collection being liquidated. Although pre-existing inventories or appraisals may exist, an up-to-date assessment is crucial given the fast-paced nature of today’s market, changing tastes and the increasingly rigorous obligations around provenance and due diligence. Different appraisals are also prepared for different purposes: for example, a value assessed for an insurance policy is not necessarily appropriate or acceptable for estate planning.
The most typical appraisal concerns “fair market value”, which presumes an open and willing market for the works being considered. In Schiff’s case, Winston Art Group concluded in early August that Schiff Fine Art still held 894 works with a fair market value of more than $3.1m, including examples by Michael Craig-Martin, Damien Hirst and Chris Ofili. The firm also verified each work’s respective location, with Bortolami gallery and Phillips auction house among the sites. A further 108 works with a fair market value of more than $1.1m were deemed “missing”.
Conversely, appraisers can also assign a “liquidation value”, which estimates the amount the works would fetch if released onto the market immediately. This appraisal incorporates factors such as the reputational damage to any works caught in ongoing legal disputes and the resulting level of market saturation if a collection of comparable works were offered simultaneously.
As a reference point, consider the 2018 sale of Arab, Iranian and South Asian art collected by the liquidated Abraaj Group, a Dubai-based private-equity firm. Many of the 200 items were offered without a reserve price, and presale estimates reflected deep discounts. For instance, Iranian sculptor Parviz Tanavoli’s Poet and Bird (2006), which was expected to fetch between £50,000 and £100,000 ($66,500 and $113,000), previously sold for $480,000 (with fees) at a Bonhams auction in Dubai a decade earlier.
Other art liquidations have proven more lucrative, such as Sotheby’s multipart sale of digital works from the collection of Three Arrows Capital, an insolvent cryptocurrency hedge fund, this year. Each of the first 44 NFTs offered across two live auctions in New York exceeded its high estimate, with the trove bringing around $13.4m in total (with fees).
Yet the Ace Gallery auction, which closed 12 September, ultimately delivered a hammer total of less than $200,000, short of its $230,000 aggregate low estimate. That result and the company’s decade-long bankruptcy should remind the trade that, when it comes to Lisa Schiff and her defunct businesses, August’s appraisal of the works to be liquidated could mean resolution is still years away—and full repayment to creditors will probably never arrive.
October 2, 2023
If architecture is frozen music, what’s the tune embedded in the cover of the Arctic Monkeys’ latest album, “The Car”? The image, a photograph taken by Matt Helders, the band’s drummer and documentarian, shows a rooftop parking lot from high above, surrounded by modern office buildings in downtown Los Angeles. A single car, a white sedan, is parked in the lot, which is bleached by the midday Southern California sun.
The four-piece British rock band was in town recently for two sold-out shows at Forest Hills Stadium. On the morning between gigs, Helders went to Fotografiska New York, the U.S. branch of the Swedish photography museum. He wanted to check out an exhibition of the work of Terry O’Neill, the British lensman who assisted in the birth of rock photography, in the early sixties. Helders carried his digital Leica.
Over an Americano in the museum’s lobby, he explained that he’d shot the cover photo with a long lens from the window of his former apartment, and had sent it to Alex Turner, the band’s main songwriter and front man. “This was in 2019, before we’d started any music for the album,” he said. Helders, thirty-seven, is a sometime boxer; his drumming has a pugilistic quality. “Alex was, like, ‘Oh, wow.’ He thought it told a story and that he might write something about it.” There’s a mystery in the image—Is that a getaway car? Is there a body in the trunk?—that resonates in the album’s enigmatic songs and atmospheric strings, a new sound for the Monkeys.
“Me and Alex have known each other since we were five,” Helders went on. All four bandmates grew up within fifty yards of one another in Sheffield, an industrial city where “everything we did was in cars.” The fact that they were friends long before they became musical partners explains why they get along so well as a band, Helders figures. That’s also why, in his photos of them, Helders favors domestic scenes over the iconic style of photographers like O’Neill. In his pictures of the guys together, he observed, “it’s not clear they’re a band. They’re not doing anything that’s rock, but you can tell there’s something about them.”
Helders, who has a soft-spoken demeanor, strives to be “a drummer in life,” he said. That is a person others can rely on, he explained, who doesn’t need or want to be a star. On the road, Helders prefers Ramadas and DoubleTrees to luxury hotels: “I get overwhelmed by having to use all the amenities.”
As a photographer, he said, “I try to make the mundane interesting.” When he took his Leica to Big Bear City, in Southern California, the most striking image he got was not of the scenery but of an overflowing trash can in the sun, which Helders labelled on his Instagram with a quote from William Eggleston, a favorite photographer: “There is no particular reason to search for meaning.”
Helders’s pictures give you the drummer in life’s point of view: the world as seen from the rear of the stage. He has many photos of Alex Turner’s back, of course, taken at sound checks, but also lots of other backs, of both people and buildings, snapped during tour stops. “I have a folder on my phone called ‘The Backs,’ ” he said. “If I’m walking around the street and someone looks interesting from the back, that’s fine with me. I don’t need to ask them to turn around.”
At the exhibition upstairs, Helders browsed foundational glamour images in the visual vocabulary of pop stardom. David Bowie visiting Elizabeth Taylor on a movie set; the Rolling Stones carrying their luggage through a busy London street, off to a gig; Tom Jones man-spreading astride a go-cart in his driveway. Cigarettes, bottles of alcohol, and guns are present in many of O’Neill’s photos—a reminder that rock and roll is not a wholesome activity. But, Helders observed, “now you’re likely to see the band doing a yoga class.”
Gazing at an image of Elton John inside his private plane, Helders said, “I do have one like that.” He scrolled through his Leica until he got to some pictures of the Monkeys boarding a private jet, at an earlier stop on the American tour. Then he scrolled to another photo: a row of orange safety cones lined up on the runway.
“That’s more me,” the drummer said. ♦
What is a border? A limit, a beginning, but also an end. A constantly moving (in)visible line that demarcates a “this way”, which we know well, and a “that way”, which is other than us and doesn’t belong to us. Characterizing this term has always been its changeable nature. This is how, over time, it has extended to many fields of human experience, changing form and substance. Just think how, each time the border concept has crossed spheres of creativity, it has achieved ever different shades of meaning. An evolution that in some ways would seem to be similar to that of mankind, and perhaps the reason is because it ideally represents that window through which we can observe our actions, that window that offers us the opportunity to get to know ourselves better. Consequently, every time we talk about it, we are talking about ourselves. Here, the shots of Viktoria Andreeva, Loc Boyle, Alessio Bucciero, Sara Camporesi and Gaia Caramellino investigate the elusive nature of the boundary concept from different perspectives.
The Bulgarian photographer Viktoria Andreeva explores in her series Relay the most primordial of boundaries, that of our skin. The project delves into the complex relationship between individuals, exploring themes such as identity, human duality and metamorphosis. Within each composition, the absolute protagonist is the body, which becomes the instrument to give life to a series of contradictions. In her photographs, the subjects can appear close and intimate and at the same time shy and distant. This is because Andreeva intentionally depersonalizes them, capturing their curves in an abstract and surreal way and hiding and revealing parts of their bodies each time. By distorting the figures, the photographer aims to cross the boundary between reality and illusion and, in doing so, makes us realize how this concept depends entirely on our perception and is therefore subjective and undefined, hence abstract.
The distortion of perception adopted by Andreeva returns in Loc Boyle‘s photography. In this case, the Australian photographer imagines new forms of the body and experiments with a different kind of boundary: the ability of a man to “be art”, framing bodies as if they were monolithic sculptures. They are covered in paint, trapped in lycra, stretched and sometimes even folded in on themselves; all the while holding abstract, dramatic or simply bizarre poses. The result is images full of contrasts: powerful, delicate, still, moving, abstract, human. Images that, at the same time, are able to intrigue and confuse the observer, who, stunned, asks himself “Is this a work of art, a sculpture or the essence of something as yet unknown?”.
For Alessio Bucciero, the border should not be understood as a synonym for separation, “For me it means getting closer to something”, says the Italian photographer. This is evident from the first glance in the photo of the two lovers caught in an embrace, which Bucciero makes appear as if they were two parts of a single identity. Here, that threshold that distinguishes – as was said at the beginning of this text – a “this way” and a “that way” is no longer posed as a line of inclusion/exclusion, but becomes increasingly rarefied until it disappears, creating something that has never existed and that must be explored. And so, unintentionally, we forget that ancestral need to feel protected within a delimited space, overcoming the more traditional definition of a border once and for all.
While Andreeva, Boyle and Bucciero investigate the concept of boundary in the body dimension exclusively, Sara Camporesi‘s research focuses on the definition of “presence” that the body occupies in its surroundings. So what the Italian photographer examines is the space that is created between the body and architecture, between fullness and emptiness. “The moment in which everything is still suspended, in which we are and are not, in which we hold something elusive, something that precedes us and without which nothing could begin,” says Camporesi. In the shot taken in the Metaphysical City of Tresigallo, in the plain of Ferrara, we see that border become the beginning of a shared journey to discover a new and unimaginable elsewhere. An elsewhere in which to immerse ourselves and be amazed by what it is able to reveal: something of us that we didn’t know existed, that helps us (re)know or rediscover.
Different, but in some ways similar to Camporesi’s, is the border understood by Gaia Caramellino. In her photographs, this concept suddenly takes shape, becoming that place where you can find yourself again and again. Therefore, it is not an unknown space, but one of which one has experience. A cradle or rather “a safe place, crystallized in time, in which one can be weak, open to blows, to falls. A kind of waiting room aimed at nowhere, a no-man’s land where you arbitrate on an equal footing with your own history”, says the photographer. In front of her shots, the observer therefore finds himself staring at a boundary that does not belong to him.
In the research of the five photographers examined, we have realized that the concept of a boundary is subjective and abstract. However much we try to delimit its perimeter, the result will never be definitive because it is nothing more than an idea that does not exist. An idea that we have constructed, with the sole purpose of narrating it.
A child standing barefoot, seemingly playing with a bag over their head; an old woman sticking her tongue out during an medical examination; a family sitting in an empty room on Holi Day, staring into the camera; a girl hanging upside down from a tree, her head in another girl’s hands.
For a portfolio that included these images captured in rural Rajasthan, Indian photographer Gauri Gill has won the prestigious Prix Pictet, a global award for photography and sustainability.
During her visits to western Rajasthan for the past 24 years, Gill said in a statement that she “witnessed a complex reality,” previously unknown to her as “a city dweller,” as she engaged closely with the marginalized communities living there.
“To live poor and landless in the desert amounts to an inescapable reliance on oneself, on each other, and on nature,” she added. “These fragments of shared experience now inhabit a large photographic archive called Notes from the Desert.”
First launched in 2008, the Prix Pictet photography award aims to capture and highlight issues of work on themes connected to sustainability. Each of its 10 editions has focused on a different facet of sustainability and this year’s competition was themed “Human.”
Eleven other portfolios of work were shortlisted for the award. They included Ragnar Axelsson’s series of photos depicting Inuit hunters and Nenet reindeer-hunters, whose ways of life are being threatened by the climate crisis, and Siân Davey’s images capturing visitors to her back garden, all in various poses among the wildflowers.
Alessandro Cinque was also shortlisted for his images “chronicling the difficult coexistence between the indigenous Quechua people in Peru, their land, and the mining industry,” he said in a statement.
By focusing on the “Human” theme, organizers of the award aimed to “foster a deeper understanding of our shared humanity and inspire meaningful conversations about the issues that impact us all,” said Isabelle von Ribbentrop, Executive Director of Prix Pictet, in a statement.
The shortlisted photographs will be exhibited at the Victoria and Albert Museum in London until October 22 before being shown in museums around the world, including in Istanbul, Dublin, Bangkok and Stockholm.
A selection of the images can be viewed in the gallery above.
WOODSTOCK, Vt. (WCAX) – Juancarlos Gonzalez has been working as a photographer for about eight years.
Now, living in Windsor County, he’s constantly surrounded by Vermont’s lush landscape and an abundance of agriculture. The faces behind those farms are the topic of his recent exhibit profiling Vermont’s female farmers.
The inspiration for this new exhibit at Billings Farm and Museum didn’t come in a dream but rather from a farm to a dinner table.
“A couple of the tables next to us asked the staff, ‘Who’s the guy you get your veggies from? Or who’s the guy that you get your meats from?’” Gonzalez, who is from Puerto Rico, says hearing that question brought him back to childhood.
“My grandmother used to have a farm stand and people would come by and say, ‘Who’s the guy that runs the farm? Or who’s the guy that I can talk to?’” said Gonzalez.
Because sometimes, it’s not the guy running the operation, it’s the woman. It’s a population of farmers Gonzalez feels is underrepresented, especially when it comes to women of color.
“I think there is an opportunity here to amplify the female farming industry that I feel is in a shadow for all these decades,” said Gonzalez.
And so the seeds for this show were planted. He started with an Instagram message to Waitsfield’s Emily von Trapp.
What was supposed to be a show featuring 10 farmers quickly grew as these powerful women nominated more powerful women to share the spotlight. Gonzalez traveled all over the state to photograph these farmers, and he says he developed a unique relationship with each one.
“Thirty-five minutes will turn into two to three hours because you just created this synergy, and it was a beautiful, magical time,” said Gonzalez.
The now 38 farmers are featured in 45 images at Billings Farm and Museum, a seemingly perfect venue for the project.
Sherlock Terry, the curatorial and exhibits manager at Billings, says this exhibition fits seamlessly with their mission.
“Our farm has been run by women since the 1890s, and so we just have this long tradition. This ties in nicely with that. One of our main things is educating people about food and agriculture and where their food comes from, and an exhibition like this is 100% about that,” said Terry.
Terry also says the show has drawn in much attention from locals and visitors here to take in the foliage. Gonzalez hopes this project prompts more support for local farmers.
“By reading about each farmer, I hope people can dig into it, get to know the farmer, learn more about the industry, and not just see the cute little front stand. There’s more to it behind that,” said Gonzalez.
The exhibit runs at Billings Farm and Museum in Woodstock until Oct. 31. The photos and information have also been compiled into a book.
Copyright 2023 WCAX. All rights reserved.
Vintage Market Days of Coastal Carolina happened in Myrtle Beach Friday, Sept. 29, 2023, through Sunday, Oct. 1, 2023. The upscale vintage-inspired indoor market featured vendors from across the area selling original art, antiques, clothing, jewelry, home décor, outdoor furnishings and more. (Jendaya Fleming/WPDE)
