Life

Old Masters has long been yesterday’s story as contemporary art surged away from the dusty legacy market. But just as the interesting times that we live in have investors heading for gold in their droves, the value of certainty is a rising stock in the art market, a tendency on vivid display at TEFAF art fair at Maastricht in the Netherlands this spring. Certainty of long-term value, certainty of supply and of provenance are some of the qualities that are drawing collectors back to Old Master categories, but add better curation, services and the perception that prices reflect intrinsic worth more than hype and the smiles all round as TEFAF closed are easy to account for.

Walking up to the Valhalla is an intimidating experience. Low to the ground, it looks like a prototype race car and every bit the million-dollar starting price tag. Its large gullwing doors swing up, presenting an interior bathed in carbon fiber. After climbing in awkwardly, the carbon bucket seats hug you in and the squared-off steering wheel reminds you this is no ordinary Aston. Close the door and you’re cocooned in like a Le Mans Hypercar. The Valhalla isn’t a track-only racing machine, though. It’s a hybrid road car, made in partnership with Aston Martin’s Formula 1 team, but with surprising levels of comfort and usability. It has 1,046hp, with power coming from both the 4.

Oliver Spencer, designer and founder of London-based luxury formalwear brand Favourbrook, has a few thoughts about summer style. For a start, he is unimpressed by the type of men who turn up at the races squeezed into “tight suits” and seeming to want to look like an extra from Peaky Blinders. He is equally dismissive of the long reign of beige discretion. “We’re all a little bored of that ‘quiet luxury,’” he says. “No thanks. No more.” For Spencer, the answer is obvious. Summer should be fun, fancy, colorful, and, above all, joyful. He dislikes the idea of “occasionwear” altogether.

Washington, DC might not seem the obvious choice for Britain’s oldest wine and spirits merchant to establish its first US outpost, eschewing more likely suspects such as, say, Manhattan. But that’s exactly what Berry Bros. & Rudd, founded in 1698 opposite St. James’s Palace in London, has done. “We’ve quickly earned recognition across all of DC, as well as Virginia, Maryland, Delaware, and more,” says Jamie Ritchie, the company’s longtime managing director. “The news that we’re here spread quickly because it’s a smaller population, a smaller competitive set. People are aware we’ve arrived.” ‘If you spend too much time looking backwards you tend to bump into the future.

Every J Craft’s retro-style hull conceals ultramodern comforts and a setup fit for a tech-savvy Viking If you are familiar with the Ship of Theseus paradox, you’ll know that dating back to the Greeks, the famous philosophical question is this: if a boat has all its components replaced, is it at the end still the same boat? Every J Craft’s retro-style hull conceals ultramodern comforts and a setup fit for a tech-savvy Viking In Sweden there is a near modern-day version of this taking place every year at the J Craft shipyard on the island of Gotland.

One day during my first job as an aspiring journalist at a serious newspaper, the editor told me how much he liked my writing. Flushing with pride, I asked which particular piece I’d penned. “No!” he interrupted abruptly, before I’d even finished my question. “I mean your handwriting.” It was the note I’d scrawled rather than any article I’d labored over that had caught his eye. Curiously, ever since I was calligraphy-shamed by a teacher for blotty, illegible cursive writing at a young age and attempted to recreate the italic script a friend had learned, handwriting has played a significant role in my life. There was the person I’d sent a written message requesting information for a story, who wanted to meet me because he admired my handwriting.