Greetings card millionaire Andrew Brownsword adds the Impressionist to his collection

Some big collectors have stopped buying and bidders held back

Let us face facts. Before money changes hands, unfamiliar art is not studied because nobody thinks it is worthy of study

On view 12 November - 13 December

The businessman, collector, and artist whose department store museum includes work by Damien Hirst, Tracey Emin and Anthony Gormley

Now on at Tate Britain

Theme-less this year, the triennial covers all generations and styles

As major exhibitions of his work open in London and Barcelona, Hamilton explains his boredom with the London art scene, the lineage of his tables and his undying debt to Marcel Duchamp

Tate Britain gives a taste of the work of these young artists

Hume talks painting, why he relishes a little melancholy, and what he learned from working with Stella McCartney

Highest ever turnover for members

The relationship between the generic and the individual is at the heart of Opie’s digitally produced work

From Great British to stellar American art

Riley was heavily involved in the curation of this exhibition alongside Paul Moorhouse

Nine years of painstaking research have revealed this technically adventurous side of the artist’s work

The welcome failure of droit de suite, the impact of internet sales and the future of YBAs and optimism about the Tate Modern

Purchased from artist's family, it is the most important work still in private hands

“Lucian Freud: Some New Paintings” is on show until 26 July

Former mutual-fund manager pits his taste against the market

Christopher Wood's "The great art boom"

The Tate Gallery proposes the origins in British art of Symbolism, the Royal Academy investigates fairies, while Manchester presents women Pre-Raphaelites

The Tate Gallery proposes the origins in British art of Symbolism, the Royal Academy investigates fairies, while Manchester presents women Pre-Raphaelites

With modern foreign art to be displayed at Bankside, opinion within the Tate differs as to how the story of British art should be told

Affordable, good quality and diverse, it brings in all sorts

Sir Edwin Manton, an American-based insurance executive, has donated £7 million ($11.2 million)

London may be the loser in the end, but the Brits brought it on themselves

Clarence House is full of treasures

The works are from the Oppé collection and Janet Wolfson de Botton

Italy's most discreet city has always favoured the avant-garde, now celebrated by this elegantly cerebral exhibition