Editor’s Note: This story originally appeared in On Balance, the ARTnews newsletter about the art market and beyond. Sign up here to receive it every Wednesday.

Happy Thursday! Here’s a round-up of who’s moving and shaking in the art trade this week.

That’s the rough estimate for a cache of works from the collection of Nelly Arrieta de Blaquier and Carlos Pedro Blaquier set to hit the block at Sotheby’s in November. The consignment is expected to anchor the upcoming auction season and includes paintings by Vincent van Gogh, Paul Cézanne, Edgar Degas, Camille Pissarro, Pierre-Auguste Renoir, and others. Among the highlights is Van Gogh’s Châtaignier en fleurs roses et blanches (Chestnut Tree in Pink and White Blossom), from 1890, which one adviser said could bring between $150 million and $200 million. A Cézanne from the artist’s celebrated Harlequin series is also expected to exceed $120 million, while works by Degas, Pissarro, and Renoir are each projected to sell for more than $25 million.

For nearly a century, French conservators had a standing answer whenever Britain asked to borrow the Bayeux Tapestry: non. The 900-year-old, 220-foot embroidery depicting William the Conqueror’s 1066 invasion of England was simply too fragile to travel—a verdict that held firm in 1953, 1966, 1980, and as recently as last year. So how did the masterpiece end up crossing the Channel Tunnel last month, bound for a sold-out British Museum blockbuster opening September 10? In the New York Times, reporter Alex Marshall untangles how high-stakes diplomacy and genuine engineering innovations paved the way for the long-desired oui. Hopefully you’ve already secured your ticket for the exhibition—this will give you the full behind-the-scenes story.