Lot 2038. An important jadeite bangle. Estimate HKD 25,000,000 - HKD 35,000,000 (US$3,200,000-4,500,000). © Christie's Images Ltd 2017
The cylindrical jadeite bangle, inner diameter approximately 53.0 mm, width approximately 9.6 mm, thickness approximately 9.3 mm
Accompanied by report no. KJ95316 dated 10 April 2017 from Hong Kong Jade & Stone Laboratory stating that the bangle is natural jadeite and no polymer is detected
Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall
Lot 2068. An important jadeite bangle. Estimate HKD 8,000,000 - HKD 12,000,000 (US$1,000,000-1,500,000). © Christie's Images Ltd 2017
The cylindrical jadeite bangle, inner diameter approximately 58.6 mm, width approximately 11.5 mm, thickness approximately 12.5 mm
Accompanied by report no. KJ91715 dated 4 November 2015 from Hong Kong Jade & Stone Laboratory stating that the bangle is natural jadeite and no polymer is detected
Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall
Lot 2030. A jadeite and diamond pendant. Estimate HKD 6,000,000 - HKD 8,000,000 (US$750,000-1,000,000). © Christie's Images Ltd 2017
Set with a carved jadeite Buddha, to the circular-cut diamond surmount, link and bail, mounted in gold, Buddha approximately 35.9 x 35.2 x 8.5 mm, pendant 5.8 cm
Accompanied by report no. KJ95305 dated 10 April 2017 from the Hong Kong Jade & Stone Laboratory stating that the carving is natural jadeite and no polymer is detected
Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall
Lot 2064. A rare pair of jadeite and diamond ear pendants. Estimate HKD 5,800,000 - HKD 8,000,000 (US$750,000-1,000,000). © Christie's Images Ltd 2017
Each set with a jadeite cabochon, within a marquise-cut diamond surmount, linked by a circular-cut diamond, to the pavé-set circular-cut diamond hoop surmount, mounted in gold, largest cabochon approximately 14.8 x 13.5 x 5.6 mm, ear pendants 4.1 cm
Accompanied by two reports nos. KJ95333 and KJ95335 dated 10 April 2017 from Hong Kong Jade & Stone Laboratory stating that the cabochons are natural jadeite and no polymer is detected
Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall
Lot 1926. A jadeite bead necklace. Estimate HKD 5,200,000 - HKD 8,000,000 (US$650,000-1,000,000). © Christie's Images Ltd 2017
Composed of sixty-three graduated jadeite beads, measuring approximately 8.0 to 11.0 mm, alternating with sixty-three lavender jadeite beads, measuring approximately 8.7 to 11.2 mm, necklace 126.5 cm
Accompanied by two report nos. KJ95118(1,3) and KJ95118(2) dated 20 March 2017 from Hong Kong Jade & Stone Laboratory stating that the beads are natural jadeite and no polymer is detected
Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall
Lot 2029. A jadeite and diamond pendant necklace. Estimate HKD 4,800,000 - HKD 6,500,000 (US$650,000-1,000,000). © Christie's Images Ltd 2017
Suspending a carved jadeite leaf, surmounted by a pear-shaped diamond within a circular-cut diamond surround, the reverse further embellished by circular-cut diamonds, mounted in gold, leaf approximately 50.1 x 27.1 x 6.5 mm, pendant 6.0 cm
Accompanied by report no. KJ95083 dated 20 March 2017 from Hong Kong Jade & Stone Laboratory stating that the leaf is natural jadeite and no polymer is detected
Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall
Lot 1992. A set of jadeite and diamond jewellery. Estimate HKD 4,000,000 - HKD 6,000,000 (US$500,000-750,000). © Christie's Images Ltd 2017
Comprising a ring, set with an oval jadeite cabochon, to the heart-shaped diamond surround and shoulders, and a pair of ear pendants en suite, mounted in gold, largest cabochon approximately 16.8 x 11.2 x 6.3 mm, ring size 5½, ear pendants 4.0 cm
Accompanied by three reports nos. KJ95079, KJ95109 and KJ95110 dated 20 March 2017 from Hong Kong Jade & Stone Laboratory stating that the cabochons are natural jadeite and no polymer is detected
Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall
Lot 2037. A jadeite and diamond pendant necklace. Estimate HKD 3,800,000 - HKD 5,800,000 (US$500,000-750,000). © Christie's Images Ltd 2017
Suspending two detachable oval jadeite cabochons, the reverse embellished with circular-cut diamonds, to the knife-edge bar link necklace spaced by circular-cut diamond collets and marquise-cut diamond florets, may be worn as a ring with a diamond-set ring mount, mounted in gold, largest cabochon approximately 22.4 x 14.8 x 8.3 mm, pendant necklace, 42.5 cm, ring size 6¾
Accompanied by reports nos. KJ95336(1-2) dated 10 April 2017 from Hong Kong Jade & Stone Laboratory stating that the cabochons are natural jadeite and no polymer is detected
Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall
Lot 2059. A jadeite and diamonf pendant necklace. Estimate HKD 1,200,000 - HKD 1,800,00 (US$150,000-230,000)& Lot 2060. A pair of jadeite and diamond ear pendants. Estimate HKD 3,000,000 - HKD 5,000,000 (US$380,000-650,000). © Christie's Images Ltd 2017
Lot 2059. A jadeite and diamond pendant necklace. Estimate HKD 1,200,000 - HKD 1,800,00 (US$150,000-230,000). © Christie's Images Ltd 2017
Suspending a jadeite double-hoop, to the pear-shaped surmount and link, to the neckchain, mounted in gold, largest hoop diameter approximately 19.4 mm, width approximately 5.5 mm, thickness approximately 5.8 mm, pendant 4.3 cm
Accompanied by report no. KJ95082 dated 20 March 2017 from Hong Kong Jade & Stone Laboratory stating that the double-hoop is natural jadeite and no polymer is detected
Lot 2060. A pair of jadeite and diamond ear pendants. Estimate HKD 3,000,000 - HKD 5,000,000 (US$380,000-650,000). © Christie's Images Ltd 2017
Each suspending a jadeite double-hoop, to the circular-cut diamond foliate spray surmount, mounted in gold, largest hoop diameter approximately 20.0 mm, width approximately 5.6 mm, thickness approximately 5.7 mm, ear pendants 5.0 cm
Accompanied by two reports nos. KJ95320 and KJ95321 dated 10 April 2017 from the Hong Kong Jade & Stone Laboratory stating that the double-hoops are natural jadeite and no polymer is detected
Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall
Lot 2063. A jadeite and diamond ring. Estimate HKD 3,000,000 - HKD 5,000,000 (US$380,000-650,000). © Christie's Images Ltd 2017
Set with an oval jadeite cabochon, within a marquise-cut diamond two-tiered surround, to the circular-cut diamond three quarter-hoop, mounted in gold, cabochon approximately 17.8 x 14.6 x 5.2 mm, ring size 5¾
Accompanied by report no. KJ95337 dated 10 April 2017 from Hong Kong Jade & Stone Laboratory stating that the cabochon is natural jadeite and no polymer is detected
Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall
Lot 1932. A jadeite bangle. Estimate HKD 3,000,000 - HKD 5,000,000 (US$380,000-650,000). © Christie's Images Ltd 2017
The semi-cylindrical jadeite bangle, inner diameter approximately 57.6 mm, width approximately 15.7 mm, thickness approximately 8.7 mm
Accompanied by report no. KJ95088 dated 20 March 2017 from Hong Kong Jade & Stone Laboratory stating that the bangle is natural jadeite and no polymer is detected
Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall
New world record for earrings at auction, the Apollo and Artemis diamonds sell for a combined total of US$57,425,478 / CHF 57,118,750 / HK$447,169,270 and are renamed… ‘The Memory of Autumn Leaves’ and ‘The Dream of Autumn Leaves’. Photo: Sotheby's.
GENEVA - Sotheby’s sale of Magnificent Jewels and Noble Jewels in Geneva, ‘The Apollo and Artemis Diamonds’ became the most valuable earrings ever sold at auction, realising a combined total of US$57,425,478 / CHF 57,118,750 / HK$447,169,270.
The diamonds, which were purchased by the same anonymous buyer, who renamed them ‘The Memory of Autumn Leaves’ (Fancy Vivid Blue diamond) and ‘The Dream of Autumn Leaves’ (Fancy Intense Pink diamond).
Sold separately as individual lots:
‘The Memory of Autumn Leaves’ Internally Flawless Fancy Vivid Blue diamond weighing 14.54-carats US$42,087,302 / CHF41,862,500 / HK$327,731,674
‘The Dream of Autumn Leaves’ Fancy Intense Pink diamond, weighing 16-carats US$15,338,176 / CHF 15,256,250 / HK$119,437,596.
Speaking after the sale, David Bennett, Worldwide Chairman of Sotheby’s International Jewellery Division and Chairman of Switzerland commented: "It has been a privilege for Sotheby's to be entrusted with the superb ‘Apollo Blue’ and ‘Artemis Pink’, which have now been renamed‘The Memory of Autumn Leaves’ and‘The Dream of Autumn Leaves’. The results from today’s sale – which saw more than 90 per cent of lots sold and three new world auction records – yet again underline the strong demand for top quality diamonds, gemstones and jewels. I am delighted that the stones will remain together as earrings. This has been a wonderful inaugural jewellery sale at Mandarin Oriental, Geneva which far exceeded expectations, with a total of over $150 million. We are greatly looking forward to the upcoming auction of Fine Jewels at Sotheby’s rue Diday in Geneva on the 1st of June.”
OTHER NOTABLE RESULTS
Lot 371 - A rich and impressive diamond by Piaget weighing 7.04 carats. Sold for: US$13,245,750 / CHF13,175,000 / HK$103,143,979. Auction record for a fancy intense purplish pink diamond. Auction record price per-carat for a fancy intense purplish pink diamond (Previous record set in November 1995 - US$6,038,496) Price per carat: $1,881,499 (Previous record set in April 2015 - US$1,089,792) (Estimate: US$8million – 12million / CHF 8,030,000 – 12,040,000. Photo: Sotheby's.
GEMS AND JEWELS FROM A SUPERB PRIVATE COLLECTION (LOT 272 – 326)
A collection of the finest diamonds and gemstones, as well as signed jewels from the most desirable and sought-after Jewellery houses, doubled pre-sale estimates to realise a combined total of US$15,899,550 / CHF 15,814,625 / HK$123,808,982 and achieved an outstanding sell-through rate of 96%.
Lot 326: Pear-shaped diamond ring, weighing 32.42 carats by Harry Winston which doubled its low estimate to realise US$3,330,288 /CHF3,312,500 / HK$ 25,932,784. Photo: Sotheby's
Lot 315: Emerald and diamond ring by Harry Winston achieved five times its estimate selling for US$929,465 /CHF924,500 / HK$ 7,237,693. Photo: Sotheby's
Lots 318 and 319: Ruby and diamond brooch and ear clips by Van Cleef & Arpels which sold for a combined total of US$477,551 /CHF475,000/ HK$ 3,718,663. Photo: Sotheby's
Lot 374. Rare ruby, onyx and diamond bracelet, circa 1925, soared above estimate to realise US$748,498 / CHF 744,500 / HK$5,828,516. Photo: Sotheby's
Lot 362. Important jadeite, onyx, ruby and diamond pendant-brooch, Cartier, circa 1925. Sold for US$ 374,500 / CHF 372,500 / HK$2,916,215 more than double the high estimate. From the ‘golden era’ of Cartier’s production, this pendant/brooch was formerly in the collection of Mona, Countess von Bismarck (1897 – 1983). Photo: Sotheby's
Lot 4. Pierre Soulages (N. 1919), Peinture 162 x 130 cm, 14 Avril 1962, signé; signé, daté 14 avril 62 et daté 1962 au dos, huile sur toile, 162 x 130 cm; 63 3/4 x 51 3/16 in. Exécuté en 1962. Estimation : 2.000.000-3.000.000 €. Photo: Sotheby's.
PARIS.- Sotheby’s France donne rendez-vous aux amateurs d’art contemporain les 6 et 7 juin à Paris. Pour cette première édition de l’année, Sotheby’s France choisit à nouveau de faire honneur aux maîtres de l’abstraction, dont la renommée internationale est soutenue par une cote qui ne cesse de monter : Pierre Soulages, Zao Wou-Ki, Jean Dubuffet, Nicolas de Staël ou encore Simon Hantaï. Autant d’artistes que Sotheby’s France a contribuéà propulser sur le marché des ventes publiques de l’art contemporain, en France et outreAtlantique, et dont les prix rivalisent aujourd’hui avec ceux enregistrés à l’étranger. Une nouvelle fois, la maison a sélectionné leurs œuvres les plus emblématiques, issues de leurs périodes les plus recherchées. Citons ainsi une toile magistrale de Pierre Soulages, maître du noir, dans laquelle s’invite un bleu surprenant, ou encore un chef-d’œuvre de Zao Wou-Ki réalisé au début des années 1960, époque féconde à laquelle son style atteint sa pleine maturité.
Enfin, le catalogue comprend une section incluant des œuvres plus récentes d’Annette Messager, Anselm Kiefer, Antoni Tàpies, Takashi Murakami, Jan Fabre ou encore Gilbert & George.
PARIS.- For this first Contemporary Art sale of the year on 6 and 7 June, Sotheby’s France is once more paying tribute to masters of abstraction whose international renown is supported by ever-increasing prices for their works: Pierre Soulages, Zao Wou-Ki, Jean Dubuffet, Nicolas de Staël and Simon Hantaï. These are artists Sotheby’s France has helped to establish in the contemporary art auction market in France and America. The selection of some of the most iconic works from their most sought-after periods includes a major painting by master of black Pierre Soulages – an astonishing blue, and a masterpiece by Zao Wou-Ki from the early 1960s: a key period when his style reached full maturity.
The catalogue includes a section with some of the most recent works by Annette Messager, Anselm Kiefer, Antoni Tàpies, Takashi Murakami, Jan Fabre and Gilbert & George.
UN CHEF-D’ŒUVRE DE PIERRE SOULAGES DE 1962 INEDIT SUR LE MARCHE DEPUIS 30 ANS
La vente sera dominée par une œuvre magistrale de Pierre Soulages. Fait rare chez le maître du noir, un bleu lumineux y fait une surprenante incursion. C’est d’ailleurs une œuvre « bleue » qui enregistra le record du monde pour l’artiste, en 2013, chez Sotheby’s à Londres, preuve que cette série demeure très prisée des amateurs.
œuvre importante pour l’artiste luimême, qui souhaita dans un premier temps la conserver dans sa propre collection, suscita un tel engouement de la part de Sam Kootz, galeriste américain de Soulages mais aussi de Mark Rothko, Willem de Kooning et Robert Motherwell, que le marchand en fit l’acquisition pour lui-même, la conservant dans sa collection personnelle jusqu’à son décès.
A MASTERPIECE BY PIERRE SOULAGES FROM 1962
FIRST APPEARANCE ON THE MARKET FOR 30 YEARS
The sale will be led by a major work by Pierre Soulages. Here a luminous blue makes a surprising incursion, highly unusual with the master of black. Incidentally, another "blue" work achieved the artist's world record in 2013 at Sotheby's London, showing that this series remains highly sought-after by collectors.
Peinture 162 x 130 cm, 14 Avril 1962 (estimate: €2,000,000-3,000,000). This work, considered extremely important by the artist himself, who originally wanted it for his own collection, aroused such enthusiasm in Sam Kootz (the American dealer working for Soulages, Mark Rothko, Willem de Kooning and Robert Motherwell) that he bought it for himself and kept it in his private collection until his death.
ZAO WOU-KI AU SOMMET DE SON ART: UNE ŒUVRE DE 1962 DEMEUREE EN MAINS PRIVEES PENDANT 40 ANS
Lot 37. Zao Wou-Ki (1920 - 2013), 19.03.62, signé et signé en chinois; signé et daté 19.3.62 au dos, huile sur toile, 66,5 x 95 cm; 26 3/16 x 37 3/8 in. Exécuté en 1962. Estimation : 1.800.000 – 2.500.0000 €. Photo: Sotheby's.
En 1962, Zao Wou-Ki est l’une des figures de proue de la scène artistique internationale et l'un des plus illustres représentants de la nouvelle Ecole de Paris et l’abstraction lyrique. Avec 19.3.62, œuvre remarquable conservée pendant plus de quarante ans au sein d’une collection privée nord-américaine, Zao Wou-Ki est au sommet de son art. Il trouve l’équilibre longtemps recherché entre tradition et modernité, sa gestuelle est aboutie et sa palette maîtrisée. Surgit un paysage onirique, sensible, dans lequel le spectateur est invitéà se perdre.
ZAO WOU-KI AT THE PEAK OF HIS ART
A WORK THAT HAS REMAINED IN PRIVATE HANDS FOR 40 YEARS
In 1962, Zao Wou-Ki was one of the figureheads of the international art scene, and one of the most illustrious representatives of the new Paris school and lyric abstraction. With 19.3.62 (estimate: €1,800,000-2,500,000), a remarkable piece that has remained for 40 years in a private North American collection, Zao Wou-Ki was at the peak of his art. He had found the long-sought balance between tradition and modernity, his gestures were accomplished and his palette perfectly controlled. Here a sensitive, dreamlike landscape rises up, drawing the viewer deep within it.
CHEFS-D’ŒUVRE DE JEAN DUBUFFET DONT UNE TOILE ISSUE DE LA CELEBRE SERIE DES « PAYSAGES GROTESQUES »
La cote de Dubuffet n’a cessé de croître depuis près de trois ans suite aux grandes rétrospectives internationales organisées notamment à la Fondation Beyeler de Bâle et à la Morgan Library de New York. Deux nouvelles rétrospectives sont en préparation aux Pays-Bas, dont une au Rijksmuseum. La maison est donc honorée de compter au sein de son catalogue cinq œuvres de Jean Dubuffet.
est issu de la célèbre série des « paysages grotesques » très prisée des collectionneurs. « Grotesques » car, comme il l’avait précédemment initié pour les portraits, l’artiste rompt ici totalement avec les lieux communs du paysage. Le paysage invite au voyage et préfigure une technique picturale révolutionnaire pour l’époque. Dubuffet utilise des matériaux inédits - sable, goudron, gravier, plâtre, asphalte - qu’il fait bouillir puis étale à la truelle, au couteau ou avec les doigts. Dans cette œuvre, la matière est raclée, malmenée.
Mentionnons aussi une œuvre réalisée par Jean Dubuffet en 1943, année au cours de laquelle il commença sa carrière de peintre, à l’âge de quarante et un ans : Quatre leveuses de bras. S’il commence sa carrière tardivement, l’artiste est mû par un regard visionnaire qui influencera les plus grands artistes de la génération à venir : aplatissement des figures, simplification des silhouettes réduites à leurs formes archaïques, dissolution de la profondeur qui fait corps avec le support. Cette œuvre annonce la série des « Corps de dames » qui inspirèrent William de Kooning pour élaborer ses Women.
Lot 9. Jean Dubuffet (1901 - 1985), Quatre leveuses de bras, signé et daté X 43; signé et titré au dos, huile sur toile, 65 x 92 cm; 25 5/8 x 36 1/4 in. Exécuté en octobre 1943. Estimation : 600.000-800.000 €. Photo: Sotheby's.
MASTERPIECES BY JEAN DUBUFFET, INCLUDING A PAINTING FROM THE CELEBRATED
"PAYSAGES GROTESQUES" SERIES
Jean Dubuffet's price index has increased over the last three years, thanks to the major international retrospectives staged at the Fondation Beyeler in Basel and the Morgan Library in New York. Two new retrospectives are being prepared in the Netherlands, including one at the Rijksmuseum.
Paysage gris aux tâches cerises, 1949 (estimate: €1,500,000-2,000,000) comes from the celebrated "Paysages grotesques" series highly popular with collectors. They are "Grotesque" because, as he had previously done with his portraits, the artist makes a complete break with typical landscape clichés. Here the painting takes us on a journey, and foreshadows a pictorial technique revolutionary for the period. Dubuffet used novel materials – sand, tar, gravel, plaster and asphalt - which he boiled, then spread on with a trowel, a knife or his fingers. In this work, the material is scraped and roughly handled.
There is also a work produced by Dubuffet in 1943, the year in which he began his career as a painter at the age of 41: Quatre leveuses de bras (estimate: €600,000-800,000). He may have started out late in life, but he was inspired by a visionary attitude that was to influence the leading artists of the next generation: the flattening of figures, the simplification of silhouettes, reduced to their archaic forms, and the dissolution of depth, which forms one body with the support. This work prefigured the "Corps de dames" series that inspired William de Kooning's Women.
UNE ŒUVRE RARE DE SIMON HANTAÏ
Dans ses toiles réalisées autour de 1958, Simon Hantaï peint par petites touches, qu’il baptise avec poésie « touches-réveil ». Moins connue que les « Meuns » et les « Mariales », cette série révolutionne le geste du peintre tout en renouant avec l’art ancestral des mosaïques. Sans titre, 1958 (estimation : 100.000-150.000 €) en est un exemple éloquent et corrobore les propos de Dominique Fourcade dans le catalogue raisonné de l’exposition du Centre Pompidou : « C’est le besoin impérieux d’intériorité, le besoin d’accéder à un état plus secret et plus vrai de la peinture, c’est cette exigence qui a conduit Hantai à l’intuition (et à la pensée) des petites touches-réveil, et simultanément c’est cette façon de peindre qui a rendu possible et viable son retrait et son renouveau – disons sa naissance. Cela a été un travail puissamment et continûment inspiré. (…) »
Lot 10. Simon Hantaï (1922 - 2008), Sans titre, signé et daté 58, huile sur toile, 148,5 x 105 cm; 58 7/16 x 41 5/16 in. Exécuté en 1958. Estimation : 100.000-150.000 €. Photo: Sotheby's.
A RARE WORK BY SIMON HANTAÏ
In his works of around 1958, Simon Hantaï painted with small dabs, which he poetically dubbed "wake-up touches". Less well-known than the "Meuns" and the "Mariales", this series revolutionised the painter's technique while reviving the ancestral art of mosaics. Sans titre, 1958 (estimate: €100,000-150,000) is a speaking example, corroborating Dominique Fourcade's comments in the catalogue raisonné of the Centre Pompidou's exhibition: "The imperious need for interiority and the need to achieve a state more secret, more real than painting led Hantaï to the intuition (and concept) of the little "wake-up touches". At the same time, it was this way of painting that made possible and viable his withdrawal and revival – which could be described as his birth. It was a powerful, continuously inspired process. (…) "
NICOLAS DE STAËL, UN MAGISTRAL PAYSAGE A AGRIGENTE
A l’été 1953, Nicolas de Staël fait un voyage qui le mènera jusqu’en Sicile, où les ruines des temples grecs dévorés de soleil sont pour lui un tel choc esthétique qu’il produit dans les mois qui suivent l’une des plus prodigieuses séries qu’il ait réalisée. Composée de seulement dix-neuf tableaux, tous considérés comme des chefs-d’œuvre absolus, cette série figure parmi les plus recherchées des amateurs du peintre. La maison est donc honorée de mettre en vente ce Paysage à Agrigente, 1953.
Lot 7. Nicolas de Staël (1914 - 1955), Paysage à Agrigente, signé; signé, titré et daté 1953 au dos, huile sur toile, 60,3 x 81 cm; 23 3/4 x 31 7/8 in. Exécuté en 1953. Estimation : 800.000 – 1.200.000 €. Photo: Sotheby's.
NICOLAS DE STAËL: A REMARKABLE AGRIGENTE LANDSCAPE
In the summer of 1953, Nicolas de Staël went on a journey that took him to Sicily, where the ruins of Greek temples crumbling in the sun gave him an aesthetic shock that led, during the following months, to one of the most remarkable series he ever produced. Consisting of only 19 paintings, all considered absolute masterpieces, this
series is one of the most popular with amateurs of the painter's work. Sotheby's is thus honoured to be able to offer this Paysage à Agrigente, 1953 (estimate: €800,000-1,200,000).
Le catalogue du soir se clôture par une importante section contemporaine incluant des œuvres récentes d’Annette Messager, Anselm Kiefer, Antoni Tàpies, Takashi Murakami, Jan Fabre ou encore Gilbert & George.
The evening catalogue ends with a large contemporary section including recent works by Annette Messager, Anselm Kiefer, Antoni Tàpies, Takashi Murakami, Jan Fabre and Gilbert & George.
Vente du soir mardi 6 juin à 19h; Vente du jour mercredi 7 juin à 14h30; Exposition du 2 au 6 juin de 10h à 18h
Hong Kong - Sotheby’s Hong Kong June series of Chinese Works of Art sales will take place on 1 and 2 June at Sotheby’s Hong Kong Gallery. The highlight of the Chinese Art sale is a set of two Imperial Qing dynasty jade seals from the collection of Emile Guimet (1836–1918), the founder of the eponymous Asian Art Museum in Paris. Also featured is a collection of archaic jades assembled in Hong Kong from the 1950s, Yixing stoneware from a prominent English collection, and a selection of Song ceramics with early Buddhist sculptures and bronze animal paperweights. Incorporating for the first time other collecting categories, this sale will feature a fine group of Japanese woodblock prints from a private Hong Kong collection, among them the eminent ‘Under the Great Wave off Kanagawa’ by Katsushika Hokusai (1760–1849), from the series of the Thirty-Six Views of Mount Fuji. A selection of 100 jades from a Hong Kong collection featured in a special sale titled Qing Dynasty Jades From A Hong Kong Collection encapsulates the rich diversity and artistic skill of Qing dynasty jade craftsmanship.
Christian Bouvet, Director and Head of Mid-Season Sales, Chinese Works of Art Department, said, “Comprising archaic jades to Song dynasty ceramics, Yixing stoneware, early Buddhist gilt-bronze sculpture and even Japanese prints, we are very pleased with the diversity of the sale's offerings this season and honoured to be entrusted with the sale of these great collections. Most of them were formed in Hong Kong over several decades, and we look forward to presenting them to connoisseurs as well a new generation of collectors.”
SALE HIGHLIGHTS
Lot 577. Property from the collection of Emile Guimet (1836-1918). A Set of Two Imperial Celadon and Brown Jade ‘Daoguang Yubi’ and ‘Zhengzai Yangmin’ Seals, Qing Dynasty, Daoguang Period, 4.7 x 2.2 x 2.2 cm. Estimate HK$2 – 3 million / US$258,000 – 387,000. Photo: Sotheby's.
Highlighting the auction is a pair of small seals from the Daoguang Emperor. Both are meticulously carved from a jade boulder of warm and lustrous celadon tone that transmutes at the finials into a light red colour typical of tangyu, or ‘sugar jade.’ The seal texts, both inscribed in seal script in intaglio, read respectively Daoguang yubi (‘treasure inscribed in the hand of the Daoguang Emperor’) and Zhengzai yangmin (‘the way of governance lives in nurturing people’). The lines in the inscriptions are even and robust, indicating the creator’s high degree of skill.
Lot 514. Yixing Stoneware from the Collection of Paul Moss. An Inscribed Documentary Yixing Stoneware Teapot and Cove, Qing Dynasty, Jiaqing Period, Dated 1815, Designed by Chen Mansheng, Made by Yang Pengnian and Incised by Guo Pinjia, 16.3 cm. Estimate HK$800,000 – 1.2 million / US$103,000 – 155,000. Photo: Sotheby's.
This exceptional teapot is of documentary importance in encapsulating the literati approach to teapot appreciation in the early 19th century. Commissioned and designed by Chen Mansheng, it was created by the master potter Yang Pengnian and inscribed by Guo Lin, a famous artist, calligrapher and associate.
Lot 412. Property of a Distinguished Hong Kong Collector. A Large Carved ‘Ding’ White-Glazed ‘Lotus’ Bowl, Song Dynasty, 25.5 cm. Estimate HK$150,000 – 200,000 / US$19,400 – 25,800. Photo: Sotheby's.
The present bowl displays all the characteristics attributed to ‘Ding’ wares known in museum and private collections. Celebrated for their thin potting, fine near-white body and an ivory-colored glaze which tends to run down in somewhat darker ‘tears’, ‘Ding’ wares were ranked among the ‘five great wares’ of the Song.
The Huai Qin Ge Collection of Archaic Jades
Chinese civilization has a long tradition of appreciating and collecting jades from as early as the Shang and Zhou dynasties. Ancient jades dating from the Han and pre-Han periods are venerated for their historical significance and well represented in major museum collections although they rarely appear on the market. The Huai Qin Ge collection was formed by Mr Lui Shu Ying in Hong Kong between the 1960s and 1980s. It ranges stylistically from the Neolithic period to the Han and Jin periods and also includes archaistic works from the Ming and Qing dynasties that imitate jades from the Zhou and Han.
(From top to bottom, left to right).
Lot 302. A Celadon And Brown Jade Ornament, Heng Western Han Dynasty, 17 cm. Estimate HK$60,000 – 80,000 / US$7,800 – 10,300. Photo: Sotheby's.
Lot 303. A Partly Calcified Greyish Green Jade Disc, Huan Warring States Period, 10.7 cm. Estimate HK$60,000 – 80,000 / US$7,800 – 10,300. Photo: Sotheby's.
Lot 315. A Partly Calcified Celadon Jade Scabbard Slide, Wei Han Dynasty, 9.7 cm. Estimate HK$50,000 – 70,000 / US$6,500 – 9,100. Photo: Sotheby's.
Lot 321. A Rare Yellowish-Green Jade Ornament, Heng Late Spring & Autumn Period, 7.6 cm. Estimate HK$50,000 – 70,000 / US$6,500 – 9,100. Photo: Sotheby's.
Lot 306. A Partly Calcified Celadon Jade Square Ornament Warring States Period, 4.3 x 3.8 cm. Estimate HK$60,000 – 80,000 / US$7,800 – 10,300. Photo: Sotheby's.
Japanese Prints from a Hong Kong Private Collection
Lot 737. Katsushika Hokusai (1760-1849), ‘Under The Great Wave off Kanagawa’ From The Series Thirty-Six Views Of Mount Fuji, c1831, 25.7 x 36.9 cm. Estimate HK$400,000 – 600,000 / US$51,500 – 77,500. Photo: Sotheby's.
QING DYNASTY JADES FROM A HONG KONG COLLECTION 1 JUNE, 10 AM
Highlights of this sale include three jades of the finest jet-white quality: a group of two boys and lotus; an exquisite quatrelobed tray; and a rooster, to celebrate the current zodiac year.
Lot 64. A Pale Celadon Jade 'Mountain' Brushrest, Qing Dynasty, 18th Century, 12 cm. Est. HK$100,000 – 150,000 / US$12,900 – 19,400. Photo: Sotheby's.
Lot 14. A White and Russet Jade Figure of a Rooster Qing Dynasty, 18th Century, 6.6 cm. Est. HK$ 120,000 – 180,000 / US$15,500 – 23,200. Photo: Sotheby's.
Lot 28. A Fine White and Russet Jade Quatrelobed Tray, Qing Dynasty, 18th – 19th Century, 14.5 cm. Est. HK$150,000 – 200,000 / US$19,400 – 25,800. Photo: Sotheby's.
Lot 8. A White Jade ‘Hehe Erxian’ Group, Qing Dynasty, 18th Century, 7.3cm. Est. HK$150,000 – 200,000 / US$19,400 – 25,800. Photo: Sotheby's.
Four Roman Marble figures of women, circa 2nd Century A.D. (from left to right, est. £250,000-350,000, £150,000-250,000, £100,000-150,000, £150,000-250,000) sold separately. Photo: Sotheby's.
London - An auction dedicated exclusively to the classical world, Ancient Marbles will take place on 12 June at Sotheby’s London – offering ancient sculpture and works of art from the Greek, Roman and Etruscan periods. Since the Renaissance, collecting ancient classical marble sculpture has been considered synonymous with good taste and the apex of culture, and Sotheby’s exhibition will draw on these roots whilst also presenting the pieces in a contemporary context. The auction will be led by a Roman marble bust of a military officer, a striking piece that depicts a single sitter yet represents an entire era – acting as a reminder of the way in which antiquities have influenced artists throughout history, who continue to use portraiture as a representation of their times. Many artists themselves have been avid collectors of classical sculpture, from Rubens through to Cy Twombly. With estimates ranging from £2,000 to £500,000, the sale presents an opportunity for first time buyers as well as seasoned collectors.
Florent Heintz, Sotheby’s Worldwide Head of Ancient Sculpture and Works of Art, said: “The storied pasts of ancient marbles are central to their allure, transporting the viewer back thousands of years and capturing the imaginations of institutions and private collectors alike. This can be felt particularly in the top lot of the sale, the magnificent Roman bust, whose character shines through from the exuberance of his hair to the direct power of his gaze. The interest in the field has been expanding in recent years, with a growth in Medici-style collectors who wish to live with the best of the best – be it an antiquity or a contemporary artwork.”
From Ancient Rome to 1960’s Jamaica: The Story of Four Statues.
In homage to the Villa Adriana in Italy – a vast palace with many pools, baths and fountains constructed as a retreat for Emperor Hadrian – this group of four ancient Roman statues have been set in a stunning colonnade around a swimming pool in the opulent ‘El Cerro’ villa in Jamaica for half a century.
The statues shown around the pool at the Coopers' luxurious Montego Bay villa.
In 1968, Douglas and Diene Cooper, jewellers from Philadelphia, inaugurated El Cerro – their magnificent new villa overlooking Montego Bay. Everything at El Cerro reflected the luxurious lifestyle of Philadelphia’s high society, from the octagonal living room echoing the shape of a diamond to the Michelangelo-esque painted frescos and a chess set created by Duchamp for his friend Dali. Indeed, the jet-set photographer Slim Aarons included a view of the statues and pool in his book A Wonderful Time: An Intimate Portrait of the Good Life (1974). The couple even hosted a toga party like no other on the Ides of March in 1974, when guests were “commanded” to don Roman costume and attend the feast of Caesar Douglas and Queen Diene of the House of Coopers. A guest commented to a Philadelphia newspaper, ‘I have been to many fun parties in my life, but never have I been to anything quite like this Roman Bacchanal’.
Coverage of the Coopers' 1974 party in the Philadelphia Inquirer.
These ancient statues will now be returning to London, having been acquired from Crowther’s in the 1960s, in what is a rare opportunity to acquire four statues of this scale at the same time.
Lot 42. Property from the Collection of late Diene and Douglas Cooper, Montego Bay, Jamaica. A Monumental Roman Marble Portrait Statue of a Woman, circa 2nd Century A.D. Estimate 250,000 — 350,000 GBP. Photo: Sotheby's.
standing with the weight on her left leg, and wearing sandals, chiton, stola, and mantle; the head incl. neck, left hand with cup and adjoining drapery, and right arm incl. shoulder restored. Total height 209 cm.; height without plinth 201 cm.
Provenance: private collection, Rome, 18th/19th Century (based on restoration techniques)
photographed in Rome prior to 1924 (Reinach, op. cit.)
Bert Crowther, Syon Lodge, Islington, Middlesex, photographed in 1962
Douglas James Cooper (1931-1988) and Diene Cooper, born Pitcairn, El Cerro, Tamarind Hill, Montego Bay, Jamaica, installed in the house prior to its completion in 1968
acquired with the house by the current owners in 2009 and removed from the premises in 2016.
Literature: Salomon Reinach, Répertoire de la statuaire grecque et romaine, vol. 5, Paris, 1924, p. 375, no. 8 ("Rome. Tête et bras mod. Phot. env. par Helbig“)
The Philadelphia Inquirer, August 4th, 1968, p. 73
"Beauty: A Way of Life," The Morning News, Wilmington, Delaware, March 26th, 1971, p. 35, illus. (reversed)
"Roman Bacchanal in Montego Bay, Jamaica," The Philadelphia Inquirer, Sunday, March 10, 1974, p. 123
Slim Aarons, A WonderfulTime: An Intimate Portrait of the Good Life, New York, 1974 (http://www.gettyimages.co.uk/event/slim-aarons-retrospective-57576281?#the-swimming-pool-at-the-jamaican-home-of-philadelphia-jeweller-picture-id52171077)
https://davidwills.wordpress.com/2011/01/08/barney-bubbles-snaps-maisie-p/ (1962 photograph by Colin Fulcher of Margaret Minay posing next to the statue at Crowther's, Syon Lodge, Islington)
Note: The stola suggests a portrait statue. For the draping of the mantle cf. a statue in Sparta: http://arachne.uni-koeln.de/item/objekt/30646. The 18th/19th-century head imitates portraits of Agrippina Minor; cf. B. Andreae, ed., Bildkatalog der Skulpturen des Vatikanischen Museums, vol. I.1, 1994, pl. 174.
Lot 43. Property from the Collection of late Diene and Douglas Cooper, Montego Bay, Jamaica. A Monumental Roman Marble Portrait Statue of a Woman, circa 2nd Century A.D. Estimate 150,000 — 250,000 GBP. Photo: Sotheby's.
standing with the weight on her left leg, and wearing a chiton and mantle wrapped around the upper body; head incl. neck, right hand, front of base and feet restored, left hand formerly restored, area between right and left wrists recarved. Total height 213 cm.; height without plinth 201 cm.
Provenance: European private collection, circa 18th Century (based on restoration techniques)
Douglas James Cooper (1931-1988) and Diene Cooper, born Pitcairn, El Cerro, Tamarind Hill, Montego Bay, Jamaica, installed in the house prior to its completion in 1968
acquired with the house by the current owners in 2009 and removed from the premises in 2016.
Literature: Ruth Seltzer, The Philadelphia Inquirer, August 4th, 1968, p. 73
Scott Straley, "Beauty: A Way of Life," The Morning News, Wilmington, Delaware, March 26th, 1971, p. 35, illus. (reversed)
Slim Aarons, A Wonderful Time: An Intimate Portrait of the Good Life, New York, 1974 (http://www.gettyimages.co.uk/event/slim-aarons-retrospective-57576281?#the-swimming-pool-at-the-jamaican-home-of-philadelphia-jeweller-picture-id52171077)
Note: The present statue belongs to a Hellenistic type known from several other copies (see H.J. Kruse, Römische weibliche Gewandstatuen des 2. Jhs. n. Chr., 1975, p. 455, note 285), to which should be added a statue in Barcelona: P. Vélez, ed., Fons del Museu Frederic Marès. Cataleg d'escultura, 2010, pp. 62ff., no. 4. The missing drapery fold connecting the right and left wrists is the only feature that sets it apart from the type. This feature was either omitted by the ancient sculptor or more likely removed in modern times by the restorer.
Another copy of the present type in the Palazzo Doria (photograph by J. Deterling)
Lot 41. Property from the Collection of late Diene and Douglas Cooper, Montego Bay, Jamaica. A Monumental Roman Marble Portrait Statue of a Woman, circa 2nd Century A.D. Estimate 150,000 — 250,000 GBP. Photo: Sotheby's.
standing with the weight on her left leg, wearing a chiton and stola, both high-girdled, and a mantle wrapped around the legs and draped over the left forearm; restored are the head incl. neck, left lower arm with adjoining drapery, feet, lower edge of drapery, and plinth, right arm formerly restored, upper and lower body possibly not belonging together. Total height 194 cm.; height without plinth 185 cm.
Provenance: Italian private collection, 18th Century (based on restoration techniques)
Stefano Bardini (1836-1922), Florence, late 19th/early 20th Century
Douglas James Cooper (1931-1988) and Diene Cooper, born Pitcairn, El Cerro, Tamarind Hill, Montego Bay, Jamaica, installed in the house prior to its completion in 1968
acquired with the house by the current owners in 2009 and removed from the premises in 2016.
The present lot in Florence with Stefano Bardini, circa 1900 (Capecchi, op. cit.)
Literature: Gabriella Capecchi, L’archivio storico fotografico di Stefano Bardini. Arte greca, etrusca, romana, Florence, 1993, p. 38, pl. 94
The Philadelphia Inquirer, August 4th, 1968, p. 73
"Beauty: A Way of Life," The Morning News, Wilmington, Delaware, March 26th, 1971, p. 35, illus.
"Roman Bacchanal in Montego Bay, Jamaica," The Philadelphia Inquirer, Sunday, March 10, 1974, p. 123
Slim Aarons, A Wonderful Time: An Intimate Portrait of the Good Life, New York, 1974,
Axel Filges, Standbilder jugendlicher Göttinnen, Cologne, 1997, p. 163, note 643, no. 47
Note: The stola indicates that the present figure was designed for a portrait head; cf. two statues from Spain: P. León, ed., Arte romana de la Bética. Escultura, 2009, p. 258f., figs. 348 and 353. The 18th/19th-century head imitates portraits of the Claudian period; cf. G. Lahusen and E. Formigli, Römische Bildnisse aus Bronze, 2001, p. 134, no. 76.
Lot 44. Property from the Collection of late Diene and Douglas Cooper, Montego Bay, Jamaica. A Roman Marble Figure of Julia Mamaea, the Body circa 2nd Century A.D., the Portrait Head circa A.D. 222–235. Estimate 150,000 — 250,000 GBP. Photo: Sotheby's.
standing with the weight on her left leg, and wearing a chiton and mantle draped across the chest from her left shoulder and falling in long folds over her left arm, the head turned to her right; neck, nose, mouth, parts of diadem and hair, shoulders and upper back, area around both knees, feet, and plinth restored. Total height 190 cm.; height without plinth 180 cm.
Provenance: Italian private collection, circa 18th Century (based on restoration techniques)
Stefano Bardini, Florence, late 19th/early 20th Century
Douglas James Cooper (1931-1988) and Diene Cooper, born Pitcairn, El Cerro, Tamarind Hill, Montego Bay, Jamaica, installed in the house prior to its completion in 1968
acquired with the house by the current owners in 2009 and removed from the premises in 2016.
The present lot in Florence with Stefano Bardini circa 1900 (Capecchi, op. cit., pl. 97)
Literature: The Philadelphia Inquirer, August 4th, 1968, p. 73
Gabriella Capecchi, L’archivio storico fotografico di Stefano Bardini. Arte greca, etrusca, romana, Florence, 1993, p. 39, pl. 97f.
Axel Filges, Standbilder jugendlicher Göttinnen, Cologne, 1997, p. 269, no. 129, illus.
Note: Related statues have been compiled and discussed by Filges (op. cit.), pp. 84ff. Julia Mamaea was the mother of and close advisor to emperor Alexander Severus (reigned A.D. 222-235). For the portrait type see K. Fittschen and P. Zanker, Katalog der römischen Porträts in den Capitolinischen Museen, vol. 3, 1983, pp. 30ff., no. 33. Other portraits of Julia Mamaea were sold at Sotheby’s, London, July 10th, 1990, no. 275 (now in a German private coll.: A. Mlasowsky, Imagines imperii, 2006, p. 119f., no. 28, pl. 39f.), and at Sotheby’s, New York, December 7th, 2005, no. 61.
A Roman Imperial Marble Portrait Bust of a Man, 2nd half of the 2nd Century A.D.
The auction will be led by an exceptionally well-preserved and powerful portrait Roman bust of the mid to late 2nd Century A.D., with an estimate of £300,000-500,000. Carved out of a single piece of marble, this depiction of a high ranking military officer is virtually intact and provides a glimpse into Roman personalities through their portraiture. The rarity of the bust lies in the fact that the head belongs to the same piece of marble as the base, along with the condition of the surface, which was not, as was often the case, over-cleaned and retains most of its original polish. Acquired in 1965 by the Denver Museum of Art, it is now being sold to benefit the Museum’s acquisition fund.
The aesthetic achievements of ancient Rome stand as a great milestone in the history of art, and it is in the area of portraiture that Roman sculpture really comes to the fore and differentiates itself from other artistic traditions. This period’s inclination towards realism and accurate descriptions were crucial in the development of realist portraiture. Viewed now as works of art, the Romans would have commissioned such portrait busts as objects of commemoration. For private individuals, these were displayed in the home or in a funerary context whilst for public figures, such as emperors, generals, and statesmen, they would have been erected in public places. Moreover, Romans believed that a person’s individuality was inherent wholly in their facial features. Thus, the artistic realism was often employed to express socially approved values – qualities of selfless duty to the state, sober morality, military bravery and public responsibility. In this case, a determined turn of the head betrays the strong character of the subject. This bust also displays another innovation in the rendering of the eyes, as previously, pupil and iris had only been painted on to the sculpture but now these also came to be sculpted.
It was the convention to imitate the hairstyle of the current emperor, and this portrait finds its closest parallels in those of Antonius Pius – one of political philosopher Machiavelli’s "Five Good Emperors". Distinguished by the cape (paludamentum) worn over his shoulder, it is most likely that he was a member of the elite senatorial or equestrian class – the military reference thus indicating his social class.
Lot 51. A Marble Portrait Bust of a Man, Roman Imperial, Early Antonine, mid 2nd Century A.D. Estimate 300,000 — 500,000 GBP. Photo: Sotheby's.
his head turned to his left, and wearing a military cloak (paludamentum) fastened with a domed brooch in the form of a rosette, his face with short beard, straight nose, eyes with incised irises and drilled pupils, and furrowed brow, the hair radiating from the crown in exuberantly asymmetrical curls massing above the ears, one curled lock falling over the forehead, the entire bust and its pedestal carved in one piece; tip of nose incl. left nostril restored in marble, tip of beard in painted plaster. Total height 76.5 cm.; height without socle 56.5 cm.
Provenance: Rome art market, 1960 or earlier
Adolph Loewi, Inc., Los Angeles, acquired in Rome prior to 1961
acquired from the above by the Museum in 1965 (inv. no. 1965.22)
Exhibited: "Roman Portraits: A Loan Exhibition of Roman Sculpture and Coins from the First Century B.C. through the Fourth Century A.D.," Worcester Art Museum, Worcester, Mass., April 6th - May 14th, 1961
"I, Claudia. Women in Ancient Rome," Yale University Art Gallery, New Haven, Conn., September 6th-December 1st, 1996, San Antonio Museum of Art, San Antonio, Tex., January 3rd-March 9th, 1997, and North Carolina Museum of Art, Raleigh, N.C., April 6th-June 15th, 1997
Literature: RECORDED
three photographs accessioned in 1960, Deutsches Archäologisches Institut, Rome, neg. nos. 60.2432–34, labeled "Rom, Kunsthandel" (http://arachne.uni-koeln.de/item/marbilderbestand/1059733, http://arachne.uni-koeln.de/item/marbilderbestand/1059734, http://arachne.uni-koeln.de/item/marbilderbestand/1059735)
five photographs by G. Fittschen-Badura (http://arachne.uni-koeln.de/item/objekt/5133)
PUBLISHED
Michael Milkovich, Roman Portraits, exh. cat., Worcester Art Museum, 1961, p. 46f., no. 19, illus.
Ancient Mediterranean Art. The Denver Art Museum Collection, Denver, 1968, p. 52, no. 58, illus.
Cornelius C. Vermeule, Greek and Roman Sculpture in America, Malibu, 1981, p. 340, no. 293, illus.
Klaus Fittschen, "The Bronze Bust of the 'Young Marcus Aurelius' by Antico and Its Antique Model,“ The J. Paul Getty Museum Journal, vol. 18, 1990, p. 123, note 47
Susan B. Matheson, in Diana E. Kleiner and Susan B. Matheson, eds., I, Claudia. Women in Ancient Rome, exh. cat., Yale University Art Gallery, New Haven, 1996, p. 140, no. 72, illus.
Barbara Borg, et al., Die antiken Skulpturen in Castle Howard, Wiesbaden, 2005, p. 87, note 8
Klaus Fittschen, et al., Katalog der römischen Porträts in den Capitolinischen Museen, vol. 2, Berlin, 2010, p. 111, note 1a
Note: According to Susan Matheson (op. cit., p. 140), “This portrait represents a Roman military officer, distinguished by the cape (paludamentum) he wears over his shoulder. He was probably not a professional soldier, however, but rather a member of the elite senatorial or equestrian class whose command during a specific military campaign would provide the opportunity for political advancement or financial gain. The military reference is thus an indicator of the man’s social class. The portrait depicts a man of middle age. At this stage of his life, it is likely that he would be married and have children. Unless his father was still alive, he would be the head of the household, a position of nearly absolute power in theory, but one subject to negotiation, persuasion and compromise in practice. While he was away on military campaign, his wife would assume full command of both the household and the family business.”
Further Highlights
A Roman Marble Head of Sarapis, late 2nd Century A.D. (est. £60,000-80,000)
This object was formerly in the collection of Louis de Clercq, a French industrialist and politician passionate about archaeology and photography in the 19th century who amassed a remarkable collection – the lion’s share of which is housed at the Musée du Louvre.
Sarapis figured among the international deities whose cult was received and disseminated throughout the Roman Empire. A Graeco-Egyptian god, he was endorsed during the 3rd century B.C. on the orders of Ptolemy I of Egypt as a means to unify the Greeks and Egyptians in his realm. He was depicted as Greek in appearance but with Egyptian trappings, signifying both abundance and resurrection. The Roman cults of Serapis gained in popularity when Vespasian experienced events he attributed to his miraculous agency while he was in Alexandria, where he stayed before returning to Rome as emperor in 70 A.D.
Lot 26. A Roman Marble Head of Sarapis, late 2nd Century A.D. Estimate 60,000 — 80,000 GBP. Photo: Sotheby's.
with full beard and moustache, parted lips, and long deeply-drilled hair bound in a diadem, falling in multiple strands over the forehead, and flowing in long wavy locks down to his shoulders, the top of the head prepared for addition of the modius, the back roughly worked, traces of red pigment over the beard and hair; no restorations. Height 33 cm.
Provenance: said to have been found at Antaradus (modern-day Tartus, on the Syrian coast)
Louis De Clercq (1882-1901), Oignies, inv. no. H 168
by descent to his grand-nephew Comte Henri de Boisgelin (1901-1967), rue de Mazarine, Paris
Nicolas Koutoulakis, Paris and Geneva, 1960s
Drouot-Richelieu, Paris, Millon et Associés, Archéologie et Préhistoire, December 13th, 2016, no. 208, illus.
Literature: André de Ridder, Collection De Clercq. Catalogue, vol. 4: Les marbres, les vases peints et les ivoires, Paris, 1906, p. 38f., no. 34
G.J.F. Kater-Sibbes, Preliminary Catalogue of Sarapis Monuments, Leiden, 1973, p. 77, no. 438 (erroneously as "Paris, Louvre")
Wilhelm Hornbostel, Sarapis, Leiden, 1973, p. 100, note 6, and p. 282, note 2
Note: The present head can be securely identified as one of Sarapis based on the mortise and prepared circular surface for a separately-made modius. However, neither the number of locks falling onto the forehead, nor the disposition of the beard locks match any of the known heads of Sarapis (cf. W. Hornbostel, op. cit.). It may be seen as a free rendering of the god's image.
A Fragmentary Roman Marble Figure of Apollo, 1st/2nd Century A.D., with Venetian restorations, 1st half of 16th century (est. £50,000-80,000)
In the 17th century, this statue of Apollo was displayed in the Villa Montalto in Rome, which had been constructed as the grand residence of Pope Sixtus V. The object appears restored in an early 17th century drawing in the Codex Montalto from this time, reinforcing the belief that the upper part of the body was the work of an early 16th-century Venetian sculptor’s workshop – similar to a number of restored statues in the Archaeological Museum in Venice. This is an exceptionally rare finding, as the majority of restoration on Roman Greek sculptures took place in the 18th century.
seated on his mantle on a rocky outcrop, his right leg forward, his left leg drawn in, a fragmentary kithara on his left thigh; entire upper body, right lower leg incl. part of base, and a drapery fold restored; for the now missing restorations cf. Montalto Album, fol. 70. Total height 69.5 cm.; height of face 8 cm.
Provenance: Italian private collection, 1st half of the 16th Century (based on the restorations)
Cardinal Alessandro Peretti di Montalto (1571-1623), Villa Montalto, Rome
John Bacon Sawrey Morritt (1772?-1843), Rokeby Hall, Yorkshire
thence by descent, Rokeby Hall (Sotheby’s, London, Medieval, Renaissance, and later Works of Art, June 10th, 1969, no. 83)
acquired at the above sale by the present owner
Literature: drawing, Codex Montalto, between 1615-55, fol. 70 (Anna Seidel, Der Codex Montalto, Mainz, 2016, p. 119, fol. 70, illus.)
inventory of the Villa Montalto, between 1623-31 (M. Barberini in E. Debenedetti, ed., Collezionismo e ideologia. Mecenati, artisti e teorici dal classico al neoclassico, 1991, pp. 47 and 48, one of two seated figures of Apollo exhibited facing each other in the same room and described identically: “Una Statua di Appollo nudo a sedere coll’arpa p.mi 3”).
Friedrich Matz, "Antikensammlungen in England,“ Archäologische Zeitung, vol. 31, 1873, p. 26
Adolf Michaelis, Ancient Marbles in Great Britain, Cambridge, 1882, p. 647, no. 10
Note: In the early 17th Century the statue was displayed in the Galleria of the Casino Felice on the grounds of the Villa Montalto in Rome (Seidel, op. cit., p. 228). The dispersal of the Montalto collection began in 1785 under the auspices of Thomas Jenkins (Seidel, op. cit., pp. 21ff.). J.B.S. Morritt of Rokeby Hall probably began collecting ancient sculpture during or shortly after his Grand Tour in 1794-1796.
The present lot in the Codex Montalto, 1st half of the 17th Century, showing the statue fully restored (Seidel, op. cit., fol. 70)
Other marbles documented in the Codex Montalto and sold at Sotheby’s are: a figure of Asklepios (Seidel, op. cit., p. 140, fol. 109; Sotheby’s, London, July 22th–23th, 1957, no. 392, and December 10th, 1996, no. 133), a striding figure of a woman (Seidel, op. cit., p. 155f., fol. 139; Sotheby’s, London, June 9th, 193
For the few marbles still at Rokeby Hall see D. Boschung and H. v. Hesberg, Die antiken Skulpturen in Newby Hall, 2007, pp. 134ff. Dispersed marbles from Rokeby Hall include a Silvanus-statuette sold at Sotheby’s, London, July 10th, 1979, no. 348, and two Greek grave stelai now in the Getty Museum (J. Burnett Grossman, Greek Funerary Sculpture. Catalogue of the Collections at the Getty Villa, 2001, pp. 120ff., no. 44, and p. 130f., no. 47).
In the Villa Montalto the present statuette formed a pair with another seated figure of Apollo playing a string instrument (whereabouts unknown; Seidel, op. cit., p. 120, fol. 71). Based solely on the drawings of these two figures in the Codex Montalto, Seidel hypothesises that they were both restored by Ippolito Buzzi (1562-1634), the same Baroque sculptor believed to have restored another pair of seated Apollos in the Ludovisi Collection. The present lot, however, shows restorations that appear to be earlier in style than those executed by Buzzi. The head in particular is closer to those of restored statues in the Archaeological Museum in Venice, the bulk of which is now attributed to several sculptor's workshops operating in the early 16th Century, including Tullio Lombardo and his relatives (see M. de Paoli, "Opera fatta diligentissimamente": restauri di sculture classiche a Venezia tra Quattro e Cinquecento, 2004).
A Roman Marble Portrait Head of Socrates, 1st/2nd Century A.D., on 18th century herm shoulders (est. £80,000-120,000)
Long lost for decades, this portrait of classical Greek philosopher Socrates’ was rediscovered recently and comes to auction with a provenance dating back to the 19th century, having been in the prestigious collections of Sir John Dickson-Poynder and William Randolph Hearst.
Lot 48. A Roman Marble Portrait Head of Socrates, 1st-2nd Century A.D., on 18th Century Herm Shoulders. Estimate 80,000-120,000 GBP. Photo: Sotheby's.
his oval face with full beard of long unruly locks, moustache, bulbous nose, high cheekbones, heavy-lidded prominent eyes, and furrowed forehead, his sparse hair falling in long strands over the temples and the nape of the neck; herm shoulders and tip of nose restored. Total height 52.5 cm; height of head 32 cm.
Provenance: Sir John Dickson-Poynder, Bart., later 1st Baron Islington (1866-1936)
Spink & Son, London
Joseph Brummer, New York, inv. no. P2045, acquired from the above on February 24th, 1926
(http://libmma.contentdm.oclc.org/cdm/ref/collection/p16028coll9/id/25944)
William Randolph Hearst (1863-1951), acquired from the above on March 1st, 1928
Butterfield & Butterfield, San Francisco
Manou Mobedshahi, San Francisco, acquired at auction from the above in the early 1980s
Michaans auctions, Alameda, California, Inspiring Interiors. Fine Art, Furnishings & 20th Century Design, September 9th, 2016, no. 3023, illus.
Literature: Greek and Roman antiquities from famous private collections & recent excavations on view at Spink & Son's Galleries, London, S.W.1., 1925, no. 4, illus. ("Life-size Marble Bust of a Philosopher, probably Socrates. ?Greek. Alexandrine period. Lord Islington's Collection")
Note: A head almost identical to the present one was last sold at Christie's, New York, December 10th, 2010, no. 149. Both heads bear a certain similarity to the older portrait type of Socrates (type A: G. Richter, The Portraits of the Greeks, vol. 1, 1965, pp. 110ff., figs. 456ff.; I. Scheibler, Münchner Jahrbuch der bildenden Kunst, vol. 40, 1989, pp. 7ff.). They could also be the portrait of an unknown greek philosopher. For the physiognomy also see a head from Athens: Richter (op. cit.), p. 146f., figs. 807ff.
Another Head of the same type, sold at Sotheby’s, New York, December 7th, 2001, no. 118, and at Christie’s, New York, December 10th, 2010, no. 149.
Brummer Gallery Records, The Metropolitan Museum of Art, object inventory card number P2045 (detail).
Sir John Dickson-Poynder was a distinguished politician and colonial administrator (see note to Sotheby's, London, Old Master Paintings, July 7th, 2005, no. 50).
A Greek Marble Grave Stele, Ionia, circa late 2nd Century B.C. (est. £45,000-65,000)
Boasting exceptional condition, this funerary stele depicts two youths shaking hands, each wearing traditional Greek garments. This was rediscovered in a private home in California, where it had been kept since the 1920s.
Lot 11. A Greek Marble Grave Stele, Ionia, circa late 2nd Century B.C. Estimate 45,000-65,000 GBP. Photo: Sotheby's.
of slightly tapering form and surmounted by a pediment crowned with an acroterion, carved in relief within a recessed panel with two youths shaking hands, each wearing a chiton and himation; no restorations. 63.5 by 34 by 10 cm.
Provenance: Brimo de Laroussilhe, Paris
Joseph Brummer, Paris, inv. no. P83, acquired from the above prior to December 31st, 1924, sent to the New York gallery on June 27th, 1921 (http://libmma.contentdm.oclc.org/cdm/ref/collection/p16028coll9/id/22237)
Mina Merrill Prindle (1864-1963), 2211 Greysolon Road, Duluth, Minnesota, and 1131 Hillcrest Avenue, Pasadena, California, acquired from the above on June 4th, 1930 (a previous sale dated December 17th, 1929 was cancelled for tax reasons)
thence by descent to the present owners
Note: For a closely related example cf. the stele of Antiochis from the Samos Archaeological Museum in Vathy, inv. no. 256: R. Horn, Hellenistische Bildwerke auf Samos (Samos 12), 1972, p. 153 f., no. 132, pl. 73. 96 (E. Pfuhl and H. Möbius, Die ostgriechischen Grabreliefs, vol. 1, 1977, p. 192f., no. 708, pl. 106; http://arachne.uni-koeln.de/item/objekt/216997). The funerary inscription and certain details, such as the palmette within the acroterion, were probably originally painted.
Mina Merrill Prindle appears to have had a particular fondness for ancient objects carved from warm and luminous stones, as evidenced by her Egyptian alabaster vases (and a headrest) sold at Sotheby's, New York, December 2016, nos. 1-8.
For an archival photograph showing the present stele in the Brummer Gallery at 43 East 57th Street, New York, sometime between 1924 and 1930, see http://libmma.contentdm.oclc.org/cdm/ref/collection/p16028coll9/id/56132.
William Dobson (1611–46), Group Portrait of Prince Rupert, Colonel William Legge and Colonel John Russell. Painted c. 1645. Image © Ashmolean Museum.
OXFORD.- The Ashmolean announced the acquisition of a magnificent group portrait by William Dobson (1611–46) painted in Oxford during the Civil War.
The painting has been allocated to the Ashmolean on the occasion of the 400th anniversary of the birth of the founder of the Museum, Elias Ashmole.
It has been acquired for the nation through the Acceptance in Lieu scheme, administered by the Arts Council. A £90,900 grant from the Heritage Lottery Fund (HLF) will support a programme of events and activities to bring the picture to a wide public audience.
The painting, commissioned by John Russell in the winter of 1645–6, is a unique artefact of the English Civil War. It shows a meeting between three Royalist commanders who were then based in Oxford, home to the royal court in exile. The group in the painting are Prince Rupert (the King’s nephew), Colonel William Legge (Governor of Oxford) and Colonel John Russell (commander of the prince’s elite Blue Coats).
The portrait evokes a range of connections to Oxford’s history. Prince Rupert (on the left), had lodgings in St John’s College where the sittings for the portrait might have taken place. At the same time, in 1645, Elias Ashmole had accepted the post of gentleman of the ordnance at the Oxford garrison, and the intellectual interests that drove his foundation of the Ashmolean in 1683 were stimulated by Ashmole’s close associations with Royalists at the Oxford court.
This group portrait was painting at a moment when hopes of a Royalist victory were fading. Prince Rupert had just suffered an ignominious defeat at Bristol, the main port in Royalist hands. Once the dashing hero of the Cavalier cause, after Bristol Rupert was relieved of his command by the King and ordered to leave the country. His only recourse to clear his name of wrong-doing was to face a court martial.
On the right sits Colonel John Russell, commander of the prince’s elite Blue Coats. Russell was made famous for his ‘last stand’ at the Battle of Naseby where his regiment fell almost to a man. Though wounded, Russell escaped and joined Rupert at Bristol. He was among the colonels who attended the Prince’s council of war and signed a statement defending Rupert’s decision to surrender the city.
The identity of the central figure is not wholly resolved. Traditionally thought to be William Murray on account of an 18th-century commentator, the sitter is more likely to be William Legge who became Governor of Oxford in 1645. He was at the heart of the group of trusted soldiers Rupert gathered around him and who formed his personal staff. Legge was also central to Rupert’s reconciliation with the King, organizing the conversation between Charles and Rupert which led to the Prince’s return to Oxford in December 1645.
The painting is filled with symbols and references to the recent discord between the King and his nephew and to Rupert’s enduring loyalty. The scroll which Rupert holds in his right hand may refer to the blank sheet which Charles had sent to him on which to compose his confession. Instead, being innocent, Rupert asked Legge to return the letter empty, which greatly moved the King and resulted in a pardon. Rupert has also discarded his scarlet cloak which he was recorded as wearing when he rode out of Bristol following his surrender.
Beside the cloak is a dog wearing a collar with the initials ‘P.R.’ The dog is a motif traditionally associated with faithfulness and may, in this painting, be intended to stand for Boye, Rupert’s famed white poodle who rode into battle with the Prince and was killed in 1644 at Marston Moor. To Parliamentarian pamphleteers Boye was a ‘devil dog’ credited with supernatural powers, such as being weapon-proof and able to catch bullets with his teeth. Among Royalists, Boye was also immensely popular and as ‘Sergeant-Major-General Boy’, he became the army’s mascot. There is also, in the painting, hints of revenge likely to be directed towards George Digby, 2nd Earl of Bristol, who led the faction against Rupert and tried to convince the King that his nephew was a traitor. The central figure dips his cockade in the glass of wine which evokes biblical episodes where clothing stained with wine symbolized vengeance.
The portrait is the first work by William Dobson to enter an Oxford collection. Superbly painted with rich colouring and close attention to detail, it is both a rare and ambitious work by Dobson whose extraordinary talents have only recently been recognized.
Arguably the greatest native-born painter between Hilliard and Hogarth, Dobson succeeded Van Dyck as the leading portraitist at the court of Charles I. His time in Oxford came at the peak of his short career (he died unexpectedly in London in October 1646).
Lot 267. A 14.88 carats Kashmir sapphire and diamond ring. Estimate CHF 1,000,000 - CHF 1,500,000 (USD 1,007,806 - USD 1,511,710). © Christie's Images Ltd 2017
Set with a cushion-shaped sapphire, weighing approximately 14.88 carats, between trapeze-cut diamond shoulders, ring size 5 ¼, mounted in platinum
Accompanied by report no. 90710 dated 7 March 2017 from the SSEF Swiss Gemmological Institute stating that the origin of the sapphire is Kashmir, with no indications of heating, and an Appendix letter stating that this sapphire is 'characterised by an attractive blue colour and an excellent purity, a combination rarely encountered in sapphires from Kashmir of this size'.
Report no. 1081357 dated 27 January 2017 from the AGL American Gemological Laboratories stating that the origin of the sapphire is Kashmir, with no gemological evidence of heat and no clarity enhancement.
Christie's. Magnificent Jewels, 17 May 2017, Geneva
Lot 143. An exceptional padparadscha sapphire, turquoise and diamond ring, by Bulgari. Estimate CHF 950,000 - CHF 1,200,000 (USD 957,416 - USD 1,209,368) & Lot 144. A rare 75.33 carats Burmese sapphire and diamond ring, by Bulgari. Estimate CHF 250,000 - CHF 350,000 (USD 251,952 - USD 352,732). © Christie's Images Ltd 2017
Lot 143. An exceptional padparadscha sapphire, turquoise and diamond ring, by Bulgari. Estimate CHF 950,000 - CHF 1,200,000 (USD 957,416 - USD 1,209,368). © Christie's Images Ltd 2017
Set with a cushion-shaped Padparadscha sapphire, weighing approximately 46.92 carats, to the raised gallery of geometrical design, set with turquoise panels and diamond line accents, 2015, ring size 6 ¼, with French assay mark for gold, in black leather Bulgari case. Signed Bvlgari, no. 262140
Accompanied by report no. 79566 dated 23 March 2015 from the SSEF Swiss Gemmological Institute stating that the origin of the Padparadscha sapphire is Ceylon (Sri Lanka), with no indications of heating, an Appendix letter stating that this Padparadscha 'shows an impressive size and weight of 46.919 ct, combined with a highly attractive pinkish orange colour and a fine purity. Its colour is further pronounced by its well-proportioned cutting style, resulting in vivid orange to pinkish orange hues due to multiple internal reflections', and a Premium Book.
Further accompanied by the original design folder from Bulgari.
Extract from the original design folder from Bulgari
Lot 144. A rare 75.33 carats Burmese sapphire and diamond ring, by Bulgari. Estimate CHF 250,000 - CHF 350,000 (USD 251,952 - USD 352,732). © Christie's Images Ltd 2017
Set with a sugarloaf cabochon sapphire, weighing approximately 75.33 carats, to the pavé-set diamond gallery and shoulders, 2015, ring size 6 ¼, with French assay mark for gold, in black leather Bulgari case. Signed Bvlgari, no. 262141
Accompanied by report no. 81104 dated 13 July 2015 from the SSEF Swiss Gemmological Institute stating that the origin of the sapphire is Burma (Myanmar), with no indications of heating.
Further accompanied by the original design folder from Bulgari.
Extract from the original design folder from Bulgari.
Christie's. Magnificent Jewels, 17 May 2017, Geneva
Lot 170. A 18.94 carats diamond ring, by Chopard. Estimate CHF 900,000 - CHF 1,200,000 (USD 907,026 - USD 1,209,368). Price realised CHF 1,039,500 (USD 1,054,781). © Christie's Images Ltd 2017
Set with a rectangular cut-cornered diamond, weighing approximately 18.94 carats, to the pavé-set diamond gallery and hoop, ring size 6, mounted in gold. Signed Chopard, nos. 20064 and 3292039 820650
Accompanied by report no. 5182188175 dated 23 February 2017 from the GIA Gemological Institute of America stating that the 18.94 carat diamond is D colour, VVS2 clarity.
Christie's. Magnificent Jewels, 17 May 2017, Geneva
Lot 148. An important 14.38 carats Burmese ruby and diamond 'Trombino' ring, by Bulgari. Estimate CHF 700,000 - CHF 1,000,000 (USD 705,464 - USD 1,007,806). Price realised CHF 823,500 (USD 835,605). © Christie's Images Ltd 2017
Set with an oval cabochon ruby, weighing approximately 14.38 carats, between baguette-cut diamond shoulders, within the pavé-set diamond surround, ring size 4, mounted in gold. Signed Bvlgari
Accompanied by report no. 65531 dated 22 October 2012 from the SSEF Swiss Gemmological Institute stating that the origin of the ruby is Burma (Myanmar), with no indications of heating.
Christie's. Magnificent Jewels, 17 May 2017, Geneva
