Lot 116. Fang-Betsi Artist, Head of an Ancestor, 19th Century. Wood, iron, brass, oil. Height: 11 ⅛ in (28.2 cm). Estimate: 2,500,000 - 4,000,000 USD. Lot sold 3,520,000 USD. Courtesy Sotheby's.
NEW YORK, NY.- Sales featuring property from the Collection of Sidney and Bernice Clyman concluded Tuesday, achieving $16 million across four auctions held during Sotheby's marquee auction week in New York.
Leading the collection was a Fang-Betsi Ancestor Head, which sold for $3.5 million (estimate $2.5/4 million) in the Contemporary Art Evening Auction on Monday night during Sotheby’s global livestreamed auction event. One of the most important works of African Art ever to appear at auction, the reliquary sculpture marked the first time a work of classical African Art was presented in any contemporary art evening sale.
The sale series finished on Tuesday with a dedicated auction of one of the finest groupings of African sculptures in the world, totaling $4.6 million and surpassing the high estimate by $1 million. A strong 97% of all lots sold with over 70% of sold lots making over their high estimates. In total, the full selection of African Art on offer from the Clyman Collection achieved $8.1 million.
Alexander Grogan, Vice President and Head of Sotheby’s African & Oceanic Art Department in New York commented: “The remarkable success of the Clyman Collection comes as no surprise—it has long been considered one of the premier collections of classical African Art with many museum-quality pieces that have been exhibited widely. Throughout Tuesday’s sale, we saw strong international bidding across the U.S., Europe, and Asia, with many new clients participating in one of our sales for the first time. And to showcase the centerpiece of the collection, the stunning Fang Head, in our marquee Contemporary Art Evening Auction—on the global stage of our innovative livestreamed auction event—is a testament to the sculpture’s aesthetic legacy in shaping the style of Western modernism, as well as the Clyman’s vision as collectors."
Jean Fritts, Worldwide Chairman of African & Oceanic Art, said: “We are thrilled with the overall results from the Clyman Collection, which only further solidifies Sotheby’s strength in presenting art from Africa, Oceania and the Americas in New York. With the Clyman’s foresight of cross-category collecting as a guide, it is evident that collectors are increasingly blurring the lines of traditional categories, and we see great opportunities for growth in continuing to showcase classical African art, as well as art from Oceania and the Americas, alongside contemporary artwork.”
THE CONTEMPORARY ART EVENING AUCTION
29 June
The stunningly elegant female head from a reliquary ensemble expresses the universal artistic ideas developed by pre-Colonial African artists, which were transmitted to modern Western masters in the early 20th century, including Constantin Brâncuși and Amadeo Modigliani. This artistic connection is particularly evident in Modigliani’s famed stone head sculptures. Fang art, from present-day Gabon, has been described as ‘the very summit of African creativity’ and is perennially the style of African art most coveted by collectors. The Fang-Betsi Ancestor Head is one of the finest exponents of this tradition with its exceptionally elegant geometric form and important history.
Throughout its lifetime, the Fang-Betsi Ancestor Head has frequently been in dialogue with and positioned alongside modern and contemporary art. The first known Western owner was Charles Ratton, the Parisian doyen of African art dealers and connoisseurs who handled many of the most revered masterpieces in the field. Ratton published the head in 1931 in Masques Africains, an important work in establishing the canon of great African art. In the 1930s, the head was acquired from Ratton by James Johnson Sweeney, the visionary American modern art curator and writer who, with the assistance of Ratton, organized the legendary 1935 exhibition African Negro Art at the Museum of Modern Art in New York. Sweeney kept the head in his Mies van der Rohe designed New York apartment along with his small but exquisite collection of modern art, which included major works by Miró, Mondrian, and Calder. When Sweeney’s estate was sold at Sotheby’s in New York in 1986, the head was acquired by William McCarty-Cooper, who had inherited art historian and collector Douglas Cooper’s fabled collection of Picassos and other Cubist works. The sculpture last appeared on the market in 1992 when the Clymans acquired it at auction in New York.
Lot 116. The Clyman Fang Head. Fang-Betsi Artist, Head of an Ancestor, 19th Century. Wood, iron, brass, oil. Height: 11 ⅛ in (28.2 cm). Estimate: 2,500,000 - 4,000,000 USD. Lot sold 3,520,000 USD. Courtesy Sotheby's.
Provenance: Charles Ratton, Paris
James J. Sweeney, New York (acquired from the above)
Sotheby’s, New York, 18 November 1986, Lot 52 (consigned by the above)
William A. McCarty-Cooper, New York (acquired at the above sale)
Christie’s, New York, Important Tribal Art and Antiquities From the Collection of William A. McCarty-Cooper, 19 May 1992, Lot 133
Acquired by the present owner at the above sale.
Literature: Charles Ratton, Masques Africains, Paris 1931, pl. 14, illustrated
Georges Buraud, Les masques, Paris 1948, pl. X, illustrated
Claude Roy, Arts sauvages, Paris 1957, p. 69, illustrated
Claude Roy, Savage Art, New York 1958, p. 69, illustrated
Louis Perrois, La statuaire fan, Paris 1972, p. 337, pl. 166, no. 38, illustrated
Raoul Lehuard, “La collection McCarty-Cooper dispersée chez Christie’s New York”, Arts d’Afrique Noire, No. 82, Summer 1992, p. 17, illustrated
Sharon F. Patton, “Treasures: Aesthetic Discoveries and Visual Delights”, Tribal, vol. ix:4, no. 37, Spring 2005, p. 72, illustrated in color.
Exhibited: Paris, Musée Dapper, Fang, November 1991 - April 1992, p. 121, illustrated in color
London, Royal Academy of Arts; Berlin, Martin-Gropius-Bau; and New York, Solomon R. Guggenheim Museum, Africa: the Art of a Continent, October 1995 – September 1996, pp. 319-320, cat. no. 4.91b, illustrated in color
Greenwich, Connecticut, Bruce Museum, Three African Traditions: the Art of the Dogon, Fang and Songye, January - April 1999, p. 28, cat. no. 42, illustrated in color
Washington, D.C., National Museum of African Art, Smithsonian Institution, Treasures, November 2004 - August 2005, n.p., illustrated in color
New York, Metropolitan Museum of Art, Eternal Ancestors: the Art of the Central African Reliquary, November 2007 - March 2008, p. ii, illustrated in color, and pp. 206-207, cat. no. 48, illustrated in color.
The Contemporary Art Evening Auction also featured two other works from the Clyman Collection: Untitled (Virginia Landscape) by Arshile Gorky, which sold for $956,000 (estimate $600,000/1 million) and Willem de Kooning’s Seated Man (Clown), which achieved an above estimate price of $2.4 million (estimate $1/2 million).
Lot 108. Arshile Gorky (1904-1948), Untitled (Virginia Landscape), pencil and crayon on paper , 17 ½ by 23 ¾ in. 44.5 by 60.3 cm. Executed in 1943-44. Estimate: 600,000 - 1,000,000 USD. Lot sold 956,000 USD. Courtesy Sotheby's.
Provenance: Estate of the artist
M. Knoedler & Co., Inc., New York
Private Collection, Dallas (acquired from the above in January 1970)
M. Knoedler & Co., Inc., New York
Acquired by the present owner from the above in December 1976.
Literature: Miriam Brummer, "In the Galleries: Arshile Gorky," Arts Magazine, Vol. 44, No. 2, November 1969, p. 62, illustrated (in incorrect orientation)
Louis Finkelstein, "Becoming is Meaning," ARTnews, Vol. 68, No. 8, December 1969, p. 45, illustrated in color
Roberta Smith, "Arshile Gorky, Knoedler Gallery," Artforum, Vol. 13, No. 8, April 1975, p. 75, illustrated (in incorrect orientation)
Arts Magazine, Vol. 50, No. 7, March 1976, p. 59, illustrated in color.
Exhibited: New York, International Council of the Museum of Modern Art (organizer); and travelling to New Orleans, Newcomb College, Tulane University; Pittsburgh, Chatham College; Nashville, Watkins Institute; Joplin, Missouri, Spiva Art Center; Northampton, Massachusetts, Smith College Museum of Art; Huntington, West Virginia, Marshall College; Tokyo, Seibu Gallery, Seibu Department Store; LeMars, Iowa, Westmar College; St. Louis, Washington University; Arts Club of Chicago; Bloomington, Indiana University; Aurora, New York, Wells College; DeKalb, Illinois, Northern Illinois University; New York, The Jewish Museum; Karlsruhe, Germany, Badischer Kunstverein; Hamburg, Hamburger Kunstverein; Berlin, Amerika Haus; Essen, Museum Folkwang; York, City Art Gallery; London, Institute of Contemporary Arts; Nottingham, Midland Group Gallery; Bristol, City Gallery of Art; Edinburgh, Scottish National Gallery of Modern Art; Brussels, Palais des Beaux Arts; Rotterdam, Museum Boijmans Van Beuningen; Vienna, Museum des 20 Jahrhunderts; Lisbon, Sociedade Nacional de Bellas Artes; Oslo, Kunstnernes Hus; Lund, Sweden, Kunsthalle Lund; Basel, Öffentliche Kunstmuseum; Zagreb, Galerija Grada Zagreba; Belgrade, Galerija Doma Omladine; Rome, Galleria Nazionale d’Arte Moderna; Buenos Aires, Centro de Artes Visuales del Instituto Torcuato di Tella; Caracas, Museo de Bellas Artes; Bogatà, Biblioteca Luis Angel Arango; and Mexico City, Galeria Universitaria Aristos, Museo Universitario de Ciencias y Arte. Arshile Gorky Drawings, December 1962 - June 1968, no. 20, illustrated (Toyko), no. 20 (text) (Germany), no. 20 (text) (United Kingdom), no. 63 (text) (Rotterdam), p. 18, no. 20, illustrated (in incorrect orientation), p. 26 (text) (Vienna), no. 20 (text) (Lisbon), p. 12, no. 20 (text) (Oslo), no. 20 (text) (Lund), p. 15, no. 20 (text) (Basel), no. 20 (Zagreb), illustrated (in incorrect orientation) (Buenos Aires), and p. 29, no. 20 (text) (Mexico City)
New York, M. Knoedler & Co., Inc., Gorky: Drawings, November - December 1969, p. 2, illustrated in color, and p. 59, no. 81 (text) (titled Drawing)
New York, M. Knoedler & Co., Inc., Arshile Gorky: Works On Paper, January - February 1975, n.p., no. 22, illustrated on the cover (titled Drawing)
New York, Solomon R. Guggenheim Museum; Dallas Museum of Fine Arts; and Los Angeles County Museum of Art, Arshile Gorky, 1904-1948: A Retrospective, April 1981 - February 1982, p. 196, no. 166, illustrated in color (titled Drawing)
New York, The Pierpont Morgan Library, New York Collects: Drawings and Watercolors, 1900-1950, May - August 1999, pp. 274-275, no. 122, illustrated in color (titled Untitled)
New York, Whitney Museum of American Art; and Houston, The Menil Collection, Arshile Gorky: A Retrospective of Drawings, November 2003 - May 2004, p. 161, no. 86, illustrated in color, and p. 244, no. 86 (text) (titled Drawing)
Philadelphia Museum of Art; London, Tate Modern; and Los Angeles, Museum of Contemporary Art, Arshile Gorky: A Retrospective, October 2009 - September 2010, p. 269, no. 108, illustrated in color, and p. 390 (text) (titled Drawing (Virginia Landscape)).
Lot 130. Willem de Kooning (1904-1997), Seated Man (Clown), signed, oil on Masonite, 40 ¾ by 24 ⅛ in. 61.3 by 40.8 cm. Executed in 1941. Estimate: 600,000 - 1,000,000 USD. Lot sold 956,000 USD. Courtesy Sotheby's.
Rose Art Museum, Brandeis University, Waltham
Burt Kleiner, Los Angeles
Paul Kantor Gallery, Beverly Hills
The Purchase Gallery, Inc., Purchase, New York
Acquired by the present owner from the above in November 1978.
Literature: Sydney Tillim, "The Figure and the Figurative in Abstract Expressionism," Artforum, Vol. IV, No. 1, September 1965, p. 48, illustrated (titled Clown)
Sally Yard, "Willem de Kooning's Men," Arts Magazine, Vol. 56, No. 4, December 1981, p. 138, illustrated, and pp. 139-141 (text) (titled Clown)
Exh. Cat., Miami, Art Basel Miami Beach, Allan Stone Gallery Booth, Willem de Kooning: Slipping Glimpses, 1920s to 1960s, 2006, n.p., illustrated in color (in installation for the exhibition Willem de Kooning: Liquefying Cubism at Allan Stone Gallery, New York in 1994-1995)
Donald Kuspit, "Beauty and the Beastly Artist: Willem de Kooning's Destructiveness," artnet Magazine, 6 October 2011, online (text)
Exh. Cat., Denver Art Museum (and travelling), Women of Abstract Expressionism, 2016, p. 32, illustrated (in progress in the artist's studio).
Exhibited: Los Angeles County Museum of Art, The New York School: The First Generation, Paintings of the 1940s and 1950s, July - August 1965, p. 67, no. 9, illustrated (1965); and p. 48, no. 9, illustrated (1977 reprint)
New York, Allan Stone Gallery, Willem de Kooning: Liquefying Cubism, October 1994 - January 1995, p. 1, illustrated (in progress in the artist's studio), and p. 20, no. 12, illustrated in color
New York, The Museum of Modern Art, de Kooning: A Retrospective, September 2011 - January 2012, pp. 92-93, no. 14, illustrated in color, pp. 80 and 94, illustrated (in progress in the artist's studio), and pp. 94 and 96 (text).
AFRICAN ART FROM THE COLLECTION OF SIDNEY AND BERNICE CLYMAN
30 June
One of the finest collections of Sub-Saharan African Art in the world and one of the last remaining collections from the golden age of African Art collecting in the US during the 1960s and 70s, African Art from the Collection of Sidney and Bernice Clyman totaled $4.6 million surpassing its high estimate by $1 million. All but one of the 32 lots found buyers, accounting for a strong sell through rate of 97% with over 70% of all sold lots selling above estimate.
Particularly strong in classic reliquary sculpture of Central Africa, the collection was led by a large and radically abstract Mahongwe Reliquary Figure (above, estimate $500/700,000) from Gabon, which after a bidding battle between three clients, doubled its high estimate to sell for $1.4 million. This price doubled the previous record, establishing a new world auction record for a Mahongwe sculpture. Other highlights included a masterpiece by the greatest of all Kota artists, a Reliquary Figure by the Sebe River Master of the Skull Head (estimate $500/700,000), which was previously in the legendary collections of Charles Ratton, Morris J. Pinto, and Murray Frum, and sold for $560,000. Complementing the Fang-Betsi Ancestor Head, a full-figured cubistic Fang Reliquary Statue (estimate $250/350,000), previously in the collection of Gaston de Havenon sold for $475,000.
Lot 15. Mahongwe Reliquary Figure, Gabon. Wood, brass; Height: 22 ⅛ in (56.3 cm). Estimate: 500,000 - 700,000 USD. Lot sold 1,400,000 USD;new world auction record for a Mahongwe sculpture. Courtesy Sotheby's.
Provenance: Reportedly collected in situ between 1933-1936
Merton D. Simpson, New York, acquired from the above
Sidney and Bernice Clyman, Scarsdale, acquired from the above on July 13, 1976
Literature; Alain Chaffin and Françoise Chaffin, L'art Kota. Les figures de reliquaire, Meudon, 1979, pp. 78 and 323
Warren M. Robbins and Nancy Ingram Nooter, African Art in American Collections, Survey 1989, Washington, D.C., 1989, p. 344, fig. 892
Michael Kan, African Art: Masterpieces from Private Collections, Katonah, 1993, n.p. (listed)
Vivien Raynor, "Behind African Masks and Ritual Objects, Spiritual Mysteries", The New York Times, January 16, 1994, p. WC13
Alisa LaGamma, Eternal Ancestors: the Art of the Central African Reliquary, New York, 2007, p. 217, cat. no. 53
Exhibited: Katonah Museum of Art, African Art: Masterpieces from Private Collections, December 5, 1993 - February 27, 1994
Metropolitan Museum of Art, New York, Eternal Ancestors: the Art of the Central African Reliquary, November 2, 2007 - March 2, 2008
Lot 17. Reliquary Figure by the Sebe River Master of the Skull Head, Gabon. Wood, copper, brass, tin. Height: 20 ¾ in (52.7 cm). Estimate: 500,000 - 700,000 USD. Lot sold 560,000 USD. Courtesy Sotheby's.
Provenance: Charles Ratton, Paris
Morris J. Pinto, Paris and New York, acquired from the above
Sotheby's, London, African, Oceanic and Pre-Columbian Art from the Pinto Collection, May 9, 1977, lot 133
Murray Frum, Toronto, acquired at the above auction
Lance and Roberta Entwistle, London, acquired from the above
Sidney and Bernice Clyman, Scarsdale, acquired from the above on June 8, 1995.
Literature: Raoul Lehuard, "Les ventes", Arts d’Afrique Noire, No. 23, 1977, p. 41
Jacqueline Fry, Vingt-cinq sculptures africaines/Twenty-Five African Sculptures from Canadian Collections, Ottawa, 1978, p. 143, cat. no. 19
National Gallery of Canada, Exhibition Invitation for Vingt-cinq sculptures africaines/Twenty-Five African Sculptures from Canadian Collections, Ottawa, 1978
Arnold Rubin, "Recent Exhibitions: Twenty-Five African Sculptures", African Arts, Vol. XII, No. 3, May 1979, p. 80
Alain Chaffin and Françoise Chaffin, L'art Kota. Les figures de reliquaire, Meudon, 1979, p. 300, cat. no. 184
Louis Perrois, Arts du Gabon. Les arts plastiques du bassin de l'Ogooué, Arnouville, 1979, p. 12, fig. 3
William Fagg, African Majesty: from Grassland to Forest. The Barbara and Murray Frum Collection, Toronto, 1981, p. 83, cat. no. 29
Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan, L'art africain, Paris, 1988, p. 235, fig. 151
Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan, Die Kunst des Schwarzen Afrika, Freiburg, 1989, p. 235, fig. 151
Warren M. Robbins and Nancy Ingram Nooter, African Art in American Collections, Survey 1989, Washington, D.C., 1989, p. 337, fig. 875
Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan, L'arte in Africa, Milan, 1991, p. 235, fig. 151
Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan, Art of Africa, New York, 1993, p. 235, fig. 151
Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan, Arte africano, Madrid, 1998, p. 235, fig. 151
Bernard de Grunne, ed., Mains des Maître. À la découverte des sculptures d'Afrique/Masterhands: Afrikaanse beeldhouwers in de kijker, Brussels, 2001, front and back cover and p. 152, cat. no. 37
Raoul Lehuard, "Mains des Maître. À la découverte des sculptures d'Afrique", Arts d’Afrique Noire, No. 118, Summer, 2001, p. 40
Bernard de Grunne, "Master Hands: Post Scriptum", Tribal Art Magazine, No. 31, Summer 2003, pp. 90-91, nos. 5-6
Alisa LaGamma, Eternal Ancestors: the Art of the Central African Reliquary, New York, 2007, p. 231, cat. no. 63
Elena Martínez-Jacquet, ed., "Exhibition Checklist/Œuvres exposées", Tribal Art Magazine. Kota: New Light/Nouveaux éclairages, Special Issue No. 5, 2015, p. 67, fig. 66
Exhibited: National Gallery of Canada, Ottawa, Vingt-cinq sculptures africaines/Twenty-Five African Sculptures from Canadian Collections, September 14 - November 5, 1978
Art Gallery of Ontario, Toronto, African Majesty: from Grassland to Forest. The Barbara and Murray Frum Collection, May 22 - July 12, 1981
Espace Culturel BBL, Brussels, Mains des Maître. À la découverte des sculptures d'Afrique/Masterhands: Afrikaanse beeldhouwers in de kijker, March 22 - June 24, 2001
Metropolitan Museum of Art, New York, Eternal Ancestors: the Art of the Central African Reliquary, November 2, 2007 - March 2, 2008
Pulitzer Arts Foundation, St Louis, Kota: Digital Excavations in African Art, October 16-2015 - March 19, 2016.
Lot 16. Fang Ancestor Figure, Gabon. Wood. Height: 17 ½ in (44.5 cm). Estimate: 250,000 - 350,000 USD. Lot sold 475,000USD. Courtesy Sotheby's.
Provenance: Gaston de Havenon, New York
de Quay-Lombrail, Drouot Montaigne, Paris, Collection Gaston de Havenon - New York, June 30, 1994, lot 33
Henri Ronald Nasser, New York, acquired at the above auction
American Private Collection
Sotheby's, New York, May 6, 1998, lot 215, consigned by the above
Sidney and Bernice Clyman, Scarsdale, acquired at the above auction with the assistance of Merton D. Simpson, New York
Literature: Warren M. Robbins, African Art: the de Havenon Collection, Washington, D.C., 1971, n.p., fig. 182
Allen Wardwell, Three African Traditions: the Art of the Dogon, Fang and Songye, Greenwich, Connecticut, 1999, p. 22, cat. no. 30.
Exhibited: Museum of African Art, Smithsonian Institution, Washington D.C., African Art: the de Havenon Collection, May 30 - October 3, 1971
Bruce Museum, Greenwich, Connecticut, Three African Traditions: the Art of the Dogon, Fang and Songye, January 31 - April 18, 1999.