LONDON.- Christie’s Classic Week evening sales – The Exceptional Sale and the Old Masters Evening Sale - realised a combined total of £47,514,277 / $56,732,047 / €55,591,704, achieving sell-through rates of 72% by value and 77% by lot. The top lots of the evening were Lucas Cranach the Elder’s The Nymph of the Spring, which sold for £9,449,500 / $11,282,703 / €11,055,915 and achieved a world auction record for the artist, and an Egyptian Limestone Group Statue for Mehernefer and his Son, which realised £6,014,500 / $7,181,313 / €7,036,965. 25% of new registrants to this evening’s sales were millennials; the breakdown of buyers by region [by lot] was: 58% EMEA / 28% Americas / 14% APAC.

THE EXCEPTIONAL SALE

Christie’s Exceptional Sale realised a total of £19,382,020 / $23,142,132 / €22,676,963. Among the top lots of the sale were:

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Lot 10. A Royal Gift: The Hovingham Hall Egyptian Sculpture. An Egyptian Limestone Group Statue for Mehernefer and his Son, Old Kingdom, mid-late 5th Dynasty, circa 2400-2300 B.C.; 25 3⁄8 in. (64.5 cm.) high. Price realised £6,014,500 / $7,181,313 / €7,036,965 (estimate on request)© Christie's Images Ltd 2022.

The provenance of this statue dates back to the 18th century, when it was first presented to King George III as a gift from the Ambassador in Constantinople, Sir James Porter, during his appointment from 1746 to 1761. King George III subsequently donated the statue to Thomas Worsley (1797-1885) at Hovingham Hall, where it has remained ever since

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Lot 44. Bob Dylan’s first new studio recording of “Blowin’ in the Wind” since 1962, from a special session with multi-Grammy winning producer T Bone Burnett, on the recently announced groundbreaking ‘Ionic Original’ disc. Price realised for £1,482,000 / $1,769,508 / €1,733,940 (estimate: £600,000-1,000,000). © Christie's Images Ltd 2022.

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Lot 36. A magnificent pair of Napoleonic silver-mounted rifled presentation flintlock pistols by Boutet & Fils, Versailles, serial no. 345, circa 1809. Price realised £978,000 / $1,167,732 / €1,144,260 (estimate: £300,000-500,000). © Christie's Images Ltd 2022.

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Lot 13. A pair of monumental Louis-Philippe white marble and giltwood five-light figural torchères, second quarter 19th century; 98 in. (250 cm.) high; 20.5 in. (52 cm.) wide; 20.5 in. (52 cm.) deep. Price realised £906,000 / $1,081,764 / €1,060,020, over 15 times the low estimate (£60,000-80,000). © Christie's Images Ltd 2022.

These torchères were formerly in the collection of the Rothschild family at Mentmore, Buckinghamshire, built between 1852 and 1854 by Baron Mayer Amschel de Rothschild (d. 1874). The 1884 catalogue of the contents of Mentmore describes a set of four marble figures from the château de Neuilly, the preferred residence of King Louis-Philippe (d. 1850) of which the present pair was part.

Amjad Rauf, International Head of Masterpiece and Private Sales: “There were fantastic results in this London Exceptional Sale. Rare and precious works were particularly applauded: including chased silver, pietra dura, inlaid marbles, gilt-bronze, lacquer, and more. Our clients were particularly captivated by the quality and rarity of the works offered, their breadth and range, spanning thousands of years.”

Peter Klarnet, Christie’s Senior Specialist, Americana, Books and Manuscripts: "We are so pleased with the excellent result this evening for the 'Ionic Original' disc of Bob Dylan's first new studio recording of "Blowin' in the Wind" since 1962. To work with such an incredibly important and groundbreaking advance in analogue playback technology is a tremendous honour. We are excited that this is just the beginning for this amazing new opportunity for recording artists to work with T Bone and NeoFidelity to reset the value of music."

T Bone Burnett, Founder of NeoFidelity Inc. and multi-Grammy-winning producer: “Marshall McLuhan said that a medium surrounds a previous medium and turns the previous medium into an art form, as film did with novels, as television did with film, as the internet has done with television, and as digital has done with analogue. With Bob Dylan’s new version of “Blowin’ In The Wind", our first Ionic Original archival analogue disc, we have entered and aim to help develop a music space in the fine arts market. I trust and hope it will mean as much to whomever acquired it today at Christie’s Exceptional Sale as it does to all of us who made it, and that they will consider it and care for it as a painting or any other singular work of art.”

OLD MASTERS EVENING SALE

The Old Masters Evening Sale realised £28,132,257 / $33,589,915 / €32,914,741. Five artists records were set. Among the top lots of the sale were:

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Lot 6. From the collection of Cecil & Hilda Lewis, Lucas Cranach the Elder (1472-1553), The Nymph of the Spring,  signed with the artist's device of a serpent with wings folded (centre right, on the tree), oil on panel, 32 1⁄4 x 47 3⁄8 in. (82.1 x 120.5 cm.) inscribed ‘FONTIS NYMPHA SACRI SOMNVM NE / RVMPE QVIESCO’ (upper left). Price realised £9,449,500 / $11,282,703 / €11,055,915 (estimate: £6,000,000-8,000,000), world auction record for the artist. © Christie's Images Ltd 2022.

Provenance(Possibly) Rudolf II, Holy Roman Emperor (1552-1612), Prague Castle, looted by Swedish troops in 1648 and transported to Sweden and possibly in the collection of the following,
Christina, Queen of Sweden (1626-1629), Stockholm, until 1654.
Count Gustaf Adolf Sparre (1746-1794), Sahlgrenska House, Gothenburg, and moved to Kulla Gunnarstorp, near Helsingborg, probably no later than 1775, where listed in his posthumous inventory of 1794, and by inheritance to his wife,
Countess Amelie (née Ramel) Sparre (1753-1830), Skåne, Sweden, and by descent to her daughter,
Christina Sparre (d. 1811), and by inheritance to her husband,
Count Jacob Gustaf de la Gardie (1768-1842), by whom sold with the estate in circa 1840 to,
Count Carl de Geer of Leufstra (1781-1861), by whom given in 1855 upon her marriage to Axel Fredrik Wachtmeister to his granddaughter,
Elisabeth von Platen-Wachtmeister (1834-1918), Vanås, Sweden, with this painting remaining at Kulla Gunnarstorp, and by descent, until acquired by the following,
with Verner Amell Ltd, 1990, from whom acquired by the father of the present owners.

Literature: Listed in the posthumous inventory of the estate of G.A. Sparre, Ar 1794 Den 6 Oktober företogs bouppteckning öfver Farmlidne Grefve Gustaf Axelsson Sparres Efterlämnade Ägendom pa Kulla Gunnarstorp Satersgard.., preserved in Göta hovrätts archive, Jönköping, recorded at Kulla Gunnarstorp under Tableaux, '1 d:o föreställer ett sofvande oklädt fruntimber' ('represents a sleeping unclothed woman').
O. Granberg, 'Greve Gustav Sparres Kabinett', Svenska konstsamlingarnas historia: Från Gustav Vasas tid till våra dagar, III, Stockholm, 1931, p. 66, under the transcription of the 1794 Sparre inventory of Kulla Gunnarstorp as '1 d:o föreställer ett sofvande oklädt fruntimber' ('represents a sleeping unclothed woman').
I. Hasselgren, Konstsamlaren Gustaf Adolf Sparre, 1746-1794: hans studieresa, våning och konstsamling i Göteborg, PhD dissertation, University of Gothenburg, 1974, p. 124, where recorded at Kulla Gunnarstorp as 'en liggande Venus av Lucas Cranach' ('a reclining Venus by Lucas Cranach').
Cranach Digital Archive, inv. no. PRIVATE_NONE-P434 (https://lucascranach.org/PRIVATE_NONE-P434), as 'Lucas Cranach the Elder' (accessed 11 January 2022).

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Lot 14. Property from the Collection of Cecil and Hilda Lewis. Jan Jansz. den Uyl (1595-1639), Pewter jug and silver tazza on a table, signed with the artist's owl device (lower centre, on the table cloth) and dated '1633' (centre left, on the jug), oil on panel, 35 5⁄8 × 28 1⁄4 in. (90.4 x 71.7 cm.). Price realised £3,162,000 / $3,775,428 / €3,699,540 (estimate: £2,500,000-3,500,000), world auction record for the artist. © Christie's Images Ltd 2022.

ProvenanceFrederik Conrad Bugge (1754-1842); his sale, C.W. Haagen, Copenhagen, 21 August 1837, lot 127, as 'Anonymous' (145 Krone to the following).
Adam Wilhelm Moltke, Count Molke (1785-1864), Copenhagen, and by descent to his grandson,
Frederik Christian Moltke (1854-1936); his sale, Copenhagen, 1 June 1931, lot 50, as 'Gerrit Willemsz. Heda' (7,900 Krone).
Niels Olesen (1881-1956), Copenhagen, by 1941, and by inheritance to his second wife,
Asta Olesen, née Løffler (1895-1983); (†), Arne Bruun Rasmussen, Copenhagen, 2 May 1984, lot 20.
with French & Co, New York, from whom acquired by the following,
Linda and Gerald Guterman (b. 1942), New York; their sale, Sotheby's, New York, 14 January 1988, lot 41 ($2,200,000).
Private collection, USA.
with Verner Amell Ltd, 1990, from whom acquired by the father of the present owners.

LiteratureO.J. Rawert, Verzeichniss einer Sammlung von Oelgemählden dem Herrn Konferenzrath und geheimen Kabinetskassirer Frederik Conrad Bugge, Ritter vom Dannebroge und Dannebrogsmanne gehörend, Copenhagen, 1829, no. 159, as 'Anonymous'.
N.L. Høyen, Fortegnelse over den Moltkeske Malerisamling, Copenhagen, 2nd edition, 1856, no. 83, as 'Boelema'.
P. de Boer, 'Jan Jansz. van Uyl', Oud Holland, LVII, 1940, pp. 56 and 62.
N.R.A. Vroom, De schilders van het monochrome banketje, Amsterdam, 1945, p. 218, no. 278.
I. Bergström, Dutch Still-Life Painting in the Seventeenth Century, London, 1956, pp. 144-148, pl. IV, fig. 129.
P. Gammelbo, Dutch still-Life Painting from the 16th to the 18th Centuries in Danish Collections, Copenhagen, 1960, no. 62, illustrated.
N.R.A. Vroom, A Modest Message, as Intimated by the Painters of the 'Monochrome Banketje, Schiedam, 1980, II, p. 127, no. 657, illustrated.
D. Gimelson, 'The Guterman Collection: Portrait of the Businessman as a Collector', Art+Auction, September 1985, where described as the 'most beautifully perfect Dutch monochrome still-life in existence'.
A. van der Willigen and F. Meijer, A dictionary of Dutch and Flemish still-life painters working in oils, 1525-1725, Leiden, 2003, p. 199.
F.G. Meijer, Slow Food  Dutch and Flemish Meal Still-Lifes 1600-1640, exhibition catalogue, Zwolle, 2017, p. 47, fig. 34.

Exhibited: Copenhagen, Statens Museum for Kunst, Mit bedste kunstvaerk, October 1941, no. 85.
Copenhagen, Kunstforeningen, Hollandske og flamske stilleben fra 1600 - tallet i dansk eje, 30 January-28 February 1965, no. 84, illustrated on the front of the catalogue.
Amsterdam, The Rijksmuseum, Het Nederlandse Stilleven 1550-1720, 19 June-19 September 1999, no. 20 (catalogue entry by Alan Chong and Wouter Kloek).

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Lot 12. Property from The Wetzlar Collection. Jacob Van Ruisdael (1628 ⁄ 1629-1682), A wooded landscape with a man and two dogs on a path, a cottage beyond, signed and dated ‘JvRuisdael 1648’ (lower right, 'JvR' in ligature), oil on panel, 20 1⁄2 x 26 3⁄4 in. (52 x 67.8 cm.). Price realised £3,402,000 / $4,061,988 / €3,980,340 (estimate £1,000,000 – 1,500,000), a world auction record for the artist. © Christie's Images Ltd 2022.

Provenance: (Possibly) [Van Terburg family]; Roos, Amsterdam, 16 July 1819, lot 148.
with Otto Hirschmann, Amsterdam, 1934.
David Birnbaum ten Cate (1891-1956), Amsterdam, by whom sold 15 June 1945 for £1,800 to the following,
with Duits & Co., London, inv. no. 7653, from whom acquired 16 June 1945 for £2,000 by the following,
John Enrico Fattorini (1878-1949), Bradford.
with Duits & Co., London, acquired 2 July 1956 for £3,500, inv. no. 426, from whom acquired by the following,
Dr Hans A. Wetzlar (d.1977), Amsterdam; his sale (†), Sotheby’s, Amsterdam, 9 June 1977, lot 102 (Dfl.740,000), when acquired by a member of the family and by descent.

Literature(Possibly) C. Hofstede de Groot, A Catalogue Raisonné, etc.London, 1912, IV, p. 260, no. 831b.
H. Gerson et. al., Fitzwilliam Museum, Cambridge, Catalogue of Paintings, Cambridge, 1960, I, p. 112-113, no. 84, note 6.
D. Johns, ‘The Collection of Old Master Paintings formed by the late Dr. Hans A. Wetzlar’, Art at Auction, The year at Sotheby Parke Bernet 1976–1977, New York and London, 1977, p. 44.
P. Judge, ‘Hans Wetzlar paintings set 8 world records’, The Financial Times, London, 11 June 1977.
E. John Walford, Jacob van Ruisdael and the perception of landscape, New Haven, 1991, p. 68, no. 52.
S. Slive, Jacob van Ruisdael, A complete Catalogue of His Paintings, Drawings, and EtchingsNew Haven and London, 2001, p. 397, no. 551, illustrated.
J. Nicolaisen, ‘Ein Experiment in fremder und in eigener Handschift – zu einem Fruhwerk des Jacob Isaacksz. van Ruisdael‘, Jahresheft, Leipzig, 2002, pp. 38-40, figs. 3-4.
M. Didier, ‘De laatste belangrijke collectie‘, Het VeilingtijdschriftIII, no. 1, Haarlem, January 2002, pp. 26-27, illustrated.
W.Th. Kloek, ‘Book review of S. Slive, Jacob van Ruisdael, 2001, and of M. Sitt and P. Biesboer, Jacob van Ruisdael, 2002’, Oud Holland, no. 116, 2003, pp. 115 and 117, fig. 2.

ExhibitedLaren, Singer Museum, De Kunst van het Verzamelen, keuze uit twee Nederlandse Collecties1966, no. 47.
Hamburg, Hamburger Kunsthalle, Jacob van Ruisdael oder die Revolution der Landschaft, 18 January-1 April 2002, no. 22.
Haarlem, Frans Hals Museum, Jacob van Ruisdael: Grandioze landschappen, 27 April-28 July 2002, no. 22.
Haarlem, Frans Hals Museum, 2002-2017, on long-term loan.
Haarlem, Frans Hals Museum; Munich, Kunsthalle der Hypo-Kulturstiftung, De Gouden Eeuw begint in Haarlem, 11 October 2008-7 June 2009.
Kyoto, Kyoto Municipal Museum of Art; Tokyo, Mori Arts Center Gallery; Fukushima, Fukushima Prefectural Museum of Art, Vermeer and Rembrandt: the Masters of the 17th century Dutch Golden Age, 24 October 2015-8 May 2016.

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téléchargement (12)

Lot 10. Sir Anthony Van Dyck (1599-1641), Portrait of a Carmelite monk, head and shoulders, oil on panel, the reverse marked with the brand of the Antwerp panel-makers' Guild and the maker's mark of Peter de Noble,
24 5⁄8 x 18 7⁄8 in. (62.6 x 48 cm.). Price realised £3,391,457 / $4,049,400 / €3,968,005 (estimate: £2,800,000-3,500,000)
© Christie's Images Ltd 2022.

Provenance: By family tradition, Pieter Paul Rubens (1577-1640), and by descent to his son from his first marriage to Isabella Brandt (1591-1626), Nicolaas Rubens (1618-1655), married Constance Helman, and by descent to their son,
Albert Rubens (1642-1672), married Marie-Catherine Vecquemans (1649-1711), and by descent to their daughter,
Marie-Constance (1672-1710), married Alexandre Goubau, Seigneur de Melsen (1658-1715), and by descent to their son,
Georges Alexandre Goubau, Seigneur de Melsen (1697-1760), married Isabelle Madeleine Bosschaert (1703-1764), and by descent to their daughter,
Isabelle (1728-1783), who married Jean-Charles de Borrekens (1730-1800), and by descent to their daughter,
Isabelle (1758-1836), who married in 1780 Arnould van der Cruisse (1749-1825), and by descent in the family until,
[The Property of a Noble Family]; Sotheby's, London, 6 July 2011, lot 21, when acquired by the present owner.

Literature: K. van der Stighelen et. al., ‘Young Anthony van Dyck revisited: A multidisciplinary approach to a portrait once attributed to Peter Paul Rubens’, Art Matters: International Journal for Technical Art History, 2014, p. 32, fig. 17.
J. Davies, ‘Anthony van Dyck and his use of panels: an introduction’, Jordaens Van Dyck Journal, I, July 2021, pp. 50, 55 and 62.
J. Davies, ‘Anthony van Dyck, his panels and panel makers: identifications and patterns’, Jordaens Van Dyck Journal, II, December 2021, pp. 61 and 63.

Exhibited: New York, The Metropolitan Museum of Art, on loan, 2012-2021.
New York, The Frick Collection, Van Dyck: The Anatomy of Portraiture, 2 March - 5 June 2016, no. 9.

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Lot 30. Pietro Bellotti (1725-1804/1805), Venice with the Punta della Dogana, looking East towards the Doge's Palace and Venice with the Grand Canal, S. Geremia and the entrance to the Cannaregio, oil on canvas, 27 1⁄2 x 35 1⁄4 in. (69.8 x 89.5 cm.), a pair. Price realised £428,400 / $511,510 / €501,228 (estimate: £150,000–250,000), a world auction record for the artist© Christie's Images Ltd 2022.

Provenance: Anonymous sale; Koller, Zurich, 19 September 2008, lot 3077 (View of the Bacino di San Marco) as 'Venetian School, circa 1800' (180,000 CHF); and lot 3078 (View of Venice with the Grand Canal), as 'Circle of Bernardo Bellotto' (214,000 CHF).
with Charles Beddington, London, from whom acquired by the present owner.

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Lot31. Anton Raphael Mengs (1728-1779), Portrait of Friedrich Christian, Prince of Saxony (1722-1763), three-quarter-length, in armour, with an ermine lined mantle and the sash and star of the Order of the White Eagle, oil on canvas, unlined; 61 1⁄4 x 43 1⁄4 in. (155.7 x 110.8 cm.). Price realised £478,800 / $571,687 / € 560,196 (estimate: £100,000-150,000), a world auction record for the artist© Christie's Images Ltd 2022.

Provenance: (Probably) Commissioned by the sitter's father, Frederick Augustus II, Elector of Saxony (1696-1763), and by descent in the family to the following,
Friedrich August III, Elector of Saxony (1865-1932), at Schloss Sybillenort, Szczodre, (probably) sold following his death with the contents of the castle and subsequently reacquired by a descendant, and by inheritance to the present owner.

Literature: Sammlungskatalog der Gemäldegalerie Dresden, Dresden, 1765, p. 242.
G.L. Bianconi, Elogio Storico Del Cavaliere Anton Raffaele Mengs: con un Catalogo Delle Opere Da Esso Fatte, Milan, 1780, pp. 25 and 87.
Sammlungskatalog der Gemäldegalerie Dresden, Dresden, 1782, p. 290.
J.P. Doray de Longrais, Oeuvres de M. Mengs, traduites par Doray de Longrais. Eloge historique de M. Mengs, par N. Guibal et Louis He´rissant, Regensburg, 1782, p. 19.
M.C.F. Prange, Des Ritters Anton Raphael Mengs, ersten Mahlers Karl III. Königs in Spanien hinterlassne Werke, Halle, 1786, I, pp. 106 and 159.
G.N. d'Azara and C. Fea, Opere di Antonio Raffaello Mengs, primo Pittore del Re cattolico Carlo III, Rome, 1787, p. XLI.
G. Schilling, Anton Raphael Mengs: sämmtliche hinterlassene Schriften, Bonn, 1843, I, p. 26.
Sammlungskatalog der Gemäldegalerie Dresden, Dresden, 1872, p. 373.
K. Woermann, Katalog der Königlichen Gemäldegalerie zu Dresden, Dresden, 1887, p. 69.
J.L. Sponsel, Fürsten-Bildnisse aus dem Hause Wettin, Dresden, 1906, p. 68.
A. Feulner, Skulptur und Malerei des 18 Jahrhunderts in Deutschland, Potsdam, 1929, XX, p. 24.
S. Pückler-Limpurg, Der Klassizismus in der deutschen Kunst, Munich, 1929, p. 33.
H.W. Singer, Neuer Bildniskatalog, Leipzig, 1938, II, no. 11741.
D. Honisch, Anton Raphael Mengs und die Bildform des Frühklassizismus, Recklinghausen, 1965, p. 117, no. 213.
S. Roettgen, Anton Raphael Mengs, 1728-1779, Munich, 1999, I, pp. 224-25, no. 153, illustrated.

ExhibitedDresden, Berliner Saal, Die Grosse-Kunstausstellung, 1908, no. 549.
Darmstadt, Residenzschloss, Deutsches Barock und Rokoko: herausgegeben im Anschluss an die Jahrhundert-Ausstellung deutscher Kunst 1650-18001914, with catalogue by G. Biermann.

 

Clementine Sinclair, Head of Old Masters Evening Sale: “The strong results of this evening’s Old Masters Sale were a testament to the strength and depth of the market. The sale achieved 83% by lot, the highest lot percentage for a London July Evening sale since 2012, with 48% of the Old Masters lots selling above the high end of the estimate. There were multiple bidders on all of the top lots, from Cranach’s sumptuous, large-scale Sleeping Water Nymph to Ruisdael’s beautifully understated early landscape, and den Uyl’s incredibly rare and original still life. The success of the two principal collections – the Lewis Collection and the Wetzlare Collection – which were both 100% sold, underlines the demand for works that are fresh to the market with notable provenance. We welcomed bidders from 16 countries and there was strong engagement from Asia across all schools.”