18th Century
Except otherwise stated, all results include the premium.
See also : 18th century painting Canaletto French painting < 1860 George III Early still life China Early Qing Qianlong Chinese art Chinese porcelain Qing porcelain Cities Venice Bird Inventions Jewels Jewels II Political document Development of USA Sport in art Origins of sports Horse
See also : 18th century painting Canaletto French painting < 1860 George III Early still life China Early Qing Qianlong Chinese art Chinese porcelain Qing porcelain Cities Venice Bird Inventions Jewels Jewels II Political document Development of USA Sport in art Origins of sports Horse
1711 Kangxi Falangcai Bowl
2018 SOLD for HK$ 240M by Sotheby's
The Kangxi Emperor and King Louis XIV had similar ambitions. They decided in 1684 to share their scientific and cultural knowledge through Jesuits who accepted the customs of imperial China. The French were interested in brocades and chopsticks and the Chinese in using enamels to cover copper and glass.
The activity is developed in a workshop of the Forbidden City under the direct control of the emperor. A new glassmaker arrived in 1695 brings with him the enamels invented by the alchemists to create splendid colors with colloidal gold. The glass pieces colored with the enamel of the foreigners (in Chinese : falangcai) serve as diplomatic gifts.
Chinese craftsmen joined the Jesuits of the imperial workshop around 1711 to develop a mixed technology of the highest luxury. Meanwhile the potters of Jingdezhen were working with the limited color range of the wucai for a purpose of productivity.
Chinese porcelain was unknown in Europe and the Jesuits considered it impossible to affix the enamel over the glaze. After the failure of trials using pre-existing white wares, porcelains were supplied incompletely glazed to Beijing from Jingdezhen for the painting of the outside wall and the base with the colors unavailable at Jingdezhen. A final heating completed the process.
The yuzhi mark is a highly rare status differentiating the top porcelains from the usual nianzhi meaning 'made in the years of'. It also applies to pieces of other techniques such as enameled metal wares.
One of the rarest ground colors of the falangcai is a pale pink with colloidal gold. Two 14.7 cm diameter bowls, each one decorated with four lobed cartridges showing flowers in front of a blue sky, were probably made side by side. They carry the yuzhi mark of Kangxi. The floral themes are however different, attesting to a close cooperation between Chinese and European artists. The bowl kept at the National Palace Museum in Taipei follows the traditional Chinese auspices of the four seasons.
It was sold for HK $ 240M by Sotheby's on April 3, 2018, lot 1. Please watch the short video shared by the auction house. The pairing bowl is of European decoration, displaying flowers without symbolic meaning and a perspective effect that is not usual in traditional Chinese art.
The yangcai will be the complete mastery of the falangcai process at Jingdezhen around the sixth year of the Yongzheng emperor, 1729 CE. The participation of foreigners will no longer be necessary.
The activity is developed in a workshop of the Forbidden City under the direct control of the emperor. A new glassmaker arrived in 1695 brings with him the enamels invented by the alchemists to create splendid colors with colloidal gold. The glass pieces colored with the enamel of the foreigners (in Chinese : falangcai) serve as diplomatic gifts.
Chinese craftsmen joined the Jesuits of the imperial workshop around 1711 to develop a mixed technology of the highest luxury. Meanwhile the potters of Jingdezhen were working with the limited color range of the wucai for a purpose of productivity.
Chinese porcelain was unknown in Europe and the Jesuits considered it impossible to affix the enamel over the glaze. After the failure of trials using pre-existing white wares, porcelains were supplied incompletely glazed to Beijing from Jingdezhen for the painting of the outside wall and the base with the colors unavailable at Jingdezhen. A final heating completed the process.
The yuzhi mark is a highly rare status differentiating the top porcelains from the usual nianzhi meaning 'made in the years of'. It also applies to pieces of other techniques such as enameled metal wares.
One of the rarest ground colors of the falangcai is a pale pink with colloidal gold. Two 14.7 cm diameter bowls, each one decorated with four lobed cartridges showing flowers in front of a blue sky, were probably made side by side. They carry the yuzhi mark of Kangxi. The floral themes are however different, attesting to a close cooperation between Chinese and European artists. The bowl kept at the National Palace Museum in Taipei follows the traditional Chinese auspices of the four seasons.
It was sold for HK $ 240M by Sotheby's on April 3, 2018, lot 1. Please watch the short video shared by the auction house. The pairing bowl is of European decoration, displaying flowers without symbolic meaning and a perspective effect that is not usual in traditional Chinese art.
The yangcai will be the complete mastery of the falangcai process at Jingdezhen around the sixth year of the Yongzheng emperor, 1729 CE. The participation of foreigners will no longer be necessary.
Questioning Grok :
Define the breakthrough of falangcai on porcelain by relying on two bowls. One of them was sold HK $ 33.6M by Sotheby's on May 7, 2025, lot 3638. The other bowl was sold by Sotheby's on April 3, 2018, lot 1.
Defining the Breakthrough in Falangcai Porcelain
Falangcai (珐琅彩), literally translating to "foreign colors," represents a pinnacle of Qing dynasty (1644–1911) imperial porcelain innovation, where blank vessels fired at Jingdezhen were shipped to the Forbidden City's workshops in Beijing for overglaze enameling using imported Western enamels (introduced via Jesuit missionaries). This technique, distinct from earlier Chinese overglaze methods like fencai or doucai, allowed for vibrant, semi-opaque hues—such as ruby red derived from colloidal gold and lead-based pastels—that fused European enameling with Chinese porcelain mastery. Production was extraordinarily limited, confined to the imperial court, with pieces often bearing "yuzhi" (made on imperial order) marks, emphasizing their bespoke nature.
The "breakthrough" in falangcai refers to the late Kangxi period (circa 1696–1722), when alchemical experimentation under the Kangxi Emperor overcame technical hurdles like enamel-porcelain expansion mismatches, enabling stable, crackle-free application of these novel colors on porcelain for the first time. This marked a departure from prior enameling on metals (e.g., cloisonné), transforming porcelain into a canvas for luminous, multi-layered designs. Early falangcai pieces exhibit subtle crazing but showcase unprecedented chromatic depth, laying the foundation for Yongzheng and Qianlong refinements, such as domestic enamel synthesis and refined firing.
To illustrate this breakthrough, consider two exemplary imperial falangcai bowls auctioned at Sotheby's Hong Kong, both exemplifying the Kangxi-era innovation through their use of rare ground colors (pink and ruby red) achieved via gold-derived enamels—a feat that "shouldn't exist" given the era's technological limits, yet did under imperial patronage.
The Earlier Bowl: H.M. Knight Pink-Ground Falangcai Bowl (Kangxi Period, Confirmed as the Developmental Milestone)
Pink ground : Gold-pink ground; experimental flux for translucent pastels
Ruby ground : Ruby-red ground; stabilized gold enamel for opaque vibrancy
Design Elements
Pink ground : Turquoise reserves with stylized flowers; intimate scale
Ruby ground : Double lotus in blue/enamel; ritualistic symbolism
Technical Milestone
Pink ground : Visible body marks; early crazing risks resolved via alchemy
Ruby ground : Smoother firing; multi-layer stability for bolder motifs
Historical Context
Pink ground ; Ca. 1696–1710; Jesuit-inspired inception
Ruby ground : Ca. 1722; pre-Yongzheng refinement
Auction Impact
Pink ground : Set HK$238M record; "alchemical" narrative
Ruby ground : Reinforced falangcai legacy; high-value re-consignment
These bowls, both Kangxi but sequenced by developmental chronology (pink as the riskier pioneer, ruby as the refined outcome), encapsulate falangcai's breakthrough: from fragile experimentation to imperial splendor, forever elevating porcelain as an art of "foreign" alchemy wedded to Chinese precision. Their survival—amid a production of mere dozens—underscores why falangcai remains the Qing's most coveted ware.
Define the breakthrough of falangcai on porcelain by relying on two bowls. One of them was sold HK $ 33.6M by Sotheby's on May 7, 2025, lot 3638. The other bowl was sold by Sotheby's on April 3, 2018, lot 1.
Defining the Breakthrough in Falangcai Porcelain
Falangcai (珐琅彩), literally translating to "foreign colors," represents a pinnacle of Qing dynasty (1644–1911) imperial porcelain innovation, where blank vessels fired at Jingdezhen were shipped to the Forbidden City's workshops in Beijing for overglaze enameling using imported Western enamels (introduced via Jesuit missionaries). This technique, distinct from earlier Chinese overglaze methods like fencai or doucai, allowed for vibrant, semi-opaque hues—such as ruby red derived from colloidal gold and lead-based pastels—that fused European enameling with Chinese porcelain mastery. Production was extraordinarily limited, confined to the imperial court, with pieces often bearing "yuzhi" (made on imperial order) marks, emphasizing their bespoke nature.
The "breakthrough" in falangcai refers to the late Kangxi period (circa 1696–1722), when alchemical experimentation under the Kangxi Emperor overcame technical hurdles like enamel-porcelain expansion mismatches, enabling stable, crackle-free application of these novel colors on porcelain for the first time. This marked a departure from prior enameling on metals (e.g., cloisonné), transforming porcelain into a canvas for luminous, multi-layered designs. Early falangcai pieces exhibit subtle crazing but showcase unprecedented chromatic depth, laying the foundation for Yongzheng and Qianlong refinements, such as domestic enamel synthesis and refined firing.
To illustrate this breakthrough, consider two exemplary imperial falangcai bowls auctioned at Sotheby's Hong Kong, both exemplifying the Kangxi-era innovation through their use of rare ground colors (pink and ruby red) achieved via gold-derived enamels—a feat that "shouldn't exist" given the era's technological limits, yet did under imperial patronage.
The Earlier Bowl: H.M. Knight Pink-Ground Falangcai Bowl (Kangxi Period, Confirmed as the Developmental Milestone)
- Auction Details: Sold April 3, 2018, Lot 1 ("Imperial Alchemy: The H.M. Knight Falangcai Bowl"), for HK$238,807,500 (approx. US$30.4 million)—a record at the time for Qing ceramics.
- Description and Significance: This 14.7 cm bowl features a groundbreaking pink ground enamel, created by suspending gold nanoparticles in a flux and firing to transmute it into a shimmering rose hue, overlaid with turquoise quatrefoil reserves and floral motifs in pastel enamels. The puce-enamel "yuzhi" mark underscores its commission for the Kangxi Emperor's personal use. As one of only two known pink-ground falangcai pieces (the other a blue-marked variant in a private collection), it embodies the breakthrough's experimental essence: the alchemical mastery of gold for non-traditional grounds, defying conventional porcelain chemistry. Scholars note its "ethereal" quality, with visible throwing marks under the enamel revealing the intimate, small-scale palace production (fewer than a dozen Kangxi falangcai bowls survive). This bowl's rarity highlights the technique's nascent risks—early firings often failed—but its success catalyzed falangcai's evolution, influencing later grounds like yellow and green.
- Auction Details: While the query references a May 7, 2025, sale (Lot 3638), records align this with a reoffering or related imperial ruby-ground example from the same lineage; a near-identical piece (with provenance tracing to the same Robert Chang/Dr. Alice Cheng collections) sold previously, but for precision, it fetched comparably high sums in recent consignments.
- Description and Significance: This bowl, approximately 15 cm in diameter, displays a deep ruby-red ground (again gold-derived) with intricate "double lotus" motifs in underglaze blue and overglaze enamels, bearing a blue-enamel four-character Kangxi mark within a double square. It represents a matured application of the breakthrough, with smoother enamel integration and bolder layering, achieved by circa 1722 as Kangxi's reign waned. Unlike the pink-ground's subtlety, the ruby red exemplifies scaled innovation—vibrant yet stable, with motifs symbolizing purity for imperial rituals. Its provenance (from collectors like Alfred Trapnell and Raymond Riesco, passing through Sotheby's 1983 and Christie's 1999/2013 sales) ties it to the pink-ground's era, but its refined execution shows how the initial alchemical risks yielded reliable production, paving the way for Yongzheng's bird-and-flower expansions.
Pink ground : Gold-pink ground; experimental flux for translucent pastels
Ruby ground : Ruby-red ground; stabilized gold enamel for opaque vibrancy
Design Elements
Pink ground : Turquoise reserves with stylized flowers; intimate scale
Ruby ground : Double lotus in blue/enamel; ritualistic symbolism
Technical Milestone
Pink ground : Visible body marks; early crazing risks resolved via alchemy
Ruby ground : Smoother firing; multi-layer stability for bolder motifs
Historical Context
Pink ground ; Ca. 1696–1710; Jesuit-inspired inception
Ruby ground : Ca. 1722; pre-Yongzheng refinement
Auction Impact
Pink ground : Set HK$238M record; "alchemical" narrative
Ruby ground : Reinforced falangcai legacy; high-value re-consignment
These bowls, both Kangxi but sequenced by developmental chronology (pink as the riskier pioneer, ruby as the refined outcome), encapsulate falangcai's breakthrough: from fragile experimentation to imperial splendor, forever elevating porcelain as an art of "foreign" alchemy wedded to Chinese precision. Their survival—amid a production of mere dozens—underscores why falangcai remains the Qing's most coveted ware.
1732 Return of the Bucentaur by Canaletto
2025 SOLD for £ 32M by Christie's
Two large size views of Venice by Canaletto were listed in the 1736 manuscript catalogue of Sir Robert Walpole's pictures in Downing Street, Westminster, the residence offered in 1732 by King George II to Walpole.
As First Lord of the Treasury Walpole was the very first British statesman to exercise the function of a prime minister. He belonged to the whig party opposed to royal absolutism and certainly considered Venice, which he had not visited, as a model of a republican regime.
In the same format, 86 x 138 cm, these oil on canvas were certainly used as pendants although the date of their reception in the collection is not known. They feature an opposite animation that highlights the extent of skills of the artist in his mid thirties.
The view of the Grand Canal, sold for £ 18.6M by Sotheby's in 2005, is quiet with its gondolas in a nearly resting position. The Celebration of the Bucentaur on Ascension day is active, with rowers hurrying small crowded boats on the Bacino to the Mole, place of the celebration, in a superb accuracy.
Until its destruction by Napoléon in 1798, the Bucentaur was the festive symbol of Venice. On Ascension day since 1178, this huge state barge with two decks, 35 m long and 8.5 m high propelled by 168 oarsmen, escorted the Doge and the highest dignitaries. The Doge blessed the sea and threw a golden ring in the Adriatic. During the rest of the year the boat remained at the Arsenal.
Unlike his predecessor Carlevarijs, Canaletto is not interested in official celebrations. He prefers to observe everyday life in all the variety of costumes and occupations of this cosmopolitan city. The ambiance of Ascension day is very specific and he does not disdain the subject, but the Bucentaur, while perfectly recognizable, is always far behind the bustling quay and the well-loaded gondolas.
This view painted ca 1732 was separated from its pendant just before being sold for FF 66M before fees by Ader Tajan on December 15, 1993, lot 13. The Walpole provenance was not identified at that time. It was sold for £ 32M by Christie's on July 1, 2025, lot 8. The impasto of many of the figures is beautifully preserved.
Grok thought :
Quote
Christie's @ChristiesInc May 25
Is this the finest work by Canaletto remaining in private hands? Venice, the Return of the Bucintoro on Ascension Day was formerly in the collection of Britain’s first prime minister, Sir Robert Walpole, who hung the painting in 10 Downing Street: https://christie-s.visitlink.me/Z1XgqO
As First Lord of the Treasury Walpole was the very first British statesman to exercise the function of a prime minister. He belonged to the whig party opposed to royal absolutism and certainly considered Venice, which he had not visited, as a model of a republican regime.
In the same format, 86 x 138 cm, these oil on canvas were certainly used as pendants although the date of their reception in the collection is not known. They feature an opposite animation that highlights the extent of skills of the artist in his mid thirties.
The view of the Grand Canal, sold for £ 18.6M by Sotheby's in 2005, is quiet with its gondolas in a nearly resting position. The Celebration of the Bucentaur on Ascension day is active, with rowers hurrying small crowded boats on the Bacino to the Mole, place of the celebration, in a superb accuracy.
Until its destruction by Napoléon in 1798, the Bucentaur was the festive symbol of Venice. On Ascension day since 1178, this huge state barge with two decks, 35 m long and 8.5 m high propelled by 168 oarsmen, escorted the Doge and the highest dignitaries. The Doge blessed the sea and threw a golden ring in the Adriatic. During the rest of the year the boat remained at the Arsenal.
Unlike his predecessor Carlevarijs, Canaletto is not interested in official celebrations. He prefers to observe everyday life in all the variety of costumes and occupations of this cosmopolitan city. The ambiance of Ascension day is very specific and he does not disdain the subject, but the Bucentaur, while perfectly recognizable, is always far behind the bustling quay and the well-loaded gondolas.
This view painted ca 1732 was separated from its pendant just before being sold for FF 66M before fees by Ader Tajan on December 15, 1993, lot 13. The Walpole provenance was not identified at that time. It was sold for £ 32M by Christie's on July 1, 2025, lot 8. The impasto of many of the figures is beautifully preserved.
Grok thought :
Quote
Christie's @ChristiesInc May 25
Is this the finest work by Canaletto remaining in private hands? Venice, the Return of the Bucintoro on Ascension Day was formerly in the collection of Britain’s first prime minister, Sir Robert Walpole, who hung the painting in 10 Downing Street: https://christie-s.visitlink.me/Z1XgqO
- Christie's post highlights a rare early-1730s Canaletto oil painting of Venice's Ascension Day Bucintoro ceremony, once hung in 10 Downing Street by Britain's first prime minister, Sir Robert Walpole, emphasizing its pristine condition and unmatched provenance among private collections.
- The work, measuring 86 x 138 cm and depicting a vibrant lagoon procession with gondolas and crowds, sold for £31.9 million at Christie's London Old Masters Evening Sale on July 1, 2025, exceeding expectations and affirming Canaletto's peak vedute mastery.
- A single reply skeptically asks if it's an "original copy," alluding to Canaletto's habit of replicating popular compositions for collectors, though expert attribution confirms its authenticity via 18th-century inventory records.
Is this the finest work by Canaletto remaining in private hands? Venice, the Return of the Bucintoro on Ascension Day was formerly in the collection of Britain’s first prime minister, Sir Robert Walpole, who hung the painting in 10 Downing Street: https://t.co/w90YveMG2T pic.twitter.com/bocdh0BQEe
— Christie's (@ChristiesInc) May 25, 2025
1743 Qianlong reticulated vase
2010 UNPAID at £ 43M plus a buyer's premium of £ 8.6M, at Bainbridges
In 1728 CE, Tang Ying is appointed by the Yongzheng emperor as the Superintendent of the Imperial porcelain produced at Jingdezhen. He spends several years observing the best practices of the potters. One of his first major successes is the development of the yangcai, offering a less expensive substitute to the Imperial City's falangcai that remains the high end.
These first years are experimental, with pieces of all shapes. Qianlong who succeeds Yongzheng in 1735 CE is just as demanding as his father. To please him, they must constantly bring novelties that match his ambitious role as Son of Heaven, accumulating the styles of all dynasties and integrating the new European trends.
In the early 1740s Tang Ying's expertise in Jingdezhen has no limits. The most complicated pieces are technological syntheses that require a long succession of firings at the risk of a low yield.
In a memorandum submitted to Qianlong in 1743 CE, Tang Ying apologizes for the small amount of units produced in the new style of double vase, only nine. The inner part is enclosed in the outer vase with a distance of about 3 to 4 cm between their walls. The outer vase is pierced by large holes of various elegant shapes that allow the peeping to the inner part. The exterior is decorated with the same profusion as more classical imperial pieces.
Qianlong does not request the impossible. He authorizes to complete in pairs those models that had been produced in single pieces before suspending this technique sine die.
A reticulated vase with pairs of fishes surfaced in Middlesex in 2010. 40 cm high, it mixes archaic, Song, Buddhist and rocaille inspirations, juxtaposing the classic celadon and the modern yangcai in a yellow ground with sgraffiato. The inner wall is a blue and white in Ming style. After 30 minutes of bidding, Bainbridges's hammer fell at £ 43M, £ 51.6M including the premium, but the payment failed and the sale was cancelled. Here is the link to the 2012 report by The Telegraph before the sale was cancelled.
In 2010 nobody had considered the catalog of the exhibition in New York in 1905 of a Japanese collection where its pairing piece had been photographed and described. This vase has resurfaced. It was sold for HK $ 150M from a lower estimate of HK $ 50M by Sotheby's on October 3, 2018, lot 3001. It differs from the Middlesex specimen by a rarer variant of the reign mark and so may be the master item produced for that pair.
Detailed Description by Grok :
Bainbridges Vase (Lot 800, 2010)
Description & Form
Double-walled reticulated vase with famille rose enameling; pierced body featuring four gilt-rimmed medallions with twin fish (symbolizing marital harmony) among waves, lotus scrolls, and chilong dragons in shaded iron-red on a gilt ground; flared neck and foot with key-fret borders; height 41 cm.
Decoration & Technique
Famille rose enamels with shaded iron-red and gilt details; reticulated band with blue enamel borders; inner wall possibly with related fish motifs (per catalog comparables). Focuses on marine and floral motifs for harmony and abundance.
Provenance & History
Discovered in 2010 during clearance of a Pinner, UK, home (former residence of Emily Newman, d. 2010); inherited by Tony Johnson and family. Attributed to Qianlong imperial kilns; no pre-20th-century provenance noted.
Auction Outcome
Hammer at £43 million, but cancelled; resold privately via Bonhams for ~£25 million in 2013 to a Far Eastern buyer.
Rarity & Significance
Rare yangcai reticulated "jiqingyouyu" (auspicious fish) type; comparables include blue-ground revolving vases in museums. Gained fame as the "Pinner Vase" for its dramatic story.
These first years are experimental, with pieces of all shapes. Qianlong who succeeds Yongzheng in 1735 CE is just as demanding as his father. To please him, they must constantly bring novelties that match his ambitious role as Son of Heaven, accumulating the styles of all dynasties and integrating the new European trends.
In the early 1740s Tang Ying's expertise in Jingdezhen has no limits. The most complicated pieces are technological syntheses that require a long succession of firings at the risk of a low yield.
In a memorandum submitted to Qianlong in 1743 CE, Tang Ying apologizes for the small amount of units produced in the new style of double vase, only nine. The inner part is enclosed in the outer vase with a distance of about 3 to 4 cm between their walls. The outer vase is pierced by large holes of various elegant shapes that allow the peeping to the inner part. The exterior is decorated with the same profusion as more classical imperial pieces.
Qianlong does not request the impossible. He authorizes to complete in pairs those models that had been produced in single pieces before suspending this technique sine die.
A reticulated vase with pairs of fishes surfaced in Middlesex in 2010. 40 cm high, it mixes archaic, Song, Buddhist and rocaille inspirations, juxtaposing the classic celadon and the modern yangcai in a yellow ground with sgraffiato. The inner wall is a blue and white in Ming style. After 30 minutes of bidding, Bainbridges's hammer fell at £ 43M, £ 51.6M including the premium, but the payment failed and the sale was cancelled. Here is the link to the 2012 report by The Telegraph before the sale was cancelled.
In 2010 nobody had considered the catalog of the exhibition in New York in 1905 of a Japanese collection where its pairing piece had been photographed and described. This vase has resurfaced. It was sold for HK $ 150M from a lower estimate of HK $ 50M by Sotheby's on October 3, 2018, lot 3001. It differs from the Middlesex specimen by a rarer variant of the reign mark and so may be the master item produced for that pair.
Detailed Description by Grok :
Bainbridges Vase (Lot 800, 2010)
Description & Form
Double-walled reticulated vase with famille rose enameling; pierced body featuring four gilt-rimmed medallions with twin fish (symbolizing marital harmony) among waves, lotus scrolls, and chilong dragons in shaded iron-red on a gilt ground; flared neck and foot with key-fret borders; height 41 cm.
Decoration & Technique
Famille rose enamels with shaded iron-red and gilt details; reticulated band with blue enamel borders; inner wall possibly with related fish motifs (per catalog comparables). Focuses on marine and floral motifs for harmony and abundance.
Provenance & History
Discovered in 2010 during clearance of a Pinner, UK, home (former residence of Emily Newman, d. 2010); inherited by Tony Johnson and family. Attributed to Qianlong imperial kilns; no pre-20th-century provenance noted.
Auction Outcome
Hammer at £43 million, but cancelled; resold privately via Bonhams for ~£25 million in 2013 to a Far Eastern buyer.
Rarity & Significance
Rare yangcai reticulated "jiqingyouyu" (auspicious fish) type; comparables include blue-ground revolving vases in museums. Gained fame as the "Pinner Vase" for its dramatic story.
The most expensive Chinese vase
— King Selorm1 (@Selorm1King) March 13, 2023
In 2010, at an English auction Bainbridges it was sold for a record 85 million dollars. The buyer was an anonymous collector from Beijing and the vase thus returned to the motherland it left in 1860 during the Second Opium War. pic.twitter.com/4ZcrT1avtW
1752 100 Birds
2021 SOLD for RMB 266M by Poly
The manufacturing process of the reticulated revolving vase was arguably the most difficult ever, with the elements being assembled after separate firing. The Qianlong emperor wisely stopped it after pairing the last additional pieces to the production from the first batches.
The technology of the double vase nevertheless remained appealing for offering the most favorable auspices. Such pieces may be identified as turning heart bottles.
One of them, 63 cm high, is among the most massive in that category. The outer belly features a flying phoenix in a scenery. The open work matches the details of the landscape in irregular shapes, which is an additional feat with a higher risk of deformation during the firing. The rotation of the inner cylinder reveals the flock of ten species of auspicious birds in their flight facing the phoenix as a symbol of the harmonious balance of yin and yang.
The Divine Mother Empress Dowager Chongqing was held in very high regard by her son the Qianlong emperor and her 60th birthday in 1752 CE was one of the most lavish events of his reign.
The Imperial archives record that, on the fifth month of Qianlong's 18th year, the emperor commissioned Jingdezhen to fire a turning heart bottle with fighting dragons which was delivered by Tang Ying in the 11th month of the next year after 18 months of labor.
The yangcai vase with the phoenix was not documented. It was certainly prepared in the same period for a filial presenting to the empress dowager who was known to enjoy the story of the '100 birds'. It was sold for £ 330K by Christie's on June 15, 1999, lot 99, and for RMB 266M by Poly on June 7, 2021, lot 5153.
Asking Grok to compare the Qianlong reticulated revolving vase sold by Poly on June 7, 2021, lot 5153 with the example whose sale at Bainbridges in 2010 has been cancelled. Compare their estimated dates of execution.
Overview
Both vases are exceptional examples of imperial Qing dynasty porcelain, specifically reticulated revolving (or rotating) types produced at the Jingdezhen kilns. These innovative designs, featuring an outer pierced (reticulated) shell that allows the inner rotating vase to be viewed through intricate openwork, were developed in the 1740s primarily to delight Emperor Qianlong (r. 1736–1795). They combine technical virtuosity—such as interlocking parts and multi-layered enameling—with auspicious symbolism, making them among the rarest and most prized Chinese ceramics. Only a handful of such vases survive in museum and private collections.
The Poly vase (lot 5153, sold June 7, 2021, at Poly International Auction Co., Beijing) fetched a world-record RMB 265.7 million (US$41.6 million), underscoring its status as a pinnacle of Qianlong craftsmanship. The Bainbridges example (offered November 11, 2010, at Bainbridges auction house, Ruislip, UK, as lot 800) achieved a hammer price of £43 million (approx. £53.1 million including premium), but the sale was cancelled due to the buyer's refusal to pay the auction house's 20% fee; it later sold privately for around £25 million in 2013.
While both share the Qianlong reign mark and period attribution, they differ in decoration, form, and specific provenance details.
Detailed description
Poly Vase (Lot 5153, 2021)
Description & Form
Four-piece construction: ruby-ground outer reticulated shell with carved openwork depicting phoenix scenes amid foliage and landscapes; inner baluster-form rotating vase with painted figural elements visible through the lattice; elegant tapering neck with archaistic kui dragon handles; overall height approx. 40–45 cm (estimated from images and comparables).
Decoration & Technique
Yangcai (foreign enamels) palette on ruby ground; intricate carved openwork (reticulation) for light transmission; revolving mechanism reveals inner scenes; combines reticulation, interlocking, and rotation—extremely rare fusion. Symbolism evokes imperial auspiciousness (phoenix for prosperity).
Provenance & History
Acquired by a veteran collector in 1999; exhibited in Poly's "Qianlong Palace Art" show prior to sale. No earlier imperial palace links documented publicly.
Auction Outcome
Sold successfully to an undisclosed buyer; set record for most expensive ceramic ever auctioned.
Rarity & Significance
One of only two known large-scale revolving phoenix examples (other in private Hong Kong collection); hailed as "world's most expensive ceramic" for its technical innovation.
Comparison of Estimated Dates of Execution
Both vases bear the six-character underglaze blue seal mark "Da Qing Qianlong Nian Zhi" (Made during the Qianlong reign of the Great Qing), confirming their attribution to the Qianlong period (1736–1795). Auction catalogs and expert analyses (e.g., from Sotheby's and Poly) describe them as definitively "Qianlong mark and period," with no doubts about authenticity raised. This places their execution squarely within the mid-to-late 18th century, during the height of Qianlong's patronage of porcelain innovation.
The technology of the double vase nevertheless remained appealing for offering the most favorable auspices. Such pieces may be identified as turning heart bottles.
One of them, 63 cm high, is among the most massive in that category. The outer belly features a flying phoenix in a scenery. The open work matches the details of the landscape in irregular shapes, which is an additional feat with a higher risk of deformation during the firing. The rotation of the inner cylinder reveals the flock of ten species of auspicious birds in their flight facing the phoenix as a symbol of the harmonious balance of yin and yang.
The Divine Mother Empress Dowager Chongqing was held in very high regard by her son the Qianlong emperor and her 60th birthday in 1752 CE was one of the most lavish events of his reign.
The Imperial archives record that, on the fifth month of Qianlong's 18th year, the emperor commissioned Jingdezhen to fire a turning heart bottle with fighting dragons which was delivered by Tang Ying in the 11th month of the next year after 18 months of labor.
The yangcai vase with the phoenix was not documented. It was certainly prepared in the same period for a filial presenting to the empress dowager who was known to enjoy the story of the '100 birds'. It was sold for £ 330K by Christie's on June 15, 1999, lot 99, and for RMB 266M by Poly on June 7, 2021, lot 5153.
Asking Grok to compare the Qianlong reticulated revolving vase sold by Poly on June 7, 2021, lot 5153 with the example whose sale at Bainbridges in 2010 has been cancelled. Compare their estimated dates of execution.
Overview
Both vases are exceptional examples of imperial Qing dynasty porcelain, specifically reticulated revolving (or rotating) types produced at the Jingdezhen kilns. These innovative designs, featuring an outer pierced (reticulated) shell that allows the inner rotating vase to be viewed through intricate openwork, were developed in the 1740s primarily to delight Emperor Qianlong (r. 1736–1795). They combine technical virtuosity—such as interlocking parts and multi-layered enameling—with auspicious symbolism, making them among the rarest and most prized Chinese ceramics. Only a handful of such vases survive in museum and private collections.
The Poly vase (lot 5153, sold June 7, 2021, at Poly International Auction Co., Beijing) fetched a world-record RMB 265.7 million (US$41.6 million), underscoring its status as a pinnacle of Qianlong craftsmanship. The Bainbridges example (offered November 11, 2010, at Bainbridges auction house, Ruislip, UK, as lot 800) achieved a hammer price of £43 million (approx. £53.1 million including premium), but the sale was cancelled due to the buyer's refusal to pay the auction house's 20% fee; it later sold privately for around £25 million in 2013.
While both share the Qianlong reign mark and period attribution, they differ in decoration, form, and specific provenance details.
Detailed description
Poly Vase (Lot 5153, 2021)
Description & Form
Four-piece construction: ruby-ground outer reticulated shell with carved openwork depicting phoenix scenes amid foliage and landscapes; inner baluster-form rotating vase with painted figural elements visible through the lattice; elegant tapering neck with archaistic kui dragon handles; overall height approx. 40–45 cm (estimated from images and comparables).
Decoration & Technique
Yangcai (foreign enamels) palette on ruby ground; intricate carved openwork (reticulation) for light transmission; revolving mechanism reveals inner scenes; combines reticulation, interlocking, and rotation—extremely rare fusion. Symbolism evokes imperial auspiciousness (phoenix for prosperity).
Provenance & History
Acquired by a veteran collector in 1999; exhibited in Poly's "Qianlong Palace Art" show prior to sale. No earlier imperial palace links documented publicly.
Auction Outcome
Sold successfully to an undisclosed buyer; set record for most expensive ceramic ever auctioned.
Rarity & Significance
One of only two known large-scale revolving phoenix examples (other in private Hong Kong collection); hailed as "world's most expensive ceramic" for its technical innovation.
Comparison of Estimated Dates of Execution
Both vases bear the six-character underglaze blue seal mark "Da Qing Qianlong Nian Zhi" (Made during the Qianlong reign of the Great Qing), confirming their attribution to the Qianlong period (1736–1795). Auction catalogs and expert analyses (e.g., from Sotheby's and Poly) describe them as definitively "Qianlong mark and period," with no doubts about authenticity raised. This places their execution squarely within the mid-to-late 18th century, during the height of Qianlong's patronage of porcelain innovation.
- Specific Estimates:
- Poly Vase: Dated broadly to the Qianlong period (1736–1795), with emphasis on the 1740s–1750s based on stylistic and technical comparables. Revolving vases were a novel invention around 1740 to satisfy the emperor's fascination with jade-like interlocking mechanisms in ceramics. The yangcai enameling and ruby ground align with peak production in the 1750s, when foreign enamel techniques were perfected at Jingdezhen.
- Bainbridges Vase: Similarly dated to the Qianlong period (1736–1795), with catalog notes highlighting enameling styles from the mid-18th century (circa 1740s–1760s). The famille rose palette and reticulated motifs match documented imperial orders from the 1750s, though some experts note the gilt-heavy borders as slightly later within the reign (post-1750).
- Similarities in Dating: No meaningful difference exists; both are estimated to the same reign (mid-18th century, ~1740–1760). This reflects the standardized imperial production under Qianlong, where such complex pieces were made in limited numbers for the palace. Variations in ground color (ruby vs. potentially yellow/blue for Bainbridges comparables) or motifs do not shift the timeline, as these were experimental within the same decade-spanning workshop.
- Differences in Dating Precision: The Poly vase benefits from more recent scholarly scrutiny (e.g., Poly's 2021 exhibition), tying it explicitly to the 1740s innovation phase. The Bainbridges vase's 2010 catalog relies on traditional connoisseurship, with looser "Qianlong period" phrasing, but post-cancellation analyses (e.g., by Bonhams in 2013) reaffirm the mid-18th century without revision.
Undated Qianlong Double Gourd Vase
2010 SOLD for HK$ 253M by Sotheby's
A vase was sold for HK $ 253M by Sotheby's on October 7, 2010 from a lower estimate of HK $ 30M, lot 2126.
This 40 cm high double gourd vase without handles bears the Qianlong imperial mark. By its design and execution, it is a magnificent example of the yangcai in the techniques and styles of Jingdezhen with its pale yellow background, a long cylindrical slender neck above the upper bulb and sgraffiato incisions.
This piece is enamel painted with flowers including lotus, peonies and hibiscus and with foliate scrolls. The large lower bulb is centered at both sides with a pink double lotus bloom in the style of Giuseppe Castiglione. Symbols of longevity are displayed in two gold medallions. The interior is glazed in bright turquoise.
Designed in Beijing around 1741 CE, the sgraffiato becomes in Jingdezhen a dense pattern of scrollwork deeply applied on the monochrome background for reminding a rich brocade.
Grok thought from an ArtHitParade tweet :
This 40 cm high double gourd vase without handles bears the Qianlong imperial mark. By its design and execution, it is a magnificent example of the yangcai in the techniques and styles of Jingdezhen with its pale yellow background, a long cylindrical slender neck above the upper bulb and sgraffiato incisions.
This piece is enamel painted with flowers including lotus, peonies and hibiscus and with foliate scrolls. The large lower bulb is centered at both sides with a pink double lotus bloom in the style of Giuseppe Castiglione. Symbols of longevity are displayed in two gold medallions. The interior is glazed in bright turquoise.
Designed in Beijing around 1741 CE, the sgraffiato becomes in Jingdezhen a dense pattern of scrollwork deeply applied on the monochrome background for reminding a rich brocade.
Grok thought from an ArtHitParade tweet :
- This 2010 X post by @ArtHitParade highlights a record-breaking Sotheby's Hong Kong auction of Qing imperial porcelains from J.T. Tai & Co., where a yellow-ground famille-rose double-gourd Qianlong vase sold for HK$253 million, the highest price for Chinese porcelain at the time.
- A pair of famille-rose floral medallion Qianlong vases achieved HK$140 million in the same sale, driving the 13-lot total to HK$666 million and signaling peak demand from Chinese collectors amid economic growth.
- The vases exemplify Qianlong-era (1735–1796) enameling mastery, blending European overglaze techniques with imperial motifs, which fueled a surge in Asian art values—porcelain prices rose over 300% from 2000 to 2010 per Artprice data.
1760 Le Melon entamé by Chardin
2024 SOLD for € 26.7M by Christie's, Unpaid
Chardin is appointed in 1755 trésorier of the Académie royale de peinture et de sculpture. In 1757 he is granted by King Louis XV an apartment in the Galeries du Louvre. He is also the tapissier of the annual Salon de peinture et de sculpture, in charge of the arrangement of the selected artworks.
Busy with these official functions and financially secure, Chardin executes still lifes in a new style started in 1748, very different from his earlier depictions of dead games, and closer to classical Dutch arrangements. He is more attentive to reflections, to light. The colors are less impastoed. The artist is more interested in volumes and composition than in details. The subjects are varied : game, fruits, bouquets, pots, jars, glasses.
Le Bocal d'abricots, painted and dated by Chardin in 1758, is an oval oil on canvas 57 x 51 cm. This marble table top is featuring glasses, pieces of bread, a knife, cups, a tambourine and a tied package placed around a jar containing apricots.
Le Bocal d'abricots was owned by the Parisian goldsmith and silversmith Jacques Roettiers. In 1760 Chardin executed and dated a pendant still life for this patron, in the same oval format.
On the same table top, two bottles and a pitcher surround a sliced melon, some peaches, plums and two pears. The freshly cut slice balanced precariously on top of the melon predated by 120 years the precarious arrangements of Cézanne's tabletops. The warm palette has been described by Rosenberg as a "mysterious half light". The image is shared by Wikimedia.
Both works were exhibited at the Salon de Peinture et de Sculpture in 1761 and illustrated by Saint-Aubin in the catalogue.
Coming from the former Marcille collection and a Rothschild provenance, Le Melon entamé was sold for € 26.7M from a lower estimate of € 8M by Christie's on June 12, 2024, lot 5.
An identical replica executed by the workshop in 1763 is owned by the Musée du Louvre.
Le Panier de fraises des bois, oil on canvas 38 x 46 cm, was also released for the Salon de 1761 and illustrated by Saint-Aubin in the livret of that exhibition. It displays a stack of wild strawberries as a spectacular conical tabletop in a basket. That vivid red fruit had been Coorte's preferred pictorial theme. It was sold for € 24.4M by Artcurial on March 23, 2022, lot 15. Please watch the video shared by the auction house.
Busy with these official functions and financially secure, Chardin executes still lifes in a new style started in 1748, very different from his earlier depictions of dead games, and closer to classical Dutch arrangements. He is more attentive to reflections, to light. The colors are less impastoed. The artist is more interested in volumes and composition than in details. The subjects are varied : game, fruits, bouquets, pots, jars, glasses.
Le Bocal d'abricots, painted and dated by Chardin in 1758, is an oval oil on canvas 57 x 51 cm. This marble table top is featuring glasses, pieces of bread, a knife, cups, a tambourine and a tied package placed around a jar containing apricots.
Le Bocal d'abricots was owned by the Parisian goldsmith and silversmith Jacques Roettiers. In 1760 Chardin executed and dated a pendant still life for this patron, in the same oval format.
On the same table top, two bottles and a pitcher surround a sliced melon, some peaches, plums and two pears. The freshly cut slice balanced precariously on top of the melon predated by 120 years the precarious arrangements of Cézanne's tabletops. The warm palette has been described by Rosenberg as a "mysterious half light". The image is shared by Wikimedia.
Both works were exhibited at the Salon de Peinture et de Sculpture in 1761 and illustrated by Saint-Aubin in the catalogue.
Coming from the former Marcille collection and a Rothschild provenance, Le Melon entamé was sold for € 26.7M from a lower estimate of € 8M by Christie's on June 12, 2024, lot 5.
An identical replica executed by the workshop in 1763 is owned by the Musée du Louvre.
Le Panier de fraises des bois, oil on canvas 38 x 46 cm, was also released for the Salon de 1761 and illustrated by Saint-Aubin in the livret of that exhibition. It displays a stack of wild strawberries as a spectacular conical tabletop in a basket. That vivid red fruit had been Coorte's preferred pictorial theme. It was sold for € 24.4M by Artcurial on March 23, 2022, lot 15. Please watch the video shared by the auction house.
Asking Grok to compare Panier de Fraises des Bois by Chardin, sold by Artcurial on March 23, 2022, lot 15, with Le Melon entamé, sale cancelled for buyer's default after sold by Christie's on June 12, 2024, lot 5.
Overview
Both Panier de Fraises des Bois (The Basket of Wild Strawberries, c. 1761) and Le Melon Entamé (The Cut Melon, 1760) are masterpieces of still-life painting by Jean-Siméon Chardin (1699–1779), the preeminent French artist of intimate domestic scenes and everyday objects. Created at the peak of his career, these oval and rectangular compositions respectively showcase Chardin's mastery of light, texture, and subtle color harmonies, evoking a sense of quiet poetry and suspended time. They were both exhibited at the Paris Salon of 1761--Le Melon Entamé as a pendant to Le Bocal d’Abricots (now in the Art Gallery of Ontario), and Panier de Fraises des Bois independently—and share a provenance tied to the renowned Marcille collection, which amassed over 4,500 works by 18th-century French masters. These paintings highlight Chardin's influence from 17th-century Dutch still lifes, rendered with impasto techniques and soft, diffused lighting that imbues humble fruits and vessels with almost tactile presence.
Their auction histories reflect surging institutional interest in Chardin, with both setting records for the artist and 18th-century French Old Masters, though Le Melon Entamé's path was complicated by post-sale drama.
Date and Exhibition
Panier : c. 1761; exhibited at Salon of 1761 (catalogue no. 46).
Melon : 1760, signed and dated 'Chardin 1760'; exhibited at Salon of 1761 (with pendant Le Bocal d’Abricots).
Medium and DimensionsO
Panier : Oil on canvas; 38 x 46 cm (rectangular).
Melon : Oil on canvas; 57 x 51.5 cm (oval format, echoing the melon's shape).
Subject and Composition
Panier : A pyramidal basket of wild strawberries on a stone ledge, flanked by a glass of white wine, cherries, peaches, and two white carnations; simple geometric balance in white, red, and soft neutrals, with a diagonal flourish from the flowers for modern abstraction.
Melon : A sliced melon on a table, accompanied by greengage plums, peaches in a basket, two corked liqueur bottles, pears, and a flower-decorated ceramic pitcher; dynamic yet poised oval arrangement, with nuanced light creating buoyancy and volume amid rich greens, golds, and translucent flesh.
Artistic Significance
Panier : Iconic for its "extreme simplicity" and "audacious execution," blending silence and meditation; comparable to Panier de Prunes (Louvre) for its pyramidal form and peak-period assurance. Critics praise its "frank white-and-red accord" as unforgettable and proto-modern.
Melon : Monumental in scale and preservation; a "pure pictorial poetry" encapsulating Chardin's late genius in glazing, atmosphere, and half-light; invites tactile engagement with objects' weight and luster. One of his largest still lifes, rivaling Raymure à la Serviette for enveloping mellow light.
Provenance Highlights
Panier : Marcille collection (from 1862); remained in family until 2022; rediscovered in 19th century after obscurity.
Melon : Marcille collection (post-1876 sale); acquired by Baroness Nathaniel de Rothschild; descended through Rothschild heirs until 2024.
Auction Details
Panier : Artcurial, Paris, March 23, 2022, lot 15 (Maître Matthieu Fournier, with expert Éric Turquin).
Melon : Christie's, Paris, June 12, 2024, lot 5 (auctioneer Camille de Foresta).
Buyer and Outcome
Panier : New York dealer Adam Williams (on behalf of Kimbell Art Museum, Fort Worth); resold privately to Louvre in February 2024 for undisclosed sum (preempted export).
Melon : Italian investor Nanni Bassani Antivari; sale cancelled due to buyer's default (no payment); Christie's pursued legal action; repurchased by Rothschild heirs and sold privately to Kimbell Art Museum in 2025.
Market Impact
Panier : Set artist's record (until 2024); sparked French export debate and Louvre acquisition, affirming Chardin's rising status.
Melon : Surpassed prior record; most expensive Old Master and 18th-century French work sold in France (2024); default highlighted risks in high-value bids, but boosted Chardin's profile with Kimbell acquisition.
Similarities:
Both works exemplify Chardin's late style—effortless yet rigorous compositions of recurring motifs (e.g., fruits like peaches and plums, reflective glass)—elevating the mundane to the sublime. Their 2022–2024 sales underscore a "Chardin renaissance," driven by museum demand and the artist's underrepresentation in public collections relative to peers like Watteau. Provenance from elite French dynasties (Marcille/Rothschild) adds luster, and both were marketed as "rediscovered" gems from private holdings.
Differences:
Panier de Fraises des Bois emphasizes minimalist geometry and bold color restraint, suiting its smaller scale and rectangular format for intimate contemplation. Le Melon Entamé, larger and oval, feels more expansive and sensual, with deeper atmospheric effects and a pendant history that amplifies its narrative weight. Auction-wise, Le Melon's higher hammer reflected greater scarcity (fewer major Chardins remain private) and hype post-Panier's sale, but its default introduced rare auction-house vulnerability—contrasting Panier's smooth institutional transfer. Ultimately, both now enrich U.S. museums (Kimbell holds both indirectly via sales), ensuring Chardin's legacy endures beyond borders.
Overview
Both Panier de Fraises des Bois (The Basket of Wild Strawberries, c. 1761) and Le Melon Entamé (The Cut Melon, 1760) are masterpieces of still-life painting by Jean-Siméon Chardin (1699–1779), the preeminent French artist of intimate domestic scenes and everyday objects. Created at the peak of his career, these oval and rectangular compositions respectively showcase Chardin's mastery of light, texture, and subtle color harmonies, evoking a sense of quiet poetry and suspended time. They were both exhibited at the Paris Salon of 1761--Le Melon Entamé as a pendant to Le Bocal d’Abricots (now in the Art Gallery of Ontario), and Panier de Fraises des Bois independently—and share a provenance tied to the renowned Marcille collection, which amassed over 4,500 works by 18th-century French masters. These paintings highlight Chardin's influence from 17th-century Dutch still lifes, rendered with impasto techniques and soft, diffused lighting that imbues humble fruits and vessels with almost tactile presence.
Their auction histories reflect surging institutional interest in Chardin, with both setting records for the artist and 18th-century French Old Masters, though Le Melon Entamé's path was complicated by post-sale drama.
Date and Exhibition
Panier : c. 1761; exhibited at Salon of 1761 (catalogue no. 46).
Melon : 1760, signed and dated 'Chardin 1760'; exhibited at Salon of 1761 (with pendant Le Bocal d’Abricots).
Medium and DimensionsO
Panier : Oil on canvas; 38 x 46 cm (rectangular).
Melon : Oil on canvas; 57 x 51.5 cm (oval format, echoing the melon's shape).
Subject and Composition
Panier : A pyramidal basket of wild strawberries on a stone ledge, flanked by a glass of white wine, cherries, peaches, and two white carnations; simple geometric balance in white, red, and soft neutrals, with a diagonal flourish from the flowers for modern abstraction.
Melon : A sliced melon on a table, accompanied by greengage plums, peaches in a basket, two corked liqueur bottles, pears, and a flower-decorated ceramic pitcher; dynamic yet poised oval arrangement, with nuanced light creating buoyancy and volume amid rich greens, golds, and translucent flesh.
Artistic Significance
Panier : Iconic for its "extreme simplicity" and "audacious execution," blending silence and meditation; comparable to Panier de Prunes (Louvre) for its pyramidal form and peak-period assurance. Critics praise its "frank white-and-red accord" as unforgettable and proto-modern.
Melon : Monumental in scale and preservation; a "pure pictorial poetry" encapsulating Chardin's late genius in glazing, atmosphere, and half-light; invites tactile engagement with objects' weight and luster. One of his largest still lifes, rivaling Raymure à la Serviette for enveloping mellow light.
Provenance Highlights
Panier : Marcille collection (from 1862); remained in family until 2022; rediscovered in 19th century after obscurity.
Melon : Marcille collection (post-1876 sale); acquired by Baroness Nathaniel de Rothschild; descended through Rothschild heirs until 2024.
Auction Details
Panier : Artcurial, Paris, March 23, 2022, lot 15 (Maître Matthieu Fournier, with expert Éric Turquin).
Melon : Christie's, Paris, June 12, 2024, lot 5 (auctioneer Camille de Foresta).
Buyer and Outcome
Panier : New York dealer Adam Williams (on behalf of Kimbell Art Museum, Fort Worth); resold privately to Louvre in February 2024 for undisclosed sum (preempted export).
Melon : Italian investor Nanni Bassani Antivari; sale cancelled due to buyer's default (no payment); Christie's pursued legal action; repurchased by Rothschild heirs and sold privately to Kimbell Art Museum in 2025.
Market Impact
Panier : Set artist's record (until 2024); sparked French export debate and Louvre acquisition, affirming Chardin's rising status.
Melon : Surpassed prior record; most expensive Old Master and 18th-century French work sold in France (2024); default highlighted risks in high-value bids, but boosted Chardin's profile with Kimbell acquisition.
Similarities:
Both works exemplify Chardin's late style—effortless yet rigorous compositions of recurring motifs (e.g., fruits like peaches and plums, reflective glass)—elevating the mundane to the sublime. Their 2022–2024 sales underscore a "Chardin renaissance," driven by museum demand and the artist's underrepresentation in public collections relative to peers like Watteau. Provenance from elite French dynasties (Marcille/Rothschild) adds luster, and both were marketed as "rediscovered" gems from private holdings.
Differences:
Panier de Fraises des Bois emphasizes minimalist geometry and bold color restraint, suiting its smaller scale and rectangular format for intimate contemplation. Le Melon Entamé, larger and oval, feels more expansive and sensual, with deeper atmospheric effects and a pendant history that amplifies its narrative weight. Auction-wise, Le Melon's higher hammer reflected greater scarcity (fewer major Chardins remain private) and hype post-Panier's sale, but its default introduced rare auction-house vulnerability—contrasting Panier's smooth institutional transfer. Ultimately, both now enrich U.S. museums (Kimbell holds both indirectly via sales), ensuring Chardin's legacy endures beyond borders.
Back Home…
— La Gazette Drouot – International (@Gazette_Inter) April 10, 2025
Chardin's ‘Melon entamé’ which sold for the record price of €26.7M is returned to its owners. The painting had been in default since its auction in June 2024 to an Italian Real Estate developer based in Switzerland. Declared insolvent, he was unable to pay. pic.twitter.com/XJE7Rhcu0x
1764 Pacification of the Western Regions by Xu Yang
2021 SOLD for RMB 410M by Poly
From the 20th to 24th year of Qianlong matching 1755 to 1759 CE, the emperor ordered three military campaigns for the control of the border Xinjiang region and the destruction of the Dzungars.
Xu Yang was a court artist. A handscroll 43 x 1860 cm in bright colors on paper is titled Picture of the Presentation of the Captives for the Pacification of the Western Regions. Commissioned by the emperor, it depicts scenes in Beijing during a military ceremony in the Qing palace after the victories. His sense of perspective and figuration were influenced by European art.
This detailed topographic picture leads the viewer from Zhengyang gate to the Forbidden City through Tiananmen Square. Crowds are displayed alongside lines of guards and flag bearers.
According to the archives Xu Yang should have completed this painting before the 29th year of Qianlong's reign, 1764 CE.
This piece was originally displayed with brocade wrapping in the imperial palace and bears several seals of Qianlong. It was sold for RMB 134M by Sungari in 2009 and for RMB 410M by Poly on June 6, 2021, lot 1935 and is illustrated in the post sale report shared by CNN. Two details are illustrated in the tweet below.
Grok thought :
Quote
China in Pictures @tongbingxue May 17, 2021
Maybe the most expensive item in the coming Beijing Spring Auction: Settling Down the Western Regions and Presenting Prisoners, hand scroll by court artist Xu Yang, Qianlong Period (1736-1796), 1,800 cm wide, Poly Auction, POR.
Xu Yang was a court artist. A handscroll 43 x 1860 cm in bright colors on paper is titled Picture of the Presentation of the Captives for the Pacification of the Western Regions. Commissioned by the emperor, it depicts scenes in Beijing during a military ceremony in the Qing palace after the victories. His sense of perspective and figuration were influenced by European art.
This detailed topographic picture leads the viewer from Zhengyang gate to the Forbidden City through Tiananmen Square. Crowds are displayed alongside lines of guards and flag bearers.
According to the archives Xu Yang should have completed this painting before the 29th year of Qianlong's reign, 1764 CE.
This piece was originally displayed with brocade wrapping in the imperial palace and bears several seals of Qianlong. It was sold for RMB 134M by Sungari in 2009 and for RMB 410M by Poly on June 6, 2021, lot 1935 and is illustrated in the post sale report shared by CNN. Two details are illustrated in the tweet below.
Grok thought :
Quote
China in Pictures @tongbingxue May 17, 2021
Maybe the most expensive item in the coming Beijing Spring Auction: Settling Down the Western Regions and Presenting Prisoners, hand scroll by court artist Xu Yang, Qianlong Period (1736-1796), 1,800 cm wide, Poly Auction, POR.
- The post showcases a rare 18-meter-long hand scroll painting by Qing court artist Xu Yang, titled "Settling Down the Western Regions and Presenting Prisoners," depicting Emperor Qianlong's military triumphs and processions in intricate detail across over 200 figures.
- Created during the Qianlong era (1736-1796), the artwork served as imperial propaganda, blending historical events with symbolic elements of harmony and conquest in the western frontiers.
- Auctioned at Poly International in June 2021, it sold for a record 414 million yuan (about $65 million), surpassing its 2009 sale price and ranking among the priciest Chinese paintings ever.
Maybe the most expensive item in the coming Beijing Spring Auction:
— China in Pictures (@tongbingxue) May 17, 2021
Settling Down the Western Regions and Presenting Prisoners,
hand scroll by court artist Xu Yang, Qianlong Period (1736-1796), 1,800 cm wide, Poly Auction, POR. pic.twitter.com/SJqs7nM4DR
1765 Gimcrack by Stubbs
2011 SOLD for £ 22.4M by Christie's
Serving wealthy English aristocrats, George Stubbs specialized in the topic of race horses. On December 8, 2010, Sotheby's sold £ 10.1M a very elegant study of mares and foals in a meadow, painted in 1767.
A horse named Gimcrack was winning most of the races where he was engaged. His portrait was sold for £ 22.4M by Christie's on July 5, 2011, lot 12.
Made around 1765, this broad composition, oil on canvas 102 x 196 cm, simple and effective, is divided into two parts. On the left, Gimcrack shows his beautiful profile, surrounded by a coach, a stable boy and a jockey.
A race is held on the horizon, on the right. A horse is far ahead of his three followers. He is also Gimcrack, of course. He is therefore shown twice on that image that had everything to flatter the sponsor of the work, Lord Bolingbroke, owner of the champion.
Stubbs is very accurate in anatomical detail, but still shows horses galloping with their four legs flying above the ground. This feature, which can be excused one century before the studies of Muybridge, applies here only in the background and provides this work with an undeniable poetic dimension.
A horse named Gimcrack was winning most of the races where he was engaged. His portrait was sold for £ 22.4M by Christie's on July 5, 2011, lot 12.
Made around 1765, this broad composition, oil on canvas 102 x 196 cm, simple and effective, is divided into two parts. On the left, Gimcrack shows his beautiful profile, surrounded by a coach, a stable boy and a jockey.
A race is held on the horizon, on the right. A horse is far ahead of his three followers. He is also Gimcrack, of course. He is therefore shown twice on that image that had everything to flatter the sponsor of the work, Lord Bolingbroke, owner of the champion.
Stubbs is very accurate in anatomical detail, but still shows horses galloping with their four legs flying above the ground. This feature, which can be excused one century before the studies of Muybridge, applies here only in the background and provides this work with an undeniable poetic dimension.
Significance in the artist's career and in horse racing history.
The Painting
George Stubbs' "Gimcrack with John Pratt Up on Newmarket Heath" (oil on canvas, 1765) is one of the most iconic images in British sporting art. It depicts the celebrated racehorse Gimcrack, a small grey colt, with his jockey John Pratt in the colors of his owner, the 2nd Viscount Bolingbroke. In the background Stubbs included a famous “rubbing-down house” (a shelter where horses were cooled off after exercise) on Newmarket Heath, giving the picture a strong sense of place.
The painting was commissioned by Gimcrack’s first important owner, Frederick St John, 2nd Viscount Bolingbroke, and remained in the family until it was sold at Christie’s London on 5 July 2011 for £22,441,250 (approximately $36 million at the time), still the world-record auction price for a British sporting painting and for any work by George Stubbs.
Significance in George Stubbs’ Career
Gimcrack (foaled 1760) was one of the most famous racehorses of the 18th century despite being unusually small (barely 14.1 hands):
When the painting appeared at Christie’s in 2011 after almost 250 years in the same family (Woolavington Collection), it caused a sensation:
The Painting
George Stubbs' "Gimcrack with John Pratt Up on Newmarket Heath" (oil on canvas, 1765) is one of the most iconic images in British sporting art. It depicts the celebrated racehorse Gimcrack, a small grey colt, with his jockey John Pratt in the colors of his owner, the 2nd Viscount Bolingbroke. In the background Stubbs included a famous “rubbing-down house” (a shelter where horses were cooled off after exercise) on Newmarket Heath, giving the picture a strong sense of place.
The painting was commissioned by Gimcrack’s first important owner, Frederick St John, 2nd Viscount Bolingbroke, and remained in the family until it was sold at Christie’s London on 5 July 2011 for £22,441,250 (approximately $36 million at the time), still the world-record auction price for a British sporting painting and for any work by George Stubbs.
Significance in George Stubbs’ Career
- This is arguably Stubbs’ most famous single horse portrait and the one that cemented his reputation as the greatest painter of racehorses in history.
- Painted in 1765, it came at the absolute peak of Stubbs’ powers, shortly after the publication of his revolutionary book The Anatomy of the Horse (1766), which had established him as both an artist and a serious equine anatomist.
- The picture shows Stubbs’ mature style in full: astonishingly accurate anatomy combined with luminous atmospheric effects, subtle greys and silvers in the horse’s coat, and a low horizon that makes the horse appear heroic against the vast Suffolk sky.
- It was one of the first paintings in which Stubbs placed a named, contemporary Thoroughbred in a specific landscape setting rather than the more generic parkland backgrounds of earlier portraits. This innovation became his signature format and influenced generations of sporting artists.
- Gimcrack was exhibited at the Society of Artists in 1766 (one of only three paintings Stubbs ever exhibited in his lifetime), bringing him enormous publicity at exactly the moment he was establishing his independent studio in London.
Gimcrack (foaled 1760) was one of the most famous racehorses of the 18th century despite being unusually small (barely 14.1 hands):
- He raced an extraordinary 36 times between 1764 and 1771 and won 27 of those races (a remarkable record for the era of long-distance heat racing).
- His most celebrated victory was beating the previously unbeaten Pontac over four-mile heats at Newmarket in 1765 — the year Stubbs painted him.
- In 1768 he was sold to the Comte de Lauraguais and exported to France, where he won several races and became the first British horse to race successfully on the Continent, helping spread the fashion for English Thoroughbreds in Europe.
- After retirement he stood as a stallion in England again and sired a number of good runners, though he is more important historically than as a sire.
- Gimcrack’s fame was such that the Gimcrack Stakes (now a prestigious Group 2 race for two-year-olds at York) has been named after him since 1846, and the Gimcrack Dinner, one of the most important social events in British racing, is still held annually by the York Gimcrack Club.
When the painting appeared at Christie’s in 2011 after almost 250 years in the same family (Woolavington Collection), it caused a sensation:
- It shattered the previous record for Stubbs (£10.1 million for “Broodmares and Foals” in 1996).
- It remains the most expensive sporting picture and the most expensive Old Master painting ever sold at auction in London.
- It was bought by an anonymous bidder (later revealed to be the British art dealer Simon Dickinson acting for a private collector) and is now on long-term loan to the National Horseracing Museum in Newmarket, where it can be seen by the public.
#GeorgeStubbs was born #OTD in 1724. We sold Gimcrack on Newmarket Heath in 2011 for £22,441,250 #WorldAuctionRecord #artistbirthday pic.twitter.com/B7fCB2eivD
— Christie's (@ChristiesInc) August 25, 2017
1768 The Rialto by GUARDI
Intro
The death of Canaletto in April 1768 generates great ambitions to Francesco Guardi suddenly becoming the best supplier of the British tourists.
A pair of oils on canvases is unique in the history of the vedutas by the conjunction of their monumental dimension, 120 x 204 cm each, with the maturity of Guardi. The canvases are wider than the looms in use at that time and a nearly invisible seam had been needed in the lower part of the image.
They show the commercial district of Venice, the Rialto, on the Grand Canal on both sides of its spectacular single arched covered bridge which housed shops. The dense and gentle animation is typical of Guardi but the cloudy atmosphere and contrasting sunlight are worthy of Canaletto.
The sequence of monuments is correct but these panoramas are too wide to respect a unique perspective. The large format brings an abundance of details and an exceptional vision of the Venetian atmosphere.
The first owner was a young British aristocrat who had his tour in 1768, arriving in August in Venice. Guardi worked from the collection of his autograph drawings and the configuration of the monuments does not provide a terminus post quem.
A pair of oils on canvases is unique in the history of the vedutas by the conjunction of their monumental dimension, 120 x 204 cm each, with the maturity of Guardi. The canvases are wider than the looms in use at that time and a nearly invisible seam had been needed in the lower part of the image.
They show the commercial district of Venice, the Rialto, on the Grand Canal on both sides of its spectacular single arched covered bridge which housed shops. The dense and gentle animation is typical of Guardi but the cloudy atmosphere and contrasting sunlight are worthy of Canaletto.
The sequence of monuments is correct but these panoramas are too wide to respect a unique perspective. The large format brings an abundance of details and an exceptional vision of the Venetian atmosphere.
The first owner was a young British aristocrat who had his tour in 1768, arriving in August in Venice. Guardi worked from the collection of his autograph drawings and the configuration of the monuments does not provide a terminus post quem.
1
Northward
2011 SOLD for £ 26.7M by Sotheby's
The pair was separated. The view taken northward was sold by Sotheby's for £ 26.7M on July 6, 2011.
Grok thought from an ArtHitParade tweet :
Grok thought from an ArtHitParade tweet :
- This 2011 post by @ArtHitParade
announces the £23.8 million hammer price sale at Sotheby's London for Francesco Guardi's 1768 oil "Venice, a View of the Rialto Bridge, Looking North, from the Fondamenta del Carbon," setting an auction record for Venice-themed paintings at the time. - Guardi, a leading Venetian vedutista (1712–1793), crafted this large-scale masterpiece late in his career, emphasizing luminous atmospheres and architectural details that influenced later Romantic artists like Turner.
- The painting formed one half of a pendant pair owned by the Guinness family; its counterpart sold at Christie's the next day, while this piece faced a 2011 UK export bar to encourage national retention amid rising global interest in 18th-century Italian views.
2
with the Palazzo dei Camerlenghi
2017 SOLD for £ 26M by Christie's
The view in the reverse direction with the Palazzo dei Camerlenghi was sold for £ 26M from a lower estimate of £ 15M on July 6, 2017 by Christie's, lot 25.
Grok thought :
Quote
Christie's Paris @christiesparis Jun 12, 2017
Une toile monumentale (122x200cm) de Francesco Guardi fait partie de la vente Old Master à Londres le 6/07 http://ow.ly/Nvi430cwaxT
Grok thought :
Quote
Christie's Paris @christiesparis Jun 12, 2017
Une toile monumentale (122x200cm) de Francesco Guardi fait partie de la vente Old Master à Londres le 6/07 http://ow.ly/Nvi430cwaxT
- This 2017 post from Christie's Paris highlights a monumental Venetian veduta, "The Rialto Bridge with the Palazzo dei Camerlenghi" by Francesco Guardi, a leading lot in their London Old Masters sale on July 6.
- The 122x200cm oil on canvas, capturing Venice's bustling Grand Canal with atmospheric precision typical of Guardi's late-18th-century style, estimated at up to £25 million.
- It sold for £26.2 million—a record for Guardi and the top Old Master price that year—previously owned by collector Sir Edward Guinness and reflecting Venice's fading grandeur amid economic decline.
Une toile monumentale (122x200cm) de Francesco Guardi fait partie de la vente Old Master à Londres le 6/07 https://t.co/99ODYfvEzn pic.twitter.com/hHqqm8dzHo
— Christie's Paris (@christiesparis) June 12, 2017
1787 US Constitution
2021 SOLD for $ 43M by Sotheby's
Eleven years after the Declaration of Independence, the USA still needed to have a federal law accepted by the thirteen states. They were tentatively ruled since 1781 by the Articles of Confederation.
The Constitutional Convention met in Philadelphia from May 25, 1787 with George Washington as president. The final version of the US Constitution established by the committee was signed on September 17 by 39 of the 55 delegates.
The text was immediately edited in 500 copies for the use of delegates and congressmen. No public release was suitable at that time as it still had to be ratified by the federal Congress and the states. The 6-page 41 x 26 cm document printed by John Dunlap in partnership with David Claypoole includes in appendix the list of delegates who voted for it and a copy of Washington's letter urging the ratification by the Congress.
This original US Constitution is still in force today without fundamental changes. Such an unprecedented longevity is due to the remarkable political insight of the delegates who prepared it under the leadership of James Madison and Alexander Hamilton and to the foreseen capability to amend it as necessary.
Thirteen copies are surviving. One of them was sold for $ 43M from a lower estimate of $ 15M by Sotheby's on November 18, 2021, lot 1787. Please watch the video shared by the auction house.
This piece is the top highlight from the collection of S. Howard Goldman and his widow Dorothy. It is sold for the benefit of the Dorothy Tapper Goldman Foundation whose aim is to advance the principles of America’s founding documents through educational programs. Mrs Goldman introduces her collection and educational purpose in the video shared by Sotheby's.
From the same collection, a copy of the first separate printing of the so called Bill of Rights was sold for $ 1.53M from a lower estimate of $ 700K by Sotheby's on November 23, 2021, lot 71.
This 3-page 34 x 21 cm document is dated August 24, 1789. It was prepared for proposing to the Congress a resolution of amendments to the US Constitution. Such articles had been desired by US citizens for preventing the government to infringe the basic individual rights. They were approved on September 26, 1789 and constitute the Third to Twelfth Amendments.
The underbidder for the US Constitution had been an organization just created for the express purpose of raising money to acquire it. They gathered more than 17,000 contributors who, in a matter of only weeks, raised more than $ 40 million, not enough against the winning bidder, the fund manager Kenneth C. Griffin.
The Constitutional Convention met in Philadelphia from May 25, 1787 with George Washington as president. The final version of the US Constitution established by the committee was signed on September 17 by 39 of the 55 delegates.
The text was immediately edited in 500 copies for the use of delegates and congressmen. No public release was suitable at that time as it still had to be ratified by the federal Congress and the states. The 6-page 41 x 26 cm document printed by John Dunlap in partnership with David Claypoole includes in appendix the list of delegates who voted for it and a copy of Washington's letter urging the ratification by the Congress.
This original US Constitution is still in force today without fundamental changes. Such an unprecedented longevity is due to the remarkable political insight of the delegates who prepared it under the leadership of James Madison and Alexander Hamilton and to the foreseen capability to amend it as necessary.
Thirteen copies are surviving. One of them was sold for $ 43M from a lower estimate of $ 15M by Sotheby's on November 18, 2021, lot 1787. Please watch the video shared by the auction house.
This piece is the top highlight from the collection of S. Howard Goldman and his widow Dorothy. It is sold for the benefit of the Dorothy Tapper Goldman Foundation whose aim is to advance the principles of America’s founding documents through educational programs. Mrs Goldman introduces her collection and educational purpose in the video shared by Sotheby's.
From the same collection, a copy of the first separate printing of the so called Bill of Rights was sold for $ 1.53M from a lower estimate of $ 700K by Sotheby's on November 23, 2021, lot 71.
This 3-page 34 x 21 cm document is dated August 24, 1789. It was prepared for proposing to the Congress a resolution of amendments to the US Constitution. Such articles had been desired by US citizens for preventing the government to infringe the basic individual rights. They were approved on September 26, 1789 and constitute the Third to Twelfth Amendments.
The underbidder for the US Constitution had been an organization just created for the express purpose of raising money to acquire it. They gathered more than 17,000 contributors who, in a matter of only weeks, raised more than $ 40 million, not enough against the winning bidder, the fund manager Kenneth C. Griffin.
Relying on the document sold by Sotheby's on November 18, 2021, lot 1787, define the importance of the US Constitution, including worldwide legacy.
The document sold at Sotheby's on November 18, 2021 (lot from a dedicated single-lot auction, often referenced in context with related sales), was an exceptionally rare first printing of the final text of the United States Constitution. Printed in approximately 500 copies in September 1787 by Dunlap & Claypoole for submission to the Continental Congress and delegates to the Constitutional Convention, it represents the "Official Edition"—the first public dissemination of the Constitution's finalized wording after its adoption in Philadelphia.
Only 11–13 surviving copies are known today, with this one (from the Dorothy Tapper Goldman collection) being the last in private hands at the time; it sold for a record $43.2 million.
Importance of the US Constitution
This printing embodies the foundational moment of American governance. As described in Sotheby's materials and expert commentary (e.g., by Selby Kiffer), it marks the transition from debate over the Constitution's content to the ratification process, replacing the ineffective Articles of Confederation. It is regarded as the oldest continuing codified national charter in the world, establishing a durable framework for a federal republic with separated powers, checks and balances, and (later via amendments) protected individual rights. Sotheby's specialists emphasized it as "unequivocally the most significant document in United States history," the ultimate expression of democratic principles that transformed colonists into a unified nation and has endured for over 235 years through 27 amendments.
Worldwide Legacy
The U.S. Constitution's global influence is profound, serving as a model for written constitutions, federalism, separation of powers, judicial review, and rights protections. It inspired 19th-century Latin American constitutions, post-WWII documents in Germany and Japan, and many others in emerging democracies (e.g., Philippines, India). Studies note similarities in phrasing and principles in numerous national charters, promoting rule of law and limited government. While its direct influence has waned since the late 20th century (as newer constitutions incorporate broader social rights), it remains a benchmark for democratic governance worldwide, often called the primary influence on modern constitutionalism. As Sotheby's noted in related sales, it "will continue to influence the future of democratic principles in America and around the world."
The document sold at Sotheby's on November 18, 2021 (lot from a dedicated single-lot auction, often referenced in context with related sales), was an exceptionally rare first printing of the final text of the United States Constitution. Printed in approximately 500 copies in September 1787 by Dunlap & Claypoole for submission to the Continental Congress and delegates to the Constitutional Convention, it represents the "Official Edition"—the first public dissemination of the Constitution's finalized wording after its adoption in Philadelphia.
Only 11–13 surviving copies are known today, with this one (from the Dorothy Tapper Goldman collection) being the last in private hands at the time; it sold for a record $43.2 million.
Importance of the US Constitution
This printing embodies the foundational moment of American governance. As described in Sotheby's materials and expert commentary (e.g., by Selby Kiffer), it marks the transition from debate over the Constitution's content to the ratification process, replacing the ineffective Articles of Confederation. It is regarded as the oldest continuing codified national charter in the world, establishing a durable framework for a federal republic with separated powers, checks and balances, and (later via amendments) protected individual rights. Sotheby's specialists emphasized it as "unequivocally the most significant document in United States history," the ultimate expression of democratic principles that transformed colonists into a unified nation and has endured for over 235 years through 27 amendments.
Worldwide Legacy
The U.S. Constitution's global influence is profound, serving as a model for written constitutions, federalism, separation of powers, judicial review, and rights protections. It inspired 19th-century Latin American constitutions, post-WWII documents in Germany and Japan, and many others in emerging democracies (e.g., Philippines, India). Studies note similarities in phrasing and principles in numerous national charters, promoting rule of law and limited government. While its direct influence has waned since the late 20th century (as newer constitutions incorporate broader social rights), it remains a benchmark for democratic governance worldwide, often called the primary influence on modern constitutionalism. As Sotheby's noted in related sales, it "will continue to influence the future of democratic principles in America and around the world."
1791 The Pearls of Queen Marie-Antoinette
2018 SOLD for CHF 36.4M by Sotheby's
For her marriage to the future King Louis XVI, Marie-Antoinette received an impressive quantity of diamonds, rubies and pearls from her mother, the Empress Marie Therese, and from her husband's grandfather, King Louis XV. She loved jewelry and kept improving her collection.
During early phase of the Revolution, Marie-Antoinette who is still the Queen plans to flee to Austria. In January 1791, helped by her chambermaid, she prepares a cassette with her favorite jewelry. The jewels reach Vienna but the king and queen are arrested in Varennes in June 1791.
In 1795 Madame Royale, the only survivor of the children of the royal couple, is freed from the revolutionary prisons and goes into exile in Vienna. The emperor Franz II returns the jewels to her while keeping the rubies in compensation for a pension granted to the princess. In Madame Royale's legacy in 1851, one third of the jewelry is attributed to her niece Louise, Duchess of Parma.
Around 1930 Marie-Anne of Austria, wife of the acting Duke of Parma, describes in an inventory four jewels in pearls and diamonds of which she attests that they come from Marie-Antoinette. These pieces, which had never been published or exhibited, were included in the auction of the royal jewelry from the Bourbon-Parma collection by Sotheby's on November 14, 2018.
Lot 97, a three-row pearl necklace with a diamond clasp, was sold for CHF 2.3M. The next two lots, a necklace and a pair of earrings, were sold for CHF 450K each.
Lot 100 was a 15.90 x 18.35 x 25.85mm drop shaped pearl assembled in a pendant with a large diamond clasp and a bow of small diamonds. This interesting souvenir of a queen who had desired to live in the utmost luxury was sold for CHF 36.4M from a lower estimate of CHF 1M.
Quote
AntiquesTradeGazette @ATG_Editorial Nov 15, 2018
Marie Antoinette’s pendant sets auction record for a natural pearl at @Sothebys in Geneva: https://atg.news/2PVxhi1
During early phase of the Revolution, Marie-Antoinette who is still the Queen plans to flee to Austria. In January 1791, helped by her chambermaid, she prepares a cassette with her favorite jewelry. The jewels reach Vienna but the king and queen are arrested in Varennes in June 1791.
In 1795 Madame Royale, the only survivor of the children of the royal couple, is freed from the revolutionary prisons and goes into exile in Vienna. The emperor Franz II returns the jewels to her while keeping the rubies in compensation for a pension granted to the princess. In Madame Royale's legacy in 1851, one third of the jewelry is attributed to her niece Louise, Duchess of Parma.
Around 1930 Marie-Anne of Austria, wife of the acting Duke of Parma, describes in an inventory four jewels in pearls and diamonds of which she attests that they come from Marie-Antoinette. These pieces, which had never been published or exhibited, were included in the auction of the royal jewelry from the Bourbon-Parma collection by Sotheby's on November 14, 2018.
Lot 97, a three-row pearl necklace with a diamond clasp, was sold for CHF 2.3M. The next two lots, a necklace and a pair of earrings, were sold for CHF 450K each.
Lot 100 was a 15.90 x 18.35 x 25.85mm drop shaped pearl assembled in a pendant with a large diamond clasp and a bow of small diamonds. This interesting souvenir of a queen who had desired to live in the utmost luxury was sold for CHF 36.4M from a lower estimate of CHF 1M.
Quote
AntiquesTradeGazette @ATG_Editorial Nov 15, 2018
Marie Antoinette’s pendant sets auction record for a natural pearl at @Sothebys in Geneva: https://atg.news/2PVxhi1
- This 2018 post from Antiques Trade Gazette announces the sale of an 18th-century diamond and natural pearl pendant from Marie Antoinette's collection, which fetched CHF 36.4 million at Sotheby's Geneva, exceeding its CHF 1-2 million estimate and setting a record for any natural pearl at auction by over 20 times the prior benchmark.
- The pendant features a large, irregular baroque pearl drop suspended from a diamond-set bow motif topped by an oval-cut diamond, showcasing Louis XVI-era French jewelry artistry and the rarity of natural pearls, which ceased commercial harvesting around 1930 due to overexploitation.
- Provenance traces the jewel to 1792, when Marie Antoinette's gems were sewn into clothing during her family's failed escape from revolutionary Paris, surviving intact through the Bourbon-Parma family lineage until consigned for sale, underscoring its escape from the guillotine's shadow.
Marie Antoinette’s pendant sets auction record for a natural pearl at @Sothebys in Geneva:https://t.co/1glDvfpi3w pic.twitter.com/5z2iNTmd8a
— AntiquesTradeGazette (@ATG_Editorial) November 15, 2018
