1953
See also : Bacon < 1963 Early Rothko Time pieces Patek Philippe Patek Philippe 1945-1980 Cars II Cars 1951-53 British cars Jaguar Italian cars Early Ferrari
1953 The Sixth Year of the Creation
2013 SOLD 44 M$ including premium
From 1948 to 1953, Barnett Newman expressed his conception of the creation of the world in a series of six paintings titled Onement and numbered from I to VI. These monochrome works are crossed in the middle by a narrow vertical strip visible in another color after removal of a sparing tape. The strip is identified as the 'zip'.
The impression of homogeneity is false, as different techniques are used for applying color until the differences become almost imperceptible. Through his painstaking care, the monochromes of Newman precede the pop art flags of Jasper Johns.
The apparent simplicity of the result expresses the false uniformity of the universe. The central zip is designed as an assault by an all-powerful force.
Onement V, 152 x 96 cm, was sold for $ 22.5 million including premium at Christie's on May 8, 2012. The zip in low contrast separates the two dark blue vertical areas.
In 1953, Onement VI is the apotheosis of the series, in the metaphysical meaning of that word. The space, still dark blue, becomes huge and almost square, 300 x 260 cm. The light blue zip is the first in the series to have sharp edges, predicting the victory of the disturbance on the established order.
Onement VI is estimated $ 30M, for sale by Sotheby's in New York on May 14. It is illustrated on the summary shared by Art Market Monitor.
I invite you to watch the video shared by Sotheby's.
POST SALE COMMENT
Onement VI is an iconic work, able to propagate at their best the messages and searches of abstract expressionism. It was sold $ 44M including premium.
The impression of homogeneity is false, as different techniques are used for applying color until the differences become almost imperceptible. Through his painstaking care, the monochromes of Newman precede the pop art flags of Jasper Johns.
The apparent simplicity of the result expresses the false uniformity of the universe. The central zip is designed as an assault by an all-powerful force.
Onement V, 152 x 96 cm, was sold for $ 22.5 million including premium at Christie's on May 8, 2012. The zip in low contrast separates the two dark blue vertical areas.
In 1953, Onement VI is the apotheosis of the series, in the metaphysical meaning of that word. The space, still dark blue, becomes huge and almost square, 300 x 260 cm. The light blue zip is the first in the series to have sharp edges, predicting the victory of the disturbance on the established order.
Onement VI is estimated $ 30M, for sale by Sotheby's in New York on May 14. It is illustrated on the summary shared by Art Market Monitor.
I invite you to watch the video shared by Sotheby's.
POST SALE COMMENT
Onement VI is an iconic work, able to propagate at their best the messages and searches of abstract expressionism. It was sold $ 44M including premium.
1953 Rothko and the Red Studio
2019 SOLD for $ 26.5M including premium
In 1952 Mark Rothko needs to redefine his creativity. He now has a better workshop that allows him to consider larger vertical formats. At the same time, the rise in popularity of the abstract expressionist movement generates jealousy from the other artists including Newman and Still. It is true that Rothko's blocks simulating mystical confrontations are really understandable only by himself.
The new workshop is close to the MoMA. The contemplation of Matisse's Atelier Rouge is a new starting point for Rothko. In this oil on canvas painted in 1911, Matisse has limited the image to a very saturated dark red wall to which a few small objects bring their contrasting colors. Despite the presence of the table and floor, the perspective is almost annihilated.
In 1953 Rothko continues his main theme of assembling rectangles of bright colors. Yet some paintings are directly inspired by the Atelier Rouge. This is undoubtedly the case for Blue over Red, oil on canvas 163 x 89 cm. On an orange background modulated with ochre and yellow, the blocks separated by strips of light are not very contrasted, with the exception of a bright blue band in the upper part of the image which could be a painting on Matisse's wall.
Blue over Red was sold for $ 5.6M including premium by Christie's on November 8, 2005. It is estimated $ 25M for sale by Sotheby's in New York on November 14, lot 26. Please watch the video shared by the auction house.
This influence has been fruitful for the artist. He will now look for illusions of the pulsation of light by the contradictory forces of dilatation and contraction, and will soon replace the garish colors with dark hues.
The new workshop is close to the MoMA. The contemplation of Matisse's Atelier Rouge is a new starting point for Rothko. In this oil on canvas painted in 1911, Matisse has limited the image to a very saturated dark red wall to which a few small objects bring their contrasting colors. Despite the presence of the table and floor, the perspective is almost annihilated.
In 1953 Rothko continues his main theme of assembling rectangles of bright colors. Yet some paintings are directly inspired by the Atelier Rouge. This is undoubtedly the case for Blue over Red, oil on canvas 163 x 89 cm. On an orange background modulated with ochre and yellow, the blocks separated by strips of light are not very contrasted, with the exception of a bright blue band in the upper part of the image which could be a painting on Matisse's wall.
Blue over Red was sold for $ 5.6M including premium by Christie's on November 8, 2005. It is estimated $ 25M for sale by Sotheby's in New York on November 14, lot 26. Please watch the video shared by the auction house.
This influence has been fruitful for the artist. He will now look for illusions of the pulsation of light by the contradictory forces of dilatation and contraction, and will soon replace the garish colors with dark hues.
1953 Study for a Trivial Man
2011 SOLD 18 M£ including premium
The artists of the twentieth century have greatly admired Velazquez. Francis Bacon goes further: his many studies of Innocent X are a great example of appropriation. Any pope is a human, and therefore has the ability to scream, but which message does he screams so? His social position does not allow such an arrogance.
In the artistic language of Bacon, a man who does not scream may be even more terrible because he does not eject his tensions. Painted in 1953, the Study for a portrait for sale by Christie's in London on June 28 anticipated by a few months the Man in Blue series. It is shared by Christie's Audio.
On this large oil on canvas, 198 x 137 cm, the anonymous man is sitting in an armchair, like a pope. Attention is drawn to the ageing serious face and to trivial attributes of social success like the glasses and the tie. The rest of the subject melts into the dark and sinister atmosphere.
This portrait is like a mirror where the viewer sees his own banality charged by empty feeling. This is a key work in the artistic development of Bacon. The auction house prefer not publishing an estimate.
POST SALE COMMENT
The price, £ 18M including premium, is consistent with the fact that it is a key work in the art of Bacon.
In the artistic language of Bacon, a man who does not scream may be even more terrible because he does not eject his tensions. Painted in 1953, the Study for a portrait for sale by Christie's in London on June 28 anticipated by a few months the Man in Blue series. It is shared by Christie's Audio.
On this large oil on canvas, 198 x 137 cm, the anonymous man is sitting in an armchair, like a pope. Attention is drawn to the ageing serious face and to trivial attributes of social success like the glasses and the tie. The rest of the subject melts into the dark and sinister atmosphere.
This portrait is like a mirror where the viewer sees his own banality charged by empty feeling. This is a key work in the artistic development of Bacon. The auction house prefer not publishing an estimate.
POST SALE COMMENT
The price, £ 18M including premium, is consistent with the fact that it is a key work in the art of Bacon.
1953 Femme Assise en Costume Vert by Picasso
2021 SOLD for $ 21M by Sotheby's
Françoise Gilot was 22 years old when Picasso, 40 years older, took her as his mistress, superseding Dora. They had two children, Claude and Paloma. She is an artist and a strong personality. She early knew that she would leave when she gets bored of him.
At 71 in 1952 Picasso had certainly believed that his artistic skill would be sufficient to keep Françoise with him at Vallauris, and he was still looking elsewhere for affairs with other women. In late 1952 and early 1953, he made a series of portraits of Françoise, in a high variety of styles that anticipate by two years the fifteen versions of Les Femmes d'Alger.
A thread of the Françoise portraits is the color green, symbolizing this woman whom Picasso had nicknamed La Femme Fleur at a better time.
On May 12, 2021, Sotheby's sold for $ 21M over a lower estimate of $ 14M Femme assise en costume vert, oil on board 92 x 73 cm painted in 1953, lot 1016. Please watch the video prepared by the auction house.
In this opus the contrast is striking between the uncolored stylized face drawn in the signature double angle of view of the artist, and the vegetal green clothing. The seated Françoise is not Dora : Pablo did not even try to lock her in the armchair. She left in September and restarted her artistic career.
At 71 in 1952 Picasso had certainly believed that his artistic skill would be sufficient to keep Françoise with him at Vallauris, and he was still looking elsewhere for affairs with other women. In late 1952 and early 1953, he made a series of portraits of Françoise, in a high variety of styles that anticipate by two years the fifteen versions of Les Femmes d'Alger.
A thread of the Françoise portraits is the color green, symbolizing this woman whom Picasso had nicknamed La Femme Fleur at a better time.
On May 12, 2021, Sotheby's sold for $ 21M over a lower estimate of $ 14M Femme assise en costume vert, oil on board 92 x 73 cm painted in 1953, lot 1016. Please watch the video prepared by the auction house.
In this opus the contrast is striking between the uncolored stylized face drawn in the signature double angle of view of the artist, and the vegetal green clothing. The seated Françoise is not Dora : Pablo did not even try to lock her in the armchair. She left in September and restarted her artistic career.
1953 Woman (Blue Eyes) by De Kooning
2013 SOLD for $ 19M including premium by Christie's
1953 21 Feuilles blanches by Calder
2018 SOLD for $ 18M including premium by Christie's
Link to catalogue.
1953-1954-1955 Motor Cars at the Turin Motor Show
2020 SOLD for $ 14.8M including premium
The concept car is a marketing operation promoted post war by Harley Earl for General Motors. Production chassis are fitted with futuristic bodies and displayed in the Motor Shows to elicit reactions from the public and the journalists.
Franco Scaglione is a stylist with an experience in clothing. The car is his passion. Before the war, he had a training in aeronautics and his project is to design an aerodynamic car. Of course he will have to cooperate with a coachbuilder.
Manufacturers have their own design offices and their sub-contractors and are reluctant to hand over such major tasks to an ambitious newcomer. Bertone finally accepts. On the Fiat stand at the Turin Motor Show in 1952, the Abarth 1500 Biposto is a concept car designed by Scaglione and built by Bertone.
In the same year, Alfa Romeo chooses Carrozzeria Touring over Bertone for the design of its new racing car, the Disco Volante. The Bertone-Scaglione team persevers however and develops the B.A.T. (Berlina Aerodinamica Tecnica) based on the road going Alfa Romeo 1900.
Three concept cars are exhibited by Bertone at the Turin Motor Show : the B.A.T. 5 in 1953, the B.A.T. 7 in 1954 and the B.A.T. 9d in 1955. The B.A.T. 5 has already reduced the drag coefficient below 0.25, making it possible to push the modest Alfa to nearly 200 km/h. The B.A.T. 7 is a further improvement in aerodynamics while the B.A.T. 9d responds to a request from Alfa Romeo to provide a road version.
These performances are all the more remarkable as they are solely due to Scaglione's pencil and Bertone's know-how, without wind tunnel tuning and of course without a computer. With such simplification of forms, the three B.A.T. are works of art.
Each of these prototypes was sold after its Salon. They were brought together for the first time in their history at the Pebble Beach Concours d'Elegance in 1989 in the presence of Bertone, following which a keen collector managed to acquire all three vehicles. The trio is estimated $ 14M for sale on October 28 in New York by Sotheby's in cooperation with RM Sotheby's, lot 38. Please watch the video shared by Sotheby's.
The image is shared by Wikimedia. The licensing tag was added to this file as part of the GFDL licensing update.
Franco Scaglione is a stylist with an experience in clothing. The car is his passion. Before the war, he had a training in aeronautics and his project is to design an aerodynamic car. Of course he will have to cooperate with a coachbuilder.
Manufacturers have their own design offices and their sub-contractors and are reluctant to hand over such major tasks to an ambitious newcomer. Bertone finally accepts. On the Fiat stand at the Turin Motor Show in 1952, the Abarth 1500 Biposto is a concept car designed by Scaglione and built by Bertone.
In the same year, Alfa Romeo chooses Carrozzeria Touring over Bertone for the design of its new racing car, the Disco Volante. The Bertone-Scaglione team persevers however and develops the B.A.T. (Berlina Aerodinamica Tecnica) based on the road going Alfa Romeo 1900.
Three concept cars are exhibited by Bertone at the Turin Motor Show : the B.A.T. 5 in 1953, the B.A.T. 7 in 1954 and the B.A.T. 9d in 1955. The B.A.T. 5 has already reduced the drag coefficient below 0.25, making it possible to push the modest Alfa to nearly 200 km/h. The B.A.T. 7 is a further improvement in aerodynamics while the B.A.T. 9d responds to a request from Alfa Romeo to provide a road version.
These performances are all the more remarkable as they are solely due to Scaglione's pencil and Bertone's know-how, without wind tunnel tuning and of course without a computer. With such simplification of forms, the three B.A.T. are works of art.
Each of these prototypes was sold after its Salon. They were brought together for the first time in their history at the Pebble Beach Concours d'Elegance in 1989 in the presence of Bertone, following which a keen collector managed to acquire all three vehicles. The trio is estimated $ 14M for sale on October 28 in New York by Sotheby's in cooperation with RM Sotheby's, lot 38. Please watch the video shared by Sotheby's.
The image is shared by Wikimedia. The licensing tag was added to this file as part of the GFDL licensing update.
1953 The Immobile Movement of the Bird
2015 SOLD for £ 9.2M including premium
In 1953, Joan Miro consciously deploys the enthusiasm of a child. The dark years of war and activism are over, only remains the need to express freedom. He is 60 years old.
The careful technique of the artist is not incompatible with the ampleness and speed of his gesture which had inspired Pollock. His pictorial grammar is childish. The composition is a search for a motion that would not contradict the immobility of the canvas.
On February 4 in London, Christie's sells an oil on canvas 90 x 116 cm painted in 1953, lot 116 estimated £ 7M.
The title-poem, L'Oiseau au plumage déployé vole vers l'arbre argenté (the bird with the deployed plumage flies to the silver tree), describes the image, which is not always the case in the surrealist art of Miro and suggests that the action was chosen very early in the design of this artwork.
The background provides the atmosphere of a peaceful twilight with the night coming from the right. A dynamic although imaginary arch supporting the upper part of the scenery leads the bird to the tree in a move that will cross through the crescent moon.
Miro does not accept empty spaces in his paintings. The picture is completed by stars stylized as snowflakes and a foreground with two important figures including some anthropomorphic features.
The careful technique of the artist is not incompatible with the ampleness and speed of his gesture which had inspired Pollock. His pictorial grammar is childish. The composition is a search for a motion that would not contradict the immobility of the canvas.
On February 4 in London, Christie's sells an oil on canvas 90 x 116 cm painted in 1953, lot 116 estimated £ 7M.
The title-poem, L'Oiseau au plumage déployé vole vers l'arbre argenté (the bird with the deployed plumage flies to the silver tree), describes the image, which is not always the case in the surrealist art of Miro and suggests that the action was chosen very early in the design of this artwork.
The background provides the atmosphere of a peaceful twilight with the night coming from the right. A dynamic although imaginary arch supporting the upper part of the scenery leads the bird to the tree in a move that will cross through the crescent moon.
Miro does not accept empty spaces in his paintings. The picture is completed by stars stylized as snowflakes and a foreground with two important figures including some anthropomorphic features.
1953 C-Type Jaguars for Le Mans
2015 SOLD for $ 13.2M including premium
In June 1950 in Le Mans, Jaguar executives are delighted. They had allocated some cars to private pilots and one of them showed a good behavior of his XK120 before dropping at the 21th hour for a braking issue. Jaguar is then resolutely committed to the technological challenge of competition and launches the study of the XK120C soon known as the C-Type.
In 1951, success is achieved for the first official attempt by Jaguar at Le Mans : a C-Type wins the race. In the following year, the failure is scathing. To counter Mercedes-Benz, Jaguar had modified the aerodynamics without appreciating that it would cause an excessive overheating.
The option taken for 1953 is innovative, with a lightweight body made of aluminum and some equipment improvements. The unique target of the brand is Le Mans, and only three cars are assembled. They will be the last three in the C-Type. Success returns : the new Jaguars brilliantly occupy the first, second and fourth final positions.
This variant of transition is the rarest Jaguar, made obsolete by the development of the D-Type.
Jaguar is not totally uninterested in the fate of its C-Type Works Lightweight since they managed to sell all the three cars to the Ecurie Ecosse after the 1953 season. The three cars are getting high successes throughout 1954 before being sold again.
The best overall record of these Lightweight comes to the car that had been fourth at Le Mans in 1953. It then will undergo major transformations including changing its coachwork. Its current owner has fitted a new body that scrupulously meets the 1953 configuration, excepted that it is metallic blue painted in the colors of Ecurie Ecosse.
The C-Type Lightweight is the rarest Jaguar. This newly restored unit is estimated $ 9M for sale by RM Sotheby's in Monterey on August 14, lot 235. I invite you to watch the video shared by Petrolicious.
In 1951, success is achieved for the first official attempt by Jaguar at Le Mans : a C-Type wins the race. In the following year, the failure is scathing. To counter Mercedes-Benz, Jaguar had modified the aerodynamics without appreciating that it would cause an excessive overheating.
The option taken for 1953 is innovative, with a lightweight body made of aluminum and some equipment improvements. The unique target of the brand is Le Mans, and only three cars are assembled. They will be the last three in the C-Type. Success returns : the new Jaguars brilliantly occupy the first, second and fourth final positions.
This variant of transition is the rarest Jaguar, made obsolete by the development of the D-Type.
Jaguar is not totally uninterested in the fate of its C-Type Works Lightweight since they managed to sell all the three cars to the Ecurie Ecosse after the 1953 season. The three cars are getting high successes throughout 1954 before being sold again.
The best overall record of these Lightweight comes to the car that had been fourth at Le Mans in 1953. It then will undergo major transformations including changing its coachwork. Its current owner has fitted a new body that scrupulously meets the 1953 configuration, excepted that it is metallic blue painted in the colors of Ecurie Ecosse.
The C-Type Lightweight is the rarest Jaguar. This newly restored unit is estimated $ 9M for sale by RM Sotheby's in Monterey on August 14, lot 235. I invite you to watch the video shared by Petrolicious.
1953 A Ferrari for Four Champions
2013 SOLD 9.9 M€ including premium
In 1953, Ferrari was already established as a formidable competitor to Alfa Romeo, Jaguar, Maserati and Lancia.
La Scuderia entered three cars at the 24 Hours of Le Mans. One of them was assigned to Nino Farina, world champion in 1950, and to Mike Hawthorn who will have the same glory in 1958. Technically, this car is a 340MM changed with some characteristics of the 375MM.
This Ferrari is one of the best cars of that year. It was also driven by the 1953 world champion, Alberto Ascari. However, it was left to a very young driver named Umberto Maglioli to demonstrate its outstanding on-road behaviour by a legendary performance in the Carrera Panamericana.
Bodied by Pinin Farina, this elegant berlinetta has everything to seduce the most demanding collectors. It is for sale on May 25 by RM Auctions in Villa Erba in the auction organized at the Concorso d'Eleganza Villa d'Este.
I invite you to watch the video shared by RM on YouTube, including images of both 1953 and 2013.
POST SALE COMMENT
This Ferrari is exceptional. The result, € 8.8 million before fees, is confirmed on the Facebook page of the auction house.
La Scuderia entered three cars at the 24 Hours of Le Mans. One of them was assigned to Nino Farina, world champion in 1950, and to Mike Hawthorn who will have the same glory in 1958. Technically, this car is a 340MM changed with some characteristics of the 375MM.
This Ferrari is one of the best cars of that year. It was also driven by the 1953 world champion, Alberto Ascari. However, it was left to a very young driver named Umberto Maglioli to demonstrate its outstanding on-road behaviour by a legendary performance in the Carrera Panamericana.
Bodied by Pinin Farina, this elegant berlinetta has everything to seduce the most demanding collectors. It is for sale on May 25 by RM Auctions in Villa Erba in the auction organized at the Concorso d'Eleganza Villa d'Este.
I invite you to watch the video shared by RM on YouTube, including images of both 1953 and 2013.
POST SALE COMMENT
This Ferrari is exceptional. The result, € 8.8 million before fees, is confirmed on the Facebook page of the auction house.
1953 Abstraction in Manhattan
2020 SOLD for $ 11.3M including premium
In May and June 1951, the Ninth Street Exhibition was a landmark in Manhattan artistic life. Managed by Leo Castelli with the support of Franz Kline, it brings together the works of 74 artists. Alongside Hans Hofmann, Willem de Kooning and Jackson Pollock, the youngest already form the second generation of abstract expressionism.
This exhibition reveals the 26-year-old Joan Mitchell. Arrived from Chicago in the previous year, she had soon entered the artistic circles of New York. In this first phase, energy is dominant over color. Her surfaces are dotted with small abstract figures that provide anchor points and rhythm, quite similar to de Kooning's compositions at that time, inspired by Mondrian's earliest abstractions, and anticipating Twombly and Ryman.
Joan needs to be alone in her studio to transfer her feelings onto the canvas. She has a very good fitness and is not afraid to work on large formats. Her art expresses her interpretation of her environment without recourse to figuration, modernizing Cézanne's precept that nature cannot be copied.
On December 7 in New York, Phillips sells an oil on canvas 205 x 176 cm painted by Joan Mitchell circa 1953, expressing her vision of Manhattan in a style that was already premonitory of the major phases of her career. It is estimated $ 10M, lot 24.
In 1955 and 1956 Joan spends the summer in France. There she discovers that the bright colors of the countryside will be the best source for her inspiration, with limitless variations. Later in Paris, she will express a centrifugal violence, before her great come back to nature in Vétheuil in 1968.
This exhibition reveals the 26-year-old Joan Mitchell. Arrived from Chicago in the previous year, she had soon entered the artistic circles of New York. In this first phase, energy is dominant over color. Her surfaces are dotted with small abstract figures that provide anchor points and rhythm, quite similar to de Kooning's compositions at that time, inspired by Mondrian's earliest abstractions, and anticipating Twombly and Ryman.
Joan needs to be alone in her studio to transfer her feelings onto the canvas. She has a very good fitness and is not afraid to work on large formats. Her art expresses her interpretation of her environment without recourse to figuration, modernizing Cézanne's precept that nature cannot be copied.
On December 7 in New York, Phillips sells an oil on canvas 205 x 176 cm painted by Joan Mitchell circa 1953, expressing her vision of Manhattan in a style that was already premonitory of the major phases of her career. It is estimated $ 10M, lot 24.
In 1955 and 1956 Joan spends the summer in France. There she discovers that the bright colors of the countryside will be the best source for her inspiration, with limitless variations. Later in Paris, she will express a centrifugal violence, before her great come back to nature in Vétheuil in 1968.
1953-1954 Hours for the Use of Milan
2019 SOLD for HK$ 70M including premium
Patek Philippe began in 1937 to assemble World Time watches (Heures Universelles, HU) with the movement patented and supplied by Louis Cottier. A ring marked from 0 to 23 rotates counter clockwise in synchronisation with the hands. Another ring identifies about 40 cities or places. The time everywhere around the world is read directly by the position of these inscriptions in front of the rotating ring.
In 1953 the reference 2523 replaces the 1415 after a modification of the Cottier calibre enabling to change the reference setting of the time zone. The 2523 is a luxury watch, most often equipped with an enamelled dial. 26 units were produced. The most usual dial of this model is a cloisonné enamel showing the map of a continent. A North America was sold for CHF 2.8M including premium by Christie's on May 14, 2012.
The 2523 is in turn replaced in 1957 by its variant 2523-1 with a simplification of the lugs and a metal dial. The production of HU movements ceases in 1965. A pink gold 2523-1 was sold for HK $ 19.5M including premium by Phillips on May 31, 2016.
A pink gold 2523 in excellent condition without any sign of repair surfaced in 2010. It was sold for CHF 2.7M including premium by Christie's on November 15, 2010, lot 114. I discussed it in this column before that sale. The dial and movement were made in 1953 and the case in 1954.
The centre of its dial is not in cloisonné but is monochrome in a beautifully translucent ocean blue enamel. The watch was sold to Gobbi in Milan in 1957. It is the only 2523 to have on its dial a double signature of Patek Philippe and a retailer, a feature that is today eagerly sought after by watch collectors. It is estimated HK $ 55M for sale by Christie's in Hong Kong on November 23, lot 2201. Please watch the video prepared by the auction house.
In 1953 the reference 2523 replaces the 1415 after a modification of the Cottier calibre enabling to change the reference setting of the time zone. The 2523 is a luxury watch, most often equipped with an enamelled dial. 26 units were produced. The most usual dial of this model is a cloisonné enamel showing the map of a continent. A North America was sold for CHF 2.8M including premium by Christie's on May 14, 2012.
The 2523 is in turn replaced in 1957 by its variant 2523-1 with a simplification of the lugs and a metal dial. The production of HU movements ceases in 1965. A pink gold 2523-1 was sold for HK $ 19.5M including premium by Phillips on May 31, 2016.
A pink gold 2523 in excellent condition without any sign of repair surfaced in 2010. It was sold for CHF 2.7M including premium by Christie's on November 15, 2010, lot 114. I discussed it in this column before that sale. The dial and movement were made in 1953 and the case in 1954.
The centre of its dial is not in cloisonné but is monochrome in a beautifully translucent ocean blue enamel. The watch was sold to Gobbi in Milan in 1957. It is the only 2523 to have on its dial a double signature of Patek Philippe and a retailer, a feature that is today eagerly sought after by watch collectors. It is estimated HK $ 55M for sale by Christie's in Hong Kong on November 23, lot 2201. Please watch the video prepared by the auction house.
