1956
Except otherwise stated, all results include the premium.
See also : Zao Wou-Ki Sanyu Chagall Cars Cars 1950s Cars 1956-57 Ferrari Aston Martin
See also : Zao Wou-Ki Sanyu Chagall Cars Cars 1950s Cars 1956-57 Ferrari Aston Martin
1956 FERRARI
1
290 MM
2015 SOLD for $ 28M by RM Sotheby's
Mercedes-Benz stopped its involvement in competition at the end of the 1955 season. Ferrari watched around the corner and managed to sign a contract with Juan Manuel Fangio. Aged 45 in 1956, the Argentine champion felt that his future was unassured due to the fall of Peron and could not any more consider to retire.
The World Sportscar Championship arouses a similar interest as Formula 1. Faced with the formidable challenge from the Maserati 300S, Ferrari prepares the 290 MM, certainly with some recommendations by its new driver. As usual for Ferrari at that time, the race for which the model is specifically prepared is indicated in the description: MM means Mille Miglia. Four cars are built.
The 1956 Mille Miglia are disturbed by heavy rain that causes no less than three fatalities. The competition is won by a 290 MM driven by Castellotti. Fangio is fourth with his car of the same model.
That 290 MM will not be reused later by Fangio but will have a significant history with other top drivers from the Scuderia Ferrari such as Portago, Phil Hill and Gendebien. Sold to a US private owner in the middle of the 1957 season, it is raced until 1964 without any crash.
This car has retained all its original features: chassis, engine, gearbox and its body by Scaglietti. It was sold for $ 28M by RM Sotheby's on December 10, 2015, lot 221.
Fangio failed to cooperate permanently with Enzo Ferrari and came back to Maserati just after his one-year contract. The Ferrari cars driven in competition by this champion are indeed extremely rare and the example for sale has an amazing authenticity. It is estimated $ 28M.
The World Sportscar Championship arouses a similar interest as Formula 1. Faced with the formidable challenge from the Maserati 300S, Ferrari prepares the 290 MM, certainly with some recommendations by its new driver. As usual for Ferrari at that time, the race for which the model is specifically prepared is indicated in the description: MM means Mille Miglia. Four cars are built.
The 1956 Mille Miglia are disturbed by heavy rain that causes no less than three fatalities. The competition is won by a 290 MM driven by Castellotti. Fangio is fourth with his car of the same model.
That 290 MM will not be reused later by Fangio but will have a significant history with other top drivers from the Scuderia Ferrari such as Portago, Phil Hill and Gendebien. Sold to a US private owner in the middle of the 1957 season, it is raced until 1964 without any crash.
This car has retained all its original features: chassis, engine, gearbox and its body by Scaglietti. It was sold for $ 28M by RM Sotheby's on December 10, 2015, lot 221.
Fangio failed to cooperate permanently with Enzo Ferrari and came back to Maserati just after his one-year contract. The Ferrari cars driven in competition by this champion are indeed extremely rare and the example for sale has an amazing authenticity. It is estimated $ 28M.
2
860 Monza / 290 MM
2018 SOLD for $ 22M by RM Sotheby's
In the mid-1950s, Ferrari tried various combinations of engines and volumes to have more chances to win competitions in all their diversity. In 1954 the four-cylinder in-line engine simultaneously equips the 500 Mondial (2 liters), the 750 Monza (3 liters) and the 860 Monza (3.5 liters).
In 1956 the withdrawal of Mercedes-Benz reinforces the lust of Ferrari. The 290 MM meaning Mille Miglia is originally developed for the exclusive use by the Scuderia, with a 3.5-liter 12-cylinder V-engine mounted on the chassis of the 860 Monza.
The 1956 edition of the Mille Miglia is a triumph for the Scuderia Ferrari whose four entered cars, two 860 Monza and two 290 MM, win the first four places.
One of the 290 MM was driven by Fangio to the fourth place. It was sold for $ 28M by RM Sotheby's on December 10, 2015.
Ranked second in the above event, one of the two 860 Monza had been driven by Collins. For the 1957 season it remains at the Scuderia but is transformed by the factory into a 290 MM. It was sold to a privateer in August 1957 and then got its first win with Stirling Moss. During its time with the Scuderia it had been driven by the same amazing lineup as the example above.
This car then underwent further transformations, including the pontoon bodywork which ensured in 1957 the success of the 250 Testa Rossa. It was restored by Ferrari Classiche in its 290 MM configuration of early 1957 with the engine, gearbox and bodywork in matching numbers from that phase.
It was sold for $ 22M by RM Sotheby's on December 8, 2018, lot 241. Please watch the video shared by Sotheby's, showing its great road going condition. The image shared by Wikimedia with attribution Tino Rossini from Toronto, Canada [CC BY 2.0], via Wikimedia Commons is earlier than the last restoration.
The 290 MM model is prestigious but scarce : only four cars ever received this configuration. It was replaced in 1957 by the 315 S in 3.8 liters and the 335 S in 4 liters which are equally rare. A 315 S transformed into 335 S was sold for € 32M by Artcurial on February 5, 2016.
In 1956 the withdrawal of Mercedes-Benz reinforces the lust of Ferrari. The 290 MM meaning Mille Miglia is originally developed for the exclusive use by the Scuderia, with a 3.5-liter 12-cylinder V-engine mounted on the chassis of the 860 Monza.
The 1956 edition of the Mille Miglia is a triumph for the Scuderia Ferrari whose four entered cars, two 860 Monza and two 290 MM, win the first four places.
One of the 290 MM was driven by Fangio to the fourth place. It was sold for $ 28M by RM Sotheby's on December 10, 2015.
Ranked second in the above event, one of the two 860 Monza had been driven by Collins. For the 1957 season it remains at the Scuderia but is transformed by the factory into a 290 MM. It was sold to a privateer in August 1957 and then got its first win with Stirling Moss. During its time with the Scuderia it had been driven by the same amazing lineup as the example above.
This car then underwent further transformations, including the pontoon bodywork which ensured in 1957 the success of the 250 Testa Rossa. It was restored by Ferrari Classiche in its 290 MM configuration of early 1957 with the engine, gearbox and bodywork in matching numbers from that phase.
It was sold for $ 22M by RM Sotheby's on December 8, 2018, lot 241. Please watch the video shared by Sotheby's, showing its great road going condition. The image shared by Wikimedia with attribution Tino Rossini from Toronto, Canada [CC BY 2.0], via Wikimedia Commons is earlier than the last restoration.
The 290 MM model is prestigious but scarce : only four cars ever received this configuration. It was replaced in 1957 by the 315 S in 3.8 liters and the 335 S in 4 liters which are equally rare. A 315 S transformed into 335 S was sold for € 32M by Artcurial on February 5, 2016.
1950s Chrysanthème Blanc by Sanyu
2020 SOLD for HK$ 192M by Christie's
Sanyu has always maintained his link between east and west. Chrysanthemum is the best theme to express the cultural difference. In China, it is a symbol of longevity. The ancient Chinese extracted from it a wine which they drank to celebrate autumn. In the same season Europeans sadly use it as a temporary blossom on their graves.
A bouquet of pink chrysanthemums in a white vase, oil on canvas 100 x 76 cm painted in 1931, was sold for HK $ 55M by Poly on April 3, 2017.
In the very difficult years after the war, Sanyu dealt extensively with the theme of the potted chrysanthemum, which undoubtedly brought him comfort. The division of the single trunk into a multitude of branches that rise in parallel towards the ceiling is a mark of vitality and therefore of hope.
The examples below are oils on panel, the main technique used after the war by Sanyu. The works are not dated, and many of them had not been shown during his lifetime, preventing a chronology from being established :
RMB 77M by Poly on December 3, 2019 (74 x 53 cm).
HK $ 81M by Sotheby's on April 5, 2014 (130 x 74 cm).
HK $ 53M by Christie's on November 27, 2010 (120 x 90 cm).
The white chrysanthemum is a very rare variant within this series. In the blue and white pot, which as ever symbolizes Chinese art, the plant is entirely white : flowers, leaves and stems. The soil is also white. This color is the symbol of mourning : the Chinese wear white clothes to accompany the deceased towards the supreme purity. The artist probably used it in critical circumstances, either to overcome despair or for a specific mourning.
Chrysanthème blanc, oil on panel 110 x 60 cm, was sold for HK $ 192M by Christie's on July 10, 2020 from a lower estimate of HK $ 60M, lot 121.
A bouquet of pink chrysanthemums in a white vase, oil on canvas 100 x 76 cm painted in 1931, was sold for HK $ 55M by Poly on April 3, 2017.
In the very difficult years after the war, Sanyu dealt extensively with the theme of the potted chrysanthemum, which undoubtedly brought him comfort. The division of the single trunk into a multitude of branches that rise in parallel towards the ceiling is a mark of vitality and therefore of hope.
The examples below are oils on panel, the main technique used after the war by Sanyu. The works are not dated, and many of them had not been shown during his lifetime, preventing a chronology from being established :
RMB 77M by Poly on December 3, 2019 (74 x 53 cm).
HK $ 81M by Sotheby's on April 5, 2014 (130 x 74 cm).
HK $ 53M by Christie's on November 27, 2010 (120 x 90 cm).
The white chrysanthemum is a very rare variant within this series. In the blue and white pot, which as ever symbolizes Chinese art, the plant is entirely white : flowers, leaves and stems. The soil is also white. This color is the symbol of mourning : the Chinese wear white clothes to accompany the deceased towards the supreme purity. The artist probably used it in critical circumstances, either to overcome despair or for a specific mourning.
Chrysanthème blanc, oil on panel 110 x 60 cm, was sold for HK $ 192M by Christie's on July 10, 2020 from a lower estimate of HK $ 60M, lot 121.
1956-1957 Et la Terre était sans Forme by Zao Wou-Ki
2018 SOLD for HK$ 183M by Poly
By his abstract art of the mid-1950s Zao Wou-Ki expresses specific feelings detached from a figurative support and gives the key in his short titles. He sees the wind, the night, the dawn, the pond, the dust, the lightning.
He works in Paris but is increasingly nostalgic with his Chinese origins. He is tempted by the synthesis of the mystical beliefs of East and West. An oil on canvas 200 x 162 cm titled Et la Terre était sans forme, dated 1956-1957, is the culmination of this creative impulse.
The title in French is therefore associated with the West and paraphrases the second verse of Genesis just before the appearance of light. In this phase the Earth is uninhabited but cannot be empty. Its creation is an explosion of colors.
The primordial world of Yin and Yang is another interpretation of the creation of forms. Since 1954 Zao was sprinkling his works with an illegible calligraphy inspired from the Oracle Bones, these earliest witnesses of Chinese paleo-scripture which were undoubtedly an attempt at communication with the heavens and anticipated the symbols on the Shang ritual bronzes. The well-centered fireball of Et la Terre était sans forme is patterned with the Oracle bones signature signs of the artist but they are too small and too tight to invite for an understanding in the modern world.
This painting was sold for HK $ 183M from a lower estimate of HK $ 90M by Poly on March 29, 2018, lot 164.
The mystical crescendo of Zao Wou-Ki is halted by his break in early 1957 with his wife Lan Lan. The hypersensitive artist is in shock. He leaves for a long stay with his brother near New York City where he discovers the spontaneity of abstract expressionism. A new phase of total abstraction will begin.
He works in Paris but is increasingly nostalgic with his Chinese origins. He is tempted by the synthesis of the mystical beliefs of East and West. An oil on canvas 200 x 162 cm titled Et la Terre était sans forme, dated 1956-1957, is the culmination of this creative impulse.
The title in French is therefore associated with the West and paraphrases the second verse of Genesis just before the appearance of light. In this phase the Earth is uninhabited but cannot be empty. Its creation is an explosion of colors.
The primordial world of Yin and Yang is another interpretation of the creation of forms. Since 1954 Zao was sprinkling his works with an illegible calligraphy inspired from the Oracle Bones, these earliest witnesses of Chinese paleo-scripture which were undoubtedly an attempt at communication with the heavens and anticipated the symbols on the Shang ritual bronzes. The well-centered fireball of Et la Terre était sans forme is patterned with the Oracle bones signature signs of the artist but they are too small and too tight to invite for an understanding in the modern world.
This painting was sold for HK $ 183M from a lower estimate of HK $ 90M by Poly on March 29, 2018, lot 164.
The mystical crescendo of Zao Wou-Ki is halted by his break in early 1957 with his wife Lan Lan. The hypersensitive artist is in shock. He leaves for a long stay with his brother near New York City where he discovers the spontaneity of abstract expressionism. A new phase of total abstraction will begin.
1956 Aston Martin DBR1
2017 SOLD for $ 22.6M by RM Sotheby's
When David Brown buys Aston Martin and Lagonda in 1947, his ambition is to lead Aston Martin to win at the 24 hours of Le Mans by relying on the innovative achievements of both brands. Twelve years of stubborn efforts will follow.
The valiant DB3S manages to sneak into the podiums of the endurance competitions but is not powerful enough against Ferrari, Jaguar and Maserati. The changes in Le Mans regulation for limiting the volume in the prototype category are favorable to Ferrari and Aston Martin. The two brands launch ambitious developments : the 250 TR in 1957 for Ferrari and the DBR1 (David Brown Racing 1) in 1956 for Aston Martin.
The first DBR1 car (DBR1/1) is assembled in 1956 with a 3-liter engine sometimes replaced until 1958 by a 2.5-liter engine to comply with the new regulations of some competitions. In 1957 a second DBR1 is made, along with two DBR2 equipped with a larger engine that will be upgraded in two phases to 4.2 liters. Three additional DBR1 will follow.
This model is perfect for the 1000 Km Nürburgring won in 1957 by DBR1/2, in 1958 by DBR1/3, and in 1959 by DBR1/1 with Stirling Moss and Jack Fairman. Taking advantage of Ferrari's misfortune, DBR1/2 realizes at last its boss's dream by winning the 24 Hours of Le Mans in 1959. After a final DBR1/2 victory at Goodwood, Aston Martin stops the competition probably due to financial difficulties and the cars continue their careers with private teams.
Painstakingly maintained as close as possible to its 1959 configuration with the cooperation of the former chief designer of the DBR project, DBR1/1 was sold for $ 22.6M by RM Sotheby's on August 18, 2017, lot 148. It is equipped with a replica engine of the correct configuration and accompanied by its 3-liter engine of 1959.
Wikimedia shares an image of DBR1/1 driven by Carroll Shelby at Sebring in 1958. Attribution : By C5813 (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons
The valiant DB3S manages to sneak into the podiums of the endurance competitions but is not powerful enough against Ferrari, Jaguar and Maserati. The changes in Le Mans regulation for limiting the volume in the prototype category are favorable to Ferrari and Aston Martin. The two brands launch ambitious developments : the 250 TR in 1957 for Ferrari and the DBR1 (David Brown Racing 1) in 1956 for Aston Martin.
The first DBR1 car (DBR1/1) is assembled in 1956 with a 3-liter engine sometimes replaced until 1958 by a 2.5-liter engine to comply with the new regulations of some competitions. In 1957 a second DBR1 is made, along with two DBR2 equipped with a larger engine that will be upgraded in two phases to 4.2 liters. Three additional DBR1 will follow.
This model is perfect for the 1000 Km Nürburgring won in 1957 by DBR1/2, in 1958 by DBR1/3, and in 1959 by DBR1/1 with Stirling Moss and Jack Fairman. Taking advantage of Ferrari's misfortune, DBR1/2 realizes at last its boss's dream by winning the 24 Hours of Le Mans in 1959. After a final DBR1/2 victory at Goodwood, Aston Martin stops the competition probably due to financial difficulties and the cars continue their careers with private teams.
Painstakingly maintained as close as possible to its 1959 configuration with the cooperation of the former chief designer of the DBR project, DBR1/1 was sold for $ 22.6M by RM Sotheby's on August 18, 2017, lot 148. It is equipped with a replica engine of the correct configuration and accompanied by its 3-liter engine of 1959.
Wikimedia shares an image of DBR1/1 driven by Carroll Shelby at Sebring in 1958. Attribution : By C5813 (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons
1956 Femme dans un Rocking Chair by Picasso
2023 SOLD for £ 17M by Christie's
Painted in March 1956 in the follow of the later 1955 odalisques, Femme dans un rocking chair by Picasso is featuring his muse and partner Jacqueline straight seated topless in a Thonet chair.
This picture is another reference to Matisse by its background made in saturated green, and yellow on the wall and red on the floor, the signature colors in the cut out papers by the late master.
This oil on canvas 194 x 130 cm was sold for £ 17M by Christie's on February 28, 2023, lot 16.
This picture is another reference to Matisse by its background made in saturated green, and yellow on the wall and red on the floor, the signature colors in the cut out papers by the late master.
This oil on canvas 194 x 130 cm was sold for £ 17M by Christie's on February 28, 2023, lot 16.
MAGRITTE
1
1956 L'Empire des Lumières, gouache
2024 SOLD for $ 19M by Christie's
L'Empire des Lumières is a subtle surrealist series of paintings by Magritte, confronting night and day, and especially the blue sky of mid day and the light diffused in full night through the windows and from the lamppost.
The oil paintings executed in 1954 include a waterway in the foreground. One of them with a superb workmanship was sold for $ 120M by Christie's in 2024.
In 1956 Magritte tries his hand on the same theme with the technique of the gouache on paper, which he successfully practiced since he began his career as an illustrator three decades earlier.
A gouache 36 x 47 cm was a near replica of the view with the waterway. The field of view is nevertheless limited in the foreground and the reflection of the lamp does not appear. The gradual color of the direct halo around the lamp is exquisite.
It was sold as lot 25A for $ 19M from a lower estimate of $ 6M by Christie's on November 19, 2024, the very day of the sale of the oil referred above but with another provenance.
The oil paintings executed in 1954 include a waterway in the foreground. One of them with a superb workmanship was sold for $ 120M by Christie's in 2024.
In 1956 Magritte tries his hand on the same theme with the technique of the gouache on paper, which he successfully practiced since he began his career as an illustrator three decades earlier.
A gouache 36 x 47 cm was a near replica of the view with the waterway. The field of view is nevertheless limited in the foreground and the reflection of the lamp does not appear. The gradual color of the direct halo around the lamp is exquisite.
It was sold as lot 25A for $ 19M from a lower estimate of $ 6M by Christie's on November 19, 2024, the very day of the sale of the oil referred above but with another provenance.
2
1956-1957 Le Banquet
2024 SOLD for $ 18M by Sotheby's
René Magritte plays with day and night and their transitions, dawn and twilight. Acclaimed as a masterpiece of surrealism, L'Empire des Lumières conceived in 1949 has no fantastic elements. This supreme subtlety escapes the art critics.
Magritte is also playing with Sun and Moon. By ignoring the third dimension, the crescent moon appears as posed on the character's hat. One of the simplest variants is titled Le Maître d'Ecole. A small gouache 33 x 25 cm made in 1955 was sold for $ 6.8M by Sotheby's on November 5, 2015.
In 1956 the artist has a new find, a "trouvaille" in his own words. Why are Moon and Sun always in the background at the risk of being hidden by the landscape ?
Le Banquet shows a common wood edge in front of the redness of sunset. The bright vermilion Sun of great sharpness is at the exact center of the picture ahead of the big tree. David Sylvester considers that the first version of this image was executed in gouache in 1956.
One of the earliest examples of Le Banquet, painted in 1956 or perhaps in 1957, is dated 1955 on the reverse. This oil on canvas 75 x 120 cm was sold by Sotheby's for $ 13.6M on November 14, 2017, lot 36 and for $ 18M on May 15, 2024, lot 39.
In 1956 a Moon crescent performs a similar feat in a dark night in Le Seize Septembre. A 162 x 130 cm version painted in 1957 was sold for $ 19.6M by Christie's on November 11, 2019, lot 16A.
Magritte is also playing with Sun and Moon. By ignoring the third dimension, the crescent moon appears as posed on the character's hat. One of the simplest variants is titled Le Maître d'Ecole. A small gouache 33 x 25 cm made in 1955 was sold for $ 6.8M by Sotheby's on November 5, 2015.
In 1956 the artist has a new find, a "trouvaille" in his own words. Why are Moon and Sun always in the background at the risk of being hidden by the landscape ?
Le Banquet shows a common wood edge in front of the redness of sunset. The bright vermilion Sun of great sharpness is at the exact center of the picture ahead of the big tree. David Sylvester considers that the first version of this image was executed in gouache in 1956.
One of the earliest examples of Le Banquet, painted in 1956 or perhaps in 1957, is dated 1955 on the reverse. This oil on canvas 75 x 120 cm was sold by Sotheby's for $ 13.6M on November 14, 2017, lot 36 and for $ 18M on May 15, 2024, lot 39.
In 1956 a Moon crescent performs a similar feat in a dark night in Le Seize Septembre. A 162 x 130 cm version painted in 1957 was sold for $ 19.6M by Christie's on November 11, 2019, lot 16A.
1956 Le Grand Cirque by Chagall
2017 SOLD for $ 16M by Sotheby's
The passion of Marc Chagall for the circus dates back to his Jewish childhood in Vitebsk. The clever Ambroise Vollard transferred his craze to Paris, where Marc and Bella were residing since 1923. Vollard had a private box at the Cirque d'Hiver where he frequently invited Chagall from 1927.
Back in France from 1948, Chagall revisited the Cirque d'Hiver in 1955 while a movie was being filmed. This visit reactivated his entrancement for the circus. From his many sketches therein, he prepared a monumental painting which is arguably his masterpiece on that theme.
Le Grand Cirque, oil and gouache on canvas 160 x 310 cm painted in 1956, was sold by Sotheby's for $ 13.8M on May 8, 2007, lot 40, and for $ 16M on November 14, 2017, lot 48.
In a blue dominant, it features several brightly lit performers and acrobats over an orchestra in the pit, and with the crowd of attendants in the rows.
Back in France from 1948, Chagall revisited the Cirque d'Hiver in 1955 while a movie was being filmed. This visit reactivated his entrancement for the circus. From his many sketches therein, he prepared a monumental painting which is arguably his masterpiece on that theme.
Le Grand Cirque, oil and gouache on canvas 160 x 310 cm painted in 1956, was sold by Sotheby's for $ 13.8M on May 8, 2007, lot 40, and for $ 16M on November 14, 2017, lot 48.
In a blue dominant, it features several brightly lit performers and acrobats over an orchestra in the pit, and with the crowd of attendants in the rows.
1956 Yellow over Purple by Rothko
2000 SOLD for $ 14.3M by Sotheby's
Yellow over Purple, oil on canvas 176 x 150 cm painted by Rothko in 1956, was sold for $ 14.3M by Sotheby's on May 18, 2000, lot 33, an auction record for the artist at that time.
