Decade 1750-1759
See also : 18th century painting Ancient French painting Venice Qianlong 18th century furniture Colonial America Louis XIV to XVI Ancient French furniture George I to III Switzerland before 1940
1750 The Roman Step in the Grand Tour
2013 SOLD 3.45 M$ including premium
Giovanni Paolo Panini began his career by shaking the monumental sites of Rome. He is a prolific painter of capricci. When the monuments are true, they collide together to enter in a unique perspective.
The evolution of customer tastes will end, or at least slow down, such a fantasy. The modern observer is happy of that, because photography has accustomed us to the reality of the sites.
English aristocrats are discovering Italy by traveling the grand tour, in which the major steps are Venice, Florence and Rome. Panini is their supplier in Rome, and his work becomes now very close to Canaletto, with grandiose views populated by a crowd of little figures in their daily life.
A gentleman of Warwickshire decorated his home with views painted by Canaletto and Panini. Two of his oil paintings, made by Panini in 1750 with spectacular perspective effects, are for sale by Christie's in New York on January 30. The catalog comments that the artist, although resident in Rome, chose to adapt the views of his predecessors, including Vanvitelli and Specchi.
The view from the Campidoglio, 119 x 126 cm, is estimated $ 3M. Here is its page in the catalog. The view from the Piazza S. Pietro, 119 x 123 cm, is estimated $ 2M. Here is its page in the catalog.
POST SALE COMMENT
Good results for the Roman contemporary of Canaletto: $ 3.45 million including premium for the Campidoglio and $ 2.1 million including premium for the Piazza S. Pietro.
The evolution of customer tastes will end, or at least slow down, such a fantasy. The modern observer is happy of that, because photography has accustomed us to the reality of the sites.
English aristocrats are discovering Italy by traveling the grand tour, in which the major steps are Venice, Florence and Rome. Panini is their supplier in Rome, and his work becomes now very close to Canaletto, with grandiose views populated by a crowd of little figures in their daily life.
A gentleman of Warwickshire decorated his home with views painted by Canaletto and Panini. Two of his oil paintings, made by Panini in 1750 with spectacular perspective effects, are for sale by Christie's in New York on January 30. The catalog comments that the artist, although resident in Rome, chose to adapt the views of his predecessors, including Vanvitelli and Specchi.
The view from the Campidoglio, 119 x 126 cm, is estimated $ 3M. Here is its page in the catalog. The view from the Piazza S. Pietro, 119 x 123 cm, is estimated $ 2M. Here is its page in the catalog.
POST SALE COMMENT
Good results for the Roman contemporary of Canaletto: $ 3.45 million including premium for the Campidoglio and $ 2.1 million including premium for the Piazza S. Pietro.
1750 Lacquer Commodes by Bernard
2011 SOLD 3.45 M$ including premium
Charles Cressent had a mysterious rival as the best cabinetmaker in the early reign of Louis XV, after the Régence. Both were suppliers of the king and of the aristocracy.
Most of the Parisian furniture remained anonymous until 1743,the year when the stamp was made mandatory. The rival master therefore signed his works with the letters BVRB.
It was the time when the marchands-merciers dictated the law of taste in furnishings. They had started the fashion of decorating furniture with those lavish black lacquer panels decorated with scenes from the Far East that they imported from China and Japan. The luxurious decoration of gilded bronzes kept up the lacquered panel.
BVRB was one of the first to bend the lacquer panels to fit the curved shape of Louis XV commodes. The sumptuous commode illustrated in the press release shared by Artdaily is attributed to him. Estimated $ 3M, it is one of the star lots in the Safra collection, for sale by Sotheby's in New York from October 18 to 21.
Its design is similar as for the specimen stamped BVRB sold 15.4 MF by Christie's in Monaco on June 19, 1999, made in the 1750s for Machault d'Arnouville. It is certainly later than the royal commode, also signed, delivered to Fontainebleau in 1737.
Feeling the need to give a name to BVRB, furniture connoisseurs named him Bernard until his full identity is demonstrated in 1957: Bernard (II) Van Risamburgh (or Van Risen Burgh), received master circa 1735.
Note that the presence of a mark is not enough to date a piece of furniture after 1743, because some earlier pieces were returned to the shop to be repaired or modified. On the opposite, the lack of a stamp mark is suggesting a date before 1743.
The date suggested by the catalogue for this piece of furniture is circa 1750.
POST SALE COMMENT
It was one of the top lots in the sale of the Safra collection. It was sold $ 3.45 million including premium.
Most of the Parisian furniture remained anonymous until 1743,the year when the stamp was made mandatory. The rival master therefore signed his works with the letters BVRB.
It was the time when the marchands-merciers dictated the law of taste in furnishings. They had started the fashion of decorating furniture with those lavish black lacquer panels decorated with scenes from the Far East that they imported from China and Japan. The luxurious decoration of gilded bronzes kept up the lacquered panel.
BVRB was one of the first to bend the lacquer panels to fit the curved shape of Louis XV commodes. The sumptuous commode illustrated in the press release shared by Artdaily is attributed to him. Estimated $ 3M, it is one of the star lots in the Safra collection, for sale by Sotheby's in New York from October 18 to 21.
Its design is similar as for the specimen stamped BVRB sold 15.4 MF by Christie's in Monaco on June 19, 1999, made in the 1750s for Machault d'Arnouville. It is certainly later than the royal commode, also signed, delivered to Fontainebleau in 1737.
Feeling the need to give a name to BVRB, furniture connoisseurs named him Bernard until his full identity is demonstrated in 1957: Bernard (II) Van Risamburgh (or Van Risen Burgh), received master circa 1735.
Note that the presence of a mark is not enough to date a piece of furniture after 1743, because some earlier pieces were returned to the shop to be repaired or modified. On the opposite, the lack of a stamp mark is suggesting a date before 1743.
The date suggested by the catalogue for this piece of furniture is circa 1750.
POST SALE COMMENT
It was one of the top lots in the sale of the Safra collection. It was sold $ 3.45 million including premium.
1751 Young Skin and Old Beards
2013 SOLD 11.4 M$ including premium
The Roman painter Pompeo Batoni is a follower of Guercino and a predecessor of David. His genre scenes are inspired by Baroque stories, but his painstaking drawing and color announce the classicism.
Famous as a portraitist, he had a long and prosperous career and took advantage of the wealthy English customers who visited Italy.
Susanna and the Elders is a large oil on canvas, 99 x 136 cm, made in 1751 on order for a Viennese aristocrat. The action is violent and symbolizes the contrast of good and evil. The scene is beautifully situated in the grounds of a villa.
The young woman is at bath in a pool, but her textiles chastely cover her nakedness. Her bright and fresh skin is the strong point of the composition. The two assailants, one venal and the other despicable, are particularly unfriendly with their baroque old beards.
This painting is estimated $ 6M, for sale by Sotheby's in New York on January 31. Here is the link to the catalog.
POST SALE COMMENT
The estimate has been greatly exceeded, rewarding the quality and rarity of the artwork, and also the contrast between the young woman and the post-Baroque elders. It was sold $ 11.4 million including premium.
Famous as a portraitist, he had a long and prosperous career and took advantage of the wealthy English customers who visited Italy.
Susanna and the Elders is a large oil on canvas, 99 x 136 cm, made in 1751 on order for a Viennese aristocrat. The action is violent and symbolizes the contrast of good and evil. The scene is beautifully situated in the grounds of a villa.
The young woman is at bath in a pool, but her textiles chastely cover her nakedness. Her bright and fresh skin is the strong point of the composition. The two assailants, one venal and the other despicable, are particularly unfriendly with their baroque old beards.
This painting is estimated $ 6M, for sale by Sotheby's in New York on January 31. Here is the link to the catalog.
POST SALE COMMENT
The estimate has been greatly exceeded, rewarding the quality and rarity of the artwork, and also the contrast between the young woman and the post-Baroque elders. It was sold $ 11.4 million including premium.
1751 Yangcai Flowers on an Imperial Vase
2014 SOLD for HK$ 57M including premium
The opening of the Kangxi emperor to the Western civilizations is the source of one of the best advances in Chinese ceramics, the falangcai, meaning foreign colors. The surface of the pottery is enameled over the glaze for offering a wide range of bright and saturated colors.
At the end of the reign of Yongzheng followed by the beginning of Qianlong reign, while Tang Ying is the Superintendent for Jingdezhen, the artistic creation is at its best. Two variants of falangcai are used, the yingcai in a range of colors close to the wucai of the Ming, and the yangcai that incorporates the most recent invention of the pink enamel.
On October 8 in Hong Kong, Sotheby's sells a yangcai vase with floral decoration, lot 3639 estimated HK $ 30 million, 29 cm high in a nice slightly swollen pear shape, bearing the imperial Qianlong mark.
The background of the decor is a deep lemon yellow, similar to a piece dated from the 7th year of the reign of Qianlong. Realistic flowers in a great botanical variety are the best excuse to offer an interesting range of colors. Their enamel has been deposited on a previously incised drawing, using a technique somewhat reminiscent of the cloisonne on metal.
This piece is very rare both in its shape and its decorative theme. It is probably the survivor from a pair of vases delivered to the imperial collection in the sixteenth year of the reign of Qianlong, 1751 in our calendar.
At the end of the reign of Yongzheng followed by the beginning of Qianlong reign, while Tang Ying is the Superintendent for Jingdezhen, the artistic creation is at its best. Two variants of falangcai are used, the yingcai in a range of colors close to the wucai of the Ming, and the yangcai that incorporates the most recent invention of the pink enamel.
On October 8 in Hong Kong, Sotheby's sells a yangcai vase with floral decoration, lot 3639 estimated HK $ 30 million, 29 cm high in a nice slightly swollen pear shape, bearing the imperial Qianlong mark.
The background of the decor is a deep lemon yellow, similar to a piece dated from the 7th year of the reign of Qianlong. Realistic flowers in a great botanical variety are the best excuse to offer an interesting range of colors. Their enamel has been deposited on a previously incised drawing, using a technique somewhat reminiscent of the cloisonne on metal.
This piece is very rare both in its shape and its decorative theme. It is probably the survivor from a pair of vases delivered to the imperial collection in the sixteenth year of the reign of Qianlong, 1751 in our calendar.
1752 A Taoist Scroll for the Qianlong Emperor
2013 SOLD 33 MHK$ including premium
Sold € 1.53 million including premium by Aguttes on December 7, 2012, a Taoist scroll is now estimated HK $ 18M, for sale by China Guardian in Hong Kong on October 5. I republish below the discussion of last year, in which I slightly modified the dimension information to be in line with the new catalog.
In all areas and for all times, the Chinese art of living is a synthesis of all the progresses of the past. Religion, inseparable from morality, makes no exception. The three main paths that interfere continuously are Confucianism, Buddhism and Taoism, all of them having appeared a little more than 2000 years ago.
At the 9th moon of the 17th year of Qianlong, corresponding to 1752 in our calendar, a painter named Zhang Weibang presents a scroll to the emperor. The colophon in which he noted the date also indicates that he was inspired from a Tang artist named Lu Huang.
Taoism, in a perpetual search for wisdom, has removed the boundaries between gods and humans. The Zhang painting is a truculent and picturesque scene. The bearded god is comfortably seated in a luxurious litter covered with a canopy. Surrounded by soldiers and fairies, this vehicle pulled by dragons goes forward inside a festive crowd which is waving banners.
This painting, certainly made on an imperial commission, was described in detail in 1816 when it was raised to the rank of Pearl of the Imperial Treasure. It then measured 57 x 583 cm.
It is now remaining as a wide fragment, 57 x 312 cm, which fortunately includes the major parts: the chariot, its escort and the first few rows of the crowd.
POST SALE COMMENT
Sold for HK$ 33 million including premium, this interesting scroll has exceeded both its estimate and the price obtained in Paris less than one year ago.
In all areas and for all times, the Chinese art of living is a synthesis of all the progresses of the past. Religion, inseparable from morality, makes no exception. The three main paths that interfere continuously are Confucianism, Buddhism and Taoism, all of them having appeared a little more than 2000 years ago.
At the 9th moon of the 17th year of Qianlong, corresponding to 1752 in our calendar, a painter named Zhang Weibang presents a scroll to the emperor. The colophon in which he noted the date also indicates that he was inspired from a Tang artist named Lu Huang.
Taoism, in a perpetual search for wisdom, has removed the boundaries between gods and humans. The Zhang painting is a truculent and picturesque scene. The bearded god is comfortably seated in a luxurious litter covered with a canopy. Surrounded by soldiers and fairies, this vehicle pulled by dragons goes forward inside a festive crowd which is waving banners.
This painting, certainly made on an imperial commission, was described in detail in 1816 when it was raised to the rank of Pearl of the Imperial Treasure. It then measured 57 x 583 cm.
It is now remaining as a wide fragment, 57 x 312 cm, which fortunately includes the major parts: the chariot, its escort and the first few rows of the crowd.
POST SALE COMMENT
Sold for HK$ 33 million including premium, this interesting scroll has exceeded both its estimate and the price obtained in Paris less than one year ago.
1754 Bucintoro on Ascension Day by Canaletto
2005 SOLD for £ 11.4M including premium by Christie's
Link to catalogue.
1755-1756 Beau Fini by Liotard
2016 SOLD for £ 4.4M including premium
Born in Geneva, Jean-Étienne Liotard traveled widely. His stay in the Levant from 1738 to 1742 gave him the opportunity to wear Turkish clothes, a practice recommended at that time to the European travelers. He acquired a deserved and desired reputation of eccentricity by keeping this type of costume after returning and by growing his beard.
Liotard was also a theorist. From the beginning, he practiced pastel rather than oil to ensure a "beau fini" (good finish), meaning a smooth picture without a visible trace from a brushstroke.
With the help from his patron Lord Duncannon later 2nd Earl of Bessborough whom he had accompanied in the Levant, the career of the "Turkish painter" was a lasting success, allowing the artist to gather a large collection of Dutch paintings of the seventeenth century.
It was tempting for the artist to imitate these masters. On July 6 in London, Sotheby's sells a genre scene in Holland, oil on canvas 47 x 39 cm painted by Liotard, lot 36 estimated £ 4M, which is certainly the most successful example of his "très beau fini".
The scene of great tranquility shows a young woman in apron busy pouring coffee (not chocolate despite a title later given to this work by comparison with one of his most famous pastels). The breakfast on the table is a miniature still life and the painting on the wall is a direct reference to the lighting effects in Dutch art.
Liotard probably made this painting for his personal use as a culmination of his know how. Undated, it appears at Christie's in 1774 in a sale of his collection. It was purchased by the Earl of Bessborough in whose family it remained until the death of the 10th Earl.
A contemporary of Chardin, Liotard wants to be a modern artist. The clothes and accessories of the Dutch woman and the decorative elements are contemporary. It is taken for sure that the work was painted during a trip in Holland, probably the stay of 1755-1756 which ended with his marriage and with the loss of his fifteen years beard that was a direct consequence.
The image is shared by Sotheby's on Wikimedia :
Liotard was also a theorist. From the beginning, he practiced pastel rather than oil to ensure a "beau fini" (good finish), meaning a smooth picture without a visible trace from a brushstroke.
With the help from his patron Lord Duncannon later 2nd Earl of Bessborough whom he had accompanied in the Levant, the career of the "Turkish painter" was a lasting success, allowing the artist to gather a large collection of Dutch paintings of the seventeenth century.
It was tempting for the artist to imitate these masters. On July 6 in London, Sotheby's sells a genre scene in Holland, oil on canvas 47 x 39 cm painted by Liotard, lot 36 estimated £ 4M, which is certainly the most successful example of his "très beau fini".
The scene of great tranquility shows a young woman in apron busy pouring coffee (not chocolate despite a title later given to this work by comparison with one of his most famous pastels). The breakfast on the table is a miniature still life and the painting on the wall is a direct reference to the lighting effects in Dutch art.
Liotard probably made this painting for his personal use as a culmination of his know how. Undated, it appears at Christie's in 1774 in a sale of his collection. It was purchased by the Earl of Bessborough in whose family it remained until the death of the 10th Earl.
A contemporary of Chardin, Liotard wants to be a modern artist. The clothes and accessories of the Dutch woman and the decorative elements are contemporary. It is taken for sure that the work was painted during a trip in Holland, probably the stay of 1755-1756 which ended with his marriage and with the loss of his fifteen years beard that was a direct consequence.
The image is shared by Sotheby's on Wikimedia :
1755-1760 By Thomas Chippendale himself, and by Robert Adam
2008 SOLD 2.7 M£ including premium
Lovers of English furniture are familiar with Thomas Chippendale. During the reigns of the Georges, his influence was enormous. Although Chippendale style furnitures made at all times are current, the works attributed to the master himself are very rare.
Interior architect and decorator, specialist of cabinet furnitures in the style named English Rococo or Neoclassical, Chippendale had also the idea, very innovative for his time, to produce drawings of his works and to publish them as a book that served him as a catalogue (1754).
On June 18 in London, Christie's presents a unique group of English furniture. The sale which includes no more than twelve lots including five by Chippendale will date in the auction history of English furniture.
The most important piece is a cabinet, named the Kenure Cabinet, estimated £ 2.5 million, with a fine shape but also some details well resembling the style you see in the figure above, and which is directly inspired by the vogue of the eighteenth century to China.
A mahogany bookcase by Chippendale is estimated £ 1.5 million.
Thomas Chippendale cooperated also with the Scottish interior designer Robert Adam. Made by Chippendale on a drawing by Adam, a pair of seats is expected at £ 1.5 million.
Much lower in price (250 K £) let us mention a very striking pair of large armchairs designed by Adam and manufactured by James Lawson resembling the benches used by the ancient Romans for feasts.
POST SALE COMMENT
At this height of prices, making estimates should not be easy. Christie's has shown once again its know-how, since the estimates were closely met.
Only the pair of Chippendale armchairs after Adam is a little beyond what was expected: £ 2.3 million fees included.
The cabinet was sold £ 2.7 million, the bookcase £ 2.05 million, and the armchairs of antique inspiration K £ 265. (all results include fees).
Find the real price range when you read the estimates in a catalogue is a sign of competence that we would like seeing in some other auction houses, especially in continental Europe.
Interior architect and decorator, specialist of cabinet furnitures in the style named English Rococo or Neoclassical, Chippendale had also the idea, very innovative for his time, to produce drawings of his works and to publish them as a book that served him as a catalogue (1754).
On June 18 in London, Christie's presents a unique group of English furniture. The sale which includes no more than twelve lots including five by Chippendale will date in the auction history of English furniture.
The most important piece is a cabinet, named the Kenure Cabinet, estimated £ 2.5 million, with a fine shape but also some details well resembling the style you see in the figure above, and which is directly inspired by the vogue of the eighteenth century to China.
A mahogany bookcase by Chippendale is estimated £ 1.5 million.
Thomas Chippendale cooperated also with the Scottish interior designer Robert Adam. Made by Chippendale on a drawing by Adam, a pair of seats is expected at £ 1.5 million.
Much lower in price (250 K £) let us mention a very striking pair of large armchairs designed by Adam and manufactured by James Lawson resembling the benches used by the ancient Romans for feasts.
POST SALE COMMENT
At this height of prices, making estimates should not be easy. Christie's has shown once again its know-how, since the estimates were closely met.
Only the pair of Chippendale armchairs after Adam is a little beyond what was expected: £ 2.3 million fees included.
The cabinet was sold £ 2.7 million, the bookcase £ 2.05 million, and the armchairs of antique inspiration K £ 265. (all results include fees).
Find the real price range when you read the estimates in a catalogue is a sign of competence that we would like seeing in some other auction houses, especially in continental Europe.
1756 A Masterpiece of John Townsend
2012 SOLD 3.6 M$ including premium
In the ancient meaning of that word, a masterpiece (or chef d'oeuvre) is the piece with which a craftsman terminates his apprenticeship. This work demonstrates his know how and opens to him the right of creating his own workshop.
The high chest of drawers (or highboy) for sale on January 21 in New York by Sotheby's is signed by John Townsend, located in Newport (Rhode Island) and dated 1756. This craftsman who was to become the most renowned cabinetmaker of Newport was then 23 years old, and this piece is one of the first pieces of furniture signed by him.
It is a mahogany chest of Queen Anne style, similar to examples made in Philadelphia at the same time. Measuring 2.25 x 1.02 x 0.54 m, it has carved higher and lower rails and high claw feet enclosing balls.
It remained in its original condition and has always belonged to the same family. Such qualities are always in high demand by the market, and it is estimated $ 2M. Here is the link to the catalog.
Chance of auctions: the craft of John Townsend is represented by several outstanding lots in the Americana sales of current month, including a diminutive block and shell cabinet at Christie's which has also been the subject of an article in this group.
POST SALE COMMENT
The Americana sales of current week were dominated by two pieces of furniture by John Townsend, both discussed in this group, one at Christie's and the other at Sotheby's. They were of similar quality and fetched comparable prices.
The highboy presented by Sotheby's and subject of this article was sold for $ 3.6 million including premium.
The high chest of drawers (or highboy) for sale on January 21 in New York by Sotheby's is signed by John Townsend, located in Newport (Rhode Island) and dated 1756. This craftsman who was to become the most renowned cabinetmaker of Newport was then 23 years old, and this piece is one of the first pieces of furniture signed by him.
It is a mahogany chest of Queen Anne style, similar to examples made in Philadelphia at the same time. Measuring 2.25 x 1.02 x 0.54 m, it has carved higher and lower rails and high claw feet enclosing balls.
It remained in its original condition and has always belonged to the same family. Such qualities are always in high demand by the market, and it is estimated $ 2M. Here is the link to the catalog.
Chance of auctions: the craft of John Townsend is represented by several outstanding lots in the Americana sales of current month, including a diminutive block and shell cabinet at Christie's which has also been the subject of an article in this group.
POST SALE COMMENT
The Americana sales of current week were dominated by two pieces of furniture by John Townsend, both discussed in this group, one at Christie's and the other at Sotheby's. They were of similar quality and fetched comparable prices.
The highboy presented by Sotheby's and subject of this article was sold for $ 3.6 million including premium.
1756-1759 Come Back of Rat and Rabbit
2009 15.7 M€ including premium, UNPAID
Today, we are not just talking about auctions, but also on international politics. In September, just after the announcement of the sale of the Yves Saint-Laurent collection, Chinese lobbying groups have opposed the sale of two fountain ornaments. The echoes of the press show that these groups are increasingly active.
Twelve bronzes represented the Chinese zodiac in the main fountain at the palace of Qianlong in Beijing. They were the heads of the animals, and water flowed from their mouths at defined times. These figures are neither of Chinese or Western art, but a combination of the two: they were made on the plans of the Jesuit missionary Giuseppe Castiglione between 1756 and 1759.
This all disappeared at the looting of the palace by the Anglo-French troops in 1860, making today the opponents of the sale stating that the bronzes were stolen. Five statues were returned to China, five of them are not localized, and rat and rabbit are each estimated € 8 million in the sale of Christie's and Pierre Bergé in Paris from 23 to 25 February.
This price was announced, but curiously they are now the only lots in this three day sales catalog for which potential buyers must have the estimate confirmed by Christie's. I give you my personal opinion. Such pressure can intimidate a potential bidder. Christie's is perhaps in the process of seeking a buyer whose personality satisfies all parties. This is what Sotheby's did in 2007, when they removed the horse head from an announced sale. Stanley Ho bought it then privately for $ 69.1 MHK and donated it to the Chinese government.
The rat head is 30 cm high. The rabbit is higher ... through his ears!
POST SALE COMMENT
As prepared, rat and rabbit were presented separately. They were sold, both at the same price, € 15.7 million including premium.
The sale of these lots has not finished generating comments. I made two predictions, they have proved false. Buyers were not intimidated. Christie's and Pierre Bergé achieved the process without being intimidated, and therefore without recourse to a private transaction.
We must not forget that the activity that makes the difference between an international auction group and a national or local auction houses is their ability to convince buyers. The work done by Christie's to sell these two bronzes was probably huge.
These were the last two bronzes of the Imperial fountain to be available on the market. This has certainly increased their value.
In addition, the Chinese themselves, with their protests republished by the international press, have shown their interest in this group of works. Their price would certainly have been much lower if the dispute had not occurred.
It is something of a spectacular example which reinforces my premise: the price of an item at auction is a reliable metrics of the cultural importance given to this object at a dedicated time.
Now, five heads are lost. It should be very exciting if these excellent results push some of them to appear on the market.
2013 COMMENT
The travel back to China of rat and rabbit has just been decided.
The Chinese buyer of 2009 immediately said that he would not pay, and Mr. Bergé had kept the bronzes. They later entered into the ownership of Mr. Pinault who now presents them to China. Christie's facilitated this operation.
Both bronzes are shown in the story shared by Bloomberg.
Twelve bronzes represented the Chinese zodiac in the main fountain at the palace of Qianlong in Beijing. They were the heads of the animals, and water flowed from their mouths at defined times. These figures are neither of Chinese or Western art, but a combination of the two: they were made on the plans of the Jesuit missionary Giuseppe Castiglione between 1756 and 1759.
This all disappeared at the looting of the palace by the Anglo-French troops in 1860, making today the opponents of the sale stating that the bronzes were stolen. Five statues were returned to China, five of them are not localized, and rat and rabbit are each estimated € 8 million in the sale of Christie's and Pierre Bergé in Paris from 23 to 25 February.
This price was announced, but curiously they are now the only lots in this three day sales catalog for which potential buyers must have the estimate confirmed by Christie's. I give you my personal opinion. Such pressure can intimidate a potential bidder. Christie's is perhaps in the process of seeking a buyer whose personality satisfies all parties. This is what Sotheby's did in 2007, when they removed the horse head from an announced sale. Stanley Ho bought it then privately for $ 69.1 MHK and donated it to the Chinese government.
The rat head is 30 cm high. The rabbit is higher ... through his ears!
POST SALE COMMENT
As prepared, rat and rabbit were presented separately. They were sold, both at the same price, € 15.7 million including premium.
The sale of these lots has not finished generating comments. I made two predictions, they have proved false. Buyers were not intimidated. Christie's and Pierre Bergé achieved the process without being intimidated, and therefore without recourse to a private transaction.
We must not forget that the activity that makes the difference between an international auction group and a national or local auction houses is their ability to convince buyers. The work done by Christie's to sell these two bronzes was probably huge.
These were the last two bronzes of the Imperial fountain to be available on the market. This has certainly increased their value.
In addition, the Chinese themselves, with their protests republished by the international press, have shown their interest in this group of works. Their price would certainly have been much lower if the dispute had not occurred.
It is something of a spectacular example which reinforces my premise: the price of an item at auction is a reliable metrics of the cultural importance given to this object at a dedicated time.
Now, five heads are lost. It should be very exciting if these excellent results push some of them to appear on the market.
2013 COMMENT
The travel back to China of rat and rabbit has just been decided.
The Chinese buyer of 2009 immediately said that he would not pay, and Mr. Bergé had kept the bronzes. They later entered into the ownership of Mr. Pinault who now presents them to China. Christie's facilitated this operation.
Both bronzes are shown in the story shared by Bloomberg.
1757 Vernet came back to Avignon
2013 SOLD 5.4 M£ including premium
In 1753, the marquis de Marigny acting as Directeur des Bâtiments of King Louis XV orders to Joseph Vernet a series of monumental paintings of the Ports de France. The project will last ten years and will not be completed, but its fifteen masterpiece paintings are unique of their kind.
The port is seen as a very elongated panorama with great care given to the truth of the details. The foreground is animated by characters in their local daily activities, adding the study of manners to the topographic realism.
Vernet does not crush the view in a narrow format and leaves a large place to sky, treated with abundant clouds in a beautiful sunset light. Only Francesco Guardi in his best period has reached such a balance between topographic realism and artistic imagination.
In 1757, Vernet gets permission from the marquis to spend a few months in his hometown of Avignon where he executes an ancient commission for a local dignitary.
Completed in 1757 as a 99 x 183 cm oil on canvas, the view of Avignon from the right bank of the Rhône is smaller than the royal paintings but has otherwise identical characteristics, with a similar topographic detail. Of course, private works made by Vernet during the period of the Ports of France are very rare.
The Avignon view is estimated £ 3M, for sale by Sotheby's in London on July 3.
POST SALE COMMENT
This painting dates from the best period of Vernet. It deserved £ 5.4 million including premium.
The image is shared on Wikimedia:
The port is seen as a very elongated panorama with great care given to the truth of the details. The foreground is animated by characters in their local daily activities, adding the study of manners to the topographic realism.
Vernet does not crush the view in a narrow format and leaves a large place to sky, treated with abundant clouds in a beautiful sunset light. Only Francesco Guardi in his best period has reached such a balance between topographic realism and artistic imagination.
In 1757, Vernet gets permission from the marquis to spend a few months in his hometown of Avignon where he executes an ancient commission for a local dignitary.
Completed in 1757 as a 99 x 183 cm oil on canvas, the view of Avignon from the right bank of the Rhône is smaller than the royal paintings but has otherwise identical characteristics, with a similar topographic detail. Of course, private works made by Vernet during the period of the Ports of France are very rare.
The Avignon view is estimated £ 3M, for sale by Sotheby's in London on July 3.
POST SALE COMMENT
This painting dates from the best period of Vernet. It deserved £ 5.4 million including premium.
The image is shared on Wikimedia:
1757 The Pompadour Style
2012 SOLD 3.2 M£ including premium
What is most luxurious and most exquisite is for the king. At the time of Qianlong, Louis XV is reigning in France.
Louis XV likes to have fun, especially if it contradicts the étiquette. In 1745, his new mistress is young and pretty. She was not born in the aristocracy, and the king once again shocked the courtiers in naming her Marquise de Pompadour.
Irregular husband and lover, the king had gone to further female conquests, but the vast cultural intelligence of Pompadour still makes her the best referee of the great French style. The hôtel d'Evreux, offered by Louis to the Marquise in 1754 and which was to become much later the palais de l'Elysée, is furnished in a splendour that can well compete with Versailles.
The Parisian craft is fabulously encouraged. After a tumultuous career, Cressent closes his business in 1756. His best successor to the court, who signs BVRB, is a discreet man whose biographical details are largely unknown.
On December 6 in London, Christie's sells a secrétaire à abattant stamped by BVRB. This piece 1.30 m high is not a single model, but only two examples are known with Japanese lacquer, the supreme refinement of the time, and only this one is complete.
Christie's states that it is almost certainly the piece of furniture sold to Pompadour on February 19, 1757 by the important marchand-mercier Lazare Duvaux, and the catalog tells that it would be the most expensive supply made by Duvaux to the Marquise.
This secrétaire has all the qualities of a masterpiece and formerly belonged to the prestigious Riahi collection. It is estimated £ 3M. Here is the link to the catalog.
POST SALE COMMENT
This very elegant piece of furniture did not exceed its lower estimate. It was sold £ 3.2M including premium.
Louis XV likes to have fun, especially if it contradicts the étiquette. In 1745, his new mistress is young and pretty. She was not born in the aristocracy, and the king once again shocked the courtiers in naming her Marquise de Pompadour.
Irregular husband and lover, the king had gone to further female conquests, but the vast cultural intelligence of Pompadour still makes her the best referee of the great French style. The hôtel d'Evreux, offered by Louis to the Marquise in 1754 and which was to become much later the palais de l'Elysée, is furnished in a splendour that can well compete with Versailles.
The Parisian craft is fabulously encouraged. After a tumultuous career, Cressent closes his business in 1756. His best successor to the court, who signs BVRB, is a discreet man whose biographical details are largely unknown.
On December 6 in London, Christie's sells a secrétaire à abattant stamped by BVRB. This piece 1.30 m high is not a single model, but only two examples are known with Japanese lacquer, the supreme refinement of the time, and only this one is complete.
Christie's states that it is almost certainly the piece of furniture sold to Pompadour on February 19, 1757 by the important marchand-mercier Lazare Duvaux, and the catalog tells that it would be the most expensive supply made by Duvaux to the Marquise.
This secrétaire has all the qualities of a masterpiece and formerly belonged to the prestigious Riahi collection. It is estimated £ 3M. Here is the link to the catalog.
POST SALE COMMENT
This very elegant piece of furniture did not exceed its lower estimate. It was sold £ 3.2M including premium.
