Posted on 01/29/2021 3:34:02 PM PST by nickcarraway
Thursday’s long-awaited Old Masters sale at Sotheby’s New York had been billed as potentially being the biggest sale of its kind ever with a pre-sale estimate, not including buyers’ premium, of $121.9 million–$142.8 million. But after three lots were withdrawn, including a highly rated $20 million–$30 million Rembrandt from the collection of Metropolitan Museum of Art trustee Mark Fisch, that estimate was reduced to $100 million–$110 million.
Nonetheless, the sale continued Sotheby’s New York winter Old Master sales steady upward trajectory, arguably at the expense of the London equivalents. Since 2017, totals from these sales have risen from $35.8 million to $69.7 million last year. Today’s sale—the first half of a two-part auction—totaled $114.5 million alone. The London winter Old Master sales (which play second fiddle to their higher-value summer auctions) show a reverse momentum, coming in at £36.5 million in 2018, £19.2 million in 2019, and £11.8 million in 2020.
Surrealist Art Trove Belonging to Man Ray's Assistant Heads to Auction at Christie's The record to beat today was £85 million ($135 million including premium), set by Christie’s in London in July 2012, when 15 works sold for over £1 million ($1.4 million), including John Constable’s The Lock, which sold for £22 million ($30 million). Today’s sale fell somewhat short of that.
By the end, after a rollercoaster two hours, 13 of the 43 lots went unsold, but six artists’ records had been broken. These were headed by the showstopper Sandro Botticelli Portrait of a Young Man Holding a Roundel, estimated to fetch the second-highest auction price for an Old Master, at $80 million. In spite of some doubts about the painting, it went to a Russian buyer bidding through Sotheby’s Lilija Sitnika, a private client adviser in London representing people from Russia, for $92.2 million. The underbidder, said Sotheby’s, was bidding on behalf of a client from Asia, but they pulled out after a long pause, having made only one bid through the house’s London-based co-chairman of Old Master paintings, Alexander Bell.
Coming from the collection of the late Sheldon Solow, who bought it in 1982 for £810,000 ($1.3 million), the painting broke the artist’s previous record of $10.4 million, made by the sale of the Rockefeller Madonna at Christie’s in 2013.
Sitnika then went on, using the same paddle number, to win a panel painting of the death of Lucretia during a banquet by the 15th century Florentine Master of the Marradi that sold for a record $1 million, and to pay above estimate prices for two 19th century paintings at the end of the sale—Jean-Baptiste-Camille Corot’s La Cascade de Terri, which sold for $600,800, double its estimate; and Antoinetta Brandeis’s View of the Piazza san Marco, for $441,000. They’re strange bedfellows for a Botticelli, one would think.
The big surprise of the sale was the withdrawal of Rembrandt’s small panel Abraham and the Angels just before it began. Estimated at $20 million–$30 million, it had a guarantee. Sotheby’s explained that “the painting was withdrawn following discussions with the consignor.” There had been no doubts about its authenticity and its provenance, which was recorded from Rembrandt’s lifetime—only the price, which seemed high for a minuscule painting.
Also guaranteed was an early, 15th century Northern Renaissance tempera painting on linen, The Descent from the Cross by the Flemish artist Hugo van der Goes ($3 million–$5 million). Fully attributed works by van der Goes are extremely rare. Indeed, a painting of the Virgin surrounded by saints that was only attributed to him by Christie’s made a record-breaking $9 million in 2017, even though it appeared to be an unfinished work. Coming from a private New York collection, where it had resided since 1951, it only attracted one bid, presumably from the guarantor, on the low estimate to sell for $3.35 million.
A selection of four Dutch and Flemish works were being sold by an anonymous East Coast American Trust which had bought them in the 1990s from London dealers Richard Green and Johnny van Haeften.
Willem Claesz. Heda’s still life of a banqueting tabletop with overturned tazza and oysters had been acquired by Green in 1991 for $1.4 million, and probably sold to an anonymous for something closer to today’s low estimate of $2.5 million. But it was perhaps too monochromatic to appeal to today’s buyers and went unsold. Two lively Dutch flower still-lifes did better for the trust. One, by Rachel Ruysch, fell just short of a record but above estimate for $2.2 million, while another, by Willem van Aelst, sold on the lower estimate, but for a record $1.2 million.
Another seller of multiple works was the Albright-Knox museum in Buffalo, New York, with six works carrying a $2 million low estimate, only four of which sold but for $3.2 million including premium. Leading its disposals this time was a rare terracotta Relief of the Madonna and Child by the Renaissance artist Luca Della Robbia, which was estimated to double his auction record at $700,000–$1 million—and duly surpassed that selling for $2 million.
Then the sale had its fair share of profit-taking efforts. A Brueghelesque composition called Children’s Games by Martin van Cleve the Elder, purchased in France in 2019 for €97,000 by a Belgian collector, sold for a satisfying $625,000, against an estimate of $300,000.
Elsewhere, a Rembrandtesqe portrait of a young man, possibly a self-portrait by Aert de Gelder, was back at auction with an $800,000 low estimate, having been bought in Germany in 2019 for €115,000. It returned to the block, this time bringing in an even more satisfying $927,500. A longer-term mark-up was seen when an elegant portrait of a young woman by Frans Pourbus the Elder, last sold at auction in 1978 for $20,000, found a buyer at a quadruple estimate record $478,800.
One other notable record was established for the Rubens-influenced painter Gerard Seghers, whose life-size depiction of Mary Magdalene sold for a double estimate $746,000.
“It was not aimed at the trade; the estimates were too high for that,” said London-based dealer, Jonathan Green after the sale. “There was no trade buying; it was a retail exercise.” But, while it had its disappointments, it did prove that the Old Master market has plenty of life in it.”
The Annunciation captures the ‘explosive stillness’ of the moment when Mary understands what is about to happen to her body, her short term mission and life long sense of purpose.
lol!
Actually oil on canvas.
Oil! Well she was one excellent painter. She knew her brushes. I used to produce a lot of art, but I was never that accomplished at rendering plant life. I loved drawing portraits and poses from a live model.
A lovely painting. Simple color scheme, complex meanings.
He looks like a teenager. Many tend to look awkward or out of proportion for a while because they aren’t done growing up.
Even the Angel appears to bow before her.
I actually like that. Went for 2.2 million. I suppose I could print it out and put it on a wall here. :)
I only study the masters!
I had the opportunity to get a velvet Malcom X in Anacostia DC in 1992. But being a cracker it probably would not have worked out.
Archangel Gabriel keeps his head low. He’s outranked by the future Queen of Heaven.
For all you know, the painting looks exactly like the boy - which is sort of the point of a portrait.
He did a lot of good instruction for a lot of people interested in trying their hands at painting.
I don’t know about you, but I’m horrible at drawing and painting. I’ve appreciated what I’ve learned from people who have had an interest in popularly teaching some elements of the arts and engage and enrich the ‘hoi polloi’.
The renaissance masters were among the first to define, experiment with and utilize mathematic perspective. It is not uncommon for renaissance paintings or sculpture to appear disproportionate because they were commissioned with the intent of being displayed in very specific settings that were not situated at eye level. Consequently when they are displayed at eye level on a museum or collector's wall, they will appear distorted and out of proportion.
Very interesting. I did not know about that.
As it is currently displayed on a pedestal it is typically viewed at a much lower angle and the distortion is far more obvious.
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