{"id":42281,"date":"2021-07-21T07:00:18","date_gmt":"2021-07-21T11:00:18","guid":{"rendered":"https:\/\/rehs.com\/eng\/?p=42281"},"modified":"2024-03-01T01:46:21","modified_gmt":"2024-03-01T06:46:21","slug":"british-european-art-christies-london-2","status":"publish","type":"post","link":"https:\/\/rehs.com\/eng\/2021\/07\/british-european-art-christies-london-2\/","title":{"rendered":"British & European Art: Christie\u2019s, London"},"content":{"rendered":"
\"young<\/a>

Millais<\/p><\/div>\n

On July 15th, Christie’s presented a big sale of British and European art, which faired a little better than their competition’s. While things opening up in the UK helped bring in more material, the problem still seems to be sourcing excellent quality works to sell.<\/span><\/p>\n

\"two<\/a>

John Roddam Spencer Stanhope<\/p><\/div>\n

The session began at 1 pm UK time (8 am NY time), and the top sellers all happened within the first 22 lots (of a 181 lot sale). In first was lot 22, Sir John Everett Millais’ <\/span>Nina, daughter of Frederick Lehmann, Esq.<\/span><\/em> which carried a \u00a3200-300K estimate and sold for \u00a3400K\/$554K (\u00a3500K\/$693K w\/p). This same painting was offered at Sotheby’s, New York, in 2017 at $400-600K and failed to sell .. the\u00a0 seller bought it back in 1984 for \u00a3230K\/$317K\u00a0. The second and third place finishers, which came from the Hartmuth Jung collection, were tied. Lot 7, Dante Gabriel Rossetti’s pastel\u00a0<\/span>Study of Alexa Wilding, her head turned three-quarters to the right<\/span><\/em> (bought in 2004 for \u00a3128\/$235K) and lot 9, John Roddam Spencer Stanhope’s <\/span>Patience on a monument smiling at Grief<\/span><\/em> (last on the public market in 2001 and sold for \u00a3158K\/$224K), were each expected to sell in the \u00a3300-500K range and fell a little short at \u00a3280K\/$388K (\u00a3350K\/$485K w\/p). Even though they did not hit the low end of their range, the seller was still in the black. It was nice to see some strength in the Victorian market.<\/span><\/p>\n

\"head<\/a>

Rossetti<\/p><\/div>\n

Rounding out the top five were Gustave Moreau’s watercolor and gouache\u00a0<\/span>Le lion amoureux (The Lion in Love)<\/span><\/em>\u00a0at \u00a3260K\/$360K (\u00a3325K\/$450K w\/p \u2013 est. \u00a3300-500K). The seller bought the work back in 1991 for $550K, so they took a big loss. And then there was Fernand Khnopff’s\u00a0<\/span>Les Caresses<\/span><\/em>, a pencil and crayon work from the Jung collection, that made \u00a3180K\/$250K (\u00a3225K\/$312K w\/p \u2013 est. \u00a380-120K). It appears that Jung acquired the work in 2005 from a collector who purchased it back in 2000 for \u00a392K\/$130K.<\/span><\/p>\n

Other strong performers included Carlos Schwabe’s\u00a0<\/span>La Porte d’or<\/span><\/em> at \u00a3180K\/$250K (225K\/$312K w\/p \u2013 est. \u00a3100-150K), which was also from the Jung collection and was purchased back in 2005 for \u00a342K\/$73K; Schwabe’s <\/span>L’Id\u00e9al<\/span><\/em>\u00a0made \u00a375K\/$104K (94K\/$130K w\/p – on a \u00a320-30K estimate); Edmund Dulac’s small watercolor\u00a0<\/span>Venise: The Carnival, St Mark’s, Venice<\/span><\/em>\u00a0made \u00a320K\/$28K (\u00a325K\/$35K w\/p \u2013 est. \u00a37-10K); and Albert Goodwin’s\u00a0<\/span>Fireflies, Trinidad<\/span><\/em>\u00a0(also a small watercolor) hammered at \u00a35.5K\/$7.6K (\u00a36.9K\/$9.5K w\/p \u2013 est. \u00a31-1.5K).<\/span><\/p>\n

Among the more expensive works that failed to sell were Robertson’s\u00a0<\/span>The Carpet Bazaar, Cairo<\/span><\/em>\u00a0(\u00a3250-350K), Ernst’s\u00a0<\/span>Two Warriors in the Alhambra Palace<\/span><\/em>\u00a0(\u00a3250-350K), Bossoli’s\u00a0<\/span>Veduta de Golfo di Napoli<\/span><\/em>\u00a0(\u00a360-80K), Atkinson Grimshaw’s\u00a0<\/span>Late Autumn on the Esk<\/span><\/em> (\u00a3100-150K), Sandy’s\u00a0<\/span>Portrait of Julia Smith Caldwell<\/span><\/em>\u00a0(\u00a340-60K), and de Dreux’s\u00a0<\/span>A Lady Riding in a Landscape, with Her Dogs<\/span><\/em>\u00a0(\u00a360-80K).<\/span><\/p>\n

By the sale’s end, of the 181 works offered, 133 sold (73.5%), which is reasonable for this type of sale. The presale estimate range was \u00a35.4-8.3M, and the hammer total was \u00a34.2M (\u00a35.26M\/$7.3M w\/p), so they fell short of expectations. Of the 133 sold works, 56 were below, 46 within, and 31 above their estimate range, leaving them with an accuracy rate of 25.4%.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

On July 15th, Christie’s presented a big sale of British and European art, which faired a little better than their competition’s. While things opening up in the UK helped bring in more material, the problem still seems to be sourcing … More…<\/a><\/p>\n","protected":false},"author":21,"featured_media":42284,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[384,207,20,67],"class_list":["post-42281","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rehs-contemporary","tag-19th-century-european","tag-auction-news","tag-auction-results","tag-british-victorian-art"],"yoast_head":"\nBritish & European Art: Christie\u2019s, London<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/rehs.com\/eng\/2021\/07\/british-european-art-christies-london-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"British & European Art: Christie\u2019s, London\" \/>\n<meta property=\"og:description\" content=\"On July 15th, Christie’s presented a big sale of British and European art, which faired a little better than their competition’s. 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