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Founded in 1766 by James Christie, Christie's conducted the greatest auctions of the 18th, 19th and 20th centuries, and today remains a popular showcase for the unique and the beautiful. Christie’s offers over 450 sales annually in over 80 categories, including all areas of fine and decorative arts, jewelry, photographs, collectibles, wine, and more. Prices range from $200 to over $80 million.
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Some works sold by Christie's

Leonard Limosin - Catherine De Medicis

Leonard Limosin - Catherine De Medicis

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Lot number: 34
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Description:
PLAQUE CIRCULAIRE EN EMAIL PEINT POLYCHROME PARTIELLEMENT DORE REPRESENTANT CATHERINE DE MEDICIS D'APRES UN MODELE DE LEONARD LIMOSIN (VERS 1505-1575/1577), LIMOGES, PROBABLEMENT DU XIXEME SIECLE Catherine de Médicis agenouillée devant un prie-Dieu sur lequel est ouvert un livre; signée "LEONARD/LIMOSIN/M.F./1553"; reposant sur un support en velours rouge; portant deux étiquettes en papier inscrites "F. 102." et "426/ER" Diamètre: 22,7 cm. (9 in.) Ancienne collection T.M. Whitehead. Baron Gustave de Rothschild (1829-1911). Baron Robert de Rothschild (1880-1946). INVENTAIRE: The Rothschild Archive, Londres, 000/1037, box 122, Inventaire après le Décès de Monsieur le Baron Gustave de Rothschild, A. Cottin Notaire, 26 avril - 10 juin 1912, "428. Plaque ronde par Léonard Limosin. Limoges, seizième siècle, femme en prières (F 102) estimée quinze mille francs" (Hôtel avenue Marigny, Galerie, Vitrine à gauche de la porte) The Rothschild Archive, Londres, 000/1037, box 47, Monsieur le Baron Robert de Rothschild. Hôtel Avenue Marigny. Tableaux et Objets d'Art, n.d. (vers 1935), "426/428. Plaque ronde par Léonard Limosin, Limoges XVIe siècle, femme en prières. (Estimée) 15.000" The Rothschild Archive, Londres, 000/1037, box 36, Hôtel Avenue Marigny 23, n.d. (vers 1935), "426. Plaque ronde par Léonard Limosin. Limoges XVIme siècle. Femme en prières (F 102). (Estimée) 15.000" BIBLIOGRAPHIE: Cat. expo. Catalogue of the Special Loan Exhibition of Enamels on Metal Held at the South Kensington Museum, Chiswick Press, London, 1878, no. 560 "MEDALLION: Round, painted in Limoges enamel, of bright colours, representing a lady kneeling in white dress, yellow skirt and blue cloak, at a faldstool; an open window and landscape background. Signed Lionard Limousin, M. F. 1553. Lent by Mr. T. M. Whitehead." Gaston Palewski, 23 avenue Marigny, hors commerce, Paris, 1976, p. 14. BIBLIOGRAPHIE COMPARATIVE: S. Baratte, Les émaux peints de Limoges, Paris, 2000, pp. 179-183. Exhibition of enamels on metal, London, South Kensigton Museum, 1874, no. 560. A PARCEL-GILT POLYCHROME CIRCULAR ENAMEL PLAQUE DEPICTING CATHERINE DE MEDICIS, AFTER A MODEL BY LEONARD LIMOSIN (CIRCA 1505-1575/1577), LIMOGES, PROBABLY 19TH CENTURY
Auguste Rodin - Le Baiser

Auguste Rodin - Le Baiser

Original
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Price:

Lot number: 301
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Description:
Auguste Rodin (1840-1917) Le Baiser, 3ème réduction signed ‘Rodin.’’’’ (on the front of the rock); inscribed with foundry mark 'F. BARBEDIENNE. FONDEUR. PARIS (FRANCE)' (on the left side of the base); stamped with chaser's mark 'K' (on the rim of the underside); numbered '21FR' (on the inside) bronze with dark brown and green patina Height: 15 ¾ in. (40 cm.) Conceived in 1886; this bronze version cast between 1910 and 1918 Private collection, United States (before 1930). Steve Newman, Stamford. Acquired from the above by the present owner, November 1999. G. Grappe, Catalogue du Musée Rodin, Paris, 1927, p. 47, nos. 91-92 (marble version illustrated). G. Grappe, Le Musée Rodin, Paris, 1947, p. 142 (marble version illustrated, pl. 71). C. Goldscheider, Rodin, Sa vie, son oeuvre, son héritage, Paris, 1962 (marble version illustrated). A.E. Elsen, Rodin, New York, 1963, p. 62 (larger bronze version illustrated, p. 63). B. Champigneulle, Rodin, London, 1967, pp. 157 and 282, nos. 78-79 (marble version illustrated, pp. 162-163). R. Descharnes and J.-F. Chabrun, Auguste Rodin, Lausanne, 1967, pp. 130-131 (marble version illustrated, pls. 54 and 55). I. Jianou and C. Goldscheider, Rodin, Paris, 1967, p. 100 (marble version illustrated). L. Goldscheider, Rodin Sculptures, London, 1970, p. 121 (marble version illustrated, pl. 49). J.L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, pp. 72, 77, 90 and 108, no. 151 (marble version illustrated, p. 77). J. de Caso and P. Sanders, Rodin's Sculpture, A Critical Study of the Spreckels Collection, California Palace of the Legion of Honor, San Francisco, 1977, pp. 148-153, no. 22 (larger bronze version illustrated, pp. 148-150). N. Barbier, Marbres de Rodin, Collection du Musée, Paris, 1987, pp. 184-187 and 258, no. 79 (marble version illustrated, p. 185 and illustrated again in color, p. 187). A. Le Normand-Romain, Le Baiser de Rodin, Paris, 1995, pp. 20 and 43 (other versions illustrated, figs. 2 and 7; terracotta version illustrated, p. 20, fig. 3). A. Le Normand-Romain, Rodin, Paris, 1997, p. 49 (terracotta version illustrated in color, p. 48). R. Butler, "Auguste Rodin," European Sculpture of the Nineteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, 2000, pp. 326-330. A. Pingeot, "Rodin au Musée du Luxembourg," La Revue du Musée d'Orsay, autumn 2000, pp. 67-70 and 74, no. 11. A.E. Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for the Visual Arts at Stanford University, New York, 2003, pp. 214-215, no. 49 (smaller bronze version illustrated, fig. 167). R. Masson and V. Mattius, Rodin, Paris, 2004, pp. 40-42 (marble version illustrated, p. 41; terracotta version illustrated, p. 42). A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Paris, 2007, vol. I, pp. 158-163, no. S. 2061 (another cast illustrated, p. 161; other versions illustrated, pp. 158-163).
Paul Klee - Por

Paul Klee - Por

Original 1931
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Price:

Lot number: 1
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Description:
Paul Klee (1879-1940) POR signed 'Klee' (upper right) oil on canvas laid down by the artist on card Canvas size: 14 1/8 x 18 ¾ in. (35.9 x 47.5 cm.) Mount size: 14 ½ x 18 7/8 in. (36.8 x 47.9 cm.) Painted in 1931 Galerie Simon (Daniel-Henry Kahnweiler), Paris. Galka E. Scheyer, Los Angeles (1933). Nierendorf Galleries, New York (circa 1938). Claire Dux Swift, Chicago (by 1942). Acquired from the family of the above by the present owner. The Artist's Handlist, no. 1931, 169 (S 9). The Paul Klee Foundation, ed., Paul Klee, Catalogue raisonné, 1931-1933, Bern, 2002, vol. 6, p. 120, no. 5574. Los Angeles County Museum, The Blue Four: Feininger, Jawlensky, Kandinsky, Paul Klee, October 1933, no. 151. Los Angeles, Hollywood Gallery of Modern Art and Oakland Art Gallery, Paintings by Paul Klee, July-September 1935, no. 151. San Francisco Museum of Modern Art, Paul Klee, January-February 1937. New York, Nierendorf Galleries, Exhibition Paul Klee, November 1938, p. 2, no. 27. New York, Nierendorf Galleries, Paul Klee, November 1941, no. 8 (dated 1938).
Arnulf Rainer - Maximilian Schell

Arnulf Rainer - Maximilian Schell

Original 2001
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Price:

Lot number: 1
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Description:
Arnulf Rainer (b. 1929) Maximilian Schell (from the series Fest Spieler) signed and dedicted 'für Maximilian Schell A Rainer' (lower right) mixed media over a photograph 29 x 40.5 cm. Executed in 2001 A gift from the artist to Maximilian Schell. 'Art is liberating' Austrian by birth, Swiss by circumstance and international by reputation, Maximilian Schell was a distinguished actor, director, writer and producer. Indeed, Schell was one of the most successful non-English speaking actors in the history of American cinema. He will perhaps be best remembered for his Oscar-winning performance in Stanley Kramer's Judgment at Nuremberg (1961). However, his more overlooked yet equally lasting legacy lies in his assemblage of an unparalleled collection of Post-War & Contemporary art. Schell's success was not exclusive to German roles. His repertoire ranged from Venezuelan leader Simón Bolívar to Russian emperor Peter the Great, and a Pharaoh to Einstein and Lenin. His role as the latter in the television film Stalin (1992) earned him a Golden Globe Award for Best Supporting Actor. His title-role in Shakespeare's Hamlet directed by legend Gustav Gründgens, is considered to rank alongside Laurence Olivier as 'one of the greatest Hamlets ever'. In 2002, Schell produced his most intimate film, My sister Maria, a documentary about his sister, noted actress Maria Schell. In the film, he chronicles her life, career and eventual diminished capacity due to illness. Maria's affected mental state made it difficult for her to distinguish between fiction and reality, a state of being that was to bring her into debt and force Schell to part with some of his most beloved paintings in order to save their childhood home. Schell's ultimate parting with his collection, at this time, was balanced by the knowledge that they would bring delight to their new owners. Having been surrounded by the arts, theatre and literature as a child born into an artistic family (Schell's mother was herself an actress and his parents fostered friendships with numerous contemporary painters), Schell carried an affection for the arts throughout his life. It is no surprise, therefore, that in addition to painting vocationally he eventually developed this passion by amassing an enviable collection of his own. The depths of this passion he held for the arts is revealed by the heartfelt expression that 'art is liberating'. In particular, Schell maintained an unrelenting pursuit of perfection, shown in his infatuation with Josef Albers' own lifelong experimentation with colour. Schell first encountered Josef Albers' work at the Sidney Janis Gallery in the early 1970s, where, every two years, Albers would present his latest 'platters to serve colour' (Albers, quoted in N. Fox Weber, Josef Albers, p. 10). Schell instantly recognised a level of sophistication in Albers' subtlety, akin to his own ideals as a director and actor. As a collector, Schell avoided fashionable artwork in search of timeless masterpieces. When Schell started to collect Albers' work from these exhibitions, he was contributing to an already impressive collection which included works by Paul Klee, Mark Rothko and Jean Dubuffet. It was Sidney Janis who finally introduced Schell to the artist whose work had so captivated him, sparking a friendship that would last until Albers' death in 1976. Maximilian Schell had a unique understanding of both Albers' work and mentality. Indeed it was Albers' commitment to attaining perfection which aligned with Schell's own that would tie the pair together as they embarked on their long lasting friendship. By the end of Albers' life, Schell was both a close friend and to some extent a heroic father figure. With his sharpness of eye, the intimacy of their relationship and the understanding of Albers' goals, Schell amassed a collection of unique quality and integrity. Indeed, this was the largest private collection of the artist's work to have been formed during Albers' lifetime, a tribute to the mutual passion for art. THE MAXIMILIAN SCHELL ESTATE Vienna, Galerie Ulysses.
Edouard Manet - Mademoiselle Juliette Dodu

Edouard Manet - Mademoiselle Juliette Dodu

Original
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Price:

Lot number: 101
Other WORKS AT AUCTION
Description:
Edouard Manet (1832-1883) Mademoiselle Juliette Dodu brush and black ink and pencil on tracing paper 6 1/8 x 4 7/8 in. (15.4 x 12.3 cm.) Executed circa 1880 Suzanne Manet, Paris (by descent from the artist); Estate sale, Hôtel Drouot, Paris, 4-5 February 1884, lot 147. Alphonse Portier, Paris (acquired at the above sale). Camille Pissarro, Paris; Estate sale, Galerie Georges Petit, Paris, 3 December 1928, lot 69. Charles E. Slatkin Galleries, New York (by 1959). Acquired from the above by the late owner, April 1962. PROPERTY FROM THE ESTATE OF ROSALYND C. PFLAUM Rosalynd C. Pflaum was a noted author, philanthropist and collector who learned the French language as a young girl and became a lifelong admirer and scholar of French history and culture. Her curated collection of works on paper includes the most acclaimed of French artists, most notably a small drawing by Édouard Manet of Mademoiselle Juliette Dodu (lot 101), the first woman to be awarded the Chevalier de la Légion d’’’’Honneur for her heroism in the Franco-Prussian war. In 1978, shortly after acquiring this portrait of Odilon Redon’’’’s sister-in-law, Mrs. Pflaum was similary honored by the French government and awarded the Legion of Honor. In 1936, she met Minnesota native Leo R. Pflaum, a young executive in the family owned clothing company which became M.L. Rothschild-Young Quinlan Company. She began her college studies at Stanford University, where she was admitted at the mere age of sixteen. Upon her marriage, Mrs. Pflaum continued her college education at the University of Minnesota and became one of the first women in the State to obtain her pilot's license. She received a Bachelor of Arts degree, summa cum laude in 1945 and a Master's Degree in 1954 from the University. The following year, Mrs. Pflaum acquired vibrant watercolours by André Derain (lot 104) and Paul Cézanne (lot 106). A French scholar, she wrote six biographies: Madame de Stael (1954); The Emperor's Talisman (The Life of the Duc de Morney) (1954); By Influence and Desire (The Grand Duchess of Courland and her Daughters) (1984); Grand Obsession (Madame Curie and her World ) (1989); Marie Curie and Her Daughter Irene (1991); and Talleyrand (2010), when she was 93 years old. She and her husband were long-time supporters of the arts, in particular the Minnesota Orchestra, where she served on its board as a life director. They regularly entertained visiting artists, who added their signatures to the walls of their family's guest bathroom. During the Second World War, she served locally in the Red Cross, driving a blood mobile. In 1949, she was one of the founders of the Women's Association of the Minneapolis Symphony Orchestra (WAMSO), and served as its president for the first five years. She later inaugurated WAMSO's Young Artist Competition, WAMSO's 58-year-old education program, and until her death supported its annual scholarship award. Christie’’’’s is delighted to be offering a selection of works from her beloved collection, which includes the lots on the following pages. Additional works on paper from the Estate of Rosalynd C. Pflaum include a drawing by Diego Rivera to be offered in the Latin American Paintings sale, November 2014; works on paper by Jean-Auguste-Dominique Ingres and Jean-Baptiste-Camille Corot to be offered in the January 2015, Old Master Drawings sale; and a portrait by Mary Cassatt to be offered in March 2015, American Paintings sale. F. Lochard, Album de Photographies, Paris, 1883, vol. III, no. 182 (illustrated). A. Chatté, "Notes sur Manet, V. la vente Manet en 1884," Journal des curieux, 10 March 1907, p. 13. R. Raoul, "New York Letter, The Taste for Drawings," Apollo, July 1962, p. 411 (illustrated; titled Portrait of Victorine Meurend). M. Bodelsen, "Early Impressionist Sales, 1874-1894," Burlington Magazine, June 1968, p. 342, no. 147. A. de Leiris, The Drawings of Edouard Manet, Berkeley, 1969, p. 124, no. 420 (illustrated, fig. 339; titled Portrait of Victorine Meurend). D. Rouart and D. Wildenstein, Edouard Manet, Catalogue raisonné, Geneva, 1975, vol. II, p. 158, no. 430 (illustrated, p. 159). Paris, Ecole Nationale des Beaux-Arts, Exposition des oeuvres de Edouard Manet, January 1884, no. 176. Santa Barbara Museum of Art, Drawings of Five Centuries, April-May 1959, no. 98 (titled Portrait of Victorine Meurend). New York, Charles E. Slatkin Galleries, French Master Drawings, Renaissance to Modern, February-March 1959, no. 91 (illustrated; titled Portrait of Victorine Meurend). Minneapolis, University Gallery, University of Minnesota and New York, The Solomon R. Guggenheim Museum, The Nineteenth Century, One Hundred and Twenty-Five Master Drawings, May-July 1962, no. 75. The Minneapolis Institute of Arts, Drawings and Watercolors from Minnesota Private Collections, May-June 1971, no. 21 (illustrated; titled Portrait of Victorine Meurend and dated circa 1870).
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current week's auction

Place Date Artworks Works at Auction
New York
October 23, 2014
283
Paris
October 23, 2014
96
Shanghai
October 24, 2014
67
New York
October 27, 2014
84
London
October 28, 2014
12
London
October 28, 2014
25
London
October 29, 2014
69
Paris
October 29, 2014
180
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