Christie's

ONE of the most provocative icons of the British Pop Art movement is Allen Jones’ (b.1937) Table. The original 1969 version of this work – listed in Volker Kahmen’s Eroticism in Contemporary Art as being in the Collection Ludwig, Aachen – was an uncompromising fetish object showing the life-size model naked apart from her leather boots, gloves and bodice gazing at herself in a mirror.

A Massachusetts auction house is being sued for breach of contract and malpractice after a Chinese vase it sold for $23,000 returned to auction six months later at Christie’s Hong Kong where it brought $1.55m.

Dollar rate deters American teddy bear enthusiasts: Daniel Agnew, the teddy bear specialist at Christie’s South Kensington (17.5/10% buyer’s premium), felt the market was a bit softer than usual for the first of his bi-annual teddy sales on June 10.

Some huge prices were paid for Du Paquier porcelain last week at Christie’s when the auctioneers offered a single-owner collection of predominantly Austrian and German porcelain in their July 7 sale of Continental ceramics.

20TH CENTURY Decorative Arts in New York: American museums are not so squeamish about deaccessioning as British ones and Christie’s New York (19.5/12% buyer’s premium) headlined its 20th Century Decorative Arts sale on June 12 with 52 lots of Tiffany from the Museum of Modern Art.

Many in the art world will know of Professor E. T. ‘Teddy’ Hall through his work in archaeometry, the science used to establish the age and origins of much of the world’s ancient art and artefacts, using tests such as thermoluminescence.

Sotheby’s and Bonhams routinely include sections of Export porcelain in their general Chinese sales but Christie’s specialist Caroline Allen devotes her time solely to this field and it is an area she is keen to develop. To this end, Christie’s</b? (19.5/12% buyer’s premium) gave her the go-ahead to present a single-owner collection of European-subject Export porcelain in an individual catalogue even though it was never going to be a big money-spinning, seven-figure collection.

THERE was a greater concentration of Chinese Export porcelain at Christie’s King Street (19.5/12% buyer’s premium) than at either of the other two houses with a single- owner collection of European-subject Export ware offered in a separate catalogue on June 17 and a private collection of famille verte porcelain in mixed condition that was 99 per cent sold by lot and by value, included in their mixed-owner sale on the same day.

Even as the million-pound Impressionist and Modern pictures were being knocked down in their King Street saleroom last week, Christie’s were reconfirming their commitment to the currently troubled middle market sector.

A bunch of flowers sold to a private buyer brought a welcome fragrance for Christie’s (24-18.5% buyer’s premium, excluding VAT) in their auction of Modern and Contemporary Art in Milan on May 26, and proved a powerful attraction, with a full room and numerous bidders on the telephone.

Christie’s have helped negotiate the sale to the Victoria and Albert Museum of the Castlereagh gold inkstand created by Paul Storr and Philip Rundell for the British diplomat Viscount Castlereagh (1769-1822) in 1818.

Christie’s South Kensington : May 15 was a crowded day in the Decorative Arts calendar. Both Christie’s South Kensington and Bonhams’ Bond Street rooms fielded sizeable decorative arts selections, much of it of crossover interest, which presumably presented potential buyers with something of a dilemma when it came to deciding which sale to attend in person.

Christie’s are to relocate their education arm from King Street to new premises in the Fitzrovia area of London. The current building, number 5 King Street that was the former Spink premises, will undergo refurbishment in the summer. While the upper floors are expected to remain Christie’s offices, a decision will be made in the near future as to the use of the prime retail space below.

CHRISTIE’S (20.93/11.96% buyer’s premium) eschewed Art Nouveau altogether at their 20th Century Decorative Arts sale on May 20. This short outing was 83 per cent sold by lot (63 from 76) and 87 per cent by value, and raised a premium-inclusive €3.41m (£2.35m).

A man who had a 17th century Dutch panel painting stolen from his home more than 20 years ago has failed in an Appeal Court to win compensation from Christie’s, who offered the picture for sale in 1997. Key to the test case was Christie’s ability to show they had acted in good faith, adding further legal weight to the importance of due diligence.

JUNE is very much the traditional month for London’s high season in the art market. However, in the middle of May we had a taster of the frenzied auction activity usually associated with that month, a mini tsunami of high-flying sales with a clutch of dramatic and record-breaking prices.

London’s main photograph auctions took place last week. The high point of the series came at Christie’s on May 20 in a single-owner evening auction of daguerreotypes by the French photographer Joseph-Philibert Girault de Prangey, when this image of the Temple of Olympian Zeus on the Acropolis sold for £500,000, reckoned by the auctioneers to be a new auction high for a photograph.

IT IS a well-known feature of rock and pop memorabilia auctions, that material relating to the Beatles is easier to sell than that relating to other stars. On this basis, the key to assembling a sale of this genre is presumably to fill it with as much Fab Four memorabilia as possible.

THE auction record for Clarice Cliff was sent tumbling last week on May 14 when Christie’s South Kensington sold this May Avenue charger for £34,000, almost double the previous high of £18,000 paid in December 2001 at Phillips for a charger decorated with the Windmill pattern.

BEARING the simple, one-word title ‘Literature’, an April 8 sale held by Christie’s New York (19.5/10% buyer's premium) was mostly concerned with books of the 19th and 20th centuries. Earlier works were rather thin on the ground and the principle lot in this category, a 1632 second folio Shakespeare, with the ‘To the Reader’ leaf in facsimile and with some outer leaves washed and pressed before it was bound in crimson morocco gilt by Rivière, was left unsold on an estimate of $90,000-120,000.