n10703 Lots2 2561
n10703 Lots2 2561
n10703 Lots2 2561
NEW YORK
A VISION: THE COLLECTION OF MICHELLE SMITH
22 APRIL 2021 N10703
Friday 16 April
2 PM–5 PM
Saturday 17 April
10 AM–5 PM
Sunday 18 April
1 PM–5 PM
Monday 19 April
10 AM–5 PM
Tuesday 20 April
10 AM–5 PM
Wednesday 21 April
10 AM–5 PM
OPPOSITE
LOTS 38, 42 AND 57
8 A VISION THE COLLECTION OF MICHELLE SMITH C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 9
CONTENTS
7
AUCTION & EXHIBITION INFORMATION
8
SPECIALISTS AND ENQUIRIES
18
A VISION
THE COLLECTION OF MICHELLE SMITH
LOTS 2–256
348
HOW TO BID
349
CONDITIONS OF SALE
350
TERMS OF GUARANTEE
351
ADDITIONAL TERMS AND CONDITIONS
FOR LIVE ONLINE BIDDING
BUYING AT AUCTION
354
SELLING AT AUCTION
355
SOTHEBY’S SERVICES
INFORMATION ON SALES AND USE TAX
IMPORTANT NOTICES
357
GLOSSARY OF TERMS
359
COPYRIGHTS AND ACKNOWLEDGEMENTS
OPPOSITE
LOT 28
“S he had a kind of curated life,” recalls Adam Weinberg, director of the Whitney
Museum of American Art, of the late Michelle Smith. “As a philanthropist, she had
a diversity of commitments. She thought very carefully about her philanthropic
choices, and the combination of them – how she could encourage cross
collaborations among the organizations she was involved in.”
That Smith was equally judicious as a collector was readily apparent to anyone
who stepped inside her Georgetown penthouse, as Weinberg also notes: “The
environment was sublime. Her home was an installation, in a way. She had a great
sense of the tactile, the physical. Everything was beautifully arranged, including
the people at her wonderful, intimate dinners. She loved to have ten or twelve
people around her table. She thought very carefully about who would be there in
terms of the conversation they would have. So, even her dinners were curated.”
This April in New York, Sotheby’s will highlight Smith’s legacy with A Vision: The
Collection of Michelle Smith, presented across two dedicated auctions. Spanning
20th and 21st century design, fine art, jewelry and handbags, the Michelle Smith
Collection is a testament to a passionate collector and philanthropist whose
commitment to excellence resounded in every area of her life.
Born in Maryland, Michelle was the daughter of artist Clarice Smith and Robert
H. “Bob” Smith, a visionary real estate developer, collector and philanthropist.
Founder of the Robert H. Smith Family Foundation, he also served as president of
the National Gallery of Art (NGA), from 1993 to 2003.
After graduating from the University of Miami, Michelle spent time in Europe
and New York before returning to the Washington, D.C. area, where she held key
executive positions in the family real estate firm before she succeeded her father,
in 2010, as president of the Smith Family Foundation.
“Michelle and her family were central to the growth of the National Gallery and
a number of other flagship Washington institutions,” says Earl A. “Rusty” Powell,
NGA director from 1992 to 2019. ABOVE
PHOTO BY MARY HILLIARD
OPPOSITE
LOTS 74-75 AND 77-79
12 A VISION THE COLLECTION OF MICHELLE SMITH C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 13
“Bob carried on the Mellon tradition of stewardship at the Gallery, and Michelle
continued with the tradition,” he adds. “Michelle had boundless enthusiasm.
The Smith Foundation was probably the most creative foundation I worked with,
because Bob and Michelle were interested in things that could be considered
outside the center lane. They bought 19 condominiums to house visiting scholars,
for example – not a normal path for philanthropic initiatives but the sort of thing
that made a huge difference.”
“At the time of my grandfather’s passing, she took the helm of the Robert
H. Smith Family Foundation,” says Michelle’s son Michael Smith Liss, CEO of
Heronwood Capital, a boutique private wealth management and investment
banking firm. “In this new role, she was not just a check writer. Her relationships
with organizations that the foundation supported were very deep and she was
passionately and intimately involved. She wanted to make the greatest impact
from her involvement that she could, and she opened up her network to create
collaborations and value in a myriad of ways. Her goal was to make these
institutions and organizations the very best that they could be.”
While her father assembled one of the world’s most important holdings of
Renaissance bronze sculpture (which were exhibited at the NGA and later
bequeathed to the institution), Michelle developed a love for contemporary
design and fine art. She acquired quintessential works by Francois-Xavier and
Claude Lalanne, Alberto and Diego Giacometti, Jean-Michel Frank, Antony
Gormley, Edmund de Waal and Alexander Calder, among others.
“She always knew straightaway what she wanted, and she had great
intuition about how pieces would work together, and always with so much
joy,” says Christian Hemmerle. “She had a very special eye for curating the
perfect collection in every sense. With everything in her life, she developed a
perfectionism….the kind of perfectionism you don’t switch on and off. You could
see it in every aspect of her life.”
OPPOSITE
LOTS 80 AND 81
14 A VISION THE COLLECTION OF MICHELLE SMITH C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 15
She was incredibly disciplined, while at the same time,
incredibly adventurous and always pushing the envelope,
not to be seen, but to learn and to make a difference... She
brought all these attributes – curiosity, discernment, taste,
discipline – not only to her collecting, but to her giving.
“She was the dream client and collector,” recalls New York-based interior
designer David Kleinberg, with whom Smith worked to create her spectacular
duplex penthouse apartment atop the Ritz-Carlton Georgetown. Originally raw
space, it required years of construction to install limestone floors and moldings,
rosewood doors, and a dramatic curved limestone staircase with a sterling silver
balustrade, among other features. “A great collector, like a great gardener, is a
person with patience, and she had that,” says Kleinberg. “Her taste was very
considered in all things. But while she had very definite ideas, she was also open-
minded and listened to people’s opinions.”
Along with her position as President of the Robert H. Smith Family Foundation,
Michelle served on boards or committees at a formidable array of nonprofits.
The list includes, in addition to the NGA and the Whitney, the Foundation for Art
and Preservation in Embassies (FAPE), the Kennedy Center, the Smithsonian
Institution, the University of Maryland, the New York Historical Society, the
Thomas Jefferson Foundation (which owns and operates Monticello), and the
Aspen Institute.
“Michelle was a beloved member of the FAPE family, whose vibrant, infectious
and positive personality played an integral role in the growth and success of our
organization,” says Jo Carole Lauder, FAPE’s Chairman. “Her passion for art and
architecture was evident and pivotal when working on our various projects at the
U.S. embassies around the world. Michelle set a high standard of excellence and
brought joy to everyone she touched.”
“Michelle Smith was an exceptional woman in every way,” recalls Walter Isaacson,
the best-selling author and former president of the Aspen Institute, in a joint
statement with Eric L. Motley, the organization’s executive vice president. “She
was intellectually curious; when she became interested in an idea, she would
totally lose herself. She would read everything on the subject matter, she would
do her own research, she would seek out other scholars to speak to, and she did
it not for show, but quietly and authentically.
“She was incredibly disciplined, while at the same time, incredibly adventurous
and always pushing the envelope, not to be seen, but to learn and to make
a difference,” they continue. “She brought all these attributes – curiosity,
discernment, taste, discipline – not only to her collecting, but to her giving.”
JAMES REGINATO IS WRITER-AT-LARGE FOR VANITY FAIR AND AUTHOR OF GREAT HOUSES,
MODERN ARISTOCRATS (RIZZOLI)
OPPOSITE
LOTS 48-50
16 A VISION THE COLLECTION OF MICHELLE SMITH C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 17
SESSION I
1 0 A M | LOT S 2 - 1 4 4
1998 LITERATURE
linen, acrylic Olga de Amaral: Bosques Estelas Umbras, exh.
each panel: signed Olga de Amaral, titled and dated cat., Hillside Forum, Tokyo, Japan, 1999, p. 23 (for
1998 the present lot illustrated)
each panel: 72 x 38 in. (182.88 x 96.5 cm)
overall: 72 x 78 in. (182.88 x 198.12 cm) Olga de Amaral and Edward Lucie-Smith, Olga de
Amaral: El manto de la memoria, Bogotá, 2000,
PROVENANCE p. 95 (for the present lot illustrated)
Galerie Jean-Jacques Dutko, Paris Threaded Words: Works by Olga de Amaral, exh.
cat., Colombian Embassy in Washington D.C.,
Acquired from the above
2004, pp. 14-15 (for the present lot illustrated)
EXHIBITED Resonancias, exh. cat., Belem Cultural Center,
Olga de Amaral, Bosques Estelas Umbras, Hillside Colombian Embassy in Portugal, Lisbon, 2005,
Forum, Tokyo, 1999 p. 24 (for the present lot illustrated)
Mes de Colombia, Bellas Artes Museum, Buenos Huellas, exh. cat., Centro Cultural Corp Banca,
Aires, 2001 Caracas, Venezuela, 2009, p. 14 (for the present lot
illustrated)
Lyrical ties, Perimeter Gallery, New York, 2001
Olga de Amaral: Entre Pueblos & Oeuvres
Resonancias, Belem Cultural Center, Colombian
Récentes, Galerie Jean-Jacques Dutko, Paris, 2010,
Embassy in Portugal, Lisbon, 2005
p. 28 (for the present lot illustrated)
Srata, Centro Cultural Casa de Vacas, Madrid, 2007
Huellas, Corp Banca, Caracas, 2009 Sotheby’s would like to thank Diego Amaral and
Valentina Amaral for their assistance with the
Olga de Amaral, Galerie Jean-Jacques Dutko, Paris,
cataloguing of this lot.
2010
$ 120,000-180,000
$ 3,000-5,000 PROVENANCE
$ 8,000-12,000
PROVENANCE
LITERATURE
$ 500,000-700,000
LITERATURE
$ 25,000-35,000
9 LUCIE RIE
BOWL 7
circa 1980
porcelain with manganese glaze, turquoise ring
and a terracotta foot
with the artist’s cypher
2⅝ in. (6.7 cm) high
6½ in. (16.5 cm) diameter
9
PROVENANCE
$ 30,000-50,000
PROVENANCE PROVENANCE
$ 7,000-10,000 LITERATURE
$ 30,000-50,000
10
11
PROVENANCE PROVENANCE
$ 15,000-20,000 $ 18,000-24,000
13
12
circa 1970
porcelain with pale green, grey and pink glaze and
with a manganese rim
with the artist’s cypher
4⅛ in. (10.6 cm) high
9¼ in. (23.4 cm) diameter
PROVENANCE
$ 15,000-20,000
16
T TK
T TK
14
15 LUCIE RIE 16 LUCIE RIE
BOWL BOWL
PROVENANCE PROVENANCE
Acquired directly from the artist by her cousin by Phillips, New York, December 17, 2014, lot 218
marriage, 1950s
Acquired from the above
Thence by descent
LITERATURE
Christie’s New York, June 12, 2014, lot 257
Tony Birks, Art of the Modern Potter, New York,
Galerie L’Arc en Seine, Paris 1977, p. 126, fig. 125 (for related examples)
Acquired from the above, 2014 Oliver Watson, British Studio Pottery: The Victoria
and Albert Museum Collection, Oxford, 1990,
LITERATURE
p. 238 (for a related example)
15 Annabel Freyberg, Living with Ceramics, New York,
1999, p. 178 (for a related example) $ 15,000-20,000
$ 15,000-20,000
LOT 17
OVERHEAD DETAIL
PROVENANCE PROVENANCE
Bonhams London, June 16, 2010, lot 437 Phillips New York, June 9, 2010, lot 94
Galerie L’Arc en Seine, Paris Galerie L’Arc en Seine, Paris
Acquired from the above, circa 2011 Acquired from the above, 2011
$ 40,000-60,000 $ 25,000-30,000
18
17
circa 1960
acid-etched and enameled brass, pewter, ebonized
wood
signed Philip & Kelvin Laverne
28⅞ in. (73.3 cm) high
38¼ in. (97.2 cm) diameter
PROVENANCE
$ 18,000-24,000
PROVENANCE PROVENANCE
Benjamin Proust Fine Art, London Benjamin Proust Fine Art, London
Galerie L’Arc en Seine, Paris Galerie L’Arc en Seine, Paris
Acquired from the above, 2016 Acquired from the above, 2016
EXHIBITED $ 15,000-20,000
PROVENANCE
$ 18,000-24,000
PROVENANCE
$ 600-800
conceived in 1987
number 8 from an edition of 9
bronze
stamped with the artist’s monogram and with the
foundry mark PE and numbered C60 8/9
17¾ x 13½ x 12¼ in. (45.1 x 34.3 x 31.1 cm)
PROVENANCE
LITERATURE
$ 60,000-80,000
circa 1979
patinated bronze, glass
impressed Diego
15⅛ x 54⅜ x 18⅜ in. (36.6 x 138.1 x 46.5 cm)
PROVENANCE
LITERATURE
$ 120,000-180,000
Friedman & Vallois, New York René Herbst, Un Inventeur, l’architecte Pierre
Chareau, Union des Artistes Modernes, Paris,
Acquired from the above 1954, pp. 33, 74 and 78-79
$ 25,000-35,000 Charles Rahn Fry, Art Deco Interiors, New York,
1977, p. 38
Alastair Duncan, Art Deco Furniture: The French
Designers, New York, 1984, pl. 2
Marc Vellay and Kenneth Frampton, Pierre
Chareau, Paris, 1984, pp. 84, 209 and 324 (for
period photographs of the model)
30 EUGÈNE PRINTZ
TA B L E - B I B L I OT H È Q U E
circa 1928
walnut, brass
23¾ x 27½ x 27½ in. (60.3 x 69.8 x 69.8 cm)
closed
PROVENANCE
LITERATURE
$ 50,000-70,000
Galerie Jacques Lacoste, Paris Galerie Chastel Maréchal, Paris Galerie Jacques Lacoste, Paris
Acquired from the above Acquired from the above Acquired from the above
31
33
32
2006
number 1 from an edition of 1
patinated and galvanized copper
monogrammed CL, impressed LALANNE, dated
2006 and numbered 1/1
13¼ x 12⅜ x 11½ in. (33.6 x 31.4 x 29.2 cm)
PROVENANCE
LITERATURE
$ 500,000-700,000
circa 1927
gilt bronze, frosted glass
14¼ x 8⅜ x 4½ in. (36.1 x 21.3 x 11.4 cm) each
PROVENANCE
LITERATURE
$ 20,000-30,000
$ 800-1,200
PROVENANCE
$ 20,000-30,000
circa 1935
patinated wrought-iron, parchment, rosewood
21 x 20⅞ x 20⅞ in. (53.3 x 53 x 53 cm) each
PROVENANCE
LITERATURE
◉ $ 70,000-100,000
circa 1930
with a period key
executed by Chanaux & Co., Paris
parchment, sycamore
impressed JM FRANK thrice, CHANAUX & Co twice
and numbered 9747 twice
55½ x 47 x 15¾ in. (141 x 119.4 x 40 cm)
PROVENANCE
LITERATURE
$ 400,000-600,000
circa 1925
patinated metal
impressed JEAN DUNAND
11½ in. (29.2 cm) high
13¾ in. (34.9 cm) diameter
PROVENANCE
$ 40,000-60,000
1945
patinated metal
impressed CL-LINOSSIER and dated 21 Mai 1945
4¼ in. (10.8 cm) high
6 in. (15.2 cm) diameter
PROVENANCE
$ 2,000-3,000
1966
sheet metal, brass, wire, paint
incised with the artist’s monogram on the base
14½ x 11½ x 5 in. (36.8 x 29.2 x 12.7 cm)
PROVENANCE
$ 180,000-250,000
LITERATURE
$ 8,000-12,000
43
44
45 A N TO N Y G O R M L E Y
S TA N D I I I
2008
cast iron
76 x 18⅛ x 14⅝ in. (193 x 46 x 37 cm)
PROVENANCE
∏ $ 350,000-450,000
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 113
46 DIEGO GIACOMETTI
BENCH
circa 1974
patinated bronze, suede upholstery
19¼ x 43¼ x 18¾ in. (48.8 x 109.8 x 47.6 cm)
PROVENANCE
LITERATURE
$ 400,000-600,000
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 117
47 ALEXANDER CALDER
LES AILES BRISÉES (MAQUETTE)
1967
sheet metal, rivets, paint
18¾ x 18½ x 14 in. (47.5 x 47 x 35.6 cm)
PROVENANCE
$ 120,000-180,000
circa 1900
mahogany, thuja burl, gilt bronze
32¼ in. (81.9 cm) high
30⅝ in. (77.7 cm) diameter
PROVENANCE
LITERATURE
$ 50,000-70,000
circa 1935-1937
gilt bronze, paper shade
15¼ in. (38.7 cm) high, excluding fittings
16 in. (40.6 cm) diameter of the shade
PROVENANCE
LITERATURE
$ 100,000-150,000
50 A N D R É G R O U LT 51 EUGÈNE PRINTZ
“ B LO C D E C R I S TA L” TA B L E L A M P S I D E TA B L E
◉ $ 30,000-50,000 $ 15,000-20,000
2017
comprising twenty-one porcelain vessels, four gilt
porcelain tiles and nine alabaster blocks, one with
gilding, in a vitrine
glazed porcelain, partially-gilt alabaster, aluminum,
Plexiglas, Corian
vitrine: 47¼ x 23⅝ x 5¼ in. (120 x 60 x 13.3 cm)
PROVENANCE
$ 80,000-120,000
circa 1900
mahogany, rosewood, gilt bronze
30 x 43 x 26½ in. (76.2 x 109.2 x 67.3 cm)
PROVENANCE
LITERATURE
◉ $ 6,000-8,000
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 133
55 T I F FA N Y S T U D I O S
“A R R O W H E A D S ” J A R D I N I È R E
circa 1905
with the original copper liner
mosaic favrile glass, gilt bronze
4¼ in. (10.8 cm) high
12 in. (30.5 cm) diameter
PROVENANCE
$ 40,000-60,000
circa 1905
patinated bronze, original mirrored glass
impressed TIFFANY STUDIOS/NEW YORK/11435
20 x 15¾ x 10¾ in. (50.8 x 40 x 27.3 cm)
PROVENANCE
LITERATURE
$ 30,000-50,000
circa 1900
comprising a dining table with three extension leaves
and eight chairs
walnut, leather upholstery
table impressed Tony SELMERSHEIM
table: 29 x 46¾ x 53 in.(73.6 x 118.7 x 134.6 cm)
minimized
chairs: 38 x 20¼ x 16½ in. (96.5 x 51.4 x 41.9 cm) each
PROVENANCE
$ 20,000-30,000
circa 2005
number 3 from an edition of 3
patinated and gilt bronze, Plexiglas
30¾ x 64¾ x 15 in. (78.1 x 164.4 x 38.1 cm)
PROVENANCE
LITERATURE
$ 60,000-80,000
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 147
60
60 C H R I S TO 61 C H R I S TO
THE UMBRELLAS (JOINT PROJECT FOR THE PONT NEUF WRAPPED: PROJECT
J A PA N A N D U S A ) F O R PA R I S
1990 1983 61
photograph, paint, crayon, graphite and colored graphite, fabric, twine, photograph, printed map,
pencil on paperboard pastel, and crayon on paperboard, in 2 parts
signed, inscribed and dated 1990; signed and i. signed, inscribed and dated 1983
dated 1990 on the reverse i. 28½ x 11¼ in. (71.7 x 28.5 cm)
26¼ x 14¼ in. (66.7 x 36.2 cm) ii. 28¼ x 22¼ in. (71.7 x 56.5 cm)
PROVENANCE PROVENANCE
$ 30,000-40,000 $ 60,000-80,000
62
62 K AT H Y TA S L I T Z 63 S Y LV A I N S U B E R V I E
T H R E E “ FA M I LY C H A I N ” C A N D E L A B R A S U N I Q U E “O R A G E ” C H A N D E L I E R
$ 20,000-30,000
150 A VISION THE COLLECTION OF MICHELLE SMITH C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 151
152 A VISION THE COLLECTION OF MICHELLE SMITH C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 153
64 EDMUND DE WAAL
LEBENSSTÜRME
2016
comprising four vitrines each with six tall vessels
and one low vessel with gilt porcelain shards
glazed and parcel-gilt porcelain, aluminum,
Plexiglas, Corian
vitrines: 43¼ x 11 x 9 in. (109.8 x 27.9 x 22.8 cm)
each
PROVENANCE
$ 150,000-200,000
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 157
Boudoir
LOT S 6 5 – 7 9
THIS PAGE
LOT XXX
PROVENANCE $ 4,000-6,000
LITERATURE
$ 70,000-100,000
65
162 A VISION THE COLLECTION OF MICHELLE SMITH C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 163
67 A L B E R TO G I AC O M E T T I
“ É G Y P T I E N N E ” TA B L E L A M P
$ 300,000-500,000
71
PROVENANCE PROVENANCE
PROVENANCE
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 171
I
n planning one of our trips to Paris, the Galerie Mitterand
kindly arranged for Michelle and I to visit Claude and
François-Xavier Lalanne at their studio outside Paris.
Needless to say, our travel dates were arranged around this
day trip. The visit of any artist’s studio is always a remarkable
experience and allows for a better understanding of their
process and a greater appreciation for their art. Meeting
Les Lalannes was that and so much more—the studio was
busy with work in all states of completion and these two
remarkable people were welcoming and charming in the
most unexpected ways. Seated on chairs of their making,
we enjoyed a cold lunch in the garden surrounded by their
fantastical animal sculptures. To walk through the garden
with them, to stumble upon bronze monkeys, tortoises and
other creatures, to have Claude take jewelry pieces and try
them on Michelle… the experience was all head spinning
and magical. We left giddy, filled with the joy of their spirits,
which is evident in each and every piece that they brought
to life.
Michelle owned several pieces by Claude and François-
Xavier Lalanne when we started to work together, but we
always hoped to add more. Specifically, she had always
wanted one of François-Xavier’s iconic wool sheep. We often
talked about its ideal placement within the apartment, which
way it would face and so on. When I finally found a Mouton
de Laine in Paris, I sent photos to Michelle as fast as possible
and we quickly arranged for the piece to be delivered in
Georgetown. When it came in, the sheep very organically
found its place by the living room doorway, strategically
located at the intersection of the entry hall, dining room,
living room and the boudoir.
DAVID KLEINBERG
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 173
71 F R A N Ç O I S -X AV I E R L A L A N N E
M O U TO N D E L A I N E
PROVENANCE
LITERATURE
$ 500,000-700,000
PROVENANCE PROVENANCE
$ 25,000-35,000
72
73
T TK
74 CERITH WYN EVANS
J U S T P L AY M E T W O B A R S O F S TA R D U S T
2011
neon
4½ x 70 in. (11.4 x 177.8 cm)
PROVENANCE
$ 10,000-15,000
75 LO U I S M A J O R E L L E
“J U N KO ” W R I T I N G D E S K
circa 1900
with two period keys
walnut, gilt bronze
branded MAJORELLE/DÉCORATEUR/124 R DE
PROVENCE PARIS
29½ x 54½ x 30¾ in. (74.9 x 138.4 x 78.1 cm)
PROVENANCE
LITERATURE
$ 8,000-12,000
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 181
77 T I F FA N Y S T U D I O S
THREE DESK SET ARTICLES
circa 1910
comprising one large and one small “Pine Needle”
letter rack and one “Grapevine” pen tray
patinated bronze, favrile glass
pen tray impressed TIFFANY STUDIOS/NEW
YORK/1004
small letter rack impressed TIFFANY STUDIOS/NEW
YORK
large letter rack: 8¾ x 12⅝ x 3 in. (22.2 x 32.1 x 7.6
cm)
PROVENANCE
$ 1,000-1,500
76 GEORGES DE FEURE
ARMCHAIR
circa 1900
ash, fabric upholstery
31¼ x 26½ x 22 in. (79.3 x 67.3 x 55.8 cm)
PROVENANCE
$ 3,000-5,000
circa 1904
acid-etched and wheel-polished cameo glass,
patinated wrought-iron
shade and base signed Gallé
30½ in. (77.4 cm) high
14½ in. (36.8 cm) diameter of shade
PROVENANCE
LITERATURE
$ 60,000-80,000
79 A N D R É G R O U LT
PA I R O F S I D E C H A I R S
circa 1913
pearwood, fabric upholstery
each twice impressed ANDRE GROULT with the
artist’s mark
34 x 18 x 17 in. (86.3 x 45.7 x 43.1 cm) each
PROVENANCE
LITERATURE
$ 10,000-15,000
circa 1967
patinated bronze, glass
15¼ in. (38.7 cm) high
23¾ in. (60.3 cm) diameter
PROVENANCE
LITERATURE
$ 150,000-200,000
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 195
81 TO R W O L F E N S T E I N
S O FA
circa 1940
executed by Ditzingers, Sweden
maple, velvet upholstery
30½ x 77 x 30½ in. (77.4 x 195.5 x 77.4 cm)
PROVENANCE
$ 4,000-6,000
circa 1905
with a “Tree” base
leaded glass, patinated bronze
shade with a small early tag impressed TIFFANY
STUDIOS/NEW YORK
base impressed Tiffany Studios/NEW YORK/553
31¼ in. (79.4 cm) high
26 in. (66 cm) diameter of shade
PROVENANCE
$ 100,000-150,000
83 G A B R I E L A R G Y- R O U S S E A U 84 LO U I S M A J O R E L L E
“CHRYSANTHÈMES” VASE ARMOIRE
PROVENANCE PROVENANCE
LITERATURE $ 12,000-18,000
$ 3,000-5,000
83
84
85
85 LO U I S M A J O R E L L E 86 T I F FA N Y S T U D I O S
T W O -T I E R E D O C C A S I O N A L TA B L E “ D R A G O N F LY ” TA B L E L A M P
$ 220,000-280,000
circa 1900
walnut, faux hide upholstery
22½ x 39½ x 15⅜ in. (57.1 x 100.3 x 39 cm)
PROVENANCE
LITERATURE
$ 3,000-5,000
88 T I F FA N Y S T U D I O S 89 LO U I S M A J O R E L L E
E I G H T E E N - L I G H T “ L I LY ” TA B L E L A M P “ B U TO M É E S ” T W O -T I E R E D T E A TA B L E
88
89
90 LUCIE RIE
BOWL
circa 1987
porcelain with blue glaze and a manganese rim
with the artist’s cypher
3¾ in. (9.5 cm) high
9 in. (22.8 cm) diameter
PROVENANCE
$ 35,000-50,000
1899
complete set comprising 13 lithographs from the
edition of 100
framed
printed by Clot, published by Vollard, Paris
printed in colors on China paper, including the
cover
two impressions signed in pencil
sheets approx.: 14½ x 11½ in. (37 x 29.2 cm)
cover: 22⅝ x 17½ in. (57.6 x 44.3 cm)
PROVENANCE
$ 60,000-80,000
1899
set comprising 13 lithographs from the edition of
100
framed
published by Vollard, Paris
printed in colors on wove paper, the cover printed
in colors on China paper
three signed in pencil and one initialed in pencil,
numbered no 32, no 16, no 9 and no 39
sheets approx.: 16⅞ x 19⅝ in. (43 x 50 cm)
PROVENANCE
$ 30,000-50,000
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 215
Upstairs Lounge & Study
LOT S 9 3 – 1 3 0
Galerie Michel Giraud, Paris Galerie Jean-François Dubois, Paris Galerie Jean-François Dubois, Paris
Acquired from the above, 2010 Acquired from the above Acquired from the above, 2009
94
95
93
96
LITERATURE
$ 45,000-60,000
PROVENANCE
PROVENANCE
$ 40,000-60,000
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 227
I am pleased to have introduced Michelle to the work of
ceramist Jean Besnard, which resulted in the acquisition
of a large number of works by this talented artist. As
a collector, Michelle was instantly drawn to pieces of
Africanist inspiration, which was so prevalent amongst
designers and makers of the Art Deco period. As our
composition was always about form and texture, the
Besnard vessels fit perfectly within the apartment.
DAVID KLEINBERG
Galerie Michel Giraud, Paris Galerie Jean-François Dubois, Paris Galerie Jean-François DuBois, Paris
Acquired from the above, 2010 Acquired from the above, 2009 Acquired from the above, 2009
PROVENANCE PROVENANCE
$ 6,000-8,000 $ 6,000-8,000
PROVENANCE PROVENANCE
$ 1,500-2,000 $ 1,500-2,000
1937
glazed stoneware, wood
incised Jean Besnard and dated 1937
1¼ x 13 x 7⅞ in. (3.1 x 33 x 19.8 cm)
PROVENANCE
$ 2,000-3,000
106
108
107
$ 3,000-5,000
109
110
$ 2,000-3,000 $ 4,000-6,000
112
113
111
114 CHUMA MAWENI
T H R E E “ I M B I Z O ” S TO O L S
2018-2019
charcoal black stoneware clay
each incised CHUMA/MAWENI and with the
artist’s monogram; two stools incised SA; two
dated 2018, one dated 2019
largest: 19⅜ in. (49.2 cm) high
14⅝ in. (37 cm) diameter
PROVENANCE
LITERATURE
$ 3,000-5,000
circa 1902
patinated bronze, favrile glass
each impressed TIFFANY STUDIOS/NEW
YORK/1225 and 5723
13½ in. (34.3 cm) high each
PROVENANCE
LITERATURE
$ 25,000-35,000
$ 20,000-30,000 $ 4,000-6,000
117
118
Diego Giacometti, exh. cat., The Greenberg Gallery, Jacqueline von Sprecher, Diego Giacometti, tritt
St. Louis, May 4-June 1, 1985, and Marisa del Re aus dem Schatten, Zürich, 2007, p. 106
Gallery, New York, June 6, 1985, p. 25 Daniel Marchesseau, Diego Giacometti sculpteur
Michel Butor and Jean Vincent, Diego Giacometti, de meubles, Paris, 2018, pp. 30 and 178
Paris, 1985, pp. 116, 131 and 139
$ 150,000-200,000
120 F R A N Ç O I S -X AV I E R L A L A N N E
BÉLIER I
PROVENANCE
LITERATURE
PROVENANCE
LITERATURE
$ 400,000-600,000
designed circa 1996, executed 2003 designed circa 1997, executed 2004
number 4F and 4G from an edition of 8 number 3 from an edition of 8
executed by Figini Fondeur executed by Figini Fondeur
gilt bronze gilt bronze
each monogrammed CL, impressed LALANNE and monogrammed CL, impressed LALANNE, dated
dated 2003 and impressed with the foundry mark 2004, numbered 3/8 and impressed with the
and respectively numbered F 4/8 and G 4/8 foundry mark
30⅝ x 23 x 23 in. (77.7 x 58.4 x 58.4 cm) each 16¾ x 49 x 27½ in. (42.5 x 124.4 x 69.8 cm)
PROVENANCE PROVENANCE
Acquired directly from the artist Acquired directly from the artist
Gerald Peters Gallery, Santa Fe, New Mexico Gerald Peters Gallery, Santa Fe, New Mexico
Acquired from the above, 2008 Acquired from the above, 2008
LITERATURE LITERATURE
Daniel Marchesseau, Les Lalanne, Paris, 1998, Daniel Marchesseau, Les Lalanne, 1998, Paris,
pp. 130-131 p. 130 (for a related model)
Daniel Abadie, Lalanne(s), Paris, 2008, pp. 266- François-Xavier & Claude Lalanne: Dreams for the
267 (for a maquette of the model in copper and an Light of Day, exh. cat., Gerald Peters Gallery, New
example of the model in aluminum) York and Santa Fe, 2000, p. 51 (for a related model
in aluminum)
François-Xavier & Claude Lalanne: Dreams for the
Light of Day, exh. cat., Gerald Peters Gallery, New Claude & François-Xavier Lalanne, exh. cat., Paul
York and Santa Fe, 2000, p. 51 (for the model in Kasmin Gallery, New York and Ben Brown Fine
aluminum) Arts, London, 2006, pp. 46 (for a detail of a related 122
model) and 95 (for a related model)
Claude & François-Xavier Lalanne, exh. cat., Paul
Kasmin Gallery, New York and Ben Brown Fine $ 150,000-200,000
Arts, London, 2006, p. 95
Paul Kasmin, Claude & François-Xavier Lalanne,
New York, 2012, n.p. (for the model in aluminum)
Adrian Dannatt, François-Xavier et Claude Lalanne,
In the Domain of Dreams, New York, 2018, pp. 23,
167-169, 217, 222-223, 239 and 249
123
$ 180,000-240,000
2007
number 3A and 3B from an edition of 8
executed by Fonderie d’Art Bocquel, France
galvanized bronze
standing pigeon monogrammed FXL and
numbered 3/8A with the foundry mark
seated pigeon monogrammed FXL and numbered
3/8B twice with the foundry mark
standing pigeon: 10¼ x 11½ x 6⅜ in. (26 x 29.2 x
16.2 cm)
seated pigeon: 7¼ x 10⅜ x 6⅜ in. (18.4 x 26.4 x
16.2 cm)
PROVENANCE
LITERATURE
$ 70,000-100,000
129
127
128
PROVENANCE PROVENANCE
$ 20,000-30,000 $ 15,000-20,000
127 L A U R E N C E M O N TA N O 130 L A U R E N C E M O N TA N O
PA I R O F A R M C H A I R S DINING SUITE
PROVENANCE
$ 60,000-80,000
circa 2009
number 1 and 2 from an edition of 2
patinated bronze, fabric upholstery
each monogrammed LM and numbered 1/2 and
2/2
35¼ x 18 x 19 in. (89.5 x 45.7 x 48.2 cm) each
PROVENANCE 130
$ 15,000-20,000
PROVENANCE
$ 3,000-5,000
131
132
133
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 277
134 GEORGES JOUVE 137 POL CHAMBOST
VIDE POCHE VASE
PROVENANCE PROVENANCE
$ 4,000-6,000 $ 3,000-5,000
circa 1950s
glazed earthenware
15 in. (38.1 cm) high
4½ in. (11.4 cm) diameter
PROVENANCE
$ 3,000-5,000
136 D E N Y S E G ATA R D
VASE
circa 1950s
glazed stoneware
incised DG
13⅜ in. (34 cm) high
4⅜ in. (11.1 cm) diameter
PROVENANCE
$ 2,000-3,000
135
137
134
136
circa 1908-1917
comprising 24 pieces, including: 12 cake knives
and 12 forks
with Neoclassical foliate handles
with original fitted wooden box
silver-gilt
marked K. Fabergé in Cyrillic under the Imperial
Warrant, CF in Latin for export, 91 standard with
London import marks
knife: 7 in. (17.8 cm) long
PROVENANCE
$ 2,500-3,500
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 281
139 P U I F O R C AT 140 P U I F O R C AT
A F R E N C H S I LV E R A F R E N C H S I LV E R “ E LY S E E ” the knives also stamped
“ R O C H A M B E A U ” F L AT W A R E F L AT W A R E S E R V I C E Puiforcat on stainless steel
SERVICE blades and stamped FRANCE
20th Century with marks on the guards
20th Century comprising 75 pieces, including: dinner knife: 10 in. (25.4 cm)
comprising 144 pieces, including: 18 8 dinner forks, 8 dinner knives, 8 long
dinner forks, 18 dinner knives, 18 fish salad forks, 8 salad knives, 8 fish
PROVENANCE
forks, 18 salad forks, 18 salad knives, forks, 8 butter knives, 8 dessert
18 dessert spoons, 18 table spoons spoons, 8 table spoons, 8 coffee Puiforcat, Paris
and 18 coffee spoons spoons, 1 ladle, 1 serving fork (fish) Acquired directly from the
produced by Puiforcat, Paris and 1 large serving spoon above
each stamped with maker’s and with original Puiforcat bags
control marks, the dinner knives produced by Puiforcat, Paris $ 7,000-10,000
stamped Puiforcat on stainless steel with maker’s and control marks,
blades and stamped FRANCE with
marks on guards
dinner knife: 9¾ in. (24.8 cm) long
PROVENANCE
Puiforcat, Paris
Acquired from the above
$ 12,000-18,000
PROVENANCE
$ 5,000-7,000
circa 1904-1905
designed by John Rohde
tray designed by Georg Jensen
comprising 5 pieces, including: a coffee pot, tea
pot, creamer, sugar bowl and tray in the “Blossom”
pattern (design no. 2E)
silver, ebonized wood
tray: 22½ in. (57.2 cm) long over handles
PROVENANCE
$ 7,000-10,000
circa 2011
comprising two large and one small
flower pot (not illustrated)
frosted rock crystal
3¾ in. (9.5 cm) high each
4½ in. (11.4 cm) diameter each
PROVENANCE
Hemmerle, Munich
Acquired from the above, 2011
$ 1,000-1,500
144 HEMMERLE
S I X F LO W E R P OT S
contemporary
comprising three large and three small
flower pots (not illustrated)
patinated iron
each impressed HEMMERLE
large: 5½ in. (13.9 cm) high each
6½ in. (16.5 cm) diameter each
small: 4 in. (10.1 cm) high each
4½ in. (11.4 cm) diameter each
PROVENANCE
Hemmerle, Munich
Acquired from the above
143 144
$ 1,500-2,000
Jewels by Hemmerle
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appreciation for the craft and a keen eye for art and no. 6167502489, dated May 7, 2015, stating the Please note that the diamonds of green and
diamond is Fancy Deep Brownish Greenish Yellow, brown hue have not been tested for natural origin
design, defined by an understated, unique perspective and Natural Color, SI1 clarity. of color.
elegance. These creations offer a great insight into our
$ 35,000-45,000 $ 25,000-35,000
creativity over the decades and form part of the growing
appreciation of collectible jewellery as an art form.
CHRISTIAN AND YASMIN HEMMERLE
suspending brass pendants designed as stylized the surmounts bezel-set with round green the tops pavé-set with round orange and red
pinecones, the surmounts set with round tourmalines weighing 9.36 and 7.12 carats, garnets, suspending two wood beads
diamonds of green hue suspending oblong copper pendants together with signed box
together with signed box together with signed box wood, silver, garnet, gold
signed Hemmerle, with maker’s mark signed Hemmerle, with maker’s marks signed Hemmerle, with maker’s mark
Please note that the diamonds of green hue have $ 15,000-25,000 Please note this property cannot be shipped
not been tested for natural origin of color. internationally due to endangered species
materials.
$ 15,000-25,000
◉ $ 12,000-18,000
204
203
205
208 HEMMERLE
BRONZE AND FOSSILIZED
SEA URCHIN NECKLACE
◉ $ 15,000-25,000
the bezel-set oval-shaped diamonds of brown the button-shaped copper surmounts suspending
hue weighing approximately 2.20 and 2.25 carats, two oval-shaped carnelian intaglios, one depicting
within brushed copper mountings an eagle and one depicting a lion, each with a
together with two signed boxes monogram
signed Hemmerle, with maker’s mark together with signed box
size 4¾ signed Hemmerle, with maker’s mark
Please note that the diamonds of brown hue have $ 20,000-30,000
not been tested for natural origin of color.
$ 25,000-35,000
208
209 HEMMERLE
B R A S S , W O O D, P E R I D OT,
A N D TO U R M A L I N E C U F F- B R A C E L E T 210
212 HEMMERLE
COPPER AND GARNET RING
$ 20,000-30,000
213
213 HEMMERLE
PA I R O F C O P P E R , TO PA Z A N D C O LO R E D
D I A M O N D P E N D A N T- E A R C L I P S
$ 30,000-50,000
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 299
214
214 HEMMERLE
W O O D A N D C O LO R E D D I A M O N D
C U F F- B R A C E L E T
◉ $ 30,000-50,000
the surmounts designed as clusters of reverse- composed of 17 antique walrus teeth, alternating
set round diamonds of yellow, brown, orange and with large beads composed of interwoven knitted
green hues, suspending pendants with interwoven quartz and carnelian beads
peridot, carnelian and smoky quartz beads together with signed pouch
together with signed box and fitted with posts unsigned
signed Hemmerle, with maker’s marks 40 in. (101.6 cm) internal circumference
Please note that the diamonds of yellow, brown, This lot is accompanied by a Certificate of
orange and green hue have not been tested for Authenticity from Hemmerle.
natural origin of color.
Please note this property cannot be shipped 216
$ 20,000-30,000 internationally due to endangered species
materials.
◉ $ 15,000-25,000
217 HEMMERLE
B R O N Z E A N D C O LO R E D
DIAMOND RING
$ 50,000-75,000
$ 100,000-150,000
219
223
circa 1955
of stylized floral design, centering clusters of
round diamonds, further bordered by round
diamonds, total gross weight approximately
25 dwts, the earclips with retractable fittings
for wear as clips
signed VCA
earclips numbered 91.634 with French assay
and partial workshop marks
clip-brooch numbered 96345 with French 224
assay marks
$ 20,000-30,000
223 VAN CLEEF & ARPELS 224 VAN CLEEF & ARPELS
G O L D, D I A M O N D A N D E N A M E L GOLD AND DIAMOND
221 VAN CLEEF & ARPELS ‘ L U D O H E X A G O N E ’ B R A C E L E T, F R A N C E ‘ L U D O H E X A G O N E ’ C L I P, F R A N C E
G O L D A N D D I A M O N D B R A C E L E T,
FRANCE circa 1937 circa 1937
designed as a flexible band of hexagonal-shaped designed as a stylized buckle of hexagonal-shaped
circa 1955 links, each centering a single-cut diamond, the links, each centering a single-cut diamond,
composed of four ropetwist chains, terminating in arched clasp set with three rows of old European- the arched clasp set with rows of old European,
tassels capped by single-cut diamonds, the clasp cut diamonds, bordered with black enamel, round and old mine-cut diamonds, gross weight
set with a row of old European-cut diamonds, gross weight approximately 72 dwts approximately 18 dwts
gross weight approximately 102 dwts signed Van Cleef & Arpels, numbered 44624, signed Van Cleef & Arpels, numbered 49682,
signed Van Cleef & Arpels, numbered 63.236, with French assay and workshop marks with French workshop and assay marks
with French assay and workshop marks 7 in. (2.7 cm) long
length adjustable LITERATURE
LITERATURE
$ 20,000-30,000 A similar example can be found in
An identical example can be found in Van Cleef & Arpels The Art of High Jewelry
Van Cleef & Arpels The Art of High Jewelry by Évelyne Possémé, page 94.
by Évelyne Possémé, page 94.
$ 10,000-15,000
$ 60,000-80,000
$ 20,000-30,000
226
227
1974
the textured gold oval link necklace and matching
pendant decorated throughout with round and
single-cut diamonds, gross weight approximately
125 dwts
signed Van Cleef & Arpels Made in France,
numbered NY44653-1
225
24¼ in. (61.5 cm) long
detaches into 7½-inch (19 cm) and 19⅞-inch
(50.4 cm) segments
This lot is accompanied by a copy of a Certificate
of Authenticity from Van Cleef & Arpels.
$ 40,000-60,000
310 A VISION THE COLLECTION OF MICHELLE SMITH
228
LITERATURE
$ 20,000-30,000
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 313
229 VAN CLEEF & ARPELS
G O L D, C U LT U R E D P E A R L A N D
DIAMOND NECKLACE -BRACELET
C O M B I N AT I O N
circa 1970
composed of a long ropetwist polished gold
chain, decorated with 16 baroque cultured pearls,
suspending a detachable pendant of tassel design,
accented throughout with round diamonds, gross
weight approximately 195 dwts
signed Van Cleef & Arpels numbered N.Y.41474
pendant signed V.C.&A. numbered 41474
25 in. (63.5 cm) long
chain detachable into 8-inch (20.3 cm) and 17-inch
(43.2 cm) segments for a variety of wear
LITERATURE
230 CARTIER
PA I R O F G O L D A N D D I A M O N D
BRACELETS, FRANCE
$ 20,000-30,000
circa 1975
composed of hook-form links, total gross weight
approximately 140 dwts
signed Van Cleef & Arpels, numbered 56612 and
56613, with French assay and workshop marks
9⅜ in. (23.8 cm) long, can be combined for wear
as a necklace measuring 18¼ inches (46.3 cm)
$ 20,000-30,000
232
231
1970
composed of a series of sculpted gold lion head
motifs, each with a bezel-set round diamond in
its mouth and round diamond eyes, spaced by
textured gold links further adorned with round
diamonds, gross weight approximately 227 dwts
signed Van Cleef & Arpels, numbered NY 41676
27 in. (10.6 cm) long
This lot is accompanied by a copy of a Certificate
of Authenticity from Van Cleef & Arpels.
$ 40,000-60,000
LITERATURE
$ 35,000-55,000
233
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M 319
235 CARTIER
FIVE GOLD BANGLE -BRACELETS
$ 15,000-20,000
234 235
1972
composed of a long textured gold chain,
suspending a detachable pendant of door knocker
design, gross weight approximately 217 dwts
signed V.C.&A
pendant numbered 16v286-5
bracelets numbered 2v61568, 2v615-69, and
2v615-70 and attachment numbered 2v615-71
30 in. (76.2 cm) long, chain detaches into
4 segments for a variety of wear
This lot is accompanied by a copy of a Certificate
of Authenticity from Van Cleef & Arpels.
$ 30,000-50,000
circa 1970
comprising a necklace composed of textured gold
links, decorated with round diamonds, suspending
a detachable pendant of interlocking design,
total gross weight approximately 167 dwts and
a pair of earclips of similar design, gross weight
approximately 23 dwts
Each segment of the necklace-bracelet signed VCA
and numbered respectively NY46329, NY46329,
171H-13 and 171H-19
the pendant signed V.C.&A., numbered 43386
the earclips signed V.C. & A., numbered NY47456,
with French assay marks
the necklace-bracelet: 24¼ in. (61.5 cm) long, with
3 detachable segments measuring 7¾ in. (19.6 cm)
each and one segment measuring 2¾ in. (6.9 cm)
This lot is accompanied by a copy of a Certificate
of Authenticity from Van Cleef & Arpels.
$ 40,000-60,000
237
circa 1970
of lunar inspiration, total gross weight
approximately 38 dwts
signed V.C & A., numbered 3V587.18,
with French assay mark 238
LITERATURE
$ 6,000-8,000
240
241
designed as a wide gold tubogas band, bezel-set each bezel-set with antique coins depicting
to the front with an antique bronze coin depicting Alexander the Great, on the front, and Zeus, King
Roman Emperor Maximinus I, on the front, and of Gods, on the reverse, the bezel reverse inscribed
Pax, Roman goddess of peace, on the reverse, ‘Alexander III the Great 336-323 B.C.’, total gross
the bezel reverse inscribed ‘Roma-Maximinus I weight approximately 28 dwts
235-238’, gross weight approximately 81 dwts together with signed pouch
together with signed pouch signed Bulgari, with Italian assay and registry marks
signed Bulgari, with Italian assay and registry marks
6⅞ in. (2.7 cm) long $ 3,000-5,000
$ 15,000-20,000
242 BULGARI
GOLD AND ANTIQUE COIN
240 BULGARI ‘MONETE’ NECKLACE
GOLD AND ANTIQUE COIN
‘MONETE’ BRACELET the curb link chain set at intervals with eight
antique coins within octagonal frames, depicting
Designed as a wide gold tubogas band, bezel-set Roman Empress Julia Domna, on the front, and
to the front with an antique bronze coin depicting Pax, Roman goddess of peace, on the reverse,
Roman Emperor Constantine the Great, on the each bezel reverse inscribed ‘Roman Empire -
front, and Ceres, Roman goddess of agriculture, Julia Domna - Denarius - 217 AD’, gross weight
on the reverse, the bezel reverse inscribed approximately 127 dwts
‘Roma-Constantinus I AVG. 307-337’, gross weight together with signed pouch
approximately 77 dwts signed Bulgari 242
together with signed pouch 31¼ in. (12.3 cm) long
signed Bulgari, with Italian assay and registry marks
7⅛ in. (2.8 cm) long $ 15,000-20,000
$ 10,000-15,000
245
243 GRAFF
C U LT U R E D P E A R L
AND DIAMOND NECKLACE
$ 40,000-60,000
designed as hoops, channel-set with baguette the hoops pavé-set with numerous
diamonds, bordered by round diamonds round diamonds
fitted with posts fitted with posts
signed Graff and numbered 11093 together with signed pouch
signed Graff and numbered 4797
243
$ 40,000-60,000
$ 35,000-55,000
247
248 D I A M O N D, C O L O R E D 249 D I A M O N D LO N G C H A I N
DIAMOND AND
Designed as a line of spectacle-set
SAPPHIRE RING round diamonds
80½ in. (31.6 cm) long
of stylized floral design, featuring two old
European-cut diamonds, one of yellow hue, $ 60,000-80,000
a round Fancy Brownish Pink diamond, and a
cushion-cut sapphire, accented by single
and rose-cut diamonds
size 5¾
This lot is accompanied by GIA report no.
6214496231 dated March 5, 2021 stating that
the round diamond weighing 1.60 carats is
Fancy Brownish Pink, Natural Color, I2 clarity
Please note that the diamond of yellow hue has
249
not been tested for natural origin of color.
$ 30,000-50,000
251
253
$ 100,000-150,000
253 GRAFF
PA I R O F D I A M O N D P E N D A N T- E A R C L I P S
$ 25,000-35,000
$ 20,000-30,000 $ 30,000-50,000
254
256
circa 1925
of baton design with twin scroll motifs, set with
old European, old mine and single-cut diamonds,
accented by baguette diamonds, can be attached
for wear as a double clip
signed Van Cleef & Arpels, with French assay and
partial workshop marks 255
$ 30,000-50,000
END OF SALE
Presented by:
Mark C. Lowham, [email protected], +1 703 966 6949 | Matt McCormick, [email protected], +1 202 365 5883
Christopher Ritzert, [email protected], +1 202 256 9241 | Christie-Anne Weiss, [email protected], +1 202 256 0105
TTR Sotheby’s International Realty Georgetown Brokerage 1206 30th Street NW, Washington, District Of Columbia +1 202.333.1212. Sotheby’s International Realty® and the fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Each franchise is independently owned and operated. Any services or products provided by
Sotheby’s International Realty Logo are service marks licensed to Sotheby’s International Realty Affliates LLC and used with permission. TTR Sotheby’s International Realty independently owned and operated franchisees are not provided by, a liated with or related to Sotheby’s International Realty Affliates LLC nor any of its a liated companies.
4. Withdrawal We reserve the right to whether to accept any pre-registration
CONDITIONS OF SALE withdraw any property before the sale and application shall be final. You must arrange
HOW TO BID shall have no liability whatsoever for such for Sotheby’s to receive your pre-registration
The following Conditions of Sale and Terms withdrawal. application at least three working days before
of Guarantee are Sotheby’s, Inc. and the the sale. Please bear in mind that we are unable
Consignor’s entire agreement with the 5. Per Lot Unless otherwise announced by the
to obtain financial references over weekends or
purchaser and any bidders relative to the auctioneer, all bids are per lot as numbered in
public holidays.
property listed in this catalogue. the catalogue.
Sotheby’s may require such necessary financial
The Conditions of Sale, Terms of Guarantee, 6. Bidding We reserve the right to reject references, guarantees, deposits and/or such
the glossary, if any, and all other contents of any bid. The highest bidder acknowledged other security, in its absolute discretion, as
this catalogue are subject to amendment by the auctioneer will be the purchaser. The security for your bid(s).
by us by the posting of notices or by oral auctioneer has absolute and sole discretion
announcements made during the sale. The in the case of error or dispute with respect 7. Online Bids via an Online Platform
property will be offered by us as agent for the to bidding, and whether during or after the Sotheby’s may offer clients the opportunity to
Consignor, unless the catalogue indicates sale, to determine the successful bidder, to bid on sothebys.com or through the Sotheby’s
otherwise. re-open the bidding, to cancel the sale or to App, or on any other online platform through
By participating in any sale, you re-offer and re-sell the item in dispute. If any which bidding may be made available for
acknowledge that you are bound by these dispute arises after the sale, our sale record is selected sales. By participating in a sale via any
terms and conditions. conclusive. In person bidding is currently not of the Online Platforms, you acknowledge that
available for this auction. For the most up-to- you are bound by these Conditions of Sale as
1. As Is Goods auctioned are often of some date information regarding in person bidding, well as the Additional Terms and Conditions
age. The authenticity of the Authorship please call Sotheby’s or visit Sothebys.com. for Online Bidding (“Online Terms”). By
(as defined below) of property listed in the Bidders are encouraged to submit bids online participating in a sale via any Online Platform,
catalogue is guaranteed as stated in the on Sothebys.com or through the Sotheby’s Bidders accept the Online Terms, as well as the
Terms of Guarantee and except for the Limited App. In order to bid online, you must register an relevant Conditions of Sale. Online bidding may
Warranty contained therein, all property is account with Sotheby’s and provide requested not be available for Premium Lots.
sold “AS IS” without any representations information. In our discretion we will execute
or warranties by us or the Consignor as 8. Bids Below Reserve If the auctioneer
order or absentee bids and accept telephone
to merchantability, fitness for a particular deter-mines that any opening bid is below the
bids and online bids via the Online Platforms
purpose, the correctness of the catalogue or reserve of the article offered, he may reject
as a convenience to clients who do not submit
other images or descriptions of the physical the same and withdraw the article from sale,
their bids online; Sotheby’s is not responsible
condition, size, quality, rarity, importance, and if, having acknowledged an opening bid,
for any errors or omissions in connection
medium, frame, provenance, exhibitions, he deter-mines that any advance thereafter is
there-with. Prospective bidders should also
literature or historical relevance of any property insufficient, he may reject the advance.
consult sothebys.com for the most up to date
and no statement anywhere, whether oral cataloguing of the property in this catalogue. 9. Purchaser’s Responsibility On the fall of
or written, whether made in the catalogue, the auctioneer’s hammer, the contract between
an advertisement, a bill of sale, a salesroom By participating in the sale, you represent and
the consignor and the purchaser is concluded,
posting or announcement, or elsewhere, shall warrant that any bids placed by you, or on your
and the winning bidder thereupon will
be deemed such a warranty, representation or behalf, are not the product of any collusive
immediately pay the full purchase price or such
assumption of liability. We and the Consignor or other anti-competitive agreement and are
part as we may require. Title in a purchased
make no representations and warranties, otherwise consistent with federal and state
lot will not pass until Sotheby’s has received
express or implied, as to whether the antitrust law.
the full purchase price in cleared funds. The
purchaser acquires any copyrights, including By participating in the sale, you represent and purchaser’s obligation to immediately pay
but not limited to, any reproduction rights in warrant that: the full purchase price or such part as we
any property. We and the Consignor are not may require is absolute and unconditional
responsible for errors and omissions in the (a) The bidder and/or purchaser is not subject
and is not subject to any defenses, setoffs
catalogue, glossary, or any supplemental to trade sanctions, embargoes or any other
or counterclaims of any kind whatsoever.
material. Sotheby’s will not be responsible restriction on trade in the jurisdiction in which
Sotheby’s is not obligated to release a lot to
or liable for damage to frames and glass it does business as well as under the laws of
the purchaser until title to the lot has passed
coverings, regardless of the cause. the European Union, the laws of England and
and any earlier release does not affect the
Wales, or the laws and regulations of the United
1. BROWSE 2. REGISTER 3. BID 2. Inspection Prospective bidders should passing of title or the purchaser’s unconditional
States, and is not owned (nor partly owned)
inspect the property before bidding to obligation to pay the full purchase price. In
or controlled by such sanctioned person(s)
Go to sothebys.com or the Sign up to place bids. Bid before and during the auction, determine its condition, size, and whether or addition to other remedies available to us
(collectively, “Sanctioned Person(s)”);
Sotheby’s app to find works from anywhere in the world. not it has been repaired or restored. Property by law, we reserve the right to impose from
(b) Where acting as agent (with Sotheby’s the date of sale a late charge of the annual
you are interested in. will be available for viewing by appointment
prior written consent), the principal is not a percentage rate of Prime + 6% of the total
only at our New York premises, or such other
Sanctioned Person(s) nor owned (or partly purchase price if payment is not made in
location as we may indicate from time to time.
owned) or controlled by Sanctioned Person(s); accordance with the conditions set forth herein.
You can schedule a viewing as indicated on
and Please note Sotheby’s reserves the right to
our website. Any images and condition reports
are provided to assist you with assessing the (c) The bidder and/or purchaser undertakes refuse to accept payment from a source other
condition of the property and are for guidance that none of the purchase price will be funded than the buyer of record.
only. by any Sanctioned Person(s), nor will any party Sotheby’s New York office is currently open on a
be involved in the transaction including financial limited basis by appointment only. All collections
3. Buyer’s Premium; Overhead Premium
institutions, freight forwarders or other forwarding and deliveries for purchased property will be
A buyer’s premium and an overhead premium
agents or any other party be a Sanctioned handled by Post Sale Services in coordination
will be added to the hammer price and are
Person(s) nor owned (or partly owned) or with purchasers after the auction. Unless
payable by the purchaser as part of the total
controlled by a Sanctioned Person(s), unless such otherwise agreed by Sotheby’s, all property
purchase price. The buyer’s premium is 25%
activity is authorized in writing by the government must be removed from our or our vendor’s
FOR ASSISTANCE WITH REGISTRATION AND BIDDING of the hammer price up to and including
authority having jurisdiction over the transaction premises (as indicated on the invoice) by the
$400,000, 20% of any amount in excess of
[email protected] or in applicable law or regulation. purchaser at his expense not later than 30
$400,000 up to and including $4,000,000, and
US +1 212 606 7000 UK +44 (0) 20 7293 5000 HK +852 2822 8142 In order to bid on “Premium Lots” you must calendar days following the auction. Purchasers
13.9% of any amount in excess of $4,000,000.
complete the required Premium Lot pre- are reminded that Sotheby’s liability for loss of
sothebys.com/bidonline FOLLOW US @SOTHEBYS The overhead premium is 1% of the hammer
registration application. Sotheby’s decision or damage to sold property shall cease upon
price.
the earlier of (a) 30 calendar days after the
C O M P L E T E C ATA L O G U I N G A V A I L A B L E AT S OT H E B Y S . C O M / N 1 0 X X X 349
date of the auction and (b) our release of the purchaser acknowledges that Sotheby’s shall 16. Data Protection Sotheby’s will hold and for such question; and (ii) return the Lot to leading bid. If the status of your bid changes, you 6. Sotheby’s reserves the right to refuse or
property to the purchaser or the purchaser’s have all of the rights of the Consignor to pursue process your personal information and may Sotheby’s at the original selling location in the will receive notifications via email and push (if revoke permission to bid via Online Platforms
designated agent. Upon the expiration of such the purchaser for any amounts paid to the share it with its subsidiaries and affiliates for same condition as at the date of sale to the you have the Sotheby’s App installed) leading up and to remove bidding privileges during a sale.
30 calendar day period or upon such earlier Consignor, whether at law, in equity, or under use as described in, and in line with, Sotheby’s original purchaser of record and be able to to the live auction. You may raise your maximum
7. The purchase information shown in the “My
release, as applicable: (i) the purchaser bears full these Conditions of Sale. Privacy Policy published on Sotheby’s website transfer good title to the Lot, free from any third bid at any time in advance of the live auction.
Bids” section of the Sotheby’s App and in the
liability for any and all loss of or damage to the at www.sothebys.com or available on request party claims arising after the date of such sale. Once the live auction begins, the auctioneer
10. Reserve All lots in this catalogue are “Account Activity” section of “My Account” on
property; (ii) the purchaser releases Sotheby’s, by email to [email protected]. will open bidding at the current leading bid. The
offered subject to a reserve, which is the Sotheby’s has discretion to waive any of the Sothebys.com is provided for your convenience
its affiliates, agents and warehouses from any system will continue to bid on your behalf up to
confidential minimum hammer price at which Under European data protection laws, a client above requirements. Sotheby’s may require only. Successful bidders will be notified and
and all liability and claims for loss of or damage your predetermined maximum bid, or you may
a lot will be sold. No reserve will exceed the may object, by request and free of charge, to the original purchaser of record to obtain at invoiced after the sale. In the event of any
to the property; and (iii) the purchaser agrees continue to bid via the Online Platforms during
low presale estimate stated in the catalogue, the processing of their information for certain the original purchaser of record’s cost the discrepancy between the online purchase
to indemnify and hold Sotheby’s, its affiliates, the live auction at the next increment. Upon
or as amended by oral or posted notices. We purposes, including direct marketing, and reports of two independent and recognized information which may or may not be shown
agents and warehouses harmless from and the closing of each lot, you will receive push
may implement such reserve by opening the may access and rectify personal data relating experts in the field, mutually acceptable in the My Bids section and the invoice sent
against any and all liability for loss of or damage notification (if enabled on your device) indicating
bidding on behalf of the Consignor and may to them and may obtain more information to Sotheby’s and the original purchaser of to you by Sotheby’s following the sale, the
to property and any all claims related to loss whether you have won or lost each lot on which
bid up to the amount of the reserve, by placing about Sotheby’s data protection policies by record. Sotheby’s shall not be bound by any invoice prevails. Terms and conditions for
of or damage to the property as of and from you have placed a bid.
successive or consecutive bids for a lot, or bids writing to Sotheby’s, 34-35 New Bond Street, reports produced by the original purchaser payment and collection of property remain the
and after the time Sotheby’s liability for loss or
in response to other bidders. In instances where London W1A 2AA, or 1334 York Avenue, New of record, and reserves the right to seek Please note in certain circumstances, clients same regardless of how the winning bid was
damage to the property ceases in accordance
we have an interest in the lot other than our York, NY 10021, Attn: Compliance, or emailing additional expert advice at its own expense. who have been outbid may be reinstated as the submitted.
with this paragraph. If any applicable conditions
commission, we may bid up to the reserve to [email protected]. It is specifically understood and agreed that leading bidder and would receive notification
herein are not complied with by the purchaser, 8. Sotheby’s is not responsible for any errors or
protect such interest. In certain instances, the the rescission of a sale and the refund of the via email or push notification, if enabled on
the purchaser will be in default and in addition Please be aware that Sotheby’s may film failures to execute bids placed online, including,
Consignor may pay us less than the standard original purchase price paid (the successful your device.
to any and all other remedies available to us auctions or other activities on Sotheby’s without limitation, errors or failures caused by
commission rate where a lot is “bought-in” to hammer price, plus the buyer’s premium and
and the Consignor by law, including, without premises and that such recordings may be By placing Advance Bids on the Online (i) a loss of connection to the internet or to the
protect its reserve. overhead premium) is exclusive and in lieu
limitation, the right to hold the purchaser transmitted over the Internet via Sotheby’s Platforms, you accept and agree that any such online bidding software by either Sotheby’s or
of any other remedy which might otherwise
liable for the total purchase price, including 11. Tax Unless exempted by law, the purchaser website and other online platforms. Online and bids are final, that you will not be permitted to the client; (ii) a breakdown or problems with the
be available as a matter of law, or in equity.
all fees, charges and expenses more fully set will be required to pay the combined New telephone bids may be recorded. retract your bid, and that, should your bid be online bidding software; or (iii) a breakdown or
Sotheby’s and the Consignor shall not be
forth herein, we, at our option, may (x) cancel York State and local sales tax, any applicable successful, you irrevocably agree to pay the problems with a client’s internet connection,
liable for any special, punitive, incidental or
the sale of that, or any other lot or lots sold to compensating use tax of another state, and if full purchase price, including buyer’s premium, computer or electronic device. Sotheby’s is not
consequential damages incurred or claimed,
the defaulting purchaser at the same or any applicable, any federal luxury or other tax, on the overhead premium and other applicable responsible for any failure to execute an online
TERMS OF GUARANTEE including without limitation, loss of profits
other auction, retaining as liquidated damages total purchase price. The rate of such combined charges, and all applicable taxes. You may bid or for any errors or omissions in connection
or interest.
all payments made by the purchaser, or (y) tax is 8.875% in New York City and ranges from nevertheless lower your maximum bid leading therewith.
As set forth below and in the Conditions of
resell the purchased property, whether at 7% to 8.625% elsewhere in New York. up to the live auction by contacting the Bids
Sale, for all lots Sotheby’s guarantees that 9. Online bidding will be recorded.
public auction or by private sale, or (z) effect Department at +1 212 606 7414, except that you
the authorship, period, culture or origin
any combination thereof. In any case, the 12. Export and Permits It is the purchaser’s ADDITIONAL TERMS AND may not lower it to a level lower than the current 10. In the event of any conflict between these
(collectively, “Authorship”) of each lot in
purchaser will be liable for any deficiency, any sole responsibility to identify and obtain any CONDITIONS FOR ONLINE leading bid. Online Terms and Sotheby’s Conditions of Sale
this catalogue is as set out in the initial lot
and all costs, handling charges, late charges, necessary export, import, firearm, endangered BIDDING and Terms of Guarantee, Sotheby’s Conditions
heading immediately following the lot number 2. Once it commences, a live auction is by its
expenses of both sales, our com-missions species or other permit for the lot. Any of Sale and Terms of Guarantee will control.
in the catalogue description of the lot, as nature fast-moving and bidding may progress
on both sales at our regular rates, legal fees symbols or notices in the sale catalogue reflect The following terms and conditions (the “Online
amended by oral or written salesroom notes very quickly. The procedure for placing bids
and expenses, collection fees and incidental Sotheby’s reasonable opinion at the time Terms”) provide important information related
or announcements. Purchasers should refer to during the live auction is therefore a one-step
damages. We may, in our sole discretion, apply of cataloguing and are for bidders’ general to online bidding on sothebys.com or through
the Glossary of Terms, if any, for an explanation process; as soon as the “Place Bid” button is BUYING AT AUCTION
any proceeds of sale then due or thereafter guidance only; Sotheby’s and the Consignor the Sotheby’s App, or on any other online
of the terminology used in the initial lot heading clicked, a bid is submitted. By bidding online,
becoming due to the purchaser from us make no representations or warranties as to platform through which bidding may be made
immediately following the lot number and the you accept and agree that bids submitted in The following will help in understanding the
or any affiliated company, or any payment whether any lot is or is not subject to export or available (“Online Platforms”).
extent of the Guarantee. Sotheby’s makes no this way are final and that you will not under auction buying process as well as some of
made by the purchaser to us or any affiliated import restrictions or any embargoes.
warranties whatsoever, whether express or These Conditions are in addition to and subject any circumstances be permitted to amend or the terms and symbols commonly used in an
company, whether or not intended to reduce 13. Governing Law and Jurisdiction These to the same law and our standard terms and auction catalogue. All bidders should read the
implied, with respect to any material in the retract your bid. If a successful bid is sent to
the purchaser’s obligations with respect to Conditions of Sale and Terms of Guarantee, conditions of sale, including the authenticity Conditions of Sale and Terms of Guarantee
catalogue other than the Authorship appearing Sotheby’s from your computer, electronic or
the unpaid lot or lots, to the deficiency and as well as bidders’, the purchaser’s and our guarantee and any other terms and are not in this catalogue, as well as the Glossary or
in the initial lot heading immediately following mobile device, you irrevocably agree to pay the
any other amounts due to us or any affiliated respective rights and obligations hereunder, intended in any way to replace them. By any other notices. By bidding at auction,
the lot number and subject to the exclusions full purchase price, including buyer’s premium,
companies. In addition, a defaulting purchaser shall be governed by and construed and participating in this sale via any Online Platform, bidders are bound by the Conditions of Sale
below. For the avoidance of doubt, any overhead premium and any other applicable
will be deemed to have granted and assigned enforced in accordance with the laws of the you acknowledge that you are bound by the and Terms of Guarantee, as amended by
property designation related to the seller of the charges, and applicable taxes.
to us and our affiliated companies, a continuing State of New York. By bidding at an auction, Conditions of Sale applicable in the relevant any oral announcement or posted notices,
property that may appear below the lot number
security interest of first priority in any property 3. The next bidding increment is shown
whether by agent, order or absentee bid, is not deemed a heading for purposes of the sale and by these additional Conditions. which together form the sale contract among
or money of or owing to such purchaser in for your convenience. The auctioneer has
telephone, online or other means, all bidders Guarantee. Sotheby’s, the seller (consignor) of the lot and
our possession, custody or control or in the 1. For certain sales, bidders are welcome to discretion to vary Increments for bidders in the
including the purchaser, shall be deemed to any bidders, including the successful bidder
possession, custody or control of any of our In the event Sotheby’s in its reasonable opinion submit bids in advance of the live auction auction room and on the telephone, but bidders
have consented to the exclusive jurisdiction (purchaser).
affiliated companies, in each case whether at deems that the conditions of the Guarantee (“Advance Bids”) through the Online Platforms. using Online Platforms may not be able to place
of the state courts of, and the federal courts
the time of the auction, the default or if acquired have been satisfied, it shall refund to the Please note that we reserve the right to amend a bid in an amount other than a whole bidding
sitting in, the State of New York. All parties 1. SYMBOL KEY
at any time thereafter, and we may retain and original purchaser of record the hammer price the starting bid prior to the start of the live increment. All bidding for this sale will be in
agree, however, that Sotheby’s shall retain he
apply such property or money as collateral and applicable buyer’s premium and overhead auction. U.S. Dollars, in respect of New York sales, in
security for the obligations due to us or to any
right to bring proceedings in a court other than
the state and federal courts sitting in the
premium paid for the lot by the original
For sales where you can place Advance Bids,
Pounds Sterling, in respect of London sales, or □ Reserves
affiliated company of ours. We shall have all purchaser of record. in Hong Kong Dollars, in respect of Hong Kong Unless indicated by a box (□), all lots in this
State of New York. you may also input a maximum bid which, upon catalogue are offered subject to a reserve. A
of the rights accorded a secured party under sales, and online bidders will not be able to see
This Guarantee is provided for a period of confirmation, will be executed automatically up reserve is the confidential minimum hammer
the New York Uniform Commercial Code. You 14. Packing and Shipping Neither we nor the currency conversion board that may be
five (5) years from the date of the relevant to this predefined maximum value in response price at which a lot will be sold. The reserve
hereby agree that Sotheby’s may file financing our vendors are responsible for the acts or displayed in the auction room.
auction, is solely for the benefit of the original to other bids including bids placed by Sotheby’s is generally set at a percentage of the low
statements under the New York Uniform omissions in our or our vendors’ packing or on behalf of the seller, up to the amount of
purchaser of record at the auction and may not 4. The record of sale kept by Sotheby’s will be estimate and will not exceed the low estimate
Commercial Code without your signature. shipping of purchased lots or of other carriers the reserve (if applicable). Please note that
be transferred to any third party. To be able to taken as absolute and final in all disputes. In of the lot. If any lots in the catalogue are offered
Payment will not be deemed to have been or packers of purchased lots, whether or not reserves may be set at any time before the start
claim under this Guarantee of Authorship, the the event of a discrepancy between any online without reserve, such lots will be designated by
made in full until we have collected good funds. recommended by us. Packing and handling of the live auction and your maximum bid may
original purchaser of record must: (i) notify records or messages provided to you and the a box (□). If every lot in a catalogue is offered
Any claims relating to any purchase, including of purchased lots is at the entire risk of the be executed against the reserve once such
Sotheby’s in writing within three (3) months record of sale kept by Sotheby’s, the record of without a reserve, the Conditions of Sale will
any claims under the Conditions of Sale or purchaser. reserve is set.
of receiving any information that causes the sale will govern. so state and this symbol will not be used for
Terms of Guarantee, must be presented directly original purchaser of record to question the
15. Limitation of Liability In no event will The current leading bid will be visible to all 5. Online bidders are responsible for making each lot.
to Sotheby’s. In the event the purchaser fails to accuracy of the Authorship in the initial lot
the aggregate liability of Sotheby’s and the bidders; the value and status of your maximum themselves aware of all salesroom notices and
pay any or all of the total purchase price for any heading immediately following the lot number,
consignor to a purchaser exceed the purchase bid will be visible only to you, unless it is the announcements, which will be accessible on
lot and Sotheby’s nonetheless elects to pay the specifying the lot number, date of the auction
price actually paid. the Online Platforms.
Consignor any portion of the sale proceeds, the at which it was purchased and the reasons
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