The Collection of Sir Elton John: Goodbye Peachtree Road by Christies

CONTENTS INTRODUCTION

EVENING SALE

DAY SALES SESSION I: IMPORTANT PHOTOGRAPHS

SESSION II: PEACHTREE ROAD

156

ONLINE SALES

200

SPECIALISTS AND SERVICES

220

CONDITIONS OF SALE

223

THE COMPLETE SESSIONS CALENDAR

OPENING NIGHT | EVENING SALE Sale 22050 | Lots 1–50 Wednesday 21 February 2024 at 5.00pm

THE DAY SALE SESSION I: IMPORTANT PHOTOGRAPHS Sale 22051 | Lots 101–267 Thursday 22 February 2024 at 10.00am

SESSION II: PEACHTREE ROAD Sale 22051 | Lots 301–415 Friday 23 February 2024 at 10.00am

Please scan for complete auction information

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

SIR ELTON JOHN AND ATLANTA

One of the most asked questions that always

What I didn’t expect was the odyssey that

comes my way is “Why did you choose

Atlanta launched for me as a collector of

Atlanta for your home?”. I first became

fine art. Seeing life through newly clean and

acquainted with its warm Southern charm

sober eyes, a passion was lit in me for my

through my relationship with a local resident.

appreciation of the photographic medium.

Atlanta had a more relaxed energy than other

Ironic for someone who had already been

big American cities. I found moving around

immortalized by some of the world’s greatest

so easy, and I never tired of its convivial and

photographers! Jane Jackson, a brilliant and

welcoming spirit.

extremely knowledgeable Atlanta gallerist, became my teacher and helped guide me,

OPPOSITE

Sir Elton John and David Furnish attend The 67th Evening Standard Theatre Awards at Claridge’s Hotel on November 19, 2023 in London, England. (Photo by Dave Benett/Getty Images)

So it’s no surprise that I chose it to be

as I began laying the foundations of my

my American home, when I came out of

collection. Jane got so enmeshed with my

treatment for addiction to alcohol and drugs.

collecting that she eventually became the

It felt safe. I first rented and then purchased a

first curator of the Elton John Photography

duplex apartment in Park Place on Peachtree

Collection. Together we staged our first

Road in Buckhead. It was a wonderful

exhibition at Atlanta’s High Museum of Art,

building and a stone’s throw away from the

which was my way of thanking Atlanta for

Triangle Club, where I actively participated

making me feel at home. As the collection

in AA and NA meetings. Atlanta also turned

grew and the walls became full, one rented

out to be convenient hub for my US touring

apartment became too limiting. I bought the

activities. I found it so easy to base myself

apartment next door and knocked the two

there, while I did shows across America. As

units together to house all my new images.

a wandering minstrel, you tire of schlepping

Two apartments eventually grew into five

in and out of hotels and crave your own bed

(all connected, of course) and became a

every night. My Atlanta home gave me the

magnificent showcase for the agglomeration

comfort and convenience that I needed.

of gorgeous images. On my days off from

US touring, I constantly wandered around

But perhaps the greatest gift Atlanta gave

my Atlanta home and found so much artistic

me was becoming the birthplace for the

inspiration in the framed beauty that adorned Elton John AIDS Foundation. From my my walls.

apartment kitchen table, we launched the foundation as a lean and tiny organization.

The myriad of cool galleries in the city of

We pledged to provide direct care to people

Atlanta also introduced me to other mediums living with HIV/AIDS. I attended local AIDS like glass and sculpture. Another passion was

Awareness marches. I delivered meals to

ignited with the collecting of contemporary

Atlanta residents who were battling with

glass. I became acquainted with some

AIDS. They needed better nutrition and so

the greatest American glass artists - Dale

greatly appreciated the loving outreach of

Chihuly, William Morris and Richard Jolly.

support. We started EJAF on a small scale,

The Georgia sunlight, that constantly shone

so we could raise money efficiently and

through the windows of my high rise home,

make sure we gave it away as effectively as

vibrantly brought all the glass pieces I’d

possible. Never in my wildest dreams did I

collected to life.

ever imagine that it would become one of the world’s leading AIDS organizations, having

As my artistic soul flourished with so

raised over $565 million in the fight against

much new inspiration, it was only natural

HIV/AIDS.

that Atlanta became a place where my songwriting took further flight. I wrote and

To say I will miss Atlanta is a massive

recorded my Peachtree Road album in a

understatement. The city gave so much to

local recording studio, and commissioned

me. But now that I’m no longer touring, I

the artist Sam Taylor-Johnson to photograph

don’t need to live there anymore. My focus

evocative images of the Georgia landscape

off the road is on family, and my sons attend

for the sleeve. I also wrote two stage musicals

school in the UK. Looking at all the beautiful

in Atlanta - AIDA and Billy Elliot The

items in this sale is extremely emotional for

Musical. Both went on to have successful

me. I can feel a little piece of my soul in every

Broadway runs. AIDA earned me (and my

lot. My hope is that these special items will

friend Tim Rice) a Tony Award for Best

go to good homes and bring their owner’s

Original Score. Billy Elliot went on to win 10

the same joy and inspiration that Atlanta so

Tony Awards, the most for an original British

generously gave to me.

stage musical on Broadway. Sir Elton John

December 2023

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

A LONG, LONG TIME SIR ELTON JOHN’S ATLANTA YEARS

In 1992 when Sir Elton John bought a penthouse

Having purchased additional units in the 40-story

in Atlanta’s coveted Buckhead neighbourhood, he

building to share with husband David Furnish and

never could have imagined the extent to which the

their two boys, Sir Elton filled nearly 13,000 square

city would transform him personally, professionally,

feet with objects as distinctive and vivacious as his

and philanthropically. ‘I’ve lived here for 30 years,

larger-than-life persona.

and I’ve loved every single minute,’ the British icon told the crowd during his final Georgia performance in September 2023. ‘So I will take you with me in my heart, in my soul, and I’ll never forget you.’

photography by legends, such as Irving Penn and Richard Avedon, artworks range from a painting that Damien Hirst made specially for him, to a

First struck by the warmth of the locals, the Oscar-,

monumental Deborah Butterfield horse sculpture,

Golden Globe-, and Tony-winning musician would

bought in Atlanta, that had pride of place in Sir

become a die-hard Atlanta Braves fan, enmeshing

Elton’s home gallery. Other highlights include

himself in the Southern city, while simultaneously

Sir Elton’s living-room piano, trove of Versace

selling millions of records — and raising more than

dinnerware, and 18th-century fancy dress conceived

half a billion for the Elton Johns AIDS Foundation

by award-winning costume designer, Sandy Powell,

— over his 50-year career.

for Sir Elton’s 47th birthday — one of countless

This February, Christie’s New York will present the

In addition to extensive collections of art glass and

treasures within the singer’s bountiful closet.

Collection of Sir Elton John in two live sales and

With this extraordinary collection, Sir Elton’s

six online auctions featuring art, furnishings, and

singular style come to the fore, as his home-away-

mementos from the singer’s Buckhead residence.

from-home takes centre stage.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

OPENING NIGHT | EVENING SALE Sale 22050 Lots 1–50 Wednesday 21 February 2024 at 5.00pm

Please scan for complete auction information

EVENING SALE

■1

A PAIR OF PRESCRIPTION SUNGLASSES SIR WINSTON EYEWARE, CIRCA 1975 With white plastic frames, the lenses with yellow X's against purple, pink, and orange background, worn during a concert performance in London $2,000-3,000

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

A PAIR OF ELIZABETH II SILVER ROCKET-FORM COCKTAIL SHAKERS MARK OF THEO FENNELL, LONDON, 1993 Each formed as a rocket with removable cover with strainer, on conical stands with three fins, marked throughout 9¿ in. (23.2 cm.) high, overall 44 oz. 16 dwt. (1,393 gr.) (2)

A single example of this model sold at Christie's, London, 29 January 2019, lot 51.

$5,000-10,000

EVENING SALE

A NEON 'HORNY?!' SIGN DAVID LACHAPELLE FOR ELTON JOHN, CIRCA 2003 glass tubing, wood, and metal, with electrical wiring; designed as a set piece by David LaChapelle for Elton John's concert residency The Red Piano at The Colosseum at Caesars Palace in Las Vegas, 2004-2009 29 in. (73.6 cm.) high, 114 in. (289.6 cm.) long, 6 in. (15.2 cm.) deep $1,000-1,500

The present lot was created by David LaChapelle as a set piece for Elton John's concert residency 'The Red Piano' at The Colosseum at Caesars Palace in Las Vegas, which ran from 2004 to 2009. Originally slated to present 75 shows over the course of three years, 'The Red Piano' ended up lasting for six years and presenting nearly 250 shows in the United States, as well as an offshoot tour in Europe. In Las Vegas alone, 'The Red Piano' series attracted just under a million viewers and garnered almost $170,000,000 in revenue.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

David LaChapelle is a photographer and director of music videos and films whose work deals with fashion, sexuality, humor, and contemporary culture. His photography career took off when he was hired at 17 years old by Andy Warhol to work for Interview magazine. LaChapelle produced a number of music videos for Elton John between 2001 and 2006 and produced the scenography for 'The Red Piano' residency. The stage design includes racy polychrome neon signs surrounding Elton John and the musicians, with provocative videos by LaChapelle playing on large screens in the background. Please see sale 22489 lot 601 for another example of a neon sign from 'The Red Piano.'

■4

A PAIR OF SILVER LEATHER TALL PLATFORM BOOTS CIRCA 1971 With red leather letters E and J to the sides, the platforms with red and white stripes, worn during numerous performances throughout the 1970's (2) $5,000-10,000

A similar pair of boots with higher platforms circa 1974 were shown at the Museum of Modern Art, New York, in the exhibition 'Items: Is Fashion Modern?', the first fashion exhibition at MoMA since 1944, which ran from 4 November 2017 to 28 January 2018. This similar pair of boots also appear on the pinball machine which is lot 50 in the present sale.

EVENING SALE

HERB RITTS (1952-2002) Waterfall II, Hollywood, 1988 platinum-palladium print embossed photographer's copyright credit (margin); signed, titled, dated and numbered 'AP 3' in pencil (verso) image: 18º x 15 in. (46.3 x 38.1 cm.) sheet: 21º x 18 in. (53.9 x 45.7 cm.) This work is artist's proof number three, aside from an edition of twenty-five. $10,000-15,000

PROVENANCE:

Fahey/Klein Gallery, Los Angeles; acquired from the above by the present owner, 1991. LITERATURE:

Herb Ritts, Herb Ritts: Men/Women, Twin Palms, Santa Fe, 1989, n.p. Herb Ritts, Herb Ritts Work, Little, Brown and Company, Boston, 1996, n.p.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

WILLIAM KLEIN (1928 - 2022) Smoke + Veil, Paris, 1958 gelatin silver print, printed later, flush-mounted on Dibond signed, titled 'Smoke + Veil + Evelyn / Paris' and dated in marker (flush mount, verso) image/sheet/flush mount: 39º x 29√ in. (99.6 x 75.8 cm.) overall framed 64 x 51 in. (162.5 x 129.5 cm.) $30,000-50,000

LITERATURE:

Vogue [Paris], October 1958, p. 146. Exhibition catalogue, William Klein, Centre GeorgesPompidou/Herscher, Paris, 1983, p. 83. William Klein, In and Out of Focus, Random House, New York, 1994, front cover.

PROVENANCE:

Hamiltons Gallery, London; acquired from the above by the present owner, 1994.

EVENING SALE

SOL LEWITT (1928-2007) Straight Lines in all Directions #9 signed and titled 'Lewitt 9' in pencil, lower right unique screenprint in colors, on Somerset textured paper Sheet: 55√ x 55æ in. (142 x 141.5 cm.) Executed in 1996. Published by Pace Editions, Inc., New York. $30,000-50,000

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

■8

AN IVORY AND GOLD ENSEMBLE ANNIE REAVEY, 1971 Comprising a short jacket with green shirred elasticated waist, star-shaped padded collar and hems of multi-coloured padded lurex, the two edged with green and yellow ribbon ruffle, with matching trousers, and a yellow satin shortsleeved shirt, covered in multi-coloured crayon 'Elton' signatures; and with alternative green tartan lurex trousers (4)

This was one of the first set of stage clothes made specially for Elton John. In June 2018, this set was loaned out to Angel Costumes at Bray Film Studios to recreate for the 'Rocketman' film.

$8,000-12,000

EVENING SALE

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

ROLEX. AN EXUBERANT AND RARE 18K GOLD, DIAMOND, AND ORANGE SAPPHIRE AUTOMATIC CHRONOGRAPH WRISTWATCH WITH 'LEOPARD' DIAL SIGNED ROLEX, 'LEOPARD' DAYTONA MODEL, REF. 116598SACO, CASE NO. K591067, CIRCA 2001 Movement: Automatic Dial: Leopard print, diamond hour markers Case: 40 mm. diam. With: 18k gold Rolex deployant clasp stamped '24643', later presentation box $40,000-60,000

Officially launched in 2004, the Rolex 'Leopard' Daytona reference 116598SACO is a highly unusual and exuberant timepiece that often draws various reactions from collectors of all kinds. Nonetheless, it garners widespread appreciation from collectors for its flamboyant and bold design, especially coming from a traditional brand. It is interesting to note that many of these watches bear 'K' serial numbers dating them to 2001, such as the present lot, a sign that even Rolex contemplated whether or not to release these rare timepieces.

Crafted from 18k gold, reference 116598SACO features 48 brilliant-cut diamonds set into the lugs, and 36 squarecut orange sapphires set into the bezel, giving this special Daytona a stunning pizzazz. Further, diamonds are utilized as the hour markers on the leopard print dial. This leopard print is also utilized on the leather strap to complement this eye-catching timepiece. In total, the 36 orange sapphires weigh approximately 5.00 carats and the 56 brilliant diamonds weigh approximately 1.50 carats.

EVENING SALE

■10

SIR ELTON JOHN’S CONSERVATORY GRAND PIANO, MODEL C6F PE YAMAHA CORPORATION, HAMAMATSU, JAPAN, CIRCA 1992 The logo YAMAHA applied to the nameboard, the cast in the fame with logo YAMAHA and tri-tuning fork device, SINCE 1886 / C6 / CONSERVATORY, and stamped F 5100060, the soundboard marked TRADE MARK / Yamaha Piano / YAMAHA CORPORATION / HAMAMATSU JAPAN, the case with a polyester polished ebony finish with mahogany veneer interior ink stamped 5100060, the fifty-two white synthetic covered naturals, the 36 ebonized wood accidentals, on tapered legs with brass rollers, length 83

in, width 59 1/8 in., height 40 1/4 in. with matching adjustable bench labeled Paul L Jansen & Son Inc. Oshkosh, WI. The piano: 83 1/16 in. (211 cm.) wide (2) $30,000-50,000

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

JULIAN SCHNABEL (B. 1951) I'm a girl in your head and a boy in your bed oil, enamel and resin on canvas, in artist's frame overall: 107Ω x 102 in. (273 x 259 cm.) Executed in 1997. $80,000-120,000 PROVENANCE:

Acquired directly from the artist by the present owner

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

CARTIER. A HIGHLY DESIRABLE AND RARE 18K GOLD LIMITED EDITION ASYMMETRICAL WRISTWATCH WITH ‘CRASH’ DEPLOYANT CLASP SIGNED CARTIER, PARIS, 'CRASH' MODEL, CASE NO. A108446, NO. 150/400, CIRCA 1991 Movement: Manual Dial: Silvered Case: 24 mm. wide, 39 mm. overall length With: 18k gold Cartier asymmetrical deployant clasp Remark: Limited edition of 400 pieces $70,000-100,000 The present Cartier 'Paris' Crash timepiece was part of a limited run of 400 examples that were released in 1991. These timepieces were created in the Paris workshops and covet French hallmarks. Very few of these watch have publicly surfaced, and the present lot is very well-preserved, making it an ultra rare and desirable timepiece with incredible provenance. The Cartier ‘Crash’ For such an extraordinary creation as Cartier’s Crash watch, it is quite surprising that the story of its origins were, until recently, shrouded in mystery. The absence of any official information led to some wonderfully romantic myths surrounding the source of Jean-Jacques Cartier’s inspiration for the Crash’s design. Some claimed the idea was ignited by Salvador Dali’s painting ‘La Persistance de la Mémoire de Dali’, others believed that its form came from a melted Cartier Maxi Baignoire Allongée. It was also rumored that one of Cartier's founders was in a car crash in the late 1960s and the resulting misshapen watch served as the influence for the watch. However, the true full story is now confirmed by Francesca Cartier Brickell, Jean-Jacques Cartier’s granddaughter, whose recent book ‘The Cartiers: The Untold Story of the Family Behind the Jewelry Empire’ was published in 2019. 1960s London was an exciting place to be and Jean-Jacques Cartier, who had instigated the making of Cartier watches in London, wanted to create a wristwatch that was truly a response to the spirit of the age. In fact, the Crash watch was the idea of Jean-Jacques Cartier and designer Rupert Emmerson, who together, after many attempts, eventually came up with a final design. The appearance of the resulting watch, named the ‘Crash’ was in complete contrast to the straight lines of the traditional Tank and oval.

EVENING SALE

BANKSY (B. 1975) Flower Thrower Triptych signed and dated 'Banksy 2010' (on the reverse of the left panel) spray paint on canvas in artist's frame, in three parts left panel: 33º x 25º in. (84.5 x 64.1 cm.) center panel: 42 x 30 in. (106.7 x 76.2 cm.) right panel: 16¬ x 20¬ in. (45 x 42 cm.) overall: 42 x 80 in. (106.7 x 203.2 cm.) Executed in 2010. $1,000,000-1,500,000 PROVENANCE:

Acquired directly from the artist by the present owner, 2017

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

KEITH HARING (1958-1990) Untitled signed and dated 'K. Haring Sept. 82 +' (on the reverse) DayGlo on wood 20Ω x 23√ in. (52.1 x 60 cm.) Executed in 1982. $300,000-500,000 PROVENANCE:

André Emmerich Gallery, New York Acquired from the above by the present owner, 1996 EXHIBITED:

New York, Whitney Museum of American Art, The Comic Art Show, 1983.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

GRAYSON PERRY (B. 1960) Portrait Heads & Praying Hands - In memoriam glazed ceramic 8 x 4Ω x 4Ω in. (20.3 x 11.4 x 11.4 cm.) Executed in 2000. $40,000-60,000 PROVENANCE:

Acquired directly from the artist by the present owner

EVENING SALE

CINDY SHERMAN (B. 1954) Untitled (Film Still #39) gelatin silver print 40 x 30 in. (101.6 x 76.2 cm.) Executed in 1979. This work is number two from an edition of three. $300,000-500,000 PROVENANCE:

Hamiltons Gallery, London Acquired from the above by the present owner, 2001 EXHIBITED:

Washington, D. C., Hirshhorn Museum and Sculpture Garden, Cindy Sherman: Film Stills, March-June 1995 (another example exhibited). Hamburg, Deichtorhallen; Malmö Kunsthalle; Kunstmuseum Luzern, Cindy Sherman: Photoarbeiten 1975-1995, May 1995-February 1996, n.p., no. 18 (another example exhibited and illustrated). Rotterdam, Museum Boijmans-van Beuningen; Madrid, Museo Nacional Centro de Arte Reina Sofia; Bilbao, Sala de Exposiciones REKALDE; Baden- Baden, Staatliche Kunsthalle, Cindy Sherman, March 1996-March 1997, p. 51, no. 20 (another example exhibited and illustrated). New York, Museum of Modern Art, Cindy Sherman: The Complete Film Stills, June-September 1997 (another example exhibited). Los Angeles, Museum of Contemporary Art; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfinum, Cindy Sherman Retrospective, November 1997-February 1998, p. 80, no. 44 (another example exhibited and illustrated). LITERATURE:

A. C. Danto, Untitled Film Stills - Cindy Sherman, Munich, 1990, p. 67, no. 26 (another example illustrated).

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

ANDY WARHOL (1928–1987) Male Nude (Stitched Photos), 1987 four stitched gelatin silver prints, mounted to card stamped 'The Estate of Andy Warhol' and 'Andy Warhol Foundation for the Visual Arts' numbered 'FL05.0033' and initialed 'T.J.H' in pencil (verso); credited, titled, dated on affixed Sir Elton John Photography collection and gallery label (frame backing board) image/sheet: 27º x 21º in. (69.2 x 53.9 cm.) mount: 35¿ x 28 1/2 in. (89.2 x 72.3 cm.) $30,000-50,000

PROVENANCE:

The artist; The Andy Warhol Foundation for the Visual Arts; Cheim & Read, New York; Anthony d'Offay Gallery, London; acquired from the above by the present owner, 2005. EXHIBITED:

New York, Cheim & Read, Andy Warhol, The Late Male Nudes, October 25 - December 17, 2005.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

ROBERT MAPPLETHORPE (1946–1989) Grapes, 1985 platinum print signed, dated and numbered '1/3' in pencil (margin); signed and dated in pencil in copyright credit (verso); credited, titled, dated and numbered on affixed gallery and exhibition labels (frame backing board) image:19º x 19√ in. (48.8 x 50.4 cm.) sheet: 25æ x 21√ in. (63.5 x 55.5 cm.) This work is number one from an edition of three. $50,000-70,000

PROVENANCE:

LITERATURE:

Sotheby's, New York, October 2, 1996, lot 434; acquired from the above sale by the present owner.

Janet Kardon, Robert Mapplethorpe: The Perfect Moment, University of Pennsylvania, Philadelphia, 1990, p. 107. Arthur Coleman Danto and Robert Mapplethorpe, Mapplethorpe, Random House, New York, 1992, p. 298.

EXHIBITED:

New York, Whitney Museum of American Art, Collection of Harry H. Lunn, Jr., July 27- October 23, 1988. Institute of Contemporary Art/The University of Pennsylvania; Museum of Contemporary Art, Chicago; Wadsworth Atheneum, Hartford; University Art Museum, Berkeley; Institute of Contemporary Art, Boston, The Perfect Moment, December 9, 1988 - August, 31, 1990. Mapplethorpe Japanese Retrospective, 1992–1993.

EVENING SALE

“We don’t have to travel the world to find subjects, because we’re just looking for the subjects that are inside you. What are your hopes or fears about the people on the corner, the church, the sky, the police, the wet pavement?” GILBERT & GEORGE

GILBERT & GEORGE (B. 1943 & 1942) Four Plants, 1980 twelve hand-colored gelatin silver prints, flush-mounted on board signed in ink titled and dated 'FOUR PLANTS Gilbert and George 1980' lower right (recto); titled and consecutively numbered 'FOUR PLANTS 1 to 12 in ink' (flush-mount, verso) each image/sheet: 23Ω x 19¬ in. (59.6 x 49.8 cm.) overall: 70√ x 60 in. (180 x 152.4 cm.) (12) $150,000-250,000 PROVENANCE:

Phillips de Pury & Company, New York, May 13, 2005, lot 173; acquired from the above sale by the present owner.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

SAPPHIRE AND DIAMOND PENDANT-NECKLACE

Round sapphires, round diamonds, yellow and white gold Size/Dimensions: pendant 3.5 cm (1¡ in); necklace 76.2 cm (30 in) Gross Weight: 104.6 grams $15,000-20,000 Please note there are five diamonds set on the globe, directing to London, Los Angeles, Atlanta, Venice and Nice, the cities in which Elton John has held residency.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

CARTIER SAPPHIRE RING

Heart mixed-cut sapphire, 18k yellow gold (French mark), signed Cartier, numbered SSEF, 2021, report no. 119771: Ceylon, indications of heating Size/Dimensions: US ring size 10 Gross Weight: 30.6 grams $50,000-80,000

EVENING SALE

■22

A BLUE WOOL 'CAPTAIN FANTASTIC' SUIT DESIGNED BY KEITH GREGORY FLEMINGHABERSTROH, MADE BY MR ALEX AND CLAIRE DALLAL, 2011-2013 The coat with heavy clusters of gold and blue rhinestones to shoulders, front closure, red rhinestone 'Captain Fantastic' to back, together with trousers with rhinestone side stripe (2) $6,000-10,000

This suit was worn by Elton John on multiple occasions, including at Gran Parque Central stadium on March 4th 2013 in Montevideo Uruguay, the 65th Annual Primetime Emmy Awards on September 22nd 2013, at the New Orleans Jazz & Heritage Festival on May 2nd 2015, the Outside Lands Music and Arts Festival on August 9th 2015 and at the Lincoln County Show Grounds on June 10th 2016.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

A WHITE WARDROBE TOUR TRUNK ON WHEELS UNBRANDED, EXTERIOR DATED "'92" GRADE: 6 65 w x 126 h x 73 d cm Exterior features an "Elton John Captain Fantastic" graphic in red and a piano graphic in pink and black. Interior lined with piano motif. $5,000-10,000

EVENING SALE

DAMIEN HIRST (B. 1965) Your Song signed and inscribed 'xxx for Elton + David love Damien Thank You' (lower edge) butterflies, cubic zircona, scalpel blades, pills, diamond dust and household gloss on canvas 84 x 84 in. (213.4 x 213.4 cm.) Executed in 2008. $350,000-450,000 PROVENANCE:

Gifted by the artist to the present owner, 2008

(detail)

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

“I have absolutely no interest in creating depressing images.” RYAN MCGINLE Y

RYAN MCGINLEY (B. 1977) Two Heads, 2011 chromogenic print credited, titled, dated on affixed Sir Elton John Photography collection label (frame backing board) overall framed: 60 x 84¿ (152.4 x 213.6 cm.) $10,000-15,000 PROVENANCE:

Team Gallery, New York; acquired from the above by the present owner, 2012.

“One of my favorite images in the sale is the Ryan McGinley Snake... it was hanging in my bathroom . I thought this was such an erotic image.” SIR ELTON JOHN

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

■26

TWO LOUIS XIV-STYLE 'FANCY DRESS' COSTUMES SANDY POWELL, CIRCA 1994 The first comprising a cream cotton shirt with lace collar and sleeves, a pair of gold polyester lace-up breeches with button and gold ribbon detail at the lower hem, a cream silk buttonup vest embroidered and beaded with scrolling foliage and flowers, a similarly embroidered and beaded cream and gold brocade waistcoat, and a periwig of orange curly hair with two horns decorated with faux-pearls and rhinestones; The second comprising a cream cotton shirt with lace collar and sleeves, a pair of white polyester lace-up breeches with button and silver ribbon detail at the lower hem, a light pink

and blue silk brocade button-up vest with embroidered flower edging, and a blue and gold brocade waistcoat with embroidered and beaded scroll and flower edging (9) $10,000-15,000 The present costumes were worn by Elton John, in the cream and gold, and David Furnish, in the blue, to Elton John's 47th birthday party, held at Porchester Hall, London in 1994.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

DIAMOND PENDANT-NECKLACE

Rectangular pendant set with round diamond letters spelling "The Bitch Is Back," the reverse engraved with a stylized "Elton John" Size/Dimensions: pendant 3.0 x 1.6 cm (1º x ¬ in); necklace 74.0 cm (29 in) Gross Weight: 41.8 grams $20,000-40,000

(detail)

EVENING SALE

HELMUT NEWTON (1920 - 2004) Tied Up Torso, Ramatuelle, France 1980 gelatin silver print, printed 1983 signed, titled, dated [with print date] and printer credit in pencil, stamped photographer's copyright credit and reproduction limitation in ink (verso) image: 39º x 39¿ in. (99.6 x 99.3 cm.) sheet: 43º x 43º in. (109.8 x 109.8 cm.) $200,000-300,000 PROVENANCE:

Hamiltons Gallery, London; acquired from the above by the present owner, 2007. LITERATURE:

Helmut Newton & Marshall Blonsky, Private Property, Munich, Schirmer/Mosel, 1989, p. 16. Karl Lagerfeld & Helmut Newton, Big Nudes, Munich, Schirmer/Mosel, 1990, pl. 29. June Newton, The Best of Helmut Newton : Selections from his photographic work, Munich, Schirmer/Mosel, 1993, p. 64.

Helmut Newton’s women are liberated, dominant and strong. He puts them to the test and he returns to them again and again. They love and seduce as and how they wish. In Tied up Torso, taken in Ramatuelle in 1980, the model is both an icon of desire swaddled in bondage and the symbol of a competent woman, clenched fist raised in the manner of Naomi Parker asserting We Can Do It, in 1943. Wild fantasies are equalized by the extreme sophistication and stunning elegance in this iconic Newton photograph.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

“When you look at the photograph it all looks so easy. She spent two hours on a cement floor naked. The snake was going up on her shoulder and toward her face... She rose to the moment, I rose to the moment, the snake rose to the moment. And it was one of those absolutely magical things that happen when nothing you planned could equal the random accident of something beautiful.” RICHARD AVEDON

RICHARD AVEDON (1923-2004) Nastassja Kinski and the Serpent, Los Angeles, California, June 14, 1981 gelatin silver print signed and numbered '87/200' in pencil (verso) image: 32¬ x48√ in. (82.8 x 124.1 cm.) sheet: 34¬ x 51æ in. (87.9 x 131.4 cm.) This work is number eighty-seven from an edition of 200. $60,000-80,000 PROVENANCE:

Donated by The Richard Avedon Studio for the Elton John Aids Foundation, Art Auction, May 1996, lot 1; acquired from the above sale by the present owner. LITERATURE:

Richard Avedon, Evidence 1944-1994, Random House, New York, 1994, p. 162. Helle Crenzien et al., Richard Avedon Photographs 19462004 , Humlebæk: Louisiana Museum of Modern Art, 2007, p. 23.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

SOL LEWITT (1928-2007) Straight Lines in all Directions #14 signed and titled 'Lewitt 14' in pencil, lower right unique silkscreen monoprint in colors, on Somerset textured paper Sheet: 55√ x 55æ in. (142 x 141.5 cm.) Executed in 1996. Published by Pace Editions, Inc., New York. $30,000-50,000

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

■31

A TAN CHAMOIS LEATHER ENSEMBLE NORTH BEACH LEATHER, LOS ANGELES, 1972 Comprising jacket and matching trousers hand-painted with roses, musical notes, the rear shoulders with 'Elton John' entwined with roses, and a grand piano and doves to the back, edged with leather fringe (2) $3,000-5,000 This ensemble was loaned out to Angel Costumes at Bray Film Studios to recreate for the 'Rocketman' film in June 2018.

EVENING SALE

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

DEBORAH BUTTERFIELD (B. 1949) Dazzle stamped 'ILLINOIS USA' (on the hind left leg) found steel, welded 80 x 114 x 30 in. (203 x 290 x 76 cm.) Executed in 1990. $200,000-300,000 PROVENANCE:

Fay Gold Gallery, Atlanta Acquired from the above by the present owner, 1995

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

KEITH HARING (1958-1990) Untitled signed and dated 'K. Haring SEPT. 1 1982 +' (on the reverse) enamel on wood 20º x 29º in. (51.4 x 74.3 cm.) Executed in 1982. $200,000-400,000 PROVENANCE:

Estate of Keith Haring, New York Tony Shafrazi Gallery, New York André Emmerich Gallery, New York Acquired from the above by the present owner, 1996 EXHIBITED:

New York, Tony Shafrazi Gallery, Keith Haring: Important Early Works from the Estate of Keith Haring, October 1992-January 1993.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

ANDREAS GURSKY (B. 1955) Dior Homme signed 'Andreas Gursky' (on a paper label affixed to the reverse) chromogenic print, in artist’s frame framed: 73Ω x 147 in. (187.2 x 373.4 cm.) Executed in 2004. This work is number two from an edition of six. $300,000-500,000 PROVENANCE:

Monika Sprüth Galerie, Cologne Acquired from the above by the present owner, 2004 EXHIBITED:

Krefeld, Kunstmuseen; Stockhold, Moderna Museet; Vancouver Art Gallery, Andreas Gursky Werk/Works 80-08, October 2008-September 2009, pp. 208-209 (another example from the edition exhibited). Istanbul Museum of Modern Art, Andreas Gursky, 2007, p. 138 (another example from the edition illustrated).

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

ROBERT MAPPLETHORPE (1946-1989) Flowers, 1983 ten photogravures, each mounted on board each signed and numbered '25/40' in pencil (margin) each image: 21¬ x 17¬ in. (54.6 x 44.7 cm.) each sheet: 31º x 24¬ in. (80 x 62.2 cm.) These works are each number twenty-five from an edition of forty, plus ten artist's proofs, from Flowers (New York: Barbara Gladstone, Deli Sacilotto, & Robert Mapplethorpe, 1983, printed by Deli Sacilotto.) $40,000-60,000 PROVENANCE:

Hamiltons Gallery, London; acquired from the above by the present owner, 2007. LITERATURE:

John Ashbery, Pistils, Jonathan Cape, London, 1996, p. 19, 21, 23, 25-27, 29-31. Herbert Muschamp, Mapplethorpe: The Complete Flowers, teNeues, Dusseldorf, New York, 2006, pl. 76-85.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

PETER BEARD (1938–2020) Elephant Family at Buffalo Springs (Buffalo Springs Cow Ele Herd) June, 1960 gelatin silver print with applied resin, watercolor, inks and tempera paint, printed 2002 signed, titled, numbered ‘box 4191’ and variously annotated in ink by The Hog Ranch Art Department (recto); credited, titled, dated on affixed Sir Elton John Photography collection label (frame backing board) overall framed: 51¿ x 72Ω in. (129.8 x 184.1 cm.) This is a unique work. $150,000-250,000 PROVENANCE:

Charity Auction to Benefit amfAR, The Foundation for AIDS Research, Cannes, May 22, 2003; acquired from the above sale by the present owner. LITERATURE:

Peter Beard, Peter Beard: The End of the Game: The Last Word from Paradise: A Pictorial Documentation of the Origins, History & Prospects of the Big Game in Africa…, Doubleday, Garden City, N. Y., 1977, n.p.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

JULIAN SCHNABEL (B. 1951) Portrait of Elton signed with the artist's initials and inscribed twice 'P97.0014 P97.0014 JS' (on the stretcher) oil, enamel and resin on canvas 90¿ x 84 in. (228.9 x 213.4 cm.) Executed in 1997. $200,000-300,000 PROVENANCE:

Acquired directly from the artist by the present owner Elton John and David Furnish met Julian Schnabel in the 90s and quickly became close. This friendship proved fruitful, with Schnabel creating several works for the couple in the following years. Elton John sat for the present majestic and large scale work in Schnabel's New York studio. It would go on to grace the compact disc for Elton John's 1997 album The Big Picture.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

CARTIER. A POSSIBLY UNIQUE AND OPULENT 18K WHITE GOLD AND BAGUETTE DIAMOND-SET RECTANGULAR WRISTWATCH WITH BAGUETTE SAPPHIRE DIAL AND DIAMOND-SET CLASP SIGNED CARTIER, PARIS, TANK NORMALE MODEL, CASE NO. 646'570, CIRCA 2000S Movement: Manual Dial: Blue Baguette Sapphires Case: 23 mm. wide, 39 mm. overall length With: Cartier 18k white gold and diamond-set deployant clasp, pouch Remark: Possibly unique $20,000-30,000

The present Cartier Tank Normale is an extraordinary and opulent timepiece and possibly unique. Measuring 23 mm. by 39 mm. in 18k white gold, this manual winding wristwatch is a wonderful unisex option with magnificent presence thanks to 20 spectacular baguette diamonds set into the bezel with further enhancement from the 16 blue baguette sapphires in the dial. Topping off the present Tank Normale is the octagonal crown which has also been set with a round diamond, and the Cartier 'D' deployant clasp which is also crafted from 18k white gold with diamonds.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

BRUCE WEBER (B. 1946) Running at Point Conception, California, 1987 gelatin silver print signed, titled, dated and numbered '1/15' and various notations in pencil (verso); credited and dated on affixed Sir Elton John Photography collection label (frame backing board) image: 13º x 16º in. (33.6 x 41.2 cm.) sheet: 14 x 17 in. (35.5 x 104.6 cm.) This work is number one from an edition of fifteen.

Bruce Weber’s fashion images became widely known in the 1980s when he was both the primary photographer for Ralph Lauren and also shooting for iconic Calvin Klein advertising campaigns. His work became recognized for showing male bodies as idealized and sensual, in a manner more commonly reserved for the female form.

$3,000-5,000

EVENING SALE

HERB RITTS (1952–2002) Versace, Veiled Dress, El Mirage, 1990 gelatin silver print, mounted on board signed, titled, dated and numbered 'AP1' in pencil (mount, verso); credited, titled, dated on affixed Sir Elton John Photography collection label (frame backing board) image: 21√ x 17¡ in. (55.5 x 41.1 cm.) sheet: 24 x 19√ in. ( 60.9 x 20 cm.) mount: 25Ω x 21º in. (64.7 x 54.1 cm.) This work is artist's proof number one, aside from an edition of twenty-five. $60,000-80,000 PROVENANCE:

Fahey/Klein Gallery, Los Angeles; acquired from the above by the present owner.

LITERATURE:

Exhibition catalogue, Herb Ritts: Work, Little, Brown and Co.; Museum of Fine Arts, Boston, 1996, n.p. Exhibition catalogue, Herb Ritts, Foundation Cartier pour l’art contemporain, Paris, 1999, n.p. Paul Martineau, Herb Ritts: L.A. Style, J. Paul Getty Museum, Los Angeles, c. 2012, pl. 21, p. 51. Photographed at the El Mirage dry lakebed in California, Versace, Veiled Dress by Herb Ritts embodies the radiant, West Coast lifestyle and glamour that are emblematic of the artist’s signature style. With the model (Naomi Campbell) enveloped in a sheer veil, the contours of her body and subtle tones of the folding, flowing garment become graphic elements in this theatrical and elegant image.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

“An absolutely stunning creature with a signature beauty mark, Jean was a super model decades before the term ‘super model’ was coined, and, staggeringly, has had more covers than any fashion model in history. Jean Patchett was to Ford what Babe Ruth was to the Yankees.” GER ALD FORD, FORD MODEL S

IRVING PENN (1917 - 2009) Black and White Vogue Cover (B) (Jean Patchett) New York, 1950 selenium toned gelatin silver print, flush-mounted on paper, printed 1984 signed, titled, dated [with print date] and numbered of '16' and '9892' in ink, stamped photographer's copyright Condé Nast Publications credit, reproduction limitation and edition information in ink (flush mount, verso); credited, titled and dated on affixed Sir Elton John Photography collection and museum labels (frame backing board) image: 14æ x 15 in. (37.4 x 38.1 cm.) sheet: 17º x 15¬ in. (43.8 x 39.6 cm.) This work is one of an edition of sixteen. $100,000-150,000 PROVENANCE:

Jackson Fine Arts, Atlanta; acquired from the above by the present owner, 1992.

LITERATURE:

The Black and White Idea', Vogue, 1 April 1950, front cover. Irving Penn, Moments Preserved, Simon and Schuster, New York, 1960, p. 159. Polly Devlin, Vogue Book of Fashion Photography, Simon and Schuster, New York, 1979, p. 90. John Szarkowski, Irving Penn, Museum of Modern Art, New York, 1984, pl. 48. Irving Penn, Passage: A Work Record, Knopf/Callaway, New York, 1991, p. 100. Yvonne Lehnherr, ed., Irving Penn: Collection Privée, Musée d'art et d'histoire, Fribourg, 1994, cat. no. 31, p. 51. Colin Westerbeck, ed., Irving Penn: A Career in Photography, Art Institute of Chicago/Little, Brown and Co., 1997, pl. 4, p. 28.

EXHIBITED:

Atlanta, High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, November 4, 2000– January 28, 2001.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

“His white georgette crepe dress descends in gentle winding folds below a bosom banded in black velvet and marked with a huge white role. These pages photographed at the Cirque d’Hiver, where Sir Carol Reed is currently filming Trapeze.” HARPER ’ S BA Z A AR , SEP TEMBER 1957

RICHARD AVEDON (1923–2004) Dovima with Elephants, 1955 gelatin silver print, mounted on board various annotations in red crayon and pencil (mount, recto); signed and dated in pencil, with various inscriptions in ink 'Richard Avedon made in France' stamps and typed Harper's Bazaar sheet (mount, verso); credited, titled and dated on affixed Photographs from the Sir Elton John Collection label and High Museum of Art label (frame backing board) image/sheet: 7æ x 9æ in. (19.7 x 24.8 cm.) mount: 12¿ x 14√ in. (30.7 x 37.7 cm.) $100,000-150,000 PROVENANCE:

Fay Gold Gallery, Atlanta; acquired from the above by the present owner, 1994. EXHIBITED:

Atlanta, High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, November 4, 2000– January 28, 2001. LITERATURE:

Philippe Garner et al., Avedon Fashion, Abrams, New York, 2009, p. 134.

This variation of Dovima with Elephants, offered here as a rare, vintage print, first appeared in the 1955 Harper’s Bazaar issue alongside the more widely known, vertical image. In this stunning variation, Dovima poses in a different Dior Dress, elegantly and yet playfully echoing the movement of the elephants' trunks and seemingly choreographed steps. The model chosen to star in this famous photoshoot was Bronx-born Dorothy Virginia Margaret Juba, known professionally as Dovima. A sharp and sophisticated beauty, Dovima was appreciated by leading photographers of the day for her ability to assume a role and project herself effortlessly in front of a camera. In marked contrast to the static studio poses that characterized so much fashion photography of the 1930s and 40s, Dovima moved dynamically within her frame. She brought a theatricality and drama to her modeling, a perfect collaborator for Avedon who was himself a lifelong devotee of the performing arts. Like many of Avedon’s best fashion work, the image could be a still from a film, perhaps even a freezeframe from a movie’s dance scene, with Dovima and the elephants captured in perfect unison.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

TRACEY EMIN (B. 1963) And That's How I feel - Nov 2, 2004 signed, titled and dated 'Tracey Emin And That's How I Feel 2005' (lower right) appliqué on fabric 60¬ x 73 in. (152 x 185 cm.) Executed in 2005 $80,000-120,000

PROVENANCE:

Collezione La Gaia, Busca White Cube, London Acquired from the above by the present owner, 2008 LITERATURE:

C. Freedman, R. Fuchs and J. Winterson, Tracey Emin: Works 1963-2006, New York 2006, p. 408 and 416 (illustrated). Collezione La Gaia, Collezione La Gaia, Busca, p. 22.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

ANDRES SERRANO (B. 1950) Hercules punishing Diomedes (part I and II), 1990 two Cibachrome prints, each face-mounted on DiaSec signed, titled and numbered '3/4' in pencil (verso); credited and titled on affixed High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection and Sir Elton John Photography collection label (frame backing board) each overall framed: 65 x 45 in. (165.1 x 114.3 cm.) This work is number three from an edition of four. (2) $15,000-25,000

PROVENANCE:

Fay Gold Gallery, Atlanta; acquired from the above by the present owner, 1996. EXHIBITED:

Atlanta, High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, November 4, 2000– January 28, 2001. LITERATURE:

Andres Serrano, Andres Serrano: America and Other Work, Taschen, Koln, c2004, n.p.

EVENING SALE

■45

A SET OF THREE NORTH ITALIAN CREAM-PAINTED AND PARCEL-GILT ARMCHAIRS 19TH CENTURY Each with foliate carved crest rail and reeded, scrolled arms atop round tapered legs, upholstered in complementary Atelier Versace velvet 36 in. (91.5 cm.) high, 21Ω in. (54.5 cm.) wide, 20Ω in. (52 cm.) deep (3) $3,000-5,000 PROVENANCE:

Anonymous Sale; Christie's, New York, 7 April 1993, lots 95 and 96.

“Gianni and Elton were always informing and inspiring each other.” DAVID FURNISH

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

■46

A VERSACE (ROSENTHAL) PORCELAIN 'MEDUSA RED' TABLE SERVICE MODERN, BLACK AND GILT PRINTED MARKS In the 'Medusa Red' pattern, decorated with baroque-style scrolls, strapwork and Medusa masks, comprising: Two candlesticks An oval tureen and cover A smaller oval tureen and cover An oval platter A smaller oval platter An open vegetable bowl Two small square trays Fourteen napkin rings Fourteen chargers Sixteen dinner plates Sixteen salad plates Thirteen bread plates Eleven soup plates Ten soup-cups Ten fruit dishes A teapot and cover A coffee-pot and cover A creamer and cover A sugar-bowl and cover Fourteen teacups Ten coffee cups and eight saucers Ten espresso cups Seventeen mugs Four salt shakers Four pepper shakers A round box and cover A vase 16 in. (40.6 cm.) long, the larger platter

(193)

$4,000-6,000

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

■47

A GROUP OF SEVEN SILK SHIRTS GIANNI VERSACE, CIRCA 1993 Comprising seven silk shirts, almost certainly from the Gianni Versace 1993 Spring/ Summer Signature collection $4,000-6,000

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

TERRY O'NEILL (1938–2019) Elton John (Album Cover Variant), 1974 chromogenic print, printed 2014 image: 24 x 24 in. ( 60.9 x 60.9 cm.) sheet: 30¡ x 29√ in. (78.1 x 75.8 cm.) $6,000-8,000

PROVENANCE:

From the Artist to Elton John Aids Foundation, An Enduring Vision Benefit Gala, 2014; acquired from the above the present owner.

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

1990 BENTLEY CONTINENTAL TWO DOOR CONVERTIBLE COACHWORK BY MULLINER PARK WARD VIN SCBZD02D9LCX30295 Black with black leather interior and a black top RWD (rear-wheel drive) automatic 3-speed gearbox gasoline engine with displacement: 6750 cm3 / 411.9 cui, advertised power: 160 kW / 215 hp / 218 PS ( SAE net ), torque: 540 Nm / 398 lb-ft, Left hand drive $25,000-35,000 PROVENANCE:

Purchased by Sir Elton John, 1992.

When I first bought the black Bentley Continental in the 1990’s, I was astonished by the beauty of the car. I also loved its sexy dark walnut interior and exquisite detailing. And the smell! Decades later, the car STILL has the most gorgeous smell from the butter soft black leather seats.

photographic gallery, as I began the process of learning and

I first drove the car in Los Angeles. I made a lot of trips up and down the Pacific Coast Highway. There is no place better in California to drive a convertible sedan with the roof down and the sea air gently blowing in your face. I particularly remember one beautiful drive up the coast to San Simeon with radio hits blaring away.

decided it was time for the Bentley to cross the Atlantic and

When I moved to Atlanta, I decided to bring my beloved convertible Bentley with me. It caused quite a stir whenever I took it out in town. I made many trips to visit my favourite

building my photo collection. The balmy Atlanta weather and the sweet smell of magnolias were the perfect accompaniments for southern roof-down driving. After a few Summers at our house in the South of France, I turn heads on the Côte d’Azur. We made countless trips up and down the Promenade des Anglais in Nice, with the sparkling stars guiding us to our favourite restaurant. Whenever I went shopping in Monaco, we’d valet park the car at the Hotel de Paris. The doormen would always give the Bentley prime position in the forecourt of the hotel. Every time we returned to collect the car, there would be a small gathering of tourists having their photos taken next to its elegant beauty. - Sir Elton John, 2023

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

EVENING SALE

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

SOLD TO BENEFIT THE ELTON JOHN AIDS FOUNDATION

ELTON JOHN COLLECTOR'S EDITION SIGNED PINBALL MACHINE STEVE RITCHIE, CHRISTOPHER FRANCHI, JOHN YOUSSI AND JP DE WIN FOR JERSEY JACK PINBALL, 2023 With Dual 10” LCD Screens & Interactive Laser Lightshow, Individually Numbered Golden Plaque reading 0002, Custom Speech by Elton John, 16 Elton John Studio Master Tracks, Piano-Playing Interactive Elton John Sculpture, Rocket Sculpture with LED Flames, ‘Tiny Dancer’ Motorized Sculpture, ‘Crocodile Rock’ Physical Lock Sculpture, and Grand Piano 3-Ball Lock with Diverter Dimensions with topper: Height: 87 in. Back Box Width: 29 in. Cabinet Depth: 52 in. Cabinet Width: 22º in. $10,000-15,000

THE ELTON JOHN PINBALL MACHINE

THE ELTON JOHN AIDS FOUNDATION

Featuring Elton John's iconic songs, legendary performances, and dazzling stage presence, Elton John Pinball machine takes players on a pinball journey inspired by his illustrious career. The game is a playable masterpiece, merging cutting-edge sound, video, and game design with groundbreaking technology. Players are transported to the front row of his live performances as they groove to 16 fulllength studio master tracks including songs such as Rocket Man, Tiny Dancer, Bennie And The Jets, and many more of Elton Elton John’s greatest hits, all delivered through a 120-Watt, 2.1 stereo sound system. The game further comes to life with over 1,000 interactive LED lights and multiple LCD displays. Animations and exclusive footage from Elton Elton John’s remarkable career complete the overall package.

The Elton John AIDS Foundation was established in 1992 and is one of the leading independent AIDS organisations in the world. Sir Elton created the Foundation with one simple mission: to be a powerful force in ending the AIDS epidemic. We mustn’t forget that HIV is still causing needless suffering around the world and we must protect those most vulnerable to this disease with testing and compassionate care. We can see an end to AIDS in our lifetimes, but first we must break down stigma and discrimination and provide equal access to healthcare to finally end the epidemic for everyone, everywhere. – Sir Elton John

This pinball machine represents 0002/1000 Collector's Edition machines produced and contains an individually numbered plaque. Signed by Elton John "With love from the Pinball Wizard Elton John"

EVENING SALE

THE DAY SALE Sale 22051 Session I: Important Photographs Lots 101–267 Thursday 22 February 2024 at 10.00am

“The first thing that Elton became interested in, in the art world of Atlanta was photography.”

Please scan for complete auction information

DAVID FURNISH

101

102

KARL STRUSS (1886–1981)

City of Dreams, 1925

Lower Broadway, New York, 1912

silver bromide print, mounted on board

platinum print

$8,000-12,000

$2,000-3,000

103

104

LEWIS W. HINE (1874–1940)

LEWIS W. HINE (1874-1940)

Indiana Glassworks, Midnight, Indiana, August,1908

A load of kimonos just finished. Girl very reticent. Thompson St., N.Y., February 10, 1912

gelatin silver print $3,000-5,000

102

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

105

106

LEWIS W. HINE (1874-1940)

ANDRÉ KERTÉSZ (1894–1985)

Elegant Apartments, New York City, 1912

Hungary (Bathers), June 30, 1917

gelatin silver print

$3,000-5,000

$4,000-6,000

107

108

IMOGEN CUNNINGHAM (1883-1976)

IMOGEN CUNNINGHAM (1883–1976)

Wandering Jew, c. 1920s

Amaryllis Bud, 1933

gelatin silver print, mounted on board

gelatin silver print, printed 1940s

$12,000-18,000

$8,000-12,000

THE DAY SALE SESSION I

103

109

110

IMOGEN CUNNINGHAM (1883-1976)

Aeonium, 1920s

Tuberose, 1920s

gelatin silver print, printed c. 1940s

gelatin silver print, printed 1940s

$8,000-12,000

111

112

PAUL OUTERBRIDGE JR. (1896–1958)

JOHAN HAGEMEYER (1884-1962)

Dresser with Tie and Accessories, 1924

Untitled, Ferry, 1922

platinum print, mounted on board

gelatin silver print

$8,000-12,000

$3,000-5,000

104

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

113

114

EDWARD WESTON (1886–1958)

DOROTHEA LANGE (1895–1965)

Johan Hagemeyer, 1921

Untitled (Portrait of an unknown man), 1934

platinum print, tipped to card

gelatin silver print, mounted on board

$20,000-30,000

$4,000-6,000

115

116

DOROTHEA LANGE (1895-1965)

ALFRED STIEGLITZ (1864-1946)

Portrait of a Young Boy, 1929

Equivalent, 1926

gelatin silver print, mounted on card, tipped to board

gelatin silver print, mounted on board

$5,000-7,000

$30,000-50,000

106

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

117

118

ALFRED STIEGLITZ (1864-1946)

ALFRED STIEGLITZ (1864–1946)

Equivalent, 1927

The Dying Chestnut Tree, Life and Death, 1927

gelatin silver print

gelatin silver print, flush-mounted on board, mounted on larger board

$30,000-50,000

$5,000-7,000

119

120

RUDOLF KOPPITZ (1884–1936)

RUDOLF KOPPITZ (1884-1936)

Im Schoß der Natur (In the Bosom of Nature), No. 3, 1923

Der Steinwerfer (The Stone-Thrower), 1923

pigment print, tipped to original mount

bromoil transfer print

$20,000-30,000

THE DAY SALE SESSION I

107

108

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

121

122

RUDOLF KOPPITZ (1884–1936)

TINA MODOTTI (1896–1942)

Die Zwei Bruder (Les deux freres), 1930

Carved Door, c. 1925

bromoil print, affixed to original overmat

gelatin silver print

$10,000-15,000

$5,000-7,000

123

124

NICKOLAS MURAY (1892-1965)

EL LISSITZKY (1890–1941)

Frida Kahlo on Bench

Eiffel Tower, Paris, 1928

carbon print, printed later

gelatin silver print, mounted on board

$8,000-12,000

$12,000-18,000

THE DAY SALE SESSION I

109

125

126

EDMUND KESTING (1892-1970)

FRANCIS BRUGUIÈRE (1879–1945)

Photogramm, 1930

Photo Design, 1928-1937

gelatin silver print

$5,000-7,000

$15,000-25,000

127

128

ANDRÉ KERTÉSZ (1894–1985)

Wiener, Messe 1027, c. 1926

Portrait of Woman and Bird, c. 1927

gelatin silver print

$5,000-7,000

$10,000-15,000

110

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

129

130

ANDRÉ KERTÉSZ (1894–1985)

HORST P. HORST (1906–1999)

Chair and Horn, Paris, 1935

Lisa with Harp, 1939

gelatin silver print

platinum print

$3,000-5,000

$10,000-15,000

131

132

HENRI CARTIER–BRESSON (1908–2004)

Hyères, 1932

Gitans (Gypsies), Granada, 1933

gelatin silver print, printed later

gelatin silver print, printed 1946

$10,000-15,000

$20,000-30,000

THE DAY SALE SESSION I

111

133

134

BRASSAÏ (1899-1984)

BRASSAÏ (1899–1984)

La Toilette dans un hôtel de passe, rue Quincampoix á Paris, 1932

People Under Stone Bridge with Lighted City in Background

gelatin silver print

$10,000-15,000

135

136

JOSEF SUDEK (1896–1976)

From the Window of my Atelier, 'Spring Shower', c. 1950s

Ladislav Sutnar China (tea cups), c. 1928

gelatin silver print, printed later

gelatin silver print

$6,000-8,000

$3,000-5,000

112

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

137

138

MARTIN MUNKÁCSI (1896–1963)

CARLA MARIA BUSCH CASAGRANDE (1915–2008)

Liberia, 1930

From the Berlin Olympics, 1936

gelatin silver print, printed 1997

gelatin silver print, printed later

$3,000-5,000

$2,000-3,000

139

140

MARGARET BOURKE–WHITE (1904–1971)

GYÖRGY KEPES (1906–2001)

Parachute Testing; Irving Air Chute Co., Buffalo, New York, 1937

Untitled, 1930

four gelatin silver prints

gelatin silver print, mounted on paper, printed later

$10,000-15,000

$2,000-3,000

THE DAY SALE SESSION I

113

141

142

BILL BRANDT (1904-1983)

HERBERT BAYER (1900 - 1985)

Rainswept Roofs, 1933

Lonely Metropolitan, 1932

gelatin silver print, mounted on board, printed later

gelatin silver print, printed c. 1960s

$5,000-7,000

$20,000-30,000

143

144

LEWIS WICKES HINE (1874–1940)

EDWARD WESTON (1886–1958)

Workers, Empire State Building, 1930

Dunes, Oceano, 1936

gelatin silver print

gelatin silver print, mounted on board

$10,000-15,000

$80,000-120,000

114

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

THE DAY SALE SESSION I

115

145

146

EDWARD WESTON (1886–1958)

EDWARD WESTON (1886-1958)

Las Lomas Rancho, 1937

Bird Skeleton, Oceano, California, 1936

gelatin silver print, mounted on board, printed probably 1940s

gelatin silver print, mounted on board

$10,000-15,000

$5,000-7,000

147

148

FREDERICK SOMMER (1905–1999)

ANSEL ADAMS (1902-1984)

Coyotes, 1945

Oak Tree, Snowstorm, Yosemite National Park, 1948

gelatin silver print, mounted on board, printed later

gelatin silver print, printed 1973 -1977

$5,000-7,000

$20,000-30,000

116

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

149

150

WALKER EVANS (1903–1975)

Gilded Pediment Eagle, Charleston, South Carolina, 1937

Church Organ with Pews, Alabama, 1936

gelatin silver print, mounted on board

gelatin silver print, printed later

$5,000-7,000

$3,000-5,000

151

152

WALKER EVANS (1903-1975)

WALKER EVANS (1903–1975)

The Super Wrench and Open-Ended Crescent Wrench, (from Beauties of the Common Tool for Fortune), 1955

Subway Portrait, (Sailor), New York City, 1938-1941

two gelatin silver prints

gelatin silver print $15,000-25,000

$5,000-7,000

THE DAY SALE SESSION I

117

118

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

153

154

WALKER EVANS (1903–1975)

IRVING PENN (1917–2009)

Subway Portrait, New York, 1941

Optician's Shop Window (Version B), New York, 1939

gelatin silver print

selenium toned gelatin silver print, printed 1983

$15,000-25,000

155

156

JACQUES-HENRI LARTIGUE (1894–1986)

JACQUES-HENRI LARTIGUE (1894 –1986)

Renee, 1931

Renee Perle, Three-quarter Profile with Hat, 1930-1932

gelatin silver print, printed later

gelatin silver print

$4,000-6,000

$5,000-7,000

THE DAY SALE SESSION I

119

157

158

HORST P. HORST (1906–1999)

BARBARA MORGAN (1900–1992)

Mainbocher Corset, Paris, 1939

Martha Graham – Letter to the World, 1940

platinum palladium print, printed later

gelatin silver print, printed c.1980

$20,000-30,000

$4,000-6,000

159

160

ALEXANDER LIBERMAN (1912–1999)

LISETTE MODEL (1901-1983)

Richard Newton, Long Island, 1945

Billie Holiday, New York, 1959

gelatin silver print, printed later

gelatin silver print

$2,000-3,000

$3,000-5,000

120

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

161

162

LISETTE MODEL (1901-1983)

LISETTE MODEL (1901–1983)

Woman with a Veil, San Francisco, 1949

Sammy's Bar, Woman Looking at a Man,1944

gelatin silver print, printed 1950s

ferrotyped gelatin silver print

$3,000-5,000

$6,000-8,000

163

164

RICHARD AVEDON (1923–2004)

IRVING PENN (1917-2009)

Elise Daniels, Turban by Paulette, Pre-Catelan, Paris, August 1948

Vogue' Fashion photograph (Café in Lima, Jean Patchett), 1948

gelatin silver print, printed 1978

selenium toned gelatin silver print, mounted on board, printed 1984

$10,000-15,000

$50,000-70,000

THE DAY SALE SESSION I

121

165

166

IRVING PENN (1917 - 2009)

IRVING PENN (1917-2009)

Girl Behind Bottle Jean Patchett, New York, 1949

Girl Drinking (MJR), New York, 1949

gelatin silver print, mounted on board, printed before 1960

platinum-palladium print, mounted on aluminum, printed 1979

$60,000-80,000

167

168

RICHARD AVEDON (1923–2004)

Suzy Parker and Gardner McKay, Dress by Balmain, Café des Beaux Arts, Paris, 1956

Sunny Harnett, Evening dress by Grès, Casino, Le Touquet, August 1954

gelatin silver print, printed 2001

gelatin silver print, printed 1978

$10,000-15,000

$30,000-50,000

122

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

THE DAY SALE SESSION I

123

169

170

IRVING PENN (1917–2009)

Girl in bed on Telephone (Jean Patchett), New York, April 2,1949

Cleaning Women, London, 1950

gelatin silver print, mounted on board

platinum palladium print, printed 1977

$40,000-60,000

$20,000-30,000

171

172

WILLIAM KLEIN (1928–2022)

HENRI CARTIER-BRESSON (1908–2004)

Hat + 5 Roses, + Barbara, Paris, 1956

Rue Mouffetard, Paris, 1954

gelatin silver print, flush-mounted on Dibond, printed later

gelatin silver print, printed later

$30,000-50,000

$20,000-30,000

124

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

173

174

RUTH ORKIN (1921-1985)

HERBERT LIST (1903-1975)

American Girl in Florence, Italy, 1951

Young Men Under Reed Roof, Torremolinos, 1951

gelatin silver print, flush-mounted on board, printed later

archival pigment print, flush-mounted on board, printed 2011

$10,000-15,000

$6,000-8,000

175

176

WILLIAM EGGLESTON (B.1939)

IRVING PENN (1917-2009)

Cadillac, 1966-1971

Six New Guinea Mudmen, 1970

New York: Cheim & Read, 1999. Portfolio of thirteen chromogenic prints

platinum-palladium print, mounted on aluminum, printed 1983

$40,000-60,000

$25,000-35,000

THE DAY SALE SESSION I

125

177

178

IRVING PENN (1917-2009)

PAUL STRAND (1890–1976)

Dahomey Children, 1967

The Vegetable Shop, Mogador, Morocco, 1962

selenium tone gelatin silver print, mounted on board, printed 1985

toned gelatin silver print, flush-mounted on board

$15,000-25,000

$10,000-15,000

179

180

ROBERT FRANK (1924–2019)

DIANE ARBUS (1923-1971)

Charleston, South Carolina, 1955

Two girls on the Beach Coney Island, NY, 1958

gelatin silver print, printed 1970s

gelatin silver print, printed later by Neil Selkirk

$150,000-250,000

$5,000-7,000

126

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

181

182

DIANE ARBUS (1923–1971)

JULIUS SHULMAN (1910–2009)

Triplets in their bedroom, NJ, 1963

Case Study House #21, Los Angeles, California (Pierre Koenig), 1959

gelatin silver print

chromogenic print, printed 2001

$30,000-50,000

$2,000-3,000

183

184

JULIUS SHULMAN (1910-2009)

ARNOLD NEWMAN (1918–2006)

Two works: Case Study House #20; Bass House, 1958, Case Study House #22 and Spencer Residence; Richard O. Spencer; Malibu,CA, 1955

Alfred Stieglitz and Georgia O'Keeffe, An American Place, New York City, 1944; Bernice Abbott, New York ,1944; Henri Cartier-Bresson, NYC, 1947; Igor Stravinsky, 1946; Man Ray, Paris, 1960

two chromogenic prints

gelatin silver prints, printed later

$8,000-12,000

$12,000-18,000

THE DAY SALE SESSION I

127

185

186

YVES KLEIN (1928-1962) & HARRY SHUNK (1924-2006) & JÁNOS KENDER (1937-2009)

Bad Heart, Downtown Los Angeles, 1961

Le Saut Dans le Vide, 1960

gelatin silver print, printed later

gelatin silver print, flush-mounted on board

DENNIS HOPPER (1936–2010)

$8,000-12,000

$6,000-8,000

187

188

GARRY WINOGRAND (1928–1984)

WEEGEE (1899–1968)

Woman with Ice Cream Cone, New York City, 1968

Elizabeth Taylor, 1961

gelatin silver print

ferrotyped gelatin silver print

$10,000-15,000

$3,000-5,000

128

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

189

190

WEEGEE (1899–1968)

Mona Lisa, 1943

Mona Lisa, c. 1956 - 1957

gelatin silver print

ferrotyped gelatin silver print

$6,000-8,000

$2,000-3,000

191

192

HIROSHI SUGIMOTO (B. 1948)

LAURIE SIMMONS (B.1949)

Polar Bear, 1976

Pushing Lipstick, 1979

gelatin silver print

Cibachrome print

$15,000-20,000

$3,000-5,000

THE DAY SALE SESSION I

129

130

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

193

194

LAURIE SIMMONS (B.1949)

JOHN MINIHAN (B. 1946)

Woman Opening Refrigerator, 1979

Francis Bacon with his Triptych 1976 at the George Bernard Gallery, Paris, 1977

Cibachrome print $3,000-5,000

gelatin silver print, printed 2008 $12,000-18,000

195

196

DUANE MICHALS (B. 1932)

NORMAN PARKINSON (1913–1990)

Jasper Johns, 1972

Elton John, 1970

gelatin silver print

three gelatin silver prints

$10,000-15,000

THE DAY SALE SESSION I

131

197

198

GUY BOURDIN (1928–1991)

Vogue Hommes - June/July, 1977

Fujiflex crystal archive print, mounted to acrylic, printed later

Fujiflex crystal archive print mounted to acrylic

$5,000-7,000

199

200

NORMAN PARKINSON (1913–1990)

HELMUT NEWTON (1920–2004)

Jerry Hall, Russia, Two Studies, 1975

Alexandra, masked and dressed by the seaside, Monte-Carlo, 1981; Alexandra, masked and nude by the seaside, Monte-Carlo, 1981

two Cibachrome prints $12,000-18,000

gelatin silver print diptych $20,000-30,000

132

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

201

202

HELMUT NEWTON (1920–2004)

Brescia Dressed, 2 pm with Plumed Hat and Brescia Nude, 3:30 pm, 1981

Hotel Room, Place de la République, Paris, 1976

two gelatin silver prints diptych

ferrotyped gelatin silver print $20,000-30,000

$20,000-30,000

203

204

HELMUT NEWTON (1920–2004)

HENRY WESSEL (1857–1927)

In a Penthouse, Downtown Los Angeles, 1985

Southern California, 1985

gelatin silver print

gelatin silver print, printed later

$15,000-25,000

$4,000-6,000

THE DAY SALE SESSION I

133

205

206

STEVEN KLEIN (B. 1965)

ANDY WARHOL (1928-1987)

The Swimmer, Image No. 09, 2006

Male Model, 1986

chromogenic print mounted on aluminum

gelatin silver print

$10,000-15,000

207

208

HERB RITTS (1952–2002)

HELMUT NEWTON (1920-2004)

Keith Haring I, New York 1987

Portrait of David Hockney, Los Angeles, 1988

gelatin silver print

$8,000-12,000

$5,000-7,000

134

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

THE DAY SALE SESSION I

135

136

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

209

210

ROBERT MAPPLETHORPE (1946–1989)

ROBERT MAPPLETHORPE (1946 - 1989)

Mum,1989

Calla Lily, 1988

gelatin silver print, flush-mounted on board

$10,000-15,000

$60,000-80,000

211

212

ROBERT MAPPLETHORPE (1946–1989)

ANDRES SERRANO (B. 1950)

Leaf, 1987

St. Michael's Blood Parts I and II, 1990

dye transfer print, flush-mounted on board

two Cibachrome prints, each face-mounted on DiaSec

$30,000-50,000

$20,000-30,000

THE DAY SALE SESSION I

137

213

214

MIKE KELLEY (1954–2012)

DAVID HOCKNEY (B. 1937)

More Tragic! More Plangent! . . . More Purple! 1985

Prehistoric Museum near Palm Springs, California, Sept. 1982

six Ektacolor prints, flush- mounted on museum board, printed 1996

collaged gelatin silver prints, mounted on board

$60,000-80,000

$40,000-60,000

215

216

SANDY SKOGLUND (B. 1946)

The Green House, 1990

Shimmering Madness, 1998

Cibachrome print

chromogenic print

$8,000-12,000

$6,000-8,000

138

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

217

218

ADAM FUSS (B. 1961)

Untitled (Orange droplets photogram), 1989

Untitled, 1995

unique Cibachrome photogram, mounted on plexi

unique Cibachrome photogram

$6,000-9,000

$6,000-8,000

219

220

DUANE MICHALS (B. 1932)

O Tan-Faced Prairie Boy, 1995

From Out of The Cradle Endlessly Rocking (Sea-Drift), 1996

gelatin silver print

$5,000-7,000

$1,000-1,500

THE DAY SALE SESSION I

139

221

222

MASSIMO VITALI (B. 1944)

Vecchiano #0452, 1999

Rosignano Beach Black, 1995

chromogenic print, flush-mounted on Dibond, face-mounted on acrylic

chromogenic print, flush mounted on Diasec

$20,000-30,000

223

224

RICHARD MISRACH (B. 1949)

HIROSHI SUGIMOTO (B. 1948)

Comfort Stations, Edwards Air Force Base, California, 1983

Stadium Drive-In, Orange, 1993

chromogenic print, printed 1986

gelatin silver print, mounted on card

$5,000-7,000

$20,000-30,000

140

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

225

226

HIROSHI SUGIMOTO (B. 1948)

PHILIP–LORCA DICORCIA (B. 1951)

Rietveld Schröder House, 1999

W, September 1999, #13, 1999

gelatin silver print, mounted on card

Fujicolor crystal archive print, flush-mounted on acrylic

$12,000-18,000

$25,000-35,000

227

228

COLLIER SCHORR (B. 1963)

Bloody Nose, 1999

Dan (After a Match) 1999

chromogenic print

chromogenic print, mounted on board

$4,000-6,000

$6,000-8,000

THE DAY SALE SESSION I

141

142

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

229

230

WOLFGANG TILLMANS (B. 1968)

SHIRIN NESHAT (B. 1957)

The Point III, 1996

As Yet Untitled (Women on Beach), 1999

chromogenic print, tipped to board

gelatin silver print

$8,000-12,000

$20,000-30,000

231

232

HIROSHI SUGIMOTO (B. 1948)

Elizabeth I, 1999

RICHARD I, 1999

gelatin silver print, flush-mounted to board

$50,000-70,000

THE DAY SALE SESSION I

143

233

234

IRVING PENN (1917–2009)

Bedside Lamp, New York, 2006

Turkey Neck, New York, 2003

pigment print, flush-mounted on board, printed 2006

Fuji crystal archive print

$40,000-60,000

$20,000-30,000

235

236

IRVING PENN (1917–2009)

VIK MUNIZ (B. 1961)

Pear with Seeds (A), New York, 1993

Action Painting III (After Hans Namuth) from Pictures in Chocolate, 1997

platinum-palladium print, flush-mounted on aluminum, printed 1993 $15,000-25,000

Cibachrome print $30,000-50,000

144

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

237

238

ABELARDO MORELL (B. 1948)

ADAM FUSS (B. 1961)

Book with Wavy pages, 2001

Untitled (smoke), 1999

gelatin silver print, flush-mounted on aluminum

unique gelatin silver print photogram, flush mounted on Dibond

$6,000-9,000

$20,000-30,000

239

240

RICHARD MISRACH (B. 1949)

EDWARD BURTYNSKY (B. 1955)

Golden Gate Bridge, 7.19.1999, 8:20 PM, 1999

Shipbreaking #24, Chittagong, Bangladesh, 2000

chromogenic print, printed 2002

chromogenic print, mounted on board, printed 2002

$10,000-15,000

146

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

241

242

EDWARD BURTYNSKY (B. 1955)

Container Ports #8, Racine Port, Montreal Quebec, 2001

AMARC #5, Davis Monthan AFB, Tucson, Arizona, 2006

Fuji Crystal Archive print

chromogenic print, mounted on board

$20,000-30,000

243

244

RICHARD MISRACH (B. 1949)

TARYN SIMON (B. 1975)

Battleground Point #22, 1999

Fatah Headquarters, 2005

chromogenic print, mounted on board, printed 2002

chromogenic print

$25,000-35,000

$8,000-12,000

THE DAY SALE SESSION I

147

245

246

ROBERT POLIDORI (B. 1951)

ABELARDO MORELL (B. 1948)

2732 Orleans Avenue, New Orleans, LA, 2005

Camera Obscura, Santa Maria Della Salute with Scaffolding in Palazzo Bedroom, Venice, 2007

Fujicolor Crystal Archive print, flush-mounted on plexi $15,000-20,000

chromogenic print, flush-mounted on aluminum $8,000-12,000

247

248

ABELARDO MORELL (B. 1948)

EDWARD BURTYNSKY (B. 1955)

Camera Obscura, Central Park Looking North Summer, 2008

Manufacturing #17, Deda Chicken Processing Plant, Dehui City, Jilin Province, China, 2005

chromogenic print, flush mounted on Dibond $8,000-12,000

chromogenic print, mounted on board $10,000-15,000

148

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

THE DAY SALE SESSION I

149

249

250

CANDIDA HOFER (B. 1944)

RINEKE DIJKSTRA (B. 1959)

Handelingenkamer tweede Kamer der Staten-Generaal den Haag III, 2004

El Parque del Retiro, Madrid, June 2, 2006

chromogenic print

chromogenic print $15,000-25,000

$60,000-80,000

251

252

ROBERT POLIDORI (B. 1951)

ANDREW MOORE (B. 1957)

Sala Alejo Carpentier, Gran Teatro de la Habana, 2000

Room 348, Hermitage, St. Petersburg, 2000

Fujicolor Crystal Archival print , mounted on aluminum

chromogenic print, flush mounted on Dibond, printed 2007

$10,000-15,000

150

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

253

254

LORETTA LUX (B. 1969)

Troll 1, 2000

Milo I, 2004

Ilfochrome print

$4,000-6,000

255

256

ERWIN OLAF (1959–2023)

ALEX PRAGER (B. 1979)

Grief, Troy, 2007

Barbara, 2009

chromogenic print, flush-mounted on aluminum

chromogenic print, flush-mounted to acrylic

$6,000-8,000

$8,000-12,000

THE DAY SALE SESSION I

151

152

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

257

258

ALEX PRAGER (B. 1979)

GREGORY CREWDSON (B. 1962)

Cindy, 2008

Untitled (Sleep Walker), 1999

chromogenic print, flush-mounted to acrylic

chromogenic print

$8,000-12,000

$20,000-30,000

259

260

GREGORY CREWDSON (B. 1962)

Untitled (House Fire), 1999

Untitled, Winter (Bed of Roses), 2005

chromogenic print, flush-mounted

digital chromogenic print, flush mounted

$15,000-20,000

$20,000-30,000

THE DAY SALE SESSION I

153

261

262

KATY GRANNAN (B. 1969)

Untitled (from the Poughkeepsie Journal), 1999

Dee and Van, Prospect Park, Brooklyn, New York, 2003

chromogenic print, mounted on board

chromogenic print

$10,000-15,000

263

264

JACK PIERSON (B. 1960)

HENDRIK KERSTENS (B. 1956)

Self Portrait #5, 2003

Refuse Cap, 2009

pigment print

chromogenic print, flush-mounted on aluminum

$20,000-30,000

$8,000-12,000

154

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

265

266

MARINA ABRAMOVIC (B.1946)

DENISE DE LA RUE (B. 1972)

Portrait with Lamb (White), 2010

Juan Pablo Sanchez, 2012

archival pigment print

color lightjet print, printed 2012

$20,000-30,000

$10,000-15,000

267

CATHERINE OPIE (B. 1961) Untitled #7, 2012 pigment print $20,000-30,000

THE DAY SALE SESSION I

155

156

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

THE DAY SALE Sale 22051 Session II: Peachtree Road Friday 23 February 2024 at 10.00am (Lots 301–415)

“Elton, being a very voracious collector, ran out of wall space fairly quickly... it was like living in the most beautiful treetop gallery in the world.”

DAVID FURNISH

Please scan for complete auction information

THE DAY SALE SESSION II

157

301

■302

A GILT-BRASS BACCHANTE-FORM DOOR-KNOCKER

A PAIR OF FRENCH PARCEL-GILT AND STAINED BEECH FAUTEUILS

SECOND HALF 20TH CENTURY

BY MAISON KRIEGER, PARIS, LATE 19TH CENTURY

Modelled as a classical female mask with grape leaves and grapes entwined in her hair 7¿ in. (18.1 cm.) high, 5Ω in. (14 cm.) wide

Each curved back, seat and padded arms covered in Atelier Versace velvet, with with placard under front rail, 'Maison Krieger / Paris', each with baluster cushion 35 in. (89 cm) high, overall (2)

$1,000-2,000

$2,000-3,000

303

■304

AN ATELIER VERSACE CRIMSON AND GOLD UPHOLSTERED BANQUETTE

SIR WINSTON EYEWARE, LATE 20TH CENTURY

A PAIR OF PRESCRIPTION SUNGLASSES

MODERN

With semi-transparent plastic frame, the square lenses tinted in an orange gradient

With two loose seat cushions on walnut legs, together with four similarly covered velvet cushions 30 in. (76.2 cm.) high, 66Ω in. (168.9 cm.) wide, 29 in. (73.7 cm.) deep

$800-1,200 (7)

$2,000-3,000 158

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

THE DAY SALE SESSION II

159

160

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

■305

306

A SEQUINED BLACK VELVET JACKET

A CERISE DUPION ICE-CREAM JACKET

BOB MACKIE, 1976

BOB MACKIE, 1976, WITH COTRONEO 'ELTON JOHN' LABEL

Embroidered by Cotroneo with neon sequins in metallic pink, green and gold roundels, with gold sequin lapels

with padded shoulders, Controneo embroidered and sequined ice-cream sundaes and cone adornments

$5,000-10,000

$8,000-12,000

307

■308

A BEADED NEON SATIN TAILCOAT AND PAIR OF TROUSERS

ALAIN MIKLI, CIRCA 1986

POSSIBLY BY ANNETTE MURRAY, CIRCA 1971

A PAIR OF PRESCRIPTION SUNGLASSES

Formed of a patchwork of green, pink, blue, and orange squares, the lapels decorated with sequin and beaded flowers, the turquoise trousers with gold rick-rack side stripes (2)

With black frames, the front with an abstract blue form around the lenses, worn during the Ice on Fire Tour supporting Elton John's 19th studio album, Ice on Fire, 14 November 1985 - 15 October 1986

$8,000-12,000

$1,000-1,500

THE DAY SALE SESSION II

161

309

310

FABIO NOVEMBRE (ITALIAN, B. 1967)

KEITH HARING (1958-1990)

Five Happy Pills

Best Buddies

each inscribed 'venini', numbered, and signed 'F. Novembre', (on the underside)

titled and numbered 'BEST BUDDIES 62/100' in pencil in the lower margin, numbered '62/100,' dated '4/25/90' and signed in pencil by Julia Gruen (Executor for the Keith Haring Estate), Jean-Paul Russell (Printer, Durham Press) and Anthony Shriver (Founder of the Best Buddies Organization) in pencil within the estate stamp on the reverse

$3,000-5,000

$15,000-20,000

311

■312

JULIAN OPIE (B. 1958)

DALE CHIHULY (AMERICAN, B. 1941)

Sara Gets Undressed, 17

'Seaform' Set, in Eight Parts

$30,000-50,000

$10,000-20,000

162

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

313

STEPHEN WEBSTER CITRINE AND GOLD RING

314

DEAKIN & FRANCIS ALUMINUM ROCKET CUFFLINKS

Star-shaped cabochon citrine, 18k yellow gold (British marks), signed Webster, maker's mark

Designed as rockets, aluminum, signed Deakin & Francis, England

Size/Dimensions: US ring size 9 Gross Weight: 3.07 grams

Size/Dimensions: cufflink head 2.5 x 0.9 cm (1 x ¡ in) Gross Weight: 13.6 grams

$4,000-6,000

$2,500-3,500

315

316

OSCAR HEYMAN & BROTHERS RUBY, SAPPHIRE AND DIAMOND FLAG CUFFLINKS

ASPREY RUBY, SAPPHIRE AND DIAMOND UNION JACK BROOCH

Each designed as an American or Union Jack flag, calibré-cut rubies and sapphires, baguettecut and round diamonds, platinum, maker's marks, numbered

Designed as a Union Jack flag, round and pear-shaped sapphires and rubies, round diamonds, 18k white gold, 2001, signed Asprey

Size/Dimensions: cufflink head 2.0 x 1.8 cm (æ x æ in) Gross Weight: 18.2 grams

Size/Dimensions: 2.6 x 1.9 cm (1 x æ in) Gross Weight: 7.4 grams

$5,000-7,000

$1,000-1,500

■317

■318

A PAIR OF RED AND BLUE LEATHER 'STARS AND STRIPES' TALL LACE-UP BOOTS

A PAIR OF PRINTED 'STARS AND STRIPES' DENIM TROUSERS

PROBABLY MR. FREEDOM, CIRCA 1970 Decorated with white stars to the sides, labeled size 9

MALE SLACKS JEANS, CIRCA 1975 (2)

Printed with vertical red and white stripes and bands of blue with white stars

$5,000-10,000

$3,000-5,000

■319

■320

A RED COTTON 'ESSO' BOILERSUIT

A PAIR OF RED, BLUE, AND GOLD LEATHER BOOTS

SABA, CIRCA 1975

JULIAN DAY FOR JITTERBUG BOY, 2018

With blue stripe trim and applied with various Esso patches, worn during a series of anniversary concerts at the Troubadour Club, Los Angeles, 25 - 27 August 1975

In the style of Mr. Freedom, with gold leather wings to each side, the back of the heel of one with a gold leather letter E, the other with a J, produced for the 2019 film Rocketman (2)

$3,000-5,000

$5,000-10,000

THE DAY SALE SESSION II

165

■321

322

TWO ATLANTA BRAVES BASEBALL JACKETS AND A BASEBALL JERSEY

NUDIE'S, PROBABLY LATE 1970'S

LATE 20TH CENTURY The red, black and white jackets with Atlanta Braves logos, one letterman style, one windbreaker embroidered Elton John to front, the white jersey with Braves logo to front and Elton John 1 to back

AN EMBROIDERED BLUE WOOL RODEO STYLE SUIT comprising a single-breasted jacket and trousers, elaborately embroidered in coloured silk and gold thread with vertical sprays of blooms, studded overall with iridescent rhinestones (2) $5,000-8,000

$600-800

■323

324

A PURPLE RHINESTONE SUIT

CARTIER LONDON. A POSSIBLY UNIQUE PLATINUM, DIAMOND, AND RUBY BAGUETTE SET RECTANGULAR WRISTWATCH

DESIGNED BY KEITH GREGORY FLEMING-HABERSTROH, MADE BY MR ALEX AND CLAIRE DALLAL, 2011- 2018 the purple wool tailcoat adorned with purple and turquoise floral roundels, gold 'EJ' initials to center back, together with matching purple wool trousers with rhinestone side stripes and purple satin shirt (3) $5,000-8,000 166

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

SIGNED CARTIER, LONDON TANK MODEL, CLASP NO. 46791, CIRCA 1980S $15,000-25,000

325

326

CHOPARD. A PIECE UNIQUE 18K WHITE GOLD AND DIAMOND SET AUTOMATIC CHRONOGRAPH WRISTWATCH WITH DATE

CARTIER. AN 18K GOLD AND DIAMOND SET LIMITED EDITION WRISTWATCH WITH SWEEP CENTER SECONDS AND CLOISONNÉ ENAMEL DIAL

SIGNED CHOPARD. ELTON JOHN AIDS FOUNDATION PIECE UNIQUE MODEL. REF. 1279, CASE NO. 1753500, CIRCA 2010S

SIGNED CARTIER, PASHA MODEL, REF. 2469, CASE NO. 07/10, 310060MG, CIRCA 2010S

$10,000-15,000

$15,000-25,000

327

328

PIAGET. A PIECE UNIQUE DIAMOND AND GEMSTONE SET QUARTZ WRISTWATCH WITH PAVE DIAL

CIRCA 1990

A MUHAMMAD ALI SIGNED PUNCHING BAG

SIGNED PIAGET, TANAGRA PIECE UNIQUE MODEL, REF. 17044 M 403 D, CASE NO. 596347, CIRCA 1990S

the black leather bag signed and inscribed in silver pen Elton 1/10 90, From your friend Muhammad Ali

$12,000-18,000

$2,000-3,000

168

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

329

330

A SET OF TWO MONOGRAM CANVAS GÉMINÉ 12 PAIR TRAVEL SHOE TRUNKS

Bourrache, Décor feuilles

LOUIS VUITTON, CIRCA 1990S/2000S GRADE: 3.5 GRADE: 2.5 60 w x 52 h x 20 d cm 65 w x 50 h x 20 d cm

PABLO PICASSO (1881-1973) stamped and marked ‘Madoura Plein/Feu 2.50’ (underneath) $30,000-50,000

$2,000-3,000

331

A PAIR OF SYCAMORE, BURR-OAK AND WALNUT INLAID TAPERING TORCHERES BY LINLEY LTD, LONDON, 1993 Each with square top over dentil-molded frieze, tapering body on conformingly molded base, stamped with David Linley cartouche centering a stag and dated ‘1993’ 43¿ in. (109.5 cm.) high, 15Ω in. (39.4 cm.) wide, 15Ω in. (39.4 cm.) deep (2)

■332

THIRTEEN ART GLASS WORKS MODERN, VARIOUS MARKS AND SIGNATURES FOR SHELLEY MUZYLOWSKI ALLEN, PHIL ATRILL, JAY MACDONNELL, VENINI, ORREFORS, DAUM, LALIQUE $6,000-9,000

$3,000-5,000

THE DAY SALE SESSION II

169

~333

ⱷ334

A SYCAMORE, EBONY AND MADRONA BURR-INLAID CONSOLE TABLE

Felicity No. 4

BY LINLEY LTD, LONDON, MODERN With two frieze drawers, raised on tapering legs, the front right corner and interior of drawer stamped 'The David Linley Co., 1991' 36 in. (91.4 cm.) high, 63 in. (160 cm.) wide, 23¬ in. (60 cm.) deep

ZHANG HUAN (B. 1965) signed, titled and dated in Chinese 'Felicity No. 4 Zhan Huang 2008' (on the reverse) $30,000-50,000

$4,000-6,000

335

336

TODD MURPHY (B. 1962)

FRANCIS BACON (1909-1992)

Floating Man

Study for Bullfight No. 2, from Miroir de la tauromachie (Mirror of the Bullfight)

$20,000-30,000

signed in pencil 'Francis Bacon' $12,000-18,000

170

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

337

338

ERIC STRAUSS

ANSELM KIEFER (B. 1945)

Untitled (Horse)

Cosmos und Demian

$3,000-5,000

titled 'COSMOS DEMIAN' (upper edge) $120,000-180,000

339

340

HARLAND MILLER (B. 1964)

TODD MURPHY (B. 1962)

Don't Let the Bastards Cheer You Up

Welcome to the Beautiful South

signed, numbered and dated 'Harland Miller 23/50 09' in pencil

$15,000-20,000

$10,000-15,000

THE DAY SALE SESSION II

171

341

342

A PERSONALIZED YELLOW WARDROBE TOUR TRUNK ON WHEELS WITH CRUSHED RED VELVET INTERIOR

Mountains of Wealth

KNAPE & VOGT GRADE: 4 $5,000-10,000

PRESTON SINGLETARY (AMERICAN, B. 1963) signed and dated 'Preston Singletary 2005' (lower rim of glass box) $6,000-8,000

343

344

WILLIAM MORRIS (B. 1957)

A SYCAMORE AND 'RIPPLE SYCAMORE' BANDED CHAISELONGUE

Burial Raft $30,000-50,000

BY LINLEY LTD., LONDON, 1995 The outscrolling crestrail continuing to rectangular body raised on round tapering legs, upholstered in a cream silk faille, stamped 'The DAVID LINLEY Co.' around stag device and dated 1995 to underside $3,000-5,000

172

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

~345

346

A SYCAMORE, BURR ASH AND MARQUETRY FOUR-FOLD PARISIAN ARCHITECTURAL SCREEN

Zur with Boulder

BY LINLEY LTD, LONDON, 1995 Decorated with Parisian monuments, including Arc du Triomphe, Notre Dame and Sacre Coeur, stamped to the outer end 'David Linley & Co. 1995'

BOAZ VAADIA (1951-2017) inscribed with the artist's initials and numbered '1/5' (on the base) $10,000-15,000

$8,000-12,000

347

348

FRENCH SCHOOL, LATE 18TH CENTURY

A REGENCY EBONIZED AND PARCEL-GILT DAYBED

A seated male nude

ALMOST CERTAINLY EARLY 19TH CENTURY

37æ x 53Ω in. (95.8 x 135.9 cm.) $10,000-15,000

The form fashioned after an Egyptian river boat, raised on crocodile legs, the headboard decorated on either side with the mask of a Vestal Virgin within a laurel-leaf wreath, the reeded sides terminating in a scallop shell footboard, the caned seat covered with loose tiger print velvet cushion and bolster pillow together with a black leather throw pillow and buff-striped cushion, the bed overall re-decorated $10,000-15,000

THE DAY SALE SESSION II

173

349

350

ROGER REUTIMANN (SWISS/AMERICAN, B. 1961)

BOAZ VAADIA (1951-2017)

#0000000001 (Adam)

Susi and Sosi [Two Works]

signed, dated and numbered 'Reutimann 09 1/9'

(i) Susi incised with the artist's initials and numbered 'A/P' (on the base) (ii) Sodi incised with the artist's initials and numbered 'A/P' (on the base)

$5,000-10,000

$20,000-30,000

351

352

A PAIR OF SILVERED CONSOLE TABLES

AN ITALIAN MARBLE HEAD OF A CLASSICAL MALE

BY SALLY SIRKIN LEWIS FOR J. ROBERT SCOTT AND ASSOCIATES, MODERN

AFTER THE ANTIQUE, POSSIBLY 16TH CENTURY

Each with black granite top over leaf-tip carved frieze, pounced and foliate apron on cabriole legs headed by masks, the underside with plaque 'DESIGNED BY SALLY SIRKIN LEWIS FOR / J. ROBERT SCOTT / &ASSOCIATES. INC.' (2)

on later circular soclel attributed 'Pierino / Da Vinci' (on a sticker on the reverse) $3,000-5,000

$4,000-6,000 174

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

(2)

THE DAY SALE SESSION II

175

353

■354

A PAIR OF FRENCH ORMOLU-MOUNTED BRÈCHE VIOLETTE MARBLE VASES AND COVERS

A SOUTH EUROPEAN POLYCHROME-PAINTED AND PARCEL-GILT COMMODE

20TH CENTURY

PARTS POSSIBLY 17TH CENTURY

The handles in the form of ram's masks suspending floral swags

The shaped rectangular top above four drawers, flanked by classically draped figures, the sides painted with leaves and flowers, the third drawer with two figures flaking a crest

$4,000-6,000

$7,000-9,000

355

■356

DALE CHIHULY (AMERICAN, B. 1941)

A FRENCH GILT-METAL-MOUNTED MAHOGANY COMMODE A VANTAUX

Putto $6,000-9,000

LATE 19TH/EARLY 20TH CENTURY, AFTERTHE MODEL BY JOSEPH STOCKEL AND GUILLAUME BENNEMAN The eared marble top above a three frieze drawers, centered by a lion mask, above a pair of paneled doors centered by a ribbon-tied roundel with a plaque depicting classical figures, opening to fitted interior, the angles with fluted columnar uprights $10,000-15,000

176

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

357

358

EDOUARD DROUOT (1859-1945)

A PAIR OF GILT-METAL-MOUNTED ROSSO ANTICO MARBLE CAMPANA VASES

Hercules and the Nemean Lion signed 'E. Druout' (to front left of base), with foundry cache 'L N / Paris / J L' (to reverse) $8,000-12,000

PROBABLY FRENCH, 19TH CENTURY Each with everted rim, the bodies with frieze of dancing ladies, each with two reeded handles on plinth further mounted with trophies $4,000-6,000

359

■360

A WHITE MARBLE BUST OF VIRGIL

A VERSACE (ROSENTHAL) PORCELAIN 'PRESTIGE GALA' TABLE SERVICE

19TH CENTURY, AFTER THE ANTIQUE inscribed 'P. VIRGILIUS. MARO' to proper left side, on veneered marble pedestal $6,000-8,000

MODERN, BLACK AND GILT PRINTED MARKS In the 'Prestige Gala' pattern, decorated with baroque-style scrolls, key-fret, masks and vases, $4,000-6,000

THE DAY SALE SESSION II

177

■361

362

A VERSACE (ROSENTHAL) GLASS 'MEDUSA LUMIERE' STEMWARE SERVICE

CIRCA 1980

MODERN, ACID ETCHED MARKS

The round plate glass top on acrylic support

With frosted Medusa mask motifs at the stems, sides or feet

AN ACRYLIC AND GLASS CIRCULAR DINING-TABLE

$2,000-3,000

363

364

A SET OF TEN SILVERED WOOD DINING CHAIRS

VERSACE DIAMOND AND GOLD PENDANT-NECKLACE

BY SALLY SIRKIN LEWIS FOR J. ROBERT SCOTT AND ASSOCIATES, MODERN

Round diamonds, 18k yellow gold, signed Gianni Versace, numbered

Each with curved backrest and raised on round, reeded tapered legs, upholstered in polychrome Atelier Versace silks

Size/Dimensions: pendant 2.8 cm (1¿), chain 60.9 cm (24 in) Gross Weight: 108.6 grams

$3,000-5,000

$12,000-18,000

178

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

■365

■366

A CUSTOM 'FLAME' SUIT

A BLACK LEATHER STUDDED JACKET

GIANNI VERSACE, CIRCA 1996

Comprising a single-breasted black wool jacket and matching trousers, both lavishly embroidered and beaded with 'flames' and 'Elton' to shoulders

(2)

In black lambskin with all over geometric design in gold and silver studs, with leather waist belt and fabric collar

$5,000-8,000

$1,000-2,000

367

368

VERSACE DIAMOND CROSS PENDANT

Round diamonds, 18k white gold, signed Versace, maker's mark, accompanied by an unsigned 14k white gold chain Size/Dimensions: pendant 5.7 x 3.1 cm (2º x 1º in), chain 60.9 cm (24 in) Gross Weight: 24.6 grams

AN ITALIAN CARVED MARBLE HEAD OF A BEARDED MAN 17TH OR EARLY 18TH CENTURY on associated rosso antico socle $5,000-7,000

$4,000-6,000

THE DAY SALE SESSION II

179

180

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

369

370

A PAIR OF ITALIAN BLUE-GLASS AND GILTWOOD MIRRORS

A PAIR OF ITALIAN FAUX BOIS DEMI-LUNE CONSOLE TABLES

20TH CENTURY

20TH CENTURY, POSSIBLY INCORPORATING EARLIER ELEMENTS

Each with openwork cresting centering a crowned monogram, probably 'HM', the colorless glass panels around the edges etched with flowers

The demi-lune top and frieze painted to appear as a mahogany top inlaid with fruitwood and ebony marquetry, raised on Egyptian-revival caryatid legs

$10,000-20,000

$4,000-6,000

371

372

AN ITALIAN GILTWOOD AND POLYCHROME-PAINTED ARCHITECTURAL MODEL

Large Shell from 'Macchia' Set

PARTS POSSIBLY 18TH CENTURY The central door opening upward

DALE CHIHULY (AMERICAN, B. 1941) $8,000-12,000

$4,000-6,000

THE DAY SALE SESSION II

181

373

374

DALE CHIHULY (AMERICAN, B. 1941)

RICHARD JOLLEY (AMERICAN, B. 1952)

Venetian Ikebana with Leaves and Gold Lillies

Homage to Elton John

$10,000-15,000

signed and dated 'Richard Jolley 96' (at the base) $5,000-7,000

375

■376

RICHARD JOLLEY (AMERICAN, B. 1952)

A PAIR OF LALIQUE GLASS 'SEVILLE' CEILING LIGHTS

Four Sculptures

MODERN, ENGRAVED MARKS, THE DESIGN BY MARC LALIQUE, RECORDED AS STYLE NO. 1010500

three signed and dated $10,000-15,000

Each of cylindrical form, its chromium-finished body mounting eight entrelac-form openwork sections each with frosted and polished finish $12,000-18,000

182

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

377

378

A PAIR OF ELIZABETH II SILVER TWO-LIGHT CANDELABRA

AN ITALIAN PARCEL-GILT SILVER DOMINO SET AND CASE

MARK OF BULGARI LTD., LONDON, 1990

FOR BULGARI, MARK OF UBALDO VITALI, MAPLEWOOD, NEW JERSEY, LATE 20TH CENTURY

Each on a lozenge-form base, the faceted stem rising to two arcing arms with removable circular nozzles, marked on base rim and nozzles, the base rim further stamped BULGARI 134 oz. 8 dwt. (4,180 gr.)

(2)

$3,000-5,000

The case formed as a large domino with gilt pips, the hinged cover opening to reveal a fitted green-velvet lined interior containing 28 dominos similarly with gilt pips, marked on underside of case with maker's mark and BULGARI / STERLING, the individual dominos marked STERLING 61 oz. 2 dwt. (1,900 gr.) gross weight $4,000-6,000

■379

A LALIQUE GLASS 'LES TRES LIONNES' TABLE

380

THEO FENNELL DIAMOND PENDANT-NECKLACE

MODERN, ENGRAVED MARKS, THE DESIGN BY MARIE-CLAUDE LALIQUE

Round diamonds, 18k white gold (British marks), maker's marks

The round slightly smoky glass top over a chromium-finished round stand mounted with four partially-frosted curved glass panels, each with three lionesses drinking from a stream

Size/Dimensions: pendant 5.0 cm (2 in), chain 81.2 cm (32 in) Gross Weight: 204.2 grams

$8,000-12,000

$20,000-40,000

THE DAY SALE SESSION II

183

381

382

CARTIER ART DECO DIAMOND JABOT BROOCH

THEO FENNELL DIAMOND PENDANT

Designed as an arrow, old and single-cut diamonds, platinum, circa 1925, signed Cartier, numbered

Round diamonds, 18k white gold pendant, maker's marks, accompanied by an unsigned 14k white gold chain

Size/Dimensions: 14.5 cm (5æ in) Gross Weight: 19.5 grams

Size/Dimensions: pendant 4.4 cm (1æ in), chain 55.8 cm (22 in) Gross Weight: 35.6 grams

$10,000-15,000

$3,000-5,000

383

384

CARTIER MULTI-GEM AND GOLD 'PANTHÈRE DE CARTIER' RING

Pear-shaped peridots, onyx plaque, black lacquer, 18k yellow gold (French mark), signed Cartier, maker's mark (Pierre Brun), numbered Size/Dimensions: US ring size 7Ω Gross Weight: 51.3 grams

CARTIER DIAMOND, SAPPHIRE, AND EMERALD BROOCH

Designed as a dragonfly, round, oval and baguette-cut diamonds, oval-shaped cabochon sapphire, oval-shaped emeralds, 18k yellow gold (French mark), signed Cartier, numbered Size/Dimensions: 6.9 x 10.1 cm (2æ x 4 in) Gross Weight: 39.0 grams $20,000-30,000

$10,000-15,000 184

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

385

CARTIER DIAMOND AND EMERALD ELEPHANT BRACELET

Round diamonds and emeralds, 18k yellow gold (French and British marks), circa 1991, signed Cartier, maker's marks, numbered Size/Dimensions: 18.7 cm (7¡ in) Gross Weight: 76.3 grams

386

THEO FENNELL GOLD PENDANT-NECKLACE

18k yellow gold (British marks), maker's marks

Size/Dimensions: pendant 5.0 cm (2 in), chain 81.2 cm (32 in) Gross Weight: 158.0 grams $10,000-15,000

$20,000-30,000

387

■388

DIAMOND AND GOLD BRACELET

A SINGLE-BREASTED JACKET WITH PURPLE, GOLD AND RED SEQUINS IN OVERALL CHEVRON PATTERN

Round diamonds set in a stylized 'EJ', 18k yellow gold (French marks)

GUCCI, 2017 Size/Dimensions: 22.2 cm (8æ in) Gross Weight: 27.8 grams $2,000-3,000

lined in lilac damask silk, wide plain black lapels with pointed rhinestone trim, matching black wool trousers with with pointed rhinestone side stripes, labelled with interior name tape 'Sir Elton John' (2) $3,000-5,000

THE DAY SALE SESSION II

185

■389

390

A PURPLE WOOL 'WONDERFUL CRAZY NIGHT' SUIT

A PERSONALIZED MONOGRAM COATED CANVAS BOÎTE À CHAPEAUX 50 HAT BOX

DESIGNED BY KEITH GREGORY FLEMING-HABERSTROH, MADE BY MR ALEX AND CLAIRE DALLAL, 2011- 2018 the tailcoat with irregular psychedelic dyed splashes, the back reading 'WONDERFUL CRAZY NIGHT' in blue rhinestones, the whole speckled with multi-colored rhinestones, together with purple wool trousers with purple rhinestone side stripes (2)

LOUIS VUITTON GRADE: 5 $1,200-1,800

$4,000-6,000

392

■391

A BLACK VELVET CAP

A CAPTAIN HOOK FANCY DRESS OUTFIT

MONICA MOULT, LATE 20TH CENTURY

JANE LAW, 2006

Embellished with the word ELTON! in gold beads to the front

Comprising a red and black silk brocade 18th Century-style frockcoat, satin breeches, silk gauze shirt, brocaded waistcoat, hook, hat, and two pairs of socks (6)

$600-800

$3,000-5,000

186

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

THE DAY SALE SESSION II

187

188

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

393

394

A GREY PAINTED WOOD TRAVEL TOUR TRUNK

A SILVER-PLATED, LEAD GLASS AND LAPIS LAZULI 'MYSTERY' DESK CLOCK

UNBRANDED GRADE: 6 $500-1,000

BY CARTIER, CIRCA 1980 The art-deco style rectangular case with lapis lazuli base, cover, and side decorations, the central lead glass prisms revealing a white clock face with blue Arabic and baton numerals, engraved on the underside ELTON, YOU'RE "THE ONE" AL TELLER AND ALL YOUR FRIENDS AT MCA AUGUST 28, 1992, marked on underside and numbered 91180334 $5,000-8,000

395

396

CARTIER. AN 18K GOLD AUTOMATIC WRISTWATCH WITH AFTERMARKET DIAMOND SETTINGS

CARTIER. AN 18K WHITE GOLD AND DIAMOND-SET QUARTZ CHRONOGRAPH WRISTWATCH WITH DATE

SIGNED CARTIER, SANTOS CARREÉ "OR MASSIF" MODEL, REF. 2964, CASE NO. 400'435, CIRCA 1990S

SIGNED CARTIER, TANK AMÉRICAINE MODEL, REF. 2339, CASE NO. CC352127, CIRCA 2000S

$15,000-20,000

$10,000-15,000

THE DAY SALE SESSION II

189

397

Ψ398

VACHERON CONSTANTIN. AN 18K WHITE GOLD AND DIAMOND-SET RECTANGULAR WRISTWATCH WITH CONCEALED DIAL

CARTIER. AN 18K WHITE GOLD AND DIAMOND SET MONOPUSHER CHRONOGRAPH WRISTWATCH

SIGNED VACHERON CONSTANTIN, GENEVE, LES HISTORIQUES JALOUSIE SHUTTER MODEL, REF. 91002/000G-8, CASE NO. 674'942

SIGNED CARTIER, TORTUE MONOPOUSSOIR MODEL, REF. 2396G, CASE NO. 18319CE, CIRCA 2000S $15,000-25,000

$10,000-15,000

399

400

JAEGER-LECOULTRE. A PLATINUM AND DIAMOND-SET TRIPLE CALENDAR AUTOMATIC WRISTWATCH WITH POINTER DATE

AUDEMARS PIGUET. AN 18K WHITE GOLD AND SAPPHIRE SET QUARTZ WRISTWATCH WITH BLUE MOTHER OF PEARL DIAL AND DATE

SIGNED JAEGER-LECOULTRE, AUTOMATIQUE, MASTER CONTROL MODEL, REF. 140.6.87, CASE NO. 002, CIRCA 2000S

SIGNED AUDEMARS PIGUET, 33 MM. ROYAL OAK MODEL, CASE NO. D40651, NO. 107, CIRCA 1990S

$12,000-18,000

$10,000-15,000

190

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

401

402

FRANCK MULLER. AN 18K WHITE GOLD AND DIAMOND SET CHRONOGRAPH WRISTWATCH WITH PAVE DIAMOND, SAPPHIRE, AND MOTHER OF PEARL DIAL

Butterflies

SIGNED FRANCK MULLER, GENEVE, REF. 2865 NAD, CASE NO. 04, CIRCA 1990S

SANDY SKOGLUND (B. 1946) signed, dated and numbered 'Sandy Skoglund, 1998, 11/20' (lower right) $5,000-7,000

$8,000-12,000

403

404

MIKE AND DOUG STARN (B. 1961)

JACK TWORKOV (1900-1982)

Gnat in your Eye

Crossfield III (W-NY-70 #3)

$30,000-50,000

$15,000-20,000 This work is archived as No. 093 in the Jack Tworkov Catalogue Raisonné prepared by Jason Andrew for the Estate of Jack Tworkov.

THE DAY SALE SESSION II

191

405

406

DALE CHIHULY (AMERICAN, B. 1941)

Large Shell from 'Macchia' Set

Parrot Green Persian Set, In Six Parts

signed and dated 'Chihuly 06' (on the underside)

$8,000-12,000

408

■407

DANTE MARIONI (B. 1964)

RADCLIFFE BAILEY (B. 1968)

'Yellow with Red Vessel Display' Group of Twelve Glass Vases and a Hanging-Case

Angels in the Mirror

Each of yellow glass with applied glass handles, knops and prunts in vibrant orange, the hanging-case painted blue-green, the case signed and dated at the reverse

$20,000-30,000

$12,000-18,000

192

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

409

410

TIM NOBLE (B. 1966) & SUE WEBSTER (B.1967)

DALE CHIHULY (AMERICAN, B. 1941)

One of Us Too

Flower Bud, in Four Parts

$15,000-20,000

each signed 'Dale Chihuly' $4,000-6,000

■411

412

HUMBERTO CAMPANA (B. 1953) AND FERNANDO CAMPANA (1961-2022)

Three Works from the Desert Collection

Three Large 'Esperança' Glass Vases, designed 2010

each signed and dated 'venini 2008 Flo Perkins' and numbered (on the undersides)

Yellow, blue, green and multicolored glass, each in the form of a cone or cylinder intersected by a figure or figures, each signed 'Venini' and dated 2010, the yellow and green vases each with edition number 5/5, the blue vase with edition number 3/5

FLO PERKINS (AMERICAN, B. 1951)

$5,000-8,000

$6,000-9,000

THE DAY SALE SESSION II

193

413

414

DANTE MARIONI (AMERICAN, B. 1964)

DALE CHIHULY (AMERICAN, B. 1941)

Red Leaf Vase

Rotolo 40

signed 'Marioni 05' (on the underside)

signed and dated 'Dale Chihuly 2013' (on the base)

$3,000-5,000

$10,000-15,000

415

TODD MURPHY (B. 1962) Portrait of Elton signed 'MURPHY.' (lower right) $5,000-10,000

194

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

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195

196

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

ELTON JOHN AND GIANNI VERSACE Sale 22488 Lots 501–573 Friday 9 February 2024

Please scan for complete auction information

ONLINE SALE XXXXXXXXX XXXXX XXX

197

A LIGHT MAUVE SUIT SWIRLED BEADS AND RHINESTONES SCATTERED ACROSS JACKET GIANNI VERSACE, 1998-2000 TOUR Comprising a jacket and trousers

(2)

VERSACE DIAMOND AND GOLD PENDANT-NECKLACE

Round diamonds, 18k yellow gold, pendant and chain signed Gianni Versace, numbered $8,000-12,000

$1,000-2,000

VERSACE DIAMOND AND WHITE GOLD NECKLACE

STEVEN MEISEL (B. 1954)

Round diamonds, 18k white gold, signed Gianni Versace, maker's mark (Giolelli), numbered

Untitled II, from Four Days in LA: The Versace Pictures, 2000

$5,000-7,000

chromogenic print, flush-mounted to foamcore $15,000-25,000

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THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

A VERSACE (ROSENTHAL) GLASS 'MEANDRE' STEMWARE SERVICE MODERN, ACID-ETCHED MARKS The bowls engraved with key-fret motifs

A CHAINMAIL SHIRT GIANNI VERSACE, CIRCA 1996 With silver Medusa button front $600-800

$2,000-3,000

A METALLIC TURQUOISE LEATHER COAT

A GROUP OF FOUR SHIRTS

GIANNI VERSACE, AW 1994-1995 COLLECTION

GIANNI VERSACE, CIRCA 1992

Lined in matching turquoise Medusa head silk brocade

Comprising four silk shirts, most likely from the Spring/ Summer Signature collections between 1991 and 1993.

$1,000-1,500

$2,000-3,000

ONLINE SALE ELTON JOHN AND GIANNI VERSACE

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200

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

HONKY CHATEAU Sale 22489 Lots 601–720 Friday 9 February 2024

Please scan for complete auction information

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201

JACK PIERSON (B. 1960)

DALE CHIHULY (AMERICAN, B. 1941)

Palm Tree, L.A., 1996

'Macchia' Set

chromogenic print, flush-mounted on Diasec

each signed and dated 'Chihuly 95'

$7,000-9,000

$5,000-7,000

VARIOUS ARTISTS (20TH/21ST CENTURY)

RADCLIFFE BAILEY (B. 1968)

Seven Works in Blue Glass

Monument to a small boy

$5,000-8,000

$15,000-20,000

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THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

BRIDGET RILEY (B. 1931) Light Between signed, titled, numbered and dated in pencil 'Light Between 55/75 Bridget Riley '82-'04' $6,000-8,000

ANN CARRINGTON (B. 1962) Pearly Queen signed 'Ann Carrington' (on a label to the lower right) $3,000-5,000

A PAIR OF WHITE-PAINTED PLASTER FIVE-BRANCH WALL LIGHTS

IN THE MANNER OF SERGE ROCHÉ, MODERN Each foliate scroll branch with a black shade, electrified $3,000-5,000

A NEON '$' SIGN

DAVID LACHAPELLE FOR ELTON JOHN, CIRCA 2003 glass tubing, wood, and metal, with electrical wiring; designed as a set piece by David LaChapelle for Elton John's concert residency The Red Piano at The Colosseum at Caesars Palace in Las Vegas, 2004-2009 $1,000-1,500

ONLINE SALE HONKY CHATEAU

203

204

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

THE JEWEL BOX Sale 22491 Lots 801–924 Friday 9 February 2024

Please scan for complete auction information

ONLINE SALE XXXXXXXXX XXXXX XXX

205

LOREE RODKIN DIAMOND AND WHITE GOLD PENDANT-NECKLACE

Round diamonds, 18k white gold, maker's marks $3,000-5,000

JUDITH RIPKA MUTLI-GEM AND DIAMOND BROOCH AND PENDANTS

Round and oval-shaped cabochon rubies, carved bloodstone, round diamonds, 18k yellow gold, signed Judith Ripka (brooch and one pendant) $3,000-5,000

DIAMOND PENDANT-NECKLACE

RESIN AND METAL CUFFLINKS

Pendant designed as stylized 'Bitch,' round diamonds, platinum

Yellow, green and pink resin, plated base metal

$1,000-1,500

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THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

STEPHEN WEBSTER CITRINE AND GOLD RING

Rectangular-shaped citrine, 18k yellow gold (British marks), signed Webster, maker's mark $4,000-6,000

CARTIER MULTI-GEM AND DIAMOND RING

Round emeralds, rubies, sapphires and diamonds, 18k yellow gold (French mark), signed Cartier, maker's mark, numbered $5,000-7,000

CARTIER. AN 18K WHITE GOLD AND DIAMOND SET MONOPUSHER CHRONOGRAPH WRISTWATCH

CARTIER, REF. 2965, SANTOS OCTAGON, A HIGHLY RARE PLATINUM AND DIAMOND SET AUTOMATIC WRISTWATCH WITH BLACK ONYX DIAL

SIGNED CARTIER, TORTUE MONOPOUSSOIR MODEL, REF. 2396G, CASE NO. 18319CE, CIRCA 2000S

CIRCA: 1990S

$15,000-25,000

$7,000-10,000

ONLINE SALE THE JEWEL BOX

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THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

LOVE, LUST AND DEVOTION Sale 22492 Lots 1001–1119 Friday 9 February 2024

Please scan for complete auction information

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DAVID LACHAPELLE (B. 1963)

HORST P. HORST (1906–1999)

Awakened Job, 2007

Crucifix, Kitzbühel, Austria, 1936

chromogenic print

gelatin silver print, printed later

$10,000-15,000

$2,000-3,000

JOHN TALBOTT DONOGHUE (AMERICAN, 1853-1903)

CHOPARD MULTI-GEM, COLORED DIAMOND AND DIAMOND PENDANT NECKLACE

THE YOUNG SOPHOCLES LEADING THE CHORUS OF VICTORY AFTER THE BATTLE OF SALAMIS WITH HIS LYRE signed J DONOGHVE Sc and with foundry mark F. BARBEDIENNE, Fondeur. Paris (on top of base), the sides also inscribed in Cyrillic $12,000-18,000

210

Rectangular rubellite tourmaline, baguette and tapered-baguette-cut pink tourmalines, round rubies, round sapphires and pink sapphires, round yellow, black and brown diamonds, round diamonds, 18k white, blackened, rose and yellow gold, pendant and chain signed Chopard $12,000-18,000

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

THEO FENNELL MULTI-GEM PENDANT-NECKLACE

Baguette, square and calibré-cut quartz of purple, pink and orange hues, rectangular and calibré-cut blue topazes, 18k white gold, maker's marks, one pink quartz deficient $3,000-5,000

HERB RITTS (1952-2002) Duo I, Mexico, 1990 platinum print $4,000-6,000

DUANE MICHALS (B. 1932)

BRUCE WEBER (B. 1946)

I See a Beautiful Gigantic Swimmer

Peter at the Chop Suey Club Studio, New York City, 1999

gelatin silver print

$5,000-7,000

$3,000-5,000

ONLINE SALE LOVE, LUST AND DEVOTION

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212

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

ELTON’S SUPERSTARS Sale 22743 Lots 1201–1265 Friday 9 February 2024

Please scan for complete auction information

ONLINE SALE XXXXXXXXX XXXXX XXX

213

SID AVERY (1918–2002)

HERB RITTS (1952–2002)

Steve McQueen Driving his XK-55 Jaguar Through Nichols Canyon in the Hollywood Hills, 1960

Ben Affleck I, El Mirage 2002

Fuji crystal archive print, printed later

gelatin silver print $8,000-12,000

$4,000-6,000

TERRY O’NEILL (1938–2019)

JOEL BRODSKY (1939–2007)

Elton John, Dodger's Stadium,1975

Jim Morrison, The Doors, The American Poet, New York City,1967

chromogenic print, printed later

archival pigment print

$10,000-15,000

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THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

ELLIOTT ERWITT (1928–2023)

LORD SNOWDON (1930–2017)

Marilyn Monroe, New York, 1956

Rudolf Nureyev, Royal Ballet, London, 1963

gelatin silver print, printed later

$3,000-5,000

$2,000-3,000

TERRY O'NEIL (1938–2019)

ALICE WHEELER (B. 1961)

Elton John Performing a Handstand, 1972

Kurt Cobain at MTV’s Live and Loud, Pier 63, Seattle WA, Dec. 13, 1993

gelatin silver print $8,000-12,000

chromogenic print $5,000-7,000

ONLINE SALE ELTON’S SUPERSTARS

215

216

THE COLLECTION OF SIR ELTON JOHN GOODBYE PEACHTREE ROAD

OUT OF THE CLOSET Sale 22494 Lots 1301–1387 Friday 9 February 2024

Please scan for complete auction information

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A PAIR OF BLACK LEATHER TALL PLATFORM BOOTS

A DARK GREEN 'CAPTAIN FANTASTIC' ENSEMBLE

NUNN BUSH, SECOND HALF 20TH CENTURY

Each with a blue, yellow, and pink leather sun to the side, labeled size 8Ω

(2)

DESIGNED BY KEITH GREGORY FELMING-HABERSTROH, MADE BY MR. ALEX AND CLAIRE DALLAL, 2011-2018 Including a dark green wool coat covered in citrine rhinestones mainly over shoulders and sleeves, with red 'Captain Fantastic' winged emblem and lettering to back, together with matching wool trousers with rhinestone side stripes and two Mr. Alex shirts of plain green and ivory satin (4)

$600-800

$6,000-10,000

A BLACK LEATHER JACKET

A LYCRA JACKET, TROUSERS, AND CAP

MODERN

PROBABLY BOB MACKIE, CIRCA 1980

The front left breast embroidered ELTON JOHN in yellow, the back embroidered ELTON JOHN in yellow above the phrase Saturday Nights Alright for Fighting on a banner in-front of a dagger and above a pair of dice, labeled size L

The jacket white with turquoise, magenta, and purple curving lines across one side and diagonal front zip closure, the red trousers with suspenders, the jockey cap with panels in corresponding colors, worn during Elton John's World Tour in support of his 14th studio album 21 at 33, 4 September 1980 - 22 December 1980 (3)

$1,500-2,000

$2,000-4,000 218

THETHE COLLECTION COLLECTION OF OF SIRSIR ELTON ELTON JOHN JOHN GOODBYE PEACHTREE ROAD

A PAIR OF FAUX-TORTOISE SHELL SUNGLASSES

PROBABLY DAVID & YOUNG, CIRCA 2015

The frames embellished with gold rhinestones and with the word "BITCH" in black rhinestones on each arm, worn during the Million Dollar Piano Show residency at The Colosseum at Caesars Palace, Las Vegas, Nevada, 28 September 2011-17 May 2018 $800-1,200

A RHINESTONE COVERED NAVY WOOL SUIT

DESIGNED BY KEITH GREGORY FLEMING-HABERSTROH, MADE BY MR ALEX AND CLAIRE DALLAL, 2011- 2016 The coat with rhinestone 'EJ' monogram to back, together with matching trousers and royal blue satin shirt (3)

A RARE GRAFFITI MONOGRAM CANVAS GÉMINÉ 8 PAIR TRAVEL SHOE TRUNK

LOUIS VUITTON BY STEPHEN SPROUSE, CIRCA 2009 GRADE: 2 $1,000-2,000

A GROUP OF TWELVE VARIOUSLY COLORED SUNGLASSES

JIMMY CRYSTAL, CIRCA 2010

Embellished with Sworovski crystals to the frames and bridges and with the initials EJ in crystals on the left lenses, worn during various performances throughout the 2010's

(12)

$1,000-2,000

$3,000-5,000

ONLINE SALE OUT OF THE CLOSET

219

SPECIALISTS AND SERVICES FOR THIS AUCTION EXECUTIVE SALE TEAM

Tash Perrin Deputy Chairman, Americas

Elizabeth Seigel Head of Private and Iconic Collections +1 212 484 4812

Darius Himes Deputy Chairman, International Head of Photographs

Alexandra Daniels Senior Account Manager +1 212 707 5909

Barrett White Executive Deputy Chairman, Head of PostWar and Contemporary Art, Americas

Nathalie Ferneau Head of Sale, Private and Iconic Collections +1 212 636 2236

Mary Sullivan Senior Sale Coordinator, Private and Iconic Collections +1 212 636 2047

SPECIALISTS CERAMICS AND GLASS

HANDBAGS

PHOTOGRAPHS

Peter Hall Caroline Kuchta

Rachel Koffsky Paige Rubin

Darius Himes Rebecca Jones Lillian Jonsons Candice Yates

FASHION

JEWELLERY

Nathalie Ferneau Christopher June

Alexandra Damianos Jacqueline DiSante Lauren Friedlander Kelsey Kalaw Jimin Kim Claibourne Poindexter

FINE ART

Caroline Kuchta

POST-WAR AND CONTEMPORARY ART

Shereen Al Sawwaf William Featherby Barrett White

FURNITURE AND DECORATIVE ARTS

WATCHES

Annsley McKinney Samantha Minshull

Rebecca Ross Henry Ishikawa

PAYMENT, SHIPPING AND COLLECTION

Tel: +1 212 636 2650 Fax: +1 212 636 4939 Email: PostSaleUS@christies.com

Email. First initial followed by last name@christies.com (e.g. Mary Sullivan = msullivan@christies.com) 17/11/2023

IDENTITY VERIFICATION From January 2020, new anti-money laundering regulations require Christie’s and other art businesses to verify the identity of all clients. To register as a new client, you will need to provide the following documents, or if you are an existing client, you will be prompted to provide any outstanding documents the next time you transact. Private individuals: • A copy of your passport or other government-issued photo ID • Proof of your residential address (such as a bank statement or utility bill) dated within the last three months Please upload your documents through your christies.com account: click ‘My Account’ followed by ‘Complete Profle’. You can also email your documents to info@christies.com or provide them in person. Organisations: • Formal documents showing the company’s incorporation, its registered ofice and business address, and its oficers, members and ultimate benefcial owners • A passport or other government-issued photo ID for each authorised user Please email your documents to info@christies.com or provide them in person.

CONDITIONS OF SALE • BUYING AT CHRISTIE’S CONDITIONS OF SALE

7 JEWELLERY

2 RETURNING BIDDERS

3 AUCTIONEER’S DISCRETION

These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms, so you should read them carefully before doing so. You will find a glossary at the end explaining the meaning of the words and expressions coloured in bold. As well as these Conditions of Sale, lots in which we offer Non-Fungible Tokens are governed by the Additional Conditions of Sale – Non-Fungible Tokens, which are available in Appendix A herein. For the sale of Non-Fungible Tokens, to the extent there is a conflict between the “New York Conditions of Sale Buying at Christie’s” and “Additional Conditions of Sale – Non-Fungible Tokens”, the latter controls.

(a) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to improve their look, through methods such as heating and oiling. These methods are accepted by the international jewellery trade but may make the gemstone less strong and/or require special care over time. (b) It will not be apparent to us whether a diamond is naturally or synthetically formed unless it has been tested by a gemmological laboratory. Where the diamond has been tested, a gemmological report will be available. (c) All types of gemstones may have been improved by some method. You may request a gemmological report for any item which does not have a report if the request is made to us at least three weeks before the date of the auction and you pay the fee for the report. (d) Certain weights in the catalogue description are provided for guidance purposes only as they have been estimated through measurement and, as such, should not be relied upon as exact. (e) We do not obtain a gemmological report for every gemstone sold in our auctions. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports will be described in the catalogue. Reports from American gemmological laboratories will describe any improvement or treatment to the gemstone. Reports from European gemmological laboratories will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment, or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. We do not guarantee nor are we responsible for any report or certificate from a gemmological laboratory that may accompany a lot. (f) For jewellery sales, estimates are based on the information in any gemmological report, or if no report is available, assume that the gemstones may have been treated or enhanced.

As described in paragraph B(1) above, we may at our option ask you for current identification, a financial reference, or a deposit as a condition of allowing you to bid. If you have not bought anything from any of our salerooms within the last two years or if you want to spend more than on previous occasions, please contact our Client Services Department at +1 212-636-2000.

The auctioneer can at his or her sole option: (a) refuse any bid; (b) move the bidding backwards or forwards in any way he or she may decide, or change the order of the lots; (c) withdraw any lot; (d) divide any lot or combine any two or more lots; (e) reopen or continue the bidding even after the hammer has fallen; and (f) in the case of error or dispute related to bidding and whether during or after the auction, continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot. If you believe that the auctioneer has accepted the successful bid in error, you must provide a written notice detailing your claim within 3 business days of the date of the auction. The auctioneer will consider such claim in good faith. If the auctioneer, in the exercise of his or her discretion under this paragraph, decides after the auction is complete, to cancel the sale of a lot, or reoffer and resell a lot, he or she will notify the successful bidder no later than by the end of the 7th calendar day following the date of the auction. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way prejudice Christie’s ability to cancel the sale of a lot under any other applicable provision of these Conditions of Sale, including the rights of cancellation set forth in sections B(3), E(2)(i), F(4), and J(1).

Unless we own a lot in whole or in part (Δ symbol), Christie’s acts as agent for the seller.

A BEFORE THE SALE 1 DESCRIPTION OF LOTS (a) Certain words used in the catalogue description have special meanings. You can find details of these on the page headed “Important Notices and Explanation of Cataloguing Practice” which forms part of these terms. You can find a key to the Symbols found next to certain catalogue entries under the section of the catalogue called “Symbols Used in this Catalogue”. (b) Our description of any lot in the catalogue, any condition report and any other statement made by us (whether orally or in writing) about any lot, including about its nature or condition, artist, period, materials, approximate dimensions, or provenance are our opinion and not to be relied upon as a statement of fact. We do not carry out in-depth research of the sort carried out by professional historians and scholars. All dimensions and weights are approximate only.

2 OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a lot apart from our authenticity warranty contained in paragraph E2 and to the extent provided in paragraph I below.

3 CONDITION (a) The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Their nature means that they will rarely be in perfect condition. Lots are sold “as is,” in the condition they are in at the time of the sale, without any representation or warranty or assumption of liability of any kind as to condition by Christie’s or by the seller. (b) Any reference to condition in a catalogue entry or in a condition report will not amount to a full description of condition, and images may not show a lot clearly. Colours and shades may look different in print or on screen to how they look on physical inspection. Condition reports may be available to help you evaluate the condition of a lot. Condition reports are provided free of charge as a convenience to our buyers and are for guidance only. They offer our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our staff are not professional restorers or conservators. For that reason condition reports are not an alternative to examining a lot in person or seeking your own professional advice. It is your responsibility to ensure that you have requested, received and considered any condition report.

4 VIEWING LOTS PRE-AUCTION If you are planning to bid on a lot, you should inspect it personally or through a knowledgeable representative before you make a bid to make sure that you accept the description and its condition. We recommend you get your own advice from a restorer or other professional adviser. (b) Pre-auction viewings are open to the public free of charge. Our specialists may be available to answer questions at pre-auction viewings or by appointment. (a)

5 ESTIMATES Estimates are based on the condition, rarity, quality and provenance of the lots and on prices recently paid at auction for similar property. Estimates can change. Neither you, nor anyone else, may rely on any estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium or any applicable taxes.

6 WITHDRAWAL Christie’s may, at its option, withdraw any lot from auction at any time prior to or during the sale of the lot. Christie’s has no liability to you for any decision to withdraw.

8 WATCHES & CLOCKS (a) Almost all clocks and watches are repaired in their lifetime and may include parts which are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights or keys. (b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water resistant cases may not be waterproof and we recommend you have them checked by a competent watchmaker before use. Important information about the sale, transport and shipping of watches and watchbands can be found in paragraph H2(f).

B REGISTERING TO BID 1 NEW BIDDERS (a) If this is your first time bidding at Christie’s or you are a returning bidder who has not bought anything from any of our salerooms within the last two years you must register at least 48 hours before an auction begins to give us enough time to process and approve your registration. We may, at our option, decline to permit you to register as a bidder. You will be asked for the following: (i) for individuals: Photo identification (driver’s licence, national identity card, or passport) and, if not shown on the ID document, proof of your current address (for example, a current utility bill or bank statement); (ii) for corporate clients: Your Certificate of Incorporation or equivalent document(s) showing your name and registered address together with documentary proof of directors and beneficial owners; and (iii) for trusts, partnerships, offshore companies and other business structures, please contact us in advance to discuss our requirements. (b) We may also ask you to give us a financial reference and/or a deposit as a condition of allowing you to bid. For help, please contact our Client Services Department at +1 212-636-2000.

3 IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS If in our opinion you do not satisfy our bidder identification and registration procedures including, but not limited to completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller.

4 BIDDING ON BEHALF OF ANOTHER PERSON If you are bidding on behalf of another person, that person will need to complete the registration requirements above before you can bid, and supply a signed letter authorising you to bid for him/ her. A bidder accepts personal liability to pay the purchase price and all other sums due unless it has been agreed in writing with Christie’s, before commencement of the auction, that the bidder is acting as an agent on behalf of a named third party acceptable to Christie’s and that Christie’s will only seek payment from the named third party.

5 BIDDING IN PERSON If you wish to bid in the saleroom you must register for a numbered bidding paddle at least 30 minutes before the auction. You may register online at www. christies.com or in person. For help, please contact the Client Service Department on +1 212-636-2000.

6 BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and Christie’s is not responsible for any error (human or otherwise), omission, or breakdown in providing these services. (a) Phone Bids Your request for this service must be made no later than 24 hours prior to the auction. We will accept bids by telephone for lots only if our staff are available to take the bids. If you need to bid in a language other than in English, you must arrange this well before the auction. We may record telephone bids. By bidding on the telephone, you are agreeing to us recording your conversations. You also agree that your telephone bids are governed by these Conditions of Sale. (b) Internet Bids on Christie’s LIVE™ For certain auctions we will accept bids over the Internet. For more information, please visit https://www.christies.com/buyingservices/buying-guide/register-and-bid/. As well as these Conditions of Sale, internet bids are governed by the Christie’s LIVE™ Terms of Use which are available at https://www.christies. com/LiveBidding/OnlineTermsOfUse.aspx. (c) Written Bids You can find a Written Bid Form at any Christie’s office, or by choosing the sale and viewing the lots online at www.christies.com. We must receive your completed Written Bid at least 24 hours before the auction. Bids must be placed in the currency of the saleroom. The auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the reserve. If you make a written bid on a lot which does not have a reserve and there is no higher bid than yours, we will bid on your behalf at around 50% of the low estimate or, if lower, the amount of your bid. If we receive written bids on a lot for identical amounts, and at the auction these are the highest bids on the lot, we will sell the lot to the bidder whose written bid we received first.

C CONDUCTING THE SALE 1 WHO CAN ENTER THE AUCTION We may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid.

2 RESERVES Unless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without a reserve with the symbol • next to the lot number. The reserve cannot be more than the lot’s low estimate, unless the lot is subject to a third party guarantee and the irrevocable bid exceeds the printed low estimate. In that case, the reserve will be set at the amount of the irrevocable bid. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol °◆.

4 BIDDING The auctioneer accepts bids from: (a) bidders in the saleroom; (b) telephone bidders; (c) internet bidders through Christie’s LIVE™ (as shown above in paragraph B6); and (d) written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction.

5 BIDDING ON BEHALF OF THE SELLER The auctioneer may, at his or her sole option, bid on behalf of the seller up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders. The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve. If lots are offered without reserve, the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot. If no bid is made at that level, the auctioneer may decide to go backwards at his or her sole option until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold.

6 BID INCREMENTS Bidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at his or her sole option where the bidding should start and the bid increments.

7 CURRENCY CONVERTER The saleroom video screens (and Christies LIVE™) may show bids in some other major currencies as well as US dollars. Any conversion is for guidance only and we cannot be bound by any rate of exchange used. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

8 SUCCESSFUL BIDS Unless the auctioneer decides to use his or her discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges.

9 LOCAL BIDDING LAWS You agree that when bidding in any of our sales that you will strictly comply with all local laws and regulations in force at the time of the sale for the relevant sale site.

D THE BUYER’S PREMIUM AND TAXES 1 THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge 26% of the hammer price up to and including US$1,000,000, 21.0% on that part of the hammer price over US$1,000,000 and up to and including US$6,000,000, and 15.0% of that part of the hammer price above US$6,000,000.

2 TAXES The successful bidder is responsible for any applicable taxes including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. For lots Christie’s ships to or within the United States, a sales or use tax may be due on the hammer price, buyer’s premium, and/or any other charges related to the lot, regardless of the nationality or citizenship of the successful bidder. Christie’s will collect sales tax where legally required. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped. Christie’s shall collect New York sales tax at a rate of 8.875% for any lot collected from Christie’s in New York. In accordance with New York law, if Christie’s arranges the shipment of a lot out of New York State, New York sales tax does not apply, although sales tax or other applicable taxes for other states may apply. If you hire a shipper (other than a common carrier authorized by Christie’s), to collect the lot from a Christie’s New York location, Christie’s must collect New York sales tax on the lot at a rate of 8.875% regardless of the ultimate destination of the lot. If Christie’s delivers the lot to, or the lot is collected by, any framer, restorer or other similar service provider in New York that you have hired, New York law considers the lot delivered to the successful bidder in New York and New York sales tax must be imposed regardless of the ultimate destination of the lot. In this circumstance, New York sales tax will apply to the lot even if Christie’s or a common carrier (authorized by Christie’s that you hire) subsequently delivers the lot outside New York. Successful bidders claiming an exemption from sales tax must provide appropriate documentation to Christie’s prior to the release of the lot or within 90 days after the sale, whichever is earlier. For shipments to those states for which Christie’s is not required to collect sales tax, a successful bidder may have a use or similar tax obligation. It is the successful bidder’s responsibility to pay all taxes due. Christie’s recommends you consult your own independent tax advisor with any questions.

E WARRANTIES 1 SELLER’S WARRANTIES For each lot, the seller gives a warranty that the seller: (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other coowners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot, or the right to do so in law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. (c) If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses. The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded.

2 OUR AUTHENTICITY WARRANTY We warrant, subject to the terms below, that the lots in our sales are authentic (our “authenticity warranty”). If, within 5 years of the date of the auction, you give notice to us that your lot is not authentic, subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The terms of the authenticity warranty are as follows: (a) It will be honored for claims notified within a period of 5 years from the date of the auction. After such time, we will not be obligated to honor the authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the “Heading”). It does not apply to any information other than in the Heading even if shown in UPPERCASE type. (c) The authenticity warranty does not apply to any Heading or part of a Heading which is qualified. Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed “Important Notices and Explanation of Cataloguing Practice”. For example, use of the term “ATTRIBUTED TO…” in a Heading means that the lot is in Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and a lot’s full catalogue description before bidding.

(d) The authenticity warranty applies to the Heading as amended by any Saleroom notice. (e) The authenticity warranty does not apply where scholarship has developed since the auction leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion. (f) The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot. (g) The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest or restriction by anyone else. The benefit of this authenticity warranty may not be transferred to anyone else. (h) In order to claim under the authenticity warranty you must: (i) give us written notice of your claim within 5 years of the date of the auction. We may require full details and supporting evidence of any such claim; (ii) at Christie’s option, we may require you to provide the written opinions of two recognised experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic. If we have any doubts, we reserve the right to obtain additional opinions at our expense; and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale. (i) Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses. (j) Books. Where the lot is a book, we give an additional warranty for 21 days from the date of the auction that if any lot is defective in text or illustration, we will refund your purchase price, subject to the following terms: (a) This additional warranty does not apply to: (i) the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of the text or illustration; (ii) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; (iii) books not identified by title; (iv) lots sold without a printed estimate; (v) books which are described in the catalogue as sold not subject to return; or (vi) defects stated in any condition report or announced at the time of sale. (b) To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 21 days of the date of the sale. (k) South East Asian Modern and Contemporary Art and Chinese Calligraphy and Painting. In these categories, the authenticity warranty does not apply because current scholarship does not permit the making of definitive statements. Christie’s does, however, agree to cancel a sale in either of these two categories of art where it has been proven the lot is a forgery. Christie’s will refund to the original buyer the purchase price in accordance with the terms of Christie’s Authenticity warranty, provided that the original buyer notifies us with full supporting evidence documenting the forgery claim within twelve (12) months of the date of the auction. Such evidence must be satisfactory to us that the property is a forgery in accordance with paragraph E2(h)(ii) above and the property must be returned to us in accordance with E2h(iii) above. Paragraphs E2(b), (c), (d), (e), (f) and (g) and (i) also apply to a claim under these categories. (l) Chinese, Japanese and Korean artefacts (excluding Chinese, Japanese and Korean calligraphy, paintings, prints, drawings and jewellery). In these categories, paragraph E2 (b) – (e) above shall be amended so that where no maker or artist is identified, the authenticity warranty is given not only for the Heading but also for information regarding date or period shown in UPPERCASE type in the second line of the catalogue description (the “Subheading”). Accordingly, all references to the Heading

in paragraph E2 (b) – (e) above shall be read as references to both the Heading and the Subheading.

3 NO IMPLIED WARRANTIES EXCEPT AS SET FORTH IN PARAGRAPHS E1 AND E2 ABOVE, NEITHER THE SELLER NOR THE CHRISTIE’S GROUP MAKE ANY OTHER WARRANTY, EXPRESS OR IMPLIED, ORAL OR WRITTEN, WITH RESPECT TO THE LOT, INCLUDING THE IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, EACH OF WHICH IS SPECIFICALLY DISCLAIMED.

4 YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activity, including tax evasion, and you are neither under investigation, nor have you been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where you are bidding on behalf of another person, you warrant that: (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money laundering and sanctions laws, consent to us relying on this due diligence, and you will retain for a period of not less than 5 years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for settlement are connected with, the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation, or have been charged with or convicted of money laundering, terrorist activities or other crimes.

F PAYMENT 1 HOW TO PAY (a) Immediately following the auction, you must pay the purchase price being: (i) the hammer price; and (ii) the buyer’s premium; and (iii) any applicable duties, goods, sales, use, compensating or service tax, or VAT. Payment is due no later than by the end of the 7th calendar day following the date of the auction (the “due date”). (b) We will only accept payment from the registered bidder. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name. You must pay immediately even if you want to export the lot and you need an export licence. (c) You must pay for lots bought at Christie’s in the United States in the currency stated on the invoice in one of the following ways: (i) Wire transfer JP Morgan Chase Bank, N.A., 270 Park Avenue, New York, NY 10017; ABA# 021000021; FBO: Christie’s Inc.; Account # 957-107978, for international transfers, SWIFT: CHASUS33. (ii) Credit Card We accept Visa, MasterCard, American Express and China Union Pay. Credit card payments at the New York premises will only be accepted for New York sales. Christie’s will not accept credit card payments for purchases in any other sale site. (iii) Cash We accept cash payments (including money orders and traveller’s checks) subject to a maximum global aggregate of US$7,500 per buyer. (iv) Bank Checks You must make these payable to Christie’s Inc. and there may be conditions. Once we have deposited your check, property cannot be released until five business days have passed. (v) Checks You must make checks payable to Christie’s Inc. and they must be drawn from US dollar accounts from a US bank. (vi) Cryptocurrency With the exception of clients resident in Mainland China, payment for a lot marked with the symbol ❖ may be made in a cryptocurrency or cryptocurrencies of our choosing. Such cryptocurrency payments must be made in accordance with the Additional Conditions of Sale - Nonfungible Tokens set out at Appendix A to these Conditions of Sale. (d) You must quote the sale number, your invoice number and client number when making a

payment. All payments sent by post must be sent to: Christie’s Inc. Post-Sale Services, 20 Rockefeller Center, New York, NY 10020. (e) For more information please contact our PostSale Services by phone at +1 212 636 2650 or fax at +1 212 636 4939 or email PostSaleUS@ christies.com.

2 TRANSFERRING OWNERSHIP TO YOU You will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price, even in circumstances where we have released the lot to you.

3 TRANSFERRING RISK TO YOU The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) When you collect the lot; or (b) At the end of the 30th day following the date of the auction or, if earlier, the date the lot is taken into care by a third party warehouse as set out on the page headed ‘Storage and Collection’, unless we have agreed otherwise with you.

4 WHAT HAPPENS IF YOU DO NOT PAY (a) If you fail to pay us the purchase price in full by the due date, we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights or remedies we have by law): (i) we can charge interest from the due date at a rate of up to 1.34% per month on the unpaid amount due; (ii) we can cancel the sale of the lot. If we do this, we may sell the lot again, publically or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale; (iii) we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue you for such amounts; (iv) we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law; (v) we can take what you owe us from any amounts which we or any company in the Christie’s Group may owe you (including any deposit or other part-payment which you have paid to us); (vi) we can, at our option, reveal your identity and contact details to the seller; (vii) we can reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids; (viii) we can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and (ix) we can take any other action we see necessary or appropriate. (b) If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other part-payment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction.

5 KEEPING YOUR PROPERTY If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law. We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe. However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us.

G COLLECTION AND STORAGE (a) You must collect purchased lots within seven days from the auction (but note that lots will not be released to you until you have made full and clear payment of all amounts due to us). (b) Information on collecting lots is set out on the storage and collection page and on an information sheet which you can get from the

bidder registration staff or Christie’s Post-Sale Services Department on +1 212 636 2650. (c) If you do not collect any lot within thirty days following the auction we may, at our option (i) charge you storage costs at the rates set out at www.christies.com/storage. (ii) move the lot to another Christie’s location or an affiliate or third party warehouse and charge you transport costs and administration fees for doing so and you will be subject to the third party storage warehouse’s standard terms and to pay for their standard fees and costs. (iii) sell the lot in any commercially reasonable way we think appropriate. (d) The Storage conditions which can be found at www.christies.com/storage will apply. (e) In accordance with New York law, if you have paid for the lot in full but you do not collect the lot within 180 calendar days of payment, we may charge you New York sales tax for the lot. (f) Nothing in this paragraph is intended to limit our rights under paragraph F4.

H TRANSPORT AND SHIPPING 1 SHIPPING We would be happy to assist in making shipping arrangements on request. You must make all transport and shipping arrangements. However, we can arrange to pack, transport, and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate, especially for any large items or items of high value that need professional packing. We may also suggest other handlers, packers, transporters, or experts if you ask us to do so. For more information, please contact Christie’s Post-Sale Services at +1 212 636 2650. See the information set out at https://www.christies.com/buying-services/ buying-guide/ship/ or contact us at PostSaleUS@ christies.com. We will take reasonable care when we are handling, packing, transporting, and shipping. However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act, or neglect.

2 EXPORT AND IMPORT Any lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries. Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into. (a) You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot. We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one. For more information, please contact Christie’s Post-Sale Services Department at +1 212 636 2650 and PostSaleUS@christies.com. See the information set out at https://www. christies.com/buying-services/buyingguide/ship/ or contact us at PostSaleUS@ christies.com. (b) You alone are responsible for any applicable taxes, tariffs or other government-imposed charges relating to the export or import of the lot. If Christie’s exports or imports the lot on your behalf, and if Christie’s pays these applicable taxes, tariffs or other government-imposed charges, you agree to refund that amount to Christie’s. (c) Endangered and protected species Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. This material includes, among other things, ivory, tortoiseshell, whalebone, certain species of coral, Brazilian rosewood, crocodile, alligator and ostrich skins. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the country in which the lot is sold and import it into another country as a licence may be required. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age and you will need to obtain these at your own cost. Several countries have imposed restrictions on dealing in elephant ivory, ranging from a total ban on importing African elephant ivory in the United States to importing, exporting and selling under strict measures in other countries. Handbags containing endangered or protected species material are marked with the symbol ≈ and further information can be found in paragraph H2(h) below. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of property containing such protected or regulated material.

(d) Lots containing Ivory or materials resembling ivory If a lot contains elephant ivory, or any other wildlife material that could be confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory) you may be prevented from exporting the lot from the US or shipping it between US States without first confirming its species by way of a rigorous scientific test acceptable to the applicable Fish and Wildlife authorities. You will buy that lot at your own risk and be responsible for any scientific test or other reports required for export from the USA or between US States at your own cost. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or shipped between US States, or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to interstate shipping, export or import of property containing such protected or regulated material. (e) Lots of Iranian origin Some countries prohibit or restrict the purchase, export and/or import of Iranian-origin “works of conventional craftsmanship” (works that are not by a recognized artist and/or that have a function, (for example: carpets, bowls, ewers, tiles, ornamental boxes). For example, the USA prohibits the import and export of this type of property without a license issued by the US Department of the Treasury, Office of Foreign Assets Control. Other countries, such as Canada, only permit the import of this property in certain circumstances. As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). It is your responsibility to ensure you do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to you. (f) Gold Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’. (g) Watches Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol Ψ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its discretion, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within 1 year of the date of the auction. Please check with the department for details on a particular lot. (h) Handbags A lot marked with the symbol ≈ next to the lot number includes endangered or protected species material and is subject to CITES regulations. This lot may only be shipped to an address within the country of the sale site or personally picked up from our saleroom. Please note, Christie’s cannot facilitate the shipment of any lot containing python, alligator or crocodile into the State of California. The term “hardware” refers to the metallic parts of the handbag, such as the buckle hardware, base studs, lock and keys and/or strap, which are plated with a coloured finish (e.g. gold, silver, palladium). The terms “Gold Hardware”, “Silver Hardware”, “Palladium Hardware”, etc. refer to the tone or colour of the hardware and not the actual material used. If the handbag incorporates solid metal hardware, this will be referenced in the catalogue description. For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots.

OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties. (b) (i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these conditions of sale; and (ii) we do not give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) In particular, please be aware that our written and telephone bidding services, Christie’s LIVE™, condition reports, currency converter and saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission or breakdown in these services. (d) We have no responsibility to any person other than a buyer in connection with the purchase of any lot. (e) If, in spite of the terms in paragraphs I(a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, other damages, or expenses.

J OTHER TERMS 1 OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel a sale of a lot if : (i) any of your warranties in paragraph E4 are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2 RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law. However, we may, through this process, use or share these recordings with another Christie’s Group company and marketing partners to analyse our customers and to help us to tailor our services for buyers. If you do not want to be videotaped, you may make arrangements to make a telephone or written bid or bid on Christie’s LIVE™ instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3 COPYRIGHT We own the copyright in all images, illustrations and written material produced by or for us relating to a lot (including the contents of our catalogues unless otherwise noted in the catalogue). You cannot use them without our prior written permission. We do not offer any guarantee that you will gain any copyright or other reproduction rights to the lot.

The seat of the arbitration shall be New York and the arbitration shall be conducted by one arbitrator, who shall be appointed within 30 days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the Dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

10 REPORTING ON WWW.CHRISTIES.COM Details of all lots sold by us, including catalogue descriptions and prices, may be reported on www. christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree to requests to remove these details from www.christies.com.

K GLOSSARY auctioneer: the individual auctioneer and/or Christie’s. authentic: a genuine example, rather than a copy or forgery of: (i) the work of a particular artist, author or manufacturer, if the lot is described in the Heading as the work of that artist, author or manufacturer; (ii) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (iii) a work for a particular origin source if the lot is described in the Heading as being of that origin or source; or (iv) in the case of gems, a work which is made of a particular material, if the lot is described in the Heading as being made of that material. authenticity warranty: the guarantee we give in this agreement that a lot is authentic as set out in paragraph E2 of this agreement.

4 ENFORCING THIS AGREEMENT

buyer’s premium: the charge the buyer pays us along with the hammer price.

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as being deleted and the rest of this agreement will not be affected.

catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice.

5 TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer your rights or responsibilities under these terms on the contract of sale with the buyer unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6 TRANSLATIONS If we have provided a translation of this agreement, we will use this original version in deciding any issues or disputes which arise under this agreement.

7 PERSONAL INFORMATION We will hold and process your personal information and may pass it to another Christie’s Group company for use as described in, and in line with, our privacy notice at www.christies.com/aboutus/contact/privacy and if you are a resident of California you can see a copy of our California Consumer Privacy Act statement at https://www. christies.com/about-us/contact/ccpa.

8 WAIVER No failure or delay to exercise any right or remedy provided under these Conditions of Sale shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

9 LAW AND DISPUTES This agreement, and any non-contractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot (the “Dispute”) will be governed by the laws of New York. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy or claim is related to proceedings brought by someone else and this dispute could be joined to those proceedings), we agree we will each try to settle the Dispute by mediation submitted to JAMS, or its successor, for mediation in New York. If the Dispute is not settled by mediation within 60 days from the date when mediation is initiated, then the Dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the Dispute involves a non-U.S. party, the JAMS International Arbitration Rules.

Christie’s Group: Christie’s International Plc, its subsidiaries and other companies within its corporate group. condition: the physical condition of a lot. due date: has the meaning given to it paragraph F1(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot. Heading: has the meaning given to it in paragraph E2. lot: an item to be offered at auction (or two or more items to be offered at auction as a group). other damages: any special, consequential, incidental or indirect damages of any kind or any damages which fall within the meaning of ‘special’, ‘incidental’ or ‘consequential’ under local law. purchase price: has the meaning given to it in paragraph F1(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E2 and Qualified Headings means the paragraph headed Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.christies.com, which is also read to prospective telephone bidders and notified to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale, or before a particular lot is auctioned. subheading: has the meaning given to it in paragraph E2. UPPER CASE type: means having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

19/10/2023

IMPORTANT NOTICES AND EXPLANATION OF CATALOGUING PRACTICE IMPORTANT NOTICES

Post-catalogue notifications

∆ Property in which Christie’s has an ownership or financial interest

If Christie’s enters into an arrangement or becomes aware of bidding that would have required a catalogue symbol, we will notify you by updating christies.com with the relevant information (time permitting) or otherwise by a pre-sale or pre-lot announcement.

From time to time, Christie’s may offer a lot in which Christie’s has an ownership interest or a financial interest. Such lot is identified in the catalogue with the symbol ∆ next to its lot number. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest in the front of the catalogue.

º Minimum Price Guarantees On occasion, Christie’s has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the lot. This is known as a minimum price guarantee. Where Christie’s holds such financial interest we identify such lots with the symbol º next to the lot number.

º ♦ Third Party Guarantees/Irrevocable bids Where Christie’s has provided a Minimum Price Guarantee, it is at risk of making a loss, which can be significant if the lot fails to sell. Christie’s sometimes chooses to share that risk with a third party who agrees prior to the auction to place an irrevocable written bid on the lot. If there are no other higher bids, the third party commits to buy the lot at the level of their irrevocable written bid. In doing so, the third party takes on all or part of the risk of the lot not being sold. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º ♦. In most cases, Christie’s compensates the third party in exchange for accepting this risk. Where the third party is the successful bidder, the third party’s remuneration is based on a fixed financing fee. If the third party is not the successful bidder, the remuneration may either be based on a fixed fee or an amount calculated against the final hammer price. The third party may continue to bid for the lot above the irrevocable written bid. Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not he or she has a financial interest in relation to the lot.

∆ ♦ Property in which Christie’s has an interest and Third Party Guarantee/Irrevocable bid Where Christie’s has a financial interest in a lot and the lot fails to sell, Christie’s is at risk of making a loss. As such, Christie’s may choose to share that risk with a third party whereby the third party contractually agrees, prior to the auction, to place an irrevocable written bid on the lot. Such lot is identified with the symbol ∆ ♦ next to the lot number. Where the third party is the successful bidder on the lot, he or she will not receive compensation in exchange for accepting this risk. If the third party is not the successful bidder, Christie’s may compensate the third party. The third party is required by us to disclose to anyone he or she is advising of his or her financial interest in any lot in which Christie’s has a financial interest. If you are advised by or bidding through an agent on a lot in which Christie’s has a financial interest that is subject to a contractual written bid, you should always ask your agent to confirm whether or not he or she has a financial interest in relation to the lot.

¤ Bidding by interested parties When a party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot, we will mark the lot with this symbol ¤. This interest can include beneficiaries of an estate that consigned the lot or a joint owner of a lot. Any interested party that successfully bids on a lot must comply with Christie’s Conditions of Sale, including paying the lot’s full buyer’s premium plus applicable taxes.

Other Arrangements Christie’s may enter into other arrangements not involving bids. These include arrangements where Christie’s has advanced money to consignors or prospective purchasers or where Christie’s has shared the risk of a guarantee with a partner without the partner being required to place an irrevocable written bid or otherwise participating in the bidding on the lot. Because such arrangements are unrelated to the bidding process they are not marked with a symbol in the catalogue.

EXPLANATION OF CATALOGUING PRACTICE Terms used in a catalogue or lot description have the meanings ascribed to them below. Please note that all statements in a catalogue or lot description as to authorship are made subject to the provisions of the Conditions of Sale, including the authenticity warranty. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration. Written condition reports are usually available on request. A term and its definition listed under ‘Qualified Headings’ is a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the authenticity warranty shall not be available with respect to lots described using this term.

PICTURES, DRAWINGS, PRINTS AND MINIATURES Name(s) or Recognised Designation of an artist without any qualification: in Christie’s opinion a work by the artist.

QUALIFIED HEADINGS “Attributed to …”: in Christie’s qualified opinion probably a work by the artist in whole or in part. “Studio of …”/“Workshop of …”: in Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision. “Circle of …”: in Christie’s qualified opinion a work of the period of the artist and showing his influence. “Follower of… ”: in Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil. “Manner of… ”: in Christie’s qualified opinion a work executed in the artist’s style but of a later date. “After …”: in Christie’s qualified opinion a copy (of any date) of a work of the artist. “Signed …”/“Dated …”/ “Inscribed …”: in Christie’s qualified opinion the work has been signed/dated/ inscribed by the artist.

If the date, period or reign mark mentioned in uppercase letters after the bold type first line states that the mark is of the period, then in Christie’s opinion, the piece is of the date, period or reign of the mark.

“By Fabergé …”: in Christie’s qualified opinion, a work of the master’s workshop, but without his mark.

e.g. A BLUE AND WHITE BOWL KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1662-1722)

“Bearing marks …”: in Christie’s qualified opinion not a work of the master’s workshop and bearing later marks.

If no date, period or reign mark is mentioned in uppercase letters after the bold description, in Christie’s opinion it is of uncertain date or late manufacture.

HANDBAGS

e.g. A BLUE AND WHITE BOWL

QUALIFIED HEADINGS When a piece is, in Christie’s opinion, not of the period to which it would normally be attributed on stylistic grounds, this will be incorporated into the first line or the body of the text of the description. e.g. A BLUE AND WHITE MING-STYLE BOWL; or The Ming-style bowl is decorated with lotus scrolls… In Christie’s qualified opinion this object most probably dates from Kangxi period but there remains the possibility that it may be dated differently. e.g. KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND PROBABLY OF THE PERIOD In Christie’s qualified opinion, this object could be dated to the Kangxi period but there is a strong element of doubt. e.g. KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND POSSIBLY OF THE PERIOD

The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Condition reports and grades are provided free of charge as a courtesy and convenience to our buyers and are for guidance only. They offer our honest opinion but they may not refer to all faults, restoration, alteration or adaptation. They are not an alternative to examining a lot in person or taking your own professional advice. Lots are sold “as is,” in the condition they are in at the time of the sale, without any representation or warranty as to condition by Christie’s or by the seller. Grades in Condition Reports We provide a general, numeric condition grade to help with overall condition guidance. Please review the specific condition report and extra images for each lot before bidding. Grade 1: this item exhibits no signs of use or wear and could be considered as new. There are no flaws. Original packaging and protective plastic are likely intact as noted in the lot description.

“Boucheron”: when maker’s name appears in the title, in Christie’s opinion it is by that maker. “Mounted by Boucheron”: in Christie’s opinion the setting has been created by the jeweller using stones originally supplied by the jeweller’s client.

Grade 3: this item exhibits visible signs of use. Any signs of use or wear are minor. This item is in good condition.

QUALIFIED HEADINGS

Grade 4: this item exhibits wear from frequent use. This item either has light overall wear or small areas of heavy wear. The item is considered to be in fair condition.

“Attributed to”: in Christie’s qualified opinion is probably a work by the jeweller/maker but no warranty is provided that the lot is the work of the named jeweller/maker. Other information included in the catalogue description “Signed Boucheron / Signature Boucheron”: in Christie’s qualified opinion has a signature by the jeweller. “With maker’s mark for Boucheron”: in Christie’s qualified opinion has a mark denoting the maker. Periods Art Nouveau 1895-1910 Belle Epoque 1895-1914 Art Deco 1915-1935 Retro 1940s

WATCHES Removal of Watch Batteries

The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published.

CHINESE CERAMICS AND WORKS OF ART

FABERGÉ

When a piece is, in Christie’s opinion, of a certain period, reign or dynasty, its attribution appears in uppercase letters directly below the Heading of the description of the lot.

QUALIFIED HEADINGS

e.g. A BLUE AND WHITE BOWL 18TH CENTURY

Condition Reports

Grade 2: this item exhibits minor flaws and could be considered nearly brand new. It may never have been used, or may have been used a few times. There are only minor condition notes, which can be found in the specific condition report.

JEWELLERY

A lot marked with the symbol ⊕ next to the lot number incorporates batteries which may be designated as “dangerous goods” under international laws and regulations governing the transport of goods by air freight. If a buyer requests shipment of the lot to a destination outside of the country in which the saleroom is located, the batteries will be removed and retained by us prior to shipment. If the lot is collected from the saleroom, the batteries will be made available for collection free of charge.

“With signature …”/“With date …”/ “With inscription …”: in Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist.

“In the style of …”: in Christie’s qualified opinion a work of the period of the master and closely related to his style.

“Marked Fabergé, Workmaster …”: in Christie’s qualified opinion a work of the master’s workshop inscribed with his name or initials and his workmaster’s initials.

Grade 5: this item exhibits normal wear and tear from regular or heavy use. The item is in good, usable condition but it does have condition notes. Grade 6: this item is damaged and requires repair. It is considered in fair condition. Any reference to condition in a catalogue entry will not amount to a full description of condition, and images may not show the condition of a lot clearly. Colours and shades may look different in print or on screen to how they look in real life. It is your responsibility to ensure that you have received and considered any condition report and grading. References to “HARDWARE” Where used in this catalogue the term “hardware” refers to the metallic parts of the bag, such as the buckle hardware, base studs, lock and keys and /or strap, which are plated with a coloured finish (e.g. gold, silver, palladium). The terms “Gold Hardware”, “Silver Hardware”, “Palladium Hardware” etc. refer to the tone or colour of the hardware and not the actual material used. If the bag incorporates solid metal hardware this will be referenced in the lot description.

POST 1950 FURNITURE All items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or sold as collector’s items. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989, 1993 and 2010, the “Regulations”). Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

19/10/2023

SYMBOLS USED IN THIS CATALOGUE The meaning of words coloured in bold in this section can be found in paragraph K, Glossary, of the section of the catalogue headed ‘Conditions of Sale’.

Christie’s has a direct financial interest in the lot. See Important Notices in the Conditions of Sale for further information.

Lot incorporates material from endangered species which could result in export restrictions. See Section H2(c) of the Conditions of Sale for further information.

º♦

≈

Christie’s has provided a minimum price guarantee and has a direct financial interest in this lot. Christie’s has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold. See the Important Notices in the Conditions of Sale for further information.

∆

Christie’s has a financial interest in the lot. See Important Notices in the Conditions of Sale for further information..

∆♦

Christie’s has a financial interest in this lot and has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold. See the Important Notices in the Conditions of Sale for further information. `

¤ A party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot.

• Lot offered without reserve.

Handbag lot incorporates material from endangered species. International shipping restrictions apply. See paragraph H2 of the Conditions of Sale for further information.

∝

Lot incorporates elephant ivory material. See paragraph H2 of the Conditions of Sale for further information.

Lot incorporates material from endangered species which is shown for display purposes only and is not for sale. See Section H2(h) of the Conditions of Sale for further information.

➤

Lot is a Non Fungible Token (NFT). Please see Appendix A – Additional Conditions of Sale – Non- Fungible Tokens in the Conditions of Sale for further information.

◗

Lot contains both a Non Fungible Token (NFT) and a physical work of art. Please see Appendix A – Additional Conditions of Sale – Non-Fungible Tokens in the Conditions of Sale for further information.

■

❖

With the exception of clients resident in Mainland China, you may elect to make payment of the purchase price for the lot via a digital wallet in the name of the registered bidder, which must be maintained with one of the following: Coinbase Custody Trust; Coinbase, Inc.; Fidelity Digital Assets Services, LLC; Gemini Trust Company, LLC; or Paxos Trust Company, LLC. Please see the lot notice and Appendix B – Terms for Payment by Buyers in Cryptocurrency in the Conditions of Sale for further requirements and information

Please note that this lot is subject to an import tariff. The amount of the import tariff due is a percentage of the final hammer price plus buyer’s premium. The buyer should contact Post Sale Services prior to the sale to determine the estimated amount of this import tariff. If the buyer instructs Christie’s to arrange shipping of the lot to a foreign address, the buyer will not be required to pay an import tariff, but the shipment may be delayed while awaiting approval to export from the local government. If the buyer instructs Christie’s to arrange the shipment of the lot to a domestic address, if the buyer collects the property in person, or if the buyer arranges their own shipping (whether domestically or internationally), the buyer will be required to pay the import tariff. For the purpose of calculating sales tax, if applicable, the import tariff will be added to the final hammer price plus buyer’s premium and sales tax will be collected as per The Buyer’s Premium and Taxes section of the Conditions of Sale.

See Storage and Collection pages in the catalogue.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot. 19/10/2023

STORAGE AND COLLECTION PAYMENT OF ANY CHARGES DUE

COLLECTION AND CONTACT DETAILS

Specified lots (sold and unsold) marked with a filled square (■) not collected from Christie’s by 5.00pm on the day of the sale will, at our option, be removed to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Christie’s will inform you if the lot has been sent offsite.

Lots will only be released on payment of all charges due and on production of a Collection Form from Christie’s. Charges may be paid in advance or at the time of collection. We may charge fees for storage if your lot is not collected within thirty days from the sale. Please see paragraph G of the Conditions of Sale for further detail.

If the lot is transferred to Christie’s Fine Art Storage Services, it will be available for collection after the third business day following the sale. Please contact Christie’s Post-Sale Service 24 hours in advance to book a collection time at Christie’s Fine Art Services. All collections from Christie’s Fine Art Services will be by pre-booked appointment only. Please be advised that after 50 days from the auction date property may be moved at Christie’s discretion. Please contact Post-Sale Services to confirm the location of your property prior to collection. Tel: +1 212 636 2650 Email: PostSaleUS@christies.com Operation hours for both Christie’s Rockefeller and Christie’s Fine Art Storage are from 9:30 am to 5:00 pm, Monday – Friday.

Tel: +1 212 636 2650 Email: PostSaleUS@christies.com

SHIPPING AND DELIVERY Christie’s Post-Sale Service can organize domestic deliveries or international freight. Please contact them on +1 212 636 2650 or PostSaleUS@christies.com.

Long-term storage solutions are also available per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Please contact CFASS New York for details and rates: +1 212 636 2070 or storage@cfass.com

STREET MAP OF CHRISTIE’S NEW YORK LOCATIONS

Christie’s Rockefeller Center 20 Rockefeller Plaza, New York 10020 Tel: +1 212 636 2000 PostSaleUS@christies.com Main Entrance on 49th Street Receiving/Shipping Entrance on 48th Street Hours: 9.30 AM - 5.00 PM Monday-Friday except Public Holidays 02/08/19

Christie’s Fine Art Storage Services (CFASS) 62-100 Imlay Street, Brooklyn, NY 11231 Tel: +1 212 974 4500 PostSaleUS@christies.com Main Entrance on Corner of Imlay and Bowne St Hours: 9.30 AM - 5.00 PM Monday-Friday except Public Holidays

CHRISTIE’S CHRISTIE’S INTERNATIONAL PLC François Pinault, Chairman Guillaume Cerutti, Chief Executive Officer François Curiel, Honorary Adviser; Chairman, Europe Benjamin Gore, Chief Operating Officer Jean-François Palus Héloïse Temple-Boyer Sophie Carter, Director & Company Secretary INTERNATIONAL CHAIRMEN Stephen Lash, Chairman Emeritus, Americas The Earl of Snowdon, Honorary Chairman, EMERI Charles Cator, Deputy Chairman, Christie’s Int. Xin Li-Cohen, Deputy Chairman, Christie’s CHRISTIE’S AMERICAS Marc Porter, Chairman Bonnie Brennan, President CHAIRMAN’S OFFICE Alexander Rotter, Chairman Max Bernheimer, Deputy Chairman Catherine Busch, Deputy Chairman Cyanne Chutkow, Deputy Chairman Sheri Farber, Deputy Chairman Sara Friedlander, Deputy Chairman Jennifer K. Hall, Deputy Chairman John Hays, Deputy Chairman Darius Himes, Deputy Chairman Conor Jordan, Deputy Chairman Richard Lloyd, Deputy Chairman Maria C. Los, Deputy Chairman Adrien Meyer, Co-Chairman Tash Perrin, Deputy Chairman Jonathan Rendell, Deputy Chairman Margot Rosenberg, Deputy Chairman Sonya Roth, Deputy Chairman Capera Ryan, Deputy Chairman Will Strafford, Deputy Chairman Barrett White, Deputy Chairman Eric Widing, Deputy Chairman Athena Zonars, Co-Chairman

CHRISTIE’S AMERICAS SENIOR VICE PRESIDENTS Diane Baldwin, Heather Barnhart, Michael Bass, Eileen Brankovic, Max Carter, Ana Maria Celis, Michelle Cheng, Nick Cinque, Nicholas Clark, Francois de Poortere, Johanna Flaum, Marcus Fox, Vanessa Fusco, Sayuri Ganepola, Benjamin Gore, Helena Grubesic, William Haydock, Allison Heilman, Sima Jalili, Alex Heminway, Margaret Hoag, Nicole Jacoby, Erik Jansson, Michael Jefferson, Rahul Kadakia, Emily Kaplan, Jessica Katz, Caroline Kelly, Stefan Kist, David Kleiweg de Zwaan, Emily Klug, Rachel Koffsky, Samantha Koslow, Kathryn Lasater, Natasha Le Bel, Gabriela Lobo, Carly Murphy, Rita Nakouzi, Richard Nelson, Illysa Ortsman, Joanna Ostrem, Joseph Quigley, Jason Pollack, Denise Ratinoff, Daphne Riou, Stephanie Roach, Casey Rogers, Gillian Gorman Round, Raj Sargule, Elise de la Selle, Devang Thakkar, Sarah Vandeweerdt, Cara Walsh, Michal Ward, Ben Whine, Jen Zatorski, Steven J. Zick VICE PRESIDENTS Tylee Abbott, Nicole Arnot, Abigail Barkwell, Marina Bertoldi, Laura Betrián, Sara Bick-Raziel, Bernadine Boisson, Diana Bramham, Maryum Busby, Cristina Carlisle, Kayla Cohen, Patrick Conte, Alexandra Daniels, Cathy Delany, Jacqueline DiSante, Sarah El-Tamer, Brian Evans, Shannon Euell, Abby Farha, Stephanie Feliz, Elena Ferrara, Kristen France, Christina Geiger, Joshua Glazer, Douglas Goldberg, Vanessa Graff, Lindsay Griffith, Margaret Gristina, Allison Houghton, Izabela Grocholski, Anne Hargrave, Kristina Hayes, Lindsay Hogan, Amy Indyke, Heather Jobin, Bennett Jackson, Stephen Jones, Sumako Kawai, Paige Kestenman, Imogen Kerr, Peter Klarnet, Elizabeth LaCorte, Samuel Lai, Isabella Lauria, Andrew Leuck, Alexander Locke, Nina Lord, Ryan Ludgate, Cheryl Lynch, Samantha Margolis, Alex Marshall, Anita Martignetti, Camille Massaro-Menz, Laura Mathis, Stephanie McNeil Singh, Katie Merrill, Kimberly Miller, Melissa Morris, Christopher Munro, Takaaki Murakami, Megan Murphy, Libia Nahas, Michele Nauman, Marysol Nieves, Jonquil O’Reilly, Rachel Orkin-Ramey, Vicki Paloympis, Mitesh Patel, Nell Plumfield, Claibourne Poindexter, Anna Pomales, Carleigh Queenth, Elizabeth Quirk, Antonio Quizhpilema, G. Rhett Prentice, Prakash Ramdas, Arsh Raziuddin, Rebecca Ross, Rebecca Roundtree, William Russell, Nicole Sales, Emily Salzberg, Stacey Sayer, Morris Scardigno, Elizabeth Seigel, Hannah Solomon, Joanna Szymkowiak, Pip Tannenbaum, Paul Tortora, Lillian Vasquez, Grace Voges, Connie Vu, Jill Waddell, Rachael White Young, Kathryn Widing, Cara Zimmerman

ASSOCIATE VICE PRESIDENTS Betsy Alexandre, Nishad Avari, Alexander Badura, Anna Baitchenko, Anna Bar, Alexandra Bass, Abigail Bisbee, Tristan Bruck, Michelle Carpanzano, Stephen Chambers, Rufus Chen, Laura DeMartis, Shaun Desiderio, Emma Diaz, Julie Drennan, Julian Ehrlich, Annabel Enquist, Burcu Eroglu, Danielle Finn, William Fischer, Juarez Francis, Mimi Garrett, Agostino Guerra, Ella Hagerty, Krista Hannesson, Allison Immergut, Rhiannon Knol, David Lieu, Katya McCaffrey, Christopher Mendoza, Charles McCormick, Margaux Morel, Alexandra O’Neill, Deborah Robertson, Oliver Rordorf, Peter Rusinak, Jill Sieffert, Heather Smith, Victoria Solivan, Jessica Stanley, Amelie Sun, Sharon Sun, Jennie Tang, Victoria Tudor, Heather Weintraub, Sara Weintraub, Kristina Weston, Christina Wolf, Gretchen Yagielski, Zhi Yin Yong, Sophia Zhou AMERICAS REPRESENTATIVES Lisa Cavanaugh, Jessie Fertig, Lisa Hubbard, Ellanor Notides, Ashley Schiff, Brett Sherlock, Jody Wilkie

12/18/23

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20 ROCKEFELLER PLAZA NEW YORK NEW YORK 10020