After Ernst Klimt’s sudden death at 29, Gustav completed “Hans Wurst Delivering an Impromptu Performance in Rothenburg” and signed it in his brother’s name
In a landmark moment for art history, a 14th-century Sarghitmish mosque lamp from Egypt has shattered records, fetching an extraordinary $6.56 million at Bonhams’ Islamic and Indian Art Sale on November 12, 2024. The sale attracted intense competition both in the room and via phone bidders, solidifying the lamp’s status as the most expensive glass object ever sold at auction. Initially estimated at $785,000 to $1.3 million, the lamp’s final price far exceeded expectations.
This opulent artifact was consigned by a descendant of Nubar Pasha, Egypt’s first Prime Minister. For over a century, the heirloom had been regarded as a decorative object, even serving as a vase for dried flowers—a stark contrast to its true historic significance.
“A Magnificent Work of Art”
Nima Sagharchi, Bonhams’ Group Head of Middle Eastern, Islamic, and South Asian Art, celebrated the outcome: “We are absolutely delighted with this result. The Sarghitmish lamp is a magnificent work of art and craftsmanship. Not only is this lamp extremely rare, but it also boasts an impressive exhibition history, having been showcased in some of Paris’ most important museums.”
The auction’s success was bolstered by the lamp’s storied provenance. Oliver White, Bonhams’ Head of Islamic and Indian Art, elaborated on the lamp’s remarkable lineage: “From the mid-1800s, the lamp belonged to the prominent French collector Charles Schefer, and in 1906 it became part of the collection of Armenian aristocrat Boghos Nubar Pasha, the son of Egypt’s first Prime Minister. The rarity of the object, together with this impressive provenance, make it one of the most important pieces of Islamic glassware ever to come to market.”
A Masterpiece of Medieval Glassware
Mosque lamps from the Mamluk era are celebrated as some of the most technically refined examples of medieval glassware in the world. Crafted using a unique combination of gilding and enameling, these pieces were produced in the 13th and 14th centuries, predominantly for illumination in mosques—a practice regarded as an act of religious devotion. This specific lamp was commissioned by Emir Sarghitmish, a powerful Mamluk chief under the rule of Sultan al-Nasir Hasan.
Embellished with Sarghitmish’s name, titles, and emblem—a red buqja on a white field symbolizing his status as Master of the Robes—the lamp likely graced the Madrasa of Sarghitmish in Cairo, which still stands in the city’s medieval quarter. Yacoub Artin Pasha, a scholar in 1907, extolled the lamp’s beauty, noting, “In its entirety, this lamp is on a par with the most beautiful enamelled glass lamps I have seen and studied.”
The Power of Light and Devotion
The lamp’s Qur’anic inscriptions underscore its dual role as a religious and political symbol. Inscribed with verses from Surah al-Nur (The Light), these lamps served as tangible representations of divine illumination. The text, “God is the Light of the heavens and the earth, the likeness of His Light is as a niche wherein is a lamp,” conveys deep spiritual significance, while the repeated appearance of Sarghitmish’s name and rank showcases the patron’s piety and influence. Such displays were common among the elite, who used mosque lamps as a canvas for projecting status and religious commitment.
Professor Robert Hillenbrand, writing for Bonhams Magazine, illustrated the practical and aesthetic function of these artifacts: “In the dim penumbra of such buildings, these lamps were a practical necessity; they enclosed wicks suspended in glass oil containers and created pools of mobile yellow light amid the darkness.”
A Legacy Displayed
The Sarghitmish lamp is not just a relic but a testament to the grandeur of Mamluk art. It has featured in notable exhibitions, including at the Musée Guimet (1869), the Palais du Trocadéro (1878), and the Louvre’s Musée des Arts Décoratifs (1903). The lamp has also been extensively documented in at least ten major publications, making it one of the most studied pieces of its kind.
The auction of this medieval masterpiece marks a historic moment, cementing the Sarghitmish lamp’s legacy as a peerless example of Islamic art and an icon of cultural and historical significance.
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Story submitted by Bonhams. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Historic Sarghitmish Lamp Sets World Record as Most Expensive Islamic Glass Artifact, Selling for $6.5 Million at Bonhams appeared first on World Art News.
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BY ALBERT CHEN
Phillips is set to dazzle the art world with its highly anticipated November Evening Sale of Modern & Contemporary Art in New York, showcasing an impressive lineup of 33 lots featuring trailblazing masterpieces and contemporary gems. Slated for November 19 at 5 p.m. EST at their 432 Park Avenue location, this event promises to attract global collectors with an appetite for significant works by renowned masters and contemporary talents alike.
The headline piece is Jackson Pollock’s Untitled, circa 1948, a quintessential example from his revolutionary drip painting period. This work, making its first public appearance since the major 1998-1999 retrospective at New York’s Museum of Modern Art (MoMA) and London’s Tate Gallery, once graced the private collection of legendary design icon Florence Knoll. Emphasizing Pollock’s transformative impact on 20th-century art, Untitled encapsulates the raw energy and abstract innovation that redefined the use of paint as an expressive medium.
Estimate Upon Request
Phillips
Equally captivating are two rare double self-portraits by Jean-Michel Basquiat and Andy Warhol from the early 1980s. This marks the first time that such pivotal works have appeared together in a single auction. Basquiat’s self-portrait, executed on three hinged panels reminiscent of a religious altarpiece, immortalizes his figure crowned with his signature dreadlocks.
The piece is infused with references to jazz legends like Thelonious Monk and Ben Webster, positioning Basquiat within a lineage of influential Black artists while anchoring his early identity as SAMO©, his graffiti moniker. This evocative work has passed through prestigious collections, including those of Larry Warsh and actor Johnny Depp, and has been exhibited globally, enhancing its already storied provenance.
Estimate: $10,000,000 – 15,000,000
Phillips
Warhol’s double self-portrait, first shown at London’s Anthony d’Offay Gallery and part of a significant touring exhibition in the early 2000s, delves into the artist’s exploration of identity and fame. Originating from his collaboration with photographer Christopher Makos, Warhol’s portrayal—donning no disguise yet fully “in character”—embodies his introspective later works, emphasizing his dual existence as both artist and iconic subject. This piece represents a crucial prelude to Warhol’s creative partnership with Basquiat, spotlighting the interplay between their individual paths.
Estimate: $4,000,000 – 6,000,000
Phillips
Cy Twombly’s Crimes of Passion I (1960), another standout, exemplifies his Baroque Paintings. Painted during his early years in Rome, the work channels the timeless allure of antiquity, blending mythological themes with abstract expressionism. The bold reds and charged forms evoke themes of love and violence, a testament to Twombly’s synthesis of the classical and the avant-garde. Once in the collections of rock legend Eric Clapton and Heiner Friedrich, this painting underscores Twombly’s status as a master of symbolic depth.
Estimate: $5,000,000 – 7,000,000
Phillips
Modern art luminaries also feature prominently. Pablo Picasso’s Buste d’homme (1964), part of a series painted in one day, captures the boldness of his late style and pays tribute to Henri Matisse. Picasso’s use of Fauvist colors and expressive forms nods to his admiration for Matisse, whom he first met in 1906 through Gertrude Stein. This work, unseen for six decades, emerges as a testament to Picasso’s lasting experimentation and homage to his contemporary.
Joan Miró’s Peinture (1950), from his Spontaneous Paintings series, embodies his playful and fluid style, further diversifying the sale’s appeal. The collection bridges the historical with the modern, featuring works by Edgar Degas and Mary Cassatt, as well as contemporary stars like Lynette Yiadom-Boakye, whose Watcher stands as a powerful example of her portraiture, and Derek Fordjour’s Twelve Tribes, showcasing the rich textures and narratives that have captured collectors’ interest.
Marking her auction debut is Li Hei Di with Unfolding a flood (2022). This piece captures the artist’s exploration of identity through vivid, abstracted storytelling, underscoring Phillips’ dedication to emerging talents alongside time-honored names.
The sale follows Phillips’ recent success with Basquiat’s Untitled (ELMAR), which garnered $46.5 million, and confirms the market’s ongoing fervor for works by both Basquiat and Warhol. As Jean-Paul Engelen, President, Americas, and Robert Manley, Deputy Chairman, noted, this auction epitomizes Phillips’ commitment to meeting the dynamic tastes of their discerning clientele with works that boast exceptional quality and provenance.
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The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
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