Charity chief Rose Aidin, designer Tom Dixon and artist Barbara Davis Rae also receive awards
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BY ALBERT CHEN
In a stunning moment for history and collectors alike, the oldest inscribed tablet of the Ten Commandments has achieved an extraordinary $5 million price tag at Sotheby’s New York, far exceeding its pre-auction estimate of $1-2 million. The artifact, a singular treasure from the Late Roman-Byzantine era (ca. 300-800 CE), is believed to be the only complete stone inscription of the commandments surviving from antiquity.
Weighing an impressive 115 pounds and standing two feet tall, the marble tablet carries 20 lines of Paleo-Hebrew script that preserve nine of the commandments from the Book of Exodus. Remarkably, the text diverges from its Biblical counterparts, omitting the commandment against taking the Lord’s name in vain while including a Samaritan-specific directive to worship on Mount Gerizim, a sacred site central to Samaritan tradition.
Discovered in 1913 along Israel’s southern coast during railway construction, the tablet’s initial significance went unnoticed. For three decades, it was used as a mundane paving stone at the entrance to a local home, its inscription enduring decades of foot traffic before it was recognized in 1943 by a scholar as a rare Samaritan Decalogue. The tablet is thought to have once been prominently displayed in a synagogue or private residence before its site of origin was destroyed during ancient conflicts, possibly the Roman invasions of the 5th century or the Crusades.
Richard Austin, Sotheby’s Global Head of Books & Manuscripts, called the piece “a tangible link to the beliefs that helped shape Western civilization,” emphasizing the profound cultural and religious significance of the artifact. “This remarkable tablet allows us to journey through millennia and connect with faiths and traditions that continue to shape our world.”
The sale has captivated collectors, historians, and cultural enthusiasts alike, marking a rare opportunity to own a piece of humanity’s shared heritage. The bidding war reflected this universal appeal, with fierce competition driving the final price to an unprecedented $5 million, setting a record for any artifact of this kind.
Scholars have noted the artifact’s significance not just for its religious connotations but for its historical resonance. The text exemplifies the moral and ethical principles that underpin both Jewish and Christian traditions, serving as a bridge between ancient civilizations and the modern world.
The tablet has been on display at Sotheby’s since December 5, drawing crowds eager to witness what Austin described as “a shared piece of cultural heritage.” With its sale, the artifact now embarks on the next chapter of its extraordinary journey, passing into private ownership while continuing to symbolize the enduring legacy of the moral code that has shaped human history.
As the gavel fell at Sotheby’s, history was made not just in dollars but in the enduring fascination with one of the world’s oldest moral codes—a reminder of humanity’s quest for meaning, justice, and faith across millennia.
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BY ALBERT CHEN
A dazzling discovery has captivated the art world as Sir Anthony van Dyck’s Andalusian Horse—his first grand-scale depiction of a lone horse—reveals a remarkable secret: his only surviving landscape in oil, hidden on the reverse of the canvas. This extraordinary, two-sided work headlined Christie’s Old Masters Part I Sale during London’s Classic Week on December 3, fetching a staggering £3,428,000 ($4,350,132/€4,134,168) and reigniting global fascination with the Northern Baroque master.
A Dual Masterpiece of Rare Genius
Van Dyck’s Andalusian Horse is already significant as a pivotal early work, painted shortly before the artist’s 1621 departure for Italy and in preparation for his iconic equestrian portrait of Emperor Charles V (now in the Uffizi, Florence). However, the discovery of a vivid landscape on the reverse of the canvas elevates its historical and artistic importance to unprecedented heights.
The fluid study—a depiction of a tree-covered slope leading to a serene lake, with a dog drinking at its edge—was uncovered during restoration following the painting’s sale in 2000. The landscape, which had been obscured by a later relining canvas, is the only surviving oil landscape by van Dyck, a genre for which he was previously thought to have left no tangible legacy. This hidden treasure underscores the artist’s profound love of nature, a passion evident in his drawings and portrait backdrops but never before seen in a standalone oil work.
A Triumph of Baroque Craftsmanship
The recto of the painting, Andalusian Horse, is a powerful example of van Dyck’s early mastery. Painted with sweeping, rapid brushstrokes, it demonstrates the young artist’s bold and expressive technique. Van Dyck’s economical use of paint is striking: dark brown strokes define the horse’s muscular form, while highlights in lead white bring its head and body to life with remarkable dynamism.
“This is a thrilling discovery,” commented Clementine Sinclair, Christie’s Head of London Old Master Paintings. “Not only does it showcase van Dyck’s extraordinary talent as one of the Northern Baroque’s greatest painters, but it also provides us with an intimate glimpse of his experimental genius in landscape—a field where he left virtually no other surviving examples.”
A Tale of Provenance and Preservation
The painting’s journey to Christie’s auction block is a story in itself. Acquired in 1859 by Thomas Gambier Parry, a celebrated collector of Renaissance art, it was the centerpiece of his collection at Highnam Court, near Gloucester. Its value as a northern masterpiece was immediately evident, though its hidden reverse would remain a mystery for more than a century.
Nature Through the Eyes of a Master
Van Dyck’s landscape study is believed to connect to the background of his Portrait of a Father and Son, possibly Joannes Woverius with his son, circa 1620 (Louvre, Paris). Scholars suggest the painting reflects the artist’s early and experimental approach to natural scenes, capturing his deep appreciation for the natural world.
While van Dyck’s love of horses is well-documented—Rubens famously gifted him a prized stallion upon his departure for Italy—this rediscovered landscape reveals another dimension to his artistic identity. “It bridges the gap between van Dyck the portraitist and van Dyck the observer of nature,” noted Sinclair.
A New Chapter in Art History
The sale of Andalusian Horse and its hidden landscape marks a watershed moment in the study of van Dyck’s oeuvre, shedding new light on his early career and artistic evolution. For collectors, art historians, and enthusiasts alike, this extraordinary dual work is a reminder of the enduring capacity of Old Master paintings to surprise and inspire.
As Christie’s closed the auction to enthusiastic applause, it became clear that van Dyck’s Andalusian Horse—a portrait of equine power paired with the serenity of a natural landscape—had galloped into the annals of art history, leaving an indelible mark.
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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
The post Stunning Discovery: Van Dyck’s Only Surviving Landscape Found and Sold for Over $4 Million appeared first on World Art News.
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