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Amedeo Modigliani, Nu couché (sur le côté gauche), 1917, oil on canvas, awash for $157.2 M.

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COURTESY SOTHEBY’S

There was no agitation over the brilliant lot in Sotheby’s black bargain of Impressionist and avant-garde art beforehand this evening. At about bristles anxiety wide, Amedeo Modigliani’s bays nude, Nu couche (sur la berth gauche), 1917, is the better in the painter’s acclaimed alternation of 22 nudes. With its accumbent format, it is additionally the alone one to beset the absolute bulk of the collapsed model, who is propped adjoin a white pillow and staring over her appropriate accept anon at the eyewitness with adventurous confidence. Her ablaze red aperture and aphotic beard adverse conspicuously with the amplitude of exposed, and acutely amaranthine flesh, authoritative for a amazing and classical odalisque. The painting was featured in Tate Modern’s contempo blockbuster Modigliani exhibition and graced the awning of the archive printed for the bargain at Sotheby’s. The abode gave it an abstruse presale appraisal in the celestial—and unprecedented—region of $150 million.

And yet, she captured aloof a distinct bid at $139 actor on the telephone, apparently to the house’s prearranged certain bidder. With fees, the painting awash for $157.2 million.

Still, that ranks as the accomplished bulk for any lot awash in Sotheby’s history, and the fourth best big-ticket assignment of art awash at auction, abaft a Leonardo, a Picasso, and addition Modigliani nude. (It comes in additional to the continuing Modigliani record, set for Nu couche from 1917–18, which awash at Christie’s New York in November 2015 for $170.4 actor to Chinese beneficiary Liu Yiqian.) And it’s a big jump on the sum the painting fabricated back it aftermost awash at auction, at Christie’s New York in November 2003, for a then-record $26.8 actor to Irish blood horse agriculturalist and business administrator John Magnier, who boarded it to Sotheby’s.

It additionally represented a abounding bisected of Sotheby’s absolute booty for the evening, which came in at a rather underwhelming $318.3 million, across-the-board of fees, which aching the low end of presale expectations called at $307.4–$378.1 million. Thirteen of the 45 lots offered in the bargain bootless to acquisition buyers, for a ample buy-in bulk by lot of 28.9 percent. No alone artisan annal were set.

With the advice of the Modigliani, the account calmly attempt accomplished aftermost May’s $173.8 actor absolute for the 37 lots sold, a acceleration of 83 percent. Twenty-nine of the 32 lots that awash fabricated added than a actor dollars, across-the-board of fees, and of those, six awash for over $10 million. Fifteen of the lots offered were backed by arcane banking guarantees, either absolutely by Sotheby’s or, as in the case of the Modigliani, by alleged “irrevocable bids” by bearding backers who can accept a adjourned costs fee for their risk-taking.

(Unless noted, all appear prices accommodate the bang bulk additional the buyer’s exceptional for anniversary lot sold, affected at 25 percent of the bang bulk up to and including $300,000, 20 percent of any bulk in balance of that and up to and including $3 million, and 12.9 percent for annihilation over $3 million.)

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The black got off to a ambrosial and fresh-to-market alpha with Marc Chagall’s absorbing autogenous arena featuring a aerial violin-playing figure, Fleurs de printemps (La Cruche aux fleurs de printemps) from 1930, which fabricated $2.54 million, gliding accomplished its aerial presale appraisal of $1.5 million.

The afterward two lots, admitting almost bashful in value, agitated added account value, both actuality deaccessioned from the Pittsfield, Massachusetts–based Berkshire Museum, which won a absinthian cloister activity aftermost ages for permission to advertise as abounding as 40 works from its accumulating to account its shrinking award with an beverage of added than $55 million.

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Henry Moore’s arresting pencil, wax crayon, charcoal, wash, and pen on paper, Three Seated Women, from 1942, brought an bloodless $300,000 (against an appraisal of $400,000 to $600,000) and Francis Picabia’s aboriginal and abstruse assignment on cardboard Force Comique, from 1914—its aboriginal buyer was Guillaume Apollinaire, who acquired it the year it was completed—sold for $1,119,000 (est. $800,000–$1.2 million).

Not about to let the works go easily, protesters lined the sidewalk in avant-garde of Sotheby’s York Avenue address afore the sale, bouncing banners with such letters as “public art is not a banknote cow.”

“Passions run aerial this week,” said Hope Davis, a agent for the ambulatory group, Save the Art-Save the Museum. “This is an bent deaccession of an important bounded accumulating and our attendance actuality is to abash added museums from afterward a agnate aisle and adopting accessible awareness.”

It was difficult to ascertain whether the affable protesters put a damper on behest for the two works because the absolute black was restrained.

Other works on cardboard included Egon Schiele’s animated watercolor, Continuing Female in Shirt with Black Stockings and Red Scarf (1918), endemic by the aforementioned ancestors for 100 years, which awash for $2.06 actor (est. $1.2 million–$1.8 million) and Pablo Picasso’s backward and shell-shocked-looking self-portrait at age 92 , Tete, from July 5, 1972, accomplished in adorn on paper. It fabricated $1,995,000 (est. $1.2 million–$1.8 million).

The Schiele was underbid in the salesroom by New York adviser Mary Hoeveler and the Picasso was underbid by New York adviser Todd Levin. Both absent out to bearding blast bidders.

The Picasso was backed by an certain bid.

Pablo Picasso, Le Repos, 1932, oil on canvas, awash for $36.9 million.

©2018 ESTATE OF PABLO PICASSO AND ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/COURTESY SOTHEBY’S

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Values attempt college with Picasso’s serene and animal circumscribed visage of his lover and brood Marie-Thérèse Walter in Le Repos from 1932 that awash to addition blast bidder, this one manned by Patti Wong, administrator of Sotheby’s Asia, for $36.9 actor (est. $25 million–$35 million). One of the underbidders was Melanie Clore of London’s Clore Wyndham Fine Art Limited.

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That allotment aftermost awash at bargain at Sotheby’s New York in November 2000 for $7.9 actor and tonight it was the accomplished bulk for the eleven Picassos on offer. Overall, however, it was a asperous black for Picasso: bristles of them bootless to sell, the aftereffect of ever optimistic estimates.

Georgia O’Keeffe’s beaming landscape, Lake George with White Birch from 1921, which seemed hardly out of place—her assignment usually appears in American painting sales—sold to addition blast applicant for a whopping $11.3 actor (est. $4 million–$6 million), as did Mary Cassatt’s admirable A Goodnight Hug from 1880 in delicate on amber cardboard that raced to $4.52 actor (est. $700,000–$1 million). New York banker Jill Newhouse was the underbidder; an bearding buzz applicant won it.

Claude Monet, Matinée Sur La Seine, 1896, oil on canvas, awash for $20.5 million.

COURTESY SOTHEBY’S

Back in high-value, baddest territory, Claude Monet’s abundant and atmospheric arena from one of his added admired and acclimate choleric series, Matinee sur la Seine from 1896, awash to addition blast applicant for $20.6 actor (est. $18 million–$25 million), one of the few above lots advancing to bazaar “naked”—that is, after a guarantee.

And Fernand Léger’s absolute and bright autogenous from November 1918, Le Darnier jaune, awash with the activity and renewed blush of postwar Paris, awash for $5.87 actor (est. $6 million–$8 million). It was backed by a Sotheby’s guarantee.

The Monet aftermost awash at Sotheby’s New York in November 2000 for $5.7 actor and the Léger’s aftermost airing was in the Yves Saint Laurent and Pierre Berge single-owner bargain at Christie’s Paris in February 2009, area it fabricated €3.7 million.

Sculpture was somewhat sidelined, as Alberto Giacometti’s iconic and appropriately continued feline, Le Chat, from a 1955 lifetime casting (est. $20 million–$30 million) was pulled from the bargain and rescheduled to be awash at the firm’s June black bargain in London.

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Jean Arp’s curvaceous bronze, Ptolemee II, from a 1961 cast, sparked a behest activity amid New York art adviser Andrew Ruth of Ruth Catone and New York and London banker Chris Eykyn of Eykyn Maclean. Eykyn won at $2.24 actor (est. $1.5- million–$2 million).

Quirkily avant-garde for its time, Francis Picabia’s greenish brave bifold portrait, Sous les oliviers (Coquetteri), from about 1924–27, based on a begin postcard of an all-embracing brace and one of the artist’s alleged “monster” paintings, awash for $2.54 actor (est. $2 million–$3 million). It came backed with an certain bid and aftermost awash at Sotheby’s London in June 2008 for £937,250. Admitting defective figures, Edvard Munch’s moody, brilliant brindle nightscape, Sommernatt (Summer Night), from 1902, awash for $11.3 actor (est. $10 million–$15 million).

Pablo Picasso, Famille d’arlequin, 1905, gouache and ink on agenda laid bottomward on cradled panel, awash for $11.5 million.

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©2018 ESTATE OF PABLO PICASSO AND ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/COURTESY SOTHEBY’S

Back on the band-aid Picasso circuit, the page-sized and affecting Rose Period agreement in gouache and ink on card, laid bottomward on panel, Famille d’Arlequin, from 1905, awash to addition blast applicant for $11.5 actor (est. $12 million–$18 million).

The Picasso came to bazaar backed with a Sotheby’s agreement and awash at Sotheby’s London in June 2008 for $9.8 million, as did the artist’s backward and active Femme au chapeau assise buste (1962), which awash to New York banker Christophe van de Weghe for $5.31 actor (est. $4 million–$6 million).

“It’s a attractive painting,” said van de Weghe as he exited the salesroom, “and my applicant was able to go abundant higher.”

Asked why the black activity appeared so restrained, van de Weghe said, “I anticipate there was a lot of mediocre-quality works in the bargain and [things were] a little bit too awful estimated.”

The faculty of over-ambitious estimates and some less-than-stellar offerings was echoed by London adviser Hugo Nathan of Beaumont Nathan, who opined, “If there’s not abundant material, bodies accept abounding added choices and can delay for added times.”

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The black activity resumes Tuesday at Christie’s with a higher-valued annular of Impressionist and avant-garde Art.

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