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"Il n'y a en art, ni passé, ni futur. L'art qui n'est pas dans le présent ne sera jamais." (Pablo Picasso)

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     Clip Rétro "Sioux" turquoise, laque et damants, par CartierPhoto: Christie's Images Ltd 2012

    Figurant une tête de sioux, la coiffe en laque ivoire et noire ponctuée de deux turquoises cabochons et de petits diamants, le visage en laque rouge, monture en or, poinçon français, poids brut: 14.25 gr., vers 1940. Signé Cartier Paris, no. 06752 . Lot 176. Estimate €5,000 - €7,000

    A Retro Turquoise, Lacquer, Diamond And Gold "Sioux" Clip Brooch, By Cartier

    Christie's. Paris Jewels. 6 June 2012. Paris 

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    Sir Peter Paul Rubens (Siegen, Westphalia 1577-1640 Antwerp), Portrait of Ferdinando Gonzaga as a boyPhoto: Christie's Images Ltd 2012

    oil on canvas; 32 x 22¼ in. (81.2 x 56.5 cm.). Lot 84. Estimate $500,000 - $700,000

    ProvenancePresumably painted for Vincenzo I Gonzaga (1562-1612), Duke of Mantua. Probably one of the Gonzaga pictures acquired by the Contarini family, Venice.
    Dr. Martin Schubart (1808-1891); (+), Hugo Helbing, Munich, 23 October 1899, no. 97, as 'Moroni'.
    Anonymous sale; Hahn, Frankfurt-am-Main, 7-8 May 1940, lot 181, as 'Moroni' (900 RM).
    Acquired by the present owner in 2000. 

    LiteratureR. Morselli, The Gonzaga family: Rubens and Collections of the Ducal Palace in Mantua, exhibition catalogue, New York, 2001, pp. 59-67.
    S. Schroth in the exhibition catalogue, Rubens: Dibujos para el retrato ecuestre del duque de Lerma, Madrid, 2001, pp. 41, 63.
    S. Lapenta, in the exhibition catalogue, Gonzaga: la celeste galerie, Mantua, 2002, pp. 91, 173-174, no. 6.
    D.S. Chambers and J. Martineau, review of the exhibition in Mantua, The Burlington Magazine, CXLIV, 2002, pp. 777-779, no. 1197. 

    Exhibited:  Mantua, Palazzo Te/Palazzo Ducale, Gonzaga: la celeste galleria, le raccolte, 2 September-8 December 2002, no. 6. 

    NotesThis vivacious and engaging portrait undoubtedly represents Ferdinando Gonzaga, later to become duke of Mantua. The identity of the sitter is established by comparison with two other likenesses of him by Rubens. The more important of these is a portrait now in the Fondazione Magnani-Rocca in Mamiano in which the features are the same and the sitter again wears the distinctive robe with a Maltese cross indicating that he is a member of the Order of Saint John. The portrait in Mamiano is a fragment cut from Rubens's great canvas of the Gonzaga family adoring the Holy Trinity (fig. 1). The three sons of Vincenzo Gonzaga -- Francesco (1586-1612), Ferdinando (1587-1626) and Vincenzo (1594-1627) -- were there shown behind the duke in the act of adoring an image of the Trinity, which appears above them in the form of a tapestry held by angels. As Elizabeth McGrath points out, Ferdinando was the only one of the three boys to belong to the Order of Saint John and so his identity is not in question.

    There is another likeness of Ferdinando in a drawing by Rubens in Stockholm, which bears an inscription identifying the sitter (fig. 2). This drawing not only shows the same features as the Mamiano portrait, it also shows the head in the same pose, with the eyes downcast. It thus seems to have been made for the Adoration of the Trinity in which Ferdinando is shown looking down at his prayer-book. On the other hand, the drawing does not appear to be contemporary with the Adoration of the Trinity, which was painted in 1604-1605, when Ferdinando was 17 or 18 years old. The Stockholm drawing shows a younger Ferdinando and was most likely made shortly after Rubens's arrival at the Gonzaga court in the summer of 1600 and before his departure for Rome in the summer of 1601.

    Rubens had left Antwerp for Italy in May 1600. Not long after his arrival he had secured himself a position at the Gonzaga court, where he would certainly have been engaged primarily as a portrait painter. A matter of weeks after Rubens's arrival, the duke also called to his service a more experienced Flemish portrait painter, Frans Pourbus the Younger (1569-1622). It seems he had in mind a project of assembling a collection of portraits of beautiful women and wished this to be undertaken by Flemish painters whose naturalistic manner suited his taste. Rubens seems to have avoided the fate of being employed extensively on the project. In 1601 he had already received the commission for an altarpiece in Rome and he was to remain there until April of the following year. In 1603, moreover, he was entrusted with a diplomatic mission to Spain.

    There are only limited possibilities for dating the present portrait. Like the Stockholm drawing, it could belong to Rubens's first period in Mantua from mid-1600 to mid-1601. If it is slightly later, it could date from a period between mid-1602 -- after Rubens's return from Rome and Ferdinando's from the University of Ingolstadt -- and March 1603, when Rubens set out for Spain. A dating to the period immediately upon Rubens's return from Spain seems unlikely because by that time Ferdinando had become a student at the University of Pisa and he was not to return to Mantua again until June 1607, already a 20-year-old. Since Rubens returned to Italy via Genoa and Milan (rather than Pisa), he would not have seen Ferdinando again until 1607. There are thus two plausible time slots for the dating of the portrait: one in 1600/1601 and another in 1602/1603.

    With its smooth flesh modeling and sharp focus, the style of the present portrait recalls that of Pourbus. This is in contrast to the bold, broken paint handling evident in Rubens's fragmentary portraits from the Adoration of the Trinity, of 1604-1605, and to the more Venetian idiom of the artist's Self-portrait with friends of 1602/1604 (Cologne, Wallraf Richartz Museum). The differences are such as to suggest to some scholars that this portrait may not be by Rubens.

    While the present portrait echoes Pourbus's style, it does not do so closely enough to allow the possibility that it was painted by Pourbus. Peter Sutton draws a useful comparison with the somewhat later portrait of Ferdinando in the habit of a cardinal (Bologna, Pinacoteca) which is attributable to Pourbus. The older artist's handling is stiffer, more linear, more hard-edged, more detailed. The present portrait is characterized by a more succulent handling of paint, especially evident in the curtain but also in Ferdinando's collar and the Maltese cross on his robe. There is also a vibrancy in the handling of the flesh and the facial features which is distinctly Rubensian. The fact that the portrait is unusually Pourbus-like for Rubens is readily explained by the fact that he had been employed by Vincenzo Gonzaga to paint portraits in this manner. Rubens was surely capable of inflecting his style towards that of Pourbus when the occasion required it. He is perhaps more likely to have done so very early in this Mantuan period and so a date of 1600/1601 seems more likely than the slightly later one of 1602/1603 after Rubens had been to Rome.

    As a boy Ferdinando showed exceptional academic ability and was sent to study at the University of Ingolstadt (1601-1602) and then the University of Pisa (1603-1607). He was encouraged to read law but preferred to study philosophy and the natural sciences. Shortly after his return to Mantua in 1607 he was appointed a cardinal and in this capacity he made his grand entry into Rome in 1610. Once there he soon became involved in art collecting and the patronage of artists such as Domenico Feti, Carlo Saraceni, Antiveduto Grammatica and Paul Bril. However with the death of his father, closely followed by that of his elder brother Francesco, in 1612 he returned to Mantua. He was declared duke in February 1613 and crowned (after finally having been released from his vows as a cardinal) in 1616.

    Thanks to Richard Beresford for allowing us to reprint this catalogue entry.

    Christie's . Old Master Paintings. 6 June 2012. New York, Rockefeller Plaza 

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    Jan Breughel I (Brussels 1586-1625 Antwerp), A still life of an ornamented stoneware jug holding a bouquet of roses and lilacs, with a wreath of many smaller flowers, including roses, carnations, cyclamen, narcissi, forget-me-nots and love-in-a-mist, lying on a tablePhoto: Christie's Images Ltd 2012

    signed 'BRVEGHEL' (lower left), oil on panel, 15¼ x 23¼ in. (38.9 x 59.2 cm.) - Lot 92. Estimate $500,000 - $700,000

    ProvenanceDr. Karl Szeben, Amsterdam, from whom acquired by the following.
    with Kunsthandel P. de Boer, Amsterdam, 1939.
    Hendrik Petrus Doodeheefver, Amsterdam, 1940.
    Anonymous sale; Sotheby's, London, 24 June 1959, lot 78 (£5,200 to L. Koetser).
    with Leonard Koetser Gallery, London, 1959.
    G.H. Dixon, London; Christie's, London, 29 June 1973, lot 82 (22,000 gns. to R. Green).
    with Richard Green Gallery, London, 1973.
    Private collection, England, by 1979, and by descent until 2002; Sotheby's, London, 10 July 2002, lot 14 (£292,650).
    Anonymous sale; Sotheby's London, 5 July 2006, lot 32.
    with David Koetser, Zurich, by whom sold to the present owner. 

    LiteratureM.L. Hairs, Les peintres flamands de fleurs au XVIIè siècle, Paris and Brussels, 1955, p. 40.
    M.L. Hairs, Les peintres flamands de fleurs au XVIIè siècle, Brussels, 1965, pp. 67, 361.
    Brod Gallery, Jan Brueghel the Elder, exhibition catalogue, London, 1979, no. 35.
    K. Ertz, Jan Brueghel der Ältere (1568-1625), Cologne, 1979, pp. 297, 299, 532, footnote 393a, fig. 373, as 'Jan Brueghel the Younger'. K. Ertz, Jan Brueghel der Jüngere (1601-1678) Die Gemälde mit kritischem Oeuvrekatalog, Freren, 1984, pp. 455, 456, no. 290, fig. 290, as 'Jan Brueghel the Younger'.
    M.L. Hairs, Les peintres flamands de fleurs au XVIIe siècle, Brussels, 1985, pp. 42, 46, 427, footnote 206, fig. 13.
    S. Segal, Flowers and Nature, Amsterdam, 1990, p. 181, no. 29.

    K. Ertz, Jan Brueghel der Ältere: die Gemälde, III, pp. 973-975, no. 459, as 'Jan Brueghel I'.

    Klaus Ertz included this work among the authentic paintings in his catalogue raisonné of Jan Breughel I from 2008-2010. Confirming this attribution are expert reports accompanying the painting by Fred Meijer and Sam Segal, who date it to around 1620.

    ExhibitedLondon, Leonard Koetser Gallery, 2-30 November 1959, no. 18.
    London, Brod Gallery, Jan Brueghel the Elder, 21 June-20 July 1979, no. 35.
    Manchester, Manchester City Art Gallery, on loan, 1991-1998. 

    NotesFrom the preeminent family of Antwerp painters, Jan Breughel I was known by the nicknames 'Flower,' 'Paradise,' and 'Velvet,' testaments to both his predilection for certain subjects and manners of painting. Returning home from a sojourn to Italy from 1589-1596, where he created works for Cardinal Federico Borromeo, Breughel joined the Guild of Saint Luke in Antwerp in 1597 and by 1608 was working as a court painter to Archdukes Albert and Isabella, Hapsburg regents of the Netherlands. Of the many subjects he painted, Breughel was particularly well known for his flower-pieces. He took them seriously, claiming to travel to study certain blooms and to work from life exclusively in spring and summer months; the present work contains blossoms from both indigenous and exotic sources.

    While this painting appears in the catalogue of his son, Jan Breughel II (Ertz, op. cit., I, pp. 455-456, no. 290), Marie-Louise Hairs, Fred Meijer and Sam Segal more recently have attributed it to Jan Breughel I, dating the painting to around 1620 (private communication, 2002). In this period, Brueghel completed a number of works with similar compositions, including Flowers in a Basket and a Vase of 1615 now in the National Gallery of Art, Washington, D.C. (inv. no. 1992.51.7). In both works, the bright blue, yellow, pink, red and white blossoms, accompanied by thick greenery, produce a dramatic silhouette against the simple black background. This composition allows viewers to appreciate simultaneously the beauty of flowers as found in nature and the skill of the artist who so deftly recreated them.

    Christie's . Old Master Paintings. 6 June 2012. New York, Rockefeller Plaza 

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     Jean-Baptiste Isabey (1767-1855) , «L'Empereur Napoléon Ier»Photo Osenat

    en buste de face, en uniforme de Colonel de Grenadiers à pied de la Garde Impériale portant l'ordre de la Légion d'honneur et la Couronne de fer. Superbe miniature ovale sur ivoire, signée et datée sur le côté droit «Isabey 1806». Présentée dans un médaillon à suspendre en argent ciselé. 45 x 35 mm. Cadre: 74 x 46 mm. Lot 198. Estimation : 18 000 - 22 000 € 

    Osenat. L'Empire à Fontainebleau. Dimanche 10 juin à 14h00. 5 rue royale 77300 Fontainebleau. EMail : - Tél. : Général 01 64 22 27 62

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    Pietro Benvenuti (Arezzo 1769 - Florence 1844) Ecole italienne du XVIIIe et XIXe siècle, «Portrait en buste d'Elisa Bonaparte (Ajaccio 1777 - Trieste 1820)»Photo Osenat

    Huile sur toile. Cadre en bois et stuc doré. 55 x 40 cm. Lot 200. Estimation: 8 000 - 10 000 € 

    Inscrit dans sa production de portraits féminins, c'est ici une vision plus intime de la souveraine que nous offre Pietro Benvenuti. Il y présente une femme encore jeune, pensive, dont la parure et la robe légère soulignent des traits tendant vers une beauté idéalisée Biographie: Formé à Rome, Pietro BENVENUTI dessina l'Antique, les Loges de Raphaël, et s'intéressa aux gravures de Dürer. C'est surtout la fréquentation du milieu néoclassique davidien qui eut sur son oeuvre une influence décisive. A partir de 1792, la carrière de Pietro Benvenuti se poursuivit à Florence.

    Elisa Baciocchi-Bonaparte, soeur de Napoléon à qui elle était très liée, le nomma à la tête de l'Académie des Beaux Arts de Florence. Ce «David toscan» y enseigna selon les canons néoclassiques, dans un milieu artistique agité par l'émergence des idées romantiques. Outre son travail d'enseignement, il reçut de nombreuses commandes officielles, travaillant par exemple plusieurs dizaines d'années aux décors du Palais Pitti. Ouvres en rapport: L'une des ambitions de la politique éclairée d'Elisa BONAPARTE, Grande-duchesse de Toscane, fut d'animer un centre artistique marquant l'histoire des arts.

    Le tableau de Pietro Benvenuti Elisa Bonaparte entourée d'artistes à Florence (Château de Versailles) en rend compte. On y retrouve Canova, ami intime du peintre qui l'influença formellement. Le peintre fit également un portrait d'Elisa en pied, avec sa fille (musée du château de Fontainebleau)..

    Bibliographie: L.FORNASARI, Carlo SISI, Pietro Benvenuti alla corte di Napoleone e dei Lorena, Livorno: Sillabe, 2009 (cat. d'exposition, Florence, 2009) Pietro Benvenuti: 1769 - 1844, Arezzo: Galleria comunale d'Arte Contemporanea, 1969 (cat. d'exposition, Arezzo, 1969) L. FORNASARI, Pietro Benvenuti, Firenze: Casa di risparmio, 2004 L. FORNASARI, C. SISI, Pietro Benvenuti: disegni, Firenze: Saletta Gonnelli, 2002

    Osenat. L'Empire à Fontainebleau. Dimanche 10 juin à 14h00. 5 rue royale 77300 Fontainebleau. EMail : - Tél. : Général 01 64 22 27 62

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    Coupe de mariage en jade céladon pâle sculpté. Chine, Dynastie Qing, Époque Qianlong  (1736-1795) Photo: Christie's Images Ltd 2012

    De forme contournée, une partie de la bordure formant bec verseur, reposant sur quatre pieds, la panse décorée de deux chauves-souris et fungus, les anses en forme de lingzhi retenant chacun un anneau, le dessus orné d'une pierre sonore, de pompons et des caractères fuxi etshou composant un pendentif formant anse. Longueur: 23,2 cm. (9 1/8 in.) Lot 203. Estimate €250,000 - €350,000

    ProvenanceFrom the collection of Paul-Louis Weiller (1893-1993) and since then by descent to the present owner
    Two old labels stating 'Collezione S. Bulgari, Rome' and 'Collection S. Bulgari, Rome'

    NotesBowls of this type are known as 'marriage' bowls, and with their carefully chosen auspicious decoration, were popular in China, especially under the reign of the Qianlong Emperor (1736-1795).

    The present bowl is decorated with bats, lingzhi and shou characters which wish longevity, while the words fu and xi mean 'happiness' and 'double joy'. These different symbols represented on such bowls are commonly used as wedding gift.

    The basic shape of a bowl with two handles with loose rings is especially popular from the Qing dynasty and onwards. Most probably the shape derived from archaic gui examples, which constitute of a circular bowl on a low foot ring and two 'C'-scroll handles, but without the loose rings.

    Compare with a white jade marriage bowl sold by Christie's Hong Kong, 1 December 2009, lot 2010.

    Christie's. Art d'Asie. 12 June 2012. Paris 

    NDB: Cette coupe a été vendue précédemment par GROS & DELETTREZ le 5/42011 pour 810 000 €.



    Grande coupe à bec verseur en jade néphrite vert clair avec deux anses formées de lingzhi retenant des anneaux. Photo GROS & DELETTREZ

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    Rare ensemble de quinze plats en porcelaine de la famille verte et imari. Chine, Dynastie Qing, Epoque Kangxi (1662-1722)Photo: Christie's Images Ltd 2012

    De forme circulaire, le centre orné de cavalières appartenant à la famille Yang galopant à cheval parmi des jardins, une femme accompagnée de servantes observant la scène depuis la terrase d'un pavillon, le marli rehaussé de fleurs variées, le revers orné de branchages fleuris ; égrenures
    Diamètres: un plat de 54 cm. (21¼ in.), un plat de 48,5 cm. (19 1/8 in.), trois plats de 43 cm. (17 in.), quatre plats de 39 cm. (15 3/8 in.), six plats de 33,5 cm. (13¼ in.) (15). Lot 96. Estimate €100,000 - €150,000

    ProvenanceBy repute from the Collection of Princess Isabella Lubomirska (born Czartoryska) (1736-1816)
    Formerly in the Collection of Count Potocki, Lancut Castel, Poland
    From the collection of Paul-Louis Weiller (1893-1993) and since then by descent to the present owner

    NotesThe centres of these dishes bear a design known as 'the generals of the Yang family'. This relates to a story from the Northern Song dynasty, when the men of the Yang family had all been killed by the invading Khitan Tartars. The women of the family therefore took up arms in defence of their country, and are shown here riding out to meet the enemy watched by the Yang family matriarch.

    These dishes were part of a group of fifty dishes. This important group may be linked to the fashion for collecting Chinese art in 18th century Europe. The present group of dishes comes from the castle of Lancut in southern Poland. They bear provenance labels from this castle, and were photographed in situ in the castle in 1932-33.

    Lancut castle, which was first built for Stanislaw Lubomirski in 1629-42, was converted from a fortress into a palace and park by Princess Izabela Lubomirska (1736-1816) of the Czartoryski family in the second half of the 18th century. She also filled the castle with works of art, and it became one of the grandest residences in Poland. With the help of the architect Vincenzo Brenna, in the early 1780's she created a Chinese apartment of three rooms decorated with Chinese works of art in bronze, lacquer and porcelain. Although it is not yet known precisely when the current dishes entered the castle, it is most likely that they did so at the time of the construction of the Chinese apartment.

    However, it is also possible that the dishes could have been bought in the early 19th century by her grandson, Count Alfred Potocki the First, heir of Lancut castle, who completed the collection he inherited with new acquisitions from the London and Paris art market.

    Christie's. Art d'Asie. 12 June 2012. Paris 

    NDB: Un exceptionnel ensemble de cinquante plats ronds à décor polychrome des émaux de la famille verte de la même collection avec la même provenance avait été proposée par GROS & DELETTREZ le 5/42011. Il n'a pas trouvé preneur pour une estimation de 600 000 - 800 000 €.





    Exceptionnel ensemble de cinquante plats ronds à décor polychrome des émaux de la famille verte. Photo GROS & DELETTREZ

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    Rare verseuse zoomorphe en bronze et incrustations or, argent et turquoise. Chine, Dynastie Song  (960-1279). Photo: Christie's Images Ltd 2012

    En forme d'animal mythologique, reposant sur ses quatre pattes, le corps orné de rinceaux en incrustations d'argent, la tête à décor de motifs stylisés en incrustations d'or et d'argent, les yeux, les oreilles, le collier et la queue incrustés de turquoise, le dos rehaussé d'un couvercle orné d'une tête d'oiseau finement incrustée d'argent et de turquoises, socle en bois. Longueur: 35 cm. (13¾ in.) - Lot 286. Estimate €150,000 - €250,000

    LiteratureIllustrated Catalogue of Chinese Art, Burlington Fine Arts Club, London, 1915, plate XXXV.

    Exhibited: Burlington Fine Arts Club, London, 1915

    Notes: This vessel and others like it are the result of the interest in archaic bronzes during the Northern Song period, brought about by a renewed interest in Confucianism and anything associated with the rituals of the Bronze Age. The archaic inspiration for these vessels could be embodied by a Warring States tapir-form vessel inlaid with gold, silver and turquoise illustrated in A Selection of Archaeological Finds of The People's Republic of China, Beijing, 1976, pl. 44.

    A comparable but slightly more elaborate Song/Yuan example was sold by Christie's New York, 21 March 2000, lot 162. The dating of this vessel was substantiated by a thermoluminescence test. As the present lot is less lavishly decorated a slightly earlier date is conceivable.

    See also the exhibition catalogue Le Musée chinois de l'Impératrice Eugénie, Château de Fontainebleau, Blanchard, Le Plessis-Robinson, juin 1994, fig. 20. 

    Christie's. Art d'Asie. 12 June 2012. Paris 

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    Coupelle en porcelaine de la famille rose. Chine, Dynastie Qing, marque à six caractères et époque Yongzheng  (1723-1735)Photo: Christie's Images Ltd 2012

    De forme circulaire, ornée de branchages feuillagés d'hibiscus blanc, mauve et aubergine, marque à six caractères de l'Empereur Yongzheng en bleu sous couverte à la base. Diamètre: 15,6 cm. (6 1/8 in.) - Lot 114. Estimation€20,000 - €30,000

    Provenance: Alfred Guntermann collection, USA

    Notes: The technique of enamel application on the present dish is known as 'boneless style' as areas of colour are painted on without the use of formal outlines as a frame for the design. This 'boneless' technique does not appear to have been widely used, and was usually confined to smaller wares. The technique is discussed in greater detail by R. Scott, '18th Century Overglaze Enamels: The Influence of Technological Development on Painting Style', Style in the East Asian Tradition, Percival David Foundation, London, 1987, pp. 158 and 164.

    A pair of bowls with a similar design is illustrated in The Tsui Museum of Art, Chinese Ceramics, vol. IV, pl. 151.

    See other Yongzheng dishes with flower patterns illustrated in R. Kerr, Chinese Ceramics - Porcelain of the Qing Dynasty 1644-1911, Victoria and Albert Museum, Far Eastern Series 1986, p.111-113.

    Christie's. Art d'Asie. 12 June 2012. Paris 

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    Coffret en or. Chine, XXème siècle Photo: Christie's Images Ltd 2012

    De forme rectangulaire reposant sur quatre pieds en forme de dragons, les quatre côtés et le couvercle en or repoussé, ornés de fleurs de lotus, bambous et grues, le couvercle rehaussé de deux dragons parmi les nuages encadrant les caractères shou et fu, marques Kyyun en cachet sous la base. Dimensions: 9 x 17 x 10,7 cm. (3½ x 6 5/8 x 4¼ in.), Poids: 835g. Or titré à 18 K. Lot 262. Estimation€12,000 - €18,000

    Rare boîte en or et incrustations. Chine, Dynastie Qing, Epoque Qianlong (1736-1795) ou plus tardif Photo: Christie's Images Ltd 2012

    De forme polylobée, en or, rehaussée de volutes en filigranes, agrémentée d'incrustations en rubis, saphirs, perles naturelles et de culture, plumes de martin-pêcheurs et corail, le dessus du couvercle orné de cinq chauve-souris entourant le caractère shou, marque à quatre caractères de l'Empereur Qianlong à la base probablement postérieure ; petits manques et remplacements. Longueur: 10,4 cm. (4 1/16 in.), Poids: 388,2 g. Or titré 22 à 24 K. Lot 263. Estimation€30,000 - €40,000

    Provenance: From a French private collection

    Repose-pinceaux en jade céladon sculpté, rubis et monture en or. Chine, Dynastie Qing, fin du XVIIIème siècle Photo: Christie's Images Ltd 2012

    En forme de pics montagneux, ornés de linghzi et pins sertis de petits rubis, la monture en or rehaussée de branchages feuillagés ; une petite égrenure. Longueur: 10,3 cm. (4 in.). Or titré à 18 K. Lot 264. Estimation:€2,000 - €3,000

    Christie's. Art d'Asie. 12 June 2012. Paris 

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    Médaillon représentant un jeune homme de profil en marbre blanc.Epoque Louis XIVPhoto Fraysse & Associés

    appliqué sur du marbre vert antique dans son cadre en chêne sculpté et doré. Hauteur: 54, 5 cm - Longueur: 45 cm (avec le cadre) Hauteur: 42 cm - Longueur: 34 cm (sans le cadre). Lot 203. Estimation : 4 000 - 8 000 €

    Fraysse & Associés. Mercredi 06 juin à 14h00. PARIS HÔTEL DROUOT - SALLE 7. EMail : Tél. : 01 53 45 92 10

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    A pair of monumental Chinese Cloisonné Palace vases. Maker unknown, Chinese, Qing dynasty. Photo Heritage auctions

    DALLAS, TX.- A Frank Lloyd Wright leaded glass window, a large private Dallas collection featuring a Gilbert Rohde dining set anda magnificent matched pair of Chinese cloisonné palace vases are among the important lots in back-to-back events presented by Heritage Auctions in its 20th Century Design Signature® Auction, with the Decorative Arts Signature® Auction following on June 14.

    The auction features a large collection of iconic American Modern Design that was secreted away in a Dallas residence for years,” said Karen Rigdon, Consignment Director at Heritage Auctions, “painting a picture of the era of the 1930s to the mid 1950s, a period of glamorous cocktail parties, elegant women and technological advancements that propelled society into the modern age.” Passionately and methodically amassed, the collection encompasses all things streamlined from furniture and accessories to appliances and books.

    Other important offerings include the Frank Lloyd Wright leaded glass window is from the famed Darwin D. Martin House in Buffalo, NY – estimated at $15,000+ – and is the upper part of a Tree of Life window discarded during a 1960s remodeling. 


    Frank Lloyd Wright (American,1867-1959), Leaded glass window from the Darwin D. Martin house, Buffalo, New York. Produced by Linden Glass Company, Chicago, Illinois, circa 1904Photo Hermitage auctions. 

    Unmarked, 25-3/8 x 16-1/2 inches (64.5 x 41.9 cm). Estimate: $15,000 - $25,000.

    The window with stylized geometric trees executed in colored glass in several shades of transparent green, amber and white, and opaque opalescent, gold and iridized gold glass, the glass pieces each set at slightly different angle, in brass canes.

    This lot is the upper portion of a Tree of Life window from the Martin House (1904-1905), part of the Darwin D. Martin House Complex, and is one of more than sixty windows and doors in this pattern created for the house. The window, which originally extended to stylized trunk and roots, was removed from the home which was abandoned from 1938 to 1954 and remodeled in the 1960s. At the time of the remodeling many irreplaceable parts of the house were sold or scrapped. This window was salvaged from a Buffalo dump, with damage beyond repair to the bottom segment.

    Other examples of this window are represented in the collections of the Corning Museum of Glass, the Art Institute of Chicago and the National Gallery of Australia..

    PROVENANCE: Darwin D. Martin House
    Private New York Collection from the early 1960s

    Wright, Frank Lloyd:Architect, draftsman, furniture and interior designer and author, Wright is internationally recognized as one of the most important figures in 20th century architecture. However, unlike other architects whose success and reputation are measured in part by the dispersal of their ideals into the everyday landscape, Wright remained an individualist who made only a slight impact on the evolution of 20th century architecture. Instead, his fame is derived from its intuitive ability to mold space within an environment and within space itself. He is best known for his "Prairie style" homes, efficient office buildings, and innovative furniture and chinaware designs.. American architect, 1867-1959.

    A Toulouse-Lautrec lithograph, L’Anglais au Moulin Rouge, is featured in the Design auction with an estimate of $30,000+. Number 29 in an edition of 100, it depicts the French post-Impressionist’s most famous subject.

    Few artists are so linked with one place as Toulouse-Lautrec is with the Moulin Rouge cabaret in Paris,” said Rigdon. “The pairing of a well-dressed Victorian Englishman with two of the Moulin Rouge’s infamous dancers adds humor to Toulouse-Lautrec’s unmistakable style.” 


    Henri de Toulouse-Lautrec (French, 1864-1901), L'Anglais au Moulin Rouge, 1892. Color lithograph, 18-5/8 x 14-5/8 inches (47.2 x 37.1 cm); 29/100. Signed and numbered in pencil lower left: HTLautrec / No. 29. Estimate: $30,000 - $50,000. Photo Heritage auctions

    NOTE: Printed by Ancourt on wove paper
    LITERATURE: G. Adriani, Toulouse-Lautrec: The Complete Graphic Works: A Catalogue Raisonné: The Gerstenberg Collection, New York, 1988, no. 7. 

    Midcentury design highlights continue with an important Italian representative in a Piero Fornasetti and Gio Ponti lithographed Architettura cabinet, estimated at $30,000+. The two-door, three-drawer cabinet sports a dazzling array of columns, windows, and arches, all rendered in black on a cream-colored ground. A Paul Frankl Desk and bookcase commissioned by the heir of the King Ranch for his New York residence and a Walter Dorwin Teague Bluebird Radio for Sparton are sure to pique the interest of collectors. 







    A Piero Fornasetti and Gio Ponti lithographed Archittura Cabinet. Piero Fornasetti (Italian, 1913-1988) and Gio Ponti (Italian, 1891-1979), Milan, Italy, designed 1951. Photo Heritage auctions

    Unmarked. 86-3/4 x 31-1/2 inches (220.3 x 80.0 cm). Estimate: $30,000 - $40,000. 

    The cabinet with two upper doors above a fall front three drawer base, with black lithographed architectural decoration on cream ground.

    Additional interest is provided by the field of American glass, including a c. 1900 Tiffany Studios patinated bronze lamp with Tulip glass shade, estimated at $20,000+.

    In the Decorative Arts auction the paired Chinese cloisonné palace vases dating to the 19th century, late in the Qing Dynasty, add a considerable amount of interest to high-end collectors. Each stands 41 inches high and has a diameter of 10-½ inches. They are estimated at $50,000+.

    The turquoise enamel on these vases is truly eye-catching,” said Rigdon, “and that is only the backdrop to the fearsome dog figures at the center of each. The two vases are mirrors of each other, which makes it all the more fortunate that they remain as a pair so viewers can appreciate the effect.” 




    A pair of monumental Chinese Cloisonné Palace vases. Maker unknown, Chinese, Qing dynasty. Photo Heritage auctions

    41 inches high x 10-1/2 inches diameter (104.1 x 26.7 cm). Estimate: $50,000 - $80,000. 

    The pair of monumental vases with finely articulated Foo dogs to the body over a turquoise blue diaper pattern ground, stylized floral and scroll patterning to base and to neck with eight cartouches containing symbols at the top of the shoulder, Foo dogs to neck on turquoise ground with clouds, included are two modern stands and two pedestals measuring 46 1/2 inches high. 

    Condition Report: With minor denting to the middle of shoulder of one, minor surface scratching to enamel and to copper interior commensurate with age. 

    A seven-legged Wright & Mansfield Victorian Satinwood Cabinet, dated to the 1870s and estimated at $40,000+ continues the Dec Arts highlights and is the top European lot. More than five feet tall and almost eight feet wide, this cabinet from the award-winning London firm is similar in design to another housed in the Victoria and Albert Museum.

    Additional highlights include a c. 1870 Italian (probably Milan) ebonized wood and ivory secretary and a c. 1900 French pair of monumental porcelain and gilt bronze urns. Each lot carries an estimate of $30,000+ while a c. 1900 walnut and gilt bronze vitrine by Louis Majorelle also is estimated at $30,000+.

    “Once again we’ve put together a great lineup of design and decorative art,” said Tim Rigdon, Director of Decorative Arts. “The European and American offerings are impressive, but the Chinese cloisonné palace vases prove that true decorative beauty knows no borders. Lots across the auction are presented across a variety of price points to satisfy all level of collector.” 

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    Jean Raoux (Montpellier 1677- Paris 1734, Le duoPhoto Fraysse & Associés

    Huile sur toile, rentoilée. 98 x 128 cm Dans son cadre en chêne du XVIIIe siècle. Lot n°99. Estimation : 30 000 - 50 000 €

    Historique: Plusieurs mentions dans les ventes du XVIIIe siècle, qui peuvent aussi concerner l'autre version (105 x 128 cm), n° 30 du catalogue de l'exposition de Montpellier. Appartement du chevalier d'Orléans, Grand Prieur, au Temple jusqu'en 1748. Vente Vassal de Saint-Hubert, Paris 17 Janvier 1774, n° 81. Vente Beaujon, Paris 24 avril- 4 mai 1787, n°96. Vente Donjeux, Paris 29 avril 1783 n° 37 (avec pendant «Jeunes filles au miroir»). Vente Bonnemaison, Paris 15-17 juillet 1802 (avec pendant). Collection Eugène Kraemer. Sa vente, Paris, Galerie Georges Petit, 28-29 avril 1913, n° 49, repr.

    Bibliographie: Georges Bataille, «Raoux» in Louis Dimier, Les peintres français du XVIIIe siècle. Histoire des vies et catalogue des oeuvres, Bruxelles 1928-1930, T. II, pp. 267-282 n° 138. Célia Alegret, in Maître Français 1500-1800, Dessins de la donation Mathias Polkovits à l'école des Beaux-Arts. 1989, p. 174, n° 67, fig. 1. Catalogue de l'exposition Jean Raoux, un peintre sous la Régence. Montpellier, 2009-2010, p. 196, n° 29, repr.

    Fraysse & Associés. Mercredi 06 juin à 14h00. PARIS HÔTEL DROUOT - SALLE 7. EMail : Tél. : 01 53 45 92 10

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    Superbe suite de quatre appliques en bronze ciselé et doré. Début du XIXème sièclePhoto Fraysse & Associés

    à décor de Victoires ailées tenant dans chaque main des palmes surmontant une sphère. Elles présentent 5 bras de lumière à enroulements ciselé de palmettes et têtes de Bacchus. L'ensemble repose sur une console supportée par une tête de mascaron. Hauteur: 45,5 cm. Lot n°220. Estimation : 20 000 - 30 000 €

    Des modèles de consoles similaires et ornements décoratifs identiques sont conservés au château de WILHELMSHÖHE à Kassel en Allemagne et avaient été livré entre 1808 et 1813 pour Jérôme roi de Westphalie. Voir VERGOLDETE BROZEN par le Pr. OTTENMEYER.

    Fraysse & Associés. Mercredi 06 juin à 14h00. PARIS HÔTEL DROUOT - SALLE 7. EMail : Tél. : 01 53 45 92 10

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    Plat en argent de forme ovale à bouts incurvés. Maître orfèvre Thomas Germain, reçu en 1720. Paris, 1728-1729Photo Fraysse & Associés

    les contours bordés de filets. Le marli gravé aux armes de Guy Truchot, conseiller secrétaire du Roi. Gravé au revers «N°13 7M 7O». Repoli. Longueur: 46 cm - Poids: 1 795 g. Lot n°45. Estimation : 15 000 - 25 000 €

    Un modèle similaire de plus grande taille est reproduit et décrit sous le N°88 du catalogue «La table d'un roi» L'orfèvrerie du XVIIIe siècle à la cour de Danemark. Répertorié comme attribué à Thomas Germain.

    Thomas Germain, un des plus grands orfèvres de tous les temps, fournisseur des Cours européennes et du Régent, ses oeuvres sont de la plus grande rareté et principalement connues dans les collections publiques ou des fondations. 

    Fraysse & Associés. Mercredi 06 juin à 14h00. PARIS HÔTEL DROUOT - SALLE 7. EMail : Tél. : 01 53 45 92 10

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    Paire de soupières en métal plaqué avec leurs présentoirs et leurs doublures.  Attribuées au Maître orfèvre Jean Vincent Huguet, reçu en 1745. Paris, entre 1775-1780Photo Fraysse & Associés

    Modèle de forme ovale dont la base est décorée de larges godrons encadrés d'un fond amati surmontés de quatre triangles encadrant des fleurons composés de feuilles d'acanthe en rappel sur le couvercle. Ce dernier se termine par une doucine surmontée d'un artichaut dont la base est agrémentée d'un filet enrubanné. Les anses à enroulement sont composées de feuilles d'acanthe et d'une coquille. La doublure est unie. Le présentoir ovale est bordé de filets enrubannés à agrafes feuillagées. Le large marli est décoré de quatre séries de canaux en éventail. Au centre sont gravées des armoiries de la famille Davasse de Saint Amarand officier au régiment royal Navarre, surmontées d'une couronne comtale avec des chutes de laurier en support (un artichaut restauré). Attribuées au Maître orfèvre Jean Vincent Huguet, reçu en 1745 comme privilégié des Gobelin. Poinçon pour un plaquage de 1/6e. Longueur du présentoir:49,5 cm - Largeur: 36 cm Longueur de la soupière: 38 cm -Largeur: 23 cm. Lot n°47. Estimation : 15 000 - 25 000 €

    Un modèle identique sans présentoir est reproduit et décrit sous le n°144 dans le catalogue d'exposition «L'ORFEVRERIE CIVILE EN FANCE au XVIIe et XVIIIe siècles». Aix-en- Provence,1954. 

    Fraysse & Associés. Mercredi 06 juin à 14h00. PARIS HÔTEL DROUOT - SALLE 7. EMail : Tél. : 01 53 45 92 10

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    Très large siège de musicien.  Estampillé de Pierre Rémy, reçu maître le 8 Mai 1750. Epoque Louis XVPhoto Fraysse & Associés

    à haut dossier plat droit en bois mouluré relaqué crême, la partie supérieure mouvementée, l'assise large sinueuse comme les ceintures. Les attaches dites à l'éventail. Pieds moulurés, cambrés à entretoise arquée. Hauteur: 109 cm - Longueur: 81 cm - Profondeur: 56 cm. Lot n°192. Estimation : 8 000 - 12 000 €

    Fraysse & Associés. Mercredi 06 juin à 14h00. PARIS HÔTEL DROUOT - SALLE 7. EMail : Tél. : 01 53 45 92 10

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    Exceptionnelle chaise en bois sculpté et doré de branchages fleuris, garniture à châssis.  XIXe siècle. Photo Fraysse & Associés

    à haut dossier plat droit en bois mouluré relaqué crême, la partie supérieure mouvementée, l'assise large sinueuse comme les ceinture

    La ceinture arrondie ornée d'entrelacs, perles, rubans tors et feuilles de lauriers. Pieds fuselés feuillagés à cannelures torses. Le modèle de cette chaise en noyer peint et doré fut exécutée par Louis Delanois. Porte sur la ceinture l'inscription à la mine de plomb «Mr le Baron G de Rothschild» et la marque en rouge des inventaires Rothschild.Hauteur: 68,5 cm - largeur: 58 cm - profondeur: 51 cm. Lot n°208. Estimation : 8 000 - 12 000 €

    Cette chaise à châssis, est ornée de motifs sculptés dorés sur le dossier, branches de lierre et de laurier entrelacées autour d'une baguette supportant des fleurons d'acanthe; à la ceinture, entrelacs bordés de perles et enfermant des rosaces. Les pieds droits sont ornés de cannelures torses.

    Cette chaise est semblable à une chaise de Delanois appartenant, avant la dernière guerre, au Kunstgewerbemuseum de Berlin. Salverte rapproche ce meuble, qui ne porte aucune marque de provenance, des descriptions du mobilier de Louveciennes. Louis XV donne en 1769 à Madame Du Barry le château de Louveciennes dans le jardin duquel elle fait construire un pavillon par Ledoux. Parmi les travaux faits par le peintre doreur Jean-Baptiste Cagny pour Madame du Barry en 1769-1771, figure la peinture d'un mobilier destiné au «salon du Pavillon», qu'il décrit ainsi dans son mémoire: «Vint une chaise très riche de sculpture, aprété, reparé, adouci et couché de teinte de beau blanc. Le dossier orné de fleurons, branches de giroflé tournante et formant le bouquet, entrelas, perles et rosettes, les pieds à cannelures torses avec fleurons et rosette, estimé eu égard à leur richesse chacune à la somme de 140 tt» Une réplique postérieure, exécuté par Henry Jacob, reçu en 1779, fût exécuté afin de venir compléter l'ensemble de chaises que Delanois avait exécuté quelque dix ans plus tôt... (cf «L'art du siège au XVIIIe siècle en France» par Bill G.B Pallot pages 214 et 215).

    Bibliographie: «Louis XV, un moment de perfection de l'Art Français» Hotel de la Monnaie, Paris, 1974. Pages 308. La chaise exposée lors de cette exposition était reproduite sous le numéro 403 de l'ouvrage et accompagnée d'une réplique dite postérieure qui pourrait être notre chaise.

    Fraysse & Associés. Mercredi 06 juin à 14h00. PARIS HÔTEL DROUOT - SALLE 7. EMail : Tél. : 01 53 45 92 10

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    Cartel et cul-de-lampe. Signé André Hory à Paris sur la platine. Epoque Louis XIVPhoto Fraysse & Associés

    à côtés légèrement obliques en marqueterie Boulle en première partie de laiton ajouré sur fond d'écaille brune. La partie supérieure en doucine ornée d'une lingotière alternée de lambrequins et fleurs de lys. Les angles décorés de termes surmontant des guirlandes de fleurs. Le cadran en bronze ciselé de rinceaux feuillagés et vases à douze cartouches d'émail, aiguilles d'acier, surmonté d'un mascaron. En partie inférieure un masque de femme entre deux grandes volutes.  (manque les marteaux). Hauteur: 100 cm -Largeur: 39 cm -Profondeur: 21 cm. Lot n°197. Estimation : 5 000 - 8 000 €

    André HORY actif à Paris entre 1700 et Voir un modèle similaire de même inspiration pour la partie basse conservé au Musée du Louvre. Nous pouvons rapprocher ce modèle dit du «Lever du jour» à celui, signé N. Delaunay à Paris, localisé au Musée Grobet-Labadie à Marseille. (cf «La pendule française, des origines au Louis XV» par Tardy).

    Fraysse & Associés. Mercredi 06 juin à 14h00. PARIS HÔTEL DROUOT - SALLE 7. EMail : Tél. : 01 53 45 92 10

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    Gourde de pélerinage. Bronze de patine verte. Vietnam, Dynastie Ly. Ca XIème siècle. Photo Delorme & Collin du Bocage

    comportant deux anses de chaque côté de la panse ainsi qu'une plus petite sur l'épaule. Cette panse est rythmée par quatre double lignes verticales tandis que la base et l'épaule sont ornées de frises décoratives. Un décor de feu illages se retrouve à chaque transition entre les frises et les lignes verticales. - H : 15,5 cm. Lot n° 233. Estimation : 1000/1400€

    Collection belge

    DELORME & COLLIN DU BOCAGE sas. MERCREDI 20 JUIN à 14 H 00. Salle 11, Drouot-Richelieu  9, rue Drouot 75009 Paris. él. : - Fax : - Email :

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