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Important cachet moghol en agate, Lucknow, 19e siècle

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Important cachet moghol en agate, Lucknow, 19e siècle. Photo Artcurial.

Cachet rond en jade gris céladon, gravé en caractères nasta'liq, à monture d'argent en forme de dôme étagé, décorée au repoussé de deux rangs de rinceaux végétaux. Prise sphérique en argent gravé, garnie de fils de soie orange formant un pompon. L'inscription mentionne le nom de Shah Jahan et la date 1046 A.H. (1636 A.D.). Diamètre : 9,5 cm. Estimation : 6 000 € / 8 000 €

AN IMPORTANT MOGHUL AGATE SEAL FROM LUCKNOW WITH SILVER MOUNT AND SILK TASSEL, 19TH CENTURY

Provenance : Collection Xavier Guerrand-Hermès.

ARTCURIAL - BRIEST-POULAIN-F.TAJAN. Arts d'Orient et de l'Islam Quatre Collections Privées. 12 Mai 2014 à 14h - http://www.artcurial.com/


A superb jadeite bangle

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A superb jadeite bangle. Photo Christie's Image Ltd 2014

The semi-cylindrical jadeite bangle of brilliant emerald green colour and high translucency, inner diameter approximately 53.7 mm, width approximately 13.8 mm, thickness approximately 8.2 mm. Estimate HK$30,000,000 – HK$50,000,000 ($3,888,462 - $6,480,770)

Accompanied by report no. KJ85156 dated 11 April 2014 from Hong Kong Jade & Stone Laboratory stating that the bangle is natural jadeite and no polymer is detected

Christie's. HONG KONG MAGNIFICENT JEWELS, 27 May 2014. Convention Hall - http://www.christies.com/

An important pair of jadeite, ruby and diamond ear pendants

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An important pair of jadeite, ruby and diamond ear pendants. Photo Christie's Image Ltd 2014

Each suspending a detachable pendant, set with a jadeite cabochon of vivid emerald green colour and high translucency, within a brilliant-cut diamond surround, to the oval-shaped ruby link and jadeite cabochon surmount of similar material and setting, mounted in 18k white gold, largest cabochon 17.6 x 13.8 x 5.7 mm, 5.2 cm long. Estimate HK$6,800,000 – HK$8,800,000 ($881,549 - $1,140,828)

Accompanied by report nos. KJ85068 and KJ85069 dated 4 April 2014 from Hong Kong Jade & Stone Laboratory stating that the cabochons are natural jadeite and no polymer is detected (2)

Christie's. HONG KONG MAGNIFICENT JEWELS, 27 May 2014. Convention Hall - http://www.christies.com/

A set of jadeite and diamond jewellery

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A set of jadeite and diamond jewellery. Photo Christie's Image Ltd 2014

Comprising a ring, set with an oval jadeite cabochon of even vivid emerald green colour and high translucency, to the pear-shaped diamond shoulders and brilliant-cut diamond surround; and a pair of matching earrings en suite, mounted in 18k white gold, largest cabochon approximately 16.0 x 14.4 x 6.9 mm, ring size 6, earrings 2.5 cm long. Estimate HK$6,800,000 – HK$9,500,000 ($881,549 - $1,231,576)

Accompanied by two reports nos. KJ84842 and KJ84843 dated 21 March 2014 from Hong Kong Jade & Stone Laboratory stating that the cabochons are natural jadeite and no polymer is detected (3)

Christie's. HONG KONG MAGNIFICENT JEWELS, 27 May 2014. Convention Hallhttp://www.christies.com/

A pair of celadon crackle-glazed mallet-form vases , Ming dynasty (1368-1644)

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A pair of celadon crackle-glazed mallet-form vases , Ming dynasty (1368-1644). Photo Christie's Image Ltd 2014

Each vase is applied with twin fish handles and covered in an even celadon crackle glaze.10¼ in. (26.1 cm.) high. Estimate£3,000 – £5,000 ($5,061 - $8,435)

Provenance:Property of an English gentleman acquired in the 1980s.

Christie's. CHINESE CERAMICS, WORKS OF ART AND TEXTILES, 14 May 2014, London, South Kensington - http://www.christies.com/

A blue and white oval vessel, Ming dynasty, circa 1500

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A blue and white oval vessel, Ming dynasty, circa 1500. Photo Christie's Image Ltd 2014

The bulbous oval vessel is decorated with lotus scrolls between a band of upright leaves at the foot and a geometrical pattern at the shoulder. 7? in. (18 cm.) wide, wood stand and wood cover. Estimate£3,000 – £5,000 ($5,061 - $8,435)

Christie's. CHINESE CERAMICS, WORKS OF ART AND TEXTILES, 14 May 2014, London, South Kensington - http://www.christies.com/

A very fine pale green jade 'dragon' vase, Qianlong

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A very fine pale green jade 'dragon' vase, Qianlong. Photo: Bonhams

The smooth and slender vase embellished with a deeply-carved five-clawed scaly dragon encircling the long elegant neck, the front right claw reaching for a rounded flaming pearl while the dragon breathes further flame strands from its nostrils, the body further carved with gently foaming waves above the stepped foot, wood stand. 16.6cm (6 1/2in) high (2). Estimate£20,000 - 30,000 (€25,000 - 37,000)

Provenance: Bluett & Sons, Ltd, London (label)
An English private collection formed by the grandfather of the present owner

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Notes: The crisp and lively carving of the present lot is indicative of the Qianlong style. Similar confident and vigorous carving can be seen on a pale green jade vase but with a more bulbous body illustrated in Compendium of Collections in the Palace Museum: Jade 10: Qing Dynasty, Beijing, 2011, no.41; a vase and cover in the Qing Court Collection, but with two dragons pursuing a single pearl, is illustrated in ibid., no.23.

A related but slightly larger pale green jade 'dragon' vase and cover was sold in these rooms, 17 May 2012, lot 17. Another white jade example from the collection of Alan and Simone Hartman, was sold at Christie's Hong Kong, 28 November 2006, lot 1412.

Bonhams. FINE CHINESE ART. London, New Bond Street, 15 May 2014 - http://www.bonhams.com/

A rare white jade double-peach carving, Qianlong

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A rare white jade double-peach carving, Qianlong. Photo: Bonhams

The stone of exceptionally fine and pure colour, carefully carved as two ripe peaches issuing from a single gnarled branch with leaves spreading and twisting and a single bat with wings outstretched straddling the two fruit, fitted box. 6.7cm (2 5/8in) wide (2). Estimate£30,000 - 50,000 (€37,000 - 61,000)

Provenance: Bluett & Sons, Ltd, London (label)
An English private collection formed by the grandfather of the present owner

Notes: he symbolism of the bat, 蝠 fu, and the peach, 壽桃 shoutao, together means 'May you possess both blessings and longevity', 福壽雙全 fushou shuangquan. This simple yet generous message is echoed in the fine and unfussy quality of the carving, complementing the superb stone; the result is an intimate and personal piece which is a delight to hold.

Compare a related carving of two peaches and a bat, but of yellow jade and slightly smaller (5cm long), illustrated in Compendium of Collections in the Palace Museum: Jade 9: Qing Dynasty, Beijing, 2011, no.166.

Bonhams. FINE CHINESE ART. London, New Bond Street, 15 May 2014 - http://www.bonhams.com/


A pale green jade 'marriage' bowl, Qianlong

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A pale green jade 'marriage' bowl, Qianlong. Photo: Bonhams

The pale green stone enhanced by the smooth-sided carving of the bowl with a simple lipped rim, contrasting with the crisp and delicate three peony flowers issuing from leafy stalks to form the handles above a band of stiff lappets circling the separately carved stepped foot fitting into the base of the bowl. 23cm (9in) wide (2). Estimate£8,000 - 12,000 €9,800 - 15,000

Provenance: a Scottish private collection and thence by descent

Bonhams. FINE CHINESE ART. London, New Bond Street, 15 May 2014 - http://www.bonhams.com/

A rare pale green jade 'five bats' moon flask, bianhu, Qianlong

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A rare pale green jade 'five bats' moon flask, bianhu, Qianlong. Photo: Bonhams

The elegant flattened moon flask raised on a stepped foot and with a narrow neck flanked by simple scroll handles, the exterior finely carved with five bats in flight amidst delicate cloud scrolls, wood stand, fitted box. 11.5cm (4 1/2in) high (3). Estimate£8,000 - 12,000 €9,800 - 15,000

Provenance: an English private collection formed by the grandfather of the present owner

Notes: The present lot is exceptional for purity and evenness of the pale green stone, which is further enhanced by the smooth body simply embellished with delicate, low relief carving on each side. For a related jade moon flask from the collection of Humphrey K.F.Hui, of the same height but with a poetic inscription by the Qianlong Emperor, see Virtuous Treasures: Chinese Jades for the Scholar's Table, Hong Kong, 2007, no.51.

Bonhams. FINE CHINESE ART. London, New Bond Street, 15 May 2014 - http://www.bonhams.com/

A fine cream and russet jade boulder, Qianlong

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A fine cream and russet jade boulder, Qianlong. Photo: Bonhams

The fine white stone with characteristic streaked inclusions, crisply carved with a scene of a scholar leaning on a staff beside a waterfall and pines, the figure dwarfed by the folds of overhanging rock above him, the reverse with typical rocky layers, wood stand. 13cm (5 1/8in) high (2). Estimate£8,000 - 12,000 €9,800 - 15,000

Provenance: acquired from Liberty & Co., Ltd., London on 27 September 1963
A European private collection

Bonhams. FINE CHINESE ART. London, New Bond Street, 15 May 2014 - http://www.bonhams.com/

A fine white jade and russet double box and cover, Qianlong

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A fine white jade and russet double box and cover, Qianlong. Photo: Bonhams

Crisply carved as two flattened hollow spheres joined to form a single vessel with the base slightly recessed, the cover carved through the russet skin in low relief with two linked coins encircled by two bats with wing tips touching to echo the shape of the box. 5.6cm (2 1/4in) long (2). Estimate£4,000 - 6,000 (€4,900 - 7,400)

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Provenance: a European private collection, acquired in China by the great-grandfather of the present owner in the very early 20th century, and thence by descent within the family

Notes: The present box and cover is exquisitely carved, demonstrating the masterful craftsmanship of jade carving in the Qianlong period.

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The combination of the double-cash and double bat represent the wish for wealth and the cash motif would be further associated with the immortal Liu Hai, who is often depicted with a string of cash.

For a similarly shaped box and cover, but produced in painted enamels on copper, Yongzheng mark and period, see V.Reynolds and Yen Fen Pei, Chinese Art from the Newark Museum, New York, 1980, pl.37.

Bonhams. FINE CHINESE ART. London, New Bond Street, 15 May 2014 - http://www.bonhams.com/

A pale green jade archaistic vase, gu, Qianlong

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A pale green jade archaistic vase, gu, Qianlong. Photo: Bonhams

The vase of flattened hexagonal section, the central section carved with a taotie mask on each of the wider sides, the neck and foot similarly incised with rows of keyfret and stylised lappets, the six edges each with rows of crisply carved flanges, wood stand. 15.6cm (6 1/8in) high (2). Estimate£3,000 - 5,000 (€3,700 - 6,100)

Provenance: a European private collection and thence by descent

Bonhams. FINE CHINESE ART. London, New Bond Street, 15 May 2014 - http://www.bonhams.com/

A pair of coloured diamond and diamond earrings

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A pair of coloured diamond and diamond earrings. Photo Christie's Image Ltd 2014

Each pear-shaped yellow diamond to a brilliant-cut diamond surround, surmount and pendant loop, hinged hook fittings, 2.4cm long. Estimate£16,000 – £18,000 ($26,976 - $30,348)

Christie's. JEWELS & WATCHES, 21 May 2014, London, South Kensington - http://www.christies.com/

A rare coloured diamond ring

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A rare coloured diamond ring. Photo Christie's Image Ltd 2014

The cushion-shaped fancy intense green diamond weighing 6.13 carats, within a brilliant-cut pink diamond surround, extending to the half-hoop, mounted in 18k rose gold, ring size 6. Estimate HK$20,000,000 – HK$30,000,000 ($2,592,250 - $3,888,375)

Accompanied by report no. 2155792241 dated 4 December 2023 from the Gemological Institute of America stating that the 6.13 carat diamond is fancy intense green, natural colour, VS2 clarity, with excellent polish

Also accompanied by a supplemental letter stating that natural green diamonds are among the rarest of all coloured diamonds encountered at GIA. This is especially true when the green hue is unmodified regardless of the depth of colour. The cushion modified brilliant described in the above referenced report not only is an "unmodified" green hue, but it is also medium in tone and moderately strong in colour resulting in a Fancy Intense Green colour grade. This is very rare for natural green diamonds. The 6.13 carat diamond described here showed diagnostic properties that indicated that the origin of colour is natural. The combination of its natural origin and saturated colour makes it an extremely unusual occurrence

Christie's. HONG KONG MAGNIFICENT JEWELS, 27 May 2014, Convention Hallhttp://www.christies.com/


A coloured diamond and diamond ring

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A coloured diamond and diamond ring. Photo Christie's Image Ltd 2014

Set with a marquise-cut fancy vivid yellow diamond weighing approximately 10.02 carats, flanked by trapeze and tapered baguette-cut diamonds, mounted in platinum and 18k yellow gold, ring size 6. Estimate HK$6,500,000 – HK$9,500,000 ($842,481 - $1,231,319)

Accompanied by report no. 1132016167 dated 21 April 2011 from the Gemological Institute of America stating that the 10.02 carat diamond is fancy vivid yellow colour, VS2 clarity

Christie's. HONG KONG MAGNIFICENT JEWELS, 27 May 2014, Convention Hall - http://www.christies.com/

A pair of ruby and diamond earrings, by Bulgari

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A pair of ruby and diamond earrings, by Bulgari. Photo Christie's Image Ltd 2014

The central oval and circular-cut ruby foliate cluster with brilliant-cut diamond accents, to the baguette-cut diamond and ruby undulating surround, mounted in platinum and 18k white gold, 2.9 cm long. Signed Bulgari (2). Estimate HK$300,000 – HK$500,000 ($38,884 - $64,806)

Christie's. HONG KONG MAGNIFICENT JEWELS, 27 May 2014, Convention Hall - http://www.christies.com/

Dutch and Flemish works of art lead Christie's Sale of Old Master Paintings in New York

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Caspar Netscher (1639-1684), Woman feeding a parrot. Oil on panel, 18 1/8 x 14 5/8 in. (46 x 37 cm.) Estimate: $2,000,000-3,000,000. Photo: Christie's Images Ltd 2014.

New York – Christie’s is pleased to present the spring auction of Old Master Paintings on June 4, which will feature 112 lots of exceptional rarity and importance, with Dutch and Flemish masterworks anchoring the sale.  The majority of the works are fresh to the market, hailing primarily from prominent private collections. The sale also features an exciting selection of recently restituted works, including the star lot of the sale – an exquisite genre painting by Caspar Netscher – having been returned to the heirs of Hugo and Elisabeth Andriesse earlier this year.    The sale is expected to realize in excess of $9.7 million.

CASPAR NETSCHER’S MASTERPIECE

Christie’s has been selected by the heirs of Hugo and Elisabeth Andriesse to offer Caspar Netscher’s (1639-1684) Woman feeding a parrotestimate: $2,000,000-3,000,000).  The work has been recognized for decades as one of Caspar Netscher’s greatest paintings and one of the undisputed icons of Dutch genre painting of the Golden Age.  Best-known today as a painter of exquisite, highly finished domestic interiors, Caspar Netscher in fact produced surprisingly few such images before abandoning the genre altogether around 1670 for the more lucrative field of portraiture. As a result, his extraordinarily fine genre scenes – of which Woman feeding a parrot is an outstanding example – appear on the market only very rarely.  The work is one of Netscher's most delightful and seductive creations, defined by the extraordinary fineness of the painting's execution.  The motif of a woman feeding a parrot was popular in Dutch painting from the period, as ownership of such an exotic and expensive pet connoted fashionableness and privilege.

Prior to the German occupation of Belgium, the painting was owned by Hugo Andriesse of Brussels. After being confiscated, it was transferred to the Jeu de Paume in Paris in 1942, before entering the collection of Reichsmarshall Hermann Goering. From 1952 until early 2014, when it was restituted to the Andriesse heirs, the painting was in the collection of the Von der Heydt Museum in Wuppertal, Germany, and was described by Marjorie Wieseman, curator of Dutch art at the National Gallery, London, as “Unquestionably…one of Netscher’s masterpieces.”  The proceeds from the sale of this work will benefit four charities – Memorial Sloan Kettering Cancer Center, the Hospital for Special Surgery, The Children’s Aid Society, and United Cerebral Palsy.  

WORKS FROM PRIVATE COLLECTIONS

Eleven lots comprise the Property Restituted to the Heirs of Hans Ludwig Larsen, all of which highlight Larsen’s refined taste and connoisseurship.  After founding a successful shipping company in Amsterdam in 1922, Larsen was able to foster his interest in Old Master Paintings.  Contemporary taste for Dutch and Flemish 16th and 17th-century art favored small-scale, refined cabinet pictures, which could easily be displayed and enjoyed in the intimacy of a private home. Within these general parameters Larsen purchased a wide range of objects, including fine examples by lesser-known artists as well as important works by more familiar names.  Even though he lived to be only forty-five, Larsen's achievements as a collector in this field are manifest in the group of paintings presented here, which Christie's is honored to bring to the market for the first time in more than three generations. 

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The Master of the Antwerp Adoration (active Antwerp c. 1505-1530), The Holy Family in a gardenoil on panel, circular, 23 5/8 in. (60 cm.) diameter, an approximately 1/8 in. (0.4 cm.) addition to the upper edge. Estimate: $250,000-350,000. Photo: Christie's Images Ltd 2014.

Leading the Property Restituted to the Heirs of Hans Ludwig Larsen is a tondo by The Master of the Antwerp Adoration (c. 1505-1530) – The Holy Family in a garden (illustrated right; estimate: $250,000-350,000).  Likely inspired by Albrecht Dürer's print of The Sojourn of the Holy Family in Egypt, this bright and lively roundel represents the Holy Family in the enclosed courtyard of a Renaissance palace. The Master of the Antwerp Adoration has incorporated symbolic imagery in the painting in a manner typical of Netherlandish art of this period.  For example, two angels fill silver pitchers with water from an elegant fountain in the courtyard, which together with the garden itself symbolize the immaculate purity of the Virgin.  The cross formed by Saint Joseph's plank and the wooden board beneath it deliberately refers to Christ's Passion. Thus, within this everyday scene of familial tranquility and harmony, The Master of the Antwerp Adoration subtly alludes to Christ's future sacrifice, creating a beautiful composition that rewards prolonged contemplation.  Also offered in the Larsen Property is a delicate portrait by Jacob Esselens (estimate: $40,000-60,000) and a classic winter view of 1626 by Jan van Goyen (estimate: $400,000-600,000).

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Jacob Esselens (Amsterdam 1626-1687), Portrait of a gentleman, half-length, oil on panel, 16¾ x 14¾ in. (42.5 x 37.5 cm.). Estimate: $40,000-60,000. Photo: Christie's Images Ltd 2014.

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Jan Josefsz. van Goyen (Leiden 1596-1656 The Hague), A winter scene with skaters and a village beyond, signed and dated 'I V GOIEN 1626' (lower right), oil on panel, 12 5/8 x 19 7/8 in. (32 x 50.5 cm.). Estimate: $400,000-600,000. Photo: Christie's Images Ltd 2014.

The sale also features twenty-three lots from the esteemed Hascoe Family Collection, which was formed over the course of more than twenty-five years of passionate and discerning collecting.  While the group is led by a number of masterworks, it is perhaps most remarkable for its thoroughness and diversity.  A true “Portrait of the Golden Age,” the collection includes examples of nearly every genre of Dutch painting from the 17th and 18th centuries: still-life, peasant scenes, allegories, satire, portraits, architectural fantasies, and history pictures are all represented. Christie's is proud to have been entrusted with this exceptional group of works, which testifies to the continued enthusiasm for the collecting of Dutch art in America. Among the top lots from the Hascoe Family Collection is an exquisitely preserved still life by Frans Snyders (1579-1657) (estimate: $300,000-500,000).   Unlike the great exponents of Flemish still life before him, Snyders experimented with texture in a more painterly fashion, using bolder brushwork, vivid color, and compositional rhythm. His highly innovative works earned him prominence and success, and by the second decade of the 17th century,  Snyders had collaborated not only with Rubens but with Anthony van Dyck, Cornelis de Vos and Jacob Jordaens, to name a few.  Datable to c. 1612-1613, this richly described array of fruits, animals, and precious objects is a magnificent example of Snyders' ability to capture the minute details of the observable world in a dramatic, dynamically balanced composition.

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Frans Snyders (Antwerp 1579-1657),A partridge, snipe, sparrow, finch, and other birds with a basket of grapes and langoustines in Wan-li kraak porcelain bowls, a mounted stoneware jug, saltcellar, and glasses on a tabletop, signed 'F.SNYDERS.FECIT' (lower left), oil on panel, 21¼ x 33¼ in. (54 x 84.4 cm.). Estimate: $300,000-500,000. Photo: Christie's Images Ltd 2014.

Also from the Hascoe Family Collection is Hendrick Ter Brugghen’s (1588-1629) A youth playing the violin (estimate: $400,000-600,000), signed and dated 1626. Wearing a cap ornamented with an extravagant ostrich feather fastened to it with a medallion, the jolly violinist in the present painting strokes the bow across his instrument. His costume is certainly not 17th-century street dress, but rather the theatrical 'Burgundian' style adopted from Caravaggio.   Ter Brugghen transforms his violinist into an emblem of pure, uninhibited and infectious merriment. 

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Hendrick ter Brugghen (?The Hague 1588-1629 Utrecht), A youth playing the violin, signed and dated 'HTBrugghen fecit 1626' (center right), 'HTB' in ligature, oil on canvas, 41 x 32¼ in. (104.1 x 81.9 cm.). Estimate: $400,000- 600,000. Photo: Christie's Images Ltd 2014.

Also to be offered in the sale on June 4 is a selection of four portraits from the Bebe and Crosby Kemper Collection, which illustrates the Kempers’ eye for quality and fascination with history.  Devoted philanthropists, the Kempers were among the most dynamic forces on the Kansas City art scene, with an eclectic collection befitting their strong intellectual curiosity.   A Portrait of Jean Antoine Hubert Vassal de Saint-Hubert by Jean-Baptiste Greuze (1725-1805) leads this group (estimate: $250,000-350,000). Although best remembered as the artist who created an original genre of painting in which dramatic scenes of everyday life were designed and staged on the scale of history paintings, Greuze was also one the most sensitive and probing portraitists of the end of the Ancien Régime. He produced a number of portraits from the 1750s through the 1770s that are remarkable for their straightforward, vivid depiction of the sitter and psychological acuity, and are marked by a striking naturalism and lyrical quality of color.  The present image of Jean Antoine Hubert Vassal de Saint-Hubert (1741-1782) is a beautiful and haunting portrayal of one Greuze's most avid collectors, a work that remained unpublished and unknown to scholars until it appeared on the art market in 2002.

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Jean-Baptiste Greuze (Tournus 1725-1805 Paris), Portrait of Jean Antoine Hubert Vassal de Saint-Hubert,inscribed on the reverse of the canvas: 'Le portrait de J.A.H. Vassal, chevalier, conseiller, fermier général du Roy et maître d'hôtel ordinaire de Mgr. le Comte de Provence, par J.B. Greuse, peintre du Roy, qui lui en a fait présent le 1er septembre 1772', oil on canvas, 19½ x 23 in. (49.5 x 58.4 cm.). Estimate: $250,000- 350,000. Photo: Christie's Images Ltd 2014.

Bonhams to sell Empress Marie-Louise of France pocket watch at double royal watch sale

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Empress Marie-Louise. Photo: Bonhams.

LONDON.- A pocket watch originally owned by Napoleon’s wife, the Empress Marie-Louise, is to be sold at the Bonhams Fine Watch Auction on June 11th in London’s New Bond Street.

Estimated at £25,000-£35,000, the unique Empress Marie-Louise Pocket Watch is one of two royal items to be featured in the sale, both dating back over 200 years.

Presented in gold, enamel and split pearl, the piece features the Napoleonic insignia of the bee on one side, and bears the cipher “ML” for Marie-Louise on the other. This is surmounted by the royal crown, and adorned with laurel leaves in an intricate circle of pearls – a visual cue to its unique historic importance.

The exceptionally pretty pocket watch has a fascinating history, having belonged to the same family since Napoleon's wife, the Empress Marie-Louise, presented it to four-year-old Emilie de Pellepra at Cherbourg harbour in 1813. Not only was the watch made for Napoleon's wife, but it has also been in the private collection of the same family for just over two hundred years. This is the first time that it has been offered for sale.

An additional royal time piece is also available in the upcoming Fine Watch sale – an open-faced pocket watch originally owned by Prince of Wales, George IV. Featuring the Royal Coat of Arms on its gilt brass exterior, the Josiah Emery pocket watch dates back to 1785 and is estimated at £60,000-£80,000.

Paul Maudsley, Director of the Bonhams Watch Department, said:”We’re delighted to have not one but two significant watches of Royal importance available in one sale, each with its own intriguing history and beautiful design.”

The Bonhams Fine Watch sale features almost 200 lots with some very rare wristwatches including makes such as Rolex, Patek Philippe, Vacheron Constantin and Cartier to name a few.

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The Empress Marie-Louise of France Pocket Watch. Estimate £25,000 - 35,000 (€31,000 - 43,000). Photo: Bonhams.

A very fine, rare and historically important gold, enamel and split pearl decorated pocket watch bearing the cipher ML within a laurel crown. Presented by Empress Marie-Louise at the opening of Cherbourg harbour in 1813 to Emilie de Pellepra.

Gilt full plate verge movement, pierced and engraved balance cock, silver regulation, white enamel dial with Arabic numerals and winding through the dial, blued steel Breguet moon hands, gold full hunter case numbered 61 over 16 on the inside case with translucent light blue enamel front cover, decorated with the cypher "ML" Marie-Louise surmounted by the Royal Crown and framed by laurel leaves in a half circle of pearls. With translucent blue enamel background, decorated with a Bee set with pearls and framed with laurel leaves and bordered by further split pearls, attributed to Francois-Regnault Nitot; 35mm.

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Provenance: Made for the Empress Marie-Louise of France (1791-1847), second wife of Napoleon 1st;

Presented by her to Emilie de Pellepra (c.1809-1871) on 24 August 1813; by descent to her daughter Valentine de Riquet, Comtesse de Caraman Chimay (1839-1914);

Given to her daughter-in-law Princess Marthe Bibesco (1886-1973) on the occasion of her marriage in 1902;

Inherited by their daughter Valentine Bibesco (1903-1976);
thence by descent to the present owner.

This exceptionally pretty pocket watch has a fascinating history, having belonged to the same family since Napoleon's wife, the Empress Marie-Louise, presented it to four-year-old Emilie de Pellepra in 1813. Not only was the watch made for Napoleon's wife, but it has also been in the private collection of the same family for just over two hundred years. This is the first time that it has been offered for sale.

The touching account of the moment when the Empress met the little Emilie, and gave her the watch, is recorded in contemporary letters and diaries, several of which were translated and published in 1922, after the centenary of Napoleon's death.

Marie-Louise was Empress of the French for only four years (1810-1814) during which time she gave birth to a son, who later became Napoleon II. We know the watch was made during this period, since it bears the Napoleonic insignia of the bee on one side and her crowned initials on the other. As such, it is of unique historic importance.

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The Presentation of the Watch, Caen, August 1813.

In August 1813 the Emperor Napoleon and Empress Marie-Louise made their way separately to the port of Cherbourg which was due to be opened at the end of the month. Marie-Louise set out from St. Cloud on the morning of August the 23rd and travelled to Cherbourg via Caen, which was en route. Her movements were widely reported not only in France, but also in the British papers such as the Times which reported in a piece headed, Caen, August 20th: 'we are in expectation of her Majesty the Empress Queen and Regent. Everything is prepared for her reception' (Times, 1st September, 1813).

Marie-Louise kept a diary of her journeys as Empress, which the French historian and Napoleonic expert Frédéric Masson (1847-1923) published in 1921 entitled 'The Private Diaries of the Empress Marie-Louise'. They make interesting reading, not least for the full account of Marie-Louise's journey to Cherbourg. She arrived in Caen on the evening of the 24th having stopped in Lisieux on the way. She records, 'after dinner I undertook my habitual task of receiving the local authorities....' She goes on to talk about the moment at which she met the little Emilie:

'After this a delightful fête was given for me in the garden of M.Michin, at which all the ladies of Caen, dressed as Cauchoises, were arranged in a circle. Madame Michin sang some verses in honour of me, accompanied by a choir. After this, one of the Guard of Honour in peasant dress offered me a bull, meanwhile making a speech delivered with much enthusiasm, and the prettiest little girl imaginable was brought seated between two barrels, one of cider and the other of milk, of which she scattered some drops.'

Many of the same details are recorded in Emilie's own memoires, set out in 1849 and published by Marthe Bibesco some years later. She describes the 'rustic festivity' where she remembers it was planned that she should appear as Europa seated on the white bull, but owing to her mothers anxiety over her safety, it was decided she should be dressed in a miniature peasant costume instead, 'which they said, suited me to perfection.'

Emilie continues the narrative:

I was carried in quite safely in a flowered litter, between two gilt tubs, up to the foot of the throne, holding two cups of milk and cider in my hand....whereupon I made a deep curtsy, but they would not bear me off again, because the Empress had asked for me. The chamberlain came over for me, and I remember that, as I came near he wanted me to bend my knee; but he could not get me to make the movement because, I told him I had already said my prayers in the morning! Apart from this small rebelliousness, I behaved very properly and received a beautiful watch with a monogram of the Empress, which I still preserve and which has kept much younger than myself!

The watch, together with a later key and chain were illustrated in Emilie's published memoirs and the event itself well-remembered and passed down through the family.
As a young woman Emilie was a striking beauty, she was sculpted by Canova when she was fifteen and painted by Franz Xaver Winterhalter in 1849. She married firstly Count Louis-Marie de Brigode and secondly Prince Joseph de Riquet de Caraman, 17th Prince of Chimay – Minister for Foreign Affairs. They had four children, the third of whom, Valentine de Riquet inherited the watch. As an adult Emilie moved in Royal circles and was entertained by Napoleon II at Fontainebleau and also by Queen Victoria at Windsor. The family lived at the Chateau de Chimay in Belgium, which is still owned by her descendents.

Princess Marthe Bibesco.

The next important point in the history of the watch was the moment it was inherited by Valentine's daughter-in-law, Princess Marthe Bibesco. Born a Romanian aristocrat, she spent her childhood in Paris and the rest of her life moving between France, Romania and England. She had a successful literary career as a writer of the Belle Epoque and she counted Jean Cocteau, Winston Churchill, Charles de Gaulle and several European monarchs amongst her friends. She was painted by Giovanni Boldini (see illustration) and photographed by the Lafayette Studio in 1920. She kept extensive diaries during her lifetime which are preserved with her papers at the Harry Ransom Humanities Research Centre, University of Texas at Austin.

Marthe was the daughter of Jean Lahovary, Minister of Foreign Affairs in Romania; in 1902, she married a distant cousin Georges Valentin Bibesco and received the watch as a wedding gift from her mother-in-law. The loving and warm relationship Marthe had with Valentine de Riquet undoubtedly fostered the interest she developed in Valentine's own mother Emilie de Pellepra and especially in her memoirs of 1849. The centenary of Napoleon's death in 1921 gave Marthe an excuse to publish the memoirs and to 'confirm' the widely held belief at the time, that Emilie was an illegitimate child of the Emperor.

Napoleon's Daughter.

There is little firm evidence to prove that Emilie was the natural daughter of the Emperor Napoleon, although it is clear that her mother had met Napoleon on several occasions prior to 1813, and it would also account for the fact that Emilie's legal father refused to see her for the first few years of her life. If it were true, the moment that the Empress met Emilie must have seemed ironic to those who knew about the affair.

As well as receiving the watch from Marie-Louise, Emilie also inherited several other Napoleonic gifts including a ruby and gold bracelet and a solitaire diamond which, in turn, were passed on to Marthe on the eve of her wedding in 1902.

Bibliography: Bibesco, Princesse Marthe (intro) and Miller, Katherine (transl.) A Daughter of Napoleon, Memoirs of Emilie de Pellapra, New York, 1922 (illustrated p.144)
Chimay, Princesse de, Marthe Bibesco and Miles, Hamish (transl.), Letters from the French and English Courts 1853-59, London, 1934
Levalley, Gaston, Trois journées de Napoléon à Caen en 1811 et Passage de Marie Louise en 1813, Caen, France, 1913
Masson, Frédéric , The Private Diaries of the Empress Marie-Louise, wife of Napoleon 1, New York, 1922
Normington, Susan, Napoleon's Children, Gloucestershire, 1993
Sutherland, Christine, Enchantress, Marthe Bibesco and her World, London, 1977
Harry Ransom Research Centre, Research Section 'Princess Marthe Bibesco: An Inventory of her papers athte Harry Ransom Humanities Research Center' at http://norman.hrc.utexas.edu/fasearch/findingAid.cfm?eadid=00372p1 [accessed 01 May 2014]

 

 

One of the greatest examples of Modernist & Abstract art comes to auction for the first time

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Piet Mondrian, Composition with Red, Blue and Grey, 1927. Oil on canvas, 68.5 x 53cm. £13-18 million / $22-30 million. © 2014 Mondrian/Holtzman Trust c/o HCR International USA.

LONDON.- Sotheby’s London announced that a highlight of the Impressionist & Modern Art Evening Sale on Monday 23 rd June 2013 is a supreme example of Piet Mondrian’s unique style, Composition with Red, Blue and Grey, inscribed and dated 1927 (est. £13-18 million / $22-30 million). This major work is one of very few to come to the market in decades. The painting’s significant size (68.5 by 53cm), together with its prime colour combination and balanced composition, distinguish it as one of the finest achievements of the artist’s career. Composition with Red, Blue and Grey was acquired by the father of the present owner in the late 1950s and the painting has since been included in some of the most important retrospective exhibitions of Mondrian’s work, including the 1971 show at the Guggenheim, New York, and more recently the 'Mondrian\De Stijl' show held at the Centre Pompidou, Paris, in 2010-11. The work now comes to auction for the first time. 

Helena Newman, Sotheby’s Co-Head, Impressionist & Modern Art Worldwide comments: “This is a quintessential work by Piet Mondrian. Classically Modern and pure in form, it is an exceptional example of the seminal period in the artist’s career as well as the enduring appeal of the Modern aesthetic. It is extremely rare for a work of this quality to come to the market as many are housed in museums, and having remained in a collection after 50 years this opportunity to buy such an iconic work will be extremely appealing to discerning collectors across the world.” 

Philip Hook, Sotheby’s Senior Specialist, Impressionist & Modern Art, comments: “Composition with Red, Blue and Grey is one of a series of works crucial to the development of Modern art. It was considered revolutionary at the time it was created and remains startlingly modern today. Mondrian’s unique style has inspired many creative works, spanning fashion, music and architecture, and its lasting appeal is underscored by two forthcoming exhibitions in the UK alone – at Tate Liverpool and Turner Contemporary – marking the 70 th anniversary of the artist’s death.” 

A work from Mondrian’s Paris years in the 1920’s, Composition with Red, Blue and Grey embodies the period of his career when he produced his purest and most balanced works. The painting’s grid pattern and primary block colours represent Mondrian’s unique style and his pursuit of a purified aesthetic which became a template for both the aesthetic and the ideals of twentieth century modernism. 

The first owner of the present work, from 1944-1956, was Mondrian’s friend Harry Holtzman, an artist himself who helped found the influential American Abstract Artists Group which advocated the principles of European Modernism. Upon seeing two of Mondrian’s works at the Museum of Living Art in New York, Holtzman became convinced of the importance of meeting the artist. In 1934 he travelled to France and introduced himself to Mondrian at his studio in the rue de Départ. The pair became great friends and it was Holtzman in 1940 who arranged for Mondrian to escape the Blitz of London and emigrate to America where he remained for the rest of his life. In New York, Holtzman introduced Mondrian to jazz, and in particular music in the so-called ‘boogie-woogie’ style. Harry Cooper has noted that ‘Without Harry Holtzman, there might have been no boogie-woogie’ paintings. At the time of Mondrian’s death, the childless artist was without an heir and chose Holtzman as the guardian of his legacy. 

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