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78.78 Carats Untreated Tanzanite and Diamond Ring

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78.78 Carats Untreated Tanzanite and Diamond Ring ~ M.S. Rau Antiques.

Weighing an astonishing 78.78 carats, this awe-inspiring natural Tanzanite dazzles with its incomparable and prized violet blue color. The jewel is formed in a cushion-shape with a modified brilliant cut, and has been certified by the American Gemological Institute (AGL) not to have undergone any clarity or thermal treatment, meaning the beauty of this incredible Tanzanite is completely natural. Set in its stunning platinum and 18K gold ring, this rare gemstone is accentuated by 2.80 carats of shimmering white diamonds. To find an untreated specimen of such outstanding size and quality is to discover one of nature's truest treasures. Price: $228,500

Found only in the African country of Tanzania for which it is named, Tanzanite is prized for its striking blue color. This intriguing stone, also known as blue zoisite, was discovered in 1967 by Masai shepherds. These first crystals were offered to Tiffany & Co., where the gem was renamed and introduced to the excitement of collectors everywhere.

M.S. Rau Antiques


9.25 Carats Pink Tourmaline and Diamond Ring by Tiffany & Co

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9.25 Carats Pink Tourmaline and Diamond Ring by Tiffany & Co. ~ M.S. Rau Antiques.

A gemstone often associated with the qualities of love and compassion, this 9.25 pink tourmaline ring by Tiffany & Co. displays the rich and highly desirable rosy-pink hue for which these natural treasures are renowned. This jewel is accompanied by 1.92 carats of white diamonds in its platinum ring. Pink is among the rarest hues in which to find this colorful gem, and specimens displaying the wonderful color and clarity of this tourmaline are in great demand. Price: $29,500

M.S. Rau Antiques

5.69 Carats Green Tourmaline and Diamond Ring

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5.69 Carats Green Tourmaline and Diamond Ring ~ M.S. Rau Antiques.

The captivating green tourmaline in this elegant ring, weighing 5.69 carats, displays the desirable, deep blue-green hue these for which these majestic jewels are prized. The addition of two square-shaped white diamonds weighing 0.80 carats adds contrast and shimmer to this fantastic gemstone. Set in 18K white gold. Price: $14,850

M.S. Rau Antiques

15.68 Carats Mexican Fire Opal and Diamond Ring

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15.68 Carats Mexican Fire Opal and Diamond Ring ~ M.S. Rau Antiques.

The heat of a magnificent Mexican fire opal is balanced by glistening diamonds in this opulent ring. Weighing an incredible 15.68 carats, the rare oval-cut opal displays the signature bold tangerine orange hue for which this unique stone is known. Encircled by 158 diamonds totaling 1.25 carats, this stone reveals all of its best qualities. Set in platinum and 18K yellow gold. Price: $54,500

Thought to bestow courage, stamina, will-power and energy, Mexican fire opals are singular among the world's opals for their bright and almost uniform color. Revered since pre-historic times as symbols of the most ardent love, the gem was believed to have been created in the waters of life. The most beautiful of these rare gems are found in Mexico, and in the Pre-Columbian era, the Mayans and Aztecs incorporated it into their most prized artworks and figurines.

M.S. Rau Antiques

20.30-Carat Peridot and Diamond Ring

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20.30-Carat Peridot and Diamond Ring ~ M.S. Rau Antiques.

A mesmerizing 20.30-carat Burma peridot commands attention in this exquisite cocktail ring. Displaying the fresh, grass green hue for which peridots are so adored, this gem exhibits an uncanny clarity. Large peridot's such as this tend to contain small inclusions, so to find one of this size with such clarity is quite rare. Flanked by 1.46 carats of sparkling diamonds in its platinum setting, this gem is s true treasure. The ancient Egyptians and Romans once revered the peridot for its incomparable color. Peridots from Burma are widely considered to be the world's most beautiful. In 1962, the borders of Burma were closed due to political unrest, all but shutting down the mining of these precious gems, and to this day, it is almost impossible to find such a magnificent specimen as this. Price: $34,500

M.S. Rau Antiques

Jean Schlumberger for Tiffany & Co. Aquamarine Ring, Circa 1970

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Jean Schlumberger for Tiffany & Co. Aquamarine Ring, Circa 1970 ~ M.S. Rau Antiques.

This extraordinary Tiffany & Co. aquamarine ring is the epitome of glamour. Designed by the legendary Jean Schlumberger, this striking design centers around a beautiful 4.97-carat, lozenge-cut aquamarine which displays an exquisite, ocean-blue hue. Diamond weighing 1.80 carats adds fire, while the intricate platinum setting adds drama. Tiffany jewelry design by Schlumberger is among the most exciting in the world, and this fabulous ring flawlessly captures his amazing talent. All carats weights are approximate. Price: $29,500

M.S. Rau Antiques

Mandarin Garnet Ring

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Mandarin Garnet Ring ~ M.S. Rau Antiques.

The radiance of the sunset shines from this rare Spessartite garnet. Displaying the opulent "mandarin" hue, this exceptional 8.06-carat stone is certified by the American Gemological Laboratories (AGL) as being completely unenhanced and natural. Set in platinum and 18K gold, this striking jewel is accentuated by approximately .34 total carats of shimmering white diamonds. Price: $32,500

The Spessartite garnet derives its name from the city of Spessart in Bavaria, Germany where it was first found in the 1880s. The gem was originally favored only by a handful of jewelers and gemstone connoisseurs due to the rarity of specimens of gem quality, color and clarity...attributes of which this particular example excels. The first garnets to display this sumptuous, tawny port hue were discovered in Namibia in 1991, and before long, this unique garnet variety began to garner the attention of the international market. Its intense orange coloration and excellent refractive rating make this jewel sparkle in even scant light conditions. Eye-catching and highly distinctive, this gem is a true star with collectors and connoisseurs.

M.S. Rau Antiques

16.37 Carats Pink Ceylon Sapphire & Diamond Ring

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16.37 Carats Pink Ceylon Sapphire & Diamond Ring ~ M.S. Rau Antiques.

An extraordinarily rare, 16.37-carat Pink Ceylon sapphire takes center stage in this striking ring. Displaying the perfect purplish-pink or "bubblegum" hue for which the finest pink sapphires are so beloved, this enchanting, cushion-shape gem boasts both crystal-clear clarity and grand size. This jewel is supported by two shield-cut diamonds, totaling 2.06 carats, and is certified by C. Dunaigre Consulting (CDC) to be natural and Ceylon origin. Set in platinum and 18K yellow gold. Price: $685,000

M.S. Rau Antiques


4.19 Carats Tsavorite Garnet and Diamond Ring

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4.19 Carats Tsavorite Garnet and Diamond Ring ~ M.S. Rau Antiques.

Prized for its rarity, luminosity and durability, this exquisite Tsavorite, or green garnet, is truly a show-stopper. Weighing 4.19 carats, this prized gemstone is complemented by a ring of white diamonds weighing 0.45 total carats, all set within this fine platinum mounting. Tsavorite garnets weighing more than two carats are incredibly precious. This, combined with the stones natural, signature high refractive index means that the utmost fire and brilliance will radiate from this gem for a lifetime. Price: $45,000

M.S. Rau Antiques

Asian Art in London celebrates its seventeenth year

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A blue and white 'boys' vase, Kangxi period. Height: 25.5 cm. Photo Littleton & Hennessy.

LONDON.- From 30 October - 8 November Asian Art in London presents the 17th year of the celebration of the arts of Asia in the form of selling exhibitions at the galleries of specialist Asian art dealers and auctions at the major salerooms. Asian Art in London opens on Thursday 30 October with a glittering champagne Gala Party at the British Museum where guests can enjoy a private view of the British Museum’s exhibition, ‘Ming – 50 years that changed China’. 

There will be an impressive line up of new participants this year including Albemarle Gallery, London, Aktis Gallery, London, Sladmore Contemporary, London and Fitzgerald Fine Arts, New York who will all illustrate the diversity of contemporary Asian art on show. Brun Fine Art with galleries in both London and Italy will bring exquisite Chinese works of art. Furthermore Rosemary Bandini, London and Sagemonoya Gallery, Tokyo are both showcasing beautiful Japanese netsuke. 

Returning to Asian Art in London after a break are London based galleries Cohen & Cohen, Littleton & Hennessy and Jan van Beers Oriental Art and the number of loyal participants returning for another year, yet again reaffirms Asian Art in London’s position as an essential selling platform for Asian art with a particularly strong presence of international dealers. Also taking part this year are AR PAB Alvaro Roquette Pedro Aguiar-Branco, Paris & Lisbon; Raquelle Azran Vietnamese Contemporary Fine Art, New York; David Baker Oriental Art Ltd, London; Gregg Baker Asian Art, London; Joost van den Bergh, London; Berwald Oriental Art, London; Brandt Asian Art, London; Prahlad Bubbar, London; Dalton Somaré, Italy; Rob Dean Art, Suffolk; Duchange and Riché, Belgium; Eskenazi Ltd, London; John Eskenazi Ltd, London; Malcolm Fairley Ltd, London; Fleurdelys Antiquités, London; Sam Fogg, London; Francesca Galloway, London; Gibson Antiques Ltd, London; Michael Goedhuis, London; Grosvenor Gallery, London; Hanga Ten, London; Christophe Hioco, Paris; Ben Janssens Oriental Art Ltd, London; Kaikodo, New York; Antoine Lebel, Brussels; Marchant, London; Meijering Art Books, The Netherlands; Amir Mohtashemi Ltd, London; Sydney L Moss Ltd, London; One East Asia, Singapore; Simon Pilling: East Asian Art & Interiors, London; Nicholas Pitcher Oriental Art Ltd, London; Priestley & Ferraro, London; Simon Ray Indian & Islamic Works of Art, London; Röell Fine Art, Maastricht; Rossi & Rossi Ltd, London; Max Rutherston, London; Shapero Rare Books, London; Jacqueline Simcox Ltd, London; A&J Speelman Ltd, London; The Tolman Collection, London; Grace Tsumugi Fine Art Ltd, London; Jonathan Tucker Antonia Tozer Asian Art, London; Vanderven Oriental Art, The Netherlands; Jorge Welsh Oriental Porcelain and Works of Art, London / Portugal. 

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An extremely rare Chinese Export Porcelain Famille Rose Punchbowl, the three outer panels and the interior having mythological scenes taken from Ovid’s Metamorphoses (1732 edn) after prints by B Picart and P Gunst, Qianlong, c. 1745. Diameter: 38 cm. Provenance: ex-Mottahedeh Collection. Photos courtesy Cohen & Cohen

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A blue and white 'boys' vase, Kangxi period. Height: 25.5 cm. Photos courtesy Littleton & Hennessy. 

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Marble figure of Guanyin, Chinese, Sui-Tang Dynasty, 7th-8th Century. Height: 35 cm. Photos courtesy Jan van Beers Oriental Art

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Photos courtesy AR PAB Alvaro Roquette Pedro Aguiar-Branco.

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A jade lion and cub group, China, 18th century. Provenance: from the collection of Lady HorlickPhotos courtesy David Baker Oriental Art Ltd.

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One of a pair of six-fold semmen nagashi-zu byōbu (screens with fans over flowing water) painted in ink and colour on a gold and silver ground with scattered fans over a mountainous coastal landscape School of Tawaraya Sōtatsu (died c.1640), Japan, 17th century, Edo period. Dimensions: 180 cm x 381cm. Photos courtesy Gregg Baker Asian Art.

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Ivory Head of the Virgin Mary, Philippines, 17th - 18th Century. Dimensions (height): 17cm (6 3/4 inPhotos courtesy Joost van den Bergh

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Ivory Head of Saint Francisco of Assisi, Philippines, 17th - 18th CenturyDimensions (height): 11cm (4 1/3 in.). Photo courtesy Joost van den Bergh.

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Imran Channa 'memories', Graphite on paper. Dimensions: (Height) 72 x 107cm (28 1/3 x 42 in.)Photo courtesy Joost van den Bergh.

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An fine and exceptionally large court lady, Tang dynasty, 618-907 ADPhotos courtesy Berwald Oriental Art

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A kneeling camel, Tang dynasty, 618-907 ADPhoto courtesy Berwald Oriental Art

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Two mingqi depicting strangers , Tang dynasty, 618-907 AD. Photo courtesy Berwald Oriental Art.

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A pair of blue and white porcelain bowls, Qing dynasty. Photo courtesy Berwald Oriental Art.

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Incense Burner, Chinese, 17th-18th century, 4 1/2'' - 12cm. A life-size model of a Quail, the well-cast wings forming the cover to the burner. The bird with alert expression, with overall original brown and green patinaPhotos courtesy Brandt Asian Art.

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'The chakras of the subtle body' (detail), Nepal, 18th century, opaque watercolour on paper. Dimensions: 219.5 x 21.5 cmPhotos courtesy Prahlad Bubbar.

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'Shiva under the influence of Soma', Punjab Hills, circa 1840. Opaque watercolour on paper. Dimensions: 19.5 x 25.5 cmPhoto courtesy Prahlad Bubbar.

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'A spirited arabesque', Bijapur, Deccan, circa 1650. Brush drawing on paper. Dimensions: 20.4 x 9.5 cm. Photo courtesy Prahlad Bubbar.

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'Marwa Ragini: A folio from a Ragamala series', Hyderabad, circa 1760, opaque watercolour with gold and silver on paper. Dimensions: 24.2 x 17.7 cmPhoto courtesy Prahlad Bubbar.

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Head of a Bodhisattva, Afghanistan, 3rd-4th century AD, terracotta with pigments, height: 48cm. Photos courtesy Dalton Somaré.

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Devata, Area of Hund, Afghanistan, 7th century, terracotta, 49cmPhotos courtesy Dalton Somaré.

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Detail of a Deccani MiniaturePhotos courtesy Rob Dean Art.

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An exceptional Famille Verte tripod with Arabic inscription, Kangxi Period ( 1662-1722). Dimensions: Diameter: 11 cm, Height: 9 cm. Similar piece in “The Percival David Foundation of Chinese Art” (British Museum). Photos courtesy Duchange and Riché.

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Bo Ju guiArchaic Chinese bronze ritual vessel. Early Western Zhou period, c. 1050-975 BC. Dimensions: (Height) 23.8 cm (9 2/5 in.); (Weight) 4.5 kg. Photos courtesy Eskenazi Ltd.

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Glazed Stoneware Dish , Jin period, 12th-13th century, Jun kilns, Henan province. Dimensions: (Diameter) 17.7 cm (7 in.)Photo courtesy Eskenazi Ltd.

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Group of Glazed Stoneware Flowerpots, zhadou (cats. 16, 15 and 12), Ming dynasty, 15th century, Jun kilns, Henan province. Dimensions: (Diameter of rims) 20 cm (8 in.); (Height of each) 19 cm (7 1/2 in.), 18.5 cm (7 1/3 in.) and 17.4 cm (7 in.)Photo courtesy Eskenazi Ltd.

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Glazed Stoneware Flowerpot, zhadou (cat. 15), Ming dynasty, 15th century, Jun kilns, Henan province.Dimensions: (Diameter of rim) 20 cm (8 in.); (Height) 18.5 cm (7 1/3 in.)Photo courtesy Eskenazi Ltd.

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Small Glazed Stoneware Dish with Bracketed Rim (cat. 1), Northern Song period, 11th-12th century, Jun kilns, Henan province.Dimensions: (Diameter) 11.7 cm (4 3/5 in.)Photo courtesy Eskenazi Ltd.

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Glazed Stoneware Bowl with Foliate Rim (cat. 11), Jin period, 13th century, Jun kilns, Henan province.Dimensions: (Diameter) 23.9 cm (9 2/5 in.); (Height) 11.3 cm (4 2/5 in.)Photo courtesy Eskenazi Ltd.

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Standing Buddha, Gandhara, 2nd - early 3rd century. Grey schist. Dimensions: (height) 71cm (27.95 in.). Photos courtesy John Eskenazi Ltd.

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Figure of a donor, identified by inscription as Harinar Siha,  Nepal. Dated Samvat 832, 1713 CE. Basalt. Dimensions: (height) 38cm (14.96 in.)Photo courtesy John Eskenazi Ltd.

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Krishnapadaka, Northern India, probably Mewar (southern Rajasthan) 16th - 17th century.Polished dark grey stone. Dimensions: (height) 57 x 38.5 x 10.5 cm (22 1/2 x 15 x 4 in.)Photo courtesy John Eskenazi Ltd.

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Terracotta bearded head with a knotted turban, Gandhara region, 4th - 6th century. Dimensions: (height) 34 cm (13 2/5 in.). The date has been corroborated by Thermoluminescence analysisPhoto courtesy John Eskenazi Ltd.

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Head of Vaikuntha Vishnu, Kashmir, 8th - early 9th century. Grey-black chlorite. Dimensions: (height) 28.5 x 33cm (11 1/4 x 13 in.)Photo courtesy John Eskenazi Ltd.

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Relief panel depicting a goddess standing beside a pillar, India, Andhra Pradesh, Nagarjunakonda, circa 3rd century. Limestone. Dimensions: (height) 34 cm (13 2/5 in.)Photo courtesy John Eskenazi Ltd.

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An inlaid gold and lacquer three case inro with Daikoku, Kappa and Ebisu, Late 19th century. From a European private collection of inro. Dimensions: (Height): 8.3 cm (3 1/4 in.). Photos courtesy Malcolm Fairley Ltd.

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Kawade Shibataro
, A moriage enamel vase with a branch of flowering paulownia with purple flowers and thick fleshy leaves all on a graduated grey to green ground, applied with silver mounts. Circa 1900. Signed Kawade within the Ando seal. Dimensions: (Height): 37.3 cm (14 3/4 in.)Photo courtesy Malcolm Fairley Ltd.

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A four-case lacquer inrō decorated with snakes in high relief on a ground of fine gold kirikane, 19th century. From a European private collection of inro. Dimensions: (Height): 9.6 cm (3 4/5 in.)Photo courtesy Malcolm Fairley Ltd.

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Zeshin. A four-case gold lacquer inrō decorated in hiramaki-e and takamaki-e with Kaguyahime from Taketori monogatari (The Tale of the Bamboo-Cutter), signed in incised characters on the base Zeshin. Mid–late 19th century.From a European private collection of inro. Dimensions: (Height): 8.2 cm (3 1/4 in.). Photo courtesy Malcolm Fairley Ltd.

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Inoue Company. A superb inlaid bronze charger with a central panel decorated with the Seven Gods of Good Fortune delicately worked in honzogan and takazogan in gold, silver, copper, shakudo and shibuichi. Signed Yukikazu with kakihan, the reverse with three seals, Kyoto, Inoue sei, Hiromasa. Circa 1880. Dimensions: (Diameter): 61.0 cm (24 in.)Photo courtesy Malcolm Fairley Ltd.

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Various Artists An unusual collection of thirty miniature inro contained within a silver mounted wood cabinet, the inro of graduated size each with an ojime and netsuke attached. Some signed. Circa 1860. Dimensions: (Wood case Height) 27.5 cm (11 in.): (Width) 31.7 cm (12 1/2 in.): (Depth) 19.6 cm (7 3/4 in.)Photo courtesy Malcolm Fairley Ltd.

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Gan Daofu, Settled In Pavilions, 2013. Dimensions: (Height) 54 cm (21 in.); (Width) 15.5 cm (6 in.). Jingdezhen Porcelain. Photos courtesy Fitzgerald Fine Arts.

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Gan Daofu, The Cold Bank, 2013. Dimensions: (Height) 84 cm (33 in.); (Width) 22 cm (9 in.). Jingdezhen Porcelain. Photos courtesy Fitzgerald Fine Arts.

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Zhu Di, Silence in the Mountains, 2013. Dimensions: (Height) 170 cm (67 in.); (Width) 180 cm (71 in.); (Depth) 2.5 cm (1 in.).Jingdezhen Porcelain PanelsPhoto courtesy Fitzgerald Fine Arts. 

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Zhang Guojun, Beyond Mountains XII, 2013. Dimensions: (Height) 178 cm (70 in.); (Width) 69 cm (27 in.); (Depth) 3.5 cm (1 2/5 in.). Jingdezhen Porcelain PanelPhoto courtesy Fitzgerald Fine Arts.

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A selection of Chinese scholars' objectsPhotos courtesy Fleurdelys Antiquités. 

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A 19th Century Chinese rosewood three-tier stand, with a selection of Ming gilt-bronze Buddhist and scholars' itemsPhoto courtesy Fleurdelys Antiquités.

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A selection of Chinese 18th century jades, hand mirror, and bamboo brushpot. Qing DynastyPhoto courtesy Fleurdelys Antiquités.

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Unusual Chinese stand carved in Hongmu, 18th centuryPhoto courtesy Fleurdelys Antiquités.

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A selection of Chinese bronze animals. Qing dynasty. Photo courtesy Fleurdelys Antiquités.

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The Heroine sends for her Love. An illustration to a Ragamala Series India, Deccani artist in Udaipur, c. 1650, 23.2 x 19.5 cm; opaque watercolour heightened with gold and silver on paper. Photos courtesy Sam Fogg.

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A Racehorse with its Groom. Studio of Shaikh Muhammad Amir, Calcutta, c. 1840.Watercolour and bodycolour on paper. Dimensions: 37 x 48.6 cm (14 1/2 x 19 in.)Photo courtesy Sam Fogg.

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Malagaudi Ragini, Sirohi, c. 1690. Opaque watercolour heightened with gold. Dimensions: 21 x 15.6 cm (8 1/4 x 6 in.)Photo courtesy Sam Fogg.

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Lady Seated at her Toilette, Hyderabad, 1720-1750. Opaque watercolour and gold laid down on an album page decorated with large white flowers against a gold ground. Dimensions: 34.2 x 21 cm (13 1/2 x 8 14 in.)Photo courtesy Sam Fogg.

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Sarang Ragini, Deccan, early 18th century. Opaque watercolour heightened with gold on paper. Dimensions: 28 x 19.5 cm (11 x 7 3/4 in.)Photo courtesy Sam Fogg.

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Krishna defeats the thousand-armed Demon Bana. Illustration from a royal manuscript of the Harivamsa made for Emperor Akbar, Mughal, Akbar period, 1585–90; Opaque pigments with gold on paper.Painting: 28.7 × 17.8 cm; Album page: 41 × 29.5 cm. Photos courtesy Francesca Galloway.

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Page from the ‘Large’ Guler-Basohli Bhagavata Purana series, c. 1760-65. Painting 27.3 x 37.5 cm; Folio 29.7 x 40 cm. Opaque watercolour with gold on paper within a blue borderPhoto courtesy Francesca Galloway.

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Double sided miniature: Verso showing a keeper trying to restrain an elephant. Mughal, c 1570 -80. Laid down on a green album page. Painting: 21 x 15.1cm, Album page: 35.9 x 27.8cmPhoto courtesy Francesca Galloway.

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The Death of Mulla ‘Ali the Seal Engraver in 1612, Mughal, c. 1730–40. Opaque pigments and gold on paper. Painting: 35.5 × 21 cm; Album page: 52.5 × 37.5 cmPhoto courtesy Francesca Galloway.

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Gauda Malhara Ragini, Bundi, c. 1670. Opaque pigments with gold on paper, within a broad red frame. Painting: 20.2 × 11.6 cm; Page: 23.6 × 15 cm. Photo courtesy Francesca Galloway.

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A Princely Youth with his Hands bound is rescued from a Well by a Band of Angels. Illustration from a Royal manuscript, with an ascription to the artist Basavan Mughal, Akbar period c. 1590.Border decoration of animals and birds (recto) and flowers (verso), Shah Jahan period, c. 1640. Painting: 30.6 × 18.9 cm; Album page: 39.3 × 25.4 cmPhoto courtesy Francesca Galloway.

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A Fine Chinese Sancai-glazed Pottery Horse, Tang Dynasty (618-907 AD). Dimensions: (Height) 59 cm (23 1/4 in.); (Length) 59 cm (23 1/4 in.). Provenance: The estate of the late Edward St George. Photos courtesy Gibson Antiques Ltd.

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Yang Yanping, Magnificent Autumn, 1997-98. Ink and colour on paper
, 54 x 85 in (137 x 216 cm) (ID: 12.1848)Photo courtesy Michael Goedhuis.

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Qiu Deshu, 
Mountainscape (red), 2005. 
Ink, acrylic and xuan paper on canvas
, 78.74 x 141.73 in (200 x 360 cm) (ID: 08.683Photo courtesy Michael Goedhuis. 

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Qin Feng, 
Desire Scenery Series 0009, 2012.Ink and tea on paper
, 78.7 x 49.2 in (200 x 125 cm) (ID: 13.1966)Photo courtesy Michael Goedhuis.

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Xie Aige, Upside Down, 2012. Bronze, height: 87 x 64 x 34cm; 34 x 25 x 12in (ID:13.1992)Photo courtesy Michael Goedhuis.

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Red Dawn, Olivia Fraser, 2012. Screenprint on 410gms Somerset tub size paper.Dated, Titled, Numbered and Signed by the Artist. Published by Grosvenor Gallery Fine Arts Ltd. 77.4 x 75.8 cm (30 ½ x 29 6/8 in)Photo courtesy Grosvenor Gallery.

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Toko Shinoda, Avanti, 1998. Lithograph with hand-colouring, 71x97cmPhoto courtesy Hanga Ten

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A Large Jina Parsavanatha. Pink Sandstone, Rajasthan, c.11th century.Height: 137,8 cm or 54 1/4 inPhotos courtesy Christophe Hioco

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Porcelain famille verte seal paste box, China, Qing dynasty, 19th Century. Length: 3 1/4 inches, 8.3cm.Width: 3 1/4, 8.3cm. Height: 1 1/4, 3.2cmPhotos courtesy Ben Janssens Oriental Art Ltd

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Wen Ting (1766 - 1852), 'Cold Peaks on Jade Mountain', 1846. Fan painting, ink and colour on gold-sprinkled paper; artist’s seal: Wen Ting. Inscription:“Blue-green water from afar, descending a thousand valleys, the jade mountain is high and the two peaks are cold. On a winter day of the year 1846, painted for the refined attention of my elder brother, Master I-men, by Wen Ting, called Hou-shan, at the age of eighty.”. Dimensions: 18.5 x 53.5 cm. (7 ¼ x 21 in.)Photos courtesy Kaikodo.

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Wang Mansheng, 'Landscape in Frost', 2013. Round fan-shaped painting. Ink and colour on paperPhoto courtesy Kaikodo.

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Wu Changshi [Wu Ch’ang-shih] (1844 - 1927) and Ni Tian [Ni T’ien] (1855 - 1919), 'Autumn Flowers'. Folding fan mounted as a hanging scroll; ink and colour on paper. Dimensions: 18 x 52 cm. (7 1/8 x 20 1/2 in.). Photo courtesy Kaikodo.

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Li Shida [Li Shih-ta] (c.1549 - c.1621), 'Returning Home in Wind and Snow', 1612. Folding fan; ink and colour on gold-surfaced paper; artist’s seal: Shida. Dimensions: 19 x 48 cm. (7 1/2 x 19 in.)Photo courtesy Kaikodo.

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Anonymous (12th century), 'Winter Landscape'. Round fan mounted as a hanging scroll; ink and colour on silk. Dimensions; 25.4 x 22 cm. (10 x 9 in.)Photo courtesy Kaikodo. 

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Chinese Export porcelain tureen and cover shaped as a goose. Qianlong period, circa 1750. Height: 46cmPhotos courtesy Antoine Lebel

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Pair of Iron-red Seated Open-mouthed Hounds with pronounced spine, ribs and upright curled tail, white chests, turquoise enamel tied collar, tassels and bell heightened in gilt and black enamel eyes, Qianlong period (1736-1795). Dimensions: (Height) 25.8 cm (10 in.). Photos courtesy Marchant.

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Blue Splashed Straw Glaze Globular Pouring Vessel with lipped rim and cylindrical short spout, the interior cream and amber, Tang dynasty (618-906). Dimensions: (Width) 11.5 cm (4 1/2 in.). The result of thermoluminescence test certificate no. C113j27 Oxford Authentication Ltd. is consistent with the above datingPhoto courtesy Marchant.

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Imperial Octagonal Lobed Brushwasher with lipped rim on three short feet, covered with a grey-crackled ge glaze extending over the interior and base, the feet dressed in brown. The underside with a six-character sealmark of Qianlong in underglaze blue and of the period (1736-1795). Dimensions: (Diameter) 21.3 cm (8 2/5 in.)Photo courtesy Marchant.

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Rare Iznik hexagonal tile, Turkey, circa 1540-1545Photos courtesy Amir Mohtashemi Ltd.

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Mughal powder flask, India, 17th century. Ivory powder horn carved in great detail with scenes of a hunt.Dimensions: 23 cm longPhoto courtesy Amir Mohtashemi Ltd.

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The Procession to the Bara Imambara, Robert Smith (Bideford, Devon 1787 – 1873). Oil on canvas. Dimensions: 44 x 61cmPhoto courtesy Amir Mohtashemi Ltd.

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Mughal glass bottles, India, 18th century. A pair of opaque glass bottles with polychrome gilt decoration. Dimensions: 12 x 4 cmPhoto courtesy Amir Mohtashemi Ltd.

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Mother of pearl nautilus shell powder horn, Gujarat, 17th/18th century. Dimensions (height): 15.5 cmPhoto courtesy Amir Mohtashemi Ltd.

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Gujarat mother of pearl container or pandan, India, 16th/17th century. Dome shaped box and cover made entirely from mother of pearl with brass edging. Dimensions: 16cm diameterPhoto courtesy Amir Mohtashemi Ltd.

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Hispano-Moresque Albarello, Spain, 15th century. Dimensions (height): 18 x 11cmPhoto courtesy Amir Mohtashemi Ltd.

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Photos courtesy Sydney L Moss Ltd

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Yudi Sulistyo, Rumah, 2013. Mixed media. Photos courtesy One East Asia

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Cabinet by OTAMARU Kaoru (b.1923), Showa 37, 1962; carved coloured lacquer, 'choshitsu'. Dimensions: (Length) 36.3 cm (15 in.); (Width) 24.5 cm (9 3/5 in.); (Height) 26 cm (10 1/4 in.). Signed; signed and sealed storage box. Photos Simon Pilling East Asian Art and Interiors.

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Writing Box 'suzuribako', Edo period, 19th century. Black lacquer, 'kakiwari' technique, on a 'negoro' ground.Dimensions: (Length) 26.5 cm (10 2/5 in.); (Width) 23.5 cm (9 1/4 in.); Height: 4.5 cm (1 3/4 in.)Photo Simon Pilling East Asian Art and Interiors.

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Tea Ceremony Tray, by ISOI Masami (b.1926) Living National Treasure, circa 1980. Dimensions: (Length) 40 cm (16 in.); (Width) 36 cm (14 in.); (Depth) 3.5 cm (1 1/2 in.). Signed; signed and sealed storage boxPhoto Simon Pilling East Asian Art and Interiors.

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Incense Ceremony Box 'jinbako', Taisho period, early 20th century. Gold 'makie' with shell inlay; silver edge bindings. Dimensions: (Length) 21.2 cm (8 2/5 in.); (Width) 16.6 cm (6 1/2 in.); (Height) 10 cm (4 in.)Photo Simon Pilling East Asian Art and Interiors.

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Ornamental Box 'kobako', Reincarnation (1) by SASAKI Gakuto (b.1983), Heisei period, 2013. Dry lacquer form, 'kanshitsu', with innovative lacquer finishes, 'kawarinuri' and shell inlay. Dimensions: (Length) 14.5 cm (5 3/4 in.); (Width) 10 cm (4 in.); (Height) 7.5 cm (3 in.). SealedPhoto Simon Pilling East Asian Art and Interiors.

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A fine Chinese cloisonne and gilt copper censer and cover, Qianlong-Jiaqing, 7in. highPhotos courtesy Nicholas Pitcher Oriental Art Ltd, London;

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A Yaozhou flower-shaped vase, zun, Northern Song dynasty (960-1127). Height: 11.2cm, 7 3/8 in.. Photos courtesy Priestley & Ferraro.

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A Dark-Brown Lacquer Mallow-shaped Dish, Southern Song Dynasty (1127-1279).Dimensions: Diameter: 17.5 cm. 宋 褐漆葵瓣式盤 直径17.5厘米Photo courtesy Priestley & Ferraro.

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Mughal Gem-Set Jade Box, India (Mughal), circa 1780-1800. Dimensions: (Height) 6 cm (2 1/3 in.); (Width) 13 cm (5 in.); (Depth) 11.8 cm (4 3/5 in.). Photos Simon Ray Indian & Islamic Works of Art.

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Timurid Mihrab, Western Central Asia (Timurid), second half of the 14th century.Dimensions: (Height) 55.5 cm (22 in.); Width: 40 cm (15 3/4 in.); Depth: 5 cm (2 in.)Photo Simon Ray Indian & Islamic Works of Art.

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Bahram Gur Hunts Onagers, opaque watercolour heightened with gold and silver on paper, Iran (Shiraz), circa 1560.Dimensions of miniature: (Height) 25.8 cm (10 in.); (Width) 20.5 cm (8 in.)Photo Simon Ray Indian & Islamic Works of Art.

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Iznik Vase with Tulips and Rosette Sprays, Turkey (Iznik), circa 1575. Dimensions: (Height) 20.8 cm (8 in.); (Diameter) 13.6 cm (5 1/3 in.). Provenance: Stephane Lagonicos CollectionPhotosSimon Ray Indian & Islamic Works of Art.

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Architectural Panel with Poppies and Parrots, carved red sandstone, India (Mughal, probably Delhi or Lahore), late 17th/early 18th century.Dimensions: (Height) 152 cm (59 4/5 in.); (Width) 71 cm (28 in.); Depth: 7 cm (2 3/4 in.)Photo Simon Ray Indian & Islamic Works of Art.

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Equestrian Portrait of Safdar Khan, opaque watercolour heightened with gold on paper, India (Deccan, Hyderabad), circa 1790-1810. Dimensions: (Height) 56.5 cm (22 1/4 in.); (Width) 43.8 cm (17 1/4 in.)Photo Simon Ray Indian & Islamic Works of Art.

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Jina Suparsvanatha, carved white marble, India (Rajasthan or Gujarat), 12th/13th century. Dimensions: (Height) 39.2 cm (15 1/2 in.); Width: 38 cm (15 in.); Depth: 13 cm (5 in.)Photo Simon Ray Indian & Islamic Works of Art.

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A Japanese scroll painting of a Dutch ship, late 18th centuryPhotos courtesy Röell Fine Art.

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Silver filigree heart-shaped box, Indonesia, Batavia, early 18th century. Photo courtesy Röell Fine Art.

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Octagonal silver and gilt casket, Sri Lanka, circa 1800Photo courtesy Röell Fine Art.

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Manuscript cover with Prajnaparamita and Deities, Tibet, 13th century. Carved wood. Dimensions: 21.5 x 69 x 2 cm (8 1/2 x 27 1/8 x ¾ in.)Photos courtesy Rossi & Rossi Ltd

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Tenzing Rigdol, In Between, 2013. Pastel and scripture. Dimensions: 26.7 x 76.2 cm (10 ½ x 30 in.)Photo courtesy Rossi & Rossi Ltd.

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Manuscript cover with scene from the life of Buddha, Tibet, 12th century.Painted wood. Dimensions: 27.3 x 74 x 4 cm (10 ¾ x 27 ¼ x 1 ½ in.)Photo courtesy Rossi & Rossi Ltd.

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Tsherin Sherpa, Lost in Transition (Red), 2013. Gold leaf, acrylic and ink on canvas. Dimensions: 21.6 x 71.1 cm (8 ½ x 28 in.)Photo courtesy Rossi & Rossi Ltd.

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Palden Weinreb, Untitled (Manuscript), 2013. Wood, wax and LED. Dimensions: 55.8 x 12.7 x 7.6 cm (22 x 5 x 3 in.)Photo courtesy Rossi & Rossi Ltd.

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Lower Manuscript Cover, Tibet, 13th Century. Wood. Dimensions: 26 x 74.4 cm (10 1/4 x 29 1/4 in.)Photo courtesy Rossi & Rossi Ltd.

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Kesang Lamdark, Manuscript Cover with Repeated Jambhala, 2013.Pierced aluminium can. Dimension: 11.4 x 19 x 6.3 cm (4 ½ x 7 ½ x 2 ½ in.)Photo courtesy Rossi & Rossi Ltd.

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Japanese Noh mask of Akujō. Early 16th centuryPhoto courtesy Max Rutherston.

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Ivory netsuke of a reclining goat, Japanese, 18th century. Dimensions: 4.5 cm (1 3/4 in.), signed Tomotada. Photo courtesy Sagemonoya.

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Ivory netsuke, 
Japanese, 19th century. Dimensions: 6.8 cm (2 3/4 in.). Signed Masatoshi. Photo courtesy Sagemonoya.

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Saishiki (painted wood) netsuke of Kanshin, Japanese, late 18th century. Dimensions: 6.2 cm (2 1/2 in.). UnsignedPhoto courtesy Sagemonoya.

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Chinese School, Watercolours of Important Figures. Early nineteenth centuryPhoto courtesy Shapiro Rare Books.

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Silk velvet panel, woven with bats and peaches, for happiness and long life. Chinese, Yongzheng period, 1723-1735, 116 cms squarePhotos courtesy Jacqueline Simcox Ltd.

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Silk kesi informal robe for an aristocratic lady, decorated with the peaches of long life. Chinese, Guangxu period, 1875-1908. Length: 137 cmsPhoto courtesy Jacqueline Simcox Ltd.

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A two-section gilt bronze standing statue of Yamantaka, 銅鎏金大威德金剛像, 18th century, Qing dynasty, Tibeto-Chinese, 18世紀, 清朝, 漢藏. Dimensions: (Height) 34.5 cm (13 1/2 in.); Width: 28.5 cm (11 1/4 in.); 高: 34.5 釐米 寬: 28.5釐米. Photos courtesy A&J Speelman Ltd.

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A pair of large Cloisonné Enamel magpies, 一對罕見大型掐絲琺瑯喜鵲, 18th century, Qing dynasty, China 18世紀, 清代, 中國. Dimensions: (Length) 34cm (13 2/5 in.); 長: 34釐米Photo courtesy A&J Speelman Ltd.

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Jade Lung-Ma, 玉龍馬, Qing dynasty, Kangxi period (1662-1722), China, 清朝, 康熙年製, 中國. Dimensions: (Length) 7.5 cm (3 in.); (Width) 5.5 cm (2 1/5 in.); (Height) 4 cm (1 3/5 in.); 尺寸: 長7.5 x 寬5.5 x 高4釐米Photo courtesy A&J Speelman Ltd.

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A Pair of Imari Porcelain Roosters, 18th century, Edo period, Japan. Dimensions: (Height) 26 cm (10 1/4 in.)Photo courtesy A&J Speelman Ltd.

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Carved wood figure of a standing Buddha, 彩繪木雕佛像. With polychrome decoration, circa 1300, early Malla period, Nepal, 多彩, 約1300, 馬拉王朝早期, 尼泊爾. Dimensions: (Height) 159 cm (62 3/5 in.); (Width) 58 cm (22 4/5 in.); 高: 159 釐米, 寬: 58釐米. Photo courtesy A&J Speelman Ltd.

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Daniel Kelly (b. 1948), Monkey Business. Dimensions: 130.5 x 188.5 cm (51 1/2 x 74 in.)Photos courtesy The Tolman Collection.

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Toko Shinoda (b. 1913), *Centennial Gold *, 201. Gold and white paint on silver ground on Japanese paper. Dimensions (frame size): 83 x 64 cm (32 ¾ x 25 in.) Dimensions: (image size) 60 x 40 cm (23 3/5 x 15 ¾ in.)Photo courtesy The Tolman Collection.

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Toko Shinoda (b. 1913), *Rhyme *, 2012. Sumi and white paint on gold ground on Japanese paper. Dimensions (frame size): 93 x 61 cm (36 3/5 x 24 in.). Dimensions (image size): 60 x 40 cm (23 3/5 x 15 ¾ in.)Photo courtesy The Tolman Collection.

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Toko Shinoda (b. 1913), Classic, 2000. Sumi, silver and blue paint on Japanese paper. Dimensions (frame size): 85 x 54 cm (33 ½ x 21 ¼ in.). Dimensions (image size): 58 x 34 cm (23 x 13 2/5 in.)Photo courtesy The Tolman Collection.

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A very fine inlaid iron box in the form of a mallet on a drum with feet, worked in gold and silver nunomezogan technique. The cover depicting a dragon and the side scattered with the auspicious treasures. Signed Nihon Kyoto Komai Hajime sei (made by Komai Hajime of Kyoto, Japan), Circa 1890. Diameter 15.7cm H 14.5cmPhotos courtesy Grace Tsumugi Fine Art Ltd.

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A gold lacquer inro decorated with the Seven Sages of the Bamboo Grove. Signed Koma Kyui Yasunori, Circa 1850. H 8.7cm W 6.0cmPhoto courtesy Grace Tsumugi Fine Art Ltd.

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A set of gold lacquer incense boxes in the form of kaioke decorated with the scene from Hatsune from the Tales of Genji. Unsigned, Circa 1850. Width: 9.1 cm Depth: 9.1 cm Height: 10.8 cm. Photo courtesy Grace Tsumugi Fine Art Ltd.

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An ivory carving of a sweetcorn, beautifully carved and coloured naturalistically. Signed Josetsudo, Circa 1920. L 42cm W6cm. Photo courtesy Grace Tsumugi Fine Art Ltd.

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Standing grey Schist Bodhisattva, Northwest Pakistan, Gandhara, 2nd - 3rd Century AD. Height:71cm. Photos courtesy Jonathan Tucker Antonia Tozer Asian Art

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Sandstone Head of Bodhisattva, Cambodia, pre-Angkor Period, Phnom da style, 7th Century. Height: 20cmPhoto courtesy Jonathan Tucker Antonia Tozer Asian Art.

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Sandstone Ganesha. Probably Vietnam, Mekong Delta, Pre-Khmer Kingdom of Funan, 7th - 8th Century. Height: 84cmPhoto courtesy Jonathan Tucker Antonia Tozer Asian Art.

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An early Kangxi underglaze blue jar and cover decorated with flaming pearls and dragons amongst flamesPhotos courtesy Vanderven Oriental Art.

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Carved Turquoise Boulder, China, 18th century. Dimensions: Length: 22.5cm, Height: 18.5 cm. Photo courtesy Vanderven Oriental Art.

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Pair of Blue and White Ewers, China, Wanli period (1573-1620). Dimensions: Height: 16.2 cm. Provenance: H.O. Collection, London (United Kingdom). Photo courtesy Vanderven Oriental Art.

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A Famille Rose Spice Box, China, Qing dynasty, Yongzheng-Qianlong period (1723-1795), c. 1730-1740. Porcelain decorated in overglaze enamels of the famille rose palette and gold. Width: 13 cm. Provenance: Collection of Benjamin F. Edwards III.  Photo courtesy Jorge Welsh Oriental Porcelain and Works of Art

The major auction houses also make a significant contribution to Asian Art in London, all holding their important Asian viewings and sales to coincide with the event including Bonhams, New Bond Street, London; Bonhams, Knightsbridge, London; Christie’s, King Street, London; Christie’s, South Kensington, London; Dreweatts & Bloomsbury Auctions, London; Lyon & Turnbull, Edinburgh; Sotheby’s, New Bond Street, London; Woolley & Wallis, Salisbury, Wiltshire. 

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An extremely rare and important doucai 'lotus pond' jar, Chenghua six-character mark and of the period. Diameter: 17 cm Provenance: a European private collection. Photo courtesy Bonhams New Bond Street.

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A blue and white sleeve vase, China, Transitional Period, mid 17th centuryPhoto courtesy Bonhams, Knightsbridge.

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Arts of the Ming, Tuesday 4 November: 10.00 & Fine Chinese Ceramics and Works of Art, Tuesday 4 November: 11.30Christie's King Street, London. Photo Christie's Image Ltd 2014.

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 Chinese Ceramics, Works of Art and Textiles, Wednesday 5 November: 10.00 & 14.00 - Chinese Ceramics, Works of Art and Textiles, Friday 7 November: 10.00 & 14.00. Christie's South Kensington, London. Photo Christie's Image Ltd 2014. 

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An Unusual Sino-Tibetan Thangka of Milarepa, 18th century. Dimensions: 127 x 86 cm (50 x 33 4/5 in.). Auction: Chinese Ceramics & Asian Works of Art, Monday, 11 November. Photo courtesy Dreweatts & Bloomsbury Auctions.

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A Chinese Celadon Glaze Moonflask, Yongzheng mark and period. Photo courtesy Lyon & Turnbull, Edinburgh.

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A pair of celadon-ground and iron-red ‘Phoenix’ medallion bowls, Daoguang seal marks and of the period. Photo courtesy Lyon & Turnbull, Edinburgh.

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Chinese white jade archaic-style vase and cover from the Deryck Hulbert Collection. Photo courtesy Lyon & Turnbull, Edinburgh.

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A Blue and White ‘Dragon’ Moonflask, Qing dynasty, Qianlong period. Dimensions: 29.5cm (11 5/8 in.). Auction: Fine Chinese Ceramics and Works of Art, Wednesday, 6 November 2013. New Bond Street, London. Photo courtesy Sotheby’s.

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Fine and Massive Chinese Longquan Celadon Dish, Yuan-early Ming dynasty, paper label for Bluett & Sons, London. Dimensions: 46 cm (18 in.). Provenance: Collection of Andrew Williams Esq., Oxfordshire.  Photo courtesy Woolley & Wallis, Salisbury, Wiltshire.

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Rare Chinese Imperial Junyao Numbered Narcissus Bowl, Yuan-early Ming dynasty, the base incised er, two. Dimensions: (Diameter) 25 cm (10 in.). Provenance: Collection of Andrew Williams Esq., Oxfordshire. Photo courtesy Woolley & Wallis, Salisbury, Wiltshire.

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Fine Chinese Miniature Famille Rose Double Gourd Vase, Six character Jiaqing mark and of the period (1796-1820). Dimensions: (Height) 7.5 cm (3 in.). Provenance: Allan Gibson Hughes (d.1938), of Chalfont, The Mount, Shrewsbury. Photo courtesy Woolley & Wallis, Salisbury, Wiltshire.

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Fine Chinese Celadon Jade Carving of a Water Buffalo,  Qianlong period (1736-1795). Dimensions: 15.7 cm (6 in.). rovenance: English Private Collection. Purchased from Spink & Son, Ltd., on the 23rd August 1960. Formerly the Henry Tozer Collection. A copy of the original invoice is available.. Photo courtesy Woolley & Wallis, Salisbury, Wiltshire.

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Rare Pair of Chinese Imperial Red Cinnabar Lacquer Stem Bowls, Qianlong period (1736-1795). Dimensions: (Height) 13 cm (5 in.); (Diameter) 15.2 cm (6 in.). Provenance: French Private Collection. Photo courtesy Woolley & Wallis, Salisbury, Wiltshire.

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Rare Chinese Wucai Circular Box and Cover, Six character Wanli mark and of the period (1573-1620). Dimensions: 24 cm (9 1/2 in.). Photo courtesy Woolley & Wallis, Salisbury, Wiltshire. 

This year the academic and commercial worlds will combine forces to provide a powerful platform for cultural education and business. There will be an exciting programme of talks and tours offering visitors the opportunity to share the exceptional knowledge of its participants, museum curators and experts from all over the world. From a lecture on the Asian art market at the Albemarle Gallery, a gallery talk on Ming Chinese textiles by Jacqueline Simcox, a British Museum talk on Chinese jade by Carol Michaelson, to classical Japanese music at Gregg Baker Asian Art, there will be a number of special events planned to suit all tastes and interests. 

Belle bague en platine, ornée d'un exceptionnel saphir birman de taille coussin pesant 20,90 cts

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Belle bague en platine, ornée d'un exceptionnel saphir birman de taille coussin pesant 20,90 cts. Photo HÔTEL DES VENTES DE MONTE-CARLO

l'épaulement en chute de diamants baguettes. Dimensions de la pierre : 18,08 x 13,45 x 8,41 mm. Poids : 17,6 g. Estimation : 280 000 € / 350 000 €

La pierre accompagnée de certificats : Dunaigre, Gübelin, G.R.S. (royal blue) et S.S.E.F. attestant : origine Birmanie, sans modification thermique.

An exceptional diamond and platinum ring set with a rare cushion shaped Burmese sapphire weighing 20,90 cts.

HÔTEL DES VENTES DE MONTE-CARLO, 20 Juillet 2014. 10 - 12 QUAI ANTOINE 1ER - 98000 MONACO. Tel: 00 377 93 25 88 89

Très belle et importante bague en platine, ornée d'une émeraude octogonale à pans pesant 11,69 cts. Photo HÔTEL DES VENTES DE MO

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Très belle et importante bague en platine, ornée d'une émeraude octogonale à pans pesant 11,69 cts. Photo HÔTEL DES VENTES DE MONTE-CARLO

dans un entourage de diamants poires et navettes en alternance. Dimensions de la pierre : 15,78 x 12,82 x 9,32 mm. Poids : 14,1 g. Estimation : 180 000 € / 200 000 €

La pierre accompagnée d’un certificat Gübelin attestant : origine Colombie.

A diamond and platinum ring set with an exceptional octogonal-shaped Colombian emerald weighing 11,69 cts.

HÔTEL DES VENTES DE MONTE-CARLO, 20 Juillet 2014. 10 - 12 QUAI ANTOINE 1ER - 98000 MONACO. Tel: 00 377 93 25 88 89

Bague en or gris, sertie d'un beau rubis birman de taille ovale pesant 8,49 cts

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Bague en or gris, sertie d'un beau rubis birman de taille ovale pesant 8,49 cts. Photo HÔTEL DES VENTES DE MONTE-CARLO

dans un entourage de diamants ronds. Dimensions de la pierre : 14,04 x 11,22 x 5,41 mm. Poids : 10,2 g. Estimation : 120 000 € / 150 000 €

La pierre accompagnée d'un certificat S.S.E.F. attestant : origine Birmanie, couleur naturelle sans modification thermique.

A diamond and 18K gold ring set with a rare oval-shaped Burmese ruby weighing 8,49 cts.

HÔTEL DES VENTES DE MONTE-CARLO, 20 Juillet 2014. 10 - 12 QUAI ANTOINE 1ER - 98000 MONACO. Tel: 00 377 93 25 88 89

CHANEL. Bague en or gris, centrée d'un exceptionnel saphir Cachemire de taille ovale pesant 4,13 cts

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CHANEL. Bague en or gris, centrée d'un exceptionnel saphir Cachemire de taille ovale pesant 4,13 cts. Photo HÔTEL DES VENTES DE MONTE-CARLO

la monture et l'épaulement agrémentés d'étoiles de diamants. Signée, numérotée. Dimensions de la pierre : 9,90 x 7,75 x 5,85 mm. Poids : 8,8 g. Estimation : 120 000 € / 150 000 €

La pierre accompagnée de certificats des laboratoires Gübelin et S.S.E.F. attestant : origine Cachemire, sans modification thermique.

Ce lot est en importation temporaire.
Le prix d'adjudication sera majoré de la TVA à 20%, récupérable en cas de réexportation hors CEE.

A diamond and 18K gold ring by Chanel set with an exceptional oval-shaped Kashmir sapphire weighing 4,13 cts.

HÔTEL DES VENTES DE MONTE-CARLO, 20 Juillet 2014. 10 - 12 QUAI ANTOINE 1ER - 98000 MONACO. Tel: 00 377 93 25 88 89

VAN CLEEF & ARPELS. Bracelet en platine et or gris, en tresse de diamants ronds et baguettes centrée de cabochons d'emeraudes

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VAN CLEEF & ARPELS. Bracelet en platine et or gris, en tresse de diamants ronds et baguettes centrée de cabochons d'emeraudes. Photo HÔTEL DES VENTES DE MONTE-CARLO

Signé, numéroté. Longueur : 18 cm environ. Poids : 76,4 g. Estimation : 70 000 € / 100 000 €

A diamond, emerald, platinum and 18K gold bracelet by Van Cleef & Arpels.

HÔTEL DES VENTES DE MONTE-CARLO, 20 Juillet 2014. 10 - 12 QUAI ANTOINE 1ER - 98000 MONACO. Tel: 00 377 93 25 88 89


Collier ruban souple et dessinant un tissu d'or gris orné de 7 rangs de diamants ronds en chute

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Collier ruban souple et dessinant un tissu d'or gris orné de 7 rangs de diamants ronds en chutePhoto HÔTEL DES VENTES DE MONTE-CARLO

Longueur : 43 cm environ. Poids : 155,6 g. Poids des diamants : 70 cts environ. Estimation : 65 000 € / 70 000 €

A diamond and 18K gold necklace.

HÔTEL DES VENTES DE MONTE-CARLO, 20 Juillet 2014. 10 - 12 QUAI ANTOINE 1ER - 98000 MONACO. Tel: 00 377 93 25 88 89

Beau Bracelet en platine, en rameaux de fleurs de diamants ronds et navettes. Vers 1960

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Beau Bracelet en platine, en rameaux de fleurs de diamants ronds et navettes. Vers 1960. Photo HÔTEL DES VENTES DE MONTE-CARLO

Longueur : 18,5 cm environ.Poids des diamants : 42 cts environ. Poids : 56,4 g. Estimation : 65 000 € / 80 000 €

A platinum and diamond bracelet, circa 1960

HÔTEL DES VENTES DE MONTE-CARLO, 20 Juillet 2014. 10 - 12 QUAI ANTOINE 1ER - 98000 MONACO. Tel: 00 377 93 25 88 89

BOUCHERON. Bague en platine, ornée d'un diamant rond de taille brillant pesant 5,03 cts

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BOUCHERON. Bague en platine, ornée d'un diamant rond de taille brillant pesant 5,03 cts. Photo HÔTEL DES VENTES DE MONTE-CARLO

l'épaulement serti clos de deux diamants baguettes. Signée. Dimensions de la pierre : 10,86-11,01 x 6,98 mm. Poids : 5,9 g. Estimation : 60 000 € / 70 000 €

La pierre accompagnée d'un certificat H.R.D. attestant : couleur I, pureté VS2.

A diamond and platinum ring by Boucheron set with a brilliant cut diamond weighing 5,03 cts.

HÔTEL DES VENTES DE MONTE-CARLO, 20 Juillet 2014. 10 - 12 QUAI ANTOINE 1ER - 98000 MONACO. Tel: 00 377 93 25 88 89

Collier en draperie souple, vers 1930

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Collier en draperie souple, vers 1930. Photo HÔTEL DES VENTES DE MONTE-CARLO

de platine, agrémenté au décolleté d'une chute de motifs rectangulaires et en demi-lune pavés de diamants, chacun terminé d'un diamant de taille brillant, le plus important pesant environ 1,50 ct. Longueur : 40 cm environ. Poids total des diamants : 30 cts environ. Poids : 115,4 g. Estimation : 50 000 € / 60 000 €

A diamond and platinum necklace, circa 1930

HÔTEL DES VENTES DE MONTE-CARLO, 20 Juillet 2014. 10 - 12 QUAI ANTOINE 1ER - 98000 MONACO. Tel: 00 377 93 25 88 89

Les années 50. La mode en France, 1947-1957 au Palais Galliera

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Christian Dior, « Bonbon », robe d’après-midi, automne-hiver 1947-1948. Sergé de laine, boutons métalliques et ceinture en peau.Collection Palais Galliera © Galliera/Roger-Viollet

PARIS - Guêpières, jupons, jupes à corolle, escarpins pointus, imprimés fleuris ou rayés de couleurs vives, tailleurs à jupe « crayon » et taille de guêpe, robes bustiers-fourreaux, robes de cocktail, broderies rocailles de cristaux : telle est la couture des années 1950. À la même époque, une mode décontractée – pulls moulants, pantalon corsaires et jeans – est portée par la génération du baby-boom.

Début 1947, Christian Dior lance la première collection de sa maison de couture. Il jette aux orties l’image de la «femme-soldat à la carrure de boxeur » : la guerre est finie ! Apparaissent, chics et féminines, les femmes fleurs à la poitrine marquée, à la taille soulignée et au ventre creusé, aux hanches arrondies et à la jupe ample… Aussitôt, Carmel Snow, rédactrice en chef de Harper’s Bazaar, baptise cette collection « New Look ». Cette silhouette « sablier » si généreuse en tissu fait scandale en même temps qu’elle connaît un succès fulgurant et devient emblématique de la décennie.

D’autres styles concurrents sont tout aussi remarquables : la ligne Balenciaga, dite « tonneau », au volume s’évasant dans le dos et autour de la taille ou encore, à l’opposé du New Look, la ligne Chanel au tailleur droit et strict qui crée la rupture dès 1954.

Ces années 1950 sont décisives pour la haute couture française qui, fragilisée depuis la crise de 1929 et la guerre, renaît pour devenir éternelle… Il suffit d’égrener le chapelet mythique des noms de maisons parisiennes devenues « patrimoine national » : Jacques Heim, Chanel, Schiaparelli, Balenciaga, Jacques Fath pour les plus anciennes ; Pierre Balmain, Christian Dior, Jacques Griffe, Hubert de Givenchy, Pierre Cardin nouvellement apparues... Paradoxalement, cette puissance de la mode française repose autant sur le prestige de ces noms synonymes de luxe, d’élégance et d’innovation que sur la capacité de la profession à se convertir au révolutionnaire prêt-à-porter. Dès 1950, « Les Couturiers Associés » – Jacques Fath, Robert Piguet, Paquin, Carven et Jean Dessès – fondent la première société spécialisée dans la diffusion sous licence de prêt-à-porter de couturiers.

Issues des collections du Palais Galliera, griffées des plus célèbres couturiers ou de maisons aujourd'hui tombées dans l'oubli (Jean Dessès, Madeleine Vramant, Lola Prusac), les pièces exceptionnelles de  cette exposition retracent, en quelque 100 modèles et accessoires, l'évolution de la silhouette de 1947 à 1957, de la naissance du New Look à la disparition de Christian Dior et l’avènement d’Yves Saint Laurent.

Dans les années 1950, couture et prêt-à-porter sont non seulement l’un des premiers secteurs économiques en France mais aussi un laboratoire de la mode. C’est l’âge d’or de la haute couture et Paris regagne son titre de capitale mondiale de la mode.

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Chanel, robe de jour, printemps-été 1954. Lainage. Archives Chanel © Chanel/Grégoire Alexandre

Dans Le nouveau femina, numéro de Mars 1954, Jean Cocteau salue le retour de Chanel sur la scène de la mode : « Si Mademoiselle Chanel a régné sur les modes, ce n’est pas seulement parce qu’elle a coupé les cheveux des femmes, marié la laine et la soie, enroulé des perles sur des chandails, évité pour ses parfums les étiquettes poétiques, baissé la taille ou remonté la taille et obligé toutes les femmes à suivre ses directives, c’est parce qu’en marge de cette gracieuse et robuste dictature elle n’ignorait rien de son époque et se dépensait autant pour ce qu’elle offre d’immédiat que pour ce qui se médite dans l’ombre. Son retour sur l’estrade parisienne représente bien davantage que la  réouverture d’une grande maison. Elle est le signe d’une nécessité de vaincre une inflation médiocre ». Mademoiselle Chanel a inauguré sa maison en qualité de modiste en 1909. Elle a modifié le cours de l’histoire de la mode par les innovations que cite Cocteau auxquelles il convient d’ajouter la fameuse petite robe noire (1926). À l’annonce de la seconde guerre mondiale, elle décide de fermer sa maison. À plus de soixante et onze ans, en 1954, Chanel revient avec des tailleurs dépouillés sur des silhouettes androgynes à mille lieues des petite robe noire (1926). À l’annonce de la seconde guerre mondiale, elle décide de fermer sa maison. À plus de soixante et onze ans, en 1954, Chanel revient avec des tailleurs dépouillés sur des silhouettes androgynes à mille lieues des 

suivante. L’image du tailleur s’impose partout, en toute saison et en toute heure. Les robes gagnent en simplicité. Elle y ajoute le sac en bandoulière, es sandales bicolores et invente à son image une élégance qui n’est pas d’extravagance mais de nonchalance.

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Christian Dior, « Bernique », ensemble de jour, automne-hiver 1950-1951. Toile de laine. Collection Palais Galliera © Galliera/Roger-Viollet

Certains vêtements se révèlent à la faveur des expositions. C’est le cas de ce tailleur qui ne possédait pas de griffe à son arrivée au musée et qui grâce aux recherches menées en collaboration avec la maison de couture Christian Dior a pu être à nouveau identifié et attribué. Il s’agit d’un ensemble robe et veste dont le dessin original a été retrouvé dans les archives de la collection automne-hiver 1950 de la maison située avenue Montaigne.
« Bernique » doit son nom à l’excroissance en forme de coquille ou de chapeau chinois qui naît sur la veste pour s’échapper avec effronterie sur une basque projetée. Ajusté et profilé, il incarne au mieux l’esprit du couturier et celui des années 50.
Quatre ans seulement après la révolution du New Look, Christian Dior représente à lui seul 49% du chiffre d’affaires total des exportations de la couture française. La collection de la saison automne-hiver 1950 compte 191 modèles, 64 manteaux et 23 fourrures. Il n’y a pas de modification dans la longueur, mais la ligne verticale a fait place à l’oblique. Les formes naturelles sont restituées : épaules tombantes, buste «élargi », taille fine et hanche marquées. Selon Paris Match (édition du 12 août 1950) « 350 privilégiés ont assistéà la 1re de Dior, 240 dans le grand et le petit salon, 40 sur le palier, 40 sur l’escalier et 30 debout (…), 12 mannequins ont défilé pendant 3 heures un quart » Ce jour là« Bernique » fier et alluré s’est faufilé dans les salons de l’avenue Montaigne et a profité de tous les regards.

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Jacques Fath, robe du soir A/H 1950 Velours et satin noirs© Fr. Cochennec et E. Emo / Galliera / Roger-Viollet

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Jacques Fath, redingote, A/H 1948-1949 Taffetas de soie et fibres artificielles couleur sable© F. Cochennec et E. Emo / Galliera / Roger-Viollet

La maison Jacques Fath ouvre en 1937 mais prend réellement son envol dans les années 40, en proposant une mode légère et joyeuse, pleine de fantaisie, que le créateur veut à son image. Dans la presse, ce dernier n’hésite d’ailleurs pas à se mettre en scène que ce soit dans un bal costumé ou à la sortie de son bain, conscient de l’importance de la médiatisation pour l’image de sa griffe. Dans le sillage du New Look amorcé par Dior, Fath joue de l’asymétrie des volumes, du remodelage d’un corps féminin idéalisé, ainsi que de l’allongement de la silhouette et ce, pour le soir comme pour le jour.

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Louis Féraud, robe d'après-midi "Bergère", 1955-1957 Toile de coton blanche imprimée noire à motifs type toile de Jouy© Fr. Cochennec et E. Emo / Galliera / Roger-Viollet

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Lanvin-Castillo, robe bustier bayadère, vers 1955. Sergé de coton rayé type « toile à matelas ». Collection Palais Galliera © Galliera/Roger-Viollet

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Lanvin-Castillo, A/H 1954. Photo Gregoire Alexandre/Palais Galliera. 

Jeanne Lanvin a disparu en 1946, à l’âge de 79 ans. À son départ, 1 500 ouvrières travaillaient à pied d’œuvre aux collections dans les immeubles du faubourg Saint-Honoré. En 1950, Antonio Canovas de Castillo, couturier d’origine espagnole rejoint la maison Lanvin dont il prend la direction artistique.
Exiléà la suite de la révolution de 1936, Castillo s’est installéà Paris où il a été avant-guerre modéliste chez Paquin, puis chez Piguet lorsqu’Elisabeth Arden l’appela à New York. Il fut aussi le bras droit de Mademoiselle Chanel.
Interrogée à son sujet Chanel disait de lui : « Il a une sorte de génie à l’arrêt. Avec lui, il faut jouer le rôle du furet, le faire sortir de son trou. Alors, c’est merveilleux ». Antonio Castillo a dessiné les collections de la maison Lanvin jusqu’en 1963. Durant toutes les années 50, le couturier s’est attachéà réveiller les couleurs et les broderies qu’appréciait tant la fondatrice. Il sait donner une lecture contemporaine aux modèles griffés d’une des plus anciennes maisons de mode. Son style s’incarne volontiers dans la recherche de l’épure et dans la coupe qu’il veut sobre, parfois austère. En revanche, son goût pour les couleurs franches et les motifs placés trahissent les exubérances d’un couturier au tempérament ibérique

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Christian Dior par Yves Saint Laurent, « Aurore », robe du soir courte, printemps-été 1958. Faille Aurore de Lajoinie. Collection Palais Galliera © Galliera/Roger-Viollet

Pour sa première collection, Yves Saint Laurent, 21 ans, lance la ligne « trapèze ». Le jeune couturier a succédéà Monsieur Dior, disparu tragiquement en 1957 au terme de dix années de créations qui ont modifié considérablement l’image de la mode. Fidèle à l’esprit Dior, Yves Saint Laurent s’appuie sur le langage optique des lignes et des coutures que le couturier d’origine aimait à renouveler. Les mannequins sont vêtus de « Printemps », «Porcelaine », « Séduction », « Refrain », « Café de Flore » ou « Zouzou ». Ce sont les noms des modèles que le jeune homme a choisis pour les robes d’organdi, les jupes de tulle, les tailleurs de laine ou de flanelle qui accompagnent ses premiers pas. Tous les modèles entretiennent le souvenir de ce pictogramme trapèze d’où les jambes fines des femmes s’extraient avec grâce comme les tiges de fleurs rares. « Aurore », dont il existe une version bleue faïence dans les archives de la maison Dior, appartient encore au répertoire stylistique des années 50 qu’Yves Saint Laurent quittera en même temps que la maison en septembre 1960.

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Balenciaga, « Baby doll », robe de cocktail, printemps-été 1958. Taffetas. Collection Palais Galliera © Galliera/Roger-Viollet

En 1958, soit dix ans avant que Cristóbal Balenciaga ne ferme sa maison, le couturier d’origine espagnole lance la « Baby doll » sur la carte parisienne de la mode. La robe est de forme excessivement simple. Elle surprend par ses proportions que l’on qualifierait aujourd’hui «over size ». L’encolure ras-du-cou sur le devant, creusée par le poids de la robe et ronde dans le dos, l’absence de manches réduisent sa forme aux règles strictes de la coupe. Son ampleur disproportionnée, ses plis nombreux répartis dans le bas, comme sur les robes de poupées des années 20, sont les paraphes qui signent cette robe d’allure nouvelle. Le taffetas souple et fin agit comme un souffle sur le corps, le révèle plus subtilement quand on croit que la robe, par son volume, le dissimule.
Par son caractère original et sa radicalité, elle annonce les courants réformateurs et simplificateurs des années 60. Les références historiques, que l’on note en 1958 dans les collections de Balenciaga, sont de style Directoire et Empire. Il n’y a pas de règle de conduite autre que la maîtrise et la technique.

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Christian Dior (Boutique), robe du soir en deux parties, 1953-1954 Tulle gris clair et foncé© Fr. Cochennec et E. Emo / Galliera / Roger-Viollet

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Christian Dior, robe du soir "Marivaux" P/E 1954 - Ottoman de soie bleu très pâle, bustier brodé de soie polychrome et paillettes. © Relaxnews 2005-2014

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Christian Dior (Boutique), 1953-1954 / Jacques Fath, vers 1947 / Grès, A/H 1956. Collection Palais Galliera© Gregoire Alexandre/Palais Galliera.

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Jacques Heim, 1951 / Alwynn, 1950 / Carven, 1951. Photo Gregoire Alexandre/Palais Galliera.

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Henry Clarke, tailleur Chanel A/H 1955© Henry Clarke/Galliera/Roger-Viollet

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Henry Clarke, Jacques Fath © Henry Clarke/Galliera/Roger-Viollet

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