Blue and white ewer with silver mounts, China, Kangxi period (1662-1722). Photo courtesy Vanderven Oriental Art.

Height: 17 cm. Silver mounts: 19th century. Price: € 3.500,00

Provenance: Stassen collection, The Netherlands

Vanderven Oriental Art. Nachtegaalslaantje 1, 5211 LE s-Hertogenbosch, Netherlands

Blue and white ewer with cover, China, Kangxi period (1662-1722). Photo courtesy Vanderven Oriental Art.

Height: 15 cm. Silver mounts of the period marked Amsterdam 1720. Price: € 7.500,-

Provenance: Simons collection, the Netherlands

Vanderven Oriental Art. Nachtegaalslaantje 1, 5211 LE s-Hertogenbosch, Netherlands

Weighing 8.3 grams and measuring 21.82 x 17.6 x 16.4 mm, the royal Cartier pearl, which was once owned by Queen Mary of England, is said to be one of the most beautiful in existence thanks to its perfectly symmetrical shape and silvery lustre. Biennale des Antiquaires 2014.

Hidden within the ripple of pearls and diamonds is a highly complex mechanism created by Cartier that allows the wearer to transform the jewel to follow the contours of the neck or the forehead. The central pearl, still in its original diamond setting, can also be detached and worn as a pendant. Biennale des Antiquaires 2014.

Thanks to an innovative sliding system, Cartier has created a transformable piece of jewellery that will be presented at the 2014 Biennale des Antiquaires and can be worn as a tiara or a necklace. Biennale des Antiquaires 2014.

Alongside the royal Cartier pearl pendant - still in its original diamond setting - is a pair of matching drop-shaped pearl and diamond earrings, which complete the tiara/necklace set. Biennale des Antiquaires 2014.

Photos courtesy of Cartier

Pair of soft paste ewers with Chinese characters, China, Late 18th century. Photo courtesy Vanderven Oriental Art.

Height: 10,5 cm Width: 13 cm. Price on request

Provenance: Private Collection, UK
Purchased from Santos London.

Vanderven Oriental Art. Nachtegaalslaantje 1, 5211 LE s-Hertogenbosch, Netherlands

White monochrome vase with anhui dragon decoration, China, 18th Century. Photo courtesy Vanderven Oriental Art.

Height: 21cm. Price on request

Provenance: Private Collection, UK
purchased from Santos London

The vase is decorated underglaze with a dragon curling around the body of the vase.

Natural pearl and diamond ring. Photo Sotheby's

Set with two button-shaped pearls, one of brownish grey colour, decorated with baguette diamonds, size 51. Estimate 85,000 — 120,000 CHF - LOT SOLD. 146,500 CHF

Accompanied by SSEF report no. 62591, stating that the two pearls were found to be natural, saltwater, with no indications of artificial colour modification.

Sotheby's. Magnificent Jewels and Noble Jewels. Geneva | 14 May 2012

Natural Pearl, Seed Pearl and Diamond Brooch. Photo Sotheby's

Suspending on a slightly baroque drop-shaped natural pearl measuring approximately 12.95 - 13.60 x 15.90mm, to a stylised surmount set with numerous seed pearls and brilliant-cut diamonds together weighing approximately 2.30 carats, mounted in platinum, pendant detachable. Estimate 500,000 — 600,000 HKD - LOT SOLD. 620,000 HKD

Accompanied by SSEF report numbered 64235, dated 19 July 2012, stating that the pearl is natural saltwater pearl, with no indications of artificial colour modification. Due to the setting, the small pearls have not been tested.

Sotheby's. Magnificent Jewels and Jadeite. Hong Kong | 09 Oct 2012

Nose and lips of Akhenaten. Indurated limestone, 8.1 x 5.1 x 4.5 cm, about 1345-1335 B.C. © Metropolitan Museum of Art, New York.

OXFORD.- Lord Carnarvon and Howard Carter’s excavation of the tomb of Tutankhamun in 1922 was one of the most significant archaeological discoveries of the 20th century. The name of the ‘boy king’ is now synonymous with the glories of ancient Egypt and the spectacular contents of his tomb continue to enthral the public and scholars alike. The Ashmolean’s summer exhibition displays objects from ancient Egypt’s Amarna Period (about 1350–1330 BC) with material from the archives of Oxford’s Griffith Institute, celebrating its 75th year in 2014, to tell the story of the discovery of the tomb, its popular appeal, and to explore how modern Egyptologists continue to interpret the evidence. 

Howard Carter (1874–1939) came to Egyptology through his skills as a draughtsman and artist, commissioned to copy hieroglyphic inscriptions and tomb paintings at the age of seventeen. By 1907 Carter had become an experienced archaeologist and was employed by George Herbert, the fifth Earl of Carnarvon (1866–1923), to lead his excavations of ancient tombs on the Theban west bank (opposite modern Luxor). In 1914 the opportunity to dig in the Valley of the Kings presented itself and both men jumped at the chance to search for one of the last royal tombs to be located, that of Tutankhamun. 

Little was known about Tutankhamun when Carter and Carnarvon began their search. He appeared to have been a king of minor historical importance but ruled at a time when Egypt’s empire was at the height of its power and wealth, reaching from Sudan to Syria. Years of fruitless excavation followed and by 1922 Lord Carnarvon could no longer afford the costs and decided to terminate the work. Carter persuaded him to undertake one more season and within days of the renewed digging Carter wrote in his diary, on 5 November: “Discovered tomb under tomb of Ramses VI / Investigated same & found seals intact.” 

The discovery caused a sensation. The Times of London was given exclusive access to the excavation and soon photographs of the tomb and its spectacular contents taken by the excavation’s photographer, Harry Burton, appeared around the world. Reporting on the story in February 1923, a New York Times correspondent wrote: “There is only one topic of conversation…One cannot escape the name of Tut-Ankh-Amen anywhere. It is shouted in the streets, whispered in the hotels, while the local shops advertise Tut-Ankh-Amen art, Tut-Ankh-Amen hats, Tut-Ankh-Amen curios, Tut-Ankh-Amen photographs. There is a Tut-Ankh-Amen dance tonight at which the piece is to be a Tut-Ankh-Amen rag.” 

The public was in the grips of what became known as ‘Tutmania’. Throughout the 1920s, Egypt and its boy-king were celebrated in film, advertising, popular music, fashion, and design. 

Discovering Tutankhamun brings together objects, photographs, and archive material from leading collections to tell the story of the search for the tomb, the painstaking recording of its contents, and the research that continues to illuminate Tutankhamun and his world. On display are Harry Burton’s iconic photographs, Carter’s hand-written diaries, and the sketches and records made in the tomb as it was cleared from 1922–32. Much of this material from the Tutankhamun archive in the University of Oxford’s Griffith Institute, has never before been exhibited in public. Other highlights include some of the finest art from the Amarna Period on loan from major international museums and from the Ashmolean’s own superb collections. Objects which illustrate the frenzied enthusiasm for ancient Egyptian art and culture, including 1920s jewellery and fashion, decorative arts, and vintage posters and advertisements, explore the 1920s ‘Tutmania’ and the fascination with Tutankhamun which endures today. 

Professor Christopher Brown CBE, Director of the Ashmolean, says: “Discovering Tutankhamun tells a thrilling story of archaeological discovery and explores its impact on both scholarship and popular culture. The exhibition shows archival material which has never been seen in public before, with major loans from around the world, and provides the opportunity to re-examine pivotal moments in both ancient and modern history.”  

Lord Carnarvon (middle) walking through the Valley of the Kings with the archaeologist Arthur Mace (left) and the chemist Alfred Lucas – both of whom worked on the conservation of objects from the tomb. © The Griffith Institute

Left to right: James Henry Breasted, Harry Burton, Alfred Lucas, Arthur Callender, Arthur Mace, Howard Carter and Alan Gardiner eat lunch in the tomb of Ramesses XI in 1923. Photograph: Lord Carnarvon/Griffith Institute, University of Oxford

Transporting objects from King Tutankhamun's tomb. Photograph: Griffith Institute, University of Oxford

The first glimpse of Tutankhamun's tomb, Egypt, 1933-1934. Credit: The Print Collector / Heritage-Images

British Archaeologist Howard Carter In The Tomb Of King Tut. HARRY BURTON/WIKIMEDIA COMMONS

Jacopo Ligozzi (Italian, 1547–1627), Head of a Woman with Elaborate Headdress. From the collection of Helen-Mae and Seymour Askin.

Greenwich, CT - Greenwich is fortunate to be the one of the most active centers for the private collecting of art in the country, indeed in the world. This show serves to illustrate the diversity of three local collections. Although only a selection of a portion of their holdings, the works on view speak to the remarkable level of quality achieved and the connoisseurship their owners brought to bear on the assembly of their collections.

One of these collections is comprised of splendid and exceedingly rare Italian Renaissance and Baroque drawings.

Gaetano Gandolfi (Italian, 1734-1802), Pluto, Prosperpina, and Charon by the River Styx, 1798; 340 x 397 mm; Collection of Helen-Mae and Seymour Askin; Photograph by Paul Mutino.

A second has a focus on American art with special strengths in Andrew Wyeth's art – a perennial favorite with modern museum-goers.

Finally, the third collection offers an excellent array of ancient Chinese ceramics, primarily from the Tang Dynasty (618-907 AD). It seems fitting to have these antiquities on view when we are featuring the exhibition of Chinese and American contemporary artists' works in Tale of Two Cities: New York & Beijing.

As heterodox as the three collections are, they reflect the passion and discernment of their owners. We are grateful to them for permitting the public to share in the enjoyment of their art for a brief period this summer.

Lokapala, Tang Dynasty, AD 618-907, 40 x 16 x 12 in.; Promised gift of Fred and Jane Brooks.; Photograph by Paul Mutino

Lokapala, Tang Dynasty, AD 618-907, 40 x 16 x 12 in.; Promised gift of Fred and Jane Brooks.; Photograph by Paul Mutino.

An exquisite Art Nouveau glass, enamel and baroque pearl "Salomé" brooch, by René Lalique. Photo Christie's Image Ltd 2012

The shield-shaped plaque centering upon a sculpted and carved iridescent greenish-blue glass maiden with flowing draped fabric, backed by a gold panel, within a graduated blue cloisonné and iridescent plique-à-jour enameled twin serpent frame, suspending a baroque pearl, mounted in gold, circa 1904-1905. Signed Lalique for René Lalique. The pearl has not been tested for natural origin. Estimate $80,000 - $120,000. Price Realized $471,500

Literature: Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 64-65
Penny Proddow and Marion Fasel, "Bejeweled: Great Designers, Celebrity Style", Harry N. Abrams, Inc., New York, 2001, contents page
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 123
Exhibited
"René Lalique, Jewelry Glass", Paris, Musée des Arts Décoratifs, 22 October 1991-March 1992, no. 214
"René Lalique", Tokyo, The National Museum of Modern Art, 23 May-12 July 1992, no. 116
"The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 140

Notes: cf. Sigrid Barten, "René Lalique, Schmuck und Objets d'art 1890-1910: Monographie und Werkkatalog", Prestel-Verlag, München, 1977, page 108 (appears to be working sketch)

A magnificent Art Nouveau enamel, glass and ivory chalice, by René Lalique. Photo Christie's Image Ltd 2012

The green plique-à-jour enamel ivy leaf base, intersected by undulating forest green enamel grape vines, extending an openwork green enamel and cabochon green glass stem, centering upon a carved and pierced central cylindrical ivory plaque, depicting male and female figures frolicking in a Bacchic scene, to the sculpted transparent glass and green plique-à-jour enamel cup, set with six carved ivory plaques, each depicting three Bacchantes in relief, accented by forest green enameled trim, mounted in gold, circa 1899-1901, 4½ x 4½ x 6 ins., in a red leather fitted case. Signed R. Lalique for René Lalique. Estimate $200,000 - $250,000. Price Realized $251,500

Literature: Sigrid Barten, "René Lalique, Schmuck und Objets d'art 1890-1910: Monographie und Werkkatalog", Prestel-Verlag, München, 1977, page 546
Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 163

A rare Art Nouveau "Butterflies and Bats" pocketwatch, by René Lalique. Photo Christie's Image Ltd 2012

Of gilt-finished jeweled lever movement, the openface pocketwatch of circular outline with blued-steel moon-style hands and applied black enameled Arabic numerals, against the gold ground accented by blue and white enameled fluttering butterflies, within a polished gold case, the reverse depicting numerous flying purplish blue enameled bats, with scattered moonstone accents, further embellished by a sculpted gold serpent bow, circa 1899-1900, with French export marks.Signed Lalique for René Lalique; case, cuvette and movement no. 16423. Estimate $60,000 - $80,000. Price Realized $207,500

Literature: Sigrid Barten, "René Lalique, Schmuck und Objets d'art 1890-1910: Monographie und Werkkatalog", Prestel-Verlag, München, 1977, page 501
Vivienne Becker, "The Jewellery of René Lalique", The Goldsmith's Company, 1987, pages 134-135
Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 70-71
Michael Koch, "The Belle Epoque of French Jewellery: 1850-1910", Thomas Henage & Co. Limited, London, 1991, page 221
Penny Proddow and Marion Fasel, "Bejeweled: Great Designers, Celebrity Style", Harry N. Abrams, Inc., New York, 2001, page 43
Alastair Duncan, "The Paris Salons, 1895-1914: Volume II", Antique Collectors' Club, Woodbridge, Suffolk, 1994, page 37
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 102-103

Exhibited: "Art Nouveau: Belgium, France", Rice Museum, 26 March-27 June 1976; Chicago, The Art Institute, 28 August-31 October 1976, no. 252
"Art Nouveau Jewelry by René Lalique", Baltimore, The Walters Art Gallery; Richmond, Virginia Museum of Fine Arts, Fort Worth, Kimbell
Art Museum, Los Angeles County Museum of Art, 1985, no. 56
"The Jewellery of René Lalique", London, The Goldsmiths' Hall, 28 May-22 November 1987, no. 126
"Pariser Schmuck: vom 2. Kaiserreich zur Belle Epoque", Munich, Bayerisches Nationalmuseum, 1 December 1989-4 March 1990, no. 142
"René Lalique, Jewelry Glass", Paris, Musée des Arts Décoratifs, 22 October 1991-March 1992, no. 224
"René Lalique", Tokyo, The National Museum of Modern Art, 23 May-12 July 1992, no. 137
"The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 46

A spectacular  Art Nouveau horn page turner, by René Lalique. Photo Christie's Image Ltd 2012

Depicting a realistically carved and stained fish, swimming within the tapered textured horn panel, circa 1906-1908, 2¼ x 20 ins., in an R. Lalique white satin case. Signed Lalique for René Lalique. Estimate $40,000 - $60,000. Price Realized $130,500

Literature: Sigrid Barten, "René Lalique, Schmuck und Objets d'art 1890-1910: Monographie und Werkkatalog", Prestel-Verlag, München, 1977, page 520
Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 203
Alastair Duncan, "The Paris Salons, 1895-1914: Volume II", Antique Collectors' Club, Woodbridge, Suffolk, 1994, page 15
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 139

Exhibited: "The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 230

An Art Nouveau horn and peridot hair comb, by René Lalique. Photo Christie's Image Ltd 2012

The shield-shaped carved horn panel depicting two gold stained snakes poised to strike, enhanced by scattered vari-shape cabochon peridots, extending three additional gold stained carved snakes, the tails forming the comb, circa 1898, in a René Lalique sea green fitted case. Signed R. Lalique for René Lalique, 1898. Estimate $25,000 - $30,000. Price Realized $107,550

Literature: Vivienne Becker, "The Jewellery of René Lalique", The Goldsmith's Company, 1987, pages 160
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 61

Exhibited: Exposition Universelle, Paris, July 1900
"The Jewellery of René Lalique", London, Goldsmiths' Hall, 28 May-22 November 1987, no. 165
"René Lalique", Tokyo, The Museum of Modern Art, 23 May-12 July 1992, no. 9

An exquisite Art Nouveau opal, glass, diamond and enamel "Rose" plaque, by René Lalique. Photo Christie's Image Ltd 2012

The oval-cut white opal, within a rose-cut diamond openwork surround, extending undulating polished gold stems with green plique-à-jour enameled leaves, each terminating in a sculpted pink glass rose blossom, with rose-cut diamond trim, the reverse similarly decorated, mounted in gold, (with hoop for suspension), circa 1901. Signed Lalique for René Lalique. Estimate $60,000 - $80,000. Price Realized $107,550

Literature: Sigrid Barten, "René Lalique, Schmuck und Objets d'art 1890-1910: Monographie und Werkkatalog", Prestel-Verlag, München, 1977, page 335
Michael Koch, "The Belle Epoque of French Jewellery: 1850-1910", Thomas Henage & Co. Limited, London, 1991, page 227

An Art Nouveau enamel, opal and gold corsage pin finial,, by René Lalique. Photo Christie's Image Ltd 2012

Centering an oval-shaped openwork scene, depicting three gray enameled satyrs confronting a gray enameled maenad, with a calibré-cut black opal, to the polished gold borders, extending a series of textured gold terminals, each enhanced by blue and translucent purple enamel, the base further decorated by a blue enamel organic motif, the reverse in chased gold relief, mounted in gold, (pin stem deficient), circa 1899-1900. Signed Lalique for René Lalique. Estimate $30,000 - $40,000. Price Realized $101,575

Literature: Sigrid Barten, "René Lalique, Schmuck und Objets d'art 1890-1910: Monographie und Werkkatalog", Prestel-Verlag, München, 1977, page 478
Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 94-95
Michael Koch, "The Belle Epoque of French Jewellery: 1850-1910", Thomas Henage & Co. Limited, London, 1991, page 221
Alastair Duncan, "The Paris Salons, 1895-1914: Volume II", Antique Collectors' Club, Woodbridge, Suffolk, 1994, page 34
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 82

Exhibited: "Art Nouveau: Belgium, France", Rice Museum, 26 March-27 June 1976; Chicago, The Art Institute, 28 August-31 October 1976, no. 410
"Art Nouveau Jewelry by René Lalique", Baltimore, The Walters Art Gallery; Richmond, Virginia Museum of Fine Arts, Fort Worth, Kimbell Art Museum, Los Angeles County Museum of Art, 1985, no. 55
"Pariser Schmuck: vom 2. Kaiserreich zur Belle Epoque", Munich, Bayerisches Nationalmuseum, 1 December 1989-4 March 1990, no. 141
"René Lalique, Jewelry Glass", Paris, Musée des Arts Décoratifs, 22 October 1991-March 1992, no. 207
"René Lalique", Tokyo, The National Museum of Modern Art, 23 May-12 July 1992, no. 25
"The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 106

Note: This piece was based on a fifth century B.C.E. red-figure bowl Lalique may have encountered at the British Museum while studying in London. The ancient bowl or drinking cup, by the Attic vase Brygos Painter, depicts the legend 'Hera and Iris pursued by the Silenes' with satyrs in these exact poses, but reverse order. The nude female figure was an addition by Lalique.

An Art Nouveau glass, enamel and aquamarine brooch , by René Lalique. Photo Christie's Image Ltd 2012

The openwork plaque, suspending a central kite-shaped aquamarine, encased within a frame of entwined translucent green glass stylized fish, extending blue and green enameled fins, enhanced at the cardinal points by a half-moon, triangular or navette-shaped aquamarine, mounted in gold, circa 1904-1905. Signed Lalique for René Lalique Estimate $50,000 - $60,000. Price Realized $77,675

Literature: Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 192
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 128

Exhibited: "The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 132

A delicate  Art Nouveau enamel and pearl pendant,, by René Lalique. Photo Christie's Image Ltd 2012

Centering upon a carved and stained blue simulated ivory plaque depicting five dancing nymphs, within a scrolling blue guilloche enamel frame, enhanced by two textured gold and blue enameled flowers extending curving tendrils, suspending a drop-shaped pearl, measuring approximately 10.90 x 7.00 mm, mounted in 18k gold, circa 1902-1903, with French assay marks and maker's mark. Signed Lalique for René Lalique, with maker's mark for René Lalique. Estimate $25,000 - $30,000. Price Realized $71,700

Literature: Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 143
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 121

Exhibited: "The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 113

An exquisite Art Nouveau rock crystal and glass brooch,, by René Lalique. Photo Christie's Image Ltd 2012

Of square outline, composed of four etched glass panels depicting maidens scattering flower petals, enhanced at the corners by cushion-cut simulated diamond accents, mounted in platinum and gold, circa 1904-1905. Signed Lalique for René Lalique. Estimate $20,000 - $25,000. Price Realized $62,140

Literature: Sigrid Barten, "René Lalique, Schmuck und Objets d'art 1890-1910: Monographie und Werkkatalog", Prestel-Verlag, München, 1977, page 427
Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 138
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 123
Exhibited
"René Lalique, Jewelry Glass", Paris, Musée des Arts Décoratifs, 22 October 1991-March 1992, no. 223
"René Lalique", Tokyo, The National Museum of Modern Art, 23 May-12 July 1992, no. 117
"The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 141

An Art Nouveau enamel pendant necklace, by René Lalique. Photo Christie's Image Ltd 2012

The pendant centering upon a textured gold and enameled plaque depicting four veiled women in procession, within a frame of purple enameled tree branches, enhanced by textured green enameled leaves, suspended from a purple enameled bar-link neckchain, mounted in 18k gold, circa 1900-1902, 22¼ ins., with French assay mark, in a Lalique navy leather fitted case. Signed Lalique for René Lalique. Estimate $30,000 - $40,000. Price Realized $53,775

Literature: Sigrid Barten, "René Lalique, Schmuck und Objets d'art 1890-1910: Monographie und Werkkatalog", Prestel-Verlag, München, 1977, page 323
Penny Proddow and Marion Fasel, "Bejeweled: Great Designers, Celebrity Style", Harry N. Abrams, Inc., New York, 2001, page 40
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 108

An exquisite  Art Nouveau enamel and diamond brooch, by René Lalique. Photo Christie's Image Ltd 2012

The iridescent blue enameled chased gold plaque, of lozenge-shaped outline, depicting a female face in thought, adorned by opalescent enameled pansies, to the rose-cut diamond frame, mounted in gold, circa 1899-1901, with French importation marks. Signed Lalique for René Lalique. Estimate $25,000 - $30,000. Price Realized $45,410

Literature: Sigrid Barten, "René Lalique, Schmuck und Objets d'art 1890-1910: Monographie und Werkkatalog", Prestel-Verlag, München, 1977, page 403
Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 69
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 73

Exhibited: "Art Nouveau: Belgium, France", Rice Museum, 26 March-27 June 1976, Chicago, The Art Institute, 28 August-31 October 1976, no. 405
"The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 40

An Art Nouveau ivory and gem-set brooch, by René Lalique. Photo Christie's Image Ltd 2012

The sculpted ivory women, adorned by Phygian bonnets, emerging from a pool of ivory, trimmed with rose-cut diamonds and pale yellow glass accents, mounted in gold, circa 1901-1902. Signed Lalique for René Lalique. Estimate $20,000 - $25,000. Price Realized $45,410

Literature: Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 190

Note: Lalique's fascination with Eastern culture and motifs is evident in his use of the Phygian bonnet, a short and pointed cap worn by Persian soldiers. Often depicted in early images of the Persian god Mithras, this bonnet later became fashionable in Italy and France during the late 14th and 15th centuries.

An Art Nouveau hardstone and enamel brooch, by René Lalique. Photo Christie's Image Ltd 2012

Designed as a carved white hardstone Mercury, wearing a sculpted silver helmet, extending openwork green and blue enamel wings in a butterfly motif, enhanced by sculpted gold swags, mounted in silver and gold, circa 1897-1899. Signed Lalique for René Lalique. Mercury, personification of eloquence and reason, often appears in mythology as the messenger to the Greek gods. He is usually depicted wearing winged shoes and a winged hat, called a petasus, for swift travel. Estimate $12,000 - $15,000. Price Realized $38,240

Provenance: Sold Sotheby's Geneva, "Masterpieces of Art Nouveau Jewellery", 19 November 1997, lot 21

Literature: Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 181
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 67

Exhibited: "The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 11

Note: Mercury, personification of eloquence and reason, often appears in mythology as the messenger to the Greek gods. He is usually depicted wearing winged shoes and a winged hat, called a petasus, for swift travel.

An Art Nouveau enamel ring, by René Lalique. Photo Christie's Image Ltd 2012

Of oblong outline, designed as four blue plique-à-jour enamel lotus blossoms, enhanced by green cloisonné enamel stems, intersected by a opalescent plique-à-jour enamel cross motif, mounted in gold, circa 1900-1902, in a René Lalique brown leather fitted case. Signed Lalique. Estimate $8,000 - $10,000. Price Realized $35,850

Literature: Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 187
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 86

Exhibited: "The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 82

An Art Nouveau ivory and enamel pendant, by René Lalique. Photo Christie's Image Ltd 2012

The carved ivory plaque, depicting a maiden in profile, her tresses adorned by flowers, encased by brown and blue enameled branches, with sculpted iridescent yellow enameled flowers, and pale green leaves, mounted in gold, circa 1904-1905. Signed Lalique for René Lalique. Estimate $25,000 - $30,000. Price Realized  $25,095

Literature: Sigrid Barten, "René Lalique, Schmuck und Objets d'art 1890-1910: Monographie und Werkkatalog", Prestel-Verlag, München, 1977, page 324

An Art Nouveau enamel and diamond brooch, by René Lalique. Photo Christie's Image Ltd 2012

Designed as a textured gold woman in profile, with black enameled hair, wearing a sea green enameled headdress, enhanced by two sculpted orange enameled chrysanthemums, each centering upon an old European-cut diamond pistil and flecked with black enamel, extending a textured gold stem to a third orange enamel blossom, mounted in 18k gold, (inscribed "1908"), circa 1908, with French assay mark. Signed Lalique for René Lalique. Estimate $12,000 - $15,000. Price Realized $11,353

An Art Nouveau enamel hat pin, by René Lalique. Photo Christie's Image Ltd 2012

Designed as a cluster of yellow enameled berries, extending openwork textured green enameled leaves, mounted in gold, circa 1902-1903, with French assay mark and import mark. Signed Lalique for René Lalique. Estimate $8,000 - $10,000. Price Realized $8,963

Literature: Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 188
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 91

Exhibited: "The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 84

An unusual Art Nouveau gilt invitation, by René Lalique. Photo Christie's Image Ltd 2012

Of circular outline, the hammered gilt plaque decorated with a sculpted woman wearing a crown of leaves and berries, inscribed, " Invitation à l' Exposition de R. Lalique 24 Place Vendôme", circa 1905-1906. Signed RL for René Lalique. Estimate $20,000 - $25,000. Price Realized  $15,535

Literature: Sigrid Barten, "René Lalique, Schmuck und Objets d'art 1890-1910: Monographie und Werkkatalog", Prestel-Verlag, München, 1977, page 567
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 38

Exhibited: "The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 231

Note: The image of the female on the invitation could be that of Sarah Bernhardt

René Lalique.

René Lalique, the creative father of the Art Nouveau movement, was born in 1860 in Ay, France. His childhood was spent surrounded by the lush beauty of the woods of Champagne and he painted and drew wildlife from an early age. At age 16, his father died, and Lalique was forced to earn a living. He apprenticed to the jeweler Louis Aucoc because his mother had heard that the life of a jeweler was not too straining. After two years, his studies led him to London, where he attended Sydenham College, a progressive arts institute associated with the Arts & Crafts movement. It was at Sydenham that Lalique studied English literature and poetry. Themes from romantic and tragic literature inspired many of his most celebrated works.

After his schooling in England, Lalique returned to Paris and continued his studies in sculpture and drawing while working for various jewelers. It was at this time that he began working for famous and established firms such as Cartier, Boucheron and Vever (lot 397). The majority of the pieces that he created during this period, detailed in Henrí Vever's "French Jewelry of the Nineteenth Century", were in the same vein as other jewelry of the time. The popular court style often depicted simple, diamond-set jewels in stylistic blooming flowers. It was common practice to set diamonds upon a tiny spring, causing the gems to sparkle and reflect light as they bounced. These early diamond and gem-set pendants, brooches and devant-de-corsages were works that furthered his experience with precious stones and metal and set the stage for his later, more sculptural pieces.

In 1885, Lalique took over the Place Gaillon Workshops and began early experiments with glass and later, horn (lots 144, 399, 404, 405). He steered away from the use of diamonds and other traditional gems and chose instead to utilize semi-precious stones such as opal, citrine and ivory. He perfected his masterful use of enamel, especially plique-à-jour, the most difficult and dramatic medium (lots 388, 391, 395, 402).

In realizing the greatest flights of his imagination, Lalique broke with the traditional jewelry establishment. Early critics were shocked at his use of serpents poised to strike, maenads in Bacchic frenzy, nude maidens, somber nuns and darting fish (lots 390, 392, 396, 401). At first, retailers and critics called his work "a commercial risk". However, by the Exposition Universalle in 1900, Lalique had become the most sought after jeweler in Paris. Sarah Bernhardt, Madame Meurlot-Chollet and Alice Roosevelt, President Roosevelt's fashionable daughter, purchased and commissioned pieces from him. Lalique was called a "Master of French Jewelry" and won the rosette of the Légion d'Honneur. Lalique's fabulous presentation, shown adjacent to his former employer, Henrí Vever, was a success. Interestingly, both Lalique and Vever were awarded with Grand Prix for the Exposition Universelle of 1900.

Lalique often borrowed from the Japanese style in his works. His tender, often asymmetrical, rendering of nature evoked the simplicity of Japanese design. Other notable influences were the sculptor Auguste Rodin (lot 386) and the Gustav Klimt (lot 387). Lalique was able to blend these influences into intense and moody jewels, illustrating a fall sunset (lot 404), a pensive Mercury (lot 400), or women emerging from a pool of ivory water (lot 393).

In 1905, Lalique opened a retail shop next to Coty on 24 Place Vendome and began designing perfume bottles for many Parisian perfumeries. His workshop shifted to the commercial production of vases, clocks and light fixtures. Around 1910, a flood of bad Art Nouveau imitations disillusioned Lalique about jewelry. The mass-produced pieces lost the detailed and sensuous quality that Lalique had perfected. He stopped creating jewels and turned to glass manufacturing as a second career.

René Lalique was an exceptional artisan, craftsman and innovator. Although he became widely known for his glass pieces, critics often note that his jewels displayed his greatest mastery. The course of jewelry design shifted drastically because of this innovator: jewelers were introduced to organic materials such as horn and ivory; glass was freely mixed with precious and semi-precious gemstones. Most importantly, Lalique restored creative freedom in jewelry design. His influence extended upon other French jewelers at the turn of the century, the American, Louis Comfort Tiffany and even the jewelry of the Art Deco movement. His legacy survives to this day, not just with inspiration of design, but with the philosophy that it is exciting not to conform.

Christie's. MAGNIFICENT JEWELS, 15 October 2002, New York, Rockefeller Plaza

Wind Flowers in a porcelain bowl, Yashima Gakutei, Rokujuen, 1810 - 1819, color woodcut; line block in black with color blocks; metal pigments, h 211mm × 186mm. Bequest of JA Bierens de Haan, Amsterdam,  1958. RP-P-1958-422. The Rijksmuseum, Amsterdam. © The Rijksmuseum, Amsterdam.

A lacquered bowl, Kubota Shunman, Shukumendô, c. 1810 - c. 1820, color woodcut; embossing; line block in black with color blocks; metal pigments, h 214mm × 186mm. color woodcut; embossing; line block in black with color blocks; metal pigments, h 214mm × 186mm, 1972. AK-MAK-966. The Rijksmuseum, Amsterdam. © The Rijksmuseum, Amsterdam.

The shell salt: salt and pipe, Katsushika Hokusai, Toshigaki Maharu, 1821, color woodcut; embossing; line block in black with color blocks; metal pigments, h 201mm × 176mm. Bequest of JA Bierens de Haan, Amsterdam,  1958. RP-P-1958-269. The Rijksmuseum, Amsterdam. © The Rijksmuseum, Amsterdam.

Horses money, Katsushika Hokusai, Shôbatei Kiraku, Toryukan Michi Mori, 1822, color woodcut; embossing; line block in black with color blocks; metallic pigments;polishing, h 216mm × 183mm. Bequest of JA Bierens de Haan, Amsterdam, 1958. RP-P-1958-282. The Rijksmuseum, Amsterdam. © The Rijksmuseum, Amsterdam.

Ceramics from SoMa, Katsushika Hokusai, Shûfûen Hananushi, 1822, color woodcut; embossing; line block in black with color blocks; metallic pigments;polishing, h 206mm. Acquisition, 2000. RP-P-2000-211. The Rijksmuseum, Amsterdam. © The Rijksmuseum, Amsterdam.

Agate, Katsushika Hokusai, Tatsumi no Sato Bikarô, Chishundô Fukuyoshi, 1822, color woodcut; embossing; line block in black with color blocks; metallic pigments;polishing, h 206mm × W 180MM. Bequest of JA Bierens de Haan, Amsterdam, 1958. RP-P-1958-289. The Rijksmuseum, Amsterdam. © The Rijksmuseum, Amsterdam.

Horses iris: pouch with range, Katsushika Hokusai, Rokujuan Fukumaro, Shûchôdô Monoyana, 1822, color woodcut; embossing; line block in black with color blocks; metal pigments, h 205MM × 184mm. Bequest of JA Bierens de Haan, Amsterdam, 1958. RP-P-1958-297. The Rijksmuseum, Amsterdam. © The Rijksmuseum, Amsterdam.

The Bungo plum blossom, Totoya Hokkei, Gangyokudô Tatsuo, Ashien Umeteru, 1823, color woodcut; embossing; line block in black with color blocks; metal pigments, h 208MM × 184mm. Donation from Mr JHW Goslings, Epse, 1991. RP-P-1991-472. The Rijksmuseum, Amsterdam. © The Rijksmuseum, Amsterdam.

Silver plum blossom: hairpin and comb, Totoya Hokkei, Kangakutei Fukuyoshi, Karagoromo Makiko, 1823, color woodcut; embossing; line block in black with color blocks; metal pigments, h 205MM × 184mm. Bequest of JA Bierens de Haan, Amsterdam, 1958. RP-P-1958-314. The Rijksmuseum Amsterdam. © The Rijksmuseum, Amsterdam.

Plum Sake, Keisai Eisen, Shofuen Hananushi, Haikai Utaba, 1824, color woodcut; embossing; line block in black with color blocks; metal pigments, h 202mm × 182mm. Donation from Mr JHW Goslings, Epse, 1991. RP-P-1991-652. The Rijksmuseum Amsterdam. © The Rijksmuseum, Amsterdam.

Fire: the brazier, Totoya Hokkei, ca 1820 - ca 1825, color woodcut; embossing; line block in black with color blocks; metal pigments, h 203MM × 179mm. Bequest of JA Bierens de Haan, Amsterdam, 1958. RP-P-1958-583. The Rijksmuseum, Amsterdam. © The Rijksmuseum, Amsterdam.

Rice wine jar silver and porcelain pot, Teisai Hokuba, 1820 - 1829, color woodcut; embossing; line block in black with color blocks; metal pigments, h 198mm × 182mm. Bequest of JA Bierens de Haan, Amsterdam, 1958. RP-P-1958-554. The Rijksmuseum, Amsterdam. © The Rijksmuseum, Amsterdam.

Still life with bowl, scissors and bat, Shozo Ittei, Tani Seiko, 1820 - 1830, color woodcut; line block in black with color blocks; silver powder; gold powder; embossing., h 207mm × 186mm. Bequest of JA Bierens de Haan, Amsterdam, 1958. RP-P-1958-537. The Rijksmuseum, Amsterdam. © The Rijksmuseum, Amsterdam.

Koto with plum blossom in pot, Keisai Eisen, Yamadori Enryoka, Shôraitei Gift Yoshi, 1830, color woodcut; line block in black with color blocks; metal pigments, h 192mm × W 171MM. Bequest of JA Bierens de Haan, Amsterdam, 1958. RP-P-1958-537. The Rijksmuseum, Amsterdam. © The Rijksmuseum, Amsterdam.

NEW YORK, NY.- El Greco’s Vincenzo Anastagi, acquired a century ago by Henry Clay Frick, is one of The Frick Collection’s most celebrated paintings and one of only two full-length portraits by the master. It was executed during the artist’s six-year stay in Rome, before he moved to Spain, where he spent the rest of his career. Much of the force of this work emanates from the resplendent half-armor worn by Anastagi. Rich highlights applied with broad brushstrokes accentuate the steel, its metallic sheen contrasting with the velvety texture of Anastagi’s green breeches and the dark crimson curtain. To mark the 400th anniversary of El Greco’s death, the Frick will pair Vincenzo Anastagi with the rarely seen Jacopo Boncompagni by the artist’s Roman contemporary Scipione Pulzone. With its gleaming, highly detailed polish, Pulzone’s portrait of Boncompagni, on loan from a private collection, epitomizes the elegant style that dominated high-society portraiture in Rome during the last quarter of the sixteenth century. El Greco’s painterly portrayal of Anastagi stands in stark contrast, underscoring the artist’s innovative departures from convention. The exhibition, held in the Frick’s East Gallery, is organized by Jeongho Park, Anne L. Poulet Curatorial Fellow. It is generously funded by gifts from The Andrew W. Mellon Foundation and Sidney R. Knafel and Londa Weisman in memory of Vera and Walter A. Eberstadt. The Frick will continue its celebration of El Greco this autumn and winter with a collaboration with The Metropolitan Museum of Art. 

MASTER OF PORTRAITURE: EL GRECO IN ROME
El Greco was born Domenikos Theotokopoulos in 1541 on the Greek island of Crete, which had been under Venetian rule since 1212. One of the few surviving records from his early years indicates that he was already an established painter of icons by 1566. He relocated to Venice in 1567, probably dissatisfied with his career as a Byzantine icon painter. There he absorbed Venetian Renaissance painting and began his transformation into an Italianate painter. As an aspiring artist, it was necessary for El Greco to master portrait painting. During the sixteenth century, portraiture grew in popularity in Europe, and portraitists enjoyed increasing recognition and esteem. A well-painted likeness was an effective way to win the favor of a prospective patron and become a court painter. Once associated with a court, an artist would enjoy not only economic stability but also the elevated status of a courtier.

In 1570 El Greco moved to Rome, where a recommendation written for him by the miniaturist Giulio Clovio led to his acceptance into the household of Cardinal Alessandro Farnese. Clovio introduced El Greco as a pupil of Titian and wrote specifically of a marvelous “self-portrait that astonished the painters in Rome.” Unfortunately, this painting has not survived. Clovio’s claim about El Greco’s mastery of portraiture is confirmed by the artist’s portrait of him (Museo di Capodimonte, Naples), completed about 1571. In this work, El Greco demonstrates his remarkable ability to depict psychologically penetrating likenesses with exacting naturalism. Although not officially hired by the cardinal, El Greco spent the next year and a half focusing on portraits for the circle of learned men who gathered at the Farnese Palace. In 1572, for reasons that are unknown to us, El Greco was expelled from the Farnese household. His execution of the portrait of Vincenzo Anastagi was no doubt part of his effort to draw the attention of powerful men and to secure much- needed patronage after his expulsion. 

El Greco (1541–1614), Vincenzo Anastagi, ca. 1575. Oil on canvas, 74 x 49 7/8 in. The Frick Collection; photo Michael Bodycomb 

A PROMISING SUBJECT FOR SELF-PROMOTION: VINCENZO ANASTAGI
Anastagi was born into a noble family in Perugia around 1531 and became a Knight of Malta in 1563. He was most famous for his contribution to the victory against the Ottomans during the Siege of Malta in 1565. He was also known as an expert in fortifications, and his biography is included in a book published in 1578–79 about famous people from Perugia.

As a middle-ranking nobleman, Anastagi would not have been a promising patron. He was not particularly interested in paintings and was therefore unlikely to commission further works. He was, however, connected to a very eminent personage: Jacopo Boncompagni, the natural son of Pope Gregory XIII. Born in Bologna in 1548, Jacopo was legitimized almost immediately by his father. He moved to Rome in March 1572, when his father was elected pope, and in that year assumed the offices of governor of Rome’s Castel Sant’Angelo and head of the papal army. In 1575 Boncompagni named Anastagi sergeant major of the Castel Sant’Angelo; it was probably on this occasion that Anastagi commissioned his portrait. The close connection between the two men may well have motivated El Greco. It could be expected that the portrait would be shown to Boncompagni and possibly even to Pope Gregory XIII. Since Boncompagni was known to be a great patron of the arts, El Greco’s portrait of Anastagi was an ideal means of self- promotion. 

For his portrayal of Anastagi, El Greco would have looked to examples of military portraits, the most recent, successful likeness of this type being Pulzone’s portrait of Boncompagni. Pulzone was at this time the most sought-after portrait painter in Rome, having portrayed dignitaries of the highest rank, including Pope Pius V, Pope Gregory XIII, and Cardinal Alessandro Farnese. The artist also enjoyed personal relationships with powerful patrons; his first son, Giacomo, was Boncompagni’s godchild. 

Scipione Pulzone (ca. 1540/42–98), Jacopo Boncompagni, 1574. Oil on canvas, 48 x 39 1/8 in. Private collection; courtesy Jean-Luc Baroni Ltd.; photo Michael Bodycomb

CONSIDERING PULZONE’S J ACOPO B ONCOMPAGNI
El Greco undoubtedly would have been aware of Pulzone’s splendid likeness. The three-quarter-length portrait communicates Boncompagni’s high status with the detailed depiction of his opulent armor, meticulously groomed beard, and elegant hands. According to the inscription on the piece of paper in the sitter’s right hand, the portrait was executed in 1574, only about one year before El Greco painted Vincenzo Anastagi. In his left hand, Boncompagni holds a wooden letter case, which suggests that the painting was probably commissioned when Jacopo was sent on a diplomatic mission to Ferrara to greet Henri de Valois, the future French king, Henry III.

In the portrait, Pulzone achieves lifelike qualities through painstakingly rendered details. Traces of brushwork are suppressed in order to gain a highly finished surface that adds to the portrait’s sense of refinement. Boncompagni’s dazzling armor displays techniques of embossing, damascening, bluing, and gilding. Pulzone’s depiction of the breeches—woven with gold and silver threads—shows an equal degree of precision. The light bouncing off the breastplate lends tactile effect to the polished surface of the metal. Pulzone’s masterful depiction of the play of light in the smallest details, such as on the fringe of the curtain, enhances the illusionistic effect. 

THE PORTRAYAL IN ARMOR TO PROMOTE ONE’S IMAGE
As a newcomer to Roman noble society, Boncompagni would have felt the need to actively propagate his image, and a portrayal in armor would serve this purpose. Armor had gradually become obsolete in the sixteenth century, after firearms replaced swords and lances as the principal weapons of warfare; paradoxically, the loss of its utilitarian function served only to enhance its prestige, and it was seen as a symbol of masculinity, military valor, wealth, social status, and antique lineage. Pulzone’s portrayal of Boncompagni in such ostentatious armor reflects the sitter’s important positions as governor of Castel Sant’Angelo and head of the papal army. The figure of Saint Michael on the breastplate refers not only to Castel Sant’Angelo but also to Boncompagni’s role as the protector of the Church. Militant spirit is accentuated in the prominent display of the figure of Mars on the helmet and the armored glove placed on the table. Lining the golden bands that twine the breastplate and shoulder and arm defenses are various trophies that represent military feats. More specific than the spoils are the depictions of captive Turks along the center band of the breastplate and the base of the helmet, which commemorate the recent victory over the Ottomans at the Battle of Lepanto in 1571. In addition to the martial motifs, there are symbols of wealth and prosperity—such as cornucopias and grotesque figures carrying jars of fruit—meant to convey Boncompagni’s eminent status.

When El Greco portrayed Anastagi, both the painter and the sitter would have been keenly aware of the prestige associated with armor, but the trappings El Greco could use in his depiction were limited by the sitter’s rank of sergeant major. Unlike Boncompagni, who wears highly decorative parade armor, which was reserved for ceremonial occasions, Anastagi is portrayed in field armor, which was used in battle. Regardless of the degree of opulence, however, armor itself was perceived as a status symbol. In the sixteenth century, even merchants would have themselves portrayed in armor. In this sense, Anastagi’s desire to be depicted in armor and with a rapier reflects not only his wish to make known his profession but also to aggrandize himself. El Greco’s use of the full-length format further emphasizes the sitter’s ambition. Anastagi was from a noble family, but his status did not approach that of the kings, generals, and grandees for whom full-length military portraits were customarily reserved. 

EL GRECO FAVORS INNOVATION AND ARTISTRY OVER TRANSCRIPTION OF REALITY
For El Greco, representing Anastagi in armor would have presented an excellent opportunity to display his artistry. Contrary to previous studies that assume this work is a literal depiction of reality, research undertaken in preparation for this exhibition indicates that the painter went beyond a faithful description of the symbolic objects. Most striking is El Greco’s drastic abbreviation of the details of Anastagi’s armor, prioritizing instead a blaze of light reflected on the metal surface. During the Renaissance, the painted representation of reflective armor was considered to be a powerful means of demonstrating a painter’s virtuosity and was often offered as proof of painting’s superiority over all other artistic genres. El Greco certainly would have been aware that the artistic skill necessary to imitate the glittering armor would draw much praise

El Greco’s innovations were not limited to the representation of armor. The painter appears to have taken careful measures to render the unusual form of the curtain, which emphasizes the most important elements in the portrait, the sitter’s face and armor. As can be seen in the pentimento, El Greco moved the contour of the right edge of the drape upward in order to align it closer to the sitter’s left forearm. Also, the X-radiograph taken during the painting’s treatment in 1958–59 indicates that El Greco shortened the curtain to achieve a tighter focus on the sitter’s upper body, which allows the viewer to appreciate the painter’s ability to depict the different textures of various materials. 

Showcasing his artistic invention, the painter achieves a sense of verisimilitude quite distinct from that of Pulzone’s meticulously executed portrait. It is as though El Greco’s intent was to emphasize Anastagi’s military career and personal traits over his status. The sunburnt face and strands of gray hair, rendered with short, powerful brushstrokes, bear witness to his career on the battlefield—these are not the idealized features of an elegant courtier. White hose accentuate the athletic, muscular calves befitting an infantry officer. Anastagi’s sense of self-possession is enhanced by the placement of his arms, which frame his torso. In the sixteenth century, this pose was associated with aggressive masculine virtues. The pentimento to the sitter’s left reveals that El Greco made an inventive change in the depiction of the sword. By shifting its orientation without altering the position of the hand, the painter directs the viewer’s attention to the gilded hilt and to the scabbard, so that the weapon seems almost an extension of the sergeant’s powerful forearm. 

El Greco’s likely intention was to honor Anastagi while simultaneously displaying his own artistic invention. The painter has been described as a proud man who felt a keen sense of rivalry with other artists of his time. Although there is no evidence documenting El Greco’s opinion of Pulzone, a compelling case can be made for the catalytic effect that the most successful portraitist in Rome had on the Cretan artist. A link emerges between the magnificent verisimilitude of Pulzone’s Jacopo Boncompagni (as well as the acclaim it brought him) and El Greco’s ambition to surpass Pulzone in terms of fame and artistry, which prompted the creation of the highly original Vincenzo Anastagi. 

Installation view of Men in Armor: El Greco and Pulzone Face to Face at The Frick Collection. Photo: Michael Bodycomb.

Jacob Ochtervelt, ’Das Zitronenscheibchen’, n. d., c. 1667 © Bayerische Staatsgemäldesammlungen, Alte Pinakothek.

MUNICH.- The restitution claim submitted by the descendents of banker Carl Hagen for the painting ‘Das Zitronenscheibchen’ by Jacob Ochtervelt has been rejected.

The Bayerische Staatsgemäldesammlungen have turned down a request from the descendents of banker Carl Hagen (1856-1938) for the return of the painting ‘Das Zitronenscheibchen’ (The Lemon Slice) by Jacob Ochtervelt on the grounds that the available evidence does not support their claim that the painting was unlawfully acquired as a result of Nazi persecution. 

Reasons for the decision
Following extensive research, the Bayerische Staatsgemäldesammlungen are certain beyond all reasonable doubt that the senior civil servant Carl Thürling (Amsterdam and Berlin) was the beneficial owner of the painting ‘Das Zitronenscheibchen’ by Jacob Ochtervelt until it was auctioned in 1938. The banking house Hagen & Co., in which Carl Hagen played an instrumental role, only held a security interest in the painting. Carl Thürling had granted the security over this and twenty other paintings in order to secure a loan in six figures that he borrowed in the 1920s. Among the other paintings from Carl Thürling’s collection was the artwork ‘Flusslandschaft’ by Jan van Goyen (Mount Holyoke Museum, Massachusetts, USA).

At the behest of the bank Hagen & Co., the security was enforced and ‘Das Zitronenscheibchen’ sold to Johannes Hinrichsen and Hans Bammann in 1938 for 35,000 reichmarks, which experts have confirmed was a fair price on the market at that time. Shortly thereafter it came to the collection of Fritz Thyssen (1873-1951) from whom the Bayerische Staatsgemäldesammlungen acquired the painting in 1992. 

The Bayerische Staatsgemäldesammlungen takes all claims very seriously concerning the restitution of artworks that were looted during the Nazi era and never returned. It investigates each new piece of information in order to find fair and just solutions for those who were persecuted and their descendents. An artwork may be restituted if it was expropriated from its rightful owner under duress or threat of persecution. This does not apply in the case of ‘Das Zitronenscheibchen’ by Jacob Ochtervelt. Carl Thürling was the beneficial owner of the painting until 1938, and did not lose his title to the painting because of persecution but because he had defaulted on his loan. Furthermore, Carl Thürling did not belong to any of the groups that were persecuted by the Nazis, and was in fact a member of the Nazi Party (NSDAP). 

The banking house Hagen & Co. thus only held a security interest in the paintings which terminated when it was enforced during the liquidation of Hagen & Co. in 1938. In accordance with the Washington Principles, the joint declaration of the Federal German government, the German states and the national associations of local German authorities on the tracing and return of Nazi-confiscated art, especially of Jewish property from 9 December 1999, as well as all pertinent restitution laws, the enforcement of a security interest does not justify the claim for the restitution of these 21 paintings. 

The background
The descendents of the banker Carl Hagen, who died in 1938, approached the Bayerische Staatsgemäldesammlungen in 2012 with a request for the return of the painting ‘Das Zitronenscheibchen’ by Jacob Ochtervelt. The research required for this case turned out to be extremely complex. Significant documents were only received by the Bayerische Staatsgemäldesammlungen in May and June of this year. Due to data protection laws, the Bayerische Staatsgemäldesammlungen had to rely on the cooperation of the descendents of the Hagen family and the previous shareholders of the Hagen & Co. bank to gain access to these documents.

In addition, prior to 2009 there had been no reason to suspect that the painting ‘Das Zitronenscheibchen’ by Jacob Ochtervelt had ever been unlawfully seized from a previous owner. The provenance of the painting in the 20th century was generally accepted until the claim for restitution was filed by Carl Hagen’s descendents, and does not mention an owner of Jewish origins at any time, including the relevant time period of the Nazi regime. 

The research revealed that the owner of the painting, Carl Thürling, had used the painting as security for a loan that he had applied for. A security agreement grants the creditor a right in property owned by a debtor to assure, for example, the repayment of a loan. In the case that the obligations of the agreement are not met by the debtor, the creditor then has the right to enforce the security interest (e.g. by selling or auctioning the secured property). A security interest does not, however, automatically grant the creditor the right to permanently and definitively retain possession of the property. 

The Bayerische Staatsgemäldesammlungen first examined the claim internally. As the subject matter of the case was unusual for a restitution claim, involving, for instance, issues of banking law, the Bayerische Staatsgemäldesammlungen decided to commission an external audit to verify the results of its own research. The audit was carried out by legal experts who assessed the alleged right of Carl Hagen’s descendents to restitution, taking pertinent aspects of economic history into account. Their report confirmed the results of the research undertaken by the Bayerische Staatsgemäldesammlungen. 

Pablo Picasso, La Femme au Violon, 1911, oil on canvas, private collection. On long-term loan to the Bayerische Staatsgemäldesammlungen, Sammlung Moderne Kunst at the Pinakothek der Moderne© Succession Picasso / VG Bild-Kunst, Bonn 2014. 

MUNICH.- As of today, Pablo Picasso’s 1911 painting ‘Femme au Violon’ will enrich the collection of modern art at the Pinakothek der Moderne and fill a gap in the museum’s collection. This spectacular long-term loan from a German private collection complements Munich ’s present holdings of works by the most important artist of the 20th century with a masterpiece of Analytical Cubism. 

The painting on display in gallery 6 of the Pinakothek der Moderne tangibly demonstrates Picasso’s refinement of the Cubist vocabulary from his ‘Crystal Bowl’ in 1909, through ‘Fan’ of 1910 (both provided by artists-cum-collectors Woty and Theodor Werner), to the ‘Femme au Violon’, which embodies a geometrical form of Cubism of profoundly abstracted figuration, dating from 1911. A comparison between George Braque’s ‘Woman with Mandolin’ from 1910 – another major work of Cubism at the Pinakothek der Moderne – and Picasso’s ‘Femme au Violon’ provides a vivid impression of one of the seminal artistic dialogues in the art of the high-modernist period, as seen in these two correlating works. 

‘Femme au Violon’ captivates the gaze due to the elegance of the daubed application of vibrating grey-brown hues, the radical dissolution of form, and geometric decomposition of the figure and instrument. The composition marks the culmination and conclusion of non-figuration in Picasso’s work at the point in time of spring 1911. 

Not only visually arresting, the painting also boasts a distinguished provenance and exhibition history. On loan from Paris-based art dealer Daniel-Henry Kahnweiler, in 1912 it embodied the very latest development in Picasso’s style and was shown at the now-legendary ‘Sonderbund Ausstellung’ in Cologne . After its acquisition by the collector and art dealer Alfred Flechtheim, it featured in the first ever Picasso retrospective held on German soil, which opened at Heinrich Thannhauser’s renowned Moderne Galerie in Munich in 1913. After that, the work changed hands several times before ending up, in 1927, in the famous collection of the Krefeld-based textile manufacturer Hermann Lange. Today, a century after it went on display at Thannhauser’s gallery, it returns to the city of Munich to add a striking and vital accent to our excellent collection of Cubism and French avant-garde art. 

The generous long-term loan was brokered by Wolfgang Wittrock of Berlin and is a tribute to the tireless and ongoing work of the General Director of the Bayerische Staatsgemäldesammlungen, Professor Klaus Schrenk, and his efforts to raise the profile of French modern art in Germany. 

Vija Celmins, Burning Plane, signed and dated 1965 on the reverse, oil on canvas, 14⅜ by 24¼ in. 36.5 by 61.6 cm. Estimate: 900,000 – 1,200,000 USD. Photo: Sotheby's. 

NEW YORK, NY.- On 24 September 2014 Sotheby’s New York will present Good To Go: Property From The Collection Of Joni Gordon Of Newspace Gallery as a single-owner sale of works from the Joni and Monte Gordon Collection coinciding with the autumn Contemporary Curated auction. Joni Gordon (1937-2012) was a prominent figure in the development of the Los Angeles art scene hosting important artist’s 'salons' and fostering numerous artists’ careers via her famed Newspace Gallery which she ran from 1975-2006. The sale of her and her husband’s personal collection will be led by the most important group of works by Vija Celmins to ever come to auction including her seminal painting Burning Plane from 1965: the only painting from this iconic series remaining in private hands.** Mr. and Mrs. Gordon’s private collection also includes early and important examples from other California artists such as John Baldessari, John Mclaughlin, and Joe Goode as well as significant examples by Post-War artists such as Andy Warhol, Robert Motherwell, and Ad Reinhardt. Highlights from the collection will be on public exhibition in Sotheby’s Los Angeles galleries at 9200 W Sunset Blvd #170 from 9th – 11th September before the New York view from 20th September. 

Andrea Fiuczynski, Sotheby’s Chairman, West Coast commented: “Joni Gordon was an iconic figure in the long and rich history of Contemporary Art in Los Angeles. We are pleased to present this collection as a celebration of both her legacy and distinctive conceptual aesthetic, and to showcase highlights in her hometown in September.” 

Scott Nussbaum, Sotheby’s, Vice President, Contemporary Art added: “In addition to being instrumental to the development of the Los Angeles art scene, Joni Gordon used her brilliant vision and personal friendships with artists to build a formidable personal collection. Nowhere is this more evident than with the exceptionally rare works by Vija Celmins which can be considered amongst the most important of the acclaimed artist’s career. We are honored that the Gordon family has entrusted Sotheby’s to bring Joni’s exceptional collection to auction this September.” 

Andy Warhol, Mao, signed and dated 73  on the overlap, acrylic and sillkscreen ink on linen, 12 by 10 in. 30.5 by 25.4 cm. Estimate: 600,000 – 800,000 USD. Photo: Sotheby's.

John Mclaughlin, #15, signed, titled and dated 1962 on the reverse oil on canvas 60 by 42 in. 152.4 by 106.7 cm. Estimate: 150,000 – 200,000 USD. Photo: Sotheby's.

Vincent Van Gogh, Pietà (After Delacroix), 1889, 16-1/2x13-1/2 inches, Van Gogh Museum, Amsterdam. © Van Gogh Museum, Amsterdam

Vincent van Gogh's Pietà (After Delacroix) was painted in 1889, shortly after his return to work, when Vincent resumed his old habit of making oil copies of black and white reproductions of the works of art he admired. Eugène Delacroix's color theory had shaped Vincent van Gogh's ideas about color from his earliest reflections on painting. The resonant contrast of blue and yellow in Pietà -- broken only by Christ's red hair and beard -- heightens the emotional power as well as his personal connection to the art of Delacroix.

Eugène Delacroix, Pietà, 1850, National Museum of Art, Oslo © National Museum of Art, Oslo

A fine small wucai'boys and offerings' bowl, Wanli six-character mark and of the period. Photo Bonhams.

Potted with shallow rounded sides rising from a short slightly spreading foot, the exterior decorated with two boys holding cash-roundel offerings, one walking in front of a spotted deer and the other in front of an ox, within a landscape with distant mountain peaks behind scrolling clouds, all below a narrow band comprising leafy floral sprays, the interior with a central circular medallion enclosing a stylised dragon-fish amidst flames, the base with an Imperial underglaze-blue kaishu mark within a double circle. 10.5cm diam. Estimate HK$ 750,000 - 850,000 (€72,000 - 82,000). Unsold

Provenance: Acquired in Japan

Although the 'boys and offerings' decorative motifs is common and popular during the Jiajing and Wanli periods, however no other known examples from museums and private collections appear to match the quality and auspicious motifs as exhibited by the current lot.

The dragon fish motif as depicted towards the interior within double circles is extremely rare. The carp or liyu transforming into a dragon or long is associated with the passing of civil service examinations, hence the pun 'yutiao Longmen'. According to traditional folklore, carp swim upstream in the Yellow River at Hunan towards the Dragon Gate waterfall at Longmen. It is said that the first carp which successfully surpasses the rapids will transform into a dragon fish or yulong. Such legend has led to the common saying that, 'a student facing his examinations is like a carp attempting to leap the Dragon Gate', which bears the metaphor for a poor scholar who passes the civil service examinations and becomes a high official.

The cavetto of the wucai bowl is also decorated with many other auspicious motifs, including young boys which signifies abundance in offspring; peaches and deer which symbolises longevity; the qilin also suggests talent and high standing in society.

For further reference, please see related examples of Wanli period wucai bowls with boys carrying offerings in the Palace Museum, Beijing, illustrated in Porcelain in Polychrome and Contrasting Colour. The Complete Treasures of the Palace Museum, Shanghai, 1999, pp.56-57, pl.52 and 53.

Bonhams. FINE CHINESE CERAMICS AND WORKS OF ART. Hong Kong, Admiralty, 26 May 2014

A Langyao green-glazed bottle vase, Kangxi. Photo Bonhams.

Sturdily potted with a pear-shaped body rising from a short spreading foot, surmounted by a tall cylindrical neck, the exterior covered in a pale apple-green crackled glaze. 29.5cm high. Estimate HK$ 400,000 - 500,000 (€39,000 - 48,000). Unsold.

The bright apple-green glaze, also known as lülangyao (green langyao) or green-Ge, was one of the many glazes produced by the Jingdezhen kilns under the supervision of Lang Tingji, Governor of Jingdezhen, during the years, 1705-1712, of the Kangxi era. This glaze is generally considered to be a transmutation of Langyao red to green, due to the oxidisation of copper in the last stage of the firing which yields a light green rather than a red hue. A more in depth discussion of this glaze is discussed by Q. Wang, in A Dictionary of Chinese Ceramics, Shanghai, 1989, p. 223. A similar example, although with a slightly wider neck and darker green glaze, is illustrated in H. Li, Chinese Ceramics, London, 2006, no. 548.

Other than the more commonly seen sang-de-boeuf-coloured Langyao vases, there are limited examples of Langyao green-glazed examples in the Qing court collection. The only other published Palace Museum, Beijing, example is a small jar with a similar apple-green crackled glaze, illustrated in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, p.20, pl.17.

Bonhams. FINE CHINESE CERAMICS AND WORKS OF ART. Hong Kong, Admiralty, 26 May 2014

A fine yellow-glazed bowl, Kangxi six-character mark and of the period. Photo Bonhams

Of deep rounded sides rising from a slightly tapering foot, covered inside and out in a rich and lustrous egg-yolk yellow glaze, the base with an underglaze-blue Imperial kaishu mark within double circles. 12.5 diam. Estimate HK$ 900,000 - 1.2 million (€87,000 - 120,000). Unsold

Yellow glaze of such rich and lustrous quality is often regarded as 'Imperial yellow'. 'Imperial yellow' glaze was used as a colour on porcelain vessel from the Ming Dynasty, as early as during the Xuande reign. Yellow glazes during the Ming and Qing Dynasties, were either applied directly to the pre-fired body, which achieved richer and warmer tones, or on top of a high-fired glaze which results in an even and smooth appearance. 'Imperial yellow' wares were particularly prized given that Qing regulations accorded this colour only for the Emperor, Empress or Dowager Empress. So important was the colour yellow, such wares were also designated for rituals conducted by the Emperor at the Altar of Earth.

Various examples of much larger plain yellow-glazed Kangxi mark and period bowls have been published: for example a pair included in the Catalogue of Ming and Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London, 1989, p.33, no.A522a and A522b; one in the National Palace Museum, Taipei, illustrated in Illustrated Catalogue of Ch'ing Dynasty Porcelain: K'ang-hsi and Yung-cheng Ware, Tokyo, 1980, pl.63; one illustrated by J. Ayers, The Baur Collection Geneva, 1972, vol. 3, no.A446; and another illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, vol.2, London, 1994, p.230, no.893.

Several examples of large sized yellow-glazed bowls have also been sold through auction, including one measuring 31.4cm diam, sold at Christie's Hong Kong, 31 May 2010, lot 1867; another measuring 38cm diam sold in our London rooms, 12 May 2011, lot 405; and one other measuring 36.2 diam, at Christie's New York, 20-21 March 2014, lot 2178. It is exceedingly rare to find bowls of smaller size as the present lot, with such exceptional colour and potting. Compare with a similarly potted and glazed bowl, Qianlong mark and of the period, of similar size to the present lot sold at Christie's New York, 13-14 September, lot 1522.

Bonhams. FINE CHINESE CERAMICS AND WORKS OF ART. Hong Kong, Admiralty, 26 May 2014

A copper-red-glazed vase, meiping, Yongzheng. Photo Bonhams.

Elegantly potted with broad shoulders tapering down to a slightly flared base, with a short flared neck, covered in an attractive even deep red glaze. 21.2cm high. Estimate HK$ 380,000 - 450,000 (€37,000 - 43,000). Unsold

The rich red glazed derived from copper oxide was first used at Jingdezhen in the fourteenth century as an underglaze pigment, usually mixed with iron oxide to give the rich maroon coloured glaze. By the Qing Dynasty, however, the colourant was composed of copper-lime mix without the presence of iron, hence it was considered one of the most difficult underglazed pigment to fire, due to the volatility of copper causing over-firing and wastage. As firing of the underglazed copper red pigments require temperatures in excess of one thousand two hundred and fifty degrees Celsius, but can only be consistently controlled by using wood-burning kilns, the ceramic wares cost three to four times more than other porcelain fired during this period.

Copper red monochromes are generally fired in a reducing atmosphere, where the richness of the colour is greatly enhanced by a short period of re-oxidation during the end of the firing cycle. This process is tiresome and often misfired, as a slight miscalculation in time and technique will result in the copper glaze turning green.

Compare with a copper-red meiping with a Yongzheng six-character mark and of the period currently preserved in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Monochrome Porcelain, Hong Kong, 1999, p.27, pl.24. For more examples of copper-red meipings , with Yongzheng mark, offered at auction, see a slightly larger vase sold in Christie's New York, 19 September 2007, lot 344; and another identical in size to the present lot, sold in Christie's Hong Kong, 1 June 2011, lot 3616.

Bonhams. FINE CHINESE CERAMICS AND WORKS OF ART. Hong Kong, Admiralty, 26 May 2014