1952 Jaguar XK 120 Roadster RHD. Estimation : 70 000 € / 90 000 €. Photo Aguttes

Kilométrage : 38 235 km au compteur - Motorisation : 6 cylindres en ligne - Cylindrée : 3 442 cm3 - N° de série : 660928 - Carte grise française / French registration 

Parfaite alchimie entre élégance et sportivité. La première génération du mythe.  Une icône anglaise de la collection

« La naissance d’une légende » 

C’est le 27 octobre 1948 que Jaguar crée l’évènement sur la planète automobile avec son roadster XK 120, présenté au salon de Londres à Earl’s Court. C’est une superbe voiture de sport mue par un moteur de 6 cylindres à double arbre à cames en têtes de 3,4 litres de cylindrées. L’appellation 120 venait de la vitesse de pointe de la voiture qui pouvait franchir la barre symbolique des 120 miles à l’heure soit plus de 190 km/h. Son design fait l’unanimité, sa lignes est fluide, le pare-brise est en deux parties, seul angle visuel à une ligne tout en rondeur. Elle fit rapidement ses preuves en compétition car dotée de 2 carburateurs Su, elle développe 180 chevaux. Esthétiquement dotée de roues fils, les XK120 SE n’avaient pas de spats à l’arrière. Equipé avec une culasse de Type-C et de plus gros carburateurs, ce bloc pouvait développer jusqu’à 210 chevaux. En 1951 toujours, est lancé le coupé qui se veut être une alternative plus luxueuse et confortable. Sa ligne est divine, il dispose de vitres latérales et d’un intérieur cossu avec notamment une planche de bord en loupe, une moquette épaisse et même le chauffage. Le cabriolet apparaitra en lui en 1952, reprenant les équipements du coupé. Il est une alternative chic au roadster. En 1954, le 15 octobre, une évolution du modèle baptisée 140 prendra le relais de la 120.  

Notre XK 120 est un beau roadster de 1952. Son histoire, retracée par son propriétaire, est intéressante car cette voiture a peu changé de mains. Livré neuf en Suisse en février 1952 et conservé par son premier propriétaire jusqu’en 1993, ce roadster est ensuite la propriété du fils de ce dernier jusqu’en 2007. Confié alors à un garage de Bâle, son actuel propriétaire en fera l’acquisition en 2008. Doté d’une conduite à droite dans la plus pure tradition anglaise, ce roadster de couleur verte avec un intérieur rouge possèderait même son moteur 3,4 litres d’origine. La voiture est complète, dotée de sa capote, ses side-screens, son tonneau-cover ainsi que de sa trousse à outils et de son cric d’origine. Elle est équipée de petits sièges baquets qui s’intègrent parfaitement à l’habitacle et dans un souci d’authenticité les sièges d’origine ont été conservés. Un ventilateur additionnel Kenlow permet d’améliorer le confort de conduite et la fiabilité de notre XK et les clignotants avant ont été ajoutés pour respecter la législation helvétique. On trouve trace dans son dossier de factures anciennes et la voiture est régulièrement entretenue par son propriétaire. Sa patine est très séduisante et la voiture fonctionne bien. Les XK ont permis à Jaguar de s’installer avec succès sur le marché des coupés et roadsters sportifs et de forger ainsi sa légende. Un beau roadster comme celui présenté s’échange à des prix élevés et reste un rêve automobile transgénérationnel. A vous de profiter de la légende britannique.  

On 27th October 1948, Jaguar remade the motorcars world by presenting the XK 120, at Earl’s Court motorshow. It was a sublime roadster powered by a classical 3.4 liters straight-six with twin overhead camshaft, allowing the car to reach 120 miles per hour. Her design was unequalled with aquatic shape, only broken by the twin-shaped windscreen. She also achieved many race successes. The roadster was the fastest version, among the coupé and the luxurious drop head coupé. Our XK 120 is from 1952, delivered brand new in Switzerland. The current owner could retrace all its history, showing very few owners: the first kept the car until 1993, and then kept by his son until 2007. The current owner bought it at a classic car garage in Bale in 2008. It is right hand drive with classic green paintwork and red leather inside. The 3.4 liter engine is assumed to be original. The car is fully equipped with hood, tool case, side-screens, tonneau cover, bucket seats but originals will be delivered to his new owner. A Kenlow vent has been installed, like indicators as required on Swiss market. The dossier gathers many ancient bills; the car is often maintained to remain reliable. The patina makes this XK 120 very desirable, subliming the model which gave birth to the Jaguar Legend.

AGUTTES, 69006 LYON. Automobiles, Automobilia (Lyon), le 20 Juin 2015 à 14h30

Pair of Highly Translucent Icy Jadeite 'Huaigu' and Diamond Pendants. Estimate: HK$1,100,000 - 1,800,000 (US$140,000 - 230,000). Sold for HK$1,298,000. Photo Tiancheng International

Each suspending a highly translucent icy jadeite plaque, carved as a huaigu, decorated to the surmount with brilliant-cut diamonds altogether weighing approximately 2.35 carats, mounted in 18 karat pink gold, accompanied by an adjustable brown cord. (2)

Accompanied by Hong Kong Jade & Stone Laboratory reports numbered KJ89600-KJ89601, dated 18 March 2015, stating that the jadeites are natural, known in the trade as 'A Jade'. 

Tiancheng International. Jewellery and Jadeite Spring Auction 2015. 

Finely Translucent  Lavender Jadeite "Archer's Ring", Ruby and Diamond Pendent Necklace. Estimate: HK$2,200,000 - 3,200,000 (US$282,000 - 410,000). Sold for HK$2,596,000. Photo Tiancheng International

The pendent necklace set with a finely translucent jadeite archer's ring of intense lavender tone throughout, to a surmount embellished with circular-cut rubies and diamonds, anchored by detachable tassels of karat gold chain decorated by circular-cut rubies, completed by a six-stranded similarly-set necklace, the rubies and diamonds altogether weighing approximately 16.35 and 7.25 carats respectively, mounted in 18 karat white gold, length approximately 790mm.

Accompanied by Hong Kong Jade & Stone Laboratory report numbered KJ89951, dated 20 April 2015, stating that the jadeite is natural, known in the trade as 'A Jade'.

Tiancheng International. Jewellery and Jadeite Spring Auction 2015. 

Paul Liégeois (Actif à Paris entre 1650 et 1670), Nature morte aux pêches, raisins, prunes et saupoudreuse en vermeil. Huile sur toile, 61 x 92,5 cm ; 24 by 36 3/8 in.Estimation 60,000 — 80,000 EUR. Photo Sotheby's

Provenance: Vente anonyme, Paris, Hôtel Drouot, Mes Delorme et Collin du Bocage, 21 juin 2004, lot 70 ;
Vente anonyme, Pau, SVVMEP Gestas – Carrere SARL, 27 mars 2010, lot 11

Notes: Paul Liégeois est un artiste actif en France au milieu du XVIIe siècle. Il fait partie de cette génération de peintres qui vont s’attacher à mettre au goût du jour la nature morte en France. Il marque parfaitement la transition entre les toutes premières natures mortes françaises, celles des Maîtres de la Réalité tels que Jacques Linard ou Louyse Moillon, et les œuvres plus décoratives de la fin du XVIIe siècle comme les œuvres de Pierre Dupuis.

L’arrivée des peintres flamands et hollandais dans le quartier de Saint-Germain-des-Près va contribuer à la diffusion de la nature morte, très appréciée des pays nordiques, mais bien moins considérée en France que la grande peinture d’histoire alors défendue par Charles Le Brun. Cette confrérie grandissante en plein cœur de Paris va très rapidement se faire remarquer ; cela permit des échanges enrichissants entre les artistes septentrionaux et les artistes français.

Le tableau que nous présentons est une des œuvres les plus élaborées de l’artiste. Si elle montre bien, par sa composition, l’influence des artistes dits « primitifs » avec cet agencement autour d'un entablement qui traverse horizontalement la composition, elle révèle néanmoins cette évolution nouvelle que Paul Liégeois insuffle au genre en disposant des éléments préciaux dans un registre inférieur, comme avec le saupoudroir en vermeil et le plat en argent sur lequel repose une pêche pelée.

Sotheby's. Tableaux, Sculptures et Dessins Anciens et du XIXe siècle. Paris, 17 juin 2015, 02:30 PM

Pieter Claesz. (Berchem vers 1596/1597 - 1660 Haarlem), Nature morte au mince pie, panier de raisins, pichet en étain et montre. Huile sur panneau, 71 x 96,5 cm ; 28 by 38 in. Estimation 40,000 — 60,000 EUR. Photo Sotheby's

Note: Nous remercions Fred Meijer d'avoir confirmé l'authenticité de l'oeuvre d'après photographie. Selon Fred Meijer, il s'agit d'une oeuvre datable entre 1624 et 1625.

Sotheby's. Tableaux, Sculptures et Dessins Anciens et du XIXe siècle. Paris,  17 juin 2015, 02:30 PM

Attribuéà Cornelis Kruys (Haarlem 1619 - 1660 Schiedam), Nature morte aux fruits, tulipes et vase clos allemand. Porte un monogramme en bas à droite JHCR. Huile sur panneau, 71 x 119 cm ; 28 by 46 7/8  in. Estimation 15,000 — 20,000 EUR. Photo Sotheby's

Sotheby's. Tableaux, Sculptures et Dessins Anciens et du XIXe siècle. Paris,  17 juin 2015, 02:30 PM

Attribuéà Cornelis Kruys (Haarlem 1619 - 1660 Schiedam), Nature morte à la pièce de Delft et au jambon. Huile sur panneau, 84,3 x 116 cm ; 33 1/8  by 45 5/8  in. Estimation 15,000 — 20,000 EUR. Photo Sotheby's

Sotheby's. Tableaux, Sculptures et Dessins Anciens et du XIXe siècle. Paris,  17 juin 2015, 02:30 PM

Ecole Française vers 1662, Nature morte aux livres, almanach de 1662 et cartes à jouer. Huile sur toile, 47 x 58 cm ; 18 1/2  by 22 7/8  in. Estimation 20,000 — 30,000 EUR. Photo Sotheby's

Provenance: Collection cabinet M. Le Proust du Perray 1877 (d'après une étiquette au dos)

Sotheby's. Tableaux, Sculptures et Dessins Anciens et du XIXe siècle. Paris,  17 juin 2015, 02:30 PM

A very rare Meissen dish, circa 1727-30. Estimate £20,000 - 30,000 (€28,000 - 42,000). Photo: Bonhams.

Painted in the manner of Johann Ehrenfried Stadler, of fluted moulded shape decorated with banded hedges, sprouting bamboo, peony and a lion surrounded by birds in underglaze-blue and overglaze colours, 26cm diam, incised N=6/ W (small rim chip)

Provenance: The Royal collections of Saxony, Japanese Palace, Dresden

Notes: This plate is listed in the 1770 inventory of the Japanese Palace among four moulded dishes, of which only one is decorated with this pattern:
'Vier gemuschelte Schüßeln, davon 3 St. mit Vögeln und Blumen, 1. St. aber mit bunten Korn, Blumen und Löwen gemahle, 1 1/2 Zoll tief, 11. Zoll in Diam: No 6.' [Four moulded dishes, three of which are decorated with birds and flowers, one however is decorated with sheafs, flowers and a lion, 1 1/2 Zoll deep, 11 Zoll in diameter: No.6].

The shape and decoration of this plate are taken after a Japanese example which in itself is very rare. Only a handful of similar examples are recorded (see A. Den Blaauwen, Meissen Porcelain in the Rijksmuseum (2000), no. 168). The combination of underglaze-blue and polychrome colours is even rarer. Somewhat later examples with the same pattern using over- rather than underglaze-blue in the Rijksmuseum (op.cit.) are marked with an overglaze-blue mark, suggesting that they belong to the copies of Asian porcelain ordered by Rudolph Lemaire of 1729-31.

This earlier dish resembles the decoration on a very rare ten-sided bowl sold in these rooms (18 June 2014. lot 44), which was unmarked and entered the collection of Augustus the Strong in 1723, only to be gifted in 1725 to Vittorio Amadeo, the King of Sardinia. Several related pieces were offered in the sale of his porcelain from the estate of Umerto II, the last king of Italy (Christie's Geneva, 7 June 1968). One saucer dish in particular, lot 57, has comparable decoration. Although the decoration is only loosely described in the catalogue, it appears to have both underglaze and overglaze colours. The size is somewhat smaller and it is not of fluted shape. Another smaller related example with different decoration from the collection of the King of Sardinia (lot 53 in that sale) is now in the Arnhold Collection, New York (see M.Cassidy-Geiger, The Arnhold Collection of Meissen Porcelain (2008), cat.no. 237). Neither of these pieces have an incised Japanese Palace inventory number.

Bonham's. FINE EUROPEAN CERAMICS, 17 Jun 2015 10:30 BST . LONDON, NEW BOND STREET

A Meissen chinoiserie teabowl and saucer, circa 1735-40. Estimate £1,500 - 2,000 (€2,100 - 2,800). Photo: Bonhams.

The teabowl painted with a continuous chinoiserie scene depicting figures engaged in various pursuits, a flower sprig to the inside, the saucer with a similar scene within iron-red circles surrounded by three flowers sprays, the rims gilt, crossed swords marks in underglaze-blue, gilt numeral 56. (faint traces to teabowl), impressed Dreher's marks for Gottfried Seydel (teabowl) and * (saucer) (tiny chip to saucer) (2)

Bonham's. FINE EUROPEAN CERAMICS, 17 Jun 2015 10:30 BST . LONDON, NEW BOND STREET

A rare Meissen large circular tureen and cover, circa 1735. Estimate £3,000 - 5,000 (€4,200 - 7,000). Photo: Bonhams.

Each decorated with three Chinoiserie vignettes depicting figures flanked by flowers on a gilt and Böttger lustre pedestal, enclosing a quatrelobe purple landscape vignette and linked by iron-red and purple scrollwork, the tureen with a gilt trellis and floral border reserved with similar vignettes around the rim, the cover with a similar, broader band around the cockerel finial, 23.5cm high, crossed swords mark in underglaze-blue (restored)

Note: A closely similar tureen and cover, probably the companion to the present lot, was in the pre-War Prague collection of Viktor von Kahler, now in the Museum of Decorative Arts, Prague, inv. no. 58961, published by Helena Krejcova / Mario Vlcek, Navraty Pameti (2007), p. 106.

Bonham's. FINE EUROPEAN CERAMICS, 17 Jun 2015 10:30 BST . LONDON, NEW BOND STREET

Anne Vallayer-Coster, Portrait of a Violinist, 1773. Photo: Cecilia Heisser/Nationalmuseum.

STOCKHOLM.- Anne Vallayer-Coster’s Portrait of a Violinist is the latest addition to Nationalmuseum’s collection of 18th-century French painting. Considered one of the artist’s masterpieces, this genre work is believed to portray one of her sisters. Painted in 1773, three years after Vallayer was elected to the French academy of art, the work has many artistic virtues. 

Anne Vallayer (1744–1818) was elected to the French academy of art at the age of just 26. This was a remarkable event at the time, given the artist’s youth and the fact that she was a woman in a male-dominated institution, and an unmarried woman at that. There is no indication that Vallayer enjoyed royal patronage, but she did not lack for mentors in the ranks of the academy. Claude-Joseph Vernet, a landscape painter, had been her teacher. It was as a painter of still lifes that she was elected to the academy. Nationalmuseum already has two such works in its collection: Still Life with Brioche, Fruit and Vegetables (1775) and the miniature Floral Still Life (undated). 

Vallayer, who in 1781 married Jean-Pierre-Silvester Coster, a successful lawyer, specialized primarily in floral painting. Thanks to her effective use of colour and skilful illusionism, her still lifes were much in demand, but ranked relatively low in the subject matter hierarchy of the time. Vallayer-Coster therefore tried to expand her range of motifs by deliberately incorporating objects more usually associated with historical painting. In the hope of attracting royal clients, she also painted portraits, which led to commissions from the king’s aunts and from Queen Marie Antoinette. 

Despite her ambition of expanding her range of motifs, Vallayer-Coster painted very few portraits, and many of those that she did had a direct personal connection. In the light of this fact and a certain resemblance, researchers have suggested that Portrait of a Violinist is a genre painting of one of the artist’s three sisters, Madeleine, Elisabeth or Simone. It is not known whether any of them really did play the violin, but what is clear is that Vallayer-Coster had an extraordinary gift for depicting musical instruments, for instance. A sense of calm and contemplation permeates the self-contained composition. Even the broken strings contribute to the visual excellence of the image, while also raising questions as to their significance. Portrait of a Violinist undoubtedly ranks among the artist’s foremost works. Nationalmuseum’s purchase of this work has been made possible by a generous donation from the Wiros Fund. Nationalmuseum has no budget of its own for new acquisitions, but relies on gifting and financial support from private funds and foundations to enhance its collections of fine art and craft.

NDB: This painting was sold 903,000 EUR at Sotheby's Paris, 25 march 2015 from the collection of Louis Grandchamp Des Raux.

An elegantly carved rhinoceros horn libation cup, 17th-18th century. Estimate US$ 30,000 - 40,000 (€27,000 - 36,000). Photo Bonhams

Of flaring rounded conical profile, carved as a section of a pine tree, the exterior walls realistically detailed with knots and whorls of bark rendered with irregular roundels, the rim slightly canted and decorated with openwork branches, the undercut handle formed by sturdy branches extending across the exterior of the vessel, the horn of a warm honey tone graduating to a darker shade; with a matching reticulated wood stand. 6 1/4in (15.8cm) wide

Please note lot 8243 has been in the United States since 1950.

Provenance: acquired in China in the early 1950s by a Baltimore art collector, and thence by a family member in California since 1970

A rhinoceros horn libation cup, 17th-18th century. Estimate US$ 20,000 - 30,000 (€18,000 - 27,000). Photo Bonhams

The rich honey-colored horn elegantly carved as an open magnolia flower, a network of leaves and secondary buds forming the base and the handle, the interior and base shading to a dark umber tone. 3in (7.6cm) high - 6in (15.2cm) long

Provenance: S. Marchant and Son, purchased by the current owner in 1987

Cities permit dated January 1, 1975

Bonhams. FINE CHINESE WORKS OF ART AND PAINTINGS, 23 Jun 2015 10:00 PDT - SAN FRANCISCO

A carved rhinoceros horn libation cup, 17th-18th century. Estimate US$ 20,000 - 30,000 (€18,000 - 27,000). Photo Bonhams

The honey-colored body elegantly carved as an opened blossom, the exterior with flowering camellias, a network of stems forming the base and the handle, the interior and base shading to a dark umber tone, with a wood stand. 5 1/4in (13.3cm) long

"This item has been in the United States since the 1960s"

Bonhams. FINE CHINESE WORKS OF ART AND PAINTINGS, 23 Jun 2015 10:00 PDT - SAN FRANCISCO

A rhinoceros horn libation cup, 17th-18th century. Estimate US$ 20,000 - 30,000 (€18,000 - 27,000). Photo Bonhams

Finely carved and undercut with a scholar seated in a grotto under a lofty pine near a waterfall, with another pine forming the handle of the cup, the interior carved with further rocky outcroppings, the horn a rich honey brown color. 3 3/4in (9.6cm) high - 5 1/2in (14cm) long

This object has been in the United States since 1930.

Bonhams. FINE CHINESE WORKS OF ART AND PAINTINGS, 23 Jun 2015 10:00 PDT - SAN FRANCISCO

A rhinoceros horn lotus form libation cup, 17th-18th century. Estimate US$ 15,000 - 25,000 (€13,000 - 22,000). Photo Bonhams

Carved as large lotus leaf riding the crest of a wave forming its base, four cavorting chilong clambering on the side of the vessel, the largest forming the handle, the horn a pale honey brown color. 2 1/4in (5.6cm) high - 6 3/8in (16.3cm) long

This object has been in the United States since 1930.

Bonhams. FINE CHINESE WORKS OF ART AND PAINTINGS, 23 Jun 2015 10:00 PDT - SAN FRANCISCO

A carved rhinoceros horn with landscape and figural decoration, 19th century. Estimate US$ 8,000 - 12,000 (€7,100 - 11,000). Photo Bonhams

The honey colored vessel elaborately carved and undercut as a large magnolia flower and secondary blossoms forming an imaginary landscape with Shoulao and his deer standing on one branch below tiered off-shoots of pine trees interwoven in the branches, set into an elaborate carved hardwood base echoing the same theme with Shoulao leaning toward a crouching deer in on a rocky mountain path carved with lingzhi plants. 12 1/2in (32cm) height of rhinoceros horn - 18 1/4in (46.5cm) height including wood stand

This object has been in the United States since 1960.

Bonhams. FINE CHINESE WORKS OF ART AND PAINTINGS, 23 Jun 2015 10:00 PDT - SAN FRANCISCO

Gold-Ground Bowl with Dragon Décor in Iron Red, Qing Dynasty. Estimate : 1 000 € / 1 350 €. Photo Auctionata

Deep bowl on a round base rim. The wall is embellished with a five clawed dragon amidst dense flower tendrils. The foot is ornate with a revolving meander border and the top edge is adorned with a stylized wave pattern. The inside of the bowl and the base are glazed in turquoise color. Base with the four-character Qianlong mark - Diameter: 14.5 cm. Height: 7.5 cm. Good condition 

Dragon 

The dragon is in East Asia one of most depicted mythical creatures with an ambivalent meaning. The oldest presentations come from the Neolithic period and show a snake-like creature. Since the Han dynasty (206 BC to 220 AD) the five clawed dragon is the emblematic animal for the emperor. Since the Song Dynasty (960-1279) the dragon is known as long and is a symbol of the spring, the water and the rain. It is associated with the active principle Yang and in connection with the phoenix (fenghuang), the tortoise (gui) and the Unicorn (qilin) the dragon is one of the ‘four wonders animals’ (siling). A dragon has magical powers, so it is said in the legends. The latter is extremely durable and has the gift of metamorphosis. 

AUCTIONATA AG, 10719 BERLIN. Important Art d'Asie, le 20 Juin 2015 à 14h00

Powder Blue Vase with Gilt Mounting, Kangxi Mark and Period (1662-1722). Estimate : 1 000 € / 1 300 €. Photo Auctionata

The rococo mounting is presumably French and dates back to the 18th century. Foot, handles and the mouth rim are decorated with floral elements such as rocailles and flowers. The outer wall with ‘Powder Blue’ glaze. Base with the double circle mark. Further with collector’s label ‘Sammlung Henning v. Helmersen’ - Height: 33 cm. Good condition 

Provenance: former collection Henning von Helmersen 

AUCTIONATA AG, 10719 BERLIN. Important Art d'Asie, le 20 Juin 2015 à 14h00