A rectangular blue and white porcelain bottle and cover, China, 17th century. Estimate 400/600 €. Sold 2.200 €. Photo Nagel
H. 21,7 cm. Cover with crack and small chip.
Property from an old North German private collection.
Nagel Auktionen, "Asian Art", 06/06/2015
An unusual copper-red and underglaze blue decorated porcelain wine ewer, China, 17th century. Estimate 2500/3500 €. Sold 2.300 €. Photo Nagel
H. 20,3 cm. Glaze firts and few small chips.
Property from a Dutch private collection.
Nagel Auktionen, "Asian Art", 06/06/2015
A group of three powder-blue ground decorated porcelains from the 'Hatcher collection', China, 17th century. Estimate 2500/3500 €. Unsold. Photo Nagel
B. 8,8-18,2 cm. Glaze partly corroded.
Property from an important South German private collection bought from Christie's Amsterdam, March and June 1984.
Nagel Auktionen, "Asian Art", 06/06/2015
Van Cleef & Arpels, Seven Seas Collection.
Van Cleef & Arpels, Seven Seas Collection. Mer de Vent brooch: Sapphires, Diamonds, Pearls, White Gold.
Van Cleef & Arpels, Seven Seas Collection. Mer De Vent Sapphire Earrings.
Van Cleef & Arpels, Seven Seas Collection. Brume de Saphir Earrings and Bracelet: Sapphires, Diamonds, Pearls, White Gold.
Van Cleef & Arpels, Seven Seas Collection. Trois tortues clip: White gold, diamonds, cabochon-cut sapphires, white mother-of-pearl.
Van Cleef & Arpels, Seven Seas Collection. Turtle Brooch: Diamonds, White Gold, Sapphires, Mother of Pearl.
Van Cleef & Arpels, Seven Seas Collection. Cheval de Mer Earrings: Pearls, Onix, Sapphire, Yellow Gold.
Van Cleef & Arpels, Seven Seas Collection. Cheval de Mer Necklace: Pearls, Onix, Diamoonds, Sapphire, White Gold.
A blue and white lotus porcelain vase, China, Kangxi period. Estimate 1200/1800 €. Sold 1.400 €. Photo Nagel
H. 28,2 cm. Glaze frits to mouth rim and above the stand.
Property from an old European private collection.
Nagel Auktionen, "Asian Art", 06/06/2015
Suzuki Sansei (Japanese, b. 1936), celadon globular jar, about 1990–95, stoneware with crackled powder blue celadon glaze, 14-1/2 x 15-5/8 (diam.) in. Purchased with funds provided by Leonard and Kathryn Betley, 2009.91.© Suzuki Sansei.
INDIANAPOLIS, IN.- Centuries-old traditions blend with the innovative techniques and eye-catching designs of today in theIMA’s exhibition, Tradition Reborn: Contemporary Japanese Ceramics.
Tradition Reborn: Contemporary Japanese Ceramics explores the interface between historical tradition and modern innovation in ceramics made by living masters of Japan. Whether made by self-taught potters or those working within well-established family traditions, the 24 artworks in the exhibition represent the creative impact of the past on the present. To emphasize these historical roots all of the objects selected for the show are functional rather than abstract and sculptural, yet each are worthy of great aesthetic appreciation.
Ceramics are of the utmost importance to in Japanese culture and several of the artists presented in Tradition Reborn are part of long family lineages in the craft, spanning up to 11th generation potters. This exhibition also features works by seven potters designated by the Japanese Government as “Living National Treasures” in recognition of their mastery of skills deemed to be of significant historic or cultural value.
“Although it is wonderful to exhibit the work of potters designated as Living National Treasures, all the ceramics in this exhibition will continue to stand on their own merits as masterworks even if their makers’ names were to be lost,” said John Teramoto, the IMA’s curator of Asian art. “Just as historical works regarded as masterpieces today were ‘contemporary’ at the time of their creation, I firmly believe these works will also stand the test of time.”
Exhibition highlights include:
• Wind (2001) by Miyashita Zenji demonstrates the successful synthesis of function and style. The blue, purple and pink palette is reminiscent of misty mountain ranges, while its abstract, sculptural wings with holes allow this to function as a vase.
• Maeta Akihiro, a Living National Treasure artist, creates functional porcelain works that are also sculptural manifestations of self-expression, such as his white porcelain faceted vase (c. 2014.)
• Water jar for tea ceremony (mizusashi) (about 1965–75) by Arakawa Toyozō, named a Living National Treasure artist in 1965, succeeded in recreating the methods and aesthetics of treasured tea ceremony wares of the Momoyama period (1573–1600) and was the driving force behind the Momoyama Revival in the early 20th century.
• Artist Tokuda Yasokichi IV, whose father’s work is also represented in this exhibition, creates Kutani ware modeling her father’s innovative use of blue, green and yellow polychrome glazes on porcelain bodies, as seen in Saiyū Censer (c. 2002.)
Included in this the exhibition is a hands-on table where guests can interact with ceramic tools, tiles and forms inspired by objects in the show.
Tokuda Yasokichi IV (Japanese, b. 1916), Saiyu Censer, about 2002, porcelain with polychrome glaze. Purchased with finds provided by Tim and Jody Garrigus, 2001.137AA-B.© Tokuda Yasokichi IV.
Robe de Grès by George Hoyningen-Huene, 1936.
Madame Grès, 1951.
Germaine Krebs wearing an evening dress by Madame Grès, 1952. Photo Philippe Pottier.
Dovima modeling a dress designed by Madame Grès, 1955.
Jacky Mazel wearing a red evening gown by Madame Gres, 1955.
Madame Grès, 1956.
Madame Grès velvet dress, October 1956, L'Art et la Mode. Photo by George Saad.
Red velvet and pink satin dress by Madame Grès, 1960.
Madame Grès, 1969.
Madame Grès, 1972-73. Photo by Louis Freyssinet.
A cabochon ruby and diamond necklace, circa 1933. Estimate CHF70,000 - CHF80,000 ($50,946 - $58,224). Price Realized CHF74,750 ($54,403). Photo Christie's Image Ltd 1998
The front section designed as two cabochon ruby swags with baguette-cut diamond trim and three pavé-set diamond graduated scrolled shoulders to the cabochon ruby, circular and baguette-cut diamond twin-line backchain, circa 1933, 36.0 cm.
With certificate 32707 dated 2/10/1998 from the SSEF Swiss Gemmological Institute stating that the rubies are of Burmese origin and show no indications of thermal enhancement
Christie's. ART DECO JEWELLERY, 17 November 1998, Geneva
A ruby and diamond clip brooch, circa 1934. Estimate CHF14,000 - CHF18,000 ($10,189 - $13,100. Price Realized CHF25,300 ($18,413). Photo Christie's Image Ltd 1998
Designed as a pavé-set and baguette-cut diamond hoop with calibré-cut ruby trim, circa 1934
Christie's. ART DECO JEWELLERY, 17 November 1998, Geneva
This file photo taken in New York 21 June 2007 shows an employee holding a 129,000 USD crocodile-skin Hermes "Birkin" bag for the press to see, during a private opening for the new Hermes store on Wall Street. British singer-actress Jane Birkin asked French luxury group Hermes to rename the mythical Hermes crocodile bag series bearing her name, "until better practices that meet international standards" are in place for the slaughter of these animals, in a statement that was transmitted to AFP on July 28, 2015. AFP. AFP PHOTO/ TIMOTHY A. CLARY.
PARIS (AFP).- Hermes said Wednesday it was probing claims of cruelty at crocodile and alligator farms that supply the French fashion house with skins for its luxury handbags and accessories.
British singer Jane Birkin on Tuesday asked Hermes to remove her name from the iconic crocodile skin Birkin bag after rights group PETA published an expose on "cruel" treatment of the animals at farms in Texas and Zimbabwe.
"Hermes respects and shares her emotion and was also shocked by the recently published images," the company said in a statement.
PETA filmed disturbing images of crocodiles in Zimbabwe and alligators in Texas -- whose skin is used to make watch-straps -- in which they live crammed into barren concrete pits before being "cruelly hacked" to death.
"At just one year old, alligators are shot with a captive-bolt gun or crudely cut into while they're still conscious and able to feel pain," PETA said.
"The investigator saw alligators continuing to move their legs and tails in the bleed rack and in bloody ice bins several minutes after their attempted slaughter," it added.
Hermes said it was investigating the farm in Texas.
"Any proven negligence will be corrected and punished," Hermes said, highlighting that it does not own the farm and that the alligator skins are not used to make the Birkin bag.
The manufacturer added that it imposed the "highest standards in the ethical treatment of crocodiles" on its partners.
Hermes also said Birkin's request did not affect "the friendship and trust" between her and the house.
The bag was designed for Birkin in 1984, after a chance meeting of the singer and the then president of Hermes, Jean-Louis Dumas. A young mother at the time, she complained she could not find a bag that was both elegant and practical.
The bag has since become a celebrities' favourite, beloved of Victoria Beckham, Kim Kardashian and characters in the popular "Sex and the City" television series, among others.
The crocodile version, which costs at least 33,000 euros ($36,000), is one of Hermes's best-known products, along with its silk scarves and purses named after Grace Kelly.
The handbag, which also comes in cow, calf or ostrich leather, is made entirely by hand in France. Each bag takes 18 to 25 hours to complete. © 1994-2015 Agence France-Presse
Sacs Birkin d'Hermès, juillet 2010©Maxppp
PARIS - Hermès a promis des sanctions en cas de "manquement avéré" dans les élevages de crocodiles ou d'alligators dont la maison de luxe est partenaire, en réponse à Jane Birkin qui a demandé que les sacs en crocodile à son nom soient débaptisés. Pièce phare de la maison de luxe depuis les années 1980, les sacs d'occasions s'arrachent dans les ventes aux enchères.
Alertée par l'abattage des crocodiles, la chanteuse Jane Birkin a demandé, mardi, à Hermès de débaptiser le mythique sac en crocodile portant son nom, "jusqu'à ce que de meilleures pratiques répondant aux normes internationales" soient mises en place pour l'abattage de ces animaux, dans un communiqué transmis à l'AFP.
"Ayant été alertée par les pratiques cruelles réservées aux crocodiles au cours de leur abattage pour la production des sacs Hermès portant mon nom (...), j'ai demandéà la Maison Hermès de débaptiser le Birkin Croco jusqu'à ce que de meilleures pratiques répondant aux normes internationales puissent être mises en place pour la fabrication de ce sac", a indiqué Jane Birkin dans ce texte.
Emblème de la marque depuis les années 1980, l'actrice et chanteuse britannique a participé aux croquis et en a possédé quatre exemplaires dont trois ont été vendus aux enchères pour des œuvres caritatives. C'est un des sacs les plus chers au monde. Il a été dessiné en 1984 pour Jane Birkin, après une rencontre dans un avion entre le président d'Hermès de l'époque, Jean-Louis Dumas, et la jeune maman qui se plaignait de ne pas trouver un sac à la fois pratique et chic. Avec ses deux poignées et sa grande contenance, il est prisé des célébrités comme Victoria Beckham ou les héroïnes de la série "Sex and the City". Décliné en plusieurs matières - vache, veau, autruche, crocodile - et couleurs, il est fabriquéà la main en France par une seule personne, qui y appose sa signature - initiales ou autre - et nécessite entre 18 et 25 heures de travail.
Le prix du luxe
Le modèle en crocodile, disponible à partir de 33 000 euros, s'arrache également aux enchères : en juin 2015, un sac à main Diamond Birkin fuchsia en peau de crocodile a battu le record de ventes aux enchères pour un tel accessoire, trouvant preneur pour 202.000 euros chez Christie's à Hong Kong. Un système de liste d'attente, aujourd'hui plus aisé qu'autrefois, a contribuéà créer la rareté et la valeur de ce sac de luxe.
Face à l'engouement grandissant pour sa maroquinerie, Hermès a annoncé le 20 juillet qu'il allait augmenter la capacité de production de deux de ses sites en France dédiés aux articles en cuir et ainsi créer à terme plus de 200 emplois.
Peta monte au créneau
L'organisation de défense des animaux Peta a lancé en juin 2015 une campagne pour demander à Hermès de "cesser immédiatement d'acheter et d'utiliser des peaux exotiques, et de vendre des accessoires en peau de crocodile et d'alligator". L'organisation a diffusé un film, après une enquête menée, dit-elle, dans des élevages envoyant leurs peaux dans des tanneries appartenant à Hermès. Elle affirme que les animaux "croupissent dans de sombres hangars ou dans de tristes fosses en béton et sont tués avant même d'avoir atteint l'âge adulte" et que "leur vie est aussi cauchemardesque que leur mort".
Hermès avait alors répondu que "certaines séquences (...) avaient été tournées préalablement à (ses) accords de partenariat avec les fermes évoquées dans ce film". "Toutes nos fermes partenaires respectent scrupuleusement les règles établies sous l'égide de l'ONU par la Convention de Washington de 1973 qui définissent la protection des espèces en danger", avait assuré Hermès, précisant qu'un audit était en cours dans un des établissements incriminés, au Texas. Hermès a promis des sanctions en cas de "manquement avéré" dans les élevages de crocodiles ou d'alligators dont la maison de luxe est partenaire.
Mariano Fortuny Green Stencilled Velvet Long Coat.
Silk velvet,metallic pigments, silk faille. Length 42" - Width 38" - Shoulder 19" - Armhole 10". Price Upon Request.
Fortuny translated the caftan as a loose fitting outer garment,usually made out of silk velvet crepe or gauze the fitted back and open front allowed for elaborate stenciled decoration and venetian bead trim.
The hand stenciling is done with real gold metallic pigments aged to a mellow, burnished color. Fortuny built his stenciled pieces layer upon layer, until he achieved the effect of an ancient brocade.
Fortuny offered by Vintage Luxury. By Appointment Only, New York, NY 00000, United States
Fortuny Banana Stencilled Velvet Coat, Provenance Tina Chow.
Silk, velvet,metallic pigments. Pattern: Bellini. Length 50" - Width 42" - Shoulder 20" - Armhole 12". Price Upon Request.
Fortuny translated the caftan as a loose fitting outer garment,usually made out of silk velvet crepe or gauze the fitted back and open front allowed for elaborate stenciled decoration and venetian bead trim.
The hand stenciling is done with real gold metallic pigments aged to a mellow, burnished color. Fortuny built his stenciled pieces layer upon layer, until he achieved the effect of an ancient brocade.
Ex collection of fashion icon: Tina Chow
Fortuny offered by Vintage Luxury. By Appointment Only, New York, NY 00000, United States
Mariano Fortuny Black Stencilled Velvet Persian Style Coat.
Silk velvet ,metallic pigments,silk, glass. Pattern: Persepolis. Length 39" - Sleeve 32.5" - Hem 64". Price Upon Request.
Fortuny translated the caftan as a loose fitting outer garment,usually made out of silk velvet crepe or gauze the fitted back and open front allowed for elaborate stenciled decoration and venetian bead trim.
The hand stenciling is done with real gold metallic pigments aged to a mellow, burnished color. Fortuny built his stenciled pieces layer upon layer, until he achieved the effect of an ancient brocade.
Fortuny offered by Vintage Luxury. By Appointment Only, New York, NY 00000, United States
Mariano Fortuny Black Stencilled Velvet Long Coat.
Silk ,velvet,metallic pigments. Pattern: Luccese. Length: 38" - Hem 70" - Sleeve 30". Price Upon Request.
Fortuny's coats often take their inspiration from a myrid of references,renaissance,persian,arabic .These are often elaborately decorated in historical motifs surprisingly unrelated to the cut itself.
The hand stenciling is done with real gold metallic pigments aged to a mellow, burnished color. Fortuny built his stenciled pieces layer upon layer, until he achieved the effect of a renaissance brocade.
Fortuny offered by Vintage Luxury. By Appointment Only, New York, NY 00000, United States
Mariano Fortuny Black Gauze Stencilled Short Coat.
Silk, glass,metallic pigments. The stenciled pattern is Persian and trees. Length 29" - Width 39". Price Upon Request.
Fortuny translated the caftan as a loose fitting outer garment, usually made out of silk velvet crepe or gauze the fitted back and open front allowed for elaborate stenciled decoration and venetian bead trim .Mariano Fortuny created his stenciled silk gauze wraps to add ornamentation to the plain pleated Delphos gowns.
This short length silk gauze wrap, based on antique ethnic caftan styles, is cut square with openings for the arms. The shoulders are trimmed with black white and red decorated Venetian glass beads, which give the caftan the necessary weight to hang properly. A stenciled Fortuny garment has minimal cuts so that the garment can serve as a canvas for the art work.
The hand stenciling is done with real gold metallic pigments aged to a mellow, burnished color. Fortuny built his stenciled pieces layer upon layer, until he achieved the effect of an old brocade.
Fortuny offered by Vintage Luxury. By Appointment Only, New York, NY 00000, United States
Mariano Fortuny Gauze Sleevless Coat, Provenance Tina Chow.
Silk, glass, metallic pigments. Length 46" - shoulder 6" - 17" each on 2 front panels - Back panel 34". Price Upon Request.
Transparent Fortuny gauze pieces are based on the ancient tunic which was a shirt like garment that became traditional attire in roman times, the copts or christian egyptians continued to wear it, elaborately decorating it in longitudinal patterned bands which ran up the front and back of the garment.
Fortunys treatment of this shape included cutting it open in the front.For these tunic shaped coats he used fine gauzes or crepes which he printed his patterns on.these tunics can be sleeveless, short sleeved or long sleeved, they are usually trimmed with silk cords and glass beads.
The hand stenciling is done with real gold metallic pigments aged to a mellow, burnished color. Fortuny built his stenciled pieces layer upon layer, until he achieved the effect of an old brocade.
In Guillermo de Osma's book, Fortuny, Mariano Fortuny : his life and work , page 214 figure 7, shows this very piece.
Fortuny offered by Vintage Luxury. By Appointment Only, New York, NY 00000, United States
A porcelain chicken bowl with boy and flowers near poem, China, underglaze blue four-character seal mark and period of Qianlong. Estimate 3000/5000 €. Unsold. Photo Nagel
D. 9,7 cm. Good condition
Nagel Auktionen, "Asian Art", 06/06/2015
Kuskovo, summer country house and estate of the Sheremetev family.
Kuskovo was the summer country house and estate of the Sheremetev family. Built in the mid-18th century, it was originally situated several miles to the east of Moscow but now is part of the East District of the city. It was one of the first great summer country estates of the Russian nobility, and one of the few near Moscow still preserved. Today the estate is the home of the Russian State Museum of Ceramics, and the park is a favourite place of recreation for Muscovites.
Bezoar Stone. Shipwreck: Atocha 1622. Recovered in 1985. Weight: 77.3 grams. Estimate $28,000 – $35,000. Photo Guernsey's.
In the 17th century, bezoar stones were believed to have the ability to remove poisons and toxins from liquid, and were therefore quite popular among the upper class. This bezoar stone is mounted in a gold cage, and it was meant to hang from a chain so that it may easily be dipped into a drinking cup. Although it is known as a bezoar stone, in reality, a bezoar is not actually a stone at all, but rather a biological mass taken from a two-stomached animal such as a goat or llama. The casing for the pendant is finely-etched and worked, comprised of high-karat gold with black enamel inlay. The center contains an egg-shaped bezoar stone about 3-3 1/2" inches in length. These stones are very rare and still sought after today by many people for medicinal purposes.
