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Wine Cup and Stand, Qingbai ware, Song dynasty, 11th century

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Wine Cup and Stand, Qingbai ware, Song dynasty, 11th century

Wine Cup and Stand, Qingbai ware, Song dynasty, 11th century. Porcelain with pale blue glaze, 5 1/2 x 6 in. (13.97 x 15.24 cm). Gift of Ruth and Bruce Dayton 2000.41a,b © 2015 All Rights Reserved. Minneapolis Institute of Art. 

Qingbai cup stands with pierced trefoil motifs first appeared in the eleventh century. This type of thinly potted porcelain cup and stand can be seen in Song dynasty (960-1279) paintings illustrating banquet scenes. Intended for elegant dining, these vessels should be seen in the context of other Qingbai tableware such as the bowls, ewers, and saucers shown here.


A Chinese blue and white ovoid jar, Ming Dynasty, Wanli period

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A Chinese blue and white ovoid jar, Ming Dynasty, Wanli period

A Chinese blue and white ovoid jar, Ming Dynasty, Wanli period. Estimate 6,000 — 8,000 GBP. Photo: Sotheby's.

 the rounded sides rising to a waisted neck and rolled rim, painted with arched panels of birds amongst flowers and rockwork in a fenced garden, below a further band of florets and ruyi, below smaller bird and flower panels on a latticed ground - 36.5cm, 14 1/4 in.

Sotheby's. BERNHEIMER Day Sale, London, 25 Nov 2015, 10:00 AM

A Chinese blue and white 'Kraak' dish, Ming Dynasty, Wanli period

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A Chinese blue and white 'Kraak' dish Ming Dynasty, Wanli period

A Chinese blue and white 'Kraak' dish, Ming Dynasty, Wanli period. Estimate 2,000 — 4,000 GBPPhoto: Sotheby's.

the rounded sides rising from a short tapered foot to an everted rim, the interior painted in deep cobalt tones depicting a jardinière of peony and chrysanthemum, below radiating panels of flowers and precious objects below the rim - 32cm., 12 5/8 in.

Sotheby's. BERNHEIMER Day Sale, London, 25 Nov 2015, 10:00 AM

Sapphire and diamond 'rose' brooch

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Burmese Sapphire and Diamond 'Rose' Brooch. Estimate HK$480,000 - 680,000 (US$61,500 - 87,200). Photo Tiancheng International 

Modelled as a rose, the pistal set with brilliant-cut diamonds together weighing approximately 2.15 carats, embellished with circular-cut and oval sapphires to the petals, the sapphires together weighing approximately 190.20 carats, mounted in blue-coloured titanium and 18 karat white gold.

Accompanied by SSEF report numbered 81583, dated 24 August 2015, stating that the sapphires ranging from 0.20 to 0.10 carat are natural, Blue colour of medium strong to strong saturation, containing sapphires of Burmese origin, with no indications of heating; with a comment stating that 'Due to the setting, only about 30% of the sapphires could be tested and all conclusions only refer to this selection of sapphires'.

Tiancheng International. HONG KONG AUTUMN AUCTION, Jewellery and Jadeite

A large Chinese export blue and white cylindrical wine cooler, Qing Dynasty, circa 1800

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A large Chinese export blue and white cylindrical wine cooler Qing Dynasty, circa 1800

A large Chinese export blue and white cylindrical wine cooler, Qing Dynasty, circa 1800. Estimate 1,000 — 2,000 GBPPhoto: Sotheby's.

the cylindrical sides with two applied animal mask handles, painted to each side with retreats and pagodas in a mountainous river lanscape, below a band of diaper at the rim, drilled with a cyclical date reading Qianlong jiayin (corresponding to 1794), and an inscription reading Fuxingyuan Tang tongjing (Dedicated by Fuxingyuan Tang) and Huatuo Xianshi shengshui longchi (Dragon pool of sacred water from Master Huatuo) - 28.5cm., 11 1/4 in.

Sotheby's. BERNHEIMER Day Sale, London, 25 Nov 2015, 10:00 AM

Deux pièces exceptionnelles de René Lalique en vente le 24 novembre prochain chez Artcurial

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Paris– Artcurial organise sa vente Art Déco le 24 novembre prochain. Cette vacation proposera 140 lots signés par les grands maîtres de la décoration du XXe siècle : René Lalique, Alberto Giacometti, Alfred-Auguste Janniot, André Groult, Jean-Michel Frank ou encore Jacques-Émile Ruhlmann seront ainsi à l’honneur. Plusieurs ensembles remarquables seront dispersés. On peut notamment distinguer : deux pièces exceptionnelles de René Lalique ; un lampadaire Figure d’Alberto Giacometti ayant appartenu à Madame Frédérique Tison, muse et compagne du peintre Balthus ; mais également du mobilier de Jacques-Emile Ruhlmann dont une commode en loupe d’Amboine et ivoire provenant de la collection Thierri-Jeanbloch.

Autre grande signature de cette période, Auguste Janniot figure dans cette vacation avec une rare sculpture Tête de nymphe (estimée 15 000 – 20 000 € / 16 500 – 22 000 $), modèle à rapprocher de la nymphe de droite du groupe dit L’Hommage à Jean Goujon réalisé pour l’entrée de l’Hôtel du Collectionneur de Jacques Emile Rulhmann lors de l’Exposition Internationale des Arts décoratifs et industriels modernes de Paris en 1925 (aujourd’hui conservéà la fondation Calouste-Gulbenkian à Lisbonne).

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 Alfred-Auguste Janniot (1889 - 1969)"Tête de nymphe", circa 1925. Estimation 15 000 – 20 000 € / 16 500 – 22 000 $. Photo Artucial

épreuve en marbre rose, taille directe. Traces de polychromie. Signée. Haut. : 36,5 cm (14.37 in.) 

Historique : Nous pouvons rapprocher notre sculpture de la Nymphe de droite de l'hommage à Jean Goujon exposé devant l'Hôtel du Collectionneur de Jacques Émile Ruhlmann à l'Exposition Internationale de Paris en 1925 (voir la reproduction ci-dessous). 

Bibliographie : Michel Giraud & Fabienne Fravalo,Alfred Janniot propos mythologiques et moderne, Galerie Michel Giraud éditions,Paris, 2006, p. 35 pour un bronze à rapprocher de notre marbre.

RENE LALIQUE

La vente débutera par trois pièces exceptionnelles signées René Lalique, dont deux bijoux. En mai dernier, Artcurial adjugeait frais compris 232 400 € / 253 316 $, une rare boîte ronde modèle au lierre de René Lalique, soit plus de 20 fois son estimation.

René Lalique est un artiste inclassable. L’inventeur du « bijoux moderne », comme le qualifiait Emile Gallé, oscille dans ses créations entre les lignes de l’art nouveau et un bestiaire fantastique aux femmes ailées et aux reptiles les plus menaçants. Le collier aux libellules proposée à la vente (estimation : 40 000 – 50 000 € / 44 000 – 55 000 $) explore l’un de ses thèmes fétiches. Les représentations de l’insecte lui permettent de déployer sa technique du plique-à-jour pour laquelle il est si réputé. Souvent enlacées ou accrochées à une pierre les libellules virevoltent et donnent une impression d’instantanéité de la pose, prête à repartir vers d’autres aventures, mélange raffiné entre leur vie terrestre et aquatique.

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René Lalique (1860 - 1945), "Collier aux libellules", circa 1900. Estimation : 40 000 – 50 000 € / 44 000 – 55 000 $. Photo Artcurial

à corps en plique-à-jour rehaussé d'émaux au naturel vert et turquoise, aigue-marine et or 18K (en règle) ornement de diamants de taille ancienne et taillés en roses. Chaîne d'origine à fins maillons tubulaires entièrement émaillés turquoise (infimes manques). Coffret d'origine. Signé au dos du sertissage de la pierre et à l'intérieur du coffret. Motif central : 4 3 6,5 cm (1.57 3 2.56 in.) 

BibliographieSigrid Barten, René Lalique Schmuck und Objets d'art 1890-1910, Prestel, Munich, 1977, p. 343-345 pour des dessins de bijoux représentant des libellules. 

La vente proposera un second bijou de l’artiste, reptilien cette fois-ci : un collier aux deux serpents (estimation : 25 000 – 30 000 € / 27 500 – 33 000 $).

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René Lalique (1860 - 1945),  Collier "Deux serpents", circa 1900. Estimation : 25 000 – 30 000 € / 27 500 – 33 000 $Photo Artcurial

Collier ras de cou en or 18K (en règle) à deux têtes de serpents gueules ouvertes cernant un saphir taille coussin serti clos. Émail rosé (manque) figurant les écailles des serpents, et collier de perles (rapporté). Signé sur le fermoir. Motif central : 4 3 7 cm (1.57 3 2.76 in.) 

Historique : Le motif central des deux serpents fut monté postérieurement sur le collier en perle. 

Bibliographie : Sigrid Barten, René Lalique Schmuck und Objets d'art 1890-1910, Prestel, Munich, 1977, n°338 pour un dessin similaire avec deux caméléons entourant une pierre ovale (reproduit ci-dessous). 

Mais René Lalique n’est pas simplement joaillier, au tournant du siècle il créé des pièces d’orfèvrerie qui lui valent de nombreuses récompenses lors des Salons ou manifestations universelles de l’époque. Réalisées en très petite série pour ne pas dire qu’il ne s’agisse que de pièces uniques, ces créations lui permettent d’exprimer ses dynamiques d’insectes et de personnages à une échelle plus importante. Les corps d’hommes entrelacés en argent de 1903-1905 que nous proposons à la vente en sont un parfait exemple (estimation : 50 000 – 60 000 € / 55 000 66 000 $). La sculpture est réalisée comme une pièce d’orfèvrerie pour être monté en centre de table. Une pièce similaire est conservée dans les collections des Musées Royaux des Beaux-Arts de Belgique.

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René Lalique (1860 - 1945),  "Corps d’hommes entrelacés"circa 1903-1905. Estimation : 50 000 – 60 000 € / 27 500 – 33 000 $. Photo Artcurial

Sujet en argent massif. Signé" R. Lalique ". Haut. : 5 cm (1.97 in.) - Diam. : 19 cm (7.48 in.) - Poids brut : 1 425 g. En règle. 

Historique : L'œuvre est réalisée en 1903 pour être une sculpture en propre ou un centre de table avec sa coupe en marbre vert cerclée d'argent. Une pièce similaire formant centre de table est conservée dans les collections des Musées Royaux des Beaux-Arts de Belgique, sous le numéro d'inventaire GC-109. 
L'œuvre, entrée en 2006 par dation d'Anne-Marie et Roland Gillion Crowet,avait été achetée à M. Félix Marcilhac. 

Bibliographie : Sigrid Barten, René Lalique Schmuck und Objets d'art 1890-1910, Prestel, Munich, 1977, modèle référencé et reproduit sous le n° 1689. 

OBJETS DECORATIFS ET MOBILIER

La vente comprendra également un ensemble d’objets décoratifs provenant d’une collection privée constituée dans les années 70 auprès des plus grands marchands d’Art Déco. On notera notamment une précieuse table à secret d’André Groult (estimation : 30 000 – 40 000 € / 33 000 – 44 000 $) variante de celle réalisée pour Jacques Doucet actuellement présentée à l’exposition « Jacques Doucet – Yves Saint Laurent : Vivre pour l’Art » mais aussi des vases et boîtes en laque signées Jean Dunand ainsi que de rares boîtes émaillées de Jean Goulden.

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AndréGroult (1884 - 1966) & Adolphe Chanaux  (1887 - 1965), Table à secret, circa 1915-1920. Estimation : 30 000 – 40 000 € / 33 000 – 44 000 $. Photo Artcurial

Historique : Jacques Doucet commanda une table d'un modèle similaire à André Groult pour son appartement de l'avenue du Bois à Paris qu'il installera par la suite dans son studiorue Saint-James à Neuilly. 

Provenance : 
Acquis en 1975 à la galerie Dépôt 30 (galerie Vallois), rue Saint Denis à Paris. 

Bibliographie : 
André Joubin, " Le studio de Jacques Doucet ", L'Illustration, Paris, 1929 pour une photographie en couleur du salon du couturier. 
Félix Marcilhac, André Groult, Les éditions de l'Amateur, Paris, 1997, p. 70 pour le modèle ayant appartenu à Jacques Doucet. 
Jérôme Neutres, Jacques Doucet Yves Saint Laurent vivre pour l'art, Flammarion, Paris, 2015, p. 88 pour le modèle ayant appartenu à Jacques Doucet. 

Spécimen réalisé dans de l'ivoire d'Eléphant spp (Elephantidae spp) (I/A) pré-convention, spécimen conforme au Regle CE 338/97 du 09/12/1996 art.2-W mc, spécimen antérieur au 01/06/1947. Des restrictions ou interdictions à l'importation peuvent s'appliquer. Pour une sortie de l'UE, un CITES de ré-export sera nécessaire, celui-ci étant à la charge du futur acquéreur. 

Nous remarquerons également dans cette vente une ménagère en argent de 247 pièces, modèle Monaco, créé en 1925 par Jean Puiforcat. (estimation : 40 000 – 60 000 € / 44 000 – 66 000$).

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Jean Puiforcat (1897-1945), Ménagère Monaco - Modèle créé en 1925. Estimation : 40 000 – 60 000 € / 44 000 – 66 000$. Photo Artcurial

Notre modèle réalisé circa 1935, en argent massif, chiffré en défonce ou gravé (couteaux) sur chaque couvert "SC", 
se composant de 247 pièces: 
- trente grands couteaux 
- trente grandes fourchettes 
- quinze cuillers à potage 
- quinze couteaux à poisson 
- quinze fourchettes à poisson 
- deux couverts de service à poisson 
- quinze fourchettes à dessert 
- quinze cuillers à dessert 
- quinze cuillers à glace 
- quinze petites fourchettes 
- trente couteaux à fromage 
- vingt-quatre cuillers à moka 
- une pince à sucre 
- deux grandes cuillers de service 
- quatre petites cuillers de service 
- quatre fourchettes de service 
- trois couteaux de service à fromage 
- deux pelles à tarte 
- une cuiller saupoudreuse 
- deux couteaux à beurre 
- deux petites louches 
- cinq couverts de service (une grande louche, deux petites louches, une grande fourchette, 
une grande cuiller). 
Dans leurs écrins d'origine gainés de cuir et signés Puiforcat. 
Poinçon d'argent Minerve et poinçon du maître-orfèvre sur chaque pièce. 
Poids brut total : 17,122 kg. 

Provenance: Offert en 1935 en cadeau de mariage aux parents de l'actuel propriétaire. 

Historique: Modèle créé pour l'Exposition internationale des Arts décoratifs et industriels moderne de 1925 à Paris et présentéà cette occasion. 

Bibliographie: Françoise de Bonneville, Jean Puiforcat, Éditions du Regard, Paris, 1986, 
modèle référencé et reproduit p. 250. 
Yvonne Brunhammer, Cinquantenaire de l'Exposition de 1925, Musée des Arts décoratifs, Paris, 1976, modèle référencé et reproduit p. 101. 

On peut également citer une jardinière Bacchus et Ariane à Naxos de 1891 de Louis-Robert Carrier-Belleuse (estimation : 3 000 – 4 000 € / 3 300 – 4 400 $). 

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Louis-Robert Carrier-Belleuse (1848 - 1913) & Choisy-le-RoI (faïencerie)Jardinière"Bacchus et Ariane à Naxos", 1891. Estimation : 3 000 – 4 000 € / 3 300 – 4 400$. Photo Artcurial

en faïence de Choisy-le-Roi à corps ovoïde et col évasé (restaurations) à deux anses latérales détachées sur talon en gradin (éclats). Décor en bas-relief figurant Bacchus sur sa monture entouré de bacchantes et de putti d'une part et d'Ariane entourée d'une farandole de putti d'autre part surmontant une frise de feuilles de vigne en partie basse. Anses à corps imitant des ceps de vigne. Émaux polychromes au naturel. Marqué" 1511 OR ", daté 24.10.(18)91 et tampon de la manufacture de Choisy-le-Roi. Haut. : 46 cm (18.11 in.) 

Historique : Louis-Robert Carrier-Belleuse est nommé directeur des travaux d'art de la faïencerie de Choisy-le-Roi en 1890. La Manufacture de Choisy-le-Roi joue un rôle important au 19e siècle dans le domaine de la céramique d'art. Elle fait appel à des artistes de talent, tels Chaplet, Dammouse, Albert-Ernest et Louis-Robert Carrier-Belleuse et obtient de nombreuses récompenses aux Expositions Universelles.Notre jardinière peut être rapprochée du vase" Ronde d'enfants " conservé au Petit Palais à Paris réalisé vers 1894-1895.

Parmi les pièces de mobilier importantes, on trouvera une commode modèle Ducharne de Jacques-Emile Rulhmann, vers 1925 (estimation : 80 000 – 100 000 € / 88 000 – 110 000 $). Elle a été acquise par Madame Thierri-Jeanbloch dans les années 1970, afin de compléter l’ensemble de mobilier Ruhlmann qui avait fait l’objet d’une commande spéciale directement auprès de l’artiste en 1927.

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Jacques Emile Rulhmann (1879 - 1933), Commode modèle"Ducharne", circa 1925. Estimation : 80 000 – 100 000 € / 88 000 – 110 000 $. Photo Artcurial

en placage de ronce d'acajou flamméà corps quadrangulaire galbé ouvrant en façade par trois rangées de tiroirs à trois tiroirs chacune. Piètement d'angle à jambes galbées fuselées terminées en partie avant par des sabots d'ivoire. Prises et bouton de tirage en ivoire.Restaurations. Haut. : 96 cm (37.79 in.) - Long. : 145 cm (57.09 in.) - Prof. : 58 cm (22.83 in.) 

Provenance :Acquis par Madame Thierri-Jeanbloch, dans les années 70 lors d'une vente aux enchères parisienne afin de compléter l'ensemble de mobilier Ruhlmann qui avait fait l'objet d'une commande spéciale directement auprès de l'artiste en 1927. 

Historique :Modèle n° 2051NR du référencier de l'artiste. 

Bibliographie :Florence Camard, Ruhlmann, Éditions Monelle Hayot, Paris, 2009, modèle reproduit sur une photoraphie d'époque (voir reproduction ci-dessous). 

Spécimen réalisé dans de l'ivoire d'Eléphant spp (Elephantidae spp) (I/A) pré-convention, spécimen conforme au Regle CE 338/97 du 09/12/1996 art.2-W mc, spécimen antérieur au 01/06/1947. Des restrictions ou interdictions à l'importation peuvent s'appliquer. Pour une sortie de l'UE, un CITES de ré-export sera nécessaire, celui-ci étant à la charge du futur acquéreur. 

Citons encore un meuble de présentation de Jean-Michel Frank réalisé dans les années trente pour l’Institut Guerlain des Champs-Elysées à Paris. Le lampadaire modèle Figure d’Alberto Giacometti est lui probablement une pièce unique dans cette configuration. Il s’agit du premier modèle de ce type référencé par la Fondation Alberto et Annette Giacometti à ce jour.

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Jean-Michel Frank & Chanaux & Cie pour GUERLAIN 1893-1941 , Meuble de présentation. Estimation €100,000 - €120,000Photo Artcurial

en chêne brossé vernis et façade ornementée de croisillons de filets d'or, ouvrant par deux portes pleines sur un intérieur en miroir à deux étagères en verre (manquantes) amovibles et deux tiroirs. Tablette de présentation plaquée de miroir en partie basse. Pieds en gaine et entretoise de section carrée. Prises de tirage, bagues et sabots en bronze doré. Trace de signature Chanaux & Cie et trace de numéro " 15219 " (?). Haut. : 164 cm (64.57 in.) - Long. : 81 cm (31.89 in.) - Prof. : 29,5 cm (11.61 in.) 

Provenance : Institut de beauté Guerlain, 68 avenue des Champs-Elysées à Paris, entièrement décoré par Jean-Michel Frank, Alberto et Diego Giacometti et Christian Bérard, en 1939. 

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Alberto Giacometti (1901 - 1966)Lampadaire modèle "Figure". Estimation 80,000 - €100,000. Photo Artcurial

épreuve en bronze à patine brune rouge nuancée. Marqué" AG " et numéroté" 01 ". Haut. : 154,7 cm (60.9in.) 

Provenance : Madame Frédérique Tison, muse et compagne du peintre Balthus de 1953 à 1961. 

Historique : Ce lampadaire est probablement une pièce unique dans cette configuration (positionnement des trois anneaux plus haut sur le fût que sur le modèle habituel) ; il s'agit du premier modèle de ce type référencé par la Fondation Alberto et Annette Giacometti à ce jour. Cette pièce est référencée sous le n°3479 dans la base de données de la Fondation Alberto et Annette Giacometti. Elle est vendue avec un certificat en date du mois de juin 2015, et sera incluse dans le catalogue raisonné. 

 

Fine Ruby and Diamond Ring

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Fine 6.03 carats Mozambican "Pigeon's Blood" Ruby and Diamond Ring. Estimate HK$1,650,000 - 2,600,000 (US$211,500 - 335,000)Photo Tiancheng International

Centring on a heart-shaped ruby weighing 6.03 carats, to a stylised mount decorated with tapered baguette, trilliant and calibré-cut diamonds together weighing approximately 5.50 carats, highlighted by circular-cut rubies together weighing approximately 5.20 carats, mounted in 18 karat white and pink gold. Ring size: 6¾

Accompanied by SSEF report numbered 81597, dated 24 August 2015, stating that the 6.03 carat ruby is natural, Red colour of medium strong saturation, of East African origin, with no indications of heating;

LOTUS report numbered 5495-8268, dated 14 July 2015, stating that the 6.03 carat ruby is natural, Red colour, of vivid saturation and medium-deep tone, of Mozambican origin, with no indications of heating or treatment; with a colour type note stating that 'The highly saturated crimson colour of this gem earns it the LOTUS "Pigeon's Blood" distinction';

GRS report numbered GRS2015-050117, dated 4 June 2015, stating that the 6.03 carat ruby is natural, Vivid Red colour, of Mozambican origin, with no indication of thermal treatment; with a special appendix stating that 'This vivid red ruby from Mozambique is reminiscent in colour saturation of "GRS-type pigeon blood ruby". 

Tiancheng International. HONG KONG AUTUMN AUCTION, Jewellery and Jadeite

Fortuny stenciled silk gauze wrap, c.1920

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Fortuny stenciled silk gauze wrap, c.1920. Sold. Courtesy Vintage Textile

Mariano Fortuny created his stenciled silk gauze wraps to add ornamentation to the plain pleated Delphos gowns. I love the way the caftan-style wrap allows the body-clinging, sexy Delphos gown (or a garment of your choice) to show through.

The three-quarter length silk gauze wrap, based on antique ethnic caftan styles, is cut square with openings for the arms. The edges are trimmed with coral-colored 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 fresco. The stenciled pattern is Persian with birds and trees.

Fortuny's contemporaries described him as "an alchemist" because he never revealed the secret techniques employed in the atelier at his 15th-century Palazzo Orfei in Venice. He achieved magical effects by means unfathomable to outsiders.

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Mariano Fortuny y Madrazo was born into a dynasty of Spanish painters in Granada in 1871 but spent most of his life in Venice. His father, Mariano Fortuny y Marsal, regarded in Spain as an outstanding 19th-century artist, died when the boy was only three.

Venice had been the center of the Renaissance textile trade with the Orient and was a rich source of ideas from ancient Persian and Islamic cultures. Inspired by antique textiles in his father's collection, Mariano Fortuny did not simply copy the designs, but reinterpreted them to achieve an aesthetic ideal.

He created some of the most remarkable fabrics and dresses of the 20th century. Although known today primarily as a dress and fabric designer, he was also a painter, etcher, sculptor, photographer, lighting engineer, set designer, theater director, inventor and architect. He personified the Renaissance man who could do it all. As a young man, he stated, "Art is my life's aim." His work is a living testament to that ideal.

Transparent Fortuny gauze pieces do not have labels. The bottom picture shows Elsie McNeil wearing a version of this wrap in 1927. She was a celebrated New York interior designer who founded Fortuny Inc. in 1927 to import his fabrics and dresses. She rescued the Fortuny textile factory from receivership during the Depression.

The condition is excellent. A rare treat in an early couture garment. One size fits all.

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Elsie McNeil wearing a stenciled wrap by Fortuny, 1927. McNeil was a celebrated New York interior designer who founded Fortuny Inc. in 1927 to import his fabrics and dresses. She rescued the Fortuny textile factory from receivership during the Depression.


Fortuny Peplos tea gown, c.1920

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Fortuny Peplos tea gown, c.1920$7,800 at Vintage Textile

Mariano Fortuny y Madrazo created his signature Delphos gown in 1907, repeating the design with minor changes until his death in 1949. The Peplos version features a tunic attached at the neckline, falling in points to the hip, giving the appearance of a two-piece garment.

Our lightweight gown is based on the pleated linen chitons worn by Greek maidens 2500 years ago and seen today on Delphic Greek sculpture. The Fortuny Delphos and Peplos gowns have preserved the poetry of line of the Greek robe. During the Classical period (5th-4th centuries B.C.E.), Athenian women often wore the Peplos in public as a body length garment.

Fortuny used a thin silk satin more finely pleated than anything ever seen in costume. The resulting garment is incredibly soft and liquid, molding to the curves of the body. The richly modulated color of original antique Fortuny gowns, achieved by a series of dye baths, has a mysterious, enchanting depth that cannot be found in modern textiles. The hue of this Peplos is a lovely pastel shade of pink with hints of darker rose and lighter peach.

The gown is weighted on the sleeves and on the tunic hem with strings of blue Murano glass beads. It comes with a hand-stenciled sash signed Fortuny DSE. The gown is completely hand stitched with matching silk thread. To keep the pleats in place, the dress should be stored twisted like a skein of yarn.

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Fortuny Peplos tea gown (details), c.1920$7,800 at Vintage Textile

 "Everyone went to Fortuny then. I think everyone I knew had a Fortuny dress." Lady Bonham-Carter

Fortuny stenciled velvet jacket, 1930s

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Fortuny stenciled velvet jacket, 1930s. $9,950 at Vintage Textile

"Faithfully antique but powerfully original..." Marcel Proust

In his brilliant, multifarious output, Fortuny often drew inspiration from antique textiles. He did not simply copy the old designs; he reinterpreted them to achieve an artistic ideal. His atelier was in Venice, which had been the center of the Renaissance textile trade with the Orient. The Venetian aesthetic tradition was thus a a fertile source of ideas about the textile masterpieces of the past.

Made from black silk velvet, the jacket has the opulent luxury that Fortuny so admired in Renaissance fabrics. (He called velvet "the aristocrat of stuffs.") He was the genius who figured out how to stencil velvet with gold patterns.

The regal jacket is hand stenciled with a Renaissance-style pattern in gold pigments. As in all Fortuny stenciled textiles, the layering of pigments in the stenciling process produces the subtle shading found in Renaissance frescoes.

"Fortuny used a thin, supple silk velvet...treated...with a succession of dyes, stippling the tints by hand to achieve a patina that improved on that of antique textiles. Fortuny then applied the gold....to a ground prepared with the whites of specially aged eggs from China....Because the stenciled color is deep in the pile of the velvet, the velvets have a slightly crusty texture" (Couture by Caroline Milbank).

The short boxy style is meant to be worn open without closures. It features wide sleeves, a stand-up shawl collar, and thin shoulder pads. It is lined with Fortuny's signature pale peach tan silk faille. The circular Fortuny label is at the center-back, below the neckline.

The stenciled jacket was originally meant to be worn over a Delphos or Peplos tea gown for the sake of modesty. At first, these sleek silk gowns were often worn with nothing underneath when en desabillé or for private entertaining in the home.

As one of the top dealers in Fortuny garments over the last 14 years, I can state that a Fortuny stenciled velvet outer garment is even more rare than the Delphos gown. This one came directly from a Maryland estate and has never been on the market.

Mariano Fortuny created some of the most remarkable fabrics and dresses of the last century. Although known today primarily as a dress and fabric designer, he was also a painter, sculptor, photographer, set designer, theater director, and architect. In the field of design, he personified the Renaissance man who could do it all. Henri de Régnier wrote in 1907:

A Venetian at heart, Fortuny loves Venice and knows all the arts intimately. Like the Renaissance masters...he has revived the dyeing and adorning processes of the old weavers and decorators, creating very beautiful materials...which rival those produced by the craftsmen of the past.

In the graphic arts, Fortuny's love and obsession was color in all its intricate subtlety. He made himself an expert in the manufacture, mixing, and application to textiles of dyes (especially from natural sources). There has never been a greater creator of color masterpieces in textile than Mariano Fortuny y Madrazo. He rightly occupies a place of honor in the pantheon of great design.

The label reads Mariano Fortuny/Venise.

The condition is almost excellent. There are three tiny (1/8") holes on the front lining. The fabric is strong and not in danger of deteriorating. I prefer to leave the original lining in place in order to maintain the design integrity of this precious collectible.

It measures: 50" bust, 60" hem circumference, 22" sleeve length, and 25" from shoulder to hem.

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Fortuny stenciled velvet jacket, 1930s (details). $9,950 at Vintage Textile

Fortuny stenciled velvet jacket, c.1930

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Fortuny stenciled velvet jacket, c.1930. Sold at Vintage Textile

Mariano Fortuny y Madrazo created some of the most remarkable textiles of the 20th century. In his brilliant, multifarious output, Fortuny often drew inspiration from antique textiles. He did not simply copy the old designs; he reinterpreted them to achieve an aesthetic ideal.

His famous atelier was located in Venice, an important center of the Renaissance textile trade with the Orient. The Venetian aesthetic tradition was a rich source of ideas from ancient Persian and Islamic cultures.

The "lace" pattern shows Fortuny's inspiration often came from several sources. By a kind aesthetic dialectic (to coin a term), he synthesized ideas to create a new and different design. Here Fortuny ingeniously combines blocks based on Islamic tiles with borders based on 17th century lace. To appreciate the masterly "lace effect," zoom in on the picture below.

The pattern is hand stenciled with layers of subtly changing silver/gray pigment, reproducing the Renaissance fresco effect. The ground cloth of terra cotta silk velvet drapes beautifully. The effect shifts from subtle to sparkling as light hits the different layers of pigment. Fortuny's methods of hand dyeing and hand stenciling ensured that no two garments were exactly alike. The jacket is totally lined with gray silk satin.

Fortuny's designs have endured as timeless works of art. His creations transcend the rigid dictates of fashion. A Fortuny design, an unconditional statement of beauty, nevertheless adapts itself to the wearer and to the occasion. Meant to be worn over a Fortuny Delphos tea gown, the jacket can be equally dramatic over pants and a sweater.

Although known today primarily as a textile designer, Fortuny was also a painter, etcher, sculptor, photographer, lighting engineer, set designer, theatre director, inventor, and architect. In the field of design, he personified the Renaissance man who could do it all.

In the graphic arts, Fortuny's obsession was color in all its intricate subtlety. He made himself an expert in the manufacture, mixing, and application to textiles of dyes—especially from natural sources. There has never been a greater creator of color masterpieces in textile than Mariano Fortuny y Madrazo. As a young man, he stated, "Art is my life's aim." His work is a living testament to that ideal. 

The condition is almost excellent. On the back neckline corners are two small mended tears that have been backed for support. They are inconspicuous and stable. The lining has a small back-neckline patch. These minor imperfections, which do not spoil the design integrity of this important collectible, are reflected in the price. The jacket displays well and can be gently worn.

The jacket has a 68" circumference and is 28" long from shoulder to hem. 

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Fortuny stenciled velvet jacket (details), c.1930. Sold at Vintage Textile

A Diamond and Gold Tiger Brooch, Tiffany & Co

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A Diamond and Gold Tiger Brooch, Tiffany & Co. Estimate 1,125 — 1,500 USD (1,050 — 1,400 EUR) © 1996-2015 Dupuis Fine Jewellery Auctioneers

Realistically sculpted as a prowling tiger, with textured striping, diamond-set collar and emerald eyes, mounted in 18k gold, signed Tiffany & Co., Germany 

Dupuis Fine Jewellery Auctioneers. Fall 2015. NOVEMBER 22, 2015WINDSOR ARMS HOTEL, 18 St. Thomas Street, Toronto

An Enamel and Gold Pendant, Masriera

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An Enamel and Gold Pendant, Masriera. Estimate 1,125 — 1,350 USD (1,050 — 1,260 EUR) © 1996-2015 Dupuis Fine Jewellery Auctioneers

The ovoid openwork frame supporting a pensive maiden wearing an iridescent pastel-coloured yellow and blue enamel dress, surrounded by blue, orange and yellow plique-a-jour enamel, with leafy green accents, mounted in 18k gold, signed Masriera 

Dupuis Fine Jewellery Auctioneers. Fall 2015. NOVEMBER 22, 2015WINDSOR ARMS HOTEL, 18 St. Thomas Street, Toronto

An Art Nouveau Enamel, Diamond and Gold Pendant-Brooch, circa 1890

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An Art Nouveau Enamel, Diamond and Gold Pendant-Brooch, circa 1890. Estimate 1,500 — 2,250 USD (1,400 — 2,100 EUR) © 1996-2015 Dupuis Fine Jewellery Auctioneers

Depicting a sinuous wood nymph with pale brown enamel wings with green accents, amid a plique-a-jour brownish-taupe enamel ground embellished by a pair of bellflowers, and suspending an old European-cut diamond weighing approximately 0.40 carat, mounted in 18k gold 

Dupuis Fine Jewellery Auctioneers. Fall 2015. NOVEMBER 22, 2015WINDSOR ARMS HOTEL, 18 St. Thomas Street, Toronto

An Art Nouveau Diamond, Pearl and Gold Pendant-Brooch, circa 1910

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An Art Nouveau Diamond, Pearl and Gold Pendant-Brooch, circa 1910. Estimate 450 — 600 USD (420 — 560 EUR) © 1996-2015 Dupuis Fine Jewellery Auctioneers

The openwork form composed of sinuous whiplash tendrils, trefoiled foliage and curled acanthus leaves, accented by a small pearl (not tested for natural origin), tiny rose-cut diamonds and a pair of old European-cut diamonds, mounted in platinum and 18k gold

Dupuis Fine Jewellery Auctioneers. Fall 2015. NOVEMBER 22, 2015WINDSOR ARMS HOTEL, 18 St. Thomas Street, Toronto


An Art Nouveau Enamel and Diamond Brooch, circa 1905

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An Art Nouveau Enamel and Diamond Brooch, circa 1905. Estimate 2,700 — 3,000 USD (2,520 — 2,800 EUR) © 1996-2015 Dupuis Fine Jewellery Auctioneers

The diamond-set floral vines with sinuous whiplash tendrils suspending a trio of green plique-a-jour gingko leaves, mounted in silver and gold 

Dupuis Fine Jewellery Auctioneers. Fall 2015. NOVEMBER 22, 2015WINDSOR ARMS HOTEL, 18 St. Thomas Street, Toronto

A 'Yaozhou' celadon ‘Chrysanthemum’ bowl, Northern Song dynasty

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A 'Yaozhou' celadon ‘Chrysanthemum’ bowl, Northern Song dynasty

A 'Yaozhou' celadon ‘Chrysanthemum’ bowl, Northern Song dynastyEstimate 40,000 — 60,000 HKD (4,532 - 6,79 8EUR).  Photo Sotheby's

of conical form with everted rim resting on a low knife-pared foot, the interior crisply moulded with a central stylised flowerhead medallion encircled by an undulating leafy stem issuing three large chrysanthemums and three smaller blossoms, the exterior incised with radiating lines, the footring unglazed - 11.6 cm., 4 1/2  in.

PROPERTY FROM A PRIVATE JAPANESE COLLECTION, TOKYO 

Sotheby's. Chinese Art, Hong Kong, 03 déc. 2015, 02:00 PM

Two 'Yaozhou' celadon bowls, Northern Song dynasty

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Two 'Yaozhou' celadon bowls, Northern Song dynasty

Two 'Yaozhou' celadon bowls, Northern Song dynastyEstimate 40,000 — 60,000 HKD (4,532 - 6,79 8EUR).  Photo Sotheby's

one potted with deep rounded sides and a thin everted rim, the rim and interior moulded with six raised ridges to imitate lobes and glazed with a lustrous sage-green thinning over the ridges; the plain bowl of conical form, well potted on a low foot and an everted rim, the olive-coloured glaze stopping just above the knife-pared foot. 11.9 and 14.8 cm., 4 5/8  and 5 3/4  in.

PROPERTY FROM A PRIVATE JAPANESE COLLECTION, TOKYO 

Sotheby's. Chinese Art, Hong Kong, 03 déc. 2015, 02:00 PM

Royal Pearls. Queen Isabella II of Spain's natural coloured pearl necklace

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A rare 19th century natural coloured pearl necklace

Formerly in the possession of Queen Isabella II of Spain

Formerly in the possession of Queen Isabella II of Spain. A rare 19th century natural coloured pearl necklaceEstimate £500,000 – £700,000 ($760,500 - $1,064,700). Photo Christie's Image Ltd 2015

The graduated row of forty-four natural coloured pearls measuring approximately 13.8-6.5mm, in varying tones of black, grey and bronze, to the similarly-set pearl clasp with old-cut diamond surround, mounted in silver and gold, 46.2cm

Accompanied by report no.82552 dated 14th October 2015 from SSEF Swiss Gemmological Institute sating that the 44 pearls (including the clasp) are natural, saltwater with no indications of artificial colour modification (based on a sampling)

ProvenanceFormerly in the possession of Queen Isabella II of Spain.
This necklace was sold in Paris 1st July 1878 , and was descibed as being
composed of forty-six pearls.
Frank H. Hargrove, Christie’s London 6th April 1960, Lot 30, composed of
forty-four pearls.
Acquired by the present owner at the above sale.

Please note that this necklace has been recently restrung.

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Paris 1878 Catalogue

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Christie’s catalogue, London 6th April 1960.

NotesThis necklace was formerly in the possession of Queen Isabella II of Spain and was later offered for sale at auction in Paris on 1st July 1878 , along with other magnificent jewels in her collection. The necklace (originally described as being formed from forty-six pearls) was offered again at Christie’s in London on 6th April 1960 as The property of Frank H. Hargrove, Esq.’ with the following footnote ‘This necklace is reputed to have been collected by King Ferdinand VII of Spain for his wife. It was inherited by Isabella II (1833-1868) who sold it by auction in 1875 (sic) after her abdication whilst living in France’. 

 

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Queen Isabella II of Spain.

Isabella was born in Madrid in 1830 and on the death of her father King Ferdinand II was proclaimed sovereign at the age of three with her mother, Marie Christina of Bourbon -Two Sicilies, acting as regent. Against a backdrop of succession disputes and conspiracies Isabella was finally declared to be of age at 13 when she reigned directly until the revolt of 1868, known as the Glorious Revolution forced her into exile and ushered the First Spanish Republic into power. In 1870 whilst living in Paris Isabella addicted in favour of her son Alfonso XII, but she continued to live in France after the restoration of the Spanish monarchy, until her death in April 1904.

CHRISTIE'S. IMPORTANT JEWELS, 2 December 2015, London, King Street

A rare late 19th century coloured natural half pearl and diamond pendant

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A rare late 19th century coloured natural half pearl and diamond pendant

A rare late 19th century coloured natural half pearl and diamond pendantEstimate £80,000 – £100,000 ($121,680 - $152,100). Photo Christie's Image Ltd 2015

The bronze coloured natural half-pearl centre measuring approximately 14.6mm, to an old-cut diamond cluster surround, suspending two grey natural pearl drops each with a rose-cut diamond cusp and terminal, mounted in silver and gold, circa 1880, 5.0cm

Accompanied by report no.82551 dated 9th October 2015 from the SSEF Swiss Gemmological Institute stating that the half-pearl is natural saltwater with no indications of artificial colour modification

Accompanied by report no.11903 dated 16th October 2015 from The Gem & Pearl Laboratory, London, stating that the pearls are natural, saltwater, no evidence of treatment was observed

Provenance: rank H. Hargrove, Christie’s London 6th April 1960, Lot 29.
Acquired by the present owner at the above sale.

This brooch was originally sold with a single-pearl drop and has been later adapted.

CHRISTIE'S. IMPORTANT JEWELS, 2 December 2015, London, King Street

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