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Pomander with depictions of saints from the treasury of the St. Dionysius to Enger-Herford, Olfactory ball, End of 15th century

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Pomander with depictions of saints from the treasury of the St. Dionysius to Enger-Herford, Olfactory ball, End of 15th century. Silver, embossed and engraved. Diameter: 6.8 cm - Height: 9.6 cm (with eyelet). Ident.Nr. 1888.641. Kunstgewerbemuseum© Photo: Museum of Decorative Arts of the National Museums in Berlin - Prussian Cultural Heritage. Photo: Saturia Linke

The ball is driven into two parts of something greater silver sheet and can be opened in the middle, where a corresponding closure, the obscured an encircling, narrow bead-shaped bar, the upper and lower halves together. Above the silver bullet has a small, surrounded by plastic foliage eyelet with a big ring on which the capsule was suspended; below her is placed a larger rosette-shaped blossom. Each of the two halves is provided with engraved figurative representations in three circular areas, one of which follow some time widespread graphical templates: above the hl. Veronika selbdritt with the sudarium, a group of Anna and St. Christopher, down Christ as Man of Sorrows with the Passion, Virgin and Child in glory beams and a Lament of Mary. The engraved tracery that fills the interstices between them is partly open, in the upper part of the respective half. DK


Plate "Allegory of a Roman triumphal celebration", Jean de Court, 2nd half 16th century, Limoges

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Plate "Allegory of a Roman triumphal celebration", Jean de Court, 2nd half 16th century, Limoges. Copper, enamel painting. Width: 54 cm. Ident.Nr. K 5053. Kunstgewerbemuseum© Photo: Museum of Decorative Arts of the National Museums in Berlin - Prussian Cultural Heritage. Photo: Saturia Linke

Limoges, located in the southwest of France, since the Middle Ages was a center of the art of enamelling. Towards the end of 15th century here the enamel painting developed related to copper, majolica and stained glass. 
With this large plate small metal foils intensify under the transparent colors whose luminosity. The figures were carved out with pasty white heightening. Template for the main was an engraving of the Italian engraver Marcantonio Raimondi (1475-1534 to). Grotesques and gold ornament complement the magnificent appearance. 
The monogram "IC" on the back of the panel is now identified with Jean de Court (from 1530 to 1584 in order), one originating from Limoges enamel painter, who was in the service of European farms. SN

Plaque "Episode from the Aeneid: The crossing of Aeneas to Sicily", c. 1502, Limoges

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Plaque "Episode from the Aeneid: The crossing of Aeneas to Sicily", c. 1502, Limoges. Copper & glass flux and metal oxide & Gold, Polychrome enamel painting and gold drawing. Height: 22.7 - Width: 20.2. Ident.Nr. K 5097. Kunstgewerbemuseum © Photo: Museum of Decorative Arts of the National Museums in Berlin - Prussian Cultural Heritage. 

Episode from the most popular story in Virgil's Aeneid, the love story between the Carthaginian Queen Dido and the Trojan Aeneas. Meanwhile divine purpose is the founding of Rome, which is why he has to leave Dido. Portrayed is the crossing of Aeneas to Sicily (Book V, verse 1 ff.): At the gates of Carthage is in the background to see the pyre to burn on the Dido of grief over the loss of her lover. In the foreground, the ship of Aeneas and his followers drives towards new shores. Left middle distance are the Trojans from Acestes, a former companion, welcomed in Sicily. The main characters - Dido, Anna, Aeneas - are characterized by tapes with their names. . The composition of these as the other 81 known today emails follows woodcuts of the first illustrated Virgil edition, published in 1502 by Johann Grüninger in Strasbourg 
Among the Limousin painter emails take the tablets of the named after this episode Master in many ways a special position: In style as Iconography they are unique, also has been no further project of this scope, and become based on the same template, known. Is seen also technically the result remarkable. It combines, in almost equal parts, comprehensive and transparent glass flows (without paillons), a procedure which was perhaps borrowed from the goldsmith's art. Also falling in the tables of Aeneas-master of high-gloss image carrier under the transparent glass on rivers, the copper plate is undoubtedly subjected to special treatment. 
The original function of the panels is unknown. Aeneas may have been viewed by the principal of the episode prefiguring. On a Trojan descent, many families and communities of Europe in the 16th century appealed. It is conceivable, as has repeatedly suggested that the boards have served for a jewelry cabinet d'émaux and were admitted there in a wood paneling. This would have the miniatures-cabinets other princes and scholars met, except that the image-bearing wood, parchment or paper was not but copper. 
The two Berlin panels are the earliest of the episode, which can be documented to date.Kugler described it already in 1838. 
SN

Plaque "Episode from the Aeneid: Dido can build a pyre and offerings to the gods", c. 1502, Limoges

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Plaque "Episode from the Aeneid: Dido can build a pyre and offerings to the gods", c. 1502, Limoges. Copper & glass flux and metal oxide & Gold, Polychrome enamel painting and gold drawing. Height: 23.0 - Width: 20. Ident.Nr. K 5098. Kunstgewerbemuseum © Photo: Museum of Decorative Arts of the National Museums in Berlin - Prussian Cultural Heritage. 

Episode from the most popular story in Virgil's Aeneid, the love story between the Carthaginian Queen Dido and the Trojan Aeneas. Meanwhile divine purpose is the founding of Rome, which is why he has to leave Dido. Dido can then build a funeral pyre and the gods sacrifice (Book IV, verse 433 ff.): In fulfilling its mission Aeneas took note of his lover farewell.In the background, he is sitting in a boat, on him a "angel" who reminded him of his task. In the middle distance Dido and her sister Anna before an altar on which a "priest", the wine sacrifices to which turns into blood before Dido's eyes. Right of decorated with a funeral wreath pyre on which the mementos are to be burned to her lover. They can be seen on the left in the background in a chamber: The common place to sleep, his weapons and a blanket with his woven image. The main characters - Dido, Anna, Aeneas - are characterized by tapes with their names. . The composition of these as the other 81 known today emails follows woodcuts of the first illustrated Virgil edition, published in 1502 by Johann Grüninger in Strasbourg 
Among the Limousin painter emails take the tablets of the named after this episode Master in many ways a special position: In style as Iconography they are unique, also has been no further project of this scope, and become based on the same template, known. Is seen also technically the result remarkable. It combines, in almost equal parts, comprehensive and transparent glass flows (without paillons), a procedure which was perhaps borrowed from the goldsmith's art. Also falling in the tables of Aeneas-master of high-gloss image carrier under the transparent glass on rivers, the copper plate is undoubtedly subjected to special treatment. 
The original function of the panels is unknown. Aeneas may have been viewed by the principal of the episode prefiguring. On a Trojan descent, many families and communities of Europe in the 16th century appealed. It is conceivable, as has repeatedly suggested that the boards have served for a jewelry cabinet d'émaux and were admitted there in a wood paneling. This would have the miniatures-cabinets other princes and scholars met, except that the image-bearing wood, parchment or paper was not but copper. 
The two Berlin panels are the earliest of the episode, which can be documented to date.Kugler described it already in 1838. 
SN

An important sapphire and diamond ring

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Lot 149. An important 29.74 carats Ceylon sapphire and diamond ring. Sold for US$ 269,000 (€245,729). Photo: Bonhams.

set with a cushion-shaped sapphire, weighing 29.74 carats, enhanced with a diamond pavé-set split shank; mounted in 18k white gold; size 6 1/4

Accompanied by AGL report #CS 37847, dated July 6, 2005, stating the sapphire is: Classic Ceylon (Sri Lankan) origin, no clarity or heat enhancement.

Bonhams. FINE JEWELLERY, 8 Dec 2015 10:00 EST, NEW YORK

An important sapphire and diamond ring

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Lot 141. An important 5.23 carats Kashmir sapphire and diamond ring. Sold for US$ 269,000 (€245,729)Photo: Bonhams.

set with an oval-cut sapphire, weight 5.23 carats, flanked by half-moon-cut diamonds; mounted in platinum; size 6

Accompanied by AGL report #CS 71620, dated November 10, 2015, stating the sapphire is: Kashmir origin, no indications of heat or clarity enhancement.

Accompanied by GIA reports #2145141415 and #1142141404, dated December 15, 2011 and November 30, 2011, stating that the diamonds weighing .49 carat and .41 carat are: D color, VS1 clarity, respectively.

Bonhams. FINE JEWELLERY, 8 Dec 2015 10:00 EST, NEW YORK

A diamond and yellow sapphire ring

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Lot 142. A diamond and 31.66 carats Ceylon yellow sapphire ring. Sold for US$ 37,500 (€34,255). Photo: Bonhams.

centering an oval-cut yellow sapphire, weighing 31.66 carats, enclosed in a circular and marquise-cut diamond border; estimated total diamond weight: 9.00 carats; mounted in platinum; size 6

Accompanied by AGL report # CS 69233, dated July 30, 2015, stating the sapphire is: Ceylon (Sri Lanka) origin, no heat and clarity enhancement.

Bonhams. FINE JEWELLERY, 8 Dec 2015 10:00 EST, NEW YORK

A yellow sapphire and diamond pendant brooch

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Lot 143. A 23.89 carats yellow Ceylon sapphire and diamond pendant brooch. Sold for US$ 27,500 (€25,121). Photo: Bonhams.

centering an oval-cut yellow sapphire, weighing 23.89 carats, enclosed in a circular, pear and marquise-cut diamond border; total diamond weight: 15.37 carats; mounted in platinum; length: 1 3/8in.

Accompany by AGL report #CS 69459, dated August 6, 2015, stating the sapphire is: Classic Ceylon (Sri Lankan) origin, no heat or clarity enhancement.

Bonhams. FINE JEWELLERY, 8 Dec 2015 10:00 EST, NEW YORK


A pair of yellow sapphire and diamond ear pendants

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Lot 144. A pair of 42.85 carats Ceylon yellow sapphire and 18.34 carats diamond ear pendants. Sold for US$ 47,500 (€43,390). Photo: Bonhams.

the circular-cut and pear-shaped diamond heart-shaped motifs suspending clusters centered by an oval-cut yellow sapphires, total weighing 42.85 carats, enclosed in a circular and marquise-cut diamond border; total diamond weight: 18.34 carats; mounted in platinum; length: 2 1/4in.

Accompanied by AGL report #CS 69234 A and B, dated July 30, 2015, stating the sapphires is: Ceylon (Sri Lankan) origin, no heat or clarity enhancement.

Bonhams. FINE JEWELLERY, 8 Dec 2015 10:00 EST, NEW YORK

A yellow sapphire and diamond brooch

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Lot 145. A 35.57 carats Ceylon yellow sapphire and 13.00 carats diamond brooch. Estimate US$ 32,000 - 38,000 €29,000 - 35,000. UnsoldPhoto: Bonhams.

of cartouche outline, the scrolling circular-cut diamond lines, centering two round-cut yellow sapphires, set vertically, and surmounted by three pear-shaped and two marquise-cut diamonds; estimated total diamond weight 13.00 carats; total sapphire weight 35.57 carats; mounted in platinum; length: 2in.

Accompanied by AGL report #CS 69460, dated August 6, 2015, stating the sapphire is: Classic Ceylon (Sri Lankan) origin, no heat or clarity enhancement.

Bonhams. FINE JEWELLERY, 8 Dec 2015 10:00 EST, NEW YORK

A pair of Dutch market armorial plates, circa 1740

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A pair of Dutch market armorial plates, circa 1740

Lot 27. A pair of Dutch market armorial plates, circa 1740Estimate $10,000 – $15,000. Photo Christie's Image Ltd 2015

With Valckenier arms and finely painted grisaille views of European towns - 10 in. (25.5 cm.) diameter 

ProvenanceThe Benjamin F. Edwards III Collection of Chinese Export Porcelain; Christie's, New York, 22 January 2002, lot 170.

Christie's. CHINESE EXPORT ART, 21 January 2016, New York, Rockefeller Plaza

A Van Reverhorst sugar-bowl and cover, circa 1745

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A Van Reverhorst sugar-bowl and cover, circa 1745

Lot 28. A Van Reverhorst sugar-bowl and cover, circa 1745. Estimate $4,000 – $6,000. Photo Christie's Image Ltd 2015

From a unique service with the arms of van Reverhorst within smaller arms of his grandparents - 6 ¼ in. (16 cm.) wide, overal

Christie's. CHINESE EXPORT ART, 21 January 2016, New York, Rockefeller Plaza

An iron-red and gilt armorial plate, first half 18th century

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An iron-red and gilt armorial plate, first half 18th century

Lot 29. An iron-red and gilt armorial plate, first half 18th centuryEstimate $4,000 – $6,000. Photo Christie's Image Ltd 2015

From a unique service with the arms of van Reverhorst within smaller arms of his grandparents - 6 ¼ in. (16 cm.) wide, overal

Christie's. CHINESE EXPORT ART, 21 January 2016, New York, Rockefeller Plaza

A set of fourteen Spanish market armorial plates, circa 1769

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A set of fourteen Spanish market armorial plates, circa 1769

Lot 30.  A set of fourteen Spanish market armorial plates, circa 1769. Estimate $7,000 – $10,000. Photo Christie's Image Ltd 2015

With the arms of Pignatelli beneath a coronet for Cayetano Pignatelli (1730-95), Marquis of Rubí, who spent years abroad as the Inspector General of New Spain - 9 in. (22.8 cm.) diameter

Christie's. CHINESE EXPORT ART, 21 January 2016, New York, Rockefeller Plaza

A Dutch market armorial eggshell soup plate, circa 1735

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A Dutch market armorial eggshell soup plate, circa 1735

Lot 31. A Dutch market armorial eggshell soup plate, circa 1735. Estimate $12,000 – $18,000. Photo Christie's Image Ltd 2015

The center enameled with arms, possibly of a surgeon's guild, surrounded by grisaille flowering boughs, the rim colorfully enameled with flowers - 8 in. (20.5 cm.) diameter

Provenance: With Santos, London.

Christie's. CHINESE EXPORT ART, 21 January 2016, New York, Rockefeller Plaza


A pair of famille rose armorial jardinieres, mid-18th century

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Lot 32. A pair of famille rose armorial jardinieres, mid-18th century. Estimate $40,000 – $60,000 Photo Christie's Image Ltd 2015

Each of quatrefoil shape, enameled on one side with a probably continental coat-of-arms and on the other sides with flowing plants and rockwork, the flat rim with trellis diaper work, flower heads and cartouches of landscapes, the base with trellis diaper work, flower heads and elongated piercing - 16 ¼ in. (41.2 cm.) high; 20 ¼ in. (51.5 cm.) wide

Christie's. CHINESE EXPORT ART, 21 January 2016, New York, Rockefeller Plaza

A set of ten armorial soup plates and four chargers for the Dutch market, circa 1752

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A set of ten armorial soup plates and four chargers for the Dutch market, circa 1752

Lot 33. A set of ten armorial soup plates and four chargers for the Dutch market, circa 1752Estimate $12,000 – $18,000. Photo Christie's Image Ltd 2015

The center of each with accollée coats-of-arms for de Famars of Amsterdam and Vriesen from Zwolle - 9 ¼ in. (23 cm.) diameter (the plates), 12 ½ in. (31.5 cm.) diameter (the chargers)

Christie's. CHINESE EXPORT ART, 21 January 2016, New York, Rockefeller Plaza

An armorial saucer dish, circa 1736-1740

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An armorial saucer dish, circa 1736-1740

Lot 34. An armorial saucer dish, circa 1736-1740. Estimate $5,000 – $7,000. Photo Christie's Image Ltd 2015

With the arms of de la Bisrate of Anvers in Brabant accollée with Proli of Anvers and Milan - 9 ¾ in. (24.7 cm.) diameter 

ProvenancePrivate collection, Belgium.
K. R. Rizk Collection.

Christie's. CHINESE EXPORT ART, 21 January 2016, New York, Rockefeller Plaza

John Evangelist of a Crucifixion, 1470 - 1480, Netherlands or Niederrhein

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John Evangelist of a Crucifixion, 1470 - 1480, Netherlands or Niederrhein. Silver, gilt, painted partly cold. Height x Width x Depth: 16 x 7 x 4 cm. Ident.Nr. K 3865. Kunstgewerbemuseum © Photo: Museum of Decorative Arts of the National Museums in Berlin - Prussian Cultural Heritage.  Photo: Saturia Linke

The figures of John the Evangelist (3865 K) and the grieving Mary "in the fullness coat" (inv. No. K 3866) were originally part of a Crucifixion. In finely differentiated way they react with gestures and mime to the once appearing above them representation of Christ on the cross.The wailing over his chest crossed hands of Maria and her humbly wistful look into the distance convey a state of mind silent maternal grief, which differs significantly from the sudden horror of John. The beloved disciple of Christ looking scared, with almost abwehrendem gesture on the cross, as if he could not believe what had happened. The convincing detection and nuanced portrayal of human emotions make the small sized blowing work on sculptures of very high artistic quality. The moving wrinkling, the finely engraved jewelry belts and the technically perfect Strichpunzierung on the insides of the shells in accordance with the outstanding quality of character education. Faces and hands are painted in a pale Inkarnatton and the head veil of Mary in white "cold". The technique of partial colored grasping metal figures was particularly popular in the second half of the 15th and beginning of the 16th century. 
Both figures have on the bottom for mounting devices. However, it remains questionable whether they were originally on a reliquary architecturally formed a so-called Chapel Cross formed as an assistant figures a "little Crucifixion", served as part of a multi-figured Calvary or come from a different context. The statuettes were already in the 18th century in the Kunstkammer of the Hohenzollern Palace in Berlin. LL

Madonna and Child from the Lüneburg Council Silver, 1510, Lüneburg

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Madonna and Child from the Lüneburg Council Silver, 1510, Lüneburg. Silver, wrought, cast, z. T. gilded and painted. Pearls, turquoises, glass, isinglass, 69 x 22.9 x 18.8 cm (height without base 56 cm). Ident.Nr. 1874.370. Kunstgewerbemuseum © Photo: Museum of Decorative Arts of the National Museums in Berlin - Prussian Cultural Heritage.  Photo: Karen Bartsch

Figure driven, two-piece, internally overlapping. The externally visible, not very carefully soldered seams on Faltengrate and his head constantly. Child hands of Maria and probably also the pear fruits poured. Hands with pens held, Child and branch soldered to the hands.Stone and Pearl versions, hence the Coronet, secured by cotter pins. Bezels, Blumenranken the crown and nimbus of the child from quergerieftem, crown of twisted wire from completion.Embedded figure with two loops in the base and secured by wedges. Crown, hair of Mary and child, earth, branch, dress, Mantelborte and chain gilded. Flesh tones, jacket lining (blue), Armelfutter (red), shoe sole (red) and grass base (green) cold painted, flowers and fruits with remains colored lacquer. - Socket: Getreppte parts, wall separately used and coverage driven. Maßwerkteile cast. Reliquaries inserted with two loops. ZT gilded. 
Maria, the child lightly on his left hand and wearing a dainty, occupied with flowers and fruits pear tree branch hands with pointed fingers of the right hand, stands on a grassy knoll. Your body is S-shaped bend, the face to face with a delicate bend of the head to the child, the left hip supports his left arm, the right arm is pressed against the body. While the mainstay is hidden, the knee of the free leg is emerging through the clothes, and a coat of semi-rounded corner, slipper-like shoe is visible. Wavy bulging and lively from the crown, the hair falls broadly on the back. The spreading crown is formed of five equal, delicate sheet elements that fan out far and end in tendrils and fish bubble like shapes. The interposed flowers are top with colored glass stones and a pearl in versions decorated and however many are connected by a horizontal rotating, down through a winding wire with each other. Glass stones and pearls adorn the Kronreif. Attached to the crown were formerly still small double-wing pendants, who went down to one copy lost. 
The child, -so naked and formed naturalistically into anatomical details Speckfalten and nails are finely worked out - sitting upright, the legs are bent and the toes of the right foot stretched into the air. With lively gestures, curly,-embraced by the halo head slightly inclined and a smile suggestive, it has the rights to the dominated the Cross globe in his left hand. 
The drapery of Mary consists of a dress, of which only the wide sleeves and the region of chest, waist and abdominal approach with belt buckle and be visible, and of a provided with braid and glass stones, turquoise beads as jacket, actually a zweizipfligen cloth. Held together by two thin chains, he is placed in such a way over the shoulder, that he behind forms on the sides long tube wrinkles and creased again emerged in front, however, the arms covered, right opens easily, just falling and with a corner next to the shoe regurgitates, while the larger, left-hand part of the jacket, held by the right arm, pulled over in a relaxed drape and lifted to the other corner in the height - a strict, evolving from the clear oval outline line structure, in which also the child's body and Birnzweig are included. About the right arm Mary was formerly a coral necklace, a rosary, which is already 1573 and later repeatedly mentioned. He has not yet received. 
The eight-necked base is getreppt inward and decorated with Strebe- and tracery: rows pointed arches, profiled and occupied with crab, also circularly curved pinnacles and gargoyles in animal form. Is located on the front of a small reliquaries, showing a strip of parchment with the following red lettering under three times parted Marienglas: "Sancta Katarina de SCTO Vito de SCTO Vincentio De sancto Stephano de sancto Anschario"

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