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Nicolas de Largillière (1656 - 1746), The sculptor René Frémin (1672-1744), ca. 1713

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Nicolas de Largillière (1656 - 1746), The sculptor René Frémin (1672-1744), ca. 1713. Oil on canvas. 135.5 x 109.2 cm. Ident.Nr. 80.1. Gemäldegalerie, Berlin © Photo: Gemäldegalerie der Staatlichen Museen zu Berlin - Preußischer Kulturbesitz. Photo: Jörg P. Anders. 

Here the baroque topos ingenious artistry is celebrated. The sculptor moves confidently between unformed matter in the foreground and consummate in the form of 'Torso of Belvedere "in the background. The former strict canon demanded the programmatic orientation of the Hellenistic and Roman Imperial period art and their abolition in contemporary artifacts. Against this ideal is taking place of the creative process to "Zephyr and Flora", a group of figures who created Frémin 1713. This castle of Trianon in the park of Versailles planned bildwerk probably came no longer to run. The estimated French sculptor Frémin (1672-1744) also worked for the Spanish court in the Iberian Peninsula. Color and composition of the painting provide a characteristic example of the art at the end of the age of Louis XIV.


The Annunciation to Mary, about 1520, Netherlands

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The Annunciation to Mary, about 1520, Netherlands. Oil on oak, 79.1 x 65.2 cm. Ident.Nr. 645A. Gemäldegalerie, Berlin © Photo: Gemäldegalerie der Staatlichen Museen zu Berlin - Preußischer Kulturbesitz. Photo: Jörg P. Anders. 

Onthophagus

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Onthophagus (Palaeonthophagus) shirakii

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Onthophagus potanini

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Onthophagus trituber

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Onthophagus (Strandius) oshimanus

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Onthophagus (Paraphanaeomorphus) argyropygus

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Onthophagus petenensis

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Onthophagus taurus

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Onthophagus leucomelas

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Onthophagus ponticus

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Onthophagus tersus

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Onthophagus rubriferris

Hendrick ter Brugghen (1588-1629, Utrecht), Esau sold his birthright

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Hendrick ter Brugghen (1588-1629, Utrecht), Esau sold his birthright. Oil on canvas, 94.8 x 116.3 cm. Ident.Nr. 1982. Gemäldegalerie, Berlin © Photo: Gemäldegalerie der Staatlichen Museen zu Berlin - Preußischer Kulturbesitz. Photo: Jörg P. Anders. 

Anton Graff (1736-1813), The physician and philosopher Johann Georg Ritter von Zimmermann (1728-1795), 1772-1773

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Anton Graff (1736-1813), The physician and philosopher Johann Georg Ritter von Zimmermann (1728-1795), 1772-1773. Oil on canvas, 54,00 x 46,00 cm. Ident.Nr. 1034E. Gemäldegalerie, Berlin © Photo: Gemäldegalerie der Staatlichen Museen zu Berlin - Preußischer Kulturbesitz. Photo: Volker-H. 

The sitter, whose identity through a reproductive engraving of Heinrich Pfenninger (1749 - 1815) is occupied, native of Brugg in the canton of Aargau, where he held the post of town physician since 1752nd He maintained close relations with Johann Kaspar Lavater, and was successful as a writer. In 1768 he was promoted to Zimmermann's personal physician of King George III. of Great Britain and Ireland. At the electoral residence Hannover the doctor maintained a lively correspondence with the Russian Empress Catherine II., With Johann Wolfgang von Goethe and Friedrich the Great, whom he treated in Sanssouci Potsdam shortly before his death in August 1786. The 1776 councilor became Johann Georg Ritter von Zimmermann died 1795 in Hannover. 
The painting (Ident. No. 1034E) is the replica of the on behalf of the Leipzig publishing bookseller Philipp Erasmus Reich in September 1771 in Berlin made by Anton Graff painting. The suffering from a serious illness by Zimmermann stayed namely due to a necessary operation in the Prussian royal residence. 
The sitter was later thought that this painting documenting his still poor health.

Giovanni Bellini (1430/1435-1516, Venice), Madonna and child standing on a parapet, 1460

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Giovanni Bellini (1430/1435-1516, Venice), Madonna and child standing on a parapet, 1460. Oil on poplar, 66,30 x 48,60 cm. Ident.Nr. 1177. Gemäldegalerie, Berlin © Photo: Gemäldegalerie der Staatlichen Museen zu Berlin - Preußischer Kulturbesitz. Photo: Jörg P. Anders.

Profile portrait of a young woman, 1490

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Profile portrait of a young woman, 1490. Oil on poplar, ,60 x 34,40 cm. Ident.Nr. 83. Gemäldegalerie, Berlin © Photo: Gemäldegalerie der Staatlichen Museen zu Berlin - Preußischer Kulturbesitz. Photo: Volker-H.

Davide Ghirlandaio and Sebastiano di Bartolo Mainardi, Portrait of a Young Man in Three Quarter Length, 1490

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Davide Ghirlandaio (1452-1525, Florence) and Sebastiano di Bartolo Mainardi (1460-1513, Florence), Portrait of a Young Man in Three Quarter Length1490. Tempera on poplar, 44,60 x 34,40 cm. Ident.Nr. 86. Gemäldegalerie, Berlin © Photo: Gemäldegalerie der Staatlichen Museen zu Berlin - Preußischer Kulturbesitz. Photo: Jörg P. Anders.


MANDARIN & MENAGERIE: The James E. Sowell Collection, Part III, Japanese porcelain

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Over a period of twenty years James Sowell slowly assembled the best collection of Chinese porcelain birds, animals and figures in the country. Not only comprehensive, the Sowell Collection features jewels of top quality in each category it encompasses, from important, large pairs of majestic birds, courtiers and exotic animals to charming and colorful figures of laughing boys and courting couples. 

The collection resided happily in the Sowells’ Dallas home surrounded by classic English furniture of the Georgian period. In 2008 the export collection was published by Sowell’s dealers and advisors Cohen and Cohen in a lavishly illustrated and researched book, Mandarin and Menagerie

A thread running through all of the Sowell Collection is stellar provenance. With acquisitions from landmark London and Paris auctions as well as from top European dealers, the Sowell Collection represents the enduring pleasures of the finest works of art. Christie's is very pleased to bring this last tranche of the Sowell Collection to market, so that other collectors can enjoy these intriguing and appealing porcelains. 

A rare Japanese porcelain recumbent crane, Arita, circa 1800

A rare Japanese porcelain recumbent crane, Arita, circa 1800. Estimate $10,000 – $15,000. Photo Christie's Image Ltd 2015

With one wing raised and the head looking back, finely modeled neck and breast feathers and the crown in iron-red - 9 ½ in. (24 cm.) long

ProvenanceAcquired with Joshua Sinai, New York. 
Bonhams, London, 2004.

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A Japanese porcelain bijin, Arita, 17th-early 18th century. Estimate $30,000 – $50,000. Photo Christie's Image Ltd 2015

Elegantly modeled standing, her robe finely enameled with fruiting branches, in the typical Kakiemon palette - 15 ½ in. (39.4 cm.) high

Provenance: Anonymous sale; Christie's, London, 8 November 2007, lot 70.

Literature: M. Cohen and W. Motley, Mandarin and Menagerie, Chinese and Japanese Export Ceramic Figures, Reigate, 2008, pp. 98, 5.1

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A pair of Japanese porcelain boys, Arita, early 18th century. Estimate $15,000 – $25,000. Photo Christie's Image Ltd 2015

Each modeled as a karako, holding a vase with a puppy playing at his feet - 12 3/4 in. (32.5 cm.) high

Provenance: Anonymous sale; Christie's, London, 5 November 2007, lot 168.

Literature: M. Cohen and W. Motley, Mandarin and Menagerie, Chinese and Japanese Export Ceramic Figures, Reigate, 2008, pp. 90, no. 4.4

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A Japanese porcelain leaping carp, Arita, 17th-early 18th century. Estimate $4,000 – $6,000. Photo Christie's Image Ltd 2015

Modeled as though ascending through water, resting on a rectangular plinth in brown and green enamels - 12 ¼ in. (31 cm.) high

ProvenanceWith Kevin Page, London.

Literature: M. Cohen and W. Motley, Mandarin and Menagerie, Chinese and Japanese Export Ceramic Figures, Reigate, 2008, pp. 136, no. 8.2

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A Japanese Arita cat-form ewer and cover, Edo period, circa 1690. Estimate $3,000 – $5,000. Photo Christie's Image Ltd 2015

Modeled as though ascending through water, resting on a rectangular plinth in brown and green enamels - 12 ¼ in. (31 cm.) high

ProvenanceAnonymous sale; Christie's, London, 5 November 2007, lot 170.

Literature: M. Cohen and W. Motley, Mandarin and Menagerie, Chinese and Japanese Export Ceramic Figures, Reigate, 2008, pp. 151, no. 10.2

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

Ruth Harriet Louise, Greta Garbo

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Ruth Harriet Louise (1903−1940), Greta Garbo, 1920

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Ruth Harriet Louise (1903−1940), Greta Garbo, 1927

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Ruth Harriet Louise (1903−1940), Greta Garbo, circa 1930

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Ruth Harriet Louise (1903−1940), Greta Garbo, circa 1930

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Ruth Harriet Louise (1903−1940), Greta Garbo Silhouette, circa 1930

R.I.P. Ellsworth Kelly

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Ellsworth Kelly. Fred R. Conrad Photography

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Ellsworth Kelly, Daffodil© Ellsworth Kelly

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Ellsworth Kelly, “Briar”, 1960, graphite on paper 28½ x 22½ in. 72.4 x 57.2 cm. © Ellsworth Kelly

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Ellsworth Kelly, Siberian iris, 1989, Ink on paper. © Ellsworth Kelly

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Ellsworth Kelly, Mango, graphite on paper 28½ x 22½ in. (72.4 x 57.2 cm.) Drawn in 1959. © Ellsworth Kelly

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Ellsworth Kelly, Poppy, 2010 © Ellsworth Kelly

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Ellsworth Kelly, Branch of Leaves© Ellsworth Kelly

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Ellsworth Kelly, Philodendron II, from Series of Plant and Flower, 1983-85 © Ellsworth Kelly

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Ellsworth Kelly, Pear II © Ellsworth Kelly

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Ellsworth Kelly, Rose, 1983, Graphite on paper © Ellsworth Kelly

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Ellsworth Kelly, Tulip © Ellsworth Kelly

Exhibition revives the splendour of the Palace of Versailles through drawings made by Charles Le Brun

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BARCELONA.- Drawing Versailles: Charles Le Brun (1619-1690) is the result of a strategic agreement between the Louvre Museum and "la Caixa" Foundation to organise joint exhibitions and enable audiences to discover artists, collections and periods in art history that are not represented in Spanish museums. 

This ambitious agreement forms part a line of action launched by "la Caixa" Foundation in recent years to establish strategic alliances with leading cultural institutions around the world with a view to intensifying the organisation's cultural activities and generate synergies with international centres of the highest standing. 

The historic entente was intensified by the signing of agreements covering two consecutive periods (2008-2012 and 2012-2016) for the joint organisation of exhibitions at "la Caixa" Foundation cultural centres, including the loan of works from the Louvre collections and the provision of curatorial services by specialists from the Parisian museum. Moreover, thanks to support from "la Caixa", the Louvre Museum has been able to launch campaigns to restore many works within the framework of exhibition projects. 

Thanks to this agreement, the various CaixaForum centres have been able to present such diverse, high quality shows as Roads of Arabia. Archaeological Treasures from the Kingdom of Saudi Arabia; Etruscan Princes. Between East and West; Another Egypt. Coptic Collections from the Louvre Museum; Delacroix (1798-1863); and Before the Flood. Mesopotamia (3500 – 2100 BC).

This winter, then, CaixaForum Barcelona has become "little Louvre", thanks to the coincidence of two outstanding projects: the present show, devoted to the cartoons of Charles Le Brun; and the archaeological exhibition Animals and Pharaohs. The Animal Kingdom in Ancient Egypt. Meanwhile, Women of Rome. Seductive, Maternal, Excessive is open to the public at CaixaForum Madrid until next February.

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Charles Le Brun, The Re-establishment of NavigationLouvre Museum ©RMN-Grand Palais – Photo C. Chavan

Charles Le Brun, first painter to Louis XIV for two decades 
Born in 1619 to a father who was a modest sculptor and engraver of tombstones and a mother from a family of calligraphers, the artist Charles Le Brun (1619-1690) was discovered at an early age by Chancellor Séguier, who made the young man his protégé and sent him to Italy. On his return, Le Brun redoubled his decoration work in Paris and Vaux-le-Vicomte before placing himself at the exclusive service of Louis XIV. Thanks to the unconditional support of Jean-Baptiste Colbert, Charles Le Brun held the appointment of first painter to the king from 1664 to 1683. 

In 1682, Louis XIV moved the court of France to Versailles. Accordingly, for the next century, the city was the political and administrative centre of the kingdom. Over the previous twenty years, Versailles had been immersed in permanent works to redesign the park, increase the number of buildings and decorate the apartments with large decorative cycles that paid homage to the glory of the monarch. 

Le Brun was commissioned to plan this work, to which he applied an "orchestral" treatment involving the participation of hundreds of artists and artisans, the finest from each discipline. Le Brun personally produced several pieces, including two particularly impressive compositions: the Staircase of the Ambassadors and the Hall of Mirrors, adorned by a series of paintings from his mature period, imbued with the most exceptional, moving beauty. 

The present exhibition explores the origin of these great decorations through the unique testimony provided by the cartoons requisitioned by the Crown on Le Brun's death. These full-scale versions of the paintings, used to sketch out their contours, provide a glimpse of the working methods employed by the artists and his assistants, as the use of different tools is clearly apparent in the cartoons themselves.

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Charles Le Brun, The King Rules Alone© Château de Versailles, Dist. RMN-Grand Palais / Jean-Marc Manaï. Versailles, Musée national du château.

The Staircase of the Ambassadors 
Le Brun’s drawings enable us to admire the decoration, now lost, from the Staircase of the Ambassadors, with their figures on the same scale, enriched by all the gravity and dramatic quality of drawing in black pencil. 

This staircase, which led up to the grand apartments of the king and queen, was the first space to symbolise the power of the monarch at Versailles. Designed in around 1671 and decorated between 1674 and 1679, the staircase was destroyed in 1752, during the reign of Louis XIV. 

In his work, Le Brun made exceptional use of a narrow space that received only overhead lighting. Using optical illusion, he increased the sensation of space as he mixed fact and fiction to create an allegorical composition depicting the return of Louis XIV after one of his military victories. In a monumental composition to the honour and glory of the absolute monarch, the French artist surrounded the king by representatives from nations in the four continents, the gods of Antiquity, victories, cupids and the arts. The cartoons demonstrate that Le Brun worked on the Staircase of the Ambassadors right up to the last minute, retouching and perfecting his drawings.  

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Charles Simonneau, Ceiling of the Grand Staircase in Versailles. © RMN-Grand Palais (Musée du Louvre)

The Hall of Mirrors 
The cartoons for the Hall of Mirrors enable us to follow the artist’s working process, step by step, from the first small sketches, their pencil strokes embodying powerful movement, to the final drawings, which are the same size as the final paintings themselves. Also conserved are the engravings, copies of the entire work, produced for the purpose of making this masterpiece known beyond French borders, adding to the monarch’s fame. 

According to the tradition in European painting, the figure of the king was to be represented by a mythological figure: Apollo, Hercules and so on. Le Brun, however, portrays the king himself, at the head of his troops, wearing an ancient breastplate and a modern wig, acting together with the gods and the allegories. The gallery ceiling illustrates the epic history of Louis XIV’s reign from 1661, when he took the decision to govern the country alone, until the end of the War of Holland. One of the most famous episodes in this war, The Crossing of the Rhine in 1672, is represented by the cartoons made for the painting, exhibited exactly as they were found in Le Brun’s studio. 

Cartoons: exceptional material, much of it shown for the first time 
The exhibition presents these two famous decorative works through original materials, little known to the general public: the painter’s preparatory cartoons, huge, 1:1 scale drawings that were used to transfer the contours of his models onto the walls and vaults. 

Such cartoons were commonly used between the sixteenth and nineteenth centuries, but few have reached our days. Le Brun’s cartoons are the exception: the Louvre Museum conserves 350, which formed part of the store of 3,000 works requisitioned from the artist’s studio after his death in 1690 and added to the royal collections. 

The cartoons are formed by several large sheets of paper, on which the artist marked out his drawing in black pencil and white chalk, occasionally adding sanguine. They were used to transfer the model onto the wall or canvas. Although their use seems to have been widespread, they often became stained, damaged and even torn during these operations, which explains why so few have been conserved. Moreover, for many years they were considered merely utilitarian works, not worthy of being saved. 

Of the 350 cartoons in the entire collection, 75 have been restored specifically for this exhibition, and will be divided between the two centres hosting the show. Due to their fragility, these works cannot be placed on view for more than three months at a time, for which reason at the end of the exhibition period they will be returned to the storerooms of the Louvre Museum, where they will be protected from the light for at least three years. 

At CaixaForum Barcelona, the exhibition comprises 78 works. Some of the 37 cartoons presented are shown to the public for the first time here, horizontally and unmounted, as they were found in the Le Brun’s studio. 

The show also includes a score of preparatory sketches and drawings and a series of engravings of the two rooms, as well as the oil painting The King Rules Alone, the only work not from the Louvre Museum, as this piece has been loaned expressly by the Musée National du Château de Versailles et de Trianon. 

The exhibition is divided into two large sections devoted to the two decorations, separated by third illustrating the techniques used to transfer the works onto the walls and ceilings. 

As usual in shows organised by the ”la Caixa” Foundation, the project also includes the publication of a catalogue that details the main scientific elements, as well as articles on each of the exhibition themes. A full programme of parallel activities has also been organised, featuring not only tours of the exhibition for different audiences and groups, but also a season of Versailles-related films, coordinated by the journalist Àlex Gorina, and a cycle of lectures by Rafael Argullol, writer and professor of Aesthetics at Pompeu Fabra University. 

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Charles Le Brun, A Victoria, dressed, with her right arm raised. Louvre Museum© RMN

The restoration: from the storerooms of the Louvre to CaixaForum Barcelona 
Thanks to the involvement of ”la Caixa” Foundation in the project, the cartoons presented in this exhibition were painstakingly restored in the restoration workshop of the Department of Prints and Drawings at the Louvre Museum. 

Twenty experts worked for two years to restore and mount the 75 cartoons, which were found in various states of conservation. Some were rolled, in a similar state to that when they were requisitioned in the seventeenth century, and have never been shown in public. Others had been glued to canvas supports in the nineteenth century, ready for exhibition at the museum. Finally, several others had been restored and glued as part of work carried out in the 1990s. 

The restoration was conducted in accordance with clear guidelines: maximum respect for the works in their original state, whilst reinforcing them and making it possible to place them on show. As a result, all the marks made when the cartoons were originally used have been left clearly visible, to enable an interpretation of these works in their original purpose as working utensils. 

The most difficult part of the undertaking concerned the cartoons glued to canvas in the nineteenth century. These took months to restore, as it was necessary to detach them from their canvas, separate the various sheets that formed each cartoon, then restore them before assembling the pieces once more on a new canvas. 

The restoration work was also a source of discoveries. Drawings were found on the backs of two cartoons, something not very common at the time. This made it necessary to rethink the approach originally planned, and the works concerned were finally not glued onto canvas again, as this would have caused the drawings on the back to be lost once more. Accordingly, they are placed on show with both sides visible.

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Charles Le Brun, Las diversas naciones de Asia. Lápiz negro, tiza blanca, sanguina y cuadriculación a lápiz negro. 1,680 m x 2,350 m. Museu del Louvre© RMN-Grand Palais - Photo C. Chavan

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Charles Le Brun. Cabeza de hombre. Estudio para las naciones de Asia . Lápiz negro, sanguina, resaltada a la tiza blanca y rosa. H. 0,360; L. 0,280Museu del Louvre © RMN-Grand Palais - Photo C. Chavan

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Charles Le Brun. Dos caballos. Lápiz negro, tiza blanca e incisiones. 1,640 x 1,940 m. Photo © RMN-Grand Palais (musée du Louvre) / Martine Beck-Coppola

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Charles Le Brun. Luis XIV desnudo, de perfil hacia la izquierda . Lápiz negro, tiza blanca e incisiones, 1,670 x 1,120m. Photo © RMN-Grand Palais (musée du Louvre)

Bague en or gris 18k (750), ornée d'un diamant Fancy Blue, de taille poire

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Bague en or gris 18k (750), ornée d'un diamant Fancy Blue, de taille poire. Estimation : 70 000 € / 80 000 €Photo Artcurial

Poids de la pierre: 1.05 ct - Poids brut: 4.32 g 

Accompagné d'un certificat du laboratoire GIA (2015) indiquant: Couleur Fancy Blue, Pureté I2, Pas de fluorescence 

A blue diamond and 18k white gold ring, accompanied by a GIA certificate stating that the 1.05 ct diamond is natural fancy blue color, i2 clarity, none fluorescence.

 

ARTCURIAL, Joaillerie (Monaco), le 19 Janvier 2016 à 14h

Paire de pendants d'oreilles en or gris 18k (750), ornés chacun d'une émeraude cabochon taillée en coussin

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Paire de pendants d'oreilles en or gris 18k (750), ornés chacun d'une émeraude cabochon taillée en coussin. Estimation : 65 000 € / 75 000 €Photo Artcurial

retenue par une chainette de six diamants taillés en coussin ou en brillant - Poids des émeraudes: env. 6.80 et 7.43 cts - Haut.: 6 cm, Poids brut: 13.12 g 

Accompagnés d'un certificat d'IDAR-OBERSTEIN indiquant origine Madagascar, et "Minor clarity enhancement" (présence d'huile modérée) 

A pair of emerald, diamond and 18k white gold ear pendants, accompanied by Idar-Oberstein certificate stating that the 6.80 and 7.43 cts emeralds, origin Madagascar, shows minor clarity enhancement. 

ARTCURIAL, Joaillerie (Monaco), le 19 Janvier 2016 à 14h

Fred, Clip de corsage

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Fred, Clip de corsage. Estimation : 20 000 € / 22 000 €Photo Artcurial

En platine (950), or jaune 18k (750), ciselé d'un noeud de ruban à cinq boucles, entièrement serti de diamants blancs, jaunes, madères ou cognacs - Signé Fred Paris - Haut.: 8 cm, Poids brut: 41.18 g 

A diamond, platinum and 18k yellow gold clip, by Fred

ARTCURIAL, Joaillerie (Monaco), le 19 Janvier 2016 à 14h


Repossi, Collier Négligé

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Repossi, Collier Négligé. Estimation : 20 000 € / 25 000 €Photo Artcurial

En or gris 18k (750), formé de deux chutes souples de diamants baguettes alternés de diamants taillés en brillant, retenant deux perles de culture piriformes, les culots sertis de diamants plus petits. Dans sa pochette. Signé Repossi - Diam des perles: 20.5 mm et 10.5 mm, Long.: env. 38 cm, Poids brut: 55.38 g 

A diamond, cultured pearl and 18k white gold necklace, by Repossi. 

ARTCURIAL, Joaillerie (Monaco), le 19 Janvier 2016 à 14h

Broche en or gris et or jaune ornée d'un semi de vingt diamants de couleur cognac, madère, jaune clair, rose ou gris-bleu

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Broche en or gris et or jaune 18k (750), légèrement cintrée, ornée d'un semi de vingt diamants piriformes ou ovales, de couleur cognac, madère, jaune clair, rose ou gris-bleuEstimation : 20 000 € / 22 000 €Photo Artcurial

Haut. 4 cm, Poids brut: 7.95 g 

A diamond and 18k white and yellow gold brooch. 

ARTCURIAL, Joaillerie (Monaco), le 19 Janvier 2016 à 14h

René Boivin, Bague "Quatre Corps"

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René Boivin, Bague "Quatre Corps", Vers 1980-1990. Estimation : 18 000 € / 20 000 €Photo Artcurial

En or gris 18k (750), formée de quatre anneaux mobiles sertis de saphirs multicolores et de rubis dans des sertissures ovales - 
Signée René BOIVIN, poinçon du joaillier - Tour de doigt : 49, Poids brut : 14.48 g 

A MULTICOLORED SAPPHIRE, RUBY AND 18K WHITE GOLD RING, BY RENE BOIVIN, CIRCA 1980-1990 

ARTCURIAL, Joaillerie (Monaco), le 19 Janvier 2016 à 14h

René Boivin, Bague "Quatre Corps", Création contemporaine

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René Boivin, Bague "Quatre Corps", Création contemporaine. Estimation : 15 000 € / 18 000 €Photo Artcurial

En or gris 18k (750), formée de quatre anneaux mobiles sertis de diamants taillés en brillant dans des sertissures ovales - Signée René BOIVIN BG30023, poinçon du joaillier - Tour de doigt : 51-52, Poids brut : 17.40 g 

A DIAMOND AND 18K WHITE GOLD RIVIERE RING, BY RENE BOIVIN, CONTEMPORARY CREATION

ARTCURIAL, Joaillerie (Monaco), le 19 Janvier 2016 à 14h

René Boivin, Bague "Quatre Corps", Vers 1950

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René Boivin, Bague "Quatre Corps", Vers 1950. Estimation : 15 000 € / 20 000 €Photo Artcurial

En or jaune 18k (750), formée de quatre anneaux mobiles sertis de diamants taillés en brillant dans des sertissures ovales - Signée René BOIVIN, poinçon du joaillier - Tour de doigt : 62-63, Poids brut : 14.58 g 

Accompagnée d'un certificat de Madame Françoise Cailles 

BibliographieF.Cailles, René Boivin Joaillier, les éditions de l'amateur, 1994, p.156 
Reproduction en couleur de modèles de même inspiration 

A DIAMOND AND 18K YELLOW GOLD RIVIERE RING BY RENE BOIVIN, CIRCA 1950, ACCOMPANIED BY A CERTIFICATE FROM FRANCOISE CAILLES 

ARTCURIAL, Joaillerie (Monaco), le 19 Janvier 2016 à 14h

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