A Langyao baluster vase, 18th century. © Christie's Image 2003

The slender high-shouldered body covered with a crackle-suffused glaze of crushed strawberry tone thinning to pale celadon on the tall neck and flared rim, interior of neck and base with similar celadon glaze - 15in. (38cm.) high. Lot 328. Estimate $3,000 - $5,000. Price Realized $15,535 

Christie's. FINE CHINESE CERAMICS AND WORKS OF ART, 18 September 2003, New York, Rockefeller Plaza

A copper-red-glazed bottle vase, 18th-early 19th century © Christie's Image 2003

Covered with a crackled glaze of crushed strawberry tone thinning to a pale greyish pink color below the white-glazed mouth rim, the interior of the neck with a white glaze suffused with golden crackle - 14¼in. (36.2cm.) high. Lot 329. Estimate $3,000 - $5,000. Price Realized $3,346 

Christie's. FINE CHINESE CERAMICS AND WORKS OF ART, 18 September 2003, New York, Rockefeller Plaza

A small copper-red-glazed vase, meiping, 18th century © Christie's Image 2003

Covered with a glaze of soft crushed strawberry tone, the mouth rim, interior of neck and base glazed white - 7½in. (19cm.) high. Lot 333. Estimate $5,000 - $7,000. Price Realized $10,755 

Provenance: Lord Bauer Collection. 

Christie's. FINE CHINESE CERAMICS AND WORKS OF ART, 18 September 2003, New York, Rockefeller Plaza

A pair of copper-red-glazed saucer dishes, Yongzheng six-character marks in underglaze blue within a double circle and of the period (1723-1735) © Christie's Image 2003

Each with shallow rounded sides, covered inside and out with a glaze of soft crushed strawberry tone below a white-glazed rim - 7in. (18cm.) diam., box (2). Lot 334. Estimate $6,000 - $8,000. Price Realized $8,365 

Christie's. FINE CHINESE CERAMICS AND WORKS OF ART, 18 September 2003, New York, Rockefeller Plaza

A copper-red-glazed stem bowl, Yongzheng six-character mark in underglaze blue in a line and of the period (1723-1735) © Christie's Image 2003

The exterior covered with a glaze of soft, slightly greyish crushed strawberry tone, and the interior glazed white - 6in. (15.2cm.) diam., box. Lot 335. Estimate $3,000 - $5,000. Price Realized $9,560 

Christie's. FINE CHINESE CERAMICS AND WORKS OF ART, 18 September 2003, New York, Rockefeller Plaza

Pablo Picasso (Spanish, 1881–1973), Harlequin Musican, 1924. Oil on canvas, 51 3/16 × 38 1/4 in. (130 × 97.2 cm). Given in loving memory of her husband, Taft Schreiber, by Rita Schreiber. National Gallery of Art, Washington. 1989.31.2. © 2016 Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

PHILADELPHIA, PA.- The Barnes Foundation, in partnership with the Columbus Museum of Art, Ohio, presents Picasso: The Great War, Experimentation and Change. On view February 21 through May 9, 2016, at the Barnes, the exhibition will travel to the Columbus Museum of Art in June. Curated by Simonetta Fraquelli, an independent curator and specialist in early 20th-century European art, the exhibition examines the dramatic fluctuations in Picasso’s style during the period surrounding the First World War, from 1912 to 1924.  

Pablo Picasso (Spanish, 1881–1973), Still life with compote and glass, Winter 1914-15. Oil On Canvas, 25 x 31 in. Columbus Museum of Art. Gift of Ferdinand Howald© Succession Picasso 2012

Inspired by the Columbus Museum’s Still Life with Compote and Glass (1914–1915) by Picasso and the Barnes’s extensive Picasso holdings, Picasso: The Great War, Experimentation and Change features some 50 works by Picasso drawn from major American and European museums and private collections. The show includes oil paintings, watercolors, drawings, and four costumes the artist designed for an avant-garde ballet, Parade, in 1917. The show also features several pieces by Picasso’s contemporaries, including Georges Braque and Henri Matisse. 

Pablo Picasso (Spanish, 1881–1973), Pipe and Sheet Music, 1914. Gouache And Graphite On Pasted Papers, 20 1/2 x 26 1/2 in. Museum of Fine Arts, Houston. Gift of Mr. and Mrs. Maurice McAshan© Succession Picasso 2011

Unlike other members of the Parisian avant-garde, Picasso never directly addressed the First World War as a subject in his art. Instead, he began experimenting with naturalistic representation, turning out classical figure drawings that outraged many of his avant-garde colleagues—this was quite a shift from the radical cubist approach he had been developing since 1907. Picasso did not give up cubism, however. Instead, he shuttled back and forth between two different styles for over a decade, breaking forms apart and making them whole again. This exhibition looks closely at the strange ambivalence that characterized Picasso's wartime production, exploring it in connection with changes to his personal life and with the political meanings ascribed to cubism during the war. 

Pablo Picasso (Spanish, 1881–1973), Glass and Pipe, 1918. Oil With Sand On Canvas, 20 1/2 x 26 1/2 in. 13 3/4 x 10 5/8 in. Solomon R. Guggenheim Museum, Solomon R. Guggenheim Founding Collection. © Succession Picasso 2011

“A radical shift occurred in Picasso’s work in 1914,” notes curator Simonetta Fraquelli. “Following seven years of refining the visual language of cubism, he began to introduce elements of naturalism to his work.” This change in his production can be viewed against the backdrop of an unsteady cultural climate in Paris during the First World War. Many people identified the fragmented forms of cubism with the German enemy and therefore perceived it as unpatriotic. This negative impression reverberated throughout Paris during the First World War and may have been a factor in Picasso’s shift in styles. However, Fraquelli says, “what becomes evident when looking at Picasso’s work between 1914 and 1924, is that his two artistic styles—cubism and neoclassicism—are not antithetical; on the contrary, each informs the other, to the degree that the metamorphosis from one style to the other is so natural for the artist that occasionally they occur in the same works of art.” 

Pablo Picasso (Spanish, 1881–1973), Seated Pierrot, 1918. Oil On Canvas, 92 x 73 cm. Museum of Modern Art, New York, USA © Succession Picasso 2015

Major works from the Picasso museums in Barcelona and Paris will be included in the exhibition, including Seated Woman (1920). 

The exhibition also features four costumes that Picasso designed for the avant-garde ballet, Parade, which premiered in Paris in 1917: the original Chinese Conjurer costume and reproductions of the American Manager, French Manager, and Horse costumes. Performed by Sergei Diaghilev’s Ballets Russes, with music by Erik Satie, story by Jean Cocteau, and the choreography of Léonide Massine, Parade was the first cross-disciplinary collaboration of its kind. The ballet, which tells the story of an itinerant circus group performing a sideshow, was viewed as a revolutionary approach to theater. Picasso was the first avant-garde artist involved in such a production—not only designing the costumes, but also the theater curtain and set. A watercolor and graphite sketch of the curtain design and a pencil sketch of the Chinese Conjurer costume are included in the exhibition. Picasso drew inspiration for his designs from the modern world—everything from circuses and carousels to music halls and the cinema. With Picasso’s inventive geometric costumes and naturalistic curtain design, Parade may be the ultimate fusion of cubist and classical forms. 

Pablo Picasso (Spanish, 1881–1973), L'Homme a la Guitare, 1918. Oil On Canvas, 130 x 89 cm, Hamburger Kunsthalle, Hamburg, Germany© Succession Picasso 2015

Picasso’s juxtaposition of figurative and cubist techniques can be seen as an expression of artistic freedom during a time of great conflict, and his shifts in style became a means of not repeating, in his words, “the same vision, the same technique, the same formula.” The works by Picasso’s contemporaries, such as Diego Rivera’s Still Life with Bread Knife from 1915 and Matisse’s Lorette in a Red Jacket from 1917, offer further insight into the shifting cultural climate in France during this transformative period. 

Managing curator for Picasso: The Great War, Experimentation and Change at the Barnes Foundation is Martha Lucy. Managing curator at the Columbus Museum of Art is David Stark. 

Pablo Picasso (Spanish, 1881–1973), Vase, Gourd, and Fruit on a Table (Vase, Gourde, Fruits sur une table), 1908-9. Oil On Canvas, 28 3/4 x 23 9/16 in., 73.03 x 59.85 cm, Yale University Art Gallery, John Hay Whitney, B.A. 1926, M.A. (Hon.) 1956, Collection, 1982.111.3 © Succession Picasso 2015

Pablo Picasso (Spanish, 1881–1973), Seated Woman, 1920 (detail). Oil on canvas, 36 1/4 × 25 9/16 in. (92 × 65 cm). Musée Picasso, Paris, MP67. Photo: J.G. Berizzi. © RMN-Grand Palais / Art Resource, NY © 2015 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

Pablo Picasso (Spanish, 1881–1973), Dog and Cock, 1921. Oil On Canvas, 61 x 30 1/8 in., 154.9 x 76.5 cm. Yale University Art Gallery. Gift of Stephen Carlton Clark, B.A. 1903, 1958.1 © Succession Picasso 2015

Pablo Picasso (Spanish, 1881–1973), Still life with a Guitar, 1924. Oil On Canvas, Kunsthaus, Zurich, Switzerland © Succession Picasso 2015

Pablo Picasso (Spanish, 1881–1973), Still Life with Fish, 1923. Oil On Canvas, 18 1/4 x 21 1/2 in., Wadsworth Atheneum Museum of Art, The Philip L. Goodwin Collection, Gift of James L. Goodwin, Henry Sage Goodwin, and Richmond L. Brown, 1958.220 © Succession Picasso 2015

Pablo Picasso (Spanish, 1881–1973), The Source (La Source), 1921. Oil On Canvas, 64 x 90 cm. Solomon R. Guggenheim Museum, Moderna Museet, Stockholm, Donation 1970 from Grace and Philip Sandblom© 2010 Picasso Administration, Paris, France.

Pablo Picasso (Spanish, 1881–1973), Bottle of Anis del Mono, 1915. Oil On Canvas, 18 1/8 x 21 1/2 in., 46 x 54.6 cm. Detroit Institute of Arts, Bequest of Robert H. Tannahill, 70.192 © Succession Picasso 2015.

Pablo Picasso (Spanish, 1881–1973), Le Vieux Marc, 1912. Oil On Canvas, 38.5 x 55.5 cm, Musee d'Art Moderne de la Ville de Paris, Paris, France © Succession Picasso 2015.

Pablo Picasso (Spanish, 1881–1973), Still Life with a Bottle, Playing Cards, and a Wineglass on a Table, 1914. Oil, Sand, And Graphite On Sketch Board, Mounted On Cradled Wood Panel, 12 1/2 x 16 7/8 in., 31.8 x 42.9 cm, Philadelphia Museum of Art, A. E. Gallatin Collection, 1952, 1952-61-95 © Succession Picasso 2015.

Pablo Picasso (Spanish, 1881–1973), Still Life with a Bottle, Playing Cards, and a Wineglass on a Table, 1936. Oil On Canvas, 28 3/4 x 23 1/2 in., 73 x 59.7 cm, Yale University Art Gallery, Charles B. Benenson, B.A. 1933, Collection, 2006.52.22 © Succession Picasso 2015

Pablo Picasso (Spanish, 1881–1973), Vase of Flowers and Pitcher, 1937. Oil On Canvas, 23 7/16 x 27 1/2 in., 59.5 x 69.9 cm, Yale University Art Gallery, Gift of Stephen Carlton Clark, B.A. 1903, 1954.29.1 © Succession Picasso 2015

Pablo Picasso (Spanish, 1881–1973), First Steps, 1943. Oil On Canvas, 51 1/4 x 38 1/4 in., 130.2 x 97.1 cm, Yale University Art Gallery, Gift of Stephen Carlton Clark, B.A. 1903, 1958.27 © Succession Picasso 2015

Pablo Picasso (Spanish, 1881–1973), Seated Woman (Femme assise), 1947. Oil On Canvas, 39 5/16 x 31 3/4 in., 99.9 x 80.7 cm, Yale University Art Gallery, Katharine Ordway Collection, 1980.12.21 © Succession Picasso 2015

Pablo Picasso (Spanish, 1881–1973), Horseman, Page, and Monk (Chevalier, page et moine), 1951. Gesso And Oil On Wood Panel, 17 x 21 3/4 in., 43.18 x 55.245 cm, Yale University Art Gallery, Charles B. Benenson, B.A. 1933, Collection, 2006.52.21 © Succession Picasso 2015

Pablo Picasso (Spanish, 1881–1973), The Painter in his Studio (Le peintre dans son atelier), 1963. Oil On Canvas, 23 3/8 x 35 7/8 in., 59.37 x 91.12 cm, Yale University Art Gallery, Charles B. Benenson, B.A. 1933, Collection, 2006.52.23 © Succession Picasso 2015

A rare blue and white shallow bowl, Daoguang six-character mark in underglaze blue within a double circle and of the period (1821-1850) © Christie's Image 2003

The exterior of the shallow rounded body painted with squirrels scampering amidst fruiting grape vines, within double-line borders - 8 11/16in. (22cm.) diam. Lot 325. Estimate $6,000 - $8,000. Price Realized $5,975 

Provenance: Christie's, New York, 21 March 2002, lot 211. 

Notes: The unusual decoration on this bowl can also be seen on a bowl of Qianlong date, of equally large size, but with deep rounded sides, illustrated in Zhongguo taoci daxi; qingdai taoci daquan, Taipei, 1987/89, p. 223. 

Christie's. FINE CHINESE CERAMICS AND WORKS OF ART, 18 September 2003, New York, Rockefeller Plaza

Nicolò di Pietro (Active during the late 14th and early 15th centuries), Saint Augustine, circa 1405. Tempera and gold on wood panel, 105 x 39.5 cm. Element of a polyptych. Inscribed “Augustinus” (in Gothic minuscule script, in red, just above the saint’s shoulders) © Maison d´Art

Literature: A. DE MARCHI, “Ritorno a Nicolò di Pietro”, Nuovi Studi, II, 1997, 3, fig. 28, p. 9, p. 19 note 48; A. DE MARCHI, “Nicolò di Pietro. Sant’Ambrogio che battezza Sant’Agostino; Sant’Agostino che consegna la regola”, in Fioritura tardogotica nelle Marche, exhibition catalogue (Urbino, Palazzo Ducale, 25 July – 25 October 1998), ed. Paolo Dal Poggetto, Milan 1998, p. 216.

Paris Bordone (Treviso 1500-1571 Venice), Ecce Homo: Christ condemned by the Sanhedrin, before Caiaphas and a Tormentor, circa 1559-1560. Oil on canvas, 115 x 160 cm © Maison d´Art

Provenance: (hypothetical: Cardinal Charles of Lorraine (1525-1574), as mentioned by Vasari:'“al Cardinale di Loreno fece un Cristo Ecce Homo, ed un Giove con Io e molte altre opere'; Ridolfi, 1648: 'Al Cardinal di Lorena Nostro Signore in forma di Ecce Homo';) Private collection, France, 1988; Piero Corsini Inc., New York, 1990

Literature: Vasari, 1568, ed. Milanesi, 1906, VII, p. 464; F. Dabell, Important Old Master Paintings, 1990, pp. 38-43, fig. 7;1990, pp. 38-43; Italian Renaissance Masters, 2001, pp. 49, 79, fig. 6; A. Donati, Paris Bordone, 2014, pp. 38-39, 117, 267-270, pl. LIII, cat. no. 42

Exhibitions: New York, Piero Corsini Inc., Old Master Paintings. Within the Image, 1990; New York, Piero Corsini Inc., Venetian Paintings. From Titian to El Greco, 1991

Salvador Dali (1907-Figueras-1989), Landscape of Port Lligat with Homely Angels and Fishermen, 1950. Oïl on canvas, 61 x 61 cm. Signed and dated © Maison d´Art

Provenance : Collection of Albert D. and Mary Lasker, New York; Private collection, Europe

Literature: The Albert D. Lasker Collection, foreword by Alfred Frankfurter, New York 1957, p. 97; J. Dopangne, Dalí, Fernand Hazen, Paris, 1974, p. 70; L. Romero, Tout Dalí en un visage, Chêne, Paris, 1975, p. 130 ; Chartwell Books, Hommage a Dalí, Secaucus, New Jersey, 1980, p. 83; I Dalí d'oro di Salvador Dalí, Museo di Storia della Scienza, Florence, 1984; S. Alexandrian...

Exhibitions: Tokyo, Salvador Dalí: Exhibition, 1964; Rotterdam, Museum Boymans-van Beuningen, Dalí, 1970, exh. cat. no. 79; Baden-Baden, Staatliche Kunsthalle, Dalí: Gemälde, Zeichnungen, Objekte, Schmuck, 1971, exh. cat. no. 65

Maison d´Art at TEFAF Maastrich 2016. 11-20 march 2016. 

Maison d’Art Gallery specializes in Important Old Master paintings, Impressionist and Modern art. 
Since its foundation in 1997, Maison d’Art has helped many private collectors and museums to acquire valuable works of art. 
Now the gallery intends to continue to engage in the art of the old masters and to expand the direction of its activities, working on interesting projects involving Impressionist, Modern and Contemporary art. 

Contact: Maison d´Art, 27 Avenue de la Costa, 98000 Monte-Carlo, Monaco. T  +377 97 97 11 60 - M   +377 680 86 24 46 - F  +377 97 97 11 61 - maison-dart@oldmasters.com

James Taffin de Givenchy. Opal ring, circa 2000 © Taffin jewelry. 

James Taffin de Givenchy. Diamond, ruby, gold and silver ear clips © Taffin jewelry. 

James Taffin de Givenchy. Wood and gold stag head © Taffin jewelry. 

Shao FAN (Né en 1964), Chaise mandarin "Jie", 1995. Estimation : 10 000 € / 15 000 €. Photo Tajan

en orme sablé inséré dans une structure géométrique en catalpa laqué noir. (Un éclat à la base de la structure, quelques petits sauts de laque). Haut. 108 cm - Larg. 73 cm - Prof. 48 cm 

A "Jie" Mandarin chair, 1995, elm and black lacquered catalpa tree frame. (One chip on the base, some lacks of laquer). Height 42 1/2 In. - Width 28 3/4 In. - Depth 18 7/8 In. 

Bibliographie : Chloé Braunstein-Kriegel, "Les années Staudenmeyer : 25 ans de design en France", Norma éditions, Paris, 2009, pièce reproduite p. 473.

TAJAN. Collection Privée Post-War, le 01 Mars 2016 à 17h00

Lot 35. Richard Uhlmeyer (XXe), Très grand vase cylindrique en faïence sur talon. Estimation : 1 000 € / 1 500 €. Photo Tajan

Lot 36. René Ben Lisa (1926-1995), Vase sphérique aplati en grès. Estimation : 800 € / 1 200 €. Photo Tajan

Lot 38. René Ben Lisa (1926-1995), Vase sphérique aplati en grès. Estimation : 800 € / 1 000 €. Photo Tajan

coulures rouge sang-de-bœuf, vertes et bleues sur fond noir. Signature incisée "R.B." Haut.12 cm 

A stoneware vase, green, blue and oxblood dripping decoration on black background. Incised signature. Height 4 3/4 in.

TAJAN. Collection Privée Post-War, le 01 Mars 2016 à 17h00 

Lot 37. René Ben Lisa (1926-1995), Vase cornet en grès. Estimation : 800 € / 1 200 €. Photo Tajan

coulures d'émaux blancs sur fond jaspé gris vert, rehauts verts et rouges, fond bleu nuit à noir. Signature incisée "R.B.". Haut. 14,8 cm 

A stoneware vase, white dripping enamels on grey background, green, red hightlights on blue background. Incised signature. Height 5 7/8 In.

TAJAN. Collection Privée Post-War, le 01 Mars 2016 à 17h00 

Lot 155. Francine Del Pierre (1917-1968), Vase ovoïde en terre chamottée. Estimation : 1 500 € / 2 000 €. Photo Tajan

décor de frises verticales peignées brunes sur fond gris vert. Signature d'un sigle "F.D.". Haut. 28,5 cm 

An ovoid chamotte clay vase, decorated with brown vertical friezes on grey-green background. Signed with the initals. Height 11 1/4 In. 

Bibliographie : Antoine Gournay et Pierre Staudenmeyer, "Francine Del Pierre-Fance Franck : dialogue des céramistes", Norma éditions, Paris, 2004, pièce reproduite p. 23.

TAJAN. Collection Privée Post-War, le 01 Mars 2016 à 17h00 

Lot 156. Francine Del Pierre (Attribuéà), Petit vase pansu en terre rouge modelée. Estimation : 800 € / 1 200 €. Photo Tajan

col corolle, discret décor d'une frise sur l'épaulement, émail gris clair jaspé. Non signé. Haut. 12 cm 

A little red clay vase, light grey enamel, decorated with a frieze on the shoulder. Unsigned. Height 4 3/4 In.

TAJAN. Collection Privée Post-War, le 01 Mars 2016 à 17h00 

Lot 371. Moonstone and diamond necklace, Janesich, circa 1915. Estimate 7,000 — 10,000 GPB. Photo: Sotheby's.

Set to the centre with an oval carved moonstone cameo depicting a maenad holding a tympanon dancing in Bacchic ecstasy, accented to the cardinal points with geometric motifs millegrain-set with rose diamonds, to a circular-cut and rose diamond surmount with trace link chain, length approximately 400mm, signed Janesich, French assay and maker’s marks, fitted case stamped John Durden.

Sotheby's. Fine Jewels, London, 15 Mar 2016, 10:00 AM

Roberto Capucci. Ommagio a Pisanello © Fondazione Roberto Capucci

Roberto Capucci. Wedding Dress with butterfly wings© Fondazione Roberto Capucci

Roberto Capucci. Scene dress created by Roberto Capucci for the vestal virgins of Norma by Vincenzo Bellini, in silk taffeta with a queue of 11 meters each formed from the central part of the garment and the sleeves, embellished with a sequined embroidery of silver by a series of cords of different sizes on the bodice, 1986, Norma, Vincenzo Bellini, Verona, Arena.

A guan-type archaistic vase, 18th century © Christie's Image 2003

Of hu form, with three bowstring bands encircling the neck and a pair of openwork handles with ruyi-head terminals, all under a pale blue-grey glaze with golden crackle - 12¼in. (31.1cm.) high. Lot 346. Estimate $3,000 - $5,000. Price Realized $10,158 

Christie's. FINE CHINESE CERAMICS AND WORKS OF ART, 18 September 2003, New York, Rockefeller Plaza

A ge-type petal-molded tripod octagonal bulb bowl, Qianlong seal mark in underglaze blue and of the period (1736-1795) © Christie's Image 2003

Made in imitation of a Song prototype, the flared body raised on three truncated supports and molded as eight petals rising to a flat everted rim, covered overall with a pale blue-grey glaze suffused with a crackle of dark grey, pale grey and golden brown color, with sixteen small psuedo spur marks in a circle on the base, the bottom of each leg covered with a brown wash - 9in. (22.8cm.) across. Lot 347. Estimate $6,000 - $8,000. Price Realized $7,170 

Provenance: Stephen Junkunc III. 

Notes: Qing dynasty bulb bowls of this form are based on Song prototypes, such as the brushwashers in the National Palace Museum, Taipei, included in the Exhibition of Sung Dynasty Kuan Ware, 1989, nos. 135-43.

A ge-type tripod vessel of this kuihua or mallow blossom form, also with a Qianlong seal mark, was included in the exhibition, Important Ceramics from the Robert Chang Collection, Christie's, London, 2 - 14 June 1993, no. 62, and later sold in our Hong Kong rooms, 2 November 1999, lot 517. 

Christie's. FINE CHINESE CERAMICS AND WORKS OF ART, 18 September 2003, New York, Rockefeller Plaza