Brûle-parfum en porcelaine céladon Longquan. Chine, dynastie Song (960-1279) - Photo Sotheby's

reposant sur trois petits pieds, la panse bombée rehaussée de trois fines arêtes en relief, le col droit terminé par une bordure plate accueillant un couvercle en argent finement ajouré de motifs géométriques, boîte japonaise en bois (4); 14,4 cm, 5 5/8  in. Estimation: 35,000 - 45,000 EUR. Lot. Vendu 42,750 EUR

PROVENANCE: Acquired in 1939 in Japan. 

NOTE DE CATALOGUE: The form of the present censer derives from an archaic bronze vessel form known as li. With the revival of archaic bronze shapes in the Song Dynasty, this form was adapted into the repertoire of the Song potter. Its simple lines wereenhanced by the unctuous celadon glaze, and censers of this shape from the Longquan kilns were particularly sought after in Japan where until this day they are an integral part of the Japanese tea ceremony. Compare similar examples illustrated, for instance, in Yutaka Mino and K. Tsiang, Ice and Green Clouds: Traditions of Chinese Celadon, Indianapolis, 1986, p. 196, no. 79, and John Ayers, The Baur Collection: Chinese Ceramics, vol. I, Geneva, 1972, no.A99.

Sotheby's. Arts d'Asie. Paris | 18 déc. 2012, www.sothebys.com

Plat en porcelaine doucai. Chine, dynastie Qing, marque et époque Yongzheng (1723-1735) - Photo Sotheby's

le centre orné d'un dragon sinueux à cinq griffes en rouge de fer, à la poursuite de la perle sacrée parmi les nuages stylisés, se répétant sur le pourtour extérieur, marque à six caractères dans un double cercle en bleu sous couverte à la base, socle en bois (2); 26,5 cm, 10 3/4  in. Estimation: 6,000 - 8,000 EUR. Lot vendu: 36,750 EUR

NOTE DE CATALOGUE: This dish is unusual for the idiosyncratic depiction of the swirling clouds. A closely related example was sold in our New York rooms, 1st June 1988, lot 184, and again at Christie's Hong Kong, 17th January 1989, lot 751.

Sotheby's. Arts d'Asie. Paris | 18 déc. 2012, www.sothebys.com

Importante paire de pendants d'oreilles «girandoles». Photo Aguttes

en or et argent sertis de diamants de taille ancienne. Long: env 6.5cm Dans un écrin en forme. Estimation : 30 000 / 35 000 €

Aguttes. Jeudi 20 décembre 2012. Hôtel des Ventes Lyon Brotteaux - 13 bis, Place Jules Ferry - 69006 Lyon www.aguttes.com

CARTIER. Nécessaire de forme cylindrique, vers 1935. Photo Aguttes

ciselé de fils d'or noués, les côtés appliqués d'un cartouche orné de cinq flèches serties de saphirs calibrés symbolisant l'unité et le rayonnement des cinq branches Rothschild en Europe. Un des côtés actionne l'ouverture du couvercle, l'intérieur comprenant un miroir, un poudrier, un tube à rouge, un étui à cigarettes et un peigne en écaille, monture en or jaune. Signé Cartier Paris, no. M9728, dans son écrin en tissu noir. Poids brut: 311gr. Estimation : 10 500 / 11 500 €

Ancienne Collection Cécile de Rothschild - Christies, mars 2003

Aguttes. Jeudi 20 décembre 2012. Hôtel des Ventes Lyon Brotteaux - 13 bis, Place Jules Ferry - 69006 Lyon www.aguttes.com

Rare coupe en porcelaine de la famille rose. Chine, dynastie Qing, marque et époque Qianlong (1736-1795) - Photo Sotheby's

le centre finement peint de grenades sur des branchages feuillagés et fleuris, survolés d'insecte et papillons, marque en cachet à six caractères en bleu sous couverte à la base; 20,2 cm, 8 in. Estimation: 30,000 - 50,000 EUR - Lot. Vendu 36,750 EUR

PROVENANCE: Sotheby's Hong Kong, 17th November 1975, lot 122.

Sotheby's. Arts d'Asie. Paris | 18 déc. 2012, www.sothebys.com

Plaque carrée en porcelaine de la famille rose sur fond vert. Chine, dynastie Qing, fin de l'époque Qianlong (1736-1795) - début de l'époque Jiaqing (1796-1820) - Photo Sotheby's

délicatement peinte sur fond vert d'un caractère shou central entouré d'une ronde de cinq chauves-souris puis de chauves-souris alternées de petites fleurs de lotus, puis encore de fleurs de lotus largement épanouies mêlées aux huit emblèmes bouddhistes bajixiang, parmi de sinueux rinceaux feuillagés, les bords soulignés d'une bande de chauves-souris voletant dans les nuages stylisés en rouge de fer sur fond turquoise; 59 x 59 cm, 23 1/4  x 23 1/4  in. Estimation: 30,000 - 50,000 EUR. Lot. Vendu 36,750 EUR

PROVENANCE: Acquired from Tai Sing, Hong Kong, in 1985.

Sotheby's. Arts d'Asie. Paris | 18 déc. 2012, www.sothebys.com

The frescoes depict the Legend of the True Cross, written by Jacopo da Veragine.

FLORENCE.- The main chapel in Santa Croce, the largest Franciscan church in existence, was the last chapel in the basilica to be decorated during the 14th century. Impressive fresco cycle which covers 800m² of wall space (30m high and 10m wide), was painted by Angolo Gaddi in the 1380s. Agnolo was considered to be an artistic heir of Giotto, since his father and master, Taddeo Gaddi was one of the best students and closest collaborators of Giotto. 

The frescoes depict the Legend of the True Cross, written by Jacopo da Veragine, a subject fitting to the church dedicated to Holy Cross. One of the richest banking families of the time, Alberti family were the patrons of this, probably most important artistic project in Florence at the end of the 14th century. 

After a five year restoration, Gaddi’s illustrious fresco is now open to public and visitors have a once in a lifetime opportunity to climb up scaffolding. Because of its large size, it was difficult to see the details until scaffolding was erected for the restoration. The scaffolding erected for the restoration will stay in place for another year and in order to allow small groups of visitors to view the splendid work close up. Guided visits on the nine-level scaffolding, last for about 60 minutes. 

Aside from the figures illustrating the story, the fresco features a number of images that have nothing to do with the history and traditional iconography of the legend: details of everyday life - inside of a hospital, different animals, as well as different species of flowers, that bring the fresco to life. The artist inserted small portraits throughout the huge fresco, including a self-portrait, a portrait of his father, Taddeo, and even a portrait of Giotto. 

The restoration of Agnolo Gaddi's fresco cycle is one of the most important projects in Italy. It was financed in part by Japanese businessman and patron of the arts, Tetsuya Kuroda, who donated almost 1.2 million euro; an equivalent sum was provided by the Opera di Santa Croce. MiBAC also provided 285,000 euro in funding. 

The restoration process was completely digitalized. Visit: http://www.santacroceopera.it/en/ArchitetturaEArte_Multimedia.aspx to view digital scenes of the fresco before, during and after the restoration. The software used to digitally document the work, Modus Operandi, allows users to zoom in on details of the restoration that cannot usually be seen by the public. 

The frescoes depict the Legend of the True Cross, written by Jacopo da Veragine.

Francesco Guardi (Venice 1712 - 1793), An architectural capriccio with figures by a ruined arch. Photo Sotheby's

oil on panel, oval; 10 3/4  by 8 5/8  in.; 27.3 by 21.9 cm. Estimation: 100,000 - 150,000 USD

PROVENANCE: With Derek Johns, London;
Where purchased by Giancarlo Baroni.

EXHIBITED: New York, Master Paintings and Sculpture, Jean-Luc Baroni Ltd., 16 January - 31 February 2003, no. 15a (where loaned by Giancarlo Baroni).

NOTE DE CATALOGUE: This Architectural capriccio with figures by a ruined arch displays Francesco Guardi's remarkable skill in creating
enchanting and convincing views from a pastiche of invented components. This work bears striking compositional similarities to another Guardi capriccio on canvas, now in the Fundação Calouste Gulbenkian collection, Lisbon, which includes an almost identical arch, positioning of figures and domed building beyond.1 In the Gulbenkian picture, however, the arch spans a stretch of water and though the figures in the foreground are comparable in pose, they hold a fishing rod and bend to attend a basket rather than a bundle of long canes. The rendering of these two works meanwhile differs considerably; the handling of the Gulbenkian picture is much looser, perhaps due to its larger
dimensions, while in the present work, Guardi's approach is meticulous, using fine black marks to outline detailing in the architecture, to accentuate the tendrils of vegetation, the crumbling stonework in the arch and the porticoes of the building beyond. The result is a sharp and immediate image and an augmented sense of bright, natural light.

Pallucchini suggested a date of execution between 1770 and 1780 for the Gulbenkian picture. Given the parallels between that work and the present lot, it may be considered to have been executed in the same decade and is therefore a superb example of Guardi's mature period. We are grateful to David Marshall for endorsing an attribution to Francesco Guardi on the basis of photographs.

1.  R. Pallucchini, Francesco Guardi, Fundação Calouste Gulbenkian, Lisbon 1965, cat. no. XII, reproduced.

Sotheby's. Property from the Estate of Giancarlo Baroni. New York | 29 janv. 2013 www.sothebys.com

Francesco Guardi (Venice 1712 - 1793), An architectural capriccio with figures amongst classical ruins, a temple beyond. Photo Sotheby's

oil on panel, oval; 10 3/4  by 8 5/8  in.; 27.3 by 21.9 cm. Estimation: 100,000 - 150,000 USD

PROVENANCE: With Derek Johns, London;
Where purchased by Giancarlo Baroni.

EXHIBITED: New York, Master Paintings and Sculpture, Jean-Luc Baroni Ltd., 16 January - 31 February 2003, no. 15a (where loaned by Giancarlo Baroni).

NOTE DE CATALOGUE: This Architectural capriccio with figures among classical ruins appears to be unique in Guardi's oeuvre as an homage to Giovanni Paolo Panini, an artist whose work must have been familiar to him, at least through engravings. It replicates Panini's composition for Les Trois Colonnes de Campo Vaccino, known to us now only through an engraving by Elisabeth Cousinet-Lempereur (Bibliothèque Nationale, Paris, see fig. 1).1 Panini's painting, along with its pendant, The Prediction of a Sybil with the Pyramid of Caius Cestius, was engraved while in the collection of Claude-Henri Watelet's mistress, Madame Maguerite Le Comte and David Marshall asserts that the paintings were most likely acquired during the couple's sojourn in Italy between 1763 and 1764 when Le Comte may even have met
Panini himself.2 Considering the orientation of the present work, it would appear Guardi lifted the composition from the engraving rather than from the Panini original, completing it in his own characteristic style.3

Painters of architectural capricci regularly borrowed subjects from one another's work to weave into their own compositions. Guardi, like Giovanni Ghisolfi and Giovanni Paolo Panini, repeated motifs and employed them in a variety of ways to produce diverse themes in his paintings. In Panini's original composition, for example, the artist included the Belvedere chiton torso; the figure of a woman pointing, with a reclining figure at her feet; and the round temple, loosely based on the Temple of Sybil at Tivoli; all of which are distinct motifs used by Ghisolfi before him.4

We are grateful to David Marshall for endorsing an attribution to Francesco Guardi on the basis of photographs.

1. D. Marshall, "Early Panini Reconsidered: The Esztergom Preaching Of An Apostle and the Relationship between Panini and Ghisolfi", in Artibus et Historiae, an art anthology, vol. 36 (XVIII) 1997, p. 147, reproduced fig. 14.
2. Ibid., p. 147, reproduced p. 146, fig. 12. Previously given to Ghisolfi, Arisi attributes it to Panini on the basis of the two engravings; see F. Arisi, Gian Paolo Panini e I fast della Roma del '700, Rome 1986, p. 239, cat. no. 44.
3. Ibid., p. 147, reproduced fig. 14.
4. Ibid., pp. 147 and 149.

Sotheby's. Property from the Estate of Giancarlo Baroni. New York | 29 janv. 2013 www.sothebys.com

Plat et vase en grès émaillélongquan, Chine, dynastie Ming, XVème siècle. Photo: Christie's Images Ltd 2012

Le plat de forme polylobée est décoré de fleurs et de rinceaux stylisés incisés. Le vase de forme balustre est incisé d'un décor de rinceaux de lotus et de pétales. Diamètre: 34 cm. (13 3/8 in.), Hauteur: 23 cm. (9 in.) (2). Estimate €3,000 - €4,000. Price Realized €5,250

Provenance:Property of the late Baroness Marie-Louise von Callenberg (1901-1982), Switzerland

The vase: John Sparks Ltd., London

Christie's. Art d'Asie, 19 December 2012, Paris.Christie's. Art d'Asie, 19 December 2012, Paris.

A Safavid blue and white octagonal ceramic soft paste porcelain dish, Iran, 17th century. Photo: Christie's Images Ltd 2007

Of octagonal form, on short foot, with two central seated figures after the Chinese style surrounded by floral sprays, each corner of the rim with a large palmette containing stylised floral motifs, the exterior with meandering flowering vine, the underside with makers mark, repaired break, negilible repainting; 8 7/8in. (22.5cm.) diam. Price Realized £3,600

Christie's. Art of the Islamic and Indian Worlds, 17 April 2007, London, King Street

A large Safavid blue and white soft paste porcelain dish. Safavid Iran, second half 17th century. Photo: Christie's Images Ltd 2007

With sloping rim on short with dense blue floral design, the centre with five blossoms and a meandering leafy vine, the interstices with scrolling decoration, the cavetto with similar vine and scrolls, punctuated at regular intervals with a large blossom, the rim with a thin line of gold, the exterior with more delicate vine and soft triangular motifs, some wear of glaze to rim; 19in. (48.3cm.) diam. Price Realized £6,600

Christie's. Art of the Islamic and Indian Worlds, 17 April 2007, London, King Street.

A Safavid Blue and White Dish, Persia, 17th Century - Photo Sotheby's

of deep rounded form, decorated in varying shades of underglaze cobalt blue and outlined in black, the centre featuring storks in a setting of rounded rocks, grass and a tree, with a cloudband border, the rim with a band of alternating geometric, scrolling and flying stork motifs, between roundels with stylized floral scrolls, the reverse with mountain and grass pattern and pseudo-Chinese marks to base; 40.5cm. diam. Estimate: 6,000 - 8,000 GBP. Unsold.

Sotheby's, Arts of the Islamic World, London | 05 Oct 2011 www.sothebys.com

A Safavid blue and white bottle vase, Persia, 17th century - Photo Sotheby's

pyriform with bulbous base supported on a short foot, decorated in underglaze cobalt blue and outlined in black on a white background, with four vertical panels depicting lotus ponds and birds, the tapering neck decorated with a lobed arcade and palmette scrolls, the mouth terminating in a silver mount with everted rim; 25.5cm. height. stimate: 3,000 - 4,000 GBP. LOT SOLD. 3,750 GBP

Sotheby's, Arts of the Islamic World, London | 05 Oct 2011 www.sothebys.com

A Chinese Blue and White Huqqa Base Made for the Persian Market, Kangxi, 1662-1722 - Photo Sotheby's

pyriform with bulbous base with tapering shoulders terminating in a ringed mouth, the body moulded and decorated in underglaze cobalt blue with imbricated lobed registers enclosing potted flowering plants, the neck with an arcade of flowers and diamond trellis motif, base with floral bouquet; 23cm. height. Estimate: 5,000 - 7,000 GBP. LOT SOLD. 6,250 GBP

CATALOGUE NOTE: See Yolande Crowe 2002 for details on the trade of Chinese blue and white porcelain with Persia.

Sotheby's, Arts of the Islamic World, London | 05 Oct 2011 www.sothebys.com

A Rare Timurid Blue and White Bowl, Persia or Central Asia, 15th Century - Photo Sotheby's. 

of deep form with rounded walls on a short foot, decorated in underglaze cobalt blue with a central medallion featuring a scrolling lotus flower, the body decorated with lotus flowers on an adjoining leafy scroll, with a band of mountain forms at the rim, the exterior with a similar design of scrolling lotus flowers; 32cm. diam. Estimate: 50,000 - 80,000 GBP. Unsold

CATALOGUE NOTE: The deep-form seen here decorated with lotus scroll on both the interior and exterior with minor bands of breaking wave and key fret pattern derives from an early Ming blue and white prototype, either from the reign of the Hongwu emperor (r.1368-99) or Xuande emperor (r.1426-35). Two bowls in the British Museum (inv. nos.OA 1947.7- 12.180 and OA 1973.7-26.360), illustrate this Chinese prototype, see Harrison-Hall, J., Catalogue of Late Yuan and Ming Ceramics in the British Museum, London, 2001, p.133, nos.4:24 and 4:25. Also, two similar examples from the Timurid period are illustrated in Lentz and Lowry 1989, pp.228 and 229, nos.130 and 131. The rarity of this type of Timurid deep bowl is testified by the fact that no closely comparable example is found in the definitive account ofTimurid ceramics Tamerlane's Tableware (Golombek, Mason and Bailey 1996)

Sotheby's, Arts of the Islamic World, London | 05 Oct 2011 www.sothebys.com

Coupe à pied en porcelaine sang-de-boeuf. Chine, dynastie Qing, marque et époque Yongzheng (1723-1735) - Photo Sotheby's

 la coupe circulaire aux bords évasés reposant sur un haut pied tubulaire légèrement évasé, l'extérieur recouvert d'une glaçure sang-de-boeuf, marque à six caractères en bleu sous couverte à l'intérieur du pied: 11,2 cm, 4 3/8  in. Estimation: 20,000 - 30,000 EUR - Lot. Vendu 23,550 EUR

PROVENANCE: Christie's Paris, 23rd November 2004, lot 263.

Sotheby's. Arts d'Asie. Paris | 18 déc. 2012 www.sothebys.com

Pyrite, Galena, Sphalerite,and Scheelite. Huanzala Mine, Peru

Vase en porcelaine monochrome bleu lavande. Chine, dynastie Qing, XVIIIe-XIXe siècle - Sotheby's

la panse de forme globulaire sous un long col se terminant en bulbe d'ail aux bords crênelés, marque en bleu sous couverte à la base; 20,8 cm, 8 1/8  in. Estimate: 2,500 - 3,500 EUR - LOT SOLD. 3,000 EUR

A lavender blue-glazed garlic-head vase, China, Qing Dynasty, 18th/19th century

Sotheby's, Arts d'Asie, Paris | 18 Dec 2012 www.sothebys.com

Stibnite, calcite 106 mm, Banpo mine, Dushan, Qiannan, Guizhou, China