Lot 108, A fine ruby-ground famille rose 'lantern' medallion bowl, Daoguang six-character seal mark in underglaze blue and of the period (1821-1850). Estimate HK$120,000 – HK$180,000 ($15,544 - $23,316). Photo Christie's Image Ltd 2016.

The bowl is finely enamelled and gilt with the fengdeng, the 'Harvest of Abundance', within four medallions divided by floral sprays reserved on a graviata ruby ground. The interior is painted in underglaze blue with four be-ribboned canopied flasks, surrounding a central medallion radiating four flowering plants alternating with insects suspending bejewelled ruyi-heads. 5 3/4 in. (14.7 cm.) diam., box

Provenance: Sold at Christie's Hong Kong, 1 October 1991, lot 1019

Christie's. THE PAVILION SALE - CHINESE CERAMICS AND WORKS OF ART, 5 April 2016, Hong Kong

Lot 125, Two wucai'dragon and phoenix' bowls, Qianlong six-character seal marks in underglaze blue and of the period (1736-1795). Estimate HK$180,000 – HK$350,000 ($23,316 - $45,336). Photo Christie's Image Ltd 2016.

Each bowl is enamelled on the exterior with two two scaly five-clawed dragons in pursuit of the flaming pearl, alternating with descending long-tailed phoenix, all amidst meandering leafy scrolls and below a band with the Eight Buddhist Emblems, bajixiang, divided by ruyi elements. The interior is decorated with a central medallion enclosing a five-clawed dragon in pursuit of the flaming pearl. 5 7/8 in. (15 cm.) diam., box

Christie's. THE PAVILION SALE - CHINESE CERAMICS AND WORKS OF ART, 5 April 2016, Hong Kong

Lot 131, A wucai'dragon and phoenix' bowl, Guangxu six-character mark in underglaze blue and of the period (1875-1908). Estimate HK$80,000 – HK$100,000 ($10,362 - $12,953). Photo Christie's Image Ltd 2016.

The bowl has deep, rounded sides flaring slightly to the rim, and the exterior is decorated with two phoenix descending between green and iron-red dragons pursuing flaming pearls amidst flower sprigs, below a band of Buddhist Emblems alternating with ruyi heads joined by a blue line. The interior is decorated with a medallion of an iron-red dragon leaping in pursuit of a flaming pearl. 5 5/8 in. (14.4 cm.) diam.

Provenance: Edward Hykes, who worked for Standard Oil in Shanghai in the late 19th century
Ralph M. Chait Galleries

Christie's. THE PAVILION SALE - CHINESE CERAMICS AND WORKS OF ART, 5 April 2016, Hong Kong

Memento mori, Western Switzerland, 1520, ivory, ebony, 12,5 x 42 cm, Inv. B 160© Rheinisches Bildarchiv

Paternoster chain, Mexico, 1580, hardwood skull beads with microcarvings on hummingbird feathers, gilded silver with enamel, L. 39 cm, Inv. A 1059© Rheinisches Bildarchiv

Dancing Death, Southern Germany, 18th century, ivory, H. 13 cm, Inv. B 151© Rheinisches Bildarchiv

Sleeping Cherub with Skull, Netherlands (?), 17th century, ivory, 4.3 x 14 x 5.7, Inv. B 154© Rheinisches Bildarchiv

Main reversing as rosary member (front), Germany (?), 17th century, Ivory version residues, H. 3.8 cm, Inv. B 129© Rheinisches Bildarchiv

Main reversing as rosary member (rear), Germany (?), 17th century, Ivory version residues, H. 3.8 cm, Inv. B 129© Rheinisches Bildarchiv

Lot 2008, A large lingbi rock, Ming–Qing dynasty. Estimate 1,200,000 — 1,500,000 HKD (138,954 - 173,693 EUR). Photo Sotheby's.

wrought out to stand on a narrowing foot and expanding towards the top, perforated with irregular openings, the surface of the dark rock smooth with a wrinkled texture, wood stand - 63 cm, 24 3/4  in.

Sotheby's. Literati / Curiosity II, Hong Kong, 05 Apr 2016, 10:15 AM

Lot 2885, A stone head of a bodhisattva, Tang dynasty. Estimate 900,000 — 1,200,000 HKD (104,216 - 138,954 EUR). Photo Sotheby's.

the slender face handsomely carved with large downcast eyes and defined brows flanking a refined nose above full lips, the thick hair pulled back and piled into a loose chignon behind a simple pointed crown, richly patinated to ochre and reddish-brown tones, mounted on a metal and wood stand - 23 cm, 9 in.

Provenance: An old European collection.

Note: This sensitively carved head is a superb example of the carving style of the early Tang dynasty. It exhibits the characteristics that encapsulate the style: meticulously fashioned hair that offsets a face with rounded features, with full cheeks and a fleshy chin, the eyebrows arched above half-open eye-lids that are carved in easy flowing lines, eyes cast down as if in deep contemplation, a pronounced narrow nose, full lips pursed in a gentle serene smile, and elongated earlobes that represent the Bodhisattva's status.

These stylistic traits portray the figure as a worldly and sensuous being, conscious of the human world. The faint smile and half open eyes suggest a connection between the deity and its worshippers, which is perhaps an expression of the promise of salvation. The technical prowess of the sculptor is displayed by the creation of a facial expression that varies according to the angle of the viewer. Buddhism by this time was no longer an exotic import but part of ordinary life and therefore it was natural that sculptures took on a more familiar form compared to those produced in the preceding dynasties which inevitably display a strong Indian influence.

For examples of other Tang stone heads of comparable quality and slender proportions, see four published in Osvald Siren, Chinese Sculpture: From the Fifth to the Fourteenth Century, New York, 1925, pl. 465; and other in the Tokyo National Museum, included in the exhibition Chinese Buddhist Stone Sculpture. Veneration of the Sublime, Osaka Municipal Museum of Art, Osaka, 1995, cat. no. 64; and a figure with a similar pointed diadem, included in the exhibition China Cultuur Vroeger en Nu, Centrum voor Kunst en Cultuur, Ghent, 1979, cat. no. 313.

Sotheby's. Literati / Curiosity II, Hong Kong, 05 Apr 2016, 10:15 AM

Lot 2891, A Taishan swallow stone panel within a zitan screen, Late Ming–Qing dynasty. Estimate 800,000 — 1,000,000 HKD (92,636 - 115,795 EUR). Photo Sotheby's.

the rectangular trilobite fossil panel set within a zitan frame, one side of the panel densely figured with buff-coloured fossilised marine arthropods resembling miniature swallows with outstretched wings, the plain reverse with an uneven pitted surface, mounted on a zitan stand reticulated with a panel of wan symbols above a cusped apron - height 65.2 cm, 25 5/8  in.

Sotheby's. Literati / Curiosity II, Hong Kong, 05 Apr 2016, 10:15 AM

Lot 117, A pair of huanghuali large horseshoe armchairs, Late Ming dynasty. Estimate 2,800,000 — 4,000,000 HKD (329,544 - 470,778 EUR). Photo Sotheby's.

each well proportioned, the arm, beginning and ending in gently returning knobs, constructed of five sections joined by overlapping pressure-pegged scarf joins, the plain 'S'-curved back splat tongue-and-grooved into the underside of the horseshoe arm and the back member of the seat frame, the stiles and posts tennoned into the the horseshoe shaped arm and passing through the seat frame to become the legs, a pair of small shaped spandrels tongue-and-grooved into the posts and underside of the arm, the arm supported with tapering 'S'-shaped braces, the seat frame, of mitre, mortise and tenon construction with exposed tenons on the short rails with two transverse stretchers underneath, the edge of the frame gently curving and ending in a narrow flat band, the shaped, beaded-edged front apron butt-joined to the underside of the seat frame, tongue-and-grooved to the legs and tennoned into the footrest, the side aprons similarly shaped, the back apron modelled plain and high, the legs joined in front by a shaped footrest and on the sides and back by square-section stretchers with rounded outside edges, all with exposed tenons, the footrest and side stretchers with plain aprons below - 102 by 61.6 by 47.6 cm, 40 1/8  by 24 1/4  by 18 3/4  in.

Provenance: Grace Wu Bruce, London.
L B MacBain Collection, London.

Exhibition: Grace Wu Bruce at the Grosvenor House Art & Antiques Fair, London, 2001.
Grace Wu Bruce at The European Fine Art Fair, Maastricht, 2008.

Bibliography: Grace Wu Bruce at the Grosvenor House Art & Antiques Fair, London, 2001.
Grace Wu Bruce at The European Fine Art Fair, Maastricht, 2008.

Note: This completely plain pair of horseshoe-back armchairs with fluid curves and simple lines is distinguished by their purity of form. They are also larger and taller than standard examples. The ranking of chairs in the Ming period was hierarchical with large-sized chairs being deemed more important seats reserved for the master of the house and senior guests.

One of the three main types of Ming chairs, the horseshoe-shape design is uniquely Chinese and has inspired various twentieth century furniture designers to create well-known modern examples.

Compare a very similar example in the Victoria and Albert Museum, London, illustrated in Craig Clunas, Chinese Furniture, Victoria and Albert Museum Far Eastern Series, London, 1988, p. 25.

Sotheby's. Ming Furniture – An Asian Private Collection, Hong Kong, 06 avr. 2016, 02:00 PM

Lot 118, A huanghuali painting table, Late Ming dynasty. Estimate 2,800,000 — 4,000,000 HKD (329,544 - 470,778 EUR). Photo Sotheby's.

the top of mitre, mortise and tenon frame construction with a tongue-and-groove, flush floating panel of two matched boards, supported by four dovetailed transverse stretchers underneath, the edge of the frame centred with a double beaded band, resting on four splayed legs with melon-ridge (gualeng) mouldings cut to house the spandrelled apron with a wide, flat moulded edge, the legs double tennoned to the underside of the top, each pair of legs joined on the shorter side with a hump-back shaped oval section stretcher decorated with gualeng mouldings - 78.3 by 155.8 by 71.5 cm, 30 3/4  by 61 1/4  by 28 1/8  in.

Provenance: Grace Wu Bruce, Hong Kong.
Kai-Yin Lo Collection, Hong Kong.

Bibliography: Catherine Maudsley, Classical and Vernacular Chinese Furniture in the Living Environment, Hong Kong, 1998, pp. 152–153.

Note: This painting table is of superb proportion and detailed with refined decorations of gualeng melon-ridge mouldings that are usually found on sloping-stile cabinets of high quality, but are extremely rare on tables. 

Tables with legs not at the corners but recessed are called “an” tables, with “pingtouan” referring to those “an” tables that are flat ended versus those with everted ends. This classic pingtouan design has its origin in ancient Chinese architecture in wood. Pingtouan were used for various functions as seen in woodblock illustrations of Ming books. The present example, being over 70 cm deep is suitable for use as a desk, the modern equivalent of a Ming dynasty painting table. Painting tables are very rare in surviving examples of classic Chinese furniture.

A very similar, but longer, table in the collection of the Palace Museum, Beijing is illustrated in Zhu Jiajin and Wang Shixiang, eds., Zhongguo Meishu Quanji, Gongyi Meishubian [The Compendium of Chinese Art: Arts and Crafts], vol. 11, Beijing, 1987, pl. 181.

Sotheby's. Ming Furniture – An Asian Private Collection, Hong Kong, 06 avr. 2016, 02:00 PM

Lot 108, A huanghuali high yoke-back armchair, Late Ming dynasty. Estimate 2,200,000 — 3,500,000 HKD (258,928 - 411,931 EUR). Photo Sotheby's.

made of choice timber in fluid curves and a vigorously shaped top rail with the centre serving as a headrest, the 'S'-shaped back splat carved with a medallion of floral motif and tongue-and-grooved into the underside of the top rail and the back member of the seat frame, the round stiles tennoned into the top rail and, like the front round posts, passing through the seat and becoming the square-section legs, the elongated 'S'-shaped arms mortised and tennoned into the stiles, the posts supported by tapering 'S'-shaped braces of circular sections, the mitred, mortised and tennoned seat frame with exposed tenons on the short rails and two transverse braces underneath, the edge of the seat frame moulding downward and inward from about one third way down to end in a narrow flat band, the front apron below the seat with a curved beaded edge, the similarly shaped side and back aprons left plain, the legs joined by a footrail in front with a plain apron beneath, the sides and back with rectangular stretchers, all with exposed tenons and plain shaped aprons below - 115 by 58.3 by 45 cm, 45 1/4  by 22 7/8  by 17 5/8  in.

Provenance: Grace Wu Bruce, Hong Kong. 

Note: This high back armchair, with its 'S'-shaped back splat carved with a floral medallion is the classic form of yoke-back chairs. The centre of the top rail, carved to serve as a headrest, is also a standard feature of high-quality yoke-back armchairs. The name "yoke-back" armchair derives from the resemblance of the top rail of this type of chairs to the yoke placed across the necks of oxen pulling a plough. High yoke-back armchairs are perhaps the rarest type of chairs in surviving examples of Ming furniture. Chairs of this design can be seen in woodblock illustrations to Ming period novels including Jin Ping Mei ['The Golden Lotus'].

A very similar piece in the collection of the Shanghai Museum, Shanghai, is illustrated in Chinese Ming and Qing Furniture Gallery, Shanghai Museum, Shanghai, 1996, p. 5, also illustrated by Wang Shixiang, Classic Chinese Furniture: Ming and Early Qing Dynasties, Han-Shan Tang, London, 1986, p. 88, from his personal collection.

See also a similar example with a plain back-splat, in the collection of the Central Academy of Arts and Crafts, Beijing, illustrated in Chen Zengbi, Zhongyang Gongyi Meishu Xueyuan Yuancang: Zhenpin Tulu [Central Academy of Arts and Crafts: Illustrations of collections], vol. 2: Mingshi Jiaju [Ming Furniture], Hong Kong, 1994, p. 23. 

Sotheby's. Ming Furniture – An Asian Private Collection, Hong Kong, 06 avr. 2016, 02:00 PM

Lot 17, A fine, outstanding and rare blue and white moonflask, bianhu, Ming dynasty, Yongle period. Estimate 25,000,000 — 35,000,000 HKD (2,923,577 - 4,093,008 EUR). Photo Sotheby's.

modelled after a Middle Eastern metal prototype, elegantly potted with a flattened spherical body set with two circular bosses at the sides, rising to a garlic neck flanked by a pair of loop handles with ruyi-shaped terminals on the shoulders, all supported on a spreading foot of circular form, the front and back domed faces intricately painted in deep cobalt-blue tones with geometric panels, the centre with a lotus bloom wreathed by foliate stems within a star-shaped panel, surrounded by six indented eight-sided panels enclosing floral sprays with serrated leaves, all encircled by six hexagonal panels of stylised flowerheads alternating with similar elongated panels of interlaced lozenges, the outer border with shaped panels enclosing crashing waves forming the corners of a large hexagon, interspersed with pairs of narrow panels of flower scrolls, all divided by double line borders, the narrow sides of the flask decorated with a composite floral scroll interrupted by flower heads on the raised bosses, the neck collared by a band of stylised floral sprigs, below a garlic-form mouth painted with ruyi-shaped lappets enclosing stylised floral sprays, the foot skirted with pendent trefoil spearheads above a band of small florets, the unglazed base with a deep glazed recess in the centre - 24.5 cm, 9 5/8  in.

Provenance: Collection of Stephen K. Garratt, until 1954. 
Bluett & Sons Ltd, London, 1954.  
Collection of Cuthbert S. Wilkinson, from 1954 to 1962 (£285).
Bluett & Sons Ltd, London, 1962 (£2000)
Collection of Roger Pilkington (1928-69), from 1962 (£2750).

Exhibited: Chinese Blue and White Porcelain: 14th to 19th Centuries, The Oriental Ceramic Society, Arts Council Gallery, London, 1953-4, cat. no. 46.

Literature: Adrian Joseph, Ming Porcelains: Their Origins and Development, London, 1971, front cover and pl. 22.

Geometric Drawing with a Chinese Brush
Regina Krahl

The Yongle Emperor (r. 1403-24) would have been well accustomed to exotic porcelains produced by the potters of the imperial kilns, but a flask of this form and design must have been among the most wondrous creations devised for him in the imperial workshops. While many porcelains of the day followed Middle Eastern prototypes in form, this flask is outstanding both in shape and decoration. A complex geometric design such as this, so openly recreating Middle Eastern models, is otherwise hard to find on Chinese imperial porcelains. Even in the Yuan dynasty (1279-1368), when China had close contacts with the Middle East and geometrically organised designs were popular for the decoration of blue-and-white porcelain dishes, they were nowhere nearly as ‘Islamic’ in aspect, generally just assembling purely Chinese design elements in a Middle Eastern layout.

The un-Chinese metal shape of this vase on its own represented a tremendous challenge for any potter to copy, especially Chinese potters, who were used to creating vessel forms by throwing them on the potter’s wheel in horizontal sections, and then joining and adjusting them as required, rather than working with moulds. A shape with a narrow opening, of oval section, but with a circular neck and foot, would certainly have provided a challenge; but the complex decoration of this flask was probably even more ambitious. The multi-facetted, six-pointed star pattern with its concentric ranks of shaped enclosures can only succeed visually, if it is carefully calculated and laid out, if all angles are respected and all lines kept straight and aligned from the centre to the outer edges. Conceived to be drawn with pen and ruler on a flat, square surface, for example, for a Quran book illumination, it here had to be converted into freehand brushwork and adapted to fit a domed, round ‘canvas’ – a feat that reflects the unrivalled craftsmanship at the Jingdezhen imperial workshops. The outcome is a majestic work of art documenting the remarkably free and innovative spirit of these fifteenth-century Chinese artists.

The 14th and 15th centuries were a period of mutual cross-fertilisation when the influence did not only travel in one direction, but Chinese motifs were equally adapted in the Middle East. A related geometric pattern from an early 14th century Quran painted in Iran, shows a similar, typically Chinese lotus scroll in a six-pointed star-shaped panel surrounded by hexagons with florets, see Regina Krahl, ‘Chinese Designs: The Fluidity of the Brush’, in Chinese Art from the Reach Family Collection, Eskenazi, London, 1989, p. 11, fig. 7 (fig. 1).

Quran illustration. Detail from a Quran, Iran, c. 1313. National Library, Cairo, MS 72. Courtesy of David James. 

Lot 18, A fine and extremely rare blue and white ‘waves’ jar, Ming dynasty, Yongle-Xuande period. Estimate 1,200,000 — 1,800,000 HKD (140,332 - 210,498 EUR). Photo Sotheby's.

superbly potted with the ovoid body rising to a short waisted neck, freely painted in varying tones of rich cobalt-blue with a sea of turbulent rolling waves emitting white foaming splashes, between pendent foliate scrolls at the shoulder and a band of circles against a light blue wash around the foot, all below a line border encircling the neck - 7 cm, 2 3/4  in.

Provenance: F.P. Musso, Shanghai, 1939. 
Bluett & Sons Ltd, London, 1939.
Collection of H.J. Oppenheim (d. 1946), from 1939 to 1942 (£20).
Bluett & Sons Ltd, London, 1942.
Collection of H.R.N. Norton (d. 1961/62), from 1942 (£20). 
Sotheby's London, 5th November 1963, lot 164 (£1300). 
John Sparks Ltd, London, 1963 (£1300).
Collection of Stephen K. Garratt, until 1966. 
Bluett & Sons Ltd, London, 1966.
Collection of Roger Pilkington (1928-69), from 1966 (£1850).

Exhibited: Blue and White, The Oriental Ceramic Society, London, 1946, cat. no. 32. 
Mostra d'Arte Cinese/ Exhibition of Chinese Art, Venice, 1954, cat. no. 630. 

Literature: Adrian Joseph, Ming Porcelains: Their Origins and Development, London, 1971, pl. 24. 

Note: This enchanting little vessel represents an extremely rare creation of the early Ming imperial kilns both in form and design. The striking quasi-abstract wave decoration with gushing white splashes reserved on undulating ripples makes this design very contemporary. Its exclusive usage here may be interpreted as an indication that it was intended to be used as a water vessel, and the small piece would indeed have provided the ideal water receptacle for the Emperor’s leisurely use of the brush, when composing non-official documents or practising calligraphy or painting. The water-only design is most unusual, waves generally being used as a backdrop for imperial dragons or other mythical sea creatures, and the design of small pearls reserved on a pale blue band at the bottom of the jar is equally rare.

A very similar, fractionally larger jar of this rare form and design, of Xuande mark and period, from the collection of W.W. Winkworth, was sold in our London rooms, 12th December 1972, lot 43.

Although some vessels decorated with waves only were made by the Ming imperial kilns during the Zhengtong reign (1436-49) of the so-called ‘interregnum’ period (1436-64), the present rendering of the motif is characteristic of the Yongle reign and very different from the ‘interregnum’ style. Compare, for example, porcelains painted with dragons, fishes or other sea creatures on a wave ground, excavated from the Yongle stratum of the Ming imperial kiln site, included in the exhibition Jingdezhen chutu Yuan Ming guanyao ciqi/Yuan’s and Ming’s Imperial Porcelain Unearthed from Jingdezhen, Yan-Huang Art Museum, Beijing, 1999, cat. nos. 45, 82 and 83, with a stem bowl, a bowl and a dish painted with waves only, from the Zhengtong stratum of the same site, cat. nos. 276, 277 and 281. Whereas the Yongle waves are loosely painted, outlined by darker strokes, with large splashes reserved in white, the Zhengtong waves are densely conceived, with outlines reserved in white.

Like many other pieces in the Pilkington collection, this jar comes from the Norton collection; for a biographical note on Norton see lot 15.

Sotheby's. The Pilkington Collection of Chinese Art, Hong Kong, 06 avr. 2016, 10:00 AM

Lot 19, A rare blue and white ‘pomegranate’ vase, Mark and period of Xuande. Estimate 6,000,000 — 8,000,000 HKD (701,658 - 935,545 EUR). Photo Sotheby's.

robustly potted with a baluster body divided into six lobes, rising from a splayed foot to a waisted cylindrical neck, sweeping up to a wide everted rim with a rolled lip, painted in deep cobalt-blue tones in the ‘heaped and piled’ effect, each lobe boldly painted with a lingzhi spray with radiating trefoil leaves between lappet bands, the neck similarly decorated with three joined circles, all divided by vertical line borders at the ribs, the out-turned rim and the foot encircled by broad pendent lappets, inscribed to the glazed recessed base with a six-character reign mark within a double circle, the footring unglazed - 18.2 cm, 7 1/8  in.

Provenance: Latter, 1962.
Bluett & Sons Ltd, London, 1962 (£800).
Collection of Derek G. Ide (d.1979), from 1962 to 1965 (£ 1750). 
Bluett & Sons Ltd, London, 1965 (£1750).
Collection of Roger Pilkington (1928-69), from 1965 (£ 2500).

Literature: Margaret Medley, ‘Regrouping 15th Century Blue and White’, Transactions of the Oriental Ceramic Society, vol. 34, 1962-63, pl. 9 left. 
Adrian M. Joseph, Ming Porcelains: their Origins and Development, London, 1971, front cover and pl. 27. 
Roy Davids and Dominic Jellinek, Provenance. Collectors, Dealers and Scholars: Chinese Ceramics in Britain and America, Great Haseley, 2011, pl. 83.

A Blue-and-white ‘Treasure Vase’
Regina Krahl 

This vase is very unusual in shape, the downward pointing rim being otherwise rarely seen in Chinese porcelain. Equally rare is the decoration of lingzhi sprays, pearl motifs and petal panels only. The form is known as ‘pomegranate shaped’ in Chinese (shiliu zun), probably on account of some likeness of the rim to the crown of sepals of a pomegranate. It appears to have been developed in the Yongle reign (1403-24) and vases of this form are more often found without a reign mark than of Xuande mark and period (1426-35). Prototypes of that form are difficult to find, also in other materials, although the form might have been inspired by earlier metal vessels, such as a melon-shaped silver vase discovered as part of a Southern Song (1127-1279) hoard of gold and silver wares at Pengzhou, Sichuan province, and now in the Pengzhou Municipal Museum, illustrated in Song yun. Sichuan jiaocang wenwu jicui [Selected relics from the Sichuan hoards], Beijing, 2006, p. 198 (fig. 1). The silver vase, however, is lacking the distinctive rim and the splayed foot.

fig. 1: Silver melon-shaped vase, discovered as part of a Southern Song hoard of gold and silver wares at Pengzhou, Sichuan. After: Song yun. Sichuan jiaocang wenwu jicui [Selected relics from the Sichuan hoards], Beijing, 2006, p. 198.

In the Yongle period, however, when this shape was first used at Jingdezhen, vases of similar form with a prominent galleried rim and high foot, similarly decorated with lotus petals and with the same triple pearl or jewel motifs at the neck, but flower instead of lingzhi sprays, are often depicted in a Buddhist context. Draped with knotted ribbons and holding a triple flaming jewel on top, they depict the ‘treasure vase’ (bum-pa) of Tibetan Buddhism, one of the Eight Buddhist Emblems. ‘Treasure vases’ represent the inexhaustible vessel and as such symbolise the spiritual abundance of the Buddha. Vases of this type can be seen, for example, on gilt-engraved (qiangjin) lacquer sutra covers of the Yongle period; compare a detail from a sutra cover from the Baoyizhai collection, sold in these rooms, 8th April 2014, lot 38 (fig. 2). 

Qiangjin’ lacquer sutra cover, Ming dynasty, Yongle period, from the Baoyizhai Collection Sotheby’s Hong Kong, 8th April 2014, lot 38.

Porcelain vases of this shape did not continue to be made beyond the Xuande reign (1426-35), but may have inspired later cloisonné examples, perhaps studded with jewels; see a vase shown to the left of the Tianqi Emperor (r. 1621-7) in an official court portrait, included in the exhibition Power and Glory: Court Arts of China’s Ming Dynasty, Asian Art Museum, San Francisco, 2008, p. 262, cat. no. 149.

Only two or three other blue-and-white vases of this design, of Xuande mark and period, appear to be preserved, one in the Palace Museum, from the Qing court collection, the other in the National Museum of China, both in Beijing, the former illustrated in Geng Baochang, ed., Gugong Bowuyuan cang Ming chu qinghua ci [Early Ming blue-and-white porcelain in the Palace Museum], Beijing, 2002, vol. 1, pl. 100; the latter published in Zhongguo Guojia Bowuguan guancang wenwu yanjiu congshu/Studies on the Collections of the National Museum of China. Ciqi juan [Porcelain section]: Mingdai [Ming dynasty], Shanghai, 2007, pl. 33; possibly a third vase is illustrated in Feng Xianming, ‘Yongle and Xuande Blue-and-White Porcelain in the Palace Museum’, Orientations, November 1987, p. 63, fig. 16.

An unmarked vase of this design in the National Palace Museum, Taiwan, was included in the Museum’s exhibition Mingdai Xuande guanyao jinghua tezhan tulu/Catalogue of the Special Exhibition of Selected Hsüan-te Imperial Porcelains of the Ming Dynasty, Taipei, 1998, no 13. Another unmarked vase, sold in these rooms, 30th October 2000, lot 101, is discussed in Julian Thompson, The Alan Chuang Collection of Chinese Porcelain, Hong Kong, 2009, pl. 8, where he states that the design of these vases was adjusted when the mark was introduced, and that “the unmarked vases have a more domed mouth, shorter neck and a plain curved interior to the foot, whereas the marked vases have a flatter mouth, longer neck and a distinct glazed step inside the footring”.

An example excavated in Beijing and today in the Capital Museum, Beijing, is illustrated in Shoudu Bowuguan cang ci xuan[Selection of porcelains from the Capital Museum], Beijing, 1991, pl. 103. Two unmarked vases of this design from the Wu Lai-hsi collection were sold in our London rooms, 26th May 1937, lots 31 and 32, the former again 16th June 1939, lot 106, from the collection of Major L.F. Hay; one of the Wu Lai-hsi vases is now in the Sir Percival David Collection in the British Museum, London, and was discussed and illustrated together with the present vase in Margaret Medley, ‘Regrouping 15th Century Blue and White’, Transactions of the Oriental Ceramic Society, vol. 34, 1962-63, pl. 9; another from the collection of H.R.N. Norton, sold in our London rooms, 5th November 1963, lot 163, was included in the exhibition Mostra d’Arte Cinese/Exhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat. no. 630.

The vase comes from the collection of Derek G. Ide (d. 1979), who collected around the same time as Pilkington and equally came from a glass-making family. 

Sotheby's. The Pilkington Collection of Chinese Art, Hong Kong, 06 avr. 2016, 10:00 AM

The fancy vivid blue rectangular-cut diamond, weighing approximately 14.62 carats, flanked on either side by a trapeze-shaped diamond; also accompanied by the original ‘Eight Shades’ mounting from Verdura, ring size 6, mounted in platinum. Photo: Christie's Images Ltd 2016.

GENEVA.- Christie’s will present the Oppenheimer Blue, the largest and finest Fancy Vivid Blue diamond ever offered at auction. Weighing 14.62 carats, this exceptional stone will lead Christie’s auction of Magnificent Jewels, held at the Four Seasons Hotel des Bergues. This exceptional blue diamond, named in honor of its previous owner Sir Philip Oppenheimer, is estimated at US$38-45 million. 

On May 18th, Christie’s will present the largest and finest Fancy Vivid Blue diamond ever seen. This stunning Fancy Vivid Blue rectangular-cut gem promises to create a media sensation as it travels around the world, fascinating both collectors and gem enthusiasts alike, before it makes its way to the auction block in Geneva.’ ---Rahul Kadakia, International Head of Jewellery 

This incredible Fancy Vivid Blue diamond was previously owned by Sir Philip Oppenheimer, who controlled the Diamond Syndicate in London. Sir Philip began working in the family business at De Beers London in 1934, whilst sitting at a bench sorting and valuing diamonds. As head of the London-based Central Selling Organisation for 45 years and serving as Chairman for the Diamond Trading Company branch, Sir Philip oversaw a diamond sales cartel set up by De Beers to keep strict control over the diamond supply worldwide. Today he is remembered as a master negotiator and the foremost architect of stability in the international diamond industry – and, of course, for his incomparable gem collection, including the magnificent Oppenheimer Blue. 

The fancy vivid blue rectangular-cut diamond, weighing approximately 14.62 carats, flanked on either side by a trapeze-shaped diamond; also accompanied by the original ‘Eight Shades’ mounting from Verdura, ring size 6, mounted in platinum. Photo: Christie's Images Ltd 2016.

BLUE DIAMOND IN NUMBERS 
The color of the Oppenheimer Blue is so remarkable that it was graded Fancy Vivid. In blue diamonds, Fancy Vivid specifically describes those that are medium to dark in tone and strong to very strong in saturation. In a past GIA study of 462 blue diamonds, only 1% were Fancy Vivid. Although blue diamonds only account for 0.1 percent of those originating from the Premier mine, a seemingly negligible figure, a rough estimate of global blue diamond production would be less than 0.0001 percent and by some rough diamonds calculations, only one stone in 200,000 rough diamonds mined. 

One of the earliest historic blue diamonds to have appeared for sale at Christie’s was the Idol’s Eye on the 14th July 1865, in the saleroom of Christie’s London, where the catalogue described a ‘splendid large diamond known as the Idol’s Eye set round with 18 smaller brilliant and framework of small brilliants’. It sold for a momentous £740 equivalent to US$86,000 today. 

In more recent times, very few blue diamonds have been offered for sale. In 2008, Christie’s London presented the Wittelsbach, a cushionshaped Fancy Deep Greyish-Blue diamond which sold for a then record price of US$24.3 million. In 2014, the 13.22 carat Winston Blue diamond realized US$23.7 million at Christie’s Geneva. Given the extreme scarcity of strongly colored blue diamonds of importance sizes, records continue to be broken year after year. In November 2015, a 12 carat Fancy Vivid Blue diamond achieved a staggering US$48.5 million at US$4m per carat, exemplifying the ever growing demand for the very best. 

The fancy vivid blue rectangular-cut diamond, weighing approximately 14.62 carats, flanked on either side by a trapeze-shaped diamond; also accompanied by the original ‘Eight Shades’ mounting from Verdura, ring size 6, mounted in platinum. Photo: Christie's Images Ltd 2016.

Teaser. L’Empreinte du Geste au Musée des Arts décoratifs

PARIS - À l’heure d’interrogations sur les modes de consommation et de production des objets manufacturés, le savoir-faire, le geste de l’Homme, n’a jamais eu autant de sens et de valeur. L’Empreinte du Geste met à l’honneur le parcours et le travail de 18 créateurs. Par une approche contemporaine et renouvelée de leur savoir-faire, ils révèlent le véritable sens du geste des métiers d’art, les valeurs dont il imprègne leurs productions. Ce geste, empreinte humaine et sensible s’y dévoile en 5 étapes comme :

Empreinte créative, il transfigure le banal pour imaginer l’esthétique de notre quotidien. Il fait sens et accompagne les transformations de la matière pour la sublimer dans les objets qui nous entourent. Qu’ils soient tourneur sur bois, verrier, ébéniste, créateur textile, taxidermiste, ferronnier d’art ou céramiste, les exceptionnels talents réunis par Éric Sébastien Faure-Lagorce témoignent au travers de leur ouvrage de ce geste Humain que les arts décoratifs, l’architecture, l’édition, les arts de la table, la mode, le design, la photographie ou la joaillerie etc, ont su mettre à contribution. 

Dans le somptueux hall des Maréchaux, au 103 rue de Rivoli, la scénographie minimale de verre et béton signée DAS Studio, soutenue par le travail d’illustration et de graphisme de Violaine et Jérémy et de Thomas Rouzière, confronte des créations affranchies de leur héritage et d’inspiration naturaliste, à l’histoire et à l’évocation d’une société standardisée, normalisée. 

Cette exposition unique en son genre se déploie hors des sentiers battus pour évoquer des pratiques d’exception, des savoir-faire de l’usage et du beau dans toute leur singularité, leur modernité, et permettre une rencontre directe et interactive du public avec les créateurs présents dans l’exposition. 

CRÉATEURS INVITÉS: 

MES PREFERES: 

Pascal Oudet. © Pascal Oudet

Pascal Oudet. © Pascal Oudet

Pascal Oudet. © Pascal Oudet

Pascal Oudet. Tourneur d'art sur bois. Artistic woodturner.

Créateur d'une technique de tournage et de sablage de bois, Pascal Oudet révèle l'empreinte des arbres dans des formes originales, véritables dentelles de bois. Ses pièces sont oeuvres de fragilité et de persévérance.

Pascal Oudet has invented a technique involving woodturning and sanding that highlights the inpreints of trees in forms that resemble 'lacework'. His pieces are fragile works that require great perseverance.

Mathieu Miljavac. © Mathieu Miljavac

Mathieu Miljavac. © Mathieu Miljavac

Mathieu Miljavac. © Mathieu Miljavac

Mathieu Miljavac. © Mathieu Miljavac

Mathieu Miljavac, artiste taxidermiste. Taxidermist and artist.

La démarche originale de Mathieu Miljavac renouvelle la taxidermie dans une approche où ses gestes transforment l'apparence des animaux pour en changer la perception habituellement négative.

Mathieu Miljavac's highly orignal approach has breathed new life into taxidermy by using techniques that transform the appearance of the animals and the negative way in which they are usually perceived.

Romain Langlois© 2023 by Ann Young. Proudly created with Wix.com

Romain Langlois& Eric Papon. Sculpteur, modeleur-mouleur spécialiste de la pétrification. Sculptor, modeller ansd moulder (a specialist in petrification).

L'association des savoir-faire de Romain Langlois et Eric Papon transfigure la nature, le temps et le geste, grâce à un procédé unique de pétrification du calcaire et un travail exceptionnel du bronze.

Romain Langlois and Eric Papon combine their skills to transfigure nature, time ansd skilled gestures, thanks to a unique process of calcification and exceptional bronze work.

Florie Dupont © Florie Dupont

Florie Dupont © Florie Dupont

Florie Dupont © Florie Dupont

Florie Dupont © Florie Dupont

Florie Dupont, joaillière. Gem setter.

Témoin des échanges avec les artisans qui oeuvrent avec elle sur ses créations, les bijoux de Florie Dupont incarnent également ceux tenus avec les commanditaires de sertissages originaux sur ses vanités.

Reflecting the interchange with the artisans who collaborate with her on her works, Florie Dupont's jewellery also embodies the interchange with the patrons of the pieces inspired by the symbols of vanities with thei original gem setting.

PAD PARIS 2016

PARIS.- PAD Paris célèbre ses 20 ans et les plus grands marchands français et internationaux répondent présents pour réaffirmer leur attachement à cet événement devenu incontournable pour les amateurs et collectionneurs d’Art et de Design du monde entier. 

Clin d’oeil au PAD London qui fêtera ses 10 ans de succès outre-Manche en octobre 2016, les galeries britanniques tels que Aktis Gallery, FUMI, Repetto, ou encore Rose Uniacke seront présents à Paris. De même, des galeries venues de Suède, d’Espagne, de Belgique, de Suisse, d’Allemagne ou de Chine… contribueront au rayonnement toujours plus intense du PAD. 

Une telle longévité ne pourrait exister sans l’engagement du PAD auprès de ceux qui seront les grands marchands de demain, ceux qui nous révèlent les futures perspectives du marché tant des Arts Décoratifs que du Design ou des Arts Visuels. 

Parmi les nouveaux exposants, dont les spécialités illustrent parfaitement l’éclectisme et les ambitions de PAD Paris : Leclaireur et Armel Soyer en design contemporain, Le Beau, Meubles & Lumières et Rose Uniacke en Arts Décoratifs du XXème, MiniMasterpiece et Ma Tei en joaillerie, Aktis Gallery et De Jonckheere en tableaux modernes ou encore Karen Swami en verre et céramique. Autres temps forts du salon, citons le focus de Perpitch & Bringand sur l’univers de l’artiste Vincent Fournier, celui de la Galerie Gastou sur l’oeuvre minérale et fantomatique de Gérard Kuijpers et de Chahan pour son travail personnel. 

La direction artistique du Studio PAD Paris 2016 est signée Daniel Suduca et Thierry Mérillou qui nous plongeront dans une ambiance estivale et balnéaire. 

Les architectes d’intérieur Daniel Suduca & Thierry Mérillou ont créé pour cette édition du Studio PAD un espace mettant en avant l’art de vivre Bohême Chic, un ailleurs raffiné, clin d’oeil à ces lieux mythiques dont les noms font rêver, Hamptons, Montauk, Trancoso ou Formentera et Comporta, à des destinations synonymes de libertés ensoleillées.

Mêlant matériaux bruts et création contemporaine, simplicité et raffinement, Daniel Suduca & Thierry Mérillou nous convient à retrouver cette sensation unique d’élégance intemporelle version vacances. Murs recouverts de rabane, structure de bois peint d’une blancheur monacale, abaca, corde, tissages, et l’idée d’une terrasse baignée de lumière filtrée par un jeu de persiennes. Une célébration d’un certain art de vivre, délicat et décontracté, à l’avant goût de l’été.

Enfin, grâce au Prix du PAD mécéné par Moët Hennessy, un jury exceptionnel de collectionneurs, critiques, conservateurs, architectes et décorateurs d’intérieur a été réuni autour de son Président Jean Michel Wilmotte. Ce jury sélectionnera le plus beau stand, la plus belle pièce de Design Contemporain ou d’Art Décoratif du PAD 2O16, mais aussi et surtout contribuera à l’enrichissement des collections du Musée des Arts Décoratifs.  

STUDIO PAD PARIS 2016 : SUDUCA & MERILLOU. LE SALON BOHÊME CHIC - À L’AVANT GARDE DE L’ÉTÉ

PARIS.- PAD Paris celebrates its 20th anniversary with the most renowned French and international art dealers showing their attachment to this event, which has become a must for amateurs and collectors of Art and Design. 

As a nod to the PAD London 10-year anniversary next October, PAD Paris 2016 welcomes a number of renowned British galleries such as Aktis Gallery, FUMI, Repetto, Rose Uniacke… whom are present in Paris. Moreover, galleries from Sweden, Spain, Switzerland, Germany and China, contribute to the PAD’s influence. 

Such longevity wouldn’t exist without the PAD’s commitment to those who will become the greatest art dealers of tomorrow, the ones who reveal the future perspectives of the Decorative Arts, Design and Visual Arts’ markets. 

Among the new exhibitors, whose specialities perfectly illustrate the eclecticism and ambitions of PAD Paris : Leclaireur and Armel Soyer in contemporary design, Le Beau, Meubles & Lumières, Rose Uniacke in 20th century decorative arts, MiniMasterpiece and Ma Tei in jewellery, Aktis Gallery, De Jonckheere in Modern Paintings and Karen Swami in glass and ceramic. 

Among the highlights of the show, we can include the contribution and focus of Perpitch & Bringand on the universe of the artist Vincent Fournier, Galerie Gastou with its Gérard Kuijpers’ mineral masterpiece and Chahan showcasing his own personal work. 

Daniel Suduca and Thierry Mérillou have taken the reins as artistic directors of the PAD Paris 2016 Studio immersing us into a summertime and seaside atmosphere. 

For this edition of PAD studio, interior designers Daniel Suduca and Thierry Mérillou revisited a space highlighting a bohemian chic lifestyle, an elegant escape, mirroring dreamy and mythical places such as the Hamptons, Montauk, Trancoso or Formentera and Comporta, all synonymous of freedom and sunshine. 

Combining raw materials and contemporary creations with simplicity and finesse, Daniel Suduca and Thierry Mérillou recapture the elegant, unique and timeless holiday vibe. Walls covered with raffia matting, wood structures painted in a monastic white, abaca, rope, weave and the light-bathed patio filtered by a game of louver. This celebration of a certain lifestyle, simultaneously delicate and relaxed, reveals the premise of summer.

EXPOSANTS PAD PARIS 2016 - ARTS DÉCORATIFS DU XXème siècle

 Rainbow de JonOne. Tapis édition Bocarra en laine et soie naturelle. H. 300 x L. 200 cm. Galerie Boccara

Pour cette nouvelle édition du PAD Paris, la galerie Boccara présente des oeuvres sculpturales et expose ses nouvelles acquisitions de tapisseries modernes, ses tapis en soie, ainsi que des tapis ou tapisseries artistiques modernes et contemporains.

Galerie Boccara - 7, quai Voltaire 75007 Paris - www.boccara.com 

Rhinocrétaire de François-Xavier Lalanne. Bronze doré, circa 2005. Galerie Botella

La galerie Botella présente des objets, bijoux et sculptures d’artistes majeurs du XXème siècle, du travail poétique de Line Vautrin à la modernité sophistiquée de Jean Després jusqu’au monde fantastique de Claude et François-Xavier Lalanne. 

Galerie Botella - 42, rue de Seine 75006 Paris - www.jpb-art.fr

Sculpture en bronze de Rex Ingram. H. 50 x L. 20 x l. 35 cm, 1926. Galerie Broccardo

Présent au PAD Paris depuis sa création Antoine Broccardo, se consacre à la recherche d’objets d’Art et de meubles d’artistes internationaux des Arts décoratifs du XXème siècle. Il nous fait découvrir chaque année des pièces importantes d’artistes reconnus comme des plus confidentiels.

Galerie Broccardo - 3, Rue de Lille 75007 Paris - www.albantiquites.com

Guéridon de Chahan Minassian. Bronze et travertin. Galerie Chahan

Pour les 20 ans du PAD Paris, Chahan Minassian expose essentiellement du mobilier de son propre design qu’il réalise souvent pour ses projets résidentiels et qui reste de ce fait inaccessible au public. 

Galerie Chahan - 11, rue de Lille 75007 Paris - www.chahan.com

Table basse par Ado Chale. Résine laquée noir, sequoia fossilisé d’Arizona. H. 35 x L. 122 x P. 122 cm, 1980. Galerie Chastel-Maréchal

La galerie Chastel-Maréchal se consacre à la défense et à la redécouverte des grands créateurs français du XXème siècle, et plus particulièrement des années 1930 à 1960. Le choix des artistes présentés donne au public une image pertinente de ces années, avec des oeuvres rares et inédites sur le marché.

Galerie Chastel-Maréchal - 5, rue Bonaparte 75006 Paris - www.chastel-marechal.com 

Lampadaire aux animaux de Guidette Carbonell. Faïence émaillée. H. 160 cm, circa 1946. Galerie Dubois

Pour cette édition du PAD Paris, Laurent Dubois présente un salon de Jacques Quinet, un rare lampadaire de Guidette Carbonell à tête de lion, ainsi que plusieurs luminaires de Félix Agostini.

Galerie Dubois - 7, rue des Saints Pères 75006 Paris.

Elan du Canada de Daniel Daviau. Bronze, signé, Fonte Deroyaume, H. 252 x L. 260 x P. 145 cm. Galerie Dumonteil

A l’occasion du PAD 2016 et de ses 20 ans, la Galerie Dumonteil est heureuse de présenter l’Elan du Canada, une pièce monumentale de Daniel Daviau, sculpteur contemporain français.

Galerie Dumonteil - 38, rue de l’Université 75007 Paris - www.dumonteil.com 

Console BRM45 de Bruno Romeda. Bronze, H. 89 x L. 36 x P. 79 cm. Galerie Dutko

La galerie Dutko est spécialisée dans l’Art Déco, l’Art Moderne et Contemporain, ainsi que les mobiliers de créateurs contemporains. Jean-Jacques Dutko a redécouvert des créateurs de la période Art Déco devenus aujourd’hui mondialement connus comme Eugène Printz.

Galerie Dutko - 11, rue de Bonaparte 75006 Paris - www.dutko.com

Bureau de Pierre Cardin. Plateau laqué dégradé orange, circa 1980. Galerie Joachim

Pour sa seconde participation au PAD Paris, Joachim Franco présente du mobilier sculptural des années 1970. Les « couturiers du meuble » Pierre Cardin et Paco Rabanne seront à l’honneur.

Galerie Joachim - Franco 15, rue Rodier 75009 Paris - francojoachim@hotmail.com

Crystal Commode de Paloma et Juan Garrido. L. 160 x H. 77cm. Galerie Garrido

Le travail de Paloma et Juan Garrido allie expérimentation et recherche de nouveaux matériaux, avec l’utilisation de techniques artisanales et traditionnelles d’exécution, ce qui leur donne un style unique. La nature et l’architecture contemporaine sont leurs sources d’inspiration.

Galerie Garrido - 28500 Arganda Del Rey Madrid - Espagne - www.garridogallery.com 

Les Ailes Blanches de Gerard Kuijpers. Paire de consoles, en marbre de Carrare. Galerie Gastou

Pour les 20 ans du PAD, Yves et Victor Gastou présentent la nouvelle collection de Gérard Kuijpers, créateur belge contemporain. L’extraordinaire épure de ses oeuvres contraste avec l’aspect brut de la matière et offrent une nouvelle perception de l’espace.

Galerie Gastou - 12, rue Bonaparte 75006 Paris - www.galerieyvesgastou.com

Suite de 3 Vases de Claude Conover. H. 58 x L. 54 x P. 48 cm, USA, circa 1960. Galerie Guillemain

La Galerie Alexandre Guillemain, spécialiste du mobilier et des objets d’art des années 1940 à nos jours, expose des designers et des artistes de renommée internationale parmi lesquels Pierre Paulin, Charlotte Perriand, Paul Evans George Nakashima ou encore Jacques et Dani Ruelland.

Galerie Guillemain - 21 rue Visconti 75006 Paris - www.designartefact.com

Lampe Oeil de Michel Boyer. Métal nickelé, H. 43 x L. 38 cm, circa 1965. Galerie Hervouet. Photo Jerôme Galland

Jacques Hervouet lit et relie les Arts Décoratifs de manière non conventionnelle et très éclectique. Point d’a priori, mais la recherche de la différence, de la qualité et de l’excellence.

Galerie Hervouet - 40, rue de l’Université 75007 Paris - galeriehervouet.fr

Cepô de Zanini de Zanine. H. 69 x L. 69 x P. 90cm, 2016. Galerie James

La galerie James est née de la volonté de Paul Viguier et Candice Fauchon, jeunes collectionneurs devenus marchands, de mettre en lumière l’exceptionnelle richesse du mobilier moderniste brésilien, un pan encore méconnu des Arts Décoratifs du XXème siècle, dont ils ont fait leur spécialité. 

Galerie James - 18-20, rue de Thorigny 75003 Paris - www.james-paris.com

Présidence et Direction de Jean Prouvé. Bureau et fauteuil. Chêne, tôle d’acier pliée, aluminium, circa 1950. Galerie Jousse

Philippe et Matthias Jousse entretiennent une passion pour l’esthétique du mobilier du XXème siècle. La galerie joue un rôle essentiel dans l’évolution du goût des collectionneurs français et étrangers, en développant deux activités parallèles : le mobilier d’architectes et l’Art contemporain.

Galerie Jousse - 18, rue de Seine 75006 Paris - www.jousse-entreprise.com

Grand bureau moderniste courbé. Métal chromé et dalles de verre de Saint-Gobain. H. 79 x L. 323 x P. 84 cm, circa 1935-37. Galerie Jacques Lacoste

De la géométrie rectiligne des années 30 à la géométrie curviligne des années 50, Jacques Lacoste poursuit son travail de recherche. La galerie présente les créations de Jean Royère, Max Ingrand et Alexandre Noll, les céramiques de Georges Jouve, les luminaires de Serge Mouille. 

Galerie Jacques Lacoste - 12, rue de Seine 75006 Paris - www.jacqueslacoste.com

Six Drawers Table de Jean Prouvé. H. 72 x L. 202 x P. 92 cm, 1939. Galerie François Laffanour

Lorsque François Laffanour ouvre la Galerie Downtown au début des années 80, il réalise à quel point les travaux de Le Corbusier, Prouvé, Perriand et Jeanneret doivent être reconnus. Ces figures fascinantes seront pour la plupart redécouvertes grâce à son travail patient et incessant.

Galerie François Laffanour - 18 rue de Seine 75006 Paris - www.galeriedowntown.com

Fauteuil d’Axel Einar Hjorth. Bois sculpté et ondulé,Suède. H. 85 x L. 72 x P. 65 cm, circa 1930. Galerie Franck Laigneau

Franck Laigneau s’est spécialisé dans les Écoles du Jugendstil et les Colonies d’artistes du tournant du siècle, avec une attention particulière pour l’Allemagne et la Scandinavie. Il met en avant meubles et objets réalisés en cette période charnière par des artistes peintres ou sculpteurs.

Galerie Franck Laigneau - 29, rue de Bellechasse 75007 Paris - www.francklaigneau.com

Table sabre -AT 314 de Hans J. Wegner. Chêne et teck, réalisée par Andreas Tuck, Odesa. H. 72 x L. 310 x P. 106 cm, 1960. Galerie Lebeau

La Galerie Le Beau se concentre sur les maîtres ébénistes et les concepteurs d’éclairage à partir de 1930 à 1970. Elle présente des designers scandinaves, américains ou italiens, parmi lesquels, Paolo Buffa, George Nakashima, Hans Wegner et Poul Henningsen. 

Galerie Lebeau - 67, rue Lebeau 1000 Bruxelles - www.galerie-lebeau.com

Vase Japonisant d’Eugène Rousseau. Monture en bronze ciselé. H. 28,9 x L. 29 x P. 15,7 cm. Galerie Luttenbacher

Créée par Didier Luttenbacher en 1987, Didier Luttenbacher-Atelier DL propose de redécouvrir l’extraordinaire créativité des Arts Décoratifs du tournant du XIXème au XXème siècle. 

Galerie Luttenbacher - 12, rue des Beaux-Arts 75006 Paris - www.didier-luttenbacher.com

Table-console d’André Sornay. Acajou massif et laque de couleur bleu. H. 63 x L. 100 x P. 38 cm, 1950. Galerie Marcelpoil

Spécialisée dans le mobilier et les objets d’art d’époque Art Déco de 1920 à 1930, la galerie Alain Marcelpoil met à l’honneur les oeuvres d’André Sornay et de Claudius Linossier.

Galerie Marcelpoil - 28, Rue de Seine, 75006 Paris - www.galeriemarcelpoil.com

Germination de Monique Rozanes. Polystyrène brûlé et polyester, 50 x 110 cm, 1963. Galerie Martel-Greiner

Hélène Greiner propose une redécouverte de la diversité de la sculpture d’après-guerre, des Arts décoratifs, du Design français, belge, italien et américain, de luminaires et bijoux d’artistes d’exception et de grands noms picturaux qui ont marqué l’après-guerre. 

Galerie Martel-Greiner - 6, rue de Beaune 75007 Paris - www.martel-greiner.fr

Lampadaire de Robert Mathieu. Base étoile, métal laqué noir et fût en laiton, abat-jour tissu, H. 180 cm, 1950. Galerie Meubles et Lumières

La galerie Meubles et Lumières, ouverte suite à la rencontre de deux jeunes antiquaires, Alexandre Goult et Guilhem Faget, propose une sélection de pièces de designers qui ont marqué la seconde moitié du XXème siècle. 

Galerie Meubles et Lumières - 58, rue Mazarine 75006 Paris - www.meublesetlumieres.com

Elizabeth d’Ib Kofoed Larsen. Paire de fauteuils et tabouret, palissandre et cuir d’origine. Galerie Modernity

La galerie Modernity propose une collection rare et de grande qualité de meubles, céramiques, luminaires et de textiles des grands noms du mobilier scandinave. Elle collabore également régulièrement avec les grands musées internationaux. 

Galerie Modernity - Sibyllegatan 114 42 Stockholm - Suède - www.modernity.se

Noite Estrelada de Bela Silva. Vase en céramique. H. 40 x Ø 44 cm, 2015. Galerie du Passage

Pour cette édition anniversaire, Pierre Passebon, inventif et précurseur, entre baroque et minimal, associe les céramiques de Bela Silva au mobilier italien du XXème siècle ou à celui de Mattia Bonetti.

Galerie du Passage - 20-26, galerie Véro-Dodat 75001 Paris - www.galeriedupassage.com

Enfilade pyrite de fer de Kam Tin. Bois, pyrite de fer, laiton. H. 71 x L. 221 x P. 50 cm. Maison Rapin

Philippe Rapin a créé sa Maison. Maison Rapin regroupe toutes les activités de l’antiquaire galeriste-designer : 88 Gallery-Paris, 88 Gallery-Hong Kong, Kam Tin Furniture et Saint Ouen Vintage. Tout l’univers et les choix artistiques d’un marchand éclectique.

Maison Rapin - 25, Quai Voltaire 75007 Paris - maison-rapin.com

Monumentale console de Jacques Adnet. Piétement acajou bronze, plateau travertin. H. 96 x L. 480 x P. 50 cm. Galerie Matthieu Richard

La galerie Matthieu Richard est spécialisée dans les Arts Décoratifs et le design du XXème siècle. Avec plus de vingt-cinq ans d’expérience dans ce domaine, Matthieu Richard se place comme l’un des marchands les plus rigoureux de sa génération.

Galerie Matthieu Richard - 34, rue de Seine 75006 Paris - www.matthieurichard.fr

Fauteuil Wingback de Frits Henningsen. Chêne taché noir, cuir noir, Danemark, 1935. Galerie Rose Uniacke

Dirigée par la décoratrice d’intérieur, Rose Uniacke, la galerie présente des pièces anciennes et modernes qui se complètent pour créer des intérieurs raffinés. 

Galerie Rose Uniacke - 76-84, Pimlico Road London - www.roseuniacke.com

EXPOSANTS PAD PARIS 2016 - ARTS PREMIERS

Kpwan, masque Baoulé de Côte d’Ivoire. H. 45 cm. Galerie Afrique

La galerie Afrique exposera des sculptures africaines anciennes et un choix important d’objets ethnographiques, bijoux, poteries, monnaies, textiles, armes et mobiliers sélectionnés avec rigueur pour leur qualité esthétique et leur ancienneté.

Galerie Afrique - 71, quai de la Pie 94100 Saint Maur - www.aa-galeries.com

Reliquaire Kota, Gabon. Galerie Flak 

La Galerie Flak présente une sélection d’oeuvres d’art ancien d’Afrique, d’Océanie et d’Amérique du Nord, avec un accent particulier sur les arts Eskimo du Grand Nord et les poupées Kachina d’Arizona.

Galerie Flak - 8, rue des Beaux Arts 75006 Paris - www.galerieflak.com

Metate Ceremoniel de Costa Rica Versant atlantique. Période de transition, phase La Selva à la Cabana, 400 – 600 AP J.C. Dolérite gris brun, H. 49,8 x L. 77 x P. 68,5 cm. Galerie Mermoz

La Galerie Mermoz est spécialisée en Art Précolombien de la Mésoamérique et de l’Amérique du Sud. Elle dispose d’une collection d’objets inégalée, de qualité muséale, issues principalement du Mexique - civilisations Olmèque, Mezcala, Colima, Maya, Teotihuacan – mais aussi du Pérou, du Costa Rica et de l’Argentine.

Galerie Mermoz - 6, rue du Cirque 75008 Paris - www.galerie-mermoz.com

IGBO, Bois polychrome et fibres végétales. H. 36 cm, ancienne collection américaine, Nigéria. Galerie Ratton

La galerie Ratton est spécialisée dans les oeuvres rituelles d’Afrique. Que ce soit des sculptures d’Afrique de l’Ouest, comme les grands cimiers Tyiwara de l’ethnie malienne Bambara, des « classiques » Fang ou Punu de l’art du Gabon, ou encore la statuaire aux vertus magiques ou prophylactiques des tribus Téké, Luba, ou Kusu du Congo.

Galerie Ratton - 33, Rue de Seine 75006 Paris

EXPOSANTS PAD PARIS 2016 - BIJOUX