Apophyllite-(KF) with Mordenite
A Chinese Export famille rose Pronk 'Doctors' dish, circa 1738-1740
A Chinese Export famille rose Pronk 'Doctors' dish, circa 1738-1740. Photo Christie's Image Ltd 2012
Enameled after the well-known design of Dutch artist Cornelis Pronk within an elaborately enameled border of fish and bird cartouches; 14 in. (36 cm.) diameter. Estimate $7,000 - $9,000
Notes: D.S. Howard writes (Choice of the Private Trader, p 74) that "...this scene and its border is the most artistic by Cornelis Pronk and it is known as 'The Four Doctors' or 'The Doctors Visit to the Emperor'.
Christie's. English Pottery and Chinese Export Art, 28 January 2013, New York, Rockefeller Plaza.
A Chinese Export famille rose Pronk 'Arbor' dish, circa 1738-1740
A Chinese Export famille rose Pronk 'Arbor' dish, circa 1738-1740. Photo Christie's Image Ltd 2012
Decorated after the Dutch artist Cornelis Pronk's design with the classic topiary garden scene, the border with cartouches of moths, butterflies, flowers and fruits, the reverse with iron-red and purple lambrequin border; 9 in. (23 cm.) diameter. Estimate $5,000 - $7,000
Notes: C. Jorg has determined that this was the fourth and last certain design by Cornelis Pronk for the VOC (Pronk Porcelain, pp 34-35).
Christie's. English Pottery and Chinese Export Art, 28 January 2013, New York, Rockefeller Plaza.
Lepanthes pulcherrima
Lady Slipper Orchid
A rare Chinese Export Pronk 'Trumpeter' cream jug and cover, circa 1740
A rare Chinese Export Pronk 'Trumpeter' cream jug and cover, circa 1740. Photo Christie's Image Ltd 2012
Enameled on each side with a musician, one wearing a yellow robe playing a French horn, a series of gilt borders; 5½ in. (14 cm.) (2). Estimate $6,000 - $9,000
Notes: This rare pattern with its Turkish-looking musicians wearing American Indian headdresses is one of a small group of designs associated with Dutch artist Cornelis Pronk (1691-1754), though no original drawing has been discovered. Two 'Trumpeter' tea services seem to have been made, this one and one with a simpler spearhead border, possibly slightly later.
Christie's. English Pottery and Chinese Export Art, 28 January 2013, New York, Rockefeller Plaza.
Orchid
Fire opal, enamel and diamond brooch, Circa 1900
Fire opal, enamel and diamond brooch, Circa 1900 - photo Sotheby's
Of foliate design, set with cabochon fire opals, the leaves decorated with guilloché green and white enamel, highlighted with rose diamonds. Estimation: 1,000 - 1,500 GBP - Lot. Vendu 7,500 GBP
Sotheby's. The Jewellery Collection of the Late Michael Wellby: An Eclectic Eye - Jewels Spanning Four Centuries. London | 11 déc. 2012, www.sothebys.com
Huang Yan, Five works: Buddha Head, 2004
Huang Yan, Five works: Buddha Head, 2004. Photo Philips de Pury & Co
glazed ceramic each: 22.5 x 12 x 15 cm (8 7/8 x 4 3/4 x 5 7/8 in) Each stamped in Chinese and dated ‘2004’ on the underside. These works are unique. ESTIMATE £10,000 - 15,000. SOLD AT £10,000
PROVENANCE Private Collection, UK
Philips de Pury & Co. 13 december 2012. http://www.phillipsdepury.com
Huang Yan.
Gold and topaz necklace, Early 19th Century
Gold and topaz necklace, Early 19th Century - Photo Sotheby's
Designed as a line of oval foil backed topaz, suspending a cruciform pendant, similarly set, length approximately 405mm. Estimation: 3,000 - 5,000 GBP - Lot. Vendu 15,000 GBP
NOTE DE CATALOGUE: Cf: Peter Hinks, ‘Nineteenth Century Jewellery’, London 1975, plate 15 for a similar example of a pink topaz necklace from the early 19th Century.
Sotheby's. The Jewellery Collection of the Late Michael Wellby: An Eclectic Eye - Jewels Spanning Four Centuries. London | 11 déc. 2012, www.sothebys.com
Topaz and diamond brooch, Late 19th Century - Sotheby's
Topaz and diamond brooch, Late 19th Century - Photo Sotheby's
Set with oval pink topazes, circular-cut and rose diamonds, one small diamond deficient. Estimation: 4,000 - 6,000 GBP - Lot. Vendu 12,500 GBP
Sotheby's. The Jewellery Collection of the Late Michael Wellby: An Eclectic Eye - Jewels Spanning Four Centuries. London | 11 déc. 2012, www.sothebys.com
Lyndie Dourthe
Juliette Bates
Gold and citrine brooch, Early 19th Century - Sotheby's
Gold and citrine brooch, Early 19th Century - Photo Sotheby's
Designed as a butterfly, the wings applied with floral motifs and beading, highlighted with foiled back oval citrines. Estimation: 2,000 - 3,000 GBP - Lot. Vendu 5,250 GBP
Sotheby's. The Jewellery Collection of the Late Michael Wellby: An Eclectic Eye - Jewels Spanning Four Centuries. London | 11 déc. 2012, www.sothebys.com
Diamond brooch, Mid 19th Century
Diamond brooch, Mid 19th Century - Photo Sotheby's
Designed as a butterfly, set with cushion-, pear-shaped and single-cut diamonds,brooch fitting detachable, fitted case. Estimation: 2,000 - 3,000 GBP - Lot. Vendu 3,750 GBP
Sotheby's. The Jewellery Collection of the Late Michael Wellby: An Eclectic Eye - Jewels Spanning Four Centuries. London | 11 déc. 2012, www.sothebys.com
Fred Calmets
Guido Mocafico
Mary A. Waters @ Galerie Pièce Unique
Mary A. Waters, Portrait (Flemish Girl), 2012. Huile sur toile. 200 x 150 cm. Courtesy Galerie Pièce Unique (Paris), © Mary A. Waters
Faire pivoter une image pour en obtenir une copie inversée est une manipulation très facile avec l'outil informatique, mais en peinture, c'est extrêmement délicat. C'est pourtant à cet exercice que Mary A. Waters s'est attachée, afin de mettre en évidence les subtiles différences qu'il existe entre l'objet et son reflet, mais aussi entre l'image reflétée et l'image reproduite. Car, comme le souligne l'artiste, un miroir altère notre perception et nous donne une vue totalement différente d'un objet ou d'une image. C'est la raison pour laquelle nous n'aimons pas nous voir en photo, car l'image de notre propre visage qui nous est familière est celle que le miroir nous renvoie, et donc une photographie nous apparaît comme une vision altérée de nous-mêmes (un peu comme écouter notre voix sur un enregistrement).
Essayer de peindre le même visage reflété dans un miroir et le rendre exactement pareil est impossible car nul visage reflété n'est le même à moins d'être absolument symétrique, ce que n'est aucun visage humain. C'est un problème qui est très intéressant à plusieurs niveaux: visuellement, et pour ce qu'il dit de la différence entre l'image que nous avons de nous-mêmes et notre actualité. Il fait aussi référence à l'obsession infiniment ennuyeuse de la perfection physique à laquelle nous sommes confrontés actuellement alors que ce sont l'asymétrie et les imperfections de nos visages qui nous rendent humains et intéressants.
Mary A. Waters, Girl Mirrored, 2012. Huile sur toile, diptyque. 200 x 300 cm. Courtesy Galerie Pièce Unique (Paris), © Mary A. Waters
Mirrored Girl est donc un diptyque composé de deux huiles sur toile de 200 x 150 cm chacune, où deux visages se font face comme s'ils étaient séparés par un miroir. Les regards de chacun sont cependant tournés vers le spectateur, l'incitant ainsi à analyser l'image, à percevoir s'il s'agit d'un reflet, à décrypter les infimes différences, les imperceptibles dissymétries qui font que, contrairement à une reproduction mécanique, une image peinte est unique.
A la Galerie Pièce Unique Variations sont exposés des portraits de différents formats où l'on retrouve, entre autres, des «jumeaux» chers à l'artiste en ce qu'ils lui permettent de développer encore son discours.
Mary A. Waters est née en 1957 à Londres. Elle vit et travaille à Galway (Irlande) et Utrecht (Pays-Bas).
13 sept.-05 janv. 2013. Pièce Unique, 4, rue Jacques Callot 75006 Paris 6e. T. 33 1 43 26 85 93 - info@galeriepieceunique.com - http://www.galeriepieceunique.com
Mary A. Waters, Infanta with Ruff n. 9, 2011. Huile sur toile. 95 x 80 cm. Courtesy Galerie Pièce Unique (Paris), © Mary A. Waters
Jeff Muhs: The Origin of Nymphs @ Lyons Wier Gallery
Jeff Muhs, Napoleon I on his Imperial Throne (After Ingres), 2012. Courtesy Lyons Wier Gallery © Jeff Muhs
Lyons Wier Gallery is pleased to present The Origin of Nymphs, by New York based artist Jeff Muhs.
With The Origin of Nymphs, Muhs’ builds upon his ongoing series of paintings, Another History. The artist cites that through his constant study of art history, he became very interested in certain iconic images that have sustained their compositional and communicative prominence throughout the ages. In particular, the intangible characteristics that enable some works of art to transcend generations and time and become a part of our collective culture and art historical lexicon today.
In approaching great works from the Renaissance to Romanticism, one is confronted by the true mastery of image making and artistic prowess. It was while visiting the Louvre and standing in front of La Grande Odalisque (Jean-Auguste Ingres, 1814) that Muhs began to contemplate the profundity of the enduring image. As a classically trained artist, Muhs was drawn to the draftsmanship and deftness of these Masters and was awestruck by it contributions to, and its negation from, art in the later half of the 20th century.
Thus inspired, Muhs’ began a quest to truly understand his painting in an artistic, psychological, and cultural sense. He began to break down his painting into its basic elements and its relation to the stylized female form. He studied La Grande Odalisque, her expression and stature, and how she related to the culture of her time and ours. All in an effort to distill the magical quality that this work of art has carried throughout time.
This led Muhs to a process of deeper study, to the deconstruction and rearrangement of other iconic images from art history. Via the appropriation of world-renowned iconic images such as Napoleon I on his Imperial Throne (after Ingres) and Venus and Cupid (after Pellegrini), his new works carry some of the inherent power of the originals. Understanding this and combining it with new artistic elements, Muhs’ has created a contemporary body of work that moves the audience from a cultural and art historical reference to our present and societal zeitgeist. Muhs’ new series is empowered by these masterful qualities and contextualizes his artistic vision for our time.
Born in Southampton, NY, Jeff Muhs came to art by way of his father, a sculptor and third generation hunting and fishing guide. Muhs’ rearing along the barrier beach of Long Island’s south shore instilled in him an intimate knowledge of nature that would later become an integral part in Muhs’ art making. Muhs attended and completed his BFA from the School of Visual Arts in New York City in 1988. Jeff Muhs’ work can be found in several private and public collections, namely Beth Rudin DeWoody, Guild Hall Museum, Caesars Palace, Las Vegas, Ronald Lauder, Cantor Fitzgerald, Time Warner, Inc., Los Angeles County Museum, Hunter Museum, and Ward Museum, among others. His studio is located in Southampton, NY.
Jan 5 - Feb 9, 2013. Lyons Wier Gallery. 542 West 24th St., New York, NY 10011. www.mcneillartgroup.com - www.jeffmuhsstudio.com
Jeff Muhs, Venus and Cupid (After Pellegrini), 2012. Courtesy Lyons Wier Gallery © Jeff Muhs