Daphne Wright, Stallion, 2009, marble dust and resin© the artist. Courtesy of Frith Street Gallery.

BRISTOL.- Arnolfini and National Trust Tyntesfield present a selection of work from the last 25 years by the Bristol-based artist Daphne Wright, who has developed a series of conceptual ideas and sculptural languages which have been quietly influential. Her work is the result of a relentless curiosity into the way in which materials can create an involvement with often unspoken human preoccupations. 

The exhibition at Arnolfini includes major projects by the artist including Where do Broken Hearts Go? (2000), Stallion (2009), Kitchen Table (2014) and Domestic Shrubbery (2009). Emotional Archaeology extends to National Trust Tyntesfield with the presentation of works that respond directly to the history of the estate, including The Prayer Project (2009) and Bulls (2002).  

Daphne Wright,Kitchen Table, 2014© the artist. Courtesy of Frith Street Gallery

Daphne Wright, Kitchen Table, 2014 © the artist. Courtesy of Frith Street Gallery

Daphne Wright, Kitchen Table, 2014© the artist. Courtesy of Frith Street Gallery

Wright has been based in Bristol for nearly two decades; she has divided her time between this city and Ireland. Often working from her studio at home, her practice is imbued with the emotive but unsettling power of the suburban and the domestic realm, drawing upon references from art history, literature and film to nonsense poetry and country and western music. 

Working with clay, casting, video and sound, Wright's processed are often labour-intensive, using fragile or unstable materials, with extended periods of research and drawing on the skills and knowledge of a range of professionals. Her subject matter offers ways to think about difficult, often side-lined issues relating to class, aspiration, faith, parenthood, ageing and care. 

Daphne Wright, If You Broke Me, 2014© the artist. Courtesy of Frith Street Gallery

A new publication will accompany the exhibition. Daphne Wright: Emotional Archaeology, edited by Josephine Lanyon, is available from Arnolfini bookshop. This survey includes texts by the curator; Xa Sturgis, Ashmolean Museum, Oxford; Penelope Curtis, Calouste Gulbenkian Foundation, Lisbon; and Shirley McWilliam, Belfast School of Art. The book also includes an almost complete pictorial catalogue of the artist's works produced over the past twenty-five years.

Daphne Wright, Still Life Plant, 2014, unfired clay, wire© the artist. Courtesy of Frith Street Gallery

Daphne Wright, Home Ornaments, 2002, fastcast polyurethane and wool© the artist. Courtesy of Frith Street Gallery.

Installation view. Courtesy Daphne Wright and Frith Street Gallery, London.

Installation view. Courtesy Daphne Wright and Frith Street Gallery, London.

Lot 27. Chinese Porcelain Pair of 'Flower spray' Teapots, China, Kangxi period (1662-1722). Estimate 1 050 € / 1 400 €. Photo Marques Dos Santos, Porto.

globular shape, floral decoration in blue, rouge-de-fer and gold, imari palette. Dim.: 16,2cm.

Lot 28. Chinese Porcelain Pair of Imari Teapots, China, Kangxi period (1662-1722). Estimate 1 050 € / 1 400 €. Photo Marques Dos Santos, Porto.

globular shape, floral spray decoration in blue and rouge-de-fer in the imari palette. Dim.:17cm and 17.5cm.

Lot 20. Two Chinese Porcelain Teapots, China, Kangxi period (1662-1722). Estimate 750 € / 1 000 €. Photo Marques Dos Santos, Porto.

baluster ribbed form, floral decoration in blue, rouge-de-fer and gold in the imari palette. Dim.:13,1 and 14cm.

Lot 21. Two Chinese Porcelain 'Fenced landscape' Teapots, China, Kangxi period (1662-1722). Estimate 750 € / 1 000 €. Photo Marques Dos Santos, Porto.

globular ribbed form, decorated in rouge de fer, blue and gold imari palette, representing a fenced landscape with floral elements. Dim.: 14 e 14,4cm.

Lot 26. Chinese Porcelain 'Bouquet' Teapot, China, Kangxi period (1662-1722). Estimate 600 € / 900 €. Photo Marques Dos Santos, Porto.

globular form, floral spray decoration in blue, coral and gold. Dim.:16,5cm.

Lot 30. Chinese Porcelain Imari Teapot, China, Kangxi period (1662-1722). Estimate 500 € / 650 €. Photo Marques Dos Santos, Porto.

globular form, blue decoration in blue, coral and gold in the imari palette with floral motifs. Dim.:13,5cm.

Lot 19. Chinese Porcelain Octagonal Teapot, China, Kangxi period (1662-1722). Estimate 450 € / 600 €. Photo Marques Dos Santos, Porto.

baluster octagonal shape, blue rouge-de-fer and gold decoration in the imari palette with flowers reserves. Dim.:13,5cm.

Lot 29. Chinese Porcelain Imari Teapot, China, Kangxi period (1662-1722). Estimate 450 € / 600 €. Photo Marques Dos Santos, Porto.

globular form, floral decoration in blue, rouge-de-fer and gold in the imari palette. Dim..18,5cm.

Lot 22. Chinese Porcelain 'Flower spray' Teapot, China, Kangxi period (1662-1722). Estimate 400 € / 600 €. Photo Marques Dos Santos, Porto.

globular form, decorated in blue, rouge de fer and gold 'imari' palette with flower sprays. Dim .: 18cm

Lot 23. Chinese Porcelain 'Flower spray' Teapot, China, Kangxi period (1662-1722). Estimate 400 € / 600 €. Photo Marques Dos Santos, Porto.

globular form, decoration of flower sprays in blue, rouge-de-fer and gold imari palette. Dim.:18cm.

Lot 24. Chinese Porcelain Imari Teapot, China, Kangxi period (1662-1722). Estimate 400 € / 600 €. Photo Marques Dos Santos, Porto.

flattened globular shape, floral decoration in blue, coral and gold imari palette. Dim.:14cm.

Lot 25. Chinese Porcelain Imari Teapot, China, Kangxi period (1662-1722). Estimate 400 € / 600 €. Photo Marques Dos Santos, Porto.

Lot 18. Chinese Porcelain Octagonal Teapot, China, Kangxi period (1662-1722). Estimate 300 € / 400 €. Photo Marques Dos Santos, Porto.

baluster octagonal shape, decorated in gold, blue and coral enamels, Iimari palette, with floral motifs. Dim.: 14,5cm.

Lot 16. Chinese Porcelain Pair of Teacups and Saucers, China, Kangxi period (1662-1722). Estimate 300 € / 400 €. Photo Marques Dos Santos, Porto.

polychrome decoration in blue, coral and gold, central reserve representing a figure with rabbit on a cracked ice and plum blossom background. Dim.:6,3 and 10.5cm.

Lot 17. Chinese Porcelain 'Qilin and Pagoda' Teacup and Saucer, China, Kangxi period (1662-1722). Estimate 150 € / 200 €. Photo Marques Dos Santos, Porto.

 blue, coral and gold imari decoration, representing a flowered branch fence with pagoda and qilin. Dim.:6,2 and 10cm.

MARQUES DOS SANTOS, PORTO. Art de la Théière II - Collection de Théières Chinoises et Tasses, le 01 Octobre 2016 à 15h00

Les Blés de Chanel: Moisson d’Or necklace mounted on white and yellow gold set with a oval-cut yellow sapphire and 27 marquise-cut diamonds, 329 brilliant-cut diamonds, 11 brilliant-cut yellow sapphires and 977 yellow sapphire beads © Chanel

Les Blés de Chanel: Moisson d'Or earrings mounted on white and yellow gold set with 2 marquise-cut yellow sapphires for a total weight of 5.7 carats, 10 brilliant-cut yellow sapphires, 26 marquise-cut diamonds, 172 brilliant-cut diamonds and 182 yellow sapphire beads © Chanel

Les Blés de Chanel: Moisson d’Or bracelet mounted on white and yellow gold set with a 5.1-carat marquise-cut yellow sapphire, 14 marquise-cut diamonds, 115 brilliant-cut diamonds, 4 brilliant-cut yellow sapphires and 283 yellow sapphire beads © Chanel

Les Blés de Chanel: Brooch Moisson d'Or in white gold with yellow sapphires and colorless and yellow diamonds © Chanel

Les Blés de Chanel: Ring Moisson d'Or in white gold and yellow sapphire and diamonds © Chanel

Lot 31. Chinese Porcelain Powderblue Teapot, China, Kangxi period (1662-1722). Estimate 750 € / 1 000 €. Photo Marques Dos Santos, Porto.

globular form, floral reserves in blue, rouge-de-fer and gold imari palette on a powder blue ground. Dim.:17cm.

MARQUES DOS SANTOS, PORTO. Art de la Théière II - Collection de Théières Chinoises et Tasses, le 01 Octobre 2016 à 15h00

Lot 32. Chinese Porcelain Powder blue Pair of Miniature Teapots, China, Qianlong period (1736-1795). Estimate 1 200 € / 1 500 €. Photo Marques Dos Santos, Porto.

Les Blés de Chanel: Épi d’Été necklace in platinum and white and yellow gold set with a 4.7-carat pear-cut emerald, 8 marquise-cut yellow sapphires, 3 marquise-cut aquamarines, 17 brilliant-cut emeralds, 12 brilliant-cut Paraiba tourmalines, 43 brilliant-cut fancy vivid yellow diamonds, 13 brilliant-cut cognac diamonds, 5 rose-cut brown diamonds, 8 rose-cut diamonds, 5 fancy-cut diamonds, 25 rose-cut oval diamonds, 68 rose-cut diamonds and 164 brilliant-cut diamonds © Chanel

Les Blés de Chanel: Épi d’Été ring mounted on yellow gold set with a pear-cut emerald and marquise-cut colored stones © Chanel

Lot 47. Chinese Porcelain Teapot on Presentoir, China, Yongzheng period (1723-1735). Estimate 1 500 € / 2 000 €. Photo Marques Dos Santos, Porto.

baluster shape, lobed presentoir, applied chrysanthemum flowers in relief, decorated in coral and green enamels and gold. Dim.:14,5cm e 15,5cm.

Lot 51. Chinese Porcelain Teapot on Presentoir, China, Yongzheng period (1723-1735). Estimate 1 500 € / 2 000 €. Photo Marques Dos Santos, Porto.

baluster shape, lobed presentoir, pplied plum and chrysantemum flowers in relief, decorated in famille rose enamels and gold. Dim.:16,5cm e 14cm.

Lot 52. Chinese Porcelain Teapot on Presentoir, China, Yongzheng period (1723-1735). Estimate 1 500 € / 2 000 €. Photo Marques Dos Santos, Porto.

baluster shape with lobed presentoir, applied relief flower decoration painted in famille rose enamels and gold. Guest & Gray sticker. Dim.:14cm and 16,5cm.

Lot 54. Chinese Porcelain 'Grape and vine leaf' Teapot on Presentoir, China, Yongzheng period (1723-1735). Estimate 1 500 € / 2 000 €. Photo Marques Dos Santos, Porto.

of baluster shape with scalloped presentoir, grape and vine leaf relief moulded applications decorated in polychrome enamels and gold. Dim.:15cm and 13,5cm.

Lot 45. Chinese Porcelain 'Quails Teapot, China, Yongzheng period (1723-1735). Estimate 1 200 € / 1 600 €. Photo Marques Dos Santos, Porto.

globular shape with relief chrysanthemum petals, decorated in famille rose enamels with quails on a peony garden, standing on a flowering stem foot. Dim.:15,5cm.

Lot 35. Chinese Porcelain Famille Noire Teapot, China, Yongzheng period (1723-1735). Estimate 1 200 € / 1 500 €. Photo Marques Dos Santos, Porto.

baluster shape, decorated in famille rose enamels with duck and bird floral reserves on a famille noir ground. Dim.:14cm.

Lot 36. Chinese Porcelain Powder blue Teapot, China, Yongzheng period (1723-1735). Estimate 1 200 € / 1 500 €. Photo Marques Dos Santos, Porto.

baluster shape, polychrome reserved decoration of peony sprays on a powder blue and gilt ground. Dim.:11,7cm.

Lot 42. Chinese Porcelain  'Roosters'  Teapot, China, Yongzheng period (1723-1735). Estimate 1 200 € / 1 500 €. Photo Marques Dos Santos, Porto.

globular form with relief chrysanthemum petals, decorated in famille rose enamels with roosters on a flower and fruit ground, flowered stem foot and lid relief applications. Dim.:15cm.

Lot 43. Chinese Porcelain  'Roosters'  Teapot, China, Yongzheng period (1723-1735). Estimate 1 200 € / 1 500 €. Photo Marques Dos Santos, Porto.

globular form with relief chrysanthemum petals, polychrome famille rose enamel decoration with rooster on a flowered ground. Dim.:15,2cm.

Lot 40. Chinese Porcelain Lotus Teapot, China, Yongzheng period (1723-1735). Estimate 1 000 € / 1 250 €. Photo Marques Dos Santos, Porto.

baluster octagonal form, decorated in famille rose enamels and gold with lotus flower and scrollwork black ground reserves. Silver application ring to handle and spout. Dim.:14cm.

Lot 38. Chinese Porcelain Famille Noire Teapot, China, Yongzheng period (1723-1735). Estimate 900 € / 1 200 €. Photo Marques Dos Santos, Porto.

globular form with chrysanthemum petals in relief, decorated in enamels with river landscape pagoda and figure reserves on a flower famille noir ground. Dim.:14,8cm.

Lot 39. Chinese Porcelain Famille Noire Teapot, China, Yongzheng period (1723-1735). Estimate 900 € / 1 200 €. Photo Marques Dos Santos, Porto.

globular form with chrysanthemum petals in relief, decotated in famille rose enamels with chrysanthemum on a black ground. Dim.:15,5cm.

Lot 41. Chinese Porcelain Famille Rose Teapot, China, Yongzheng period (1723-1735). Estimate 900 € / 1 200 €. Photo Marques Dos Santos, Porto.

globular shape, lid and base with chrysanthemum petals in relief, decorated in polychrome and famille rose enamels with floral bands with lingzhi shaped reserves. Dim.:15,2cm.

Lot 44. Chinese Porcelain  'Roosters'  Teapot, China, Yongzheng period (1723-1735). Estimate 900 € / 1 200 €. Photo Marques Dos Santos, Porto.

globular shape with relief chrysanthemum petals on base and lid, decorated in famille rose enamels with rooster on a flowered ground, standing on a relief flowering stem foot, Dim.:15,5cm.

Lot 48. Chinese Porcelain 'Flowering Vase' Teapot, China, Yongzheng period (1723-1735). Estimate 900 € / 1 200 €. Photo Marques Dos Santos, Porto.

baluster form, applied flowering vases in relief, decorated in polychrome famille verte enamels and gold. Dim.:15,5cm.

Lot 63. Chinese Porcelain Chicken Head Spout Teapot, China, Yongzheng period (1723-1735). Estimate 900 € / 1 200 €. Photo Marques Dos Santos, Porto.

baluster ribbed form, spout terminal shaped as a chicken head, 's' shaped relief handle, floral polychrome decoration with famille rose enamels and alternating black ground reserves. Dim.:15cm.

Lot 69. Chinese Porcelain 'Pheasant' Teapot, China, Yongzheng period (1723-1735). Estimate 900 € / 1 200 €. Photo Marques Dos Santos, Porto.

baluster form, polychrome decoration in famille rose enamels with pheasant among peony branches. Dim.:14cm.

Lot 66. Chinese Porcelain 'Plum Blossoms' Teapot, China, Yongzheng period (1723-1735). Estimate 750 € / 1 000 €. Photo Marques Dos Santos, Porto.

baluster shape, base with relief chrysantemum petals, decorated in famille rose enamels and gold with plum blossoms and circular openwork relief reserves. Dim.:16cm.

Lot 67. Chinese Porcelain Chocolate Pot, China, Yongzheng period (1723-1735). Estimate 750 € / 1 000 €. Photo Marques Dos Santos, Porto.

tapering cylindrical form, decoration in famille rose enamels with floral elements and lotus flower medallions. Dim.: 18cm.

Lot 68. Chinese Porcelain 'Deer' Teapot, China, Yongzheng period (1723-1735). Estimate 750 € / 1 000 €. Photo Marques Dos Santos, Porto.

globular form, polychrome decoration in famille rose enamels and gold of scroll shaped medallions with stags on a landscape over a peony and flower ground. Dim.:15cm.

Lot 49. Chinese Porcelain  'Flowering Vase'  Teapot, China, Yongzheng period (1723-1735). Estimate 600 € / 800 €. Photo Marques Dos Santos, Porto.

globular shape, applied flowering vases in relief, decorated in green , blue and coral enamels and gold, lid knob shaped as stem. Dim.:17cm.

Lot 50. Chinese Porcelain  'Flowering Stem'  Teapot, China, Yongzheng period (1723-1735). Estimate 600 € / 800 €. Photo Marques Dos Santos, Porto.

globular shape, applied relief flowering branches, decorated in famille rose enamels, peach shaped knob. Cf. 'O Chá da China' pg.171. Dim.:16cm.

Lot 37. Chinese Porcelain Famille Noire Teapot, China, Yongzheng period (1723-1735). Estimate 600 € / 800 €. Photo Marques Dos Santos, Porto.

baluster shape, decorated with reserved river landscapes with figures and pagodas in famille rose enamels on a black ground. Dim.:14,5cm.

Lot 62. Chinese Porcelain 'Rooster' Pair of Teacups and Saucers, China, Yongzheng period (1723-1735). Estimate 600 € / 800 €. Photo Marques Dos Santos, Porto.

polychrome famille rose and gilt decoration with rooster among flowering fan reserves. Dim.:6,5 and 11cm.

Lot 64. Chinese Porcelain Figural Tea Caddy, China, Yongzheng period (1723-1735). Estimate 600 € / 800 €. Photo Marques Dos Santos, Porto.

lobed shape, decorated in famille rose enamels with romantic couple on a flowering garden, applied relief circles to foot. Dim.:12cm.

Lot 65. Chinese Porcelain Figural Tea Caddy, China, Yongzheng period (1723-1735). Estimate 600 € / 800 €. Photo Marques Dos Santos, Porto.

chrysantemum petals, applied flowers and squirrels in relief decorated in famille rose enamels. Antique sticker R&G McPherson Antiques, London. Dim.:12,5cm.

Lot 55. Chinese Porcelain 'Peony' Teacup and Saucer, China, Yongzheng period (1723-1735). Estimate 500 € / 700 €. Photo Marques Dos Santos, Porto.

relief chrysantemum canelures, decorated in famille rose enamels with peony sprays, cup standing on a flowering stem foot. Dim .: 7.5 and 11.5cm.

Lot 57. Chinese Porcelain 'Buddhist Conch' Teacup and Saucer, China, Yongzheng period (1723-1735). Estimate 500 € / 700 €. Photo Marques Dos Santos, Porto.

relief form shaped as chrysantemum petals, floral decoration in enamels and gold with Lo shell emblem in center saucer, standing on relief flower foot. Dim.:7 and 12cm.

Lot 58. Chinese Porcelain 'Chrysantemum' Teacup and Saucer, China, Yongzheng period (1723-1735). Estimate 500 € / 700 €. Photo Marques Dos Santos, Porto.

fluted relief chrysantemum petal body, decorated in polychrome enamels, stands on relief flowering stem foot. Dim.:6,5 and 11,3cm.

Lot 59. Chinese Porcelain 'Butterflies and insects' Teacup and Saucer, China, Yongzheng period (1723-1735). Estimate 500 € / 700 €. Photo Marques Dos Santos, Porto.

polychrome decoration in famille rose enamels of butterflies and insects on a lotus center. Dim.:7,3 and 11.5cm.

Lot 60. Chinese Porcelain 'Dancers' Teacup and Saucer, China, Yongzheng period (1723-1735). Estimate 400 € / 600 €. Photo Marques Dos Santos, Porto.

polychrome decoration in famille rose enamels with characters dancing on a flowering garden Dim.:6,2 and 10.5cm.

Lot 46. Chinese Porcelain 'Lotus' Teapot, China, Yongzheng period (1723-1735). Estimate 375 € / 500 €. Photo Marques Dos Santos, Porto.

baluster shape, with lotus relief applications, decorated in famille rose enamels, cover knob shaped as a flowering stem. Dim.:18cm.

Lot 56. Chinese Porcelain 'Chrysantemum' Teacup and Saucer, China, Yongzheng period (1723-1735). Estimate 300 € / 400 €. Photo Marques Dos Santos, Porto.

relief shape simulating chrysantemim petals, standing on a flowering stem relief foot, polychrome enamel and gilt decoration. Dim.:11cm (saucer).

Lot 61. Chinese Porcelain 'Roosters' Teacup and Saucer, China, Yongzheng period (1723-1735). Estimate 300 € / 400 €. Photo Marques Dos Santos, Porto.

decorated in famille rose enamels with roosters among flowers. Flower inside cup. Dim.: 6,7 e 10,5cm.

MARQUES DOS SANTOS, PORTO. Art de la Théière II - Collection de Théières Chinoises et Tasses, le 01 Octobre 2016 à 15h00

Les Blés de Chanel: L’Épi brooch in platinum and yellow gold set with baguette-cut, marquise-cut and brilliant-cut diamonds, colored stones, colored paving © Chanel 

Les Blés de Chanel: Épi Vendôme ring mounted on yellow gold set with an 18.2-carat emerald, 8 marquise-cut multicolored diamonds, 84 brilliant-cut fancy intense orange diamonds, 92 brilliant-cut diamonds and 4 fancy-cut diamonds © Chanel

Lot 86. A fine Doucai porcelain plate for exportation, Kangxi period (1662-1722). Estimate 400€ - 600.00 €. Photo Czerny's

Painted in gold and ducai style, decorated with branches in bloom enclosed by a band made of rhombuses at the center; painted with floral motifs at the border; featuring two, stylized, underglaze, blue branches at the back and the center of the base featuring an underglaze, blue flower. diameter 21.5 cm. 

Czerny's. CHINESE CERAMICS AND WORKS OF ART. 22 october 2016

Lot 87. A fine and rare porcelain dish in "Fitzhugh decoration" for the english or american market, late 18th Century. Estimate 500€ - 800.00 €. Photo Czerny's

Finely painted in encre de Chine on sepia ground, featuring the typical Fitzhugh decoration. Featuring a headline at the border and some chips at the external border. diameter 22.5 cm. 

Czerny's. CHINESE CERAMICS AND WORKS OF ART. 22 october 2016

Lot 88. An important and large armorial plate in blue and white porcelain of the Portuguese Indian Companies, Kangxi period (1662-1722). Estimate 1500€ - 1800.00 €. Photo Czerny's

Beautifully painted, featuring a medal enclosing at the inside a flower surrounded by two bands with concentric leaves, one on the medal and the other on the border, featuring an emblem belonging to the famous Italian Ginori family; the very fine border is moulded as a step; the base is on a wide, ring-shaped foot and features an underglaze mark shaped as a lingzhi mushroom painted in blue at the inside of a double circle. Small chips on the border. diameter 33 cm. 

Notes: In the past, the emblem was attributed to the Caldeira Family (Castro 1987), particularly the emblem given to Andrè Caldeira in 1599, but today, thanks to some documents owned by the descendants of Ginori family, is attributed to the famous Florentine family. The embles of the two families are very similar, Castro mentions the Ginory Family and underlines the similarity of the two shields. The decoration has the style of the pieces made for the Portoguese market - this service was indeed ordered by Lorenzo Ginori when he was in Portugal. The armorial, white and blue plate of Coelho mentioned at the end of the notes family proves this similarity. 

See an identical dish with a stem attributed to Ginori Family sold at Christie’s, SALE 6587 – CHINESE CERAMICS, EXPORT CERAMICS & WORKSOF ART; 18 June 2002, London, King Street; lot. 339. 

See also a similar but smaller plate and featuring the same emblem at the center sold at Christie’s, SALE 6731 – CHINESE CERAMICS AND WORKS OF ART, INCLUDING EXPORT ART; 17 June 2003, London, King Street; lot. 219. 

See also the smaller dish with the emblem at the center sold by Bonhams, ASTA 10780: EXPORT AND DECORATIVE ART OF THE CHINA TRADE; 9 March 2004, London, New Bond Street; lot. 21. 

See also the catalogue “Hit & Myth”, Cohen & Cohen; pag. 108 – 109, exhibited in London, St Jame’s, 67 Jermyn Street, 30 October– 8 november 2014 containing a similar, smaller plate featuring the same emblem painted at the center and not at the border. 

See also “A Porcellana Chinesa e os Brasoes do Imperio”, Nuno de Castro, 1987; pag. 43. 

A smaller plate featuring a similar decoration but with the Coelho family emblem at the center was sold at Bonhams, AUCTION 10430: THE DU BOULAY COLLECTION OF CHINESE CERAMICS; 10 November 2003, London, New Bond Street; lot. 29.

Czerny's. CHINESE CERAMICS AND WORKS OF ART. 22 october 2016

Lot 89. A rare pair of "Pseudo tobacco leaf" porcelain dishes, last quarter of the 18th Century. Estimate 500€ - 800.00 €. Photo Czerny's

With lobed, bracket-shaped border, featuring the famous decoration "pseudo tobacco leaves" at the center. The dishes feature two, big spinning and some chips at the border, one of them with a small breakage on the border. diameter 23 cm. 

Notes: Two dishes with the same decoration and shape were sold at Christie’s, SALE 4102 – CHRISTIE’S INTERIORS; 24 January 2012, London, South Kensington; lot. 282. 

See also Sotheby’s, Auction: N08758; PROPERTY OF A PALM BEACH PRIVATE COLLECTOR; 29 March 2011, New York; lot. 144. 

A dish decorated en suite can be found also at Palazzo Pitti, Museo degli Argenti e Museo delle Porcellane, Sala delle Porcellane Orientali, in Florence. See the catalog of the Scalambrino Commection: Oriental porcelains and European Majolica; Francesco Morena; ISBN 88-8347-350-7; page 78-79, object number 105. 

Another sample with similar decorations belongs to the Mottahedeh Collection. See Howard-Ayers, China for the West. Chinese Porcelain & Other Decorative Arts for Export illustrated from the Mottahedeh Collection, 1978, vol. II, pag. 540-541.

Czerny's. CHINESE CERAMICS AND WORKS OF ART. 22 october 2016

Lot 90. A rare tobacco leaf decorated porcelain exportation plate, Qianlong period (1736-1795). Estimate 1500€ - 2500.00 €. Photo Czerny's

Carved, octagonal shape; finely decorated with a variation of the famous tobacco leaf depicting enameled flowers, leaves and buds. 41 x 33. x 4.5 cm. 

Notes: A similar plate was sold at Christie’s, SALE 5912 – CHRISTIE’S INTERIORS; 9 December 2014, London, South Kensington; lot. 46. 
See also Christie’s, SALE 11640 – CHINESE EXPORT ART; 21 January 2016, New York, Rockefeller Plaza; lot. 147

Czerny's. CHINESE CERAMICS AND WORKS OF ART. 22 october 2016

Lot 80. Martin Drölling (Oberhergheim, 1752-Paris, 1817), Petit garçon caché derrière un rideau, portrait présumé du fils de l'artiste, Michel-Martin Drolling. Huile sur sa toile d'origine (restaurations), 54 x 47 cm. Estimation: 12 000 € / 15 000 €. Photo Rennes Enchères.

Notes: Fils d'un clerc d'une petite ville alsacienne, Martin Drölling montra tôt une disposition certaine pour la peinture. Après une première formation chez un obscur peintre de Strasbourg, il vint à Paris et débuta comme copiste et portraitiste. Son art d'une précision toute nordique, exercéà la copie des maîtres flamands du Louvre, séduisit Élisabeth Vigée-Lebrun qui l'employa pour peindre les accessoires. Il travailla également pendant plus de dix ans pour la manufacture de Sèvres. 

Drölling débuta au Salon en 1793 avec des portraits et des scènes de genre intimistes, mais la consécration vint après sa mort, lors du Salon de 1817, la critique ne tarissant pas de louanges sur ses " excellents tableaux ". L'artiste puisait son inspiration dans son quotidien familial, peignant souvent son épouse, Louise-Élisabeth Belot, fille d'un marchand de couleurs, et ses deux enfants, Michel-Martin et Louise-Adéone, devenus tous deux peintres. 

A mi-chemin entre portrait et scène de genre - le petit garçon à l'air malicieux semble jouer à cache-cache dissimulé derrière le rideau -, notre tableau a vraisemblablement pour modèle Michel-Martin. C'est en effet le même jeune garçon qui apparaît dans le Portrait d'un jeune artiste daté de 1795 (localisation inconnue) et dans La Peinture et la musique de 1800 (Los Angeles County Museum of Art). La manière de Drölling se reconnait dans le touché lisse, la facture brillante, les subtils jeux de lumière, les juxtapositions de couleurs (ici, le bleu-vert du rideau, le sable du gilet, le rose du visage), ainsi que dans cette petite touche d'humour qui fait le charme de notre toile.

RENNES ENCHÈRES, 35000 RENNES. M. Bordes. le 03 Octobre 2016 à 14h00

Lot 117. Manufacture impériale de porcelaine de Sèvres, Rare cabaret dit "Chinois réticulé", Epoque Napoléon III. Estimation: 2 500 € / 3 000 €. Photo Rennes Enchères.

en pâte dure blanche et or comprenant une théière, un sucrier, un pot à lait, deux tasses et sous-tasses. Inspiré des modèles chinois tardifs, ce déjeuner présente une paroi intérieure pleine doublée par une autre découpée en résille, les anses à l' imitation du bambou - Epoque Napoléon III (le pot à lait avec un motif ajouré légèrement différent) 
MARQUES : Sous-tasses : S 64 doré Sèvres N 68. 
LeROY écrit à l'or Tasses : S 66 doré Sèvres N 68. LEROY écrit à l'or Pot à lait : S 58 doré Sèvres N 67. "P"écrit à l' or. 

Probablement pour François Bernard PINE, doreur Sucrier : S 62 doré Sèvres N 67. "E L" en monogramme écrit à l'or probablement pour Etienne LATACHY, doreur Théière : S 49 doré Sèvres N 68. 
LeROY écrit à l'or. Théodore LEROY, décorateur de porcelaine, médaille d' argent en 1885. 

Notes: François Bernard PINE et Etienne LATACHY doreurs à Sèvres. L' ensemble dans un état exceptionnel , conservé depuis sa création jusqu'à ce jour par une famille de Dinan, Côtes d' Armor. 

RENNES ENCHÈRES, 35000 RENNES. Expert : Bertrand BERTHELOT. le 03 Octobre 2016 à 14h00

Lot 13. Le Maître de Francfort (né vers 1460 - actif à Anvers entre 1496 et 1520),  La crucifixion. Panneau de chêne parqueté (restaurations). Haut. : 83 cm - Larg. : 71,5 cm. Estimation: 150 000 € / 200 000 €. Photo Guillaume Le Floch.

Notes: À l’exception de Maîtres clairement identifiés comme Quentin Metsys ou Jan de Beer, l’essentiel de la production picturale anversoise du premier tiers du XVIe siècle est non signée et répartie entre différents groupes qui portent des noms de conventions. Celui du « Maître de Francfort » a été proposé en 1929 par Walter Friedländer pour désigner un artiste anonyme, actif à Anvers vers 1500, juste avant la génération de peintres qui va introduire les premiers éléments de la Renaissance italienne. L’historien d’art regroupa une soixantaine d’œuvres autour de deux triptyques conservés à Francfort (retable de sainte Anne peint pour l’église des dominicains, musée historique de Francfort ; retable de la Crucifixion, peint pour Claus Humbracht, Francfort, Städel Museum). 

Son style est celui d’un peintre ancré dans la tradition de Robert Campin et de Rogier van der Weyden, parfois légèrement influencé par Hugo van der Goes, connaissant les gravures de Schongauer et insensible aux peintres de Bruges comme Memling et Gérard David. Il n’était pas d’origine allemande comme on l’a crû parfois, simplement certains de ses commanditaires y résidaient ce qui explique que plusieurs de ses tableaux y soient encore conservés. En revanche, il n’est pas impossible qu’il s’y soit rendu. Son Autoportrait avec sa femme (Anvers, Musée royal des beaux-arts) fait mention de son âge, 36 ans, et porte la date 1496, ce qui permet de situer sa date de naissance vers 1460. Son identité a été fort débattue : on a proposé les noms de Jan de Vos (mentionnéà Francfort en 1512), de Hendrick van Wueluwe (on pourrait lire un monogramme « W » sur l’un des tableaux de ce groupe ; voir le catalogue de l’exposition Extravagants ! A Forgotten chapter of Antwerp painting 1500-1530, p.222).  

Depuis les recherches de Walter Friedländer, le nombre de peintures qu’on a attribuées à ce Maître a plus que doublé pour se situer autour de 130 à 150 tableaux, mais certaines compositions possédant des répliques inégales ou d’atelier, font monter le total à 250 œuvres. Le nom de « Maître de Francfort »était alors donnéà des tableaux anversois possédant des caractéristiques stylistiques communes, certains étant considérés comme des chefs-d’œuvre de cette école, par exemple la Fête des archers (Musée royal des beaux-arts d’Anvers). La monographie de Stephen H. Goddard, publiée en 1984, a tenté de départager ce corpus en trois groupes principaux : le Maître et deux élèves très proches, l’un d’eux étant appelé le « Maître de San Diego », par référence au triptyque avec le mariage de sainte Catherine conservé au San Diego Museum of art. Actuellement, on considère que le « Maître de Francfort » regroupe plusieurs ateliers différents. Nous remercions Monsieur Peter van den Brink qui nous a indiqué que ce panneau présentait des affinités avec le Maître dit de San Diego, mais qu’il est de meilleure qualité que ce groupe et que la douceur de certaines figures était plus proche de la peinture des Pays-Bas septentrionaux.  

Parmi les œuvres anversoises du début du XVIe siècle encore en mains privées, ce panneau est l’un des plus beaux, des plus équilibrés qui nous soient parvenus. Il doit le Christ décharné sur une croix en Tau, encore gothique, et la position de la Vierge soutenue par saint Jean aux compositions créées par Rogier van der Weyden (notamment le triptyque du Kunsthistorisches Museum à Vienne), les lointains bleutés, la présence végétale importante avec une façon particulière de détailler les feuilles des arbres et de couvrir le sol de plantes comme un tapis d’herbes, sans une roche ou de la terre visibles, se retrouvent dans les autres œuvres du Maître de Francfort, tout comme le magnifique brocard de Joseph d’Arimathie au pied de la croix.  

On le rapprochera justement de la crucifixion au centre du triptyque éponyme de Francfort, plus grand (118 cm de hauteur). La composition est différente mais les principaux protagonistes sont placés dans le même ordre, à l’exception de Marie-Madeleine. Sur notre panneau, on admirera la qualité et la richesse des détails, toujours fascinantes chez les Maîtres flamands : la description des costumes, les cavaliers en armure et leur serviteur au second plan, les bijoux portés par deux hommes à droite, ou encore le centurion qui tient le drapeau qui semble être un portrait.  

GUILLAUME LE FLOC'H, 92210 SAINT-CLOUD (FRANCE). le 02 Octobre 2016 à 14h30

Lot 16. Attribuéà Abraham Teniers (1629 - 1670), Singerie. Huile sur cuivre (manques en bordures de cadre). Haut. : 25 cm - Larg. : 33,5 cm. Estimation: 8 000 € / 12 000 €. Photo Guillaume Le Floch.

Lot 255. Kachan-Mortachem. Exceptionnel et rare tapis de commande royale, Iran, vers 1890 - 1900. Estimation: 5 000 € / 6 000 €. Photo Guillaume Le Floch.

Exceptionnel et rare tapis de commande royale, en velours de laine kork (env. 10 000 nœuds au dm2) orné d’une scène poétique de chasse au cerf, de Bahram Shah accompagné de son épouse Azadeh. Le cours d’eau dessiné symbolise le chemin de la vie. Bordure à cartouches rubis, àécritures poétiques relatant la vie et la mort, et à médaillons beige incrustés de prestigieux rois persans dont Shah Abbas, Karim Khan et Nader Shah (petite restauration). Haut. : 196 cm - Larg. : 134 cm 

GUILLAUME LE FLOC'H, 92210 SAINT-CLOUD (FRANCE). le 02 Octobre 2016 à 14h30 

Lot 3613. A fine and brilliantly enamelled famille-rose moonflask, seal mark and period of Qianlong (1736-1795). Estimate 17,000,000 — 20,000,000 HKD. Photo: Sotheby's.

the well-potted body of flattened globular form with rounded sides rising to a cylindrical neck with a flared rim, flanked on each side by two moulded chilong handles in underglaze blue, all supported on a rounded rectangular splayed foot, the exterior colourfully decorated in underglaze blue and famille-rose enamels with peony blossoms borne on meandering foliate scrolls further issuing delicately picked out blossoms, including clusters of lotus blooms, the rim decorated with a ruyi band below the gilt rim and around the foot, all delicately picked out in shades of rose pink, blue, yellow and green, the recessed base inscribed with an underglaze-blue six-character seal mark; 31.2 cm, 12 1/4  in.

Provenance: A private European collection.

Notes: The present moonflask is highly unusual for its form and design. No flasks of the exact same shape and decoration are known to exist. However, a closely related famille-rose handled-moonflask, of comparable form and painted similarly with floral scrolls using almost the same palette of colours, yet of a much larger size and flanked by a pair of pink-enamelled dragon handles of a different form, was sold in these rooms, 27th April 1993, lot 217 (fig. 1). Brilliantly enamelled, the present flask is of an innovative form and an optimal size and is a pleasure to see and to handle. Among the blue foliage, some are painted with underglaze cobalt blue, some overglaze blue enamelled, while for some other details utilised the combination of the two types of blues, possibly to counterbalance the otherwise vivid blooms. The attention to the meticulous details illustrates the unrivalled standard of imperial porcelain production during the Qianlong reign.

Famille-rose ‘peony’ moonfask, Qing dynasty, Qianlong period. Sotheby’s Hong Kong, 27th April 1993, lot 217.

Possibly unique, the present moonflask nevertheless is closely related to the yangcai style, as evident in its painting, colouring, floral and foliate motifs. Yangcai, literally meaning ‘foreign colours’, was a term used by the Qing Court, including the Qianlong Emperor, to refer to a group of imperial porcelains, exquisitely decorated with bright colours of delicate shades in Western painting techniques, displaying strong influence of European enamelled wares brought to Court by the Jesuits.

See a pair of yangcai vases in the collection of the National Palace Museum, Taipei, painted in similar style with various exotic flowers and lingzhi fungus among scrolling leaves, but lacking decorations in underglaze blue, dated according to the Court record to the 7th year of the Qianlong period (1742), included in the Museum exhibition Emperor Ch'ien-lung's Grand Cultural Enterprise, Taipei, 2002, pl. V-29, and again in Liao Pao Show ed., Stunning Decorative Porcelains from the Ch'ien-lung Reign, National Palace Museum, Taipei, 2008, cat. no. 33. Lotus scrolls similar to that on this vase can also be found on a Qianlong-marked yellow-ground yangcai wall vase, ibid., cat. no. 20; the wall vase is inscribed with an imperial poem the Emperor wrote specific for it in 1742, illustrating his Majesty’s personal interest in this type of porcelains. Similar lotus blooms are also found on a Qianlong-marked yellow-ground famille-rose vase with anbaxian motifs and dragon handles, sold in these rooms, 7th April 2015, lot 3608, now in the collection of Long Museum, Shanghai. See also a Qianlong-marked teapot, decorated with similar scrolling acanthus leaves, Stunning Decorative Porcelains from the Ch'ien-lung Reign, op.cit., cat. no. 4; and a yellow-ground famille-rose bowl painted with exotic blooms from the Qing Court collection, now preserved in the Nanjing Museum, illustrated in Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Art Museum, Chinese University of Hong Kong, Hong Kong, 1995, cat. no. 101.

Lot 3620. A rare enamelled 'figures and landscape' glass cup, blue enamel mark and period of Qianlong (1736-1795). Estimate 17,000,000 — 20,000,000 HKD. Photo: Sotheby's.

of guyuexuan ('ancient moon pavilion') type, with deep rounded sides resting on a short foot, the exterior finely enamelled with an idyllic setting detailed with a river stream surrounded by tall overhanging trees and mountainous cliffs, the scene further set with architectural elements such as pavilions and bridges, two figures depicted conversing with each other on a bridge, another solitarily seated at one end of a boat and fishing, the base enamelled in blue with a four-character reign mark within a double-square; 6.8 cm, 2 5/8  in.

Provenance: Christie’s New York, 4th June 1987, lot 327.
Jingguantang collection.
Christie's Hong Kong, 3rd November 1996, lot 509.  

Notes: It is rare to find glass wares enamelled with landscape designs, and this cup, decorated with such a 'painterly' landscape, represents wares possibly inspired by traditional handscroll paintings made by court artists in the Imperial workshops. This type of enamelled landscape decoration on glass found its greatest expression on a small number of enamelled glass wares inscribed with wheel-cut four-character Qianlong marks, including two glass cups in the Percival David Foundation, London, illustrated in Illustrated Catalogue of Qing Enamelled Wares in the Percival David Foundation of Chinese Art, London, Revised Edition 1991, p. 32, nos. 850 and 851, and two 'landscape' brushpots, one from the Percival David Foundation, illustrated ibid. p.36, no. 854, and another from the collection of J. Insley Blair, sold at Christie’s Hong Kong, 28th November 2012, lot 2124.

Glass water-pot of ovoid shape with flat base and small contracted mouth, Qianlong incised four-character mark within double-squares and of the period (1736-1795), Percival David Foundation, PDF.864. © Trustees of the British Museum

Glass brush-pot of tall cylindrical form with flat base, Qianlong incised four-character mark within double-squares and of the period (1736-1795), Percival David Foundation, PDF.854. © Trustees of the British Museum

A magnificent imperial falangcai enamelled glass brush pot, Qianlong incised four-character mark within double-squares and of the period (1736-1795). Price Realised  HKD 48,820,000 (USD 6,329,982) at Christie’s Hong Kong, 28th November 2012, lot 2124. Photo Christie's Image Ltd 2012.

An enamelled glass bottle vase, similarly decorated with a vivid continuous landscape design, but differing from the current cup in being inscribed with a Qianlong seal mark in red enamel, formerly in the collection of Dunan Beresford-Jones, was sold at Christie's London, 6th June 2000, lot 208, and again in these rooms, 2nd May 2005, lot 553. (Image: A rare Beijing enamelled opaque white glass amphora, iron-red Qianlong sealmark and of the period (1736-1795). Price Realised  GBP 1,762 (USD 2,668) at Christie's London, 6th June 2000, lot 208. Photo Christie's Image Ltd 2000).