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Chinese huqqa base made for the Islamic market, China, Kangxi period, 17th-18th century

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Chinese huqqa base made for the Islamic market, China, Kangxi period, 17th-18th century

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Chinese huqqa base made for the Islamic market, China, Kangxi period, 17th-18th century, 20cm highAmir Mohtashemi Ltd at Brafa Art Fair, Brussels, 21-29 january 2017.

This Kangxi period (1662-1722) huqqa base copies 17th century Indian spherical huqqa base forms of metal or glass. The huqqa base of globular form, narrow truncated neck, the top grinded down with an Indian metal rim. It is decorated with blossoming prunus trees and peonies in blue, white and red, set in six mihrab panels. Later on, the huqqa base has been clobbered in red and green enamels. 

Amir Mohtashemi Ltd. Indian and Islamic Works of Art, 69 Kensington Church Street, London W8 4BG, United Kingdom 


Chinese iron red ewer made for the Indian market, Jingdezhen, China, Kangxi period (1662-1722), circa 1710

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Chinese iron red ewer made for the Indian market, Jingdezhen, China, circa 1710

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Chinese iron red ewer made for the Indian market, Jingdezhen, China, Kangxi period (1662-1722), circa 1710, 26.7cm high. Amir Mohtashemi Ltd at Brafa Art Fair, Brussels, 21-29 january 2017.

The ewer moulded and painted in iron red and gilt with a central tear-shape decorated with a lotus flower surrounded by cloud bands reserved on a red ground and flanked by sprigs of flowers. The neck is moulded with radiating petals and painted with stiff leaves. 

This type of ewer was made for the export market. The shape is derived from Middle Eastern metalwork. A pair of similar ewers is in The Victoria and Albert Museum, London, Accession Numbers 240&A-1876 and 240B&C-1876.

Porcelain ewer and lid, painted in iron-red enamel and gold, Jingdezhen, China, ca

Porcelain ewer and lid, Jingdezhen, China, ca. 1710-30. Porcelain painted in iron-red enamel and gold. Height: 32.5 cm. Accession Number 240&A-1876 © Victoria and Albert Museum, London 2016

Porcelain ewer and lid, Jingdezhen, China, Qing dynasty, ca

Porcelain ewer and lid, Jingdezhen, China, Qing dynasty, ca. 1700-1750. Porcelain with moulded relief decoration painted in enamel and gilded. Height: 32.4 cm, Diameter: 16.5 cm. Accession Number 240B&C-1876 © Victoria and Albert Museum, London 2016

Amir Mohtashemi Ltd. Indian and Islamic Works of Art, 69 Kensington Church Street, London W8 4BG, United Kingdom 

Vhernier

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Vhernier. Blue Velvet ring, titanium and diamonds.

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Vhernier. Blue Velvet bracelet, titanium and diamonds.

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Vhernier. Collier Blue Velvet, titanium and 2,262 diamonds.

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Vhernier. Velvet necklace, titanium, 2,321 diamonds and a rare tanzanite weighing 70.05 carats.

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Vhernier. Collier Orange Velvet, titanium, diamonds 2,427 and a spessartite with the same shade

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Vhernier. The spessartite of Orange Velvet necklace.

Mark Rothko, Yellow, Cherry, Orange, 1947

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Mark Rothko, Yellow, Cherry, Orange, 1947, oil on canvas 173 x 107 cm, Museo Tamayo Arte Contemporáneo, Buenos Aires, Argentina© Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, 1948

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Mark Rothko, Multiform, 1948, oil on canvas 155 x 118.7 cm, National Gallery of Australia, Canberra© Kate Rothko Prizel and Christopher Rothko/DACS 2016

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Mark Rothko, No1 ( No.18, 1948), 1948, oil on canvas© Kate Rothko Prizel and Christopher Rothko/DACS 2016

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Mark Rothko, No.1, 1948, oil on canvas 270.2 x 297.8 cm, Museum of Modern Art, New York City© Kate Rothko Prizel and Christopher Rothko/DACS 2016

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Mark Rothko, No.5 / No.24, 1948, oil on canvas 86.1 x 127.6 cm, Museum of Modern Art, New York City© Kate Rothko Prizel and Christopher Rothko/DACS 2016

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Mark Rothko, No.9, 1948, oil and mixed media on canvas 134.6 x 118.4 cm, National Gallery of Art, Washington, DC

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Mark Rothko, No. 10, 1948, oil on canvas 164 x 108 cm, National Gallery of Art, Washington, DC© Kate Rothko Prizel and Christopher Rothko/DACS 2016

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Mark Rothko, Untitled 1, 1948, oil on canvas© Kate Rothko Prizel and Christopher Rothko/DACS 2016

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Mark Rothko, Untitled, 1948, oil on canvas 114 x 85.4 cm, Private Collection© Kate Rothko Prizel and Christopher Rothko/DACS 2016

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Mark Rothko, Untitled, 1948, oil on canvas 127.6 x 109.9 cm, Private Collection© Kate Rothko Prizel and Christopher Rothko/DACS 2016

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Mark Rothko, Untitled, 1948, oil on canvas, 134.6 x 119.4 cm, National Gallery of Art, Washington, DC© Kate Rothko Prizel and Christopher Rothko/DACS 2016

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Mark Rothko, Untitled, 1948, oil on canvas, 152.5 x 126.5 cm, Fondation Beyeler, Riehen© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 Untitled oil on canvas 172

Mark Rothko, Untitled, 1948, oil on canvas, 172.7 x 87.6 cm, de Young / Legion of Honour FIne Arts Museums of San Francisco, CA© Kate Rothko Prizel and Christopher Rothko/DACS 2016

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Mark Rothko, Untitled, 1948, oil on canvas, 226.1 x 165.1 cm, Private Collection© Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, No.1 ( No.18 ), 1948-49

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Mark Rothko, No.1 ( No.18 ), 1948-49, oil on canvas, 171.8 x 142.6 cm, The Frances Lehman Loeb Art Centre Vassar College, Poughleepsie, NY© Kate Rothko Prizel and Christopher Rothko/DACS 2016

David Hockney at Tate Britain, 9 February 2017 - 29 may 2017

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David Hockney, Portrait of an Artist (Pool with Two Figures), 1972, Private Collection© David Hockney. Photo Credit: Art Gallery of New South Wales / Jenni Carter

LONDON - Tate Britain’s upcoming retrospective of David Hockney will bring together six decades of the artist’s work for the first time. Major loans from private collections – including works never displayed in public before – will be united with iconic paintings from museums around the world. It will be the most extensive survey ever staged of one of the most successful and recognisable artists of our time. This once-in-a-generation show will offer an unprecedented overview of Hockney’s work in paint, drawing, photography and video.

Highlights will include a double portrait of renowned novelist Christopher Isherwood and artist Don Bachardy, painted in 1968, shown in the UK for the first time in over two decades. Isherwood and Bachardy were one of Hollywood’s first openly gay couples and regularly opened up their home to entertain artists, actors and writers. This work was the first of Hockney’s celebrated double portraits, which he painted in the late 1960s and 1970s. Tate Britain will reunite many of this series, including American Collectors (Fred and Marcia Weisman) 1968; Henry Geldzahler and Christopher Scott 1968-9; Mr and Mrs Clark and Percy 1970-1; Portrait of an Artist (Pool with Two Figures) 1971; and My Parents 1977. 

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David Hockney, Peter Getting Out of Nick's Pool, 1966. Acrylic on canvas, 84 x 84 in. © David Hockney. Photo Credit: Richard Schmidt - Collection Walker Art Gallery, Liverpool

The retrospective will include vibrant new paintings of the artist’s home and garden in Los Angeles, which will be united for the first time with earlier works depicting the same subject across 35 years. Hockney first moved to this home in 1979 and soon afterwards created Hollywood Hills House 1980, a colourful work showing both the interior and the garden. 20 years later he painted Red Pots in the Garden 2000, which features the same banana-leaf palm and gently curving pool from another perspective. New paintings of the garden, created following Hockney’s recent return to California after a decade at his Yorkshire home, will also be shown for the very first time.

The exhibition will cover the full scope of Hockney’s artistic practice, from small scale, intimate works to vast, immersive canvases. Highlights will include rarely seen works exploring tender and personal themes, from his early series of Love paintings and We Two Boys Together Clinging 1961 to delicate drawings of the artist’s friends and family, including designer Celia Birtwell, poet W H Auden, artists Andy Warhol and R B Kitaj, and Hockney’s own parents. More recent works, such as his acclaimed landscape paintings of the Yorkshire countryside and his pioneering experiments with digital drawing and filmmaking, will also be showcased.

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David Hockney, Christopher Isherwood and Don Bachardy, 1968. Acrylic on canvas, 83 1/2 x 119 1/2 in. Private Collection© David Hockney

David Hockney opens at Tate Britain on 9 February 2017 and runs until 29 May 2017. The exhibition is curated by Chris Stephens, Head of Displays & Lead Curator, Modern British Art, and Andrew Wilson, Curator Modern and Contemporary Art and Archives, with Assistant Curator Helen Little. It is sponsored by the Blavatnik Family Foundation with additional support from the David Hockney Exhibition Supporters Circle. This exhibition is organised by Tate Britain in collaboration with the Centre Pompidou, Paris and The Metropolitan Museum, New York. 

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David Hockney, Going Up Garrowby Hill, 2000, Private Collection © David Hockney

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David Hockney, Garden with Blue Terrace, 2015, Private Collection© David Hockney. Photo Credit: Richard Schmidt

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David Hockney, A Lawn Being Sprinkled, 1967. Acrylic on canvas, 60 x 60 in. Private Collection© David Hockney. Photo Credit: Richard Schmidt

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David Hockney, Billy + Audrey Wilder, Los Angeles, April 1982, 1982. Composit polaroid, 46 x 44 in. Private Collection © David Hockney. Photo Credit: Richard Schmidt

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David Hockney, Domestic Scene, Los Angeles, 1963. Oil on canvas, 60 x 60 in. Private Collection © David Hockney. Photo Credit: Richard Schmidt

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David Hockney, Garden 2015, 2015. Acrylic on canvas, 48 x 72 in. Private Collection © Photo Credit: Richard Schmidt

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David Hockney, Model with Unfinished Self-Portrait, 1977. Oil on canvas, 60 x 60 in. Private Collection © David Hockney. 

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David Hockney, Hollywood Hills House, 1981-82. Oil, charcoal and collage on canvas, 60 x 120 in. Walker Art Center, Minneapolis © David Hockney. 

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David Hockney, Outpost Drive, Hollywood, 1980. Acrylic on canvas, 60 x 60 in. Private Collection © David Hockney. 

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David Hockney, Pearblossom Highway, 11th-18th April 1986 #1photographic collage, 47 x 64 in. The J. Paul Getty Museum, Los Angeles © David Hockney.

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David Hockney, Red Pots in the Garden, 2000. Oil on canvas, 60 x 76 in© David Hockney. Photo Credit: Richard Schmidt

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David Hockney, Woldgate Woods, 6 & 9 November 2006, 2006. Oil on 6 canvases (36 x 48 in. each), 72 x 144 in; overallPrivate Collection © David Hockney.

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 David Hockney, 9 Canvas Study for The Grand Canyon, 1998. Oil on 9 canvases, 39 1/2 x 65 1/2 in© David Hockney. Photo Credit: Richard Schmidt

Ming furniture at Andy Hei

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A Huanghuali Wood Lohan Bed with Marble Panels, Ming Dynasty, 16th Century; 209(L) x 111(D) x 106(H)cm. Courtesy Andy Hei. 

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Huanghuali Wood Folding and Detachable Chair, Ming Dynasty, 16th Century; 64(L) x 84(D) x 108(H)cm. Courtesy Andy Hei.  

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A Huanghuali Wood Long Table with Giant Arm Braces, Ming Dynasty, 17th Century; 169(L) x 53(D) x 79(H)cm. Courtesy Andy Hei. 

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A Huanghuali Wood Altar Table with Flanges, Ming Dynasty, 17th Century; 128(L) x 29(D) x 87(H)cm. Courtesy Andy Hei. 

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A pair of Huanghuali Wood Side Chairs, Ming Dynasty, 17th Century; 49(L) x 40(D) x 97(H)cm (each). Courtesy Andy Hei. 

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A Huanghuali Wood Cloth Rack, Ming Dynasty, 17th Century; 137(L) x 59(D) x 196(H)cm. Courtesy Andy Hei. 

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A pair of huanghuali square tables with triple aprons and stretchers, Ming Dynasty, 17th Century. H. 86 x D. 101 x L. 101 cmCourtesy Andy Hei. 

Huanghuali and zitan were the most distinguished and expensive woods used for the highest quality Chinese furniture. The most prized examples date back to the late Ming (1368-1644) and early Qing (1644-1911) periods, when elegant design, meticulous craftsmanship and beautiful wood grains contributed to the peak of Chinese classical furniture. 

For years there has been a debate among experienced collectors and new buyers as to whether antique Chinese furniture should be left in its found state with “original patina”, or whether it should be restored. This pair of huanghuali tables dating from the Ming Dynasty, 17th century, were found separately and illustrate perfectly the contrast between a piece with original patina and one which has been restored. Through this comparison, Andy Hei hopes to inspire young collectors to reflect on their own aesthetic taste and make up their own mind in this debate. 

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A pair of Huanghuali Wood High Back Armchairs, Late Ming Dynasty, 17th century; 60(L) x 45(D) x 114(H) cmCourtesy Andy Hei. 

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A huanghuali detachable painting table, Late Ming Dynasty, 17th century. L. 108 x D. 69 x H. 81 cm. Courtesy Andy Hei. 

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A huanghuali wood square corner book cabinet, Late Ming Dynasty, 17th Century. W. 103cm D. 52cm H. 185cm. Courtesy Andy Hei. 

 

Andy Hei. Classical Chinese Furniture, 84 Hollywood Road, Sheung Wan, Hong Kong, China


Galerie Jacques Barrère. Stand 72B. Brafa Art Fair, 21-29 janvier 2017

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Bishamonten, Wood, Japan, late Heian period, 12th century, 92 x 18 x 9 cm. Courtesy Galerie Jacques Barrère

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Head of Buddha, Terracotta, Greco-Buddhist art from Gandhara , Afghanistan-Pakistan, 3rd-4th century, 22 x 14 x 15.5 cmCourtesy Galerie Jacques Barrère

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Atlant, Schist, Greco-Buddhist art from Gandhara, Afghanistan - Pakistan, 1st-2nd century, 23 x 19 x 4 cmCourtesy Galerie Jacques Barrère

Galerie Jacques Barrère. Stand 72B. Brafa Art Fair, 21-29 janvier 2017

Bernard Bouisset, Stand 35b. Brafa Art Fair, 21-29 janvier 2017

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Two rings, circa 1930. One has a rectangular sapphire of 19.8 carats from Ceylon with cut sides and two diamonds on platinum. Certified by the French laboratory of gemmology. The other one has a marquise cut diamond of 11.8 carat on platinum. Courtesy galerie Bernard Bouisset

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‘Delphe collection’ necklace that can become bracelets or a brooch or pendant with matching earclips; Gold, coral and green agate. Signed Van Cleef & Arpels, circa 1970Courtesy galerie Bernard Bouisset

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‘Chevaleresque collection’ necklace that can become bracelets, a brooch or a pendant. Gold and diamonds. Signed Van Cleef & Arpels, circa 1970Courtesy galerie Bernard Bouisset

Depuis 1992 la galerie Bernard Bouisset est spécialisée en bijoux anciens, rares et de haute qualité comme des rubans Art Déco, pendentifs "négligés"époque 1910, bague tourbillon diamant... avec une prédilection pour les bijoux haute joaillerie griffées de Chaumet, Boucheron, Cartier ou Van Cleef & Arpels. Depuis vingt ans, elle participe à la Biennale des Antiquaires à Paris et à d’autres salons à Bruxelles et sur la Côte d'Azur. Fondé en : 1992

Bernard Bouisset, Stand 35b. Brafa Art Fair, 21-29 janvier 2017

Galerie Chenel. Stand 80c. Brafa Art Fair, 21-29 janvier 2017

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Colossal profile of a god. Marble, Roman, 1st century BC - 1st century AD. H 35 cm. Courtesy Galerie Chenel.

Provenance: former French private collection of Nicolas Feuillate (1926-2014). 

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Mummy mask. Polychrome and gilt cartonnage. Egyptian, Ptolemaic period, circa 332-30 BC. H 46 x W 26 cm. Courtesy Galerie Chenel.

Provenance: Galerie des Saints-Pères, Paris; Belgian private collection, acquired from the above in April 26th, 1980. 

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Torso of Herakles. Marble. Roman, 1st-2nd century AD. H 70 x W 35 cmCourtesy Galerie Chenel.

Provenance: former private collection of Léon Rodriguez-Ely (1924-1973), Marseille, France, since the 1950s.

Galerie Chenel est l'histoire d'une famille passionnée de sculpture. Elle a pour spécialité l'archéologie avec un fort attachement pour la Rome antique. Etablie à Paris en 1999, elle a grandi et s’est installée au quai Voltaire, face au Louvre, où elle a aménagé un espace moderne qui sert d’écrin à ses objets. Chaque année elle organise plusieurs expositions thématiques et elle participe à des salons internationaux comme la ‘Biennale des Antiquaires'à Paris, ‘Masterpiece'à Londres, BRAFA à Bruxelles et BAAF à Bâle. La galerie est fière de présenter des objets de goût et de qualité qu’elle expertise soigneusement et dont elle s’assure de la provenance afin de donner une garantie totale aux acheteurs. Elle compte dans sa clientèle aussi bien des conservateurs de musées, des collectionneurs avertis que des professionnels, des décorateurs et de simples amateurs d’art qui peuvent acheter en toute confiance étant donné son professionnalisme. Elle est membre du Syndicat national des Antiquaires en France, de l’IADAA (International Association of Dealers in Ancient Art) de l’Union française des experts et du 'Carré Rive Gauche'.  

Galerie Chenel. Stand 80c. Brafa Art Fair, 21-29 janvier 2017 

Galerie Jean-Christophe Charbonnier. Stand 114c. Brafa Art Fair, 21-29 janvier 2017

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Sakatsura ebira 逆頬箙. First half of the Edo Period. H 39 cm. Courtesy Galerie Jean-Christophe Charbonnier

A high ranking quiver covered in wild boar hair (sakatsura ebira). It is decorated on the front and sides with shakudô and gold kanamono

Provenance: private collection; collection of the Kôzu Foundation in Kyôto (Kôzu Kobunka Kaikan)

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Ô-boshi, Muromachi period, 15th centuryCourtesy Galerie Jean-Christophe Charbonnier

A hemispherical (ô-boshi) russet iron bowl with 34 plates. With sword scars on the front. The bowl has been remounted in Kaga style during the Edo period. 

Provenance: French private collection

 

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Momonari kabuto 桃形兜. First half of the Edo Period. Signed: Neo Masanobu 銘: 根尾正信Courtesy Galerie Jean-Christophe Charbonnier

A russet iron helmet with 6 plates in momonari style featuring triple tomoe crests
The front plate has a bullet impact which most probably results from a tameshi (bullet resistance test).

La Galerie Jean-Christophe Charbonnier est spécialisée en art Japonais et s’intéresse tout particulièrement aux armes et armures. En axant son choix sur des objets de qualité exceptionnelle, elle s’est fait une réputation internationale auprès des grands collectionneurs tant privés qu’institutionnels. 

Galerie Jean-Christophe Charbonnier. Stand 114c. Brafa Art Fair, 21-29 janvier 2017 

Costermans. Stand 121b. Brafa Art Fair, 21-29 janvier 2017

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Balthasar Beschey (Antwerp, 1708–1776), La Commedia dell’Arte. Oil on panel, 33 x 43 cm. One of a pairCourtesy Costermans 

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Balthasar Beschey (Antwerp, 1708–1776), The fish market. Oil on panel, 33 x 43 cm. Signed lower B. Beschey. One of a pairCourtesy Costermans 

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Pair of Louis XVI candelabras with mermaids. Gilt and patinated bronze. Attributed to Francois Remond (Paris, circa 1747-1812), master in the bronze gilders' guild in 1774, Louis XVI period, circa 1783-1784. H 86 x W 41 x D 24 cm. Courtesy Costermans 

Provenance: private collection.

La Maison Costermans est installée depuis 1839 au Sablon, devenu le cœur de la vie culturelle bruxelloise. Spécialisée dans les œuvres d’art des XVIIIe et XIXe siècles, la famille Jaspar-Costermans compte parmi les plus anciens antiquaires européens. Aujourd’hui, la sixième génération développe le savoir-faire familial en ouvrant, avec la précieuse collaboration de Cédric Pelgrims de Bigard, une galerie de tableaux spécialisée dans les maîtres anciens des XVIIe et XVIIIe siècles. Les tableaux ainsi que l’ensemble des collections sont exposés dans l’hôtel particulier de la famille, datant du XVIIIe siècle. Comme ses prédécesseurs depuis 1947, l’actuel directeur, Marc Henri Jaspar-Costermans, est aussi membre de la Chambre Royale des Antiquaires et des Négociants en Œuvres d’Art de Belgique, elle-même affiliée à la Confédération Internationale des Négociants en Oeuvres d’Art (CINOA). Fondé en : 1839.

Costermans. Stand 121b. Brafa Art Fair, 21-29 janvier 2017 

Galerie Cybele. Stand 17d. Brafa Art Fair, 21-29 janvier 2017

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Fragment of an Egyptian relief. Limestone. New Kingdom, XVIIIth Dynasty; H 25 x W 20 cmCourtesy Galerie Cybele

The figure represents Hapi, the god of the annual flooding of the Nile, bearing offerings 

Provenance: Galerie Orient Occident, 1970

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Statuette of Aphrodite. Bronze; Greece, Late Hellenistic period, circa 2nd century BC. H 36 cmCourtesy Galerie Cybele

Provenance: collection Arnold Herstand, New York, 1980

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Head of the Goddess Cybele. Marble. Greece, 4th-3rd century BC. H 13 cm. Courtesy Galerie Cybele

On top of the head is a polos with a thick rim. The wavy, centrally-parted hair is bound at the nape of the neck, with two locks falling onto the shoulders. The oval face turns slightly to the right, with almond-shaped heavy-lidded eyes, and a full-lipped slightly open mouth. 

Provenance: collection of Miss Gaston de Tinan, 1960

Jean-Pierre Montesino crée la galerie Cybele à Paris en 1988 et y offre un choix d’antiquités du bassin méditerranéen avec une prédilection pour l’Egypte ancienne. Il est expert agréé par la Chambre européenne des Experts-Conseil en Œuvres d’Art et membre de l’ 'International Association of Dealers in Ancient Art' (IADAA). Cybele est aussi une librairie et maison d’édition spécialisée dans les livres d’égyptologie. 

Galerie Cybele. Stand 17d. Brafa Art Fair, 21-29 janvier 2017 

Epoque Fine Jewels. Stand 71b. Brafa Art Fair, 21-29 janvier 2017

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Bird of paradise brooch, Cartier, Paris, circa 1950Courtesy Epoque Fine Jewels

Sapphire, emerald and diamond mounted in platinum and gold. Total sapphire weight: circa 20 cts. Total diamond weight: circa 11.20 cts. Signed 'Cartier Paris' and numbered.

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Art Nouveau 'chaîne de corsage’, Georges Fouquet (1862-1957), jeweller & Alphonse Mucha (1860-1939), graphic artist, Paris, circa 1900Courtesy Epoque Fine Jewels

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Detail of the Art Nouveau 'chaîne de corsage’. Courtesy Epoque Fine Jewels

Composed of eleven unique sections set with various gemstones including rubies, sapphires and emeralds, baroque natural pearls and diamonds, with a geometric motif between each decorated with plique-à-jour enamel. Terminating in two pendants of foliate design highlighted with plique-à-jour and translucent enamel and baroque natural pearls, mounted in 18 ct gold. Length: circa 130.5 cm. With maker's marks of Georges Fouquet and numbered.

‘Epoque Fine Jewels’ a été fondée en 1958 par Nicole Verschuere et est aujourd’hui en pointe en ce qui concerne les bijoux anciens de haute qualité. La maison s’est spécialisée dans les bijoux les plus raffinés des XIXe et XXe siècles avec une prédilection pour l’Art Nouveau et l’Art Déco. La collection contient de rares et superbes créations de Cartier, René Lalique, Van Cleef & Arpels, Boucheron, Mauboussin et Tiffany. Aujourd’hui ‘Epoque Fine Jewels’ est toujours une entreprise familiale basée en Belgique qui participe à tous les grands évènements nationaux et internationaux dont TEFAF à Maastricht et à la Biennale des Antiquaires à Paris. Fondé en : 1958.

Epoque Fine Jewels. Stand 71b. Brafa Art Fair, 21-29 janvier 2017 


Finch & Co. Stand 37b. Brafa Art Fair, 21-29 janvier 2017

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Giacomo Zoffoli (Italian, 1731-1785), 'After the Antique' figure of the Apollino, 18th century. Bronze with fine light brown patina and traces of dark lacquer. Signed on the base ‘G.Zoffoli’. H 35.5 cmCourtesy Finch & Co.

Provenance: former English private collection

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Attributed to Domenico Guidi (1625-1701) or Ercole Ferrata (1610-1686), Weeping cherubs displaying St Veronica’s veil, Italy, mid 17th century. Roman rectangular bronze devotional plaque. H 17.5 x W 21.5 x D 1.5 cmCourtesy Finch & Co.

Provenance: former collection of Edward Cheney, Badger Hall, Shropshire; former collection Francis Capelcure; sold at Christies 1905, lot 54; former English private collection

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Unusual portrait figure of a black protestant missionary, Democratic Republic of the Congo, late 19th century. Carved ivory. H 21.5 cm (with base 28.5 cm). Courtesy Finch & Co.

Provenance: private European collection
Literature: Marc Leo Felix, ‘White Gold Black Hands’, vol. 8, 2014, p. 262, ill. 27

Comme un ‘Voyage autour du monde’ nous présentons des objets qui sortent de l’ordinaire, à la fois amusants mais qui donnent aussi matière à réflexion. Avec notre design d’exposition, nous essayons de recréer l’équivalent moderne du cabinet de curiosités, qui plaira à l’esprit ‘cool’ du nouveau collectionneur contemporain. Nous voulons que les gens puissent se rendre compte, en découvrant nos objets, qu’il est encore possible de rester bouche bée devant le monde qui nous entoure. Fondé en : 1989

Finch & Co. Stand 37b. Brafa Art Fair, 21-29 janvier 2017 

Galerie Grand-Rue Marie-Laure Rondeau. Stand 28c. Brafa Art Fair, 21-29 janvier 2017

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Study of a young boy, Florentine school, 17th century. Red and white chalk on brown laid paper, 20.9 x 17.9 cmCourtesy Galerie Grand-Rue Marie-Laure Rondeau

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Giuseppe Scoppa (Naples, mid 19th century), V. del Golfo di Pozzuoli. Gouache on wove paper, 42.7 x 64.5 cm. Traces of the artist's signature lower left in the marginCourtesy Galerie Grand-Rue Marie-Laure Rondeau

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MR. Mauton (Naples, first half of the 19th century), Atrio del Cavallo, 1822. Gouache on wove paper, 32.2 x 44.8 cm. Signed lower right in the margin 'MR. Mauton strada S. Carlo #.32'. Courtesy Galerie Grand-Rue Marie-Laure Rondeau

La Galerie Grand-Rue, spécialisée en œuvres sur papier des XVIIIe et XIXe siècles, a ouvert ses portes il y a plus de cinquante ans et a été reprise par Marie-Laure Rondeau en janvier 1988. Elle a développé une expertise particulière dans les artistes du Grand Tour, suisses, anglais, français et italiens, tels que A.L.R. Ducros, Salomon Corrodi, Franz Kaiserman, Amadeo Preziosi, Edward Lear, Saverio della Gatta et les peintres de gouaches napolitaines. La montagne étant un autre point fort de la Galerie Grand-Rue, elle présente régulièrement des vues spectaculaires des Alpes suisses et françaises ainsi que des livres relatant les premières ascensions au Mont-Blanc de la fin du XVIIIe siècle et du début du XIXe siècle.

Galerie Grand-Rue Marie-Laure Rondeau. Stand 28c. Brafa Art Fair, 21-29 janvier 2017 

Galerie ‘Art et Patrimoine’ - Laurence Lenne. Stand 126b. Brafa Art Fair, 21-29 janvier 2017

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Pair of candle holders in the shape of angels with spread wings. A follower of Palissy (Agen 1510-1589/90 Paris), a painter, potter and scholar. Polychrome earthenware. Late 16th century. H 32 cmCourtesy Galerie ‘Art et Patrimoine’

Comparable with a pair in the Metropolitan Museum, New York
Provenance: former Boucault collection

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Columbine shaped hanap, Nuremberg. Silversmith: Philip Plapert, between 1637-1665. Engraved and embossed silver. H 31.5 cmCourtesy Galerie ‘Art et Patrimoine’

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Majolica albarello, Antwerp, circa 1565. Polychrome motif of ironwork, putti, fruit baskets and garlands, arm trophies and cut leather; Neck and base higlighted with blue godroons. H 36 x Ø 26 cm. Courtesy Galerie ‘Art et Patrimoine’

Comparable with the large Antwerp jar with yellow background in the Royal Museum of Art and History in Brussels and with the panels of Antwerp majolica tiles ordered by the 5th Duke of Braganza in 1558 for his palace at the Vila Viçosa.

La galerie ‘Art et Patrimoine’, fondée en 1998, est spécialisée en porcelaine de Chine, céramiques européennes et objets d’art du Moyen-Age au XVIIIe siècle. Laurence Lenne a, à son actif, la publication de catalogues de céramiques anciennes de collection ainsi que des articles dédiés à la détection des faux en peinture sur céramique du XVIIIe siècle. Elle est membre de l’Association des Spécialistes en Céramique de Collection à Paris. Fondé en : 1998.

Galerie ‘Art et Patrimoine’ - Laurence Lenne. Stand 126b. Brafa Art Fair, 21-29 janvier 2017 

Kunstberatung Zurich AG. Stand 9c. Brafa Art Fair, 21-29 janvier 2017

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Niccolo di Pietro Gerini (Florence, 1368-1415), probably pupil of Taddeo Gaddi (Florence, 1290-1366), Virgin and Child with the Saints John the Baptist, Dominic, Peter and PaulTempera on panel, gold ground, shaped top, 81.3 x 49.5 cmCourtesy Kunstberatung Zurich AG

The overall design of this work matches the small-scale devotional panels that were very popular in the wake of the Black Death, but the decorative patterning of the background seems to be unique in the painter’s oeuvre.

Provenance: private collection, Rome, before 1920, and in Italy until at least 1925; private collection, France; Alexander M. Bing, New York; Gift of Alexander M. and Mrs. Florence Bing to the Los Angeles County Museum of Art, 1948 (acc. n° 48.1)

Literature: R. van Marle, ‘Italian School of Paintings’, vol. IX, The Hague 1927, pp. 244 and 246, ill. n° 158 (as Andrea di Giusto Manzini); Los Angeles County Museum Bulletin of the Art Division, Summer 1950, vol. III, n° 2, p. 18 (as Andrea di Giusto); ‘Great masters of the Italian Renaissance, 1400-1600’, exhibition catalogue, Vancouver 1953, p. 15; ‘Chinese Gold & Silver in the Carl Kempe Collection’, exhibition catalogue, Stockholm 1954, p. 15, n° 9; P. Wescher and E. Feinblatt, ‘Los Angeles County Museum, Catalogue of Paintings I: Catalogue of Italian French and Spanish Paintings, XV-XVIII Century’, Los Angeles 1954, p. 15, n° 9, ill. (as Andrea di Giusto Manzini); R. Longhi, 'Review of Los Angeles County Museum, Catalogue of Paintings I: Catalogue of Italian French and Spanish Paintings, XV-XVIII Century', in Paragone-Arte, vol. I, November 1954, p. 64 (where he states that the attribution to Andrea di Giusto is untenable);B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections , Cambridge, Massachusetts 1972, p. 591 (as Florence, 14th century); S. Schaefer, ‘European Painting and Sculpture in the Los Angeles County Museum of Art’, Los Angeles 1987, p. 104, ill. (as Florentine); S. Caroselli, ‘Italian Panel Painting of the Early Renaissance’, Los Angeles 1994, pp. 16, 94-5, ill.

Exhibition: ‘Great masters of the Italian Renaissance, 1400-1600’, Vancouver Art Gallery and Winnepeg Art Gallery 4 October-15 December, 1953

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Pieter Huys (Antwerp, circa 1519-1581/84), The harrowing of hell. Oil on panel, 27 x 39.5 cmCourtesy Kunstberatung Zurich AG

A Flemish Renaissance painter born into a family of artists, Huys worked as an engraver for the typographer Hieronymus Cock and for Christoph Plantin. In 1545 he became a master in the Antwerp Guild of St. Luke. He was influenced by Hieronymus Bosch (‘s-Hertogenbosch circa 1450-1516 Oirschot), although his figures are more lifelike and he used stronger colours.

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David Rijckaert II (Antwerp, 1586-1642),  Still life with trays of oysters, dried fruit, chestnuts and sweets. Oil on panel, 46 x 75.3 cm. Courtesy Kunstberatung Zurich AG

David Rijckaert II (Antwerp, 1586-1642), master of the Guild of Saint Luke in 1607/08, contributed to the early development of the still life as an independent genre through his delicate rendering of banquets and sumptuously covered tables

Provenance: private collection, Spain

Kunstberatung Zurich est négociant en tableaux du XVe au XXe siecle des écoles européennes et russes. Il s’impose de ne présenter que des œuvres de grande qualité, de conditions impeccables et dont la provenance est assurée pour satisfaire la demande des collectionneurs les plus exigeants. Fondé en : 2007

Kunstberatung Zurich AG. Stand 9c. Brafa Art Fair, 21-29 janvier 2017 

Galerie Bertrand de Lavergne. Stand 3c. Brafa Art Fair, 21-29 janvier 2017

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Chinese incense burner, Blue and white and copper-red porcelain on a celadon ground, China, Kangxi period (1662-1722). H 15.5 cmCourtesy Galerie Bertrand de Lavergne

Decorated in light relief with two deer and two cranes in a landscape. 

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Pair of incense boxes shaped as quails. Cloisonné enamel, China, Qianlong period (1736-1795). Total H 24 cmCourtesy Galerie Bertrand de Lavergne

They stand on a later wooden lotus shaped base

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Set of Chinese snuff bottles. Blue-and-white porcelain, Qing dynasty (1644-1912). H 8 cm (average). Courtesy Galerie Bertrand de Lavergne

Provenance for two of them: the important French collection M.G.

Literature: for two of them: 'Tabatières chinoises. Trésors des collections privées françaises', Le Louvre des Antiquaires, Paris, 2000 and for one of them: 'L'Estampille-l'Objet d'Art', n° 291, May 1995, p. 77

Exhibition: for two of them: 'Tabatières chinoises, Trésors des collections privées françaises', Le Louvre des Antiquaires, Paris, 2000

La galerie Bertrand de Lavergne a été créée au Louvre des Antiquaires en 1985 et a déménagé en 2015 dans de nouveaux locaux situés rue des Saints-Pères. Elle présente un bel ensemble de porcelaines chinoises d'exportation, des objets d’art chinois du XVIe au XVIIIe siècle et de la porcelaine japonaise et s'affirme comme une des seules galeries françaises spécialisées en tabatières chinoises de la période Qing. Son directeur, Bertrand de Lavergne est expert au sein de la Chambre Nationale des Experts Spécialisés, membre du Syndicat National des Antiquaires, membre de la Chambre Royale des Antiquaires et des Négociants en Oeuvres d'Art de Belgique et fondateur et secrétaire général de l'Association des Spécialistes de la Céramique de Collection. Il est également membre de l’International Chinese Snuff Bottle Society (Société Internationale de la Tabatière Chinoise), association américaine dont le siège se trouve à Baltimore et membre de l’Association Européenne des Collectionneurs de Tabatières Chinoises. La galerie participe depuis sa création il y a plus de dix ans à la BRAFA ainsi qu'au Parcours de la Céramique à Paris et a pris part au Salon du Collectionneur et à la Biennale des Antiquaires au Grand Palais également à Paris.  Fondé en : 1985

Galerie Bertrand de Lavergne. Stand 3c. Brafa Art Fair, 21-29 janvier 2017  

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