Plat à décor de navire à trois mâts et filets, Iznik, période ottomane (13e siècle-1922), vers 1620. Céramique siliceuse. H: 5,2 cm. D: 30,2 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8526. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat à décor de galère à trois mâts, Iznik, période ottomane (13e siècle-1922), vers 1620. Céramique siliceuse. H: 7 cm. D: 35,3 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.9597. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat à décor de navire à trois mâts et lanterne, Iznik, période ottomane (13e siècle-1922), vers 1570. Céramique siliceuse. H: 5,5 cm. D: 29,7 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8528. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat à décor de bateau à voiles carrées, Iznik, période ottomane (13e siècle-1922), 17e siècle. Céramique siliceuse. H: 6 cm. D: 31,5 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8340. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat à décor de bateau et nuages rouges, Iznik, période ottomane (13e siècle-1922), vers 1580. Céramique siliceuse. H: 5 cm. D: 29,8 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8341. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat à décor de bateau à trois mâts, Iznik, période ottomane (13e siècle-1922), vers 1660. Céramique siliceuse. H: 5,6 cm. D: 30,6 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8342. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat à décor de bateau à trois mâts, Iznik, période ottomane (13e siècle-1922), vers 1660. Céramique siliceuse. H: 6,2 cm. D: 29,7 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8345. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat à décor de galère à deux mâts et sept paires de rames, Iznik, période ottomane (13e siècle-1922), 17e siècle. Céramique siliceuse. H: 4,5 cm. D: 28 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8346. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat à décor de bateau à trois voiles latines, Iznik, période ottomane (13e siècle-1922), vers 1620. Céramique siliceuse. H: 6 cm. D: 29,6 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8348. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat à décor de navire à trois mâts et voiles bleues, Iznik, période ottomane (13e siècle-1922), vers 1620. Céramique siliceuse. H: 5,5 cm. D: 29,6 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8349. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat aux quatre barques sur fond vert, Iznik, période ottomane (13e siècle-1922), 17e siècle. Céramique siliceuse. H: 5,2 cm. D: 26,6 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8350. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat à décor de barques aux trois voiles rayées, Iznik, période ottomane (13e siècle-1922), vers 1625. Céramique siliceuse. H: 5 cm. D: 25 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8351. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat à décor de barques à la voile déployée, Iznik, période ottomane (13e siècle-1922), vers 1650. Céramique siliceuse. H: 5,1 cm. D: 26,4 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8353. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
Plat au bateau plat et deux personnages grotesques, Iznik, période ottomane (13e siècle-1922), vers 1620. Céramique siliceuse. H: 4,5 cm. D: 29,5 cm. Anc.coll.Salzmann, Acq. Musée de Cluny, 1865. Ecouen, musée national de la Renaissance, E.Cl.8347. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / René-Gabriel Ojéda
REZA. Dune ring, 2016. Dune Emerald ring featuring one oval Colombian emerald weighing 4.89 carats and 28 brilliant-cut diamonds weighing 2.22 carats, set on platinum.
REZA. Délhéa necklace, 2016.
Necklace featuring a yellow cabochon Ceylon sapphire weighing 30.34 carats, a Troidia Brazilian emerald weighing 5.76 carats, 11 yellow oval Cabochon sapphires weighing 3.48 carats, 103 princess-cut diamonds weighing 16.17 carats and 28 brilliant-cut diamonds weighing 1.51 carat, all set in white browned gold. Convertible into a bracelet
Four blue and white porcelain cups and saucers from the Nanking Cargo.
ATLANTA, GA.- When the Geldermalsen ship crashed into a reef and sank in the South China Sea during its return journey to the Netherlands in January of 1752, it claimed the lives of eighty crew members who went down with the vessel’s precious cargo of tea, textiles, gold, silk, lacquer, and porcelain. As part of the fleet of the powerful Dutch East India Company commissioned for the Zeeland division, the loss of the mighty Geldermalsen hardly went unnoticed.
Over two hundred years later, a successful salvage expert named Captain Michael Hatcher would excavate the ship and its contents, giving new understanding of eighteenth century trade demands and the rise of porcelain’s availability. Great Gatsby’s Auction Gallery will offer fourteen lots of blue and white porcelain from this incredible salvage from the personal collection of one of the expedition’s private backers.
The auction is slated for February 10-11-12, with 11 am start times all three days, online and in the firm’s Atlanta gallery at 5180 Peachtree Boulevard.
Lot 58. Pair of Nanking Cargo porcelain bowls and underliners in the "Batavian Landscape" and "Flying Geese" patterns, circa 1750. Est: $800 - $1,200.
Hatcher, along with his partner Max de Rham, a marine geophysicist, led a successful team of divers who unearthed the precious bounty that would catapult its already famous hunter into superstardom. ‘The Nanking Cargo,’ as it became known by its sale at Christie’s Amsterdam in April of 1985, contained a massive trove of the aforementioned blue and white porcelain, which was originally potted in China’s Jiangzi province bound for European markets.
The sheer scope of this find shed light on the true nature of the market’s demands, as traditional experts had always believed the records kept by the DEIC had exaggerated their shipments of porcelain. Safely protected underwater by the tea loosely packed in wooden crates, the porcelain in the Nanking Cargo represented the range of influence eastern artisans had over western tastes during the eighteen century.
Lot 59. Group of three Nanking Cargo porcelain soup plates in the "Willow Terrace" pattern, circa 1750. Est: $800 - $1,200.
Captain Hatcher and his team had the untouched archives of the DEIC in Holland to thank for locating the whereabouts of this famous – and suspicious wreck. Due to the nature of the disaster – in well chartered waters by one of the world’s most esteemed shipping companies – the DEIC spent weeks interrogating the survivors who had made it to present-day Jakarta on two open boats.
Not only was an entire cargo worth of precious porcelain and trade goods missing, but so was the gold, at first believed to be hidden by the survivors. With such detailed records on hand, Hatcher would embark on months of searching, believing his efforts to be worthless until they unearthed the treasure from a three foot layer of silt and coral.
Lot 60. Group of two large Nanking Cargo blue and white bowls in the "Scholar on Bridge" pattern, circa 1750. Est: $800 - $1,200.
The excitement generated by the find was evident during the first frenzied days of the cargo’s namesake auction at Christie’s Amsterdam. International interest – both financial and historical – had taken hold and this caught the attention of the Chinese government, who tried unsuccessfully to bring the porcelain back to its country of origin.
Maritime salvage laws permitted the cargo to go across the auction block, where it broke numerous records and raised a staggering $20 million USD. Consider this your chance to own a piece of decorative and maritime history; perhaps it will inspire the treasure hunter in you!
Lot 61. Pair of Nanking Cargo porcelain bowls and underliners in the "Batavian Landscape" and "Flying Geese" patterns, circa 1750. Est: $800 - $1,200.
Lot 62. Group of two large Nanking Cargo blue and white bowls in the "Scholar on Bridge" pattern, circa 1750. Est: $800 - $1,200.
Lot 63. Pair of Nanking Cargo porcelain bowls and underliners in the "Batavian Landscape" and "Flying Geese" patterns, circa 1750. Est: $800 - $1,200.
Lot 64. Group of four Nanking Cargo Batavia ware tea bowls and saucers in the "Batavian Bamboo" pattern, circa 1750. Est: $800 - $1,200.
Lot 512.Pair of Nanking Cargo porcelain bowls and underliners in the "Batavian Landscape" and "Flying Geese" patterns, circa 1750. Est: $800 - $1,200.
Lot 513. Group of three Nanking Cargo porcelain soup plates in the "Willow Terrace" pattern, circa 1750. Est: $800 - $1,000.
Lot 514. Group of four Nanking Cargo Batavia ware tea bowls and saucers in the "Batavian Bamboo" pattern, circa 1750. Est: $800 - $1,200.
Lot 515. Group of two large Nanking Cargo blue and white bowls in the "Scholar on Bridge" pattern, circa 1750. Est: $800 - $1,200.
Lot 516. Pair of Nanking Cargo porcelain bowls and underliners in the "Batavian Landscape" and "Flying Geese" patterns, circa 1750. Est: $800 - $1,200.
Lot 517. Group of three Nanking Cargo porcelain soup plates in the "Willow Terrace" pattern, circa 1750. Est: $800 - $1,200.
Lot 518. Pair of Nanking Cargo porcelain bowls and underliners in the "Batavian Landscape" and "Flying Geese" patterns, circa 1750. Est: $800 - $1,200.
Pipo Nguyen-duy, Untitled L9, Monet’s Garden, Giverny, 1998. Signed, titled, and dated in pencil, verso. Cyanotype (Unique), 15 x 11.5 inches, $1650.00.
NEW YORK, NY.- ClampArt announces the opening of “AnOther Expedition: Monet’s Garden,” Pipo Nguyen-duy’s first solo show in New York City.
These cyanotype prints of botanical specimens were made by Vietnamese-born artist Pipo Nguyen-duy in Claude Monet’s garden. Nguyen-duy was awarded a grant from The Wallace Foundation and The Reader’s Digest Association to live and work in the garden in Giverny, France.
Samples were laid directly on to sheets of paper sensitized with a mixture of Ferric ammonium citrate and Potassium ferricyanide. After the chemistry was allowed to dry, the specimens were exposed by contact with sunlight and then processed there on site.
Pipo Nguyen-duy, Untitled 51, Monet’s Garden, Giverny, 1998. Signed, titled, and dated in pencil, verso; Cyanotype (Unique), 115 x 11.5 inches. Sold.
When displayed, “AnOther Expedition” is a simulated natural history museum installation of a fictitious Vietnamese colonial expedition to France. This installation includes the cyanotype prints of flora specimen as well as water, soil, and other physical elements that were collected from Monet’s garden. The intention is to subvert the historical European Gaze on Asia, to deconstruct the invention of photography as a colonial tool, and finally to question the authority and validity of Western cultural institutional practices.
Pipo Nguyen-duy was born in Hue, Vietnam. Growing up within thirty kilometers of the demilitarized zone of the 18th Parallel, he describes hearing gunfire every day of his early life. He later immigrated to the United States as a political refugee.
Nguyen-duy has taken on many things in life in pursuit of his diverse interests. As a teenager in Vietnam, he competed as a national athlete in table tennis. He also spent some time living as a Buddhist monk in Northern India. Eventually Nguyen-duy earned a Bachelor of Arts degree in economics at Carleton College. He then moved to New York City, where he worked as a bartender and later as a nightclub manager. Finally, Nguyen-duy earned a Master of Arts in Photography, followed by a Master of Fine Arts in Photography, both from the University of New Mexico at Albuquerque.
Pipo Nguyen-duy, Untitled F27, Monet’s Garden, Giverny, 1998. Signed, titled, and dated in pencil, verso. Cyanotype (Unique), 15 x 11.5 inches, $1650.00
Nguyen-duy has received many awards and grants including a prestigious Guggenheim Fellowship in Photography; a National Endowment for the the Arts; an En Foco Grant; a Professional Development Grant from the College Arts Association; a National Graduate Fellowship from the American Photography Institute; a Fellowship from the Oregon Arts Commission; a B. Wade and Jane B. White Fellowship in the Humanities at Oberlin College; and three Individual Artist Fellowships from the Ohio Arts Council. He participated as an artist-in-residence at Monet’s garden through The Lila Wallace-Reader’s Digest Artists at Giverny Fellowship; as an artist-in-residence at the Headlands Center for the Arts in Sausalito, California; and participated in Light Work’s Artist-in-Residence program.
Nguyen-duy has lectured widely and his work is part of many public collections in the United States, Europe, and Asia. He is currently a professor teaching photography at Oberlin College in Oberlin, Ohio.
Pipo Nguyen-duy, Untitled L9, Monet’s Garden, Giverny, 1998. Signed, titled, and dated in pencil, verso. Cyanotype (Unique), 15 x 11.5 inches, $1650.00.
Pipo Nguyen-duy, Untitled C24, Monet’s Garden, Giverny, 1998. Signed, titled, and dated in pencil, verso. Cyanotype (Unique), 15 x 11.5 inches, $1650.00.
Pipo Nguyen-duy, Untitled F32, Monet’s Garden, Giverny, 1998. Signed, titled, and dated in pencil, verso. Cyanotype (Unique), 15 x 11.5 inches, $1650.00.
Pipo Nguyen-duy, Untitled L11, Monet’s Garden, Giverny, 1998. Signed, titled, and dated in pencil, verso. Cyanotype (Unique), 15 x 11.5 inches, $1650.00.
Pipo Nguyen-duy, Untitled C33, Monet’s Garden, Giverny, 1998. Signed, titled, and dated in pencil, verso. Cyanotype (Unique), 15 x 11.5 inches, $1650.00.
Pipo Nguyen-duy, Untitled F24, Monet’s Garden, Giverny, 1998. Signed, titled, and dated in pencil, verso. Cyanotype (Unique), 15 x 11.5 inches, $1650.00.
Pipo Nguyen-duy, Untitled L12, Monet’s Garden, Giverny, 1998. Signed, titled, and dated in pencil, verso. Cyanotype (Unique), 15 x 11.5 inches. Sold.
Anish Kapoor
British-Indian artist Anish Kapoor has released a riff on German artist Joseph Beuys’ famed 1974 performance piece, “I Like America and America Likes Me,” as a protest to the exclusionary policies of the Trump administration.
Kapoor has reimagined the poster that Beuys made for his performance, placing his own portrait in the work and rewriting the text to “I Like America and America Doesn’t Like Me.”
Explains Kapoor on his website, "I call on fellow artists and citizens to disseminate their name and image using Joseph Beuys's seminal work of art as a focus for social change. Our silence makes us complicit with the politics of exclusion. We will not be silent."
Beuys' performance began at Kennedy Airport where he was wrapped in felt and taken in an ambulance to René Block Gallery. Once there, the artist spent days in a room with just a felt blanket, a flashlight, a cane, and a wild coyote.
