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A small Chinese cloisonné enamel 'lotus' box and cover, Qianlong mark and period (1736-1795)

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Lot 509. From the property of Mary Duchess of Roxburghe. A small Chinese cloisonné enamel 'lotus' box and cover, Qianlong mark and period (1736-1795). Estimate 6,000 — 8,000 GBP. Lot sold 17,500 GBPPhoto courtesy Sotheby's.

of circular form, the rounded sides rising from a short spreading foot, brightly enamelled with lotus strapwork reserved on a turquoise ground, the domed cover similarly decorated, the interior and base gilt, the base inscribed with a four-character reign mark and shou character respectively; 6.5cm., 2 ½ in. Quantity: 2

ProvenancePossibly acquired by or given to General John Crewe (bap. 1772–1835) who travelled to Peking as part of the first British Embassy to China, led by Lord Macartney in 1793.

NotesA number of cloisonné vessels inscribed with an additional character below the reign mark, such as the shou (to receive) character found on the base of the present box, are discussed by Sir Harry Garner in Chinese and Japanese Cloisonné Enamels, London, 1962, p. 92, where it is noted that the ‘use of characters in addition to a nian hao seems to be peculiar to cloisonné’. Although the exact purpose of these characters is still unknown, scholars believe that they may have served as a way of numbering objects in large sets.

Compare two similar boxes with a Qianlong mark and the character guang (official) and dou (to present) respectively, sold in these rooms, the first, 12th June 1990, lot 48, and the second, 16th May 2007, lot 94. See also another box with a similar design and the additional character zhen (gem) below the reign mark, illustrated in Chinese Cloisonné. The Clague Collection, Phoenix, 1980, pl. 54.

Sotheby's. The Duchess Property & Precious Objects from the Estate of Mary, Duchess of Roxburghe London, 27 May 2015


A pair of Chinese celadon-glazed garlic-mouth vases, Qing dynasty, 18th-19th century

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Lot 208. From the property of Mary Duchess of Roxburghe. A pair of Chinese celadon-glazed garlic-mouth vases, Qing dynasty, 18th-19th century. Estimate 6,000 — 8,000 GBP. Lot sold 12,500 GBP. Photo courtesy Sotheby's.

the globular body rising from a stepped foot, surmounted by a tall waisted neck terminating to a garlic-form mouth, the neck flanked by a pair of foliate scroll handles, decorated to the exterior with rows of lotus lappets, covered overall in a sea-green glaze. Quantity: 2

Provenance: John Sparks, London (according to label).

Sotheby's. The Duchess Property & Precious Objects from the Estate of Mary, Duchess of Roxburghe London, 27 May 2015

Natural pearl and diamond brooch-pendant, late 19th century

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Lot 622. From the property of Mary Duchess of Roxburghe. Natural pearl and diamond brooch-pendant, late 19th century. Estimate 5,500 — 7,500 GBP. Lot sold 8,125 GBP. Photo courtesy Sotheby's.

of open work circular foliate design, set with circular-cut and rose diamonds accented with natural pearls, with similarly set suspension loop, several small diamonds deficient. 

Sotheby's. The Duchess Property & Precious Objects from the Estate of Mary, Duchess of Roxburghe London, 27 May 2015

Diamond ring, Cartier, 1930s

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From the property of Mary Duchess of Roxburghe. Diamond ring, Cartier, 1930s. Estimate 8,000 — 12,000 GBP Lot sold 167,000 GBP. Photo courtesy Sotheby's

set with two pear-shaped diamonds weighing 2.31 and 2.34 carats respectively, further accented with two marquise-shaped diamonds, size L, signed Cartier London, case stamped Cartier Paris.

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A photograph of Mary Crewe-Milnes before her marriage to the Duke of Roxburghe, age 19.

Mary Evelyn Hungerford Crewe-Milnes (named after her godmother Queen Mary) was born into a world of tradition and high society. Her mother was the daughter of a British Prime Minister and a Rothschild heiress, and her father was the handsome Earl of Crewe. Their homes were frequented by bright young things, politicians and the grandees of society. Mary, their only surviving child, inherited West Horsley Place in Surrey from her mother. 

Sotheby's. The Duchess Property & Precious Objects from the Estate of Mary, Duchess of Roxburghe London, 27 May 2015

The Metropolitan Museum of Art opens first major exhibition in the United States devoted to Hercules Segers

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NEW YORK, NY.- Hercules Segers (ca. 1589–ca. 1638), the great Dutch experimental printmaker, created otherworldly landscapes of astonishing originality by using an extraordinary array of techniques that still puzzle scholars today. The Mysterious Landscapes of Hercules Segers, on view at The Metropolitan Museum of Art from February 13 through May 21, is the first major exhibition in the United States devoted to the artist, who possessed one of the most fertile creative minds of his time. Although his name is not well known today, Segers’s works were highly prized during his lifetime, and Rembrandt (1606-1669) owned eight of his paintings and a printing plate. 

Segers’s surviving works are extremely rare: only 10 impressions of his prints are in museums in the United States (one in The Met collection), and only 15 paintings have been attributed to the artist. The Mysterious Landscapes of Hercules Segers features a selection of these paintings, in addition to almost all of Segers’s prints in varying impressions. The Rijksmuseum, whose collection of Segers’s work is the largest in the world, is generously lending its entire holdings (74 prints, two oil sketches, and one painting) to the exhibition. Other European institutions, notably the British Museum and the Kupferstichkabinett of the Staatliche Kunstsammlungen in Dresden, are lending important works that allow The Met to highlight Segers’s remarkable printed oeuvre in a variety of stages, revealing the range of the artist’s experiments with the etching technique, along with his idiosyncratic use of materials. 

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Hercules Segers (Dutch, ca. 1590–ca. 1638), Houses near Steep Cliffsca. 1619-23. Oil on canvas, 27 9/16 × 34 1/8 in. (70 × 86.6 cm). Museum Boijmans Van Beuningen, Rotterdam Inv. no. 2525

Hercules Segers is often characterized as a forgotten genius who was beset by misfortune during his life and died in poverty. In fact, he was a well-known painter, and his work entered numerous collections during his lifetime. The eldest son of a merchant who sold clothes and paintings, Segers was sent to Amsterdam to train with the foremost landscape painter Gillis van Coninxloo. He then joined the artists’ guild in Haarlem in 1612, at a time when that city was an important center for printmaking. In 1614 Segers moved back to Amsterdam and married Anna van der Bruggen, who was 16 years his senior and wealthy. By 1619 he bought a house in Amsterdam with a view of the incomplete North Church (Noorderkerk), which he etched around 1623. Not long afterward, in 1630, Segers faced financial difficulties and was forced to sell his house to pay his debts. Around that time, he also became active selling paintings and moved to Utrecht where he sold approximately 137 paintings, including 33 of his own. His stay in Utrecht was relatively brief, and by early 1632 he had moved on to The Hague, where he died sometime between 1633 and 1638. 

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Hercules Segers (Dutch, ca. 1590–ca. 1638), River Valleyca. 1626–1630. Oil on canvas, 11 1/2 × 20 7/8 in. (29.2 × 53.1 cm)Rijksmuseum, Amsterdam; Cornelis Hofstede de Groot Bequest, exchanged with the City of Groningen, 1931 (inv. no. SK-A-3120)

Segers probably never saw the mountains that he painted and most likely did not travel much beyond Holland, other than to Brussels. His landscapes were influenced by works by earlier artists like Pieter Bruegel the Elder, but his etchings depicting rocky outcroppings resembling the surface of a distant planet, are completely original, and look like nothing else found in 17th–century Dutch art. Departing significantly from the traditional methods of his contemporaries, Segers rejected the idea that prints from a single plate should all look the same in black and white. He produced impressions in varied color schemes, painted them, then added lines or cut down the plate, turning each impression of his evocative landscapes into miniature paintings that were ahead of their time. He also painted the paper and fabrics on which he printed, created etchings in colored inks, used two printing plates to define a single image, and painted on top of impressions. He invented techniques, most notably lift-ground etching, that were not used for another 150 years.  

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Hercules Segers (Dutch, ca. 1590–ca. 1638), Valley with Trees and Mountainsca. 1625–1630. Oil on panel,
8 7/8 × 20 7/8 in. (22.5 × 53 cm). Mauritshuis, The Hague. Purchased with the support of the Rembrandt Association, the Prince Bernhard Culture Fund, the Royal Dutch Foundries and Steel Mills Ltd, IJmuiden and the Friends of the Mauritshuis Foundation, 1969, The Hague inv. 1033)

Rembrandt, a contemporary of Segers, owned eight paintings by the artist as well as one of his printing plates, and drew inspiration from Segers for some of his own experimental prints. During the organization of this exhibition, it was discovered that Segers owned a painting by Rembrandt, making it possible to imagine that the two artists discussed art together. 

Segers’s highly experimental approach to printmaking has given him a cult following among modern and contemporary artists. His works appear so much out of their time that filmmaker Werner Herzog incorporated details of Segers’s landscapes in a piece—titled Hearsay of the Soul—that he created for the 2012 Whitney Biennial. 

The Mysterious Landscapes of Hercules Segers is organized by Nadine M. Orenstein, Drue Heinz Curator in Charge of the Department of Drawings and Prints at The Met.

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Hercules Segers, (Dutch, ca. 1590–ca. 1638), Mountainous Landscape with a Distant View Painting, ca. 1620-25. Oil on canvas on panel, 21 3/4 × 39 in. (55.2 × 99 cm). Galleria degli Uffizi, Florence (inv. no. 1303) Cat. P 5

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Hercules Segers (Dutch, ca. 1590–ca. 1638), Skull on a Ledgeca. 1619-23. Oil on canvas, 11 7/16 × 10 3/8 in. (29.1 × 26.3 cm)S. H. Spencer Compton, Trustee of the Edith I. Welch 2011 Irrevocable Family Trust

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Hercules Segers (Dutch, ca. 1590–ca. 1638), Skullca. 1618-22. Line etching printed in black on cotton with a gray ground; unique impression, 2 15/16 × 4 3/16 in. (7.4 × 10.6 cm). Rijksmuseum, Amsterdam; on loan from the City of Amsterdam, collection Michiel Hinloopen (1619–1708), 1885 (inv. no. RP-P-H-OB-866)

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Hercules Segers (Dutch, ca. 1590–ca. 1638), Ruins of Brederode Castle from the Southwestca. 1618-22. Line etching printed in black; unique impression, 3 7/8 × 5 5/16 in. (9.9 × 13.5 cm)Rijksmuseum, Amsterdam; on loan from the City of Amsterdam, collection Michiel Hinloopen (1619–1708), 1885 (inv. no. RP-P-H-OB-855)

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Hercules Segers (Dutch, ca. 1590–ca. 1638), The Mossy Treeca. 1625-30. Lift-ground etching printed in green, on a light pink ground, colored with brush; unique impression, 6 5/8 × 3 7/8 in. (16.8 × 9.8 cm)Rijksmuseum, Amsterdam; on loan from the City of Amsterdam, collection Michiel Hinloopen (1619–1708), 1885 (inv. no. RP-P-H-OB-847)

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Hercules Segers (Dutch, ca. 1590–ca. 1638), The Lamentation of Christca. 1630-33. Line etching printed with tone and blue highlights on a cream tinted ground, colored with brush, 6 7/16 × 6 1/4 in. (16.3 × 15.9 cm). Rijksmuseum, Amsterdam; transferred from the Koninklijke Bibliotheek, collection Pieter Cornelis Baron van Leyden (1717-1788), 1816 (inv. no. RP-P-OB-797)

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Hercules Segers (Dutch, ca. 1590–ca. 1638), Tobias and the Angelca. 1630-33. Line etching printed with tone and olive green highlights; first state of six, 7 15/16 × 10 7/8 in. (20.1 × 27.6 cm)Rijksmuseum, Amsterdam; transferred from the Koninklijke Bibliotheek, collection Pieter Cornelis Baron van Leyden (1717-1788), 1816 (inv.nr. RP-P-OB-796)

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Hercules Segers (Dutch, ca. 1590–ca. 1638) & Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam)Tobias and the Angel / The Flight into Egyptca. 1653. Etching reworked with drypoint by Rembrandt, printed on vellum; third state of six, 23 7/16 × 18 9/16 × 7/8 in. (59.5 × 47.2 × 2.3 cm)Paris, Louvre Museum, Department of Graphic Arts, Edmond de Rothschild Collection Inv. no. 2370 LR

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Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) & Hercules Segers (Dutch, ca. 1590–ca. 1638), Flight into Egypt: Altered from Tobias and the Angel by Hercules Segersca. 1653. Etching reworked with drypoint and burin by Rembrandt; sixth state of seven, 8 7/16 × 11 in. (21.4 × 28 cm)The Metropolitan Museum of Art, Rogers Fund, 1919, 19.19.4

Gerhard Richter (B.1932), Abstraktes Bild (843-4), 1997

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Gerhard Richter (B.1932), Abstraktes Bild (843-4), signed, dated 1997 and numbered 843-4 on the reverse oil on aluminum 21 5/8 by 18 7/8 in. 54.9 by 47.9 cm. Estimate 600,000 — 800,000 USD. Photo: Sotheby's.

ProvenanceAnthony d'Offay Gallery, London
Acquired from the above by the present owner in January 1999

ExhibitedVenice, Biennale di Venezia: XLVII, June - November 1997
London, Anthony d'Offay Gallery, Gerhard Richter, 1998, September - October 1998, p. 15, illustrated in color

LiteratureRosana Alberti and Francesca Barzazi, Biennale di Venezia XLVII Future Present Past, Milan 1997, p. 528, illustrated in color
Guy Tosatto, Gerhard Richter: Le sentiment d'avoir approché quelque chose de la réalité des apparences, Grenoble 1998, p. 39, illustrated in color
Rainer Metzger, Flächenland. Anmerkungen zu Gerhard Richter’s Arbeit an der Evidenz, Noema 1999, p. 48, illustrated in color
Exh. Cat., Düsseldorf, K20 Kunstsammlung Nordrhein-Westfalen, Gerhard Richter, 2005, p. 280, illustrated in color

Note"For works like those, as Richter wrote to Buchloh in 1977, the premise is "that I can communicate nothing, that there is nothing to communicate, that painting can never be communication, that neither hard work, obstinacy, lunacy nor any trick whatever is going to make the absent message emerge of its own accord from the painting process." Consciously or not, Richter is citing Samuel Beckett, who called for an "expression that there is nothing to express, nothing with which to express, nothing from which to express, no power to express, no desire to express, together with the obligation to express." Not surprisingly, Richter soon discovered that a message nonetheless does emerge from the painting process, that something is communicated." 

Barry Schwabsky, The Perpetual Guest: Art in the Unfinished Present, Brooklyn 2016, p. 98

Gerhard Richter’s Abstraktes Bild series represents the paragon of the artist’s treatise on the aesthetic and conceptual capacities of painting. Executed in 1997, Abstraktes Bild (843-4) is an outstanding example from this celebrated body of work. The artist’s process is expressed in the gestural tide of color that pulls from both edges of the aluminum support, revealing a kaleidoscopic world within.

Richter’s practice of abstract painting began in 1976. Reflecting on his process Richter said, "I want to end up with a picture that I haven't planned. This method of arbitrary choice, chance, inspiration and destruction may produce a specific type of picture, but it never produces a predetermined picture...I just want to get something more interesting out of it than those things I can think out for myself" (Richter interviewed in 1990, in Hubertus Butin and Stefan Gronert, Eds., Gerhard Richter. Editions 1965-2004: Catalogue Raisonné, Ostfildern-Ruit, 2004, p. 36). Richter’s work is forged through an encounter with his painting tool of choice, the squeegee. With this tool, Richter abandons the traditionally soft and nimble brush, surrendering instead to the uniformly firm rubber edge of the squeegee.  Stating the importance of the squeegee , Richter noted, “It is a good technique for switching off thinking. Consciously, I can’t calculate the result. But subconsciously, I can sense it. This is a nice ‘between’ state” (Gerhard Richter in Stefan Koldehoff, “Gerhard Richter,‘Malerie ist eine moralilsche Handlung,’” Wolkenkratzer Art Journal, April - June 1985, p. 40).

The Abstraktes Bild paintings can be related to an earlier series of works in which Richter painted from photographs, then blurred them while still wet. Richter explained of this process: “I blur things to make everything equally important and unimportant. I blur things so that they do not look artistic or craftsman like but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information” (Gerhard Richter, “Notes, 1964-1965,” in DPP, p. 34). The present work’s aesthetic mimics a photographic quality accentuated by out-of-focus sweeping swaths of paint. Richter is denying the viewer the ability to see anything conclusive in his work, but rather suggesting that the work’s significance can extend in infinite directions and have innumerable meanings. By suggesting that the perception of a painting does not necessarily depend on what can be seen, Richter’s ability tests the limits of representation. 

Sotheby's. Contemporary Curated featuring works from “In Its Own Light: Property from the Collection of Ed Cohen and Victoria Shaw”, New York, 02 Mar 2017, 10:00 AM

Exhibition concentrating on Wolfgang Tillmans' production across different media opens at Tate Modern

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Wolfgang Tillmans astro crusto, a, 2012© Wolfgang Tillmans

LONDON.- Wolfgang Tillmans has earned recognition as one of the most exciting and innovative artists working today. Tate Modern presents an exhibition concentrating on his production across different media since 2003. First rising to prominence in the 1990s for his photographs of everyday life and contemporary culture, Tillmans has gone on to work in an ever greater variety of media and has taken an increasingly innovative approach to staging exhibitions. Tate Modern brings this variety to the fore, offering a new focus on his photographs, video, digital slide projections, publications, curatorial projects and recorded music. 

Social and political themes form a rich vein throughout Tillmans’s work. The destabilization of the world has arisen as a recurring concern for the artist since 2003, an important year when he felt the world changed with the invasion of Iraq and anti-war demonstrations. In 2017, at a moment when the subject of truth and fake news is at the heart of political discourse, Tillmans presents a new configuration of his tabletop installation truth study center 2005-ongoing. This ongoing project uses an assembly of printed matter from pamphlets to newspaper cuttings to his own works on paper to highlight Tillmans’s continued interest in word events and how they are communicated in the media. 

 

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Wolfgang Tillmans, Lampedusa, 2008 © Wolfgang Tillmans

Wolfgang Tillmans: 2017 will particularly highlight the artist’s deeper engagement with abstraction, beginning with the important work Sendeschluss / End of Broadcast I 2014. Based on images the artist took of an analogue TV losing signal, this work combines two opposing technologies – the digital and the analogue. Other works such as the series Blushes 2000-ongoing, made without a camera by manipulating the effects of light directly on photographic paper, show how the artist’s work with abstraction continues to push the boundaries and definitions of the photographic form. 

The exhibition includes portraiture, landscape and still lives. A nightclub scene might record the joy of a safe social space for people to be themselves, while large-scale images of the sea such as La Palma 2014 or The State We’re In, A 2015 document places where borders intersect and margins are ever shifting. At the same time, intimate portraits like Collum 2011 focus on the delicacy, fragility and beauty of the human body. In 2009, Tillmans began using digital photography and was struck by the expanded opportunities the technology offered him. He began to travel more extensively to capture images of the commonplace and the extraordinary, photographing people and places across the world for the series Neue Welt 2009 – 2012. 

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Wolfgang Tillmans, Tukan, 2010 © Wolfgang Tillmans

The importance of Tillmans’s interdisciplinary practice is showcased throughout the exhibition. His Playback Room project, first shown at his Berlin exhibition space Between Bridges, provides a space within the museum for visitors to experience popular music by Colourbox at the best possible quality. The video installation Instrument 2015 shows Tillmans dancing to a soundtrack made by manipulating the sound of his own footsteps, while in the Tanks Studio his slide projection Book for Architects 2014 is being shown for the first time in the UK. Featuring thirty-seven countries and five continents, it reveals the tension between architectural form and function. In March, Tillmans will also take over Tate Modern’s south Tank for ten days with a specially-commissioned installation featuring live music events. 

Wolfgang Tillmans: 2017 is co-curated by Chris Dercon and Helen Sainsbury, Head of Programme Realisation, Tate Modern with Emma Lewis, Assistant Curator, Tate Modern. The exhibition is accompanied by a catalogue from Tate Publishing designed by Wolfgang Tillmans and a programme of talks and events in the gallery.

 

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Wolfgang Tillmans, Greifbar 29, 2014 © Wolfgang Tillmans

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Wolfgang Tillmans, Still Life, Calle Real II, 2015 © Wolfgang Tillmans

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Wolfgang Tillmans, Collum, 2011© Wolfgang Tillmans.

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Wolfgang Tillmans, paper drop Prinzessinnenstrasse, 2014© Wolfgang Tillmans.

Gerhard Richter (B.1932), Fuji (839-68), 1996

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Lot 228. Gerhard Richter (B.1932), Fuji (839-68), signed on the reverse oil on aluminum 14 1/2 by 11 1/2 in. 36.8 by 29.2 cm. Executed in 1996Estimate 400,000 — 600,000 USD. Photo: Sotheby's.

Provenance: Galerie Fred Jahn, Munich
Private Collection, USA
Private Collection, New York  

Literature: Hubertus Butin and Stefan Gronert, Eds., Gerhard Richter: Editions 1965-2004, Ostfildern 2004, cat. no. 89, p. 238, another example illustrated in color
Hubertus Butin, Stefan Gronert, and Thomas Olbricht, Eds., Gerhard Richter: Editions 1965-2013, Ostfildern 2014, cat. no. 89, p. 260, another example illustrated in color 

Note: With its chromatically spectacular arrangement of red, green and white oil paint on a shimmering aluminum base, Gerhard Richter’s (839-68) is an energetically accomplished example from the artist’s celebrated abstract paintings. Beautifully fusing his distinctive interest in chance and control, (839-68) captures Richter’s unique visual language and echoes the arresting aesthetic of his monumental paintings from the 1990s on a domestic scale.

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Mount Fuji Covered With First Snow of The Season, Fujiyoshida, Japan, October 11, 2015. Photo by The Asahi Shimbun / Getty Images

The Fuji series was conceived in 1996 as a series of 110 unique paintings. Each Fuji painting was individually produced by applying separate layers of red, Indian yellow and emerald green paint on an aluminum surface, after which the artist applied another layer of white paint with his signature squeegee tool on top. By spreading out these different layers of oil paint over the smooth surface, unexpected gradients and ruptures emerge that produce the unmistakable aesthetic of Richter’s abstract paintings and create a beautiful contrast between soft color transitions and abrupt breaks where the underlying paint layers become visible. This combination of a controlled, pre-conceived process and the unexpected effects of the squeegee are characteristic for Richter. “We only find paintings interesting because we always search for something that looks familiar to us. I see something and in my head I compare it and try to find out what it relates to. And usually we do find those similarities and name them… When we don’t find anything, we are frustrated and that keeps us excited and interested.” (Gerhard Richter in conversation with Robert Storr, Exh. Cat., New York, The Museum of Modern Art, Gerhard Richter: Forty Years of Painting, 2002, p. 304)

As one of the most brightly colored and beautifully constructed paintings, the present painting is an exceptional work from the series, as well as an outstanding example of Richter’s iconic abstract paintings. With deep reds, yellows and greens appearing from underneath the white top layer, the particularly vivid colors and tangible surface make (839-68) an unmistakably important work from one of the leading artists of Contemporary Art today.

Sotheby's. Contemporary Curated featuring works from "In Its Own Light: Property from the Collection of Ed Cohen and Victoria Shaw", New York, 02 Mar 2017, 10:00 AM


Gerhard Richter (B.1932), Souvenir 36/64, 1995

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Lot 4. Gerhard Richter (B.1932), Souvenir 36/64, signed and numbered 36/64 on a label affixed to the reverse oil on canvas 8 1/4 by 8 1/4 in. 21 by 21 cm. Executed in 1995, this work is number 36 of 64 unique parts from the painting CR 813-0, which was cut into individual canvases by the artistEstimate 40,000 — 60,000 USD. Photo: Sotheby's.

Provenance: Anthony d'Offay Gallery, London
Acquired from the above by the present owner circa 1998 

Literature: Hubertus Butin and Stefan Gronert, Eds., Gerhard Richter: Editions 1965-2004, Ostfildern 2004, cat. no. 84, p. 232, another example illustrated in color
Hubertus Butin, Stefan Gronert, and Thomas Olbricht, Eds., Gerhard Richter: Editions 1965-2013, Ostfildern 2014, cat. no. 84, p. 255, another example illustrated in color 

Note: "I neither know in advance what it is meant to look like nor, during the painting process, what I am aiming at and what to do about getting there. Painting is consequently an almost blind, desperate effort, like that of a person abandoned, helpless, in totally incomprehensible surroundings." Gerhard Richter in Jürgen Harten & Dietmar Elger, Gerhard Richter: Paintings 1962-1985, Düsseldorf 1986, p. 89

 

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Film still from Gerhard Richter: Painting, 2011. Dir. Corinna Belz, Zero One Film, 2011© Piffle Medien, Berlin © Gerhard Richter 2017

Sotheby's. Contemporary Curated featuring works from “In Its Own Light: Property from the Collection of Ed Cohen and Victoria Shaw”, New York, 02 Mar 2017, 10:00 AM

Gerhard Richter (B.1932), Untitled (5.5.89)

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Lot 24. Gerhard Richter (B.1932), Untitled (5.5.89), signed and dated 5.5.89, oil on photograph, 5 7/8 by 4 in., 14.9 by 10.2 cm.

Executed in 1989, this work will be included in the forthcoming publication Gerhard Richter: Overpainted Photographs, A Comprehensive Catalogue being compiled by Hans Ulrich Obrist and Joseph Hage.

Provenance: Anthony d'Offay Gallery, London
Acquired from the above by the present owner

Note: "Almost all the abstract paintings show scenarios, surroundings and landscapes that don’t exist, but they create the impression that they could exist. As though they were photographs of scenarios and regions that had never yet been seen." Gerhard Richter

Sotheby's. Contemporary Curated featuring works from "In Its Own Light: Property from the Collection of Ed Cohen and Victoria Shaw", New York, 02 Mar 2017, 10:00 AM

Gerhard Richter (B.1932), Seestück I (Seascape I),1969

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Lot 26. Gerhard Richter (B.1932), Seestück I (Seascape I), signed, dated 69 and numbered 130/150, offset lithograph on paper. Image: 16 3/8 by 15 5/8 in. 41.6 by 40 cm. Sheet: 20 by 19 3/8 in. 50.8 by 49.2 cmEstimate 5,000 — 7,000 USD. Photo: Sotheby's.

Exhibited: Kunsthalle Bremen, Gerhard Richter: Editionen 1965-1993, October - November 1993, cat. no. 17, p. 81 (another example exhibited)

Literature: Museum Folkwang, Gerhard Richter: Graphik 1965-1970, Essen 1970, n.p.
René Block, Grafik des Kapitalistischen Realismus, Berlin 1971, p. 150, illustrated
Hubertus Butin, Gerhard Richter: Editions 1965-1993, Bremen 1993, cat. no. 17, pp. 80-81, illustrated 
Hubertus Butin and Stefan Gronert, Eds., Gerhard Richter. Editions 1965-2004, Ostfildern 2004, cat. no. 23, p. 154, illustrated
Hubertus Butin, Stefan Gronert and Thomas Olbricht, Eds., Gerhard Richter: Editions 1965-2013, Ostfildern 2014, cat. no. 23, p. 179, illustrated

Sotheby's. Contemporary Curated featuring works from "In Its Own Light: Property from the Collection of Ed Cohen and Victoria Shaw", New York, 02 Mar 2017, 10:00 AM

Gerhard Richter (B.1932), Cross, 1997

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Lot 25. Gerhard Richter (B.1932), Cross, stamped with the artist's name, date 1997 and number 22/80 on the reverse steel, 7 5/8 by 7 5/8 by 5/8 in., 19.4 by 19.4 by 1.6 cmEstimate 4,000 — 6,000 USD. Photo: Sotheby's.

Provenance: Anthony d'Offay Gallery, London
Acquired from the above by the present owner in 1997 

Literature: Hubertus Butin and Stefan Gronert, Eds., Gerhard Richter: Editions 1965-2004, Ostfildern 2004, cat. no. 92, p. 241, illustrated in color
Hubertus Butin, Stefan Gronert, and Thomas Olbricht, Eds., Gerhard Richter: Editions 1965-2013, Ostfildern 2014, cat. no. 92, p. 263, illustrated in color

Sotheby's. Contemporary Curated featuring works from "In Its Own Light: Property from the Collection of Ed Cohen and Victoria Shaw", New York, 02 Mar 2017, 10:00 AM

Très beau squelette de python réticulé Malayopython reticulatus, Asie du Sud-Est

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Lot 47. Très beau squelette de python réticuléMalayopython reticulatus, Asie du Sud-Est. Estimation : 3 800 - 4 000 €. Photo Binoche et Giquello

Ce serpent âgé de 18 ans est mort dans un zoo Italien en 2013, il atteignait 3,5 mètres de long. Cette espèce est originaire d'Asie (Thaïlande, Malaisie...). Socle laqué noir et verre. H. 120 cm - L. 65 cm. Annexe II/B.

Binoche et Giquello. Histoire naturelle - nature et merveilles, mardi 07 mars à 16h00, Salle 9 - Drouot-Richelieu, 9, rue Drouot 75009 Paris

Impressionnant crâne de Silure Silurus glanis

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Lot 46. Impressionnant crâne de Silure Silurus glanis. Estimation : 1 300 - 1 500 €. Photo Binoche et Giquello

Socle en chêne noir et verre; H. 64,5 cm - L. 39 cm

Le silure est le plus grand poisson européen d'eau douce.
Natif d'Europe de l'Est et de l'embouchure de la mer Caspienne, celui-ci a été pêché en 2014 en Hongrie. Cette tête pesait 18 kilos. On peut observer que ce monstre ne mord pas ses proies, mais laisse faire ses enzymes de digestion: ses dents sont minuscules.

Binoche et Giquello. Histoire naturelle - nature et merveilles, mardi 07 mars à 16h00, Salle 9 - Drouot-Richelieu, 9, rue Drouot 75009 Paris

The Holburne Museum opens first exhibition devoted to the Bruegel dynasty

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Pieter Brueghel the Younger, Wedding Dance in the Open Air, 1607–1614, oil on panel, 36.6 × 49 cm, A45, © The Holburne Museum. Photography by Dominic Brown.

BATH.- The Holburne Museum announces the UK’s first exhibition devoted to the Bruegel dynasty, including recent attributions for two paintings from the Museum’s own collection. Bruegel: Defining a Dynasty unravels the complex Bruegel family tree, revealing the originality and diversity of Antwerp’s famous artistic dynasty across four generations through 29 works, including masterpieces from the National Gallery, Royal Collection Trust, the National Trust, the Fitzwilliam Museum, the Ashmolean Museum and the Barber Institute of Fine Arts. 

Jennifer Scott, the Holburne’s Director and co-curator of the exhibition notes, ‘This exciting new exhibition not only shines a light on the quality of the Holburne Museum’s Flemish paintings, but also on the wealth of paintings by the Bruegel dynasty in the UK.’ 

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Jan Brueghel the Elder, A Stoneware Vase of Flowers, c. 1607–1608, oil on panel, 56 × 89.5 cm, PD.20–1975, The Fitzwilliam Museum, Cambridge.

A key work in the exhibition is Wedding Dance in the Open Air, an oil painting from the Holburne’s own collection which, following conservation work and technical examination, can be attributed firmly to the hand of Pieter Brueghel the Younger. Previously thought to be the work of a copyist or follower of Brueghel, it now takes its place as the only version of this popular scene in a UK public museum. Together with Robbing the Bird’s Nest and the Visit to a Farmhouse, also featured in the exhibition, this new discovery makes the Holburne Museum the primary collection of Pieter Brueghel the Younger’s work in the UK. 

The exhibition also shows the David Teniers the Younger’s Boy Blowing Bubbles from the Holburne’s own collection. Previously ascribed to ‘Imitator of David Teniers the Younger’, recent research undertaken by the Holburne Museum has revealed a new attribution to Teniers himself.

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Pieter Brueghel the Younger, Two Peasants Binding Faggots, c. 1620–50, oil on panel, 36.2 × 27.3 cm, The Barber Institute of Fine Arts, University of Birmingham.

Bruegel: Defining a Dynasty is curated by the Holburne’s Director, Jennifer Scott, and Dr Amy Orrock, independent art historian and Bruegel specialist, and provides the opportunity to understand and reimagine the Bruegel familial relationships, investigating the developments of the artists’ individual styles and the way in which they asserted both their artistic heritage and their independence. Visitors can compare the development of ‘Bruegelian’ iconography over 150 years, through works by Pieter Bruegel the Elder, his sons Pieter Brueghel the Younger and Jan Brueghel the Elder, their direct descendants (Jan van Kessel the Elder) and artists that married into the family (David Teniers the Younger). In particular, the exhibition highlights Pieter Brueghel the Younger’s artistic talents, reinstating him as an important artist in his own right. 

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Jan van Kessel the Elder, Three Butterflies, a Beetle and other Insects, with a Cutting of Ragwort, c. 1650, oil on copper, 9 × 13 cm, WA1940.2.42, Ashmolean Museum, University of Oxford.

A book to accompany the exhibition Bruegel: Defining a Dynasty is written by Amy Orrock and published by Philip Wilson and is on sale in the Holburne’s Gift Shop for £16.95. 

Amy Orrock said, 'Undertaking research for the exhibition and accompanying book has provided a wonderful opportunity to explore and celebrate the Bruegel dynasty in addition to making new discoveries.’

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Pieter Brueghel the Younger, Visit to a Farmhouse, c. 1620–30, oil on panel, 36.5 × 49.4 cm, A46, ©The Holburne Museum. Photography by Dan Brown.

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Pieter Brueghel the Younger, 'Spring', oil on panel, 60.5 x 75.8cm, 1632, Society of Antiquaries of London (Kelmscott Manor).

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Pieter Brueghel the Younger, Robbing the Bird’s Nest, Oil on panel, 17.8 x 17.8cm, © Holburne Museum..

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David Teniers the Younger, Boy Blowing Bubbles, c.1640. Photo ©Holburne Museum.


A greyish-green and buff jade cong, 2nd–1st millenium BC

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Lot 801. A greyish-green and buff jade cong, 2nd–1st millenium BC. Estimate USD 4,000 - USD 6,000 © Christie's Images Ltd 2017.

The cong has plain sides and narrow collars, and much of the greyish-green stone is now opaque and altered to a mottled buff and brown color. 2 ½ in. (6.3 cm.) wide

ProvenanceThe Erwin Harris Collection, Miami, Florida, by 1995.

Christie's. The Harris Collection: Important Early Chinese Art, 16 March 2017, New York, Rockefeller Center

A small greyish-green jade 'buffalo’, Late Shang-Early Western Zhou Dynasty, 12th-10th century BC

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Lot 802. A small greyish-green jade 'buffalo’, Late Shang-Early Western Zhou Dynasty, 12th-10th century BC. Estimate USD 4,000 - USD 6,000 © Christie's Images Ltd 2017.

Possibly a necklace closure, the thick plaque is carved as a recumbent water buffalo with legs tucked under the body and head turned to the side, the horns carved in thread relief. The reverse is more cursorily detailed. There is a bull-nose hole below the nose and a bi-conical hole drilled through the body. 1 ¾ in. (4.5 cm.) wide

Provenance: The Erwin Harris Collection, Miami, Florida, by 1995.

NoteCompare the similar jade water buffalo carved in flat relief and dated to the Shang dynasty in the Mrs. Edward Sonnenschein Collection, Chicago, illustrated by A. Salmony, Carved Jade of Ancient China, 1938, pl. XXIII (8). See, also, the example in the Arthur M. Sackler Gallery, illustrated by J. Rawson, 'Animal Motifs in Early Western Zhou Bronzes from the Arthur M. Sackler Collections, Chinese Bronzes: Selected articles from Orientations, 1983-2000, Hong Kong, p. 20, fig. 12.

Christie's. The Harris Collection: Important Early Chinese Art, 16 March 2017, New York, Rockefeller Center

Three small jade animal plaques, Late Shang-Early Western Zhou Dynasty, 12th-10th century BC

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Lot 803. Three small jade animal plaques, Late Shang-Early Western Zhou Dynasty, 12th-10th century BC. Estimate USD 2,000 - USD 3,000 © Christie's Images Ltd 2017.

One is a thin, pale greyish-white recumbent bird with hooked beak, circular eyes and notched tail with beveled edge. The second is a thin yellowish-white and brown crouching tiger with trapezoidal eyes, C-scroll ear and tiny holes drilled through the mouth and curled tail. The third is a dark greyish-green crouching deer with backward-turned head, and a small hole drilled from both sides through the fore foot. 1 ¾, 2 ½ and 1 ½ in. (4.3, 6.2 and 3.9 cm.) wide

Provenance: The Erwin Harris Collection, Miami, Florida, by 1995.

Christie's. The Harris Collection: Important Early Chinese Art, 16 March 2017, New York, Rockefeller Center

A yellowish olive-green and brown jade claw-shaped pendant, Northwest China, possibly Korea, 3rd-2nd millennium BC

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Lot 804. A yellowish olive-green and brown jade claw-shaped pendant, Northwest China, possibly Korea, 3rd-2nd millennium BC. Estimate USD 3,000 - USD 5,000 © Christie's Images Ltd 2017.

Of thick, rounded claw shape, the pendant is pierced from both sides at the broad end. 2 ½ in. (6 cm.) long

Provenance: The Erwin Harris Collection, Miami, Florida, by 1995.

Christie's. The Harris Collection: Important Early Chinese Art, 16 March 2017, New York, Rockefeller Center

An early yellowish olive-green and brown jade handle-form carving, Shang dynasty (c. 1600-1100 BC)

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Lot 805. An early yellowish olive-green and brown jade handle-form carving, Shang dynasty (c. 1600-1100 BC). Estimate USD 2,000 - USD 3,000 © Christie's Images Ltd 2017.

The flat handle-form carving is slightly waisted between two incised lines below the truncated conical tip, while the somewhat tapered end is slightly beveled and pierced with a bi-conical hole. 5 1/8 in. (13 cm.) long

Provenance: The Erwin Harris Collection, Miami, Florida, by 1995.

NoteThis jade handle-form carving is of the type illustrated by A. Salmony, Archaic Chinese Jades from the Edward and Louise B. Sonnenschein Collection, The Art Institute of Chicago, 1952, pl. XV, nos. 1 and 4.

Christie's. The Harris Collection: Important Early Chinese Art, 16 March 2017, New York, Rockefeller Center

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