Vessel with round bottom and domed lid, Oc Eo culture, Pre-Angkor period, 3rd-6th century, Southern Vietnam, Mekong River Delta. Earthenware with red pigment. H x Diam (overall): 11.5 x 9.5 cm (4 1/2 x 3 3/4 in). Gift of Osborne and Gratia Hauge, and Victor and Takako Hauge. Arthur M. Sackler Gallery, S2004.105a-b© 2017 Smithsonian Institution
Vessel with flattened bottom, Oc Eo culture, Pre-Angkor period, 3rd-6th century, Southern Vietnam, Mekong River Delta. Earthenware. H x Diam (overall): 7.5 x 11 cm (2 15/16 x 4 5/16 in). Gift of Osborne and Gratia Hauge, and Victor and Takako Hauge. Arthur M. Sackler Gallery, S2004.106 © 2017 Smithsonian Institution
Vessel with round bottom, Oc Eo culture, Pre-Angkor period, 3rd-6th century, Southern Vietnam, Mekong River Delta. Earthenware. H x Diam (overall): 8.2 x 8.5 cm (3 1/4 x 3 3/8 in). Gift of Osborne and Gratia Hauge, and Victor and Takako Hauge. Arthur M. Sackler Gallery, S2004.107 © 2017 Smithsonian Institution
Lot 843. Wang Jian (1598-1677), Landscapes, ink and color on paper, album of ten leaves, each 28 by 20.8 cm. 11 by 8 1/8 in. (10). Estimate 500,000 — 800,000 USD. Photo: Sotheby's.
with two seals of the artist, yuan zhao, yuan zhao, and eight collector's seals of Zhou Jialai (17th century), zhou meng gong mi ji yin (2), duo ling shen ding (4), zhou shi mi ji (2), meng gong yan fu, ning xiang zhou shi meng shui shan fang, zhou jia lai zi duo ling hao meng gong, ning xiang zhou shi meng shui shan fang duo ling shou cang, zi yue duo ling
Lot 842. Dai Benxiao (1621-1693), Travel inspiration of Mount Huangshan, ink on paper, album of eight double leaves, each 20 by 21.2 cm. 7 7/8 by 8 3/8 in. (16). Estimate 400,000 — 600,000 USD. Photo: Sotheby's.
(1) (2) (3) (5) (6) signed Ying'a, with one seal of the artist, tian gen
(4) signed Ying'a, with two seals of the artist, ben xiao, tian gen
(7) (8) signed Ying'a, with one seal of the artist, ben xiao
Lot 832. Wang Hui (1632-1717), Springgarden, ink and color on silk, mounted for framing, 77.5 by 33.8 cm. 30 1/2 by 13 1/4 in. Estimate 150,000 — 200,000 USD. Photo: Sotheby's.
signed Wang Hui, dated guisi (1713) of the Kangxi reign, summer, with five seals of the artist, xi shuang, wang hui zhi yin, shi gu, geng yan, qing hui lao ren shi nian ba shi you er, and one collector's seal, yong an shen shi cang shu hua yin
Provenance: Christie's Hong Kong, Fine Classical Chinese Paintings and Calligraphy, November 28, 2005, lot 1163
Gold Ring with Silver Coin of Alexander the Great, 336 BC to 323 BC, Tyre, Lebanon. © 2000-2017 by Barakat, Inc.
This magnificent coin is set in a ring of 18-karat gold.
Perhaps no ruler in history has left a stronger impression than Alexander the Great. Though many centuries have passed since he conquered the world, his legend continues to burn brightly in the minds of men. Possessed of courage, vision, and daring, Alexander inspired those around him with his enthusiasm and ability. This splendid silver coin, minted during his lifetime, captures the spirit of Alexander’s age. In a bold setting, it is destined to adorn the hand of someone who meets all of life's challenges head-on.
contact-form@barakatgallery.com - TEL 310.859.8408 - FAX 310.276.1346
Gold Ring Featuring an Iron Age Eye-Agate, Syria, 900 BC to 700 BC. © 2000-2017 by Barakat, Inc.
This genuine Ancient Iron Age eye agate gemstone has been mounted in a modern 18 karat gold ring. £4,600.00
The “eye-agate” is produced by cutting a three- layer, naturally pale yellow or pale gray agate, with intervening white zones in such a way to look like an eye. In Aleppo (NW Syria) and other parts of the east it was believed the stone could cure the infection known as the “Aleppo sore”. Because of their uncanny resemblance to the eye these unique agates were sometimes used to form the eyes of idols. In many cultures the belief in the evil eye encouraged the wearing of amulets to ward off malevolent influences, and what could better than the “eye-agate” to look evil straight in the face. This stone combines myth, folklore and natural beauty in a handsome ring that will always be “eye-catching”!
contact-form@barakatgallery.com - TEL 310.859.8408 - FAX 310.276.1346
Classical Revival Gold Ring Featuring a Banded Agate Cameo Depicting the Bust of Hadrian, Europe, 18th-19th Century. $6,800.00 © 2000-2017 by Barakat, Inc.
contact-form@barakatgallery.com - TEL 310.859.8408 - FAX 310.276.1346
Guido Cagnacci, The Repentant Magdalene, after 1660© Norton Simon Art Foundation.
LONDON.- Visitors to the National Gallery have a unique opportunity to admire what is widely regarded as Guido Cagnacci’s greatest work, The Repentant Magdalene, an exceptional loan from the Norton Simon Museum, Pasadena (California).
Guido Cagnacci (1601–1663) is one of the most unconventional and sensual artists of the Italian Baroque period, and yet he is largely unfamiliar to people today as his paintings are not represented in any UK public collections.
Cagnacci was born in Santarcangelo di Romagna, but by the age of 20 he was living in Bologna, having twice visited Rome where he is recorded as staying in Guercino’s house. From 1649 Cagnacci was in Venice, where he worked entirely for a private clientele. In 1658 he moved to Vienna. Little documentation about Cagnacci survives, though some of the racier episodes in his personal life are mentioned in legal and criminal records of the time, which provide an insight into his character.
Few of Cagnacci’s works are dated, but from around 1640 he began to paint extremely sensual, half-length female figures, for which he became renowned in his lifetime. It was whilst living in Vienna (around 1660–61), that Cagnacci painted this monumental (229.2 x 266.1cm) and erotically charged picture.
This is no ordinary representation of Mary Magdalene, who became a follower of Christ and later, a saint. Traditionally shown holding a skull and contemplating her morality, here she lies almost naked on the ground, begged by her virtuous sister Martha to abandon her sinful life of vice and luxury. Virtue, a blond-haired angel, chases out Vice, a devil who bites his hand in anger as he turns for a last look at the Magdalene. The painting is a celebration of the triumph of virtue over vice, but Cagnacci takes obvious pleasure in describing worldly temptations – in particular, the attention he lavishes on the expensive costume, beautiful shoes, and jewellery scattered across the floor. This depiction of Mary and Martha is entirely original, and Cagnacci knew it: he boastfully signed his work ‘GVIDVS CAGNACCIVS INVENTOR’, rather than the usual ‘pinxit’ (painted) or ‘fecit’ (made).
'The Repentant Magdalene' was originally in the illustrious Gonzaga collection in Mantua, Italy (by 1665) but arrived in England in 1711, entering the collection of the Duke of Portland. The painting remained in England for over 250 years until it was purchased by the American collector, Norton Simon (1907–1993) in 1981. This exhibition in Room 1 marks the spectacular return to England of Cagnacci’s masterpiece, 35 years after its departure, and offers National Gallery visitors a unique opportunity to discover the astonishing naturalism and characteristic eroticism of his paintings.
Letizia Treves, Curator of Later Italian, Spanish, and French 17th-century Paintings said: “It has long been a dream of mine to bring this painting to London – it is unquestionably Cagnacci’s masterpiece and one of the greatest Italian Baroque pictures of all time. I hope our visitors are bowled over by it, as I was when I first saw the painting in California 15 years ago.”
National Gallery Director, Dr Gabriele Finaldi said: “Cagnacci is a little-known master, but 'The Repentant Magdalene'is his most important work and once seen it gets lodged in the mind. It is an unforgettable work.”
The exhibition has been organised in association with The Frick Collection in New York.
NEW YORK, NY.- The Morgan Library & Museum announced today the acquisition of three major drawings by David Hockney, Martin Puryear, and Jean-Baptiste-Camille Corot. Each is a valuable addition to a drawings collection at the Morgan that is considered one of the greatest in the world.
“We are delighted to announce the acquisition of these outstanding works,” said Colin B. Bailey, director of the museum. “The Hockney is a superb and iconic example of his precise, delicate style of the 1960s and depicts one of his muses, fabric designer Celia Birtwell. The Martin Puryear comes on the heels of the successful exhibition of his drawings we held in 2015, while the Corot is characteristic of the artist’s best portrait drawings of the 1830s. We are deeply grateful to the donors whose generous support made these acquisitions possible."
David Hockney (British, b. 1937) Celia, Paris, 1969, pen and ink on paper. The Morgan Library & Museum. Purchased as the gift of the Katherine J. Rayner Fund of the Anne Cox Chambers Foundation
One of the most popular British artists of the twentieth century, David Hockney has been a versatile and prolific painter since the 1960s. It is his talent as a draughtsman, however, that is at the core of his reputation, especially the drawings from life that he began making in the late 1960s. Celia, Paris is a superb example of such a drawing. Frequently reproduced in the literature on Hockney, it is particularly important on two counts: first, as an early and very refined example of the precise, delicate line drawing—indebted to Ingres and Picasso— that Hockney developed in the late 1960s, notably in portraits of friends and family; and second, as a portrait of Celia Birtwell, a British fabric designer who was Hockney’s most constant muse from 1968 on. (Celia and her husband, fashion designer Ossie Clark, are the subject of one of Hockney’s most famous paintings, Mr. and Mrs. Clark and Percy of 1970-71, in the Tate’s collection). Hockney depicted Celia in many colored pencil drawings in the early1970s. The present drawing, in which Celia’s relaxed pose conveys the intimacy between artist and sitter, is one of his earliest of her.
Martin Puryear (American, b. 1941), Drawing for Untitled, 1990, black Conté crayon, with smudging, on ivory paper. The Morgan Library & Museum, Purchased with funds provided by Agnes Gund, The Ronald & Jo Carole Lauder Foundation, and Mr. and Mrs. Benjamin M. Rosen. © Martin Puryear, Courtesy Matthew Marks Gallery
American sculptor Martin Puryear is known for the elegance and refinement of his abstract, hand-made constructions, primarily in wood. Drawing has always been essential to his practice, as the exhibition, Martin Puryear: Multiple Dimensions, shown at the Morgan in 2015, demonstrated. Drawing for Untitled—which was included in the exhibition—depicts a classic image in Martin Puryear’s repertoire, harking back to the heads he drew while in Sierra Leone in the 1960s and anticipating sculptures such as Vessel, Face Down, and the Getty’s That Profile of the late 1990s and 2000s. The sense of touch suggested by the blurry contours, smudges, and fingerprints on the sheet, conjures up Puryear’s hands-on approach to his sculpture as well as his prints and drawings. This is the first work by Martin Puryear to enter the Morgan, where it joins many drawings by sculptors from the Renaissance to the present.
Jean-Baptiste-Camille Corot (French, 1796-1875), Seated Camaldolese Monk, 1834, graphite on paper. The Morgan Library & Museum. Gift of Jill Newhouse.
This finely observed, precisely rendered study of a seated monk in profile is characteristic of Corot’s best portrait drawings of the 1830s, and most probably dates from Corot’s second trip to Italy. This was a relatively short, six-month trip in which the artist focused on picturesque sites, views and figures that would serve him in composing Salon paintings, and included Corot’s only visit to Tuscany and Florence. The sitter’s white habit, leather belt (as opposed to a cord) and long beard confirm the inscription which identifies him as a member of the Camaldolese branch of the Benedictines. An ascetic order founded by San Romualdo in 1046, their name derives from their 11th century hermitage in the Camaldoli mountains, located in the Casentino valley in Tuscany. The setting of the hilltop convent and the magnificent views surrounding it would have been attractive to Corot, who may have spent the night there, as the hermitage offered free lodging to male visitors during this period.
Lot 820. A bronze ram-form yoke ornament, circa 5th-4th century BC. Estimate USD 2,000 - USD 3,0000 © Christie's Images Ltd 2017
The fitting is hollow cast either as a ram or an ibex shown standing atop two pierced flanges. 2 ¼ in. (5.7 cm.) high
Provenance: Sotheby’s New York, 29 November 1989, lot 280.
The Erwin Harris Collection, Miami, Florida.
Note: A similar ornament is illustrated by E.C. Bunker et al., Ancient Bronzes of the Eastern Eurasian Steppes from the Arthur M. Sackler Collections, New York, 1997, p. 233, no. 185, where it is ascribed to Northwestern China or Southwestern Inner Mongolia. Also illustrated, p. 233, fig. 185, is a similar ornament in the Museum of Far Eastern Antiquities, Stockholm, which retains a rattle on one of the flanges which was attached after casting.
Christie's. The Harris Collection: Important Early Chinese Art, 16 March 2017, New York, Rockefeller Center
Lot 821. An unusual bronze harness fitting with jingle, Northwest China, 5th-4th century BC. Estimate USD 2,000 - USD 3,0000 © Christie's Images Ltd 2017
The upper section of the flat-backed fitting is a rounded openwork jingle enclosing a loose ball that is formed by five rams, their muzzles joined at the center, on the reverse are four attachment loops, the lower section is a trefoil flange pierced with scrolls. The front of the ornament is tinned. 3 ¼ in. (8.2 cm.) long
Provenance: Sotheby’s London, 12 December 1989, lot 114.
The Erwin Harris Collection, Miami, Florida.
Literature: J. F. So and E. C. Bunker, Traders and Raiders on China's Northern Frontier, Washington D.C., Arthur M. Sackler Gallery, 1995, p. 131, no. 49.
Christie's. The Harris Collection: Important Early Chinese Art, 16 March 2017, New York, Rockefeller Center
Lot 822. Two bronze 'Doe' yoke ornaments, circa 5th-4th century BC. Estimate USD 2,000 - USD 3,0000 © Christie's Images Ltd 2017
Each is hollow cast, the larger standing figure has upright ears and small holes that pierce the legs. The other is shown recumbent with legs tucked under the body, the ears upright, the tail flicked and the mouth formed by a tubular aperture. 5 1/8 in. (13 cm.) high, 3 ¾ in. (9.5 cm.) long, boxes
Provenance: Standing deer: J. J. Klejman, New York, 23 February 1972.
Recumbent deer: Dr. Ping Yiu Tam Collection, Hong Kong.
J. J. Lally & Co., New York, 1993.
The Erwin Harris Collection, Miami, Florida.
Christie's. The Harris Collection: Important Early Chinese Art, 16 March 2017, New York, Rockefeller Center
Lot 7. Olivier Debré (1920-1999), Petit vert pâle, Touraine, 1976. Huile sur toile signée, datée, titrée et située au dos, 27 x 35 cm. Estimation : 3 000 - 4 000 €. Photo Millon
Provenance : Collection Claude et Michèle Harel
Millon. Les maîtres de l'abstraction; Autour de la collection Claude & Michèle Harel, lundi 06 mars à 14h30. Drouot Richelieu - Salle 5 - 9, rue Drouot 75009 Paris
Lot 8. Olivier Debré (1920-1999), Bleu pâle, Royan, 1979. Huile sur toile signée, datée et titrée au dos, 22 x 27 cm. Estimation : 2 000 - 3 000 €. Photo Millon
Provenance : Collection Claude et Michèle Harel
Millon. Les maîtres de l'abstraction; Autour de la collection Claude & Michèle Harel, lundi 06 mars à 14h30. Drouot Richelieu - Salle 5 - 9, rue Drouot 75009 Paris
Lot 9. Olivier Debré (1920-1999), Bleu pâle, Royan, 1975. Huile sur toile signée, datée et titrée au dos, 14 x 22 cm. Estimation : 1 200 - 1 500 €. Photo Millon
Provenance : Collection Claude et Michèle Harel
Millon. Les maîtres de l'abstraction; Autour de la collection Claude & Michèle Harel, lundi 06 mars à 14h30. Drouot Richelieu - Salle 5 - 9, rue Drouot 75009 Paris
Vessel with round bottom, Pre-Angkor period, 3rd-6th century, Southern Vietnam, Mekong River Delta. Earthenware with red slip. H x Diam (overall): 9.2 x 13.2 cm (3 5/8 x 5 3/16 in). Gift of Osborne and Gratia Hauge, and Victor and Takako Hauge. Arthur M. Sackler Gallery, S2004.110 © 2017 Smithsonian Institution
Vessel with round bottom and paddle-impressed design, Pre-Angkor period, 200-600, Southern Vietnam, Mekong River Delta. Earthenware. H x Diam (overall): 7.6 x 14 cm (3 x 5 1/2 in). Gift of Osborne and Gratia Hauge, and Victor and Takako Hauge. Arthur M. Sackler Gallery, S2004.111 © 2017 Smithsonian Institution
Round-bodied pot with vertical grooves and everted rim, Hán Việt or Vạn Xuân period, 200-600 CE. Earthenware. H x Diam (overall): 9.8 x 14.3 cm (3 7/8 x 5 5/8 in). Gift of Osborne and Gratia Hauge, and Victor and Takako Hauge. Arthur M. Sackler Gallery, S2004.127 © 2017 Smithsonian Institution
