Yves Klein, Untitled Fire Painting (F 13), 1961. © Yves Klein, ADAGP, Paris

CHICAGO, IL.- Destroy the Picture: Painting the Void, 1949-1962 focuses on one of the most significant developments in 20th-century abstract painting: the artists’ literal assault on the canvas. In response to the physical and psychological destruction of World War II -- especially the results of the atomic bomb -- artists ripped, shot, cut, burned, and affixed objects to the canvas in lieu of paint. Destroy the Picture marks the first time that these artistic strategies have been considered, offering an innovative and radical new context for painting in the postwar period. 

Destroy the Picture, on view at the Museum of Contemporary Art (MCA) Chicago from February 16 to June 2, 2013, features more than 85 breakthrough works created between the late 1940s and the early 1960s by 26 artists from Austria, France, Germany, Italy, Japan, Spain, the United Kingdom, and the United States. Curated by Paul Schimmel, former Chief Curator of the Museum of Contemporary Art (MOCA) Los Angeles, the Chicago presentation is organized by Michael Darling, James W. Alsdorf Chief Curator at the MCA Chicago. 

As artists from war-torn countries like Italy and Japan -- including Lucio Fontana, Alberto Burri, Kazuo Shiraga, and Shozo Shimamoto – returned home to find their surroundings in ruins, they channeled that destruction into an artistic form. Artists from other parts of the world – Yves Klein and Niki de Saint Phalle from France, John Latham from the United Kingdom, Lee Bontecou and Robert Rauschenberg from the US, Otto Müehl from Austria, and Manolo Millares from Spain – pursued similar approaches and strategies. 

Destroy the Picture presents an opportunity to reconsider the profound repercussions of this approach to painting, from artists’ early experiments with translating gestures into materials, to their expansion of painting to incorporate elements of performance, assemblage, and time-based arts. In many cases, the exhibition places the work of now established artists back into the radical context in which it originally emerged. 

Destroy the Picture is one of the first exhibitions of its kind to address the global nature of art production in the postwar period and how it laid the groundwork for contemporary conditions of globalization. The exhibition addresses how physical and cultural devastation allowed for the emergence of new artistic practices across diverse movements including Abstract Expressionism, Pop Art, Nouveau Réalisme, Viennese Actionism, and Décollage, and the work of groups such as Gutai and Zero. Destroy the Picture reignites these dynamic artistic conversations on the walls of the museum. 

Notable works include Alberto Burri’s Sacchi (sackcloth) and Combustioni (burning); Niki de Saint Phalle’s shoot pieces; affichiste (torn-poster) works by François Dufrêne, Raymond Hains, Mimmo Rotella, and Jacques Villeglé; Lucio Fontana’s Concetti spaziali (spatial concepts); Yves Klein’s Fire Paintings, made just before his death; Robert Rauschenberg’s seminal Black Paintings from the early 1950s; Salvatore Scarpitta’s bandaged canvases; Lee Bontecou’s works in welded steel and canvas; and a number of works by Antoni Tàpies and Jean Fautrier. 

Destroy the Picture explores a formative period in art history after World War II when a diverse range of artists began to define their practice in terms of destruction and creation. While existing studies have often obscured this lively history of international dialogue and collaboration, Destroy the Picture emphasizes the shared, international artistic sensibility that took shape in the context of devastating global change. 

Lucio Fontana, Concetto spaziale, Attese 58 T 2 (Spatial Concept, Expectations 58 T 2), 1958 Fondazione Lucio Fontana, Milan, Italy.

John Latham, Untitled, August 1958. Burlap stretched over wood with books, some pages painted, plaster, pipe; 30 3/16 x 22 1/2 in. (76.7 x 57.2 cm). Painting Richard Saltoun, London © John Latham

Yves Klein, Untitled Fire Painting (F 27 I), 1961. Burnt cardboard, 98 7/16 x 51 3/16 in. (250 x 130 cm). Yves Klein Archives © Yves Klein

Peter Paul Rubens, (Flemish, 1577–1640), Head of an African Man Wearing a Turban, ca. 1609. Oil on paper, laid down on panel, 74 x 59 x 7.5 cm. Private Collection, courtesy of Jean-Luc Baroni Ltd, London, Courtesy of Jean-Luc Baroni Ltd.

PRINCETON, NJ.- The Princeton University Art Museum presents Revealing the African Presence in Renaissance Europe, an exhibition exploring the presence of Africans and their descendants in Europe from the late 1400s to the early 1600s and the roles these individuals played in society and in the history of art. Africans living in or visiting Europe during this time included artists, aristocrats, saints, slaves, and diplomats. The exhibition of vivid portraits created from life and other forms of representation—themselves a part of the wider Renaissance focus on the identity and perspective of the individual—encourages face-to-face encounters with these individuals and poses questions about the challenges of color, class and stereotypes that a new diversity brought to Europe. Aspects of this material have long been studied by scholars, but this exhibition marks the first time the subject has been presented to a wider American public. 

Revealing the African Presence in Renaissance Euro“The exhibition focuses new attention on an important but poorly understood aspect of Western history and the history of representation, and thus continues our commitment to expanding the borders of scholarship and public understanding,” according to Princeton University Art Museum Director James Steward. “This exhibition affords an exceptional opportunity to discover great works of light and encourages us to reflect on our understanding of cultural identity both past and present.” 

“The exhibition focuses new attention on an important but poorly understood aspect of Western history and the history of representation, and thus continues our commitment to expanding the borders of scholarship and public understanding,” according to Princeton University Art Museum Director James Steward. “This exhibition affords an exceptional opportunity to discover great works of light and encourages us to reflect on our understanding of cultural identity both past and present.” 

The presence of Africans and their descendents in Europe was partially a consequence of the drive for new markets beginning in the late 1400s. This included the importation of West Africans as slaves, supplanting the trade of slaves of Slavic origin. There was also increasing conflict with North African Muslims and heightened levels of diplomatic and trade initiatives by African monarchs. Publications by African scholars and writers in Europe contributed to a more balanced view of the African presence than previously available from European artists and writers alone. 

The first half of the exhibition explores the conditions that framed the lives of Africans in Europe, including slavery and social status, European perceptions of Africa, the representation of Africans in Christian art, blackness and cultural difference as well as the aesthetic appreciation of blackness. The second half shifts to individuals themselves as slaves, servants, free and freed people, and diplomats and rulers—the range of ways in which Africans found themselves in Renaissance Europe—concluding with a focus on the remarkable presence of St. Benedict (the Moor) of Palermo, widely revered in his lifetime, but also one of the African-Europeans of the 1500s with the greatest impact today. The trajectory traced by the exhibition is thus one of movement from the margins to the center, both in societal terms and in representation, enabling us to understand not only broad shifts but also the role of specific Africans in Europe. 

“Recognizing the African presence within Renaissance society opens a new window into a time when the role of the individual was becoming recognized—a perspective that remains fundamental today,” said exhibition organizer and Walters Art Museum curator of Renaissance and Baroque Art Joaneath Spicer. “We are just beginning to understand the contributions of people of African ancestry in that society, so the exhibition raises as many questions as it answers.” 

Exhibition Highlights 

• Portrait of Maria Salviate de’ Medici and Giulia de’ Medici, Jacopo de Pontormo, ca. 1537. Free descendants of slaves were found at all levels of European society. The little girl with her guardian is Giulia de’ Medici, daughter of Alessandro de’ Medici, duke of Florence, the latter thought to be born of a union between Cardinal Giulio de’ Medici and an African slave. Giulia enjoyed an aristocratic lifestyle and her descendants thrive today. The painting is considered to be the first formal portrait of a child of African ancestry in European art. 

• Portrait of an African Slave Woman, Annibale Carracci (attributed), ca. 1580 Paintings representing real individuals in servitude primarily show them in domestic roles, such as this maid from the fragment of a larger portrait. She has remarkable presence, sensitively conveyed by the artist through the ambiguity of her facial expression suggestive of an actual individual human being rather than a portrait “type”. 

•Chafariz d’el Rey in the Alfama District (View of a Square with the King’s Fountain in Lisbon), Netherlandish, ca. 1570–80 This scene of daily life in Lisbon is astonishing for the concentration of Africans from a range of social and economic levels, from a slave in chains to the knighted man on horseback. Black people made up nearly 10% of the city’s population, more than anywhere else in Europe at that time. 

Portrait of Maria Salviate de’ Medici and Giulia de’ Medici by Jacopo da Pontormo (Jacopo Carucci), circa 1539, oil on panel. The Walters Art Museum, Baltimore, acquired by Henry Walters with the Massarenti Collection, 1902

A fragment of a larger painting, Portrait of an African Slave Woman is attributed to Annibale Carracci, circa 1580s, oil on canvas. Tomasso Brothers, Leeds, England

Mūlāy Ahmad by Peter Paul Rubens, circa 1609, oil on panel. Museum of Fine Arts, Boston, Massachusetts/M. Theresa Hopkins Fund /The Bridgeman Art Library

Cameo with Bust of an African Boy, late sixteenth century, most likely Venetian. The Metropolitan Museum of Art, New York, the Milton Weil Collection, 1938 /Art Resource, New York

Black Woman at her Bath, 1580s, probably Flemish. The Robert H. Smith Collection

Adoration of the Kings by Girolamo da Santacroce, 1525–30, oil on panel.   The Walters Art Museum, Baltimore, acquired by Henry Walters with the Massarenti Collection, 1902

Workshop of Gerard David (Netherlandish, ca. 1460–1523), Adoration of the Magi, ca. 1514. Oil on wood panel, 64.2 x 82 cm. (25 1/4 x 32 5/16 in.), frame: 78.1 x 95.6 x 5.1 cm. (30 3/4 x 37 5/8 x 2 in.). Princeton University Art Museum (y1932-34). Photo: Bruce M. White.

Chine pour le Vietnam. Bol, XIXème siècle. Photo Pescheteau-Badin

à décor en bleu sous couverte de couples de chinois dans des médaillons cernés d'idéogrammes, galon sur le bord supérieur.D. 20,5 cm. Cerclage en métal sur le bord. Estimation : 200 - 300 €

Pescheteau-Badin. mardi 19 février à 14h00. Drouot - Richelieu - Salle 9. EMail : pescheteau-badin@wanadoo.fr - Tél. : 01 47 70 50 90

Grande coupe ronde. Epoque Kangxi (1662-1722). Photo Pescheteau-Badin

à décor en bleu sous couverte de deux femmes chinoises debout dans un jardin fleuri, l'aile décorée de papillons et fleurs dans des réserves sur fond de treillage. D. 31 cm. Estimation : 600 - 800 €

Pescheteau-Badin. mardi 19 février à 14h00. Drouot - Richelieu - Salle 9. EMail : pescheteau-badin@wanadoo.fr - Tél. : 01 47 70 50 90

A Rare Massive White Porcelain Jar, Joseon dynasty (18th century). Photo Christie's Image Ltd 2013

Of distinctive proportions, with high, rounded shoulders above a tall body that tapers inward toward the foot, the upright neck slightly everted and completed by a rounded rim, the vessel decorated with a transparent glaze that exhibits a blue cast in the areas it has been more thickly applied; residue of kiln grit evident on the base and at the foot, 22 x 17 3/8in. (56 x 45cm.). Estimate $1,000,000 - $1,500,000

Note: This jar is remarkable for its height and girth and there are accordingly few comparable examples published. For a jar of 53.5 cm in the collection of the Nihon Mingeikan, Tokyo, see Nihon Mingeikan shozo Chosen toji mokuroku (Catalogue of Joseon-dynasty ceramics in the Nihon Mingeikan), pl. 48; and Rhee Byung-chang, Richo toji Yi Ceramics, in Kankoku bijutsu shusen Masterpieces of Korean Art (Tokyo: Privately published, 1978), no. 158. For other jars, see Samsung Art Museum, Joseon paekja jon (Exhibition of Joseon-dynasty white porcelain), Part 1, exh. cat. (Seoul: Samsung Art and Culture Foundation, 1983), no. 34.

Christie's. Japanese and Korean Art. 20 March 2013. New York, Rockefeller Plaza. 

A Large Blue and White Porcelain Jar, Joseon dynasty (18th-19th century). Photo Christie's Image Ltd 2013

Well proportioned with high, rounded shoulders swelling above the tapered lower body and with straight upright neck, painted in medium tones of underglaze blue with two large foliate-shaped medallions of orchids on one side and with autumn flowers and grasses on the other, and ornamented with a cloud collar at the base of the neck and with line bands at the foot and neck; the jar also decorated with a lustrous transparent glaze; 15¾in. (39.9cm.) high. Estimate $350,000 - $400,000

Note: The two flowers chosen for this jar, the orchid and chrysanthemum, are two of the four, with bamboo and plum, that represent the honor and virtue of the literatus. Constant themes in Korean painting, they were adapted to porcelains of the later Joseon period. Delicate yet pliant, the orchid conveys the noble strength of the scholar. Its purity and scent are indicative of the virtue of the recluse. The chrysanthemum's dainty but rugged bloom have similar connotations.

For a similar jar in the collection of the Nihon Mingeikan, Tokyo, see Nihon Mingeikan shozo Chosen toji mokuroku (Catalogue of Joseon-dynasty ceramics in the Nihon Mingeikan) (Tokyo: Nihon Mingeikan, 2009), no. 133; Rhee Byung-Chang, Richo toji Yi Ceramics, in Kankoku bijutsu shusen Masterpieces of Korean Art (Tokyo: Privately published, 1978), no. 211; and G. St. G. M. Gompertz, Korean Pottery & Porcelain of the Yi Period (London: Faber and Faber, 1968), no. 94.

Christie's. Japanese and Korean Art. 20 March 2013. New York, Rockefeller Plaza.

Attribuéà Giacomo Legi (? - 1640), Nature morte au canard et cygne. Photo Delorme & Collin du Bocage

Toile. - 100 x 110 cm - Accidents. Sans cadre. Estimation : 8 000 - 12 000 €

Delorme & Collin du Bocage. vendredi 22 février à 14h00. Drouot - Richelieu - Salle 6. EMail : info@parisencheres.com - Tél. : 01 58 18 39 05

Ecole Hollandaise du XVIIème siècle, entourage de Pieter Gerritsz van Roestraeten, Nature morte aux objets d’'orfèvrerie. Photo Delorme & Collin du Bocage

parqueté - 25,5 x 31 cm - Restaurations. Estimation : 3 000 - 5 000 €

Delorme & Collin du Bocage. vendredi 22 février à 14h00. Drouot - Richelieu - Salle 6. EMail : info@parisencheres.com - Tél. : 01 58 18 39 05

An elaborate large bronze and mixed-metal hanging vase, Meiji period (late 19th century). Photo Christie's Image Ltd 2013

signed Kaso token kanagu chorushi Shoami Doki kyudai no mago Shoami Katsuyoshi sen (carved by Shoami Katsuyoshi [1831-1910], the ninth-generation descendent of Shoami Doki, as a sword-fitting metalworker) on an inlaid silver reserve. Formed as a long gourd entwined with a vine, worked in gold, shakudo, copper and gilt with a snake scrolling up the gourd heading for a mouse hiding under a leaf, the life-like mouse, snake and snail finely carved and chiseled, the leaves richly finished with inlaid gold, copper and shakudo, the mottled surface resembling the natural texture of a gourd body, signature on body of the vase; 50in. (127cm.) long. With wood box inscribed and certified by Hon'ami Tsunemasa in March 1983. Estimate $300,000 - $400,000

Note: Shoami Katsuyoshi (1832-1908) was born in Mimasaka province (present-day Okayama Prefecture), the son of Nakagawa Katsutsugu. From the age of thirteen he followed his father's occupation as a maker of sword fittings. The family were retainers of the Tsuyama Matsudaira clan. Katsuyoshi went to Edo at the age of seventeen, returning home a year later to marry into the Shoami family of Mimasaka, and continued his sword fittings career in the family, later to sign as the ninth generation of that school. The Shoami had branches throughout Japan from the Muromachi period onward specializing in sword guards. They influenced many well-known Edo-period schools, although Shoami work itself can vary much in design and technique. The two characters for "ami" in the name Shoami are adopted from the name of the Buddha Amida, implying that his work involved a spiritual element.

Some of Shoami Katsuyoshi's work is reminiscent of that of Goto Ichijo, under whom his brother Nakagawa Issho had studied. In his later years, he moved to Kyoto, where his son Nakagawa Yoshizane (1859-1915) also worked in the latter part of his life.

Among his better known published pieces are the silver incense burner in the collection of the Sannenzaka Museum in Kyoto, which also has some of his rare sword fittings; the great silver caparisoned model elephant in the Khalili Collection; and the iron gourd with leaves, insects, birds, and reptiles in copper alloys with gold inlaid details in the British Museum (see Metalwork, Part 1, vol. 2 of Meiji no takara Treasures of Imperial Japan: The Nasser D. Kahalili Collection of Japanese Art, Oliver Impey and Malcolm Fairley, gen. eds. [London: The Kibo Foundation, 1994], no. 3; and Lawrence Smith, Victor Harris and Timothy Clark, Japanese Art: Masterpieces in the British Museum [London: Oxford University Press, 1990], no. 152, p. 162 or www.britishmuseum.org accession no. 1969.0210.1). There exist works by Katsuyoshi that have leaves and wildlife included in the design, many of them of iron patinated in his characteristic method, such as this and the British Museum pieces, and employing colored copper and bronze with expanses of gilding.

Following the 1871 prohibition against wearing swords, Shoami turned to the manufacture of other items of metal, including tea ceremony equipment, small personal accessories, and ornaments. For further examples of his work, see Arts of East and West from World Expositions: 1855-1900: Paris, Vienna and Chicago (Tokyo: NHK, NHK Promotions Co., Ltd. and Nihon keizai shinbunsha Ltd., 2004), p. 121. He became particularly skillful at gold and silver togidashiinlay, and was to receive prizes at both domestic and international expositions: a gold medal at the New Orleans exposition in 1885, a silver medal at the Paris exposition in 1889 and a gold medal at the St. Louis exposition in 1904. In the 1904 Handbook of Japan published for the St. Louis fair, he was pleased to note that some of his work had been acquired by the Imperial Household.

Christie's. Japanese and Korean Art. 20 March 2013. New York, Rockefeller Plaza.

A gold lacquer display cabinet (kazaridana), Edo period (19th century). Photo Christie's Image Ltd 2013

A set of shelves set on four bracket feet and with slightly upcurved top edges, the top surface and four open rectangular shelves below, and a lower cabinet enclosed by a pair of hinged doors and a cabinet enclosed by two sliding doors; decorated on all the outer surfaces in varicolored gold and silver hiramaki-e, takamaki-e, togidashi, kirikane, okibirame and gold and silver inlay on anashiji ground with the landscape of Yoshino with hills, river, mountain cottages and blossoming cherry trees, and with distant hills above farmhouses by a riverbank, the top with moon inlaid in silver above a village beside a stream with footbridge, the interior back panel behind the hinged doors patterned in gold and silver hiramaki-e, takamaki-e, togidashi, kirikane and okibirame on anashiji ground with maple trees and scattered maple leaves on the eddies of the Tatsuta River, the interior back panel of the lower cabinet decorated with stylized cherry blossoms and clouds on anashiji ground, the silver mounts made en suite with cherry blossoms and maple leaves; 45½ x 18 x 42½in. (115.6 x 45.7 x 108cm.). With wood box. Estimate $200,000 - $300,000

Note: Cherry blossoms are the symbol of the spring season in Japan. No site is more famous for its profusion of blossoms than the Yoshino hills south of Nara. One hundred thousand trees, mostlyyamazakura (white mountain cherries), burst into bloom for two short weeks in early April. The original groves were said to have been planted by a Buddhist priest in the late seventh century. They were consecrated to the god Zao Gongen and new trees were planted from time to time until the entire hillside was covered. Yoshino has long been celebrated for its beauty in Japanese poetry.

The autumn counterpart to Yoshino is the scenery of the Tatsuta River, Kyoto, here visualized on the back panels on the interior of the cabinets. The stands of red maples and leaves flowing on the current of the river, like the scenery of Yoshino, evoke literary and pictorial themes.

Christie's. Japanese and Korean Art. 20 March 2013. New York, Rockefeller Plaza.

Coupe libatoire en corne de rhinocéros, XVIIème-XVIIIème siècle. Photo Dupont & Associés

à décor sculpté en relief et détaché de fleurs de lotus, les tiges entourant et formant le pied de la coupe, l'intérieur en forme de feuille de lotus. Haut.: 8 cm; Long.: 17 cm. Poids: 256 g. Petits éclats au bord. Estimation : 40 000 - 50 000 €

Dupont & Associés. lundi 25 février à 14h00. 37, 39 rue de Paris - 29600 morlaix. EMail : contact@morlaix-encheres.com - Tél. : 02 98 88 08 39

Belle paire de flambeaux en argent. Paris 1747-1748. Maître Orfèvre: Charles César Haudry, reçu en 1732. Photo Dupont & Associés

La base hexagonale à contours est ornée d'une frise d'oves et entrelacs surmontée de six panneaux horizontaux à décor d'entrelacs feuillagés, sur fond amati, rehaussés sur trois d'entre eux de masques de satyres, les trois autres des coquilles. L'ombilic est ciselé d'un décor alternant entrelacs, fleurons et palmettes sur fond amati. Le fût à trois pans incurvés, surmonte un collet triangulaire souligné d'une frise d'oves et entrelacs; il est orné de coquilles et de fleurons sur fond amati, l'ensemble surmonté de trois masques féminins. Le binet hexagonal, dont la base est soulignée de frises de godrons, d'oves et entrelacs, est orné sur chaque pans d'un fleuron. Haut.: 24 cm Poids: 1074 g.

Une paire de flambeaux trés proche fait partie des collections du Musée Nissim de Camondo, elle est décrite et photographiée dans l'ouvrage Orfèvrerie française des XVIe XVIIe XVIIIe siècles, Catalogue raisonné des collections du Musée des Arts Décoratifs et du Musée Nissim de Camondo, Gérard Mabille. Elle est datée 1726-1727 et est l'oeuvre de l'orfèvre Paul Soulaine.

Dupont & Associés. lundi 25 février à 14h00. 37, 39 rue de Paris - 29600 morlaix. EMail : contact@morlaix-encheres.com - Tél. : 02 98 88 08 39

A fine gold diamond and emerald pendant, middle of 18th century. Photo Nagel Auktionen

18ct. yellow gold, rose-cut diamonds and 7 emerald pendeloques. L. 8,3 cm - Minor damages due to age and very minor restorations. Estimate 3800€

Nagel Auktionen.  February 20th 2013. www.auction.de

A fine Baroque gold enamel and ruby necklace, probably Italian, last quarter of 17th century. Photo Nagel Auktionen

18ct.yg./c. 23g. L. 35/43 cm - Very minor damages and restorations, the fine gold chain added later. Estimate 2500€

Nagel Auktionen. February 20th 2013. www.auction.de

A rare pair of Spanish or Portuguese gold and amethyst earrings, 1st half of 18th ct. Photo Nagel Auktionen

Tog.c. 35g. L. 11,5 cm - Minor restorations and additions. Estimate 3500 €

Provenance: South German private collection.

A similar pair to these earrings but with hessonite stones in the collection of the Jewellery Museum at Pforzheim. 

Nagel Auktionen. February 20th 2013. www.auction.de

An elaborate floral shaped gold silver and diamond necklace, middle of 18th century. Photo Nagel Auktionen

Mounted with rose-cut diamonds and green stones. The black ribbon and the diamond clasp later, the clasp with a maker's mark and a French import mark. L. 15/36 cm - Minor damages due to age, minor restorations. Estimate 7800 €

Literature: Vgl. Rothmüller, Battenberg, München, 1978, S. 106, Kat.Nr. 84., Punze vgl. Tardy, Poincons d'Or et de Platine, S. 174.

Nagel Auktionen. February 20th 2013. www.auction.de

A pair of diamond earrings, Southern Europe, 2nd half of 18th century. Photo Nagel Auktionen

Silver, gold ground, the gold mounting later. L. 4,5 cm - Minor traces of age. Estimate 1600 €

Nagel Auktionen. February 20th 2013. www.auction.de

A pair of French emerald and diamond earrings, 2nd half of 18th ct. Photo Nagel Auktionen

Rose-cut diamonds mounted in partgilded silver. A later French guarantee mark. L. 5,3 cm - Minor damages due to age, minor repair. Estimate 1800 €

Literature: Vgl. Renate Möller, Schmuck, Tafel S. 21.

Nagel Auktionen. February 20th 2013. www.auction.de

A large silver Corpus of the "Living Christ", France, probably late 17th century. Photo Nagel Auktionen

Very similar to a model in ivory by Francois Girardon. Typical French model of the 17th century with the head held high and throwing a glance to heavan and without the crown of thorns. Without marks. C. 1187g. H. 42,2 cm. Estimate 4000 €

Nagel Auktionen. February 20th 2013. www.auction.de

A bone mounted rootwood a.o. cup and cover, c. 1700. Photo Nagel Auktionen

Signs of aging. H. 34 cm. Estimate 1500€

Nagel Auktionen. February 20th 2013. www.auction.de