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Vishnu Yogasana, India, Himachal Pradesh, Circa 10th-11th century

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Vishnu Yogasana, India, Himachal Pradesh, Circa 10th-11th century. Brass. Height: 17 ¼ in (44 cm) © Kapoor Galleries

Kapoor Galleries (New York, NY), Recent Acquisitions11-12 march 2017 at 34 East 67th Street, Floor 3, New York 10065. T (212) 794 2300 - info@kapoorgalleries.com - kapoorgalleries.com


Alan Kennedy at Asian Week New York, 9-18 march 2017

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A European lady with fishbowl and hourglass, China, 18th century. Ink and colors on silk, 75.2 x 25.4 inches. © Alan Kennedy

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Meiren and maid with scale (detail), China, 18th century. Colors on silk. 59.8 x 33.5 in (152 x 85 cm)© Alan Kennedy

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Eleven-Headed Guanyin, China, 18th century. Ink and colors on silk. 65 x 33.25 in (165 x 84.5 cm)© Alan Kennedy

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Portrait of an elderly lady, a child and two servants, China, 18th century. Ink, colors and gold on silk. 41.7 x 24.8 in (106 x 63 cm)© Alan Kennedy

Alan Kennedy (Santa Monica, CA), Chinese and Japanese Paintings and Textiles, 10-18 march 2017 at James Goodman Gallery, 41 East 57th Street, 8th Floor, New York 10022. T (646) 753 4938 - kennedyalan@hotmail.com - alankennedyasianart.com

 

Gerrit Dou (Leiden 1613 – 1675 Leiden), Old Man Praying, ca. 1665–70

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Gerrit Dou (Leiden 1613 – 1675 Leiden), Old Man Praying, ca. 1665–70, oil on panel, 18 x 12.7 cm, signed in dark paint along right edge: “GDOU” (GD in ligature), GD-107. Private collection, New York.

Currently on view at Musée du Louvre, Paris.

Despite the dynamic, lively touch of the artist’s brush, Gerrit Dou’s Old Man Praying is a painting of calm, spiritual reverence. Seen from a slightly elevated viewpoint and against an undefined backdrop, the elderly bearded figure kneels in prayer while gazing fervently toward an unseen object of devotion. This undated painting relates closely to four works depicting an aged hermit that Dou executed between 1665 and 1670. 1 In each of these other works, however, Dou included a context for the hermit’s spiritual reverence, whether a crucifix or some other symbolic attribute related to the Christian faith. 2 For example, in Hermit Praying, 1670, in the Minneapolis Institute of Arts  (fig 1), Dou placed the hermit in a carefully articulated environment that includes a dead tree trunk and an architectural ruin. 3 With a rosary in hand, the hermit gazes toward the Bible on his lap. Other objects that symbolically evoke Christian spirituality and transience—crucifix, skull, extinguished candle, and hourglass—rest on a nearby table. 4  This imagery is also depicted in Dou’s The Hermit (1670) in the National Gallery of Art in Washington, D.C.  (fig 2).

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Fig.1. Gerrit Dou, Hermit Praying, 1670, oil on panel, 33.6 x 27 cm, The Minneapolis Institute of Arts, Minneapolis, The William Hood Dunwoody Fund, inv. 87.11.

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Fig. 2. Gerrit Dou, The Hermit, 1670, oil on oak panel, 46 x 34.5 cm, National Gallery of Art, Washington D.C., Timken Collection, 1960.6.8.

One can only speculate as to why, in the Leiden Collection painting, Dou chose to focus exclusively on the hermit’s prayerful gesture and not include the types of Christian attributes he included in the other paintings of hermits. One explanation may be that Dou painted this work for a Protestant patron who wanted an image of personal piety and commitment to faith expressed through prayer. 5 Whatever the motivation for this focused approach to the subject, it seems probable that Dou painted this tronie in his studio after a live model, one whom he depicted a number of times in the 1660s and 1670s, including in the Minneapolis painting. The figure’s wide-set eyes, nose, and wrinkles above his brow are distinctive features that Dou must have found compelling for his representations of a spiritual individual.

The infrared photograph of an Old Man Praying reveals a vigorous and spontaneous undermodeling that suggests Dou painted this figure quickly from life. (fig 3) It shows clearly that Dou modified the man’s position during the painting process by adjusting the angle of his shoulders to a three-quarter view. 6 The lively brushstrokes that Dou used to model the figure’s face are reminders of the artist’s unique ability to render forms meticulously while maintaining a loose and free handling of the brush. 7 Dou’s idiosyncratic, “hatching” style of brushwork is clearly visible along the hermit’s temple and nose and on the back of his hands. The energetically and quickly executed background, where the master applied his translucent paint with a relatively wide brush, is visible in infrared as well as with the naked eye.

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Fig 3. Infrared photograph of GD-107

Old Man Praying once formed part of the distinguished collection of Lothar Franz von Schönborn (1655–1729), Elector of Mainz and Archbishop of Bamberg at Pommersfelden, one of the most important collections of paintings in eighteenth-century Germany. By the time Schönborn acquired this painting in 1719, he had amassed a collection of almost one thousand works of art, eventually owning nine paintings by Dou. 8 In 2006 the present owner acquired this small masterpiece along with another soulful image of an elderly person, Rembrandt’s Study of a Woman in a White Cap (RR-101), at the same Sotheby’s sale in New York. 9

Dominique Surh, "Old Man Praying", (GD-107), in The Leiden Collection Catalogue, Arthur K. Wheelock Jr., Ed., New York, 2017
http://www.theleidencollection.com/archive/

This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs.


Gerrit Dou (Leiden 1613 – 1675 Leiden), Scholar Interrupted at His Writing ,ca. 1635

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Gerrit Dou (Leiden 1613 – 1675 Leiden), Scholar Interrupted at His Writing ,ca. 1635, oil on oval panel 24.5 x 20 cm, GD-102, Private collection, New York.

Currently on view at Musée du Louvre, Paris.

An elderly scholar glances up from his writing to gaze directly at the viewer. With pen paused on the paper before him, he sits at his desk where an open book leans against a globe and a pen case lies obliquely along the table edge. Among Gerrit Dou’s numerous paintings of a scholar in his study, none focuses so directly on a specific moment in time as does this compelling masterpiece, one of the most finely accomplished works in the artist’s early mature style. The old man’s alert pose and fleeting expression create the sense of an arrested moment, whereas Dou’s careful rendering of the scholar’s aging features, including his thinning hair and finely wrinkled skin, reveals a keen awareness of time’s inevitable passing. The artist reiterates this emphasis by depicting an hourglass with fine sand trickling through its narrow neck.

Dou concentrates our attention on the scholar’s expression through a delicate play of light and shadow on his face. Light flooding in from the left highlights his forehead and the tip of his nose, leaving his eyes dimly lit in shadow. This focus is heightened by the glowing light on the column, which contrasts with the shadow on the man’s face and the darkness of the background. The open book casts a subtle reflection of light back onto his face, seeming to embody the way its contents illuminate him and further reinforcing the psychological intensity of his gaze.

Dou’s mastery of lighting and compositional balance in Scholar Interrupted suggests that he executed this work around 1635. Another point of reference for this date, as Baer has noted, is the close compositional similarity between this work and Rembrandt’s etched Portrait of Johannes Wtenbogaert, dated 1635. 1 The painting also shares much in common with another small-scale panel from 1637, Dou’s earliest extant dated work, An Interior with a Young Violinist in Edinburgh  (fig 1). In both paintings, Dou creates an effective balance between a single figure in an interior space and copious still-life elements surrounding him. Many of the objects on the table and shelves in Scholar Interrupted, particularly the terrestrial globe and the book with the metal clasp, reappear in Dou’s other paintings from this period. His muted palette, dominated by browns, grays, and tawny yellows for the highlights, is also seen in other works from this period such as his Self-Portrait in Cheltenham and Portrait of a Lady, Seated with a Music Book on Her Lap in the present collection (GD-116).

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Fig 1. Gerrit Dou, An Interior with Young Violinist, 1637, oil on panel, arched top, 31.1 x 23.7 inches, National Gallery of Scotland, Edinburgh, NG 2420

Martin identified the model for the scholar as Douwe Janszoon, the artist’s father. 2 Dou’s father, however, would have been about fifty years old in 1635, and the scholar in this painting appears significantly older than that. 3 The bearded old man wears a tabard, a traditional housecoat commonly worn in the seventeenth century by lawyers, scholars, and ecclesiastics. His black skullcap probably indicates that Dou intended him as a religious scholar. 4 Although the book on the table is visibly open to page 61 and contains chapter heads set off in the margins, its precise contents are illegible. The handwriting of the scholar’s letter is similarly blurred, yet Dou took great measures to distinguish the textual character of the book and letter by varying his brushwork.

An X-radiograph of the Scholar Interrupted reveals that the composition evolved during the painting process  (fig 2). In the upper right quadrant, Dou originally planned for an artist’s easel similar to those that appear in his paintings from the late 1620s and early 1630s. 5 This earlier configuration is seen in such works as Artist in His Studio  (fig 3) and Man Writing by an Easel  (fig 4), which point to the concept of the learned artist or the parallel between the artist and the scholar. 6 When he painted over the easel in the present work, he added a shelf with various small jars and books and included a Japanese parasol leaning against the wall. While the compositional reworking does not appear to be unusual for Dou, the change signifies a development in the fine-tuning of the iconography. 7

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Fig 2. X-radiograph of Gerrit Dou, Scholar Interrupted at His Writing, GD-102

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Fig 3. Attributed to Gerrit Dou, Artist in His Studio, ca. 1630–32, oil on panel, 59 x 43.5 inches, private collection, United Kingdom

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Fig 4. Gerrit Dou, Man Writing by an Easel, ca. 1631–32, oil on panel, 31.5 x 25 inches, private collection

The pictorial tradition of the scholar in his study was especially popular in Leiden among Rembrandt van Rijn (1606–69) and his followers in the decade between about 1625 and 1635. 8 Given that the city was an important center of scholastic learning, the seat of one of the oldest universities in Europe, and the site of a prominent school of theology, the painting’s subject matter and themes would have been familiar to the local intellectual elite. Though the painting possesses the character of a genre scene painted from life, the nature of the scholar’s contemplative work is evoked in the various symbolic references associated with the still-life objects. The books and terrestrial globe may be understood as attributes of the scholar’s wisdom and knowledge, while the hourglass and skull were well-established vanitas symbols that refer to the passing of time and the fleeting nature of existence. One can assume that the scholar himself is examining questions about the transience of life in his own writings, and that he remains mindful that the wisdom and knowledge passed along through books will long outlive him. As a clever parallel, Dou references the theme of art surpassing the artist’s short life by inserting his signature, “GDou,” on a tattered piece of paper on the side of the book, adjacent the skullss. 9

The precise meanings of the objects on the shelf—particularly the closed Japanese parasol, the empty birdcage, and the gourd hanging from the staircase—are more difficult to establish. 10 The parasol frequently appears in Dou’s later paintings, whether in his self-portraits above his easel or as an attribute of a quack performing before gullible listeners. 11 In both contexts, the open parasol appears to signify the working of illusion through deception. 12 Another intriguing detail is the barely visible metal container on the shelf nestled between two jars above the globe, on which Dou has written the letters “[…]ALVES”  (fig 5)13 This ambiguous reference may, in fact, allude to salves and identify its contents as ointments, an indication of the practice, often associated with quacks, of using herbal remedies in the treatment of physical ailments. 14 It is difficult to pinpoint the precise meaning of these elements and in what manner Dou intended for them to relate, if at all, to the scholar’s work of contemplation and writing.

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Fig 5. Detail of shelf with glass and metal jars, Gerrit Dou, Scholar Interrupted at His Writing, GD-102

Three known much later versions and an engraving from around 1760 by Nicolas Joseph Voyez  (fig 6) correspond compositionally to the Scholar Interrupted, yet the painted versions may have been modeled after another now lost variant. They all differ from the present work in their arched-top rather than oval format, and only the Voyez print includes the scarf draped over the table edge and reflects the precise position of the pen case on the table as it appears in Scholar Interrupted15 The lightly colored ground of the present work, visible along the entire circumference of the panel’s edge, rules out any possibility that the format was modified.

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Fig 6. Nicolas Joseph Voyez (1742–1806), after Gerrit Dou, Le vieillard en réfléxion, ca. 1757–73, engraving, 355 x 275 mm, British Museum, London, © Trustees of the British Museum

The year Dou executed the present work also marks the beginning of the patronage of the artist by the Delft merchant-turned-statesman Pieter Spiering. Dou’s early biographer Joachim van Sandrart recounts that Spiering offered Dou a lucrative retainer fee in exchange for the right of first refusal of his works. 16 It is unclear how long this agreement lasted, but Spiering must have amassed a superb collection of paintings directly from the artist over the years, including the present Scholar Interrupted. The painting is listed in a document dated 1652 involving a group of ten panels that Spiering had sent to Queen Christina of Sweden for sale by approval, sometime in the late 1640s. 17 Even though Queen Christina did not purchase Scholar Interrupted, Spiering’s positive assessment has been shared by later collectors, most notably Charles Morrison, who acquired this small masterpiece around 1854. The painting remained in the Morrison family at Sudeley Castle until it was sold in 2007, at which time it was acquired by the present collector.

Dominique Surh, "Scholar Interrupted at His Writing", (GD-102), in The Leiden Collection Catalogue, Arthur K. Wheelock Jr., Ed., New York, 2017
http://www.theleidencollection.com/archive/

This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs.

 

Tina Kim Gallery at Asian Week New York, 9-18 march 2017

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Seoyoung Chung, Table, 2007. Wood, 47.24 x 28.94 x 35.43 inches, 120 x 73.5 x 90 cmCourtesy of the Artist and Tina Kim Gallery

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Seoyoung Chung, The Sculpted Bride, South Korea, 1997. Sponge, wood, and plaster. 59.06 x 82.68 x 39.37 in (150 x 210 x 100 cm). Courtesy of the Artist and Tina Kim Gallery

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Seoyoung Chung, Ghost Will be Better, South Korea, 2005. Linoleum, paint, and wood. 157.48 x 70.87 x 19.69 in (400 x 180 x 50 cm). Courtesy of the Artist and Tina Kim Gallery

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Seoyoung Chung, TV, South Korea, 1996. Wood, linoleum, and house paint. 20.87 x 25.2 x 1.18 in (53 x 64 x 3 cm)Courtesy of the Artist and Tina Kim Gallery

Tina Kim Gallery (New York, NY), Seoyoung Chung, 9-18 march 2017 at 525 West 21st Street, New York 10011. T (212) 716 1100 - info@tinakimgallery.com - tinakimgallery.com

 

Navin Kumar Gallery at Asian Week New York, 9-18 march 2017

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Vajradhara with Consort, Mindroling Monastery, Tibet, 1676–1705© Navin Kumar Gallery

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Ratnasambhava, Tibet, 16th century. Distemper on Cloth. 54 x 39.5 in (137 x 100 cm). © Navin Kumar Gallery

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Illustration to a dispersed Ramayana series, Kangra, Punjab Hills, India, 1775-1780Opaque watercolor on paper. 8 x 12 in (20.4 x 30.5 cm)© Navin Kumar Gallery

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Shakyamuni Buddha, Tibet, 12-13th century. Gilt Bronze. 12 inches (30.5 cm)© Navin Kumar Gallery

Navin Kumar Gallery (New York, NY), Himalayan and Indian Art, 9-18 marh 2017 at 24 East 73rd Street, Suite 4F, New York 10021. M (917) 721 0426 - navin@navinkumar.com - navinkumar.com

 

J. J. Lally & Co. at Asian Week New York, 9-18 march 2017

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A Limestone Block-Form Buddhist Stele, Tang Dynasty, 8th Century, 22 x 19 ½ x 10 inches (55.9 x 49.5 x 25.4 cm) © J. J. Lally & Co.

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A Limestone Head of Bodhisattva, China, from the Gongxian Buddhist caves, Northern Wei dynasty, early 6th century. Height: 10.25 inches (26 cm) © J. J. Lally & Co. 

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A Gilt Bronze Figure of Avalokitesvara, Sui Dynasty (581-618). Height: 10 inches (25.4 cm) © J. J. Lally & Co. 

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A Painted Marble Figure of an Attendant Deity, Liao- Jin Dynasty, 10th-11th Century. Height: 31 1/2 inches (80 cm) © J. J. Lally & Co.

J. J. Lally & Co. (New York, NY), Buddhist Sculpture from Ancient China, 11-12 march 2017 at 41 East 57th Street, 14th Floor, New York 10022. T (212) 371 3380 - staff@jjlally.com - jjlally.com

 

A buff sandstone Figure of Kubera, Vietnam, Óc Eo Region, 5th-6th century

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A buff sandstone Figure of Kubera, Vietnam, Oc Eo Region, 5th-6th century

Lot 247. A buff sandstone Figure of Kubera, Vietnam, Óc Eo Region, 5th-6th century, 18 ¼ in. (46.5 cm.) high. Estimate USD 20,000 - USD 30,000 © Christie's Images Ltd 2017

ProvenancePrivate Collection, United Kingdom, acquired in Bathe, Óc-Eo, Vietnam in the early 1900s; thence by descent.
Acquired by the current owner from Christie's South Kensington, 16 June 1994, lot 173.

NoteÓc Eo was part of the Funan kingdom that flourished in the Mekong Delta between the first and sixth centuries. By the third or fourth century, a 43-mile-long road connected Óc Eo to Angkor Borei, situating it between the flourishing Khmer Empire, and important international maritime trade routes accessible by the Mekong River. Due to this strategic location, Óc Eo became the economic and cultural center of the Mekong Delta, drawing traders and artists to this hotbed of cultural exchange to experience the wealth of foreign influences from all over South and Southeast Asia, including India. This “crossroads of Southeast Asia” stimulated a flourishing of the local artistic idiom.

Christie's. Himalayan, Indian and South East Asian Art, 14 March 2017, New York, Rockefeller Center


Diego Giacometti (1902-1985), Grande table octogonale aux caryatides et atlantes, vers 1983

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Lot 7. Diego Giacometti (1902-1985), Grande table octogonale aux caryatides et atlantes, vers 1983. Estimate EUR 800,000 - EUR 1,200,000 (USD 848,014 - USD 1,272,020)© Christie's Images Ltd 2017

Bronze patiné et pin naturel / patinated bronze and pinewood. H 81,5 x D 190,5 cm / 32 ¼ x 75 in. Signée DIEGO et monogrammée DG sur une traverse de l’entretoise.

ProvenanceCollection Hubert de Givenchy, commandée à l'artiste vers 1983.

Literature: Pour notre exemplaire : D. Marchesseau, Diego Giacometti, Hermann, Paris, 2005, p. 136-137

NoteLe modèle de la table aux caryatides et atlantes est créé vers 1976 pour le décorateur Henri Samuel. Diego le conçoit alors pour une table rectangulaire, un oiseau prenant son envol sur les barres d'entretoise, le plateau épais en merisier. 

La version octogonale que nous présentons ici est exceptionnelle. À ce jour on ne connait qu'un seul autre exemplaire passé sur le marché, le 15 novembre 2016 à New York, provenant de la succession Francisco (Baby) Matarazzo Pignatari, playboy héritier des grands industriels brésiliens Matarazzo ayant fait fortune dans la métallurgie et le cuivre. Hubert de Givenchy, trouvant cette forme à pans coupés parfaitement adaptée pour être placée dans un angle de pièce, en passe successivement commande de trois exemplaires à Diego Giacometti : une légèrement plus petite avec un plateau teinté vert céladon (lot 16), et deux autres identiques, (lots 7 et 11) de plus grand diamètre, pouvant former une paire, dont celle que nous présentons ici.

 

The design of the table with caryatids and atlantes was created circa 1976 for the decorator Henri Samuel. Diego then conceived it for a rectangular table, a bird taking flight over the crosspiece bars, with a thick cherry wood top. 

The octagonal version we are presenting here is exceptional. At present we know of only one other example that has come on to the market, on 15 November 2016 in New York, from the estate of Francisco (Baby) Matarazzo Pignatari, playboy and heir to the great brazilian family Matarazzo, who made their fortune in metal and copper industries. Hubert de Givenchy, finding this form suited perfectly placed in a corner of a room, commissioned three of them from the artist: one slightly smaller with a top tinted celadon green, and two others identical but of a bigger diameter, including the one we are presenting here.

Christie's. Les Giacometti d'Hubert de Givenchy, 6 March 2017, Paris

Diego Giacometti (1902-1985), Grande table octogonale aux caryatides et atlantes, vers 1983

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Lot 11. Diego Giacometti (1902-1985), Grande table octogonale aux caryatides et atlantes, vers 1983. Estimate EUR 800,000 - EUR 1,200,000 (USD 848,014 - USD 1,272,020). © Christie's Images Ltd 2017

Bronze patiné et placage de chêne teinté / patinated bronze and stained oak veneer - H 82 x D 190,5 cm / 32 ¼ x 75 in. Signée DIEGO et monogrammée DG sur une traverse de l’entretoise

ProvenanceCollection Hubert de Givenchy, commandée à l'artiste vers 1983.

LiteraturePour notre exemplaire : D. Marchesseau, Diego Giacometti, Hermann, Paris, 2005, p. 136-137

Christie's. Les Giacometti d'Hubert de Givenchy, 6 March 2017, Paris

Diego Giacometti (1902-1985), Table octogonale aux caryatides et atlantes, vers 1980

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Lot 16. Diego Giacometti (1902-1985), Table octogonale aux caryatides et atlantes, vers 1980. Estimate EUR 600,000 - EUR 800,000 (USD 636,010 - USD 848,014). © Christie's Images Ltd 2017

Bronze patiné et placage de chêne teinté céladon / patinated bronze and celadon stained oak veneer. H 81,5 x D 162,5 cm / 32 1/8 x 64 in. Signée DIEGO et monogrammée DG sur une traverse de l’entretoise.

Provenance: Collection Hubert de Givenchy, commandée à l'artiste vers 1980.

Literature: Pour notre exemplaire : D. Marchesseau, Diego Giacometti, Hermann, Paris, 2005, p. 136-137

Cette table est la première des trois tables octogonales aux caryatides et atlantes commandées à Diego Giacometti par Monsieur de Givenchy, dont la forme lui semblait idéale, placée dans l'angle d'une pièce. 

This table is the first of three octagonal tables with caryatids and atlantes commissioned from Diego Giacometti by Monsieur de Givenchy, who considered it the perfect shape to place in the corner of a room.

Christie's. Les Giacometti d'Hubert de Givenchy, 6 March 2017, Paris

Diego Giacometti (1902-1985), Ensemble de quatre tabourets en X, troisième version, vers 1983

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Lot 12. Diego Giacometti (1902-1985), Ensemble de quatre tabourets en X, troisième version, vers 1983. Estimate EUR 300,000 - EUR 500,000 (USD 318,005 - USD 530,008)© Christie's Images Ltd 2017

Bronze patiné et cuir / patinated bronze and leather. H 46 x L 47 x P 40 cm (chacun) / 18 1/8 x 18 ½ x 15 ¾ in (each)

ProvenanceCollection Hubert de Givenchy, commandés à l'artiste vers 1983.

Literature: F. Baudot, Diego Giacometti, Éditions Assouline, Paris, 1998, pp. 39 et 77 pour le même modèle
C. Boutonnet et R. Ortiz, Diego Giacometti, les éditions de l’amateur, Paris, 2003, catalogue d’exposition, p. 77 pour le même modèle
F. Francisci, Diego Giacometti, catalogue de l’oeuvre, éditions Eolia, vol. I, Paris, 2005, p. 102 pour le même modèle
D. Marchesseau, Diego Giacometti, Hermann, Paris, 2005, p. 50 pour le même modèle

NoteLorsque Diego crée le modèle de ce tabouret vers 1960, il s’inspire d’un fauteuil espagnol rapporté du marche aux puces par Aimé Maeght, dont le piétement curule l’amuse. Il réalise alors un tabouret aux armatures plus maigres, terminées par des pieds plats étirés vers l'extérieur. Très vite il en élabore une deuxième version, avec des patins plats circulaires, avant de modifier encore et définitivement son modèle, choisissant des pieds sabots circulaires, une armature plus charnue et soulignant le croisement des deux X par un motif circulaire légèrement creux, à chaque extrémité de la barre d’entretoise. Hubert de Givenchy en commande quatre exemplaires à Diego pour entourer l’une de ses tables octogonales aux caryatides et atlantes. Il lui livre alors un ensemble aux patines nuancées : deux tabourets à patine vert antique et deux patines brun vert, présentes ici.

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Tabouret en x, première version, vers 1960 © Hermann

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Table présentant le même piétement que le tabouret en x, deuxième version, vers 1960© Hermann

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Tabouret en x, troisième version, élément en plâtre dans l'atelier de Diego © Martine Franck

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Tabouret en x, troisième version, vers 1965 © Daniel Farsnay, Editions Eolia

When Diego created the design of this stool circa 1960, he was inspired by a Spanish armchair that Aime Maeght had brought back from the flea market, whose Roman style base amused him. He then made a stool with a thinner framework ending in flat feet spread towards the outside. He very quickly made a second version of it, with flat circular pads, before modifying his design once more and for the last time, choosing circular hoof shaped feet, a chunkier frame and emphasizing the meeting point of the two X with a slightly hollow circular motif at each end of the strut bar. Hubert de Givenchy commissioned four of these stools from Diego to go round one of his octagonal tables with caryatids and atlantes. Diego then supplied him with a set standing on subtly shaded feet: two stools with antique green feet and two with brownish-green feet, presented here.

Christie's. Les Giacometti d'Hubert de Givenchy, 6 March 2017, Paris

Jean Vendome

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Bague Couple de Jean Vendome, cristal de roche et tourmaline verte, diamants, or gris et jaune. Pièce unique.

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Collier Archipel de Jean Vendome en or gris et jaune, améthystes et diamants baguette. Pièce unique.

An amethyst, diamond and gold necklace by Jean Vendome, circa 2006.

Il est composé de huit grands motifs géométriques irréguliers rehaussés de tranches d'améthystes translucides et de barrettes serties de diamants carré. Monture en or jaune et or gris 18K. Travail de JEAN VENDOME, poinçon de maître. Poids brut : 126,67 gr. (mousqueton postérieur); Dimensions : 43,5 x 4,9 cm. 
Référence : Marylin Cregut, Jean Vendome, Editions Faton, p. 245, où ce collier est reproduit.

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Bague Amazonie de Jean Vendome en or gris, dioptases, émeraudes et diamants. Pièce unique.

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Pendentif Cosmo de Jean Vendome en or gris, perles de culture baroques, japonaises et de Tahiti, diamants de taille brillant et cognac. Pièce unique. 

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Jean Vendome. Bague bracelet, 1968.

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Jean Vendome. Bague "Ferret" 1970, 1982. Quartz rutile, or jaune.H. cm : 7 - Diam. cm : 2 - Epaisseur cm : 1,5. Dépôt du Fonds national d'art contemporain, Ministère de la Culture, Paris, 1989. FNAC 89035. Musée des Arts Décoratifs, Paris. ©Photo Les Arts Décoratifs, Paris/Jean Tholance.

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A diamond and gold bangle by Jean Vendome, circa 1970. Photo Tajan

Il est en forme de bracelet rigide ouvrant à section carrée. Le plateau est formé de trois lignes de diamants taille brillant disposées en quinconce. Monture en or jaune 18K. Signé JEAN VENDOME et poinçon de maître. Poids brut : 18,59 gr. Dimensions intérieures : 5,8 x 4,5 cm. 

Référence : Marylin Cregut, Jean Vendome, Editions Faton.

 

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An emerald and gold set by Jean Vendome, circa 1966. Photo Tajan

Elle se compose d'une broche et d'une paire de clips d'oreilles en fils d'or jaune 18K rehaussés d'émeraudes calibrées sur un décor abstrait. Travail de JEAN VENDOME, poinçon de maître. Poids brut : 36,62 gr. (système clip). Dimensions : 6,3 x 6 cm et 4,2 x 2,5 cm. 

Référence : Marlène Cregut, Jean Vendome, Editions Faton, pages 81 à 87, chapitre America.

 

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An amethyst and silver necklace and ring by Jean Vendome, circa 1970. Photo Tajan

Elle se compose d'un collier portant un grand pendentif rectangulaire serti de cristaux d'améthyste, retenu par d'un tour de cou articulé, et d’une grande bague rectangulaire également sertie de cristaux d’améthystes soulignées d’améthystes triangulaire. Monture en argent. Travail français, poinçon de maître. Poids brut : 117,57 gr. Dimensions du pendentif : 8 x 5 cm. Dimensions de la bague : 6 x 2,8 cm. TDD : 53.

 

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A cultured pearl, diamond and gold ring and pair of ear clips by Jean Vendome, circa 1967. Pièce unique. Photo Tajan

Elle se compose d'une grande bague portant une perle mabée soulignée par deux barrettes serties de diamants taille brillant et d'une paire de clips d'oreilles au modèle. Monture en or gris 18K. Travail de JEAN VENDOME, dessin de 1967. Poids brut : 18,82 gr. (petites différences). Dimensions de la bague : 3,2 x 3,1 cm. Dimensions des clips : 1,8 x 2 cm. 

Référence : Marylin Cregut, Jean Vendome, Editions Faton, p. 95 à 99 pour l'évocation de cette série complète. 

"Jean Vendome, désireux de travailler le concept de bague à corps ouvert, où les pierres semblent être posées sur la main, les réalise en or gris ou or jaune, si le concept est le même, toutes les pièces sont uniques" Marlène Crégut.

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An amethyst and gold necklace by Jean Vendome, circa 2000. Photo Tajan

Un grand pendentif formé d'une géode d'améthyste retenant une chute d'améthystes rectangulaire terminé par un cristal d'améthyste. Monture en or jaune 18K. Travail de JEAN VENDOME. Poids brut : 100,02 gr. Tour de cou : 45 cm environ. Hauteur du motif central : 13,3 cm.

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Jean Vendome, "VAGUE". Photo Delorme & Collin du Bocage

Élégante bague en or gris 18 K, monture à décor de noeud, ornée d'une ligne de diamants taille baguette en serti rail, épaulée de diamants navette et d'un pavage diamanté. Poinçon de maître. Vers 1998. Poids brut: 14.60 g. TDD: 59.  

Bibliographie: des bijoux similaires figurent dans l'ouvrage: Jean Vendome, les voyages précieux d'un créateur. Marlène Cregut-Ledué. Editions: Faton. p. 188

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A diamond and gold wristwatch by Jean Vendome, circa 1955. Pièce unique. Photo Tajan

Le cadran de forme dissymétrique est inclus dans un motif en or gris 18K texturéà l'imitation de pépites. Le tour de bras est également constitué de pépites en or gris 18K. L'ensemble est rehaussé de petits diamants taille brillant. Travail français, poinçon de maître de JEAN VENDÔME. Poids brut : 39 gr. Dimensions : 17,5 x 1,3 cm 

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A multigem and gold ring byJean Vendome, circa 1970. 

Elle est formée d'un long motif triangulaire rehaussé de diamants taille brillant et de tourmalines vertes. Monture à deux anneaux carrés en or gris 18K. Non signée. Poids brut : 18,9 gr. Longueur du motif : 7,8 cm. TDD : 45 

La bague est accompagnée d'un écrin JEAN VENDÔME. 

Références : Marlène CREGUT-LEDUE, Jean Vendome, Editions Faton, 2008. Une bague d'un modèle similaire par Jean VENDÔME est exposée au Musée des Arts Décoratifs, Galerie des bijoux, Paris. 

"Kimono - Au bonheur des dames" au musée Guimet, 22 février– 22 mai 2017

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Kimono — Au bonheur des dames : Affiche

PARIS - L’exposition traitera de l’évolution du kimono et de ses accessoires pour mieux évoquer leurs réinterprétations dans la mode japonaise et française contemporaine. Pour la première fois hors du Japon, seront présentées des pièces de la collection de la célèbre maison Matsuzakaya, fondée en 1611, qui joua un rôle fondamental dans la production et la diffusion du kimono, plus particulièrement auprès de la noblesse militaire, l’aristocratie impériale ou encore la bourgeoisie marchande.

Quelque 150 pièces des plus prestigieuses retraceront le fil de l’évolution de ce vêtement essentiel de la garde-robe au Japon, depuis l’époque d’Edo (1603-1868) jusqu’à l’époque contemporaine. Les couturiers japonais, tels Issey Miyake, Kenzo (Kenzo Takada) et Junko Koshino n’ont de cesse de puiser leur inspiration dans ce vêtement emblématique et universel, qui sublime aujourd’hui la haute couture occidentale.

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Paravent à six panneaux représentant des kimonos suspendus (tagasode) (paravent droit), couleurs sur papier, première moitié du XIXe siècle, H. 153,7 ; L. 349,2 cm, Collection Matsuzakaya. J. Front Retailing Archives Foundation Inc./Nagoya City Museum

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Paravent à deux panneaux représentant un jeu de poupées de la fête des filles étoffes ouatées, 1862, H. 58 ; L. 182 cm, Musée municipal de Nagoya. J. Front Retailing Archives Foundation Inc./Nagoya City Museum

Portéà l’origine comme un vêtement de dessous par l’aristocratie, avant d’être adopté par la classe des samouraïs comme vêtement extérieur, le kimono est vite devenu un vêtement usuel pour toutes les classes de la population. Nomméà l’origine « kosode », il est le vêtement par excellence des Japonais. Porteur de force visuelle et de sens – l’apogée décorative se situe avant le milieu du 18e siècle –, le kimono a stimulé une industrie textile très créative dont les techniques mêlent complexité et patience : étoffes nouées et teintes minutieusement à la réserve, précieux tissus aux armures complexes et fils d’or ; kimonos de mariage, kimonos de jeunes filles, etc…Il faut attendre le milieu du 19e siècle pour le voir porter en France par les élégantes en tant que vêtement d’intérieur à une époque où le goût pour le « Japonisme » donne naissance à cette mouvance artistique impressionniste qui se réfère au pays du Soleil-Levant. Au tournant du 20e siècle, la haute couture française se saisit du kimono et l’on retrouve les mêmes inspirations chez les créateurs de mode comme Paul Poiret (1879-1944) ou Madeleine Vionnet (1876-1975), dont les créations vaporeuses aux manches fluides reprennent les conceptions amples des kimonos. Aujourd’hui, de nombreux créateurs de mode japonais comme Yohji Yamamoto revendiquent son influence, de même qu’Yves Saint Laurent, Jean Paul Gaultier, John Galliano ou Franck Sorbier, qui s’inspirent du Japon en réinterprétant les codes structurels du kimono, lui conférant une place de premier plan sur la scène artistique...

Œuvres particulièrement fragiles, les exceptionnels kimonos anciens de la maison Matsuzakaya seront intégralement remplacés en cours d’exposition, début avril.

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Katabira à motifs de haies sèches, oeillets et hirondelles teinture à réserve et broderies sur un fond en lin gris foncé, seconde moitié du XVIIIe-première moitié du XIXe siècle, H. 174 ; L. 60 cm, Collection MatsuzakayaJ. Front Retailing Archives Foundation Inc./Nagoya City Museum.

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Katabira à motif de pavillons àétages, teinture à réserve sur un fond en lin jaune clair, première moitié du XIXe siècle, H. 160 ; l. 60,5 cm, Collection Matsuzakaya. J. Front Retailing Archives Foundation Inc./Nagoya City Museum.

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Coiffeuse à motifs de pivoines et losanges narihira bishi en laque maki-e et accessoires, première moitié du XIXe siècle, H. 54,5 ; L. 27,3 ; l. 27,3 cm, Musée municipal de Nagoya. J. Front Retailing Archives Foundation Inc./Nagoya City Museum.

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Kenzo Takada, kimono, crêpe de laine et fourrure, 2006. Kenzo Takada © MNAAG/ Photographie Thierry Ollivier

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Callot Soeurs, maison de couture (1895-1937), Manteau « Casanova »à larges manches kimono, crêpe de Chine, filé lamé, 1925, Les Arts Décoratifs, Paris. Photo Les Arts Décoratifs, Paris/Jean Tholance

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Kosode à motifs de cascades et éventails, teinture à réserve sur fond en crêpe de soie chirimen bleu, seconde moitié du XVIIIe siècle, H. 150 ; l. 59 cm, Collection Matsuzakaya. J. Front Retailing Archives Foundation Inc./Nagoya City Museum

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Junko Koshino, Kimono, Oiran Collection, Junko Koshino. Crédits : JUNKO KOSHINO Inc. / Photographie : Yutaka Mori

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Japanese fashion designer Junko Koshino (R) and Japanese-French fashion designer Kenzo Takada (L) pose during the inauguration of the exhibition "Kimono - Au bonheur des dames" at the Guimet museum in Paris, on February 21, 2017. The exhibition will run from February 22 to May 22, 2017. PATRICK KOVARIK / AFP

Littleton & Hennessy Asian Art at Asia Week, New York, 9-18 march 2017

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PressImage2017-Littleton

A Watermelon Tourmaline Conjoined 'Dragon' Vase, 18th century, 5 in. (12.7 cm) high © Littleton & Hennessy Asian Art

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A rock crystal carving of a ‘foo’ dog, with a ‘zitan’ stand, China, Qing Dynasty, 18th-19th century. Length: 11.2 inches (28.5 cm) © Littleton & Hennessy Asian Art

A Qingbai 'boys' pillow, China, Song Dynasty

A Qingbai 'boys' pillow, China, Song Dynasty © Littleton & Hennessy Asian Art

A blue-glazed 'Sancai' dish

A blue-glazed 'Sancai' dish, China, Tang Dynasty © Littleton & Hennessy Asian Art

Littleton & Hennessy Asian Art (London, UK), Littleton & Hennessy – 21 Years, 9-18 march 2017 at Daniel Crouch Rare Books, 24 East 64th Street, New York 10065. T (212) 602 1779 - M +44 771 782 5828 - mark@littletonandhennessy.com - littletonandhennessy.com


Joan B. Mirviss, Ltd at Asia Week, New York, 9-18 march 2017

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 Yagi Kazuo (1918-1979), Sculptural vessel with white clay inlays outlining the form of a woman’s torso on a brown clay body, ca 1963-65. Stoneware with white clay inlays, 17 1/2 x 8 1/2 x 7 in. © Joan B. Mirviss, Ltd

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Kawase Shinobu (b. 1950). Red, round teabowl and red stand. 2015. Glazed porcelaineous stoneware. Teabowl: 2 3/4 x 4 5/8 in. Stand: 1 7/8 x 6 7/8 in. © Joan B. Mirviss, Ltd

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Katsushika Hokusai (1760-1849). Kôshû Kajikazawa; Kajikazawa in Kai Province (Fugaku sanjûrokkei; Thirty-six Views of Mount Fuji). Circa 1831. Ōban yoko-e. 10 x 14 7/8 in. © Joan B. Mirviss, Ltd

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Yashima Gakutei (1786-1868). Three crabs on the shore. Circa 1827. Shikishiban surimono© Joan B. Mirviss, Ltd

Joan B. Mirviss, Ltd (New York, NY), Timeless Elegance in Japanese Art: Celebrating 40 Years!, 9-18 march 2017 at 39 East 78th Street, Suite 401, New York 10075. T (212) 799 4021 - info@mirviss.com - mirviss.com

 

Susan Ollemans at Asia Week, New York, 9-18 march 2017

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A Gold and Enamel Ring in the Form of a Bird, Mughal, 17th-18th century. Height: approx. 3 cm © Susan Ollemans.

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A Pair Of Double Sided Drop Earrings, North India, 19th Century. Length: 13 cm© Susan Ollemans.

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A Gold Coiled Naga Ring Inset with Gems, Thailand, 16-17th Century. 14 Carat Gold © Susan Ollemans.

Susan Ollemans (London, UK), Ancient and Modern Design in Asian Jewels9-18 march 2017 at Les Enluminures, 23 East 73rd Street, 7th Floor, New York 10021. T (212) 717 7273 - M (607) 654 8519 or +44 777 556 6356 - sue@ollemans.com - ollemans.com

 

A Large Gold and Dyed Crystal Ring, Champa, Vietnam, 14th Century

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Gold and Dyed Crystal Ring, Champa, Vietnam, 14th Century. Diameter: 3.5cm. Size: 6.5 US. Weight:41.40 g © Susan Ollemans

Susan Ollemans (London, UK) - sue@ollemans.com - ollemans.com

Diego Giacometti (1902-1985), Tourterelle, vers 1975

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Lot 1. Diego Giacometti (1902-1985), Tourterelle, vers 1975. Estimate EUR 20,000 - EUR 30,000 (USD 21,200 - USD 31,801).© Christie's Images Ltd 2017

Bronze patiné / patinated bronze. H 15 x L 23,5 x P 8,5 cm / 5 7/8 x 9 ¼ x 3 3/8 in

Provenance: Collection Hubert de Givenchy, offerte par l'artiste vers 1975.

LiteraturePour notre exemplaire : F. Francisci, Diego Giacometti, catalogue de l’oeuvre, éditions Eolia, Paris, 1986, vol. I, p. 98 
D. Marchesseau, Diego Giacometti, Hermann, Paris, 2005, p. 133

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© Daniel Frasnay, Éditions Eolia

Note: Monsieur de Givenchy recoit deux tourterelles en cadeau de Diego Giacometti, et en offre une à un ami. La seconde, qu’il conserve, est celle que nous presentons ici.

Monsieur de Givenchy was given two doves as gifts from Diego Giacometti, one of which he gave to a friend. The second, which he kept, is the one that we present here.
 

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Tourterelle dans les jardins du Jonchet © Christie's Images Ltd 2017

Christie's. Les Giacometti d'Hubert de Givenchy, 6 March 2017, Paris

Diego Giacometti (1902-1985), Table aux deux oiseaux et coupelle, vers 1978

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Lot 2Diego Giacometti (1902-1985), Table aux deux oiseaux et coupelle, vers 1978Estimate EUR 250,000 - EUR 400,000 (USD 265,004 - USD 424,007). © Christie's Images Ltd 2017

Bronze patiné et ardoise / patinated bronze and slate. H 72 x L 116 x P 76 cm / 28 3/8 x 45 ¼ x 29 7/8 in

Provenance: Collection Hubert de Givenchy, commandée à l'artiste vers 1978.

LiteraturePour notre exemplaire : D. Marchesseau, Diego Giacometti, Hermann, Paris, 2005, p. 133

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Table aux oiseaux et coupelle au bord de la piscine du Jonchet © Christie's Images Ltd 2017

Christie's. Les Giacometti d'Hubert de Givenchy, 6 March 2017, Paris

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