ROME.- Created by the merger of two historic galleries that have been on the market for several generations, the Galleria Francesca Antonacci Damiano Lapiccirella Fine Art, with its prestigious headquarters in a fascinating courtyard in the centre of Rome, is a landmark for enthusiasts of "Grand Tour" paintings as well as drawings and sculptures by European artists from the late eighteenth century and the middle of the nineteenth. It is also a site for true museum-profile exhibitions. The gallery participates in the most prestigious antique shows: TEFAF Maastricht, the Paris Salon du Dessin, the Biennale des Antiquaires in Paris, the International Antiques Biennale of Palazzo Corsini in Florence and the International Exhibition of Palazzo Venezia in Rome. 

Tireless research, absolute expertise, meticulous documentation, boundless qualitative ambition, international vision and inexhaustible passion are the identikit for which Francesca Antonacci and Damiano Lapiccirella are well known at the highest levels in the art world. With these features, and a series of highly interesting proposals, once again the Galleria takes part in the 2017 edition of TEFAF Maastricht, submitting its proposals in the most exclusive area of the event: painting. 

With three annual editions in two continents, TEFAF is considered the world's most important trade fair for art, antiques and design. TEFAF offers international merchants the best platform to showcase museum-quality works to a select audience of collectors and enthusiasts. The 2016 edition of TEFAF Maastricht saw the participation of 275 leading international galleries with 75 thousand visitors from 60 countries. 

Highlights 

Ippolito Caffi (Belluno 1809 - Lissa 1866), The Canal Grande in Venice seen from the Ponte dell'Accademia, with Santa Maria della Salute. Oil on canvas: 47 x 60,9 cm. Signed “ CAFFI “ in the lower right-hand corner.

In this sublimely illuminated magical view, the imposing dome of the church of Santa Maria della Salute in Venice emerges from a purple haze dissolving into the morning sun. Daylight diffuses in the midst of rooftops, revealing a glimpse of blue sky and illuminating the green expanse of the Grand Canal. Quietness and tranquillity pervade the scene, depicted with the expert use of typical Caffi colour and light at its peak 
One of the greatest Italian landscape painters of the first half of the nineteenth century, Ippolito Caffi was born in Belluno, and studied at the Academy of Fine Arts in Venice. He travelled throughout Italy and in Greece, Syria, Turkey, and Egypt. His landscapes are permeated with a sense of romantic admiration and wonder. 

A poetic example of his talent, this painting demonstrates the capacity of Caffi to transmute changing effects of the atmosphere into painting through his clever use of light and colour, along with the meticulous attention he devotes to architecture, which make him the artistic heir of Canaletto. 

Johann Jakob Frey (Basle 1813-1865 Rome), Sunset, circa 1840, Oil on paper laid down on canvas, 24 x 45 cm. One of nine oil paintings on paper applied to canvas portraying seashores and the Roman countryside. 

Johann Jakob Frey, born in Basel, is a painter known in artistic chronicles for his precious eye-catching views and landscapes of Rome and the countryside of central and southern Italy, as well as Egypt and, to a lesser extent, Greece. But the recent discovery of nine of his oil landscape studies on paper adds a valuable element to his art, the history of collecting and European landscape depiction. These intriguing small paintings are in fact intended as instinctive impulsive expressions of the moment, intimate movements of the soul and, as such, not destined to be sold; rather they should be considered as "private" events, so to speak, personal episodes expressed in moments of rapt inspiration: works of such value as to be compared with the highly significant artworks present in the collections of the National Gallery in Washington. 

Finally it seems appropriate to recall that this category of paintings by Johann Jakob Frey is extremely rare on the international antiquarian market to the point that over the past two decades very few are remembered and, in any case, never in such large nuclei as in our case.  

Federico Beltran-Masses (Guaira de la Melena 1885-1949 Barcelona), Lady Michelham, 1920. Oil on canvas, cm 145 x 160. Signed F. Beltran Masses in the lower left-hand corner. Provenance: Property of the artist successively passed onto his heirs. Spain, private collection. 

Federico Armando Beltrán Masses was born in Cuba in 1885. In 1905 he sojourned in Madrid, where his first personal exhibition was held in 1909. In 1916 he moved to Paris to direct the National Society of Fine Arts. In 1920 he took part in the Biennale in Venice, with 22 works exhibited in an entire room dedicated to him. He died in Barcelona in 1949 at the age of 64. The painting of Beltrán Masses is located in an initial symbolism that glides, in his most mature production, towards an Art Deco style. Beltrán Masses preferred portraits, which allowed him to achieve success. Among the numerous celebrities he depicted are: kings Alfonso XIII of Spain, George VI of England and Umberto II of Italy, the Shah of Persia, Marchesa Luisa Casati, the Rothschild millionaires and Peugeot, Hollywood icons Rudolph Valentino, Pola Negri , Joan Crawford, Douglas Fairbanks and Gloria Swanson. 

The charming woman portrayed in the painting is Aimée Geraldine Bradshaw, Baroness Lady Michelham after her marriage to banker Herbert Stern, First Lord Michelham of Hellingly. Lady Michelham is immortalized sitting on a gondola in a black dress and with a red mask in her hand, a mysterious and sensual element. The realistic description involves not only her character, but also the environment: we catch a glimpse of the Palazzo Ducale in the background behind two gondolas on the canal,. Although undated, the Lady Michelham canvas was probably painted between 1920 and 1923. The work was exhibited for the first time at the Wildenstein Galleries in New York in 1924.

and

Georges Henri Tribout (Paris 1884 - Paris 1962), Lovers, 1919; On the verso Woman at the mirror. Oil on card, 105 x 76 cm. Signed and dated bottom right: G. TRIBOUT / 1919

William Etty (York 1787 - London 1849), Youth on the Prow, Pleasure at the Helm, 1830-2. Oil on canvas, 52 x 42 cm.

Youth on the Prow, and Pleasure at the Helm is a study for the central group in a large work (158.7 x 117.5 cm) of the same title which Etty painted in around 1830 and showed at the Royal Academy in 1832.

Sirio Tofanari (Florence 1886 - Milan 1969), The Old Elephant, 1923. "Cire perdue" bronze: (h) 64 x 72 x 22 cm. Base in Verde delle Alpi marble, 35 x 27 x 3 cm. Signed on the base: Tofanari Sirio / partly legible: Fonderia ... Firenze cp

Exhibition: One-man show of work by Serafino Macchiati, Sirio Tofanari, Mario Sotgia, Milan, Galleria Pesaro, May 1923, cat. 23.

Lot 7. A fine blue and white lobed 'fruit and flower' bowl, Xuande mark and period (1426–1435). Estimate 600,000 — 800,000 USD. Photo Sotheby's

of conical form with straight flared sides, the rim indented to form six subtle lobes, the interior painted in dark tones of underglaze blue with a central medallion containing a fruiting and flowering peach spray within a triple circle, surrounded by six floral sprays of lotus, camellia, chrysanthemum and hollyhock, below a border of smaller detached floral sprays within double lines at the rim, the exterior painted with fruiting branches of lychee, grape, pomegranate, loquat, cherry and peach above smaller floral sprays, the short footrim with a band of classic scroll, the base with the six-character mark within a double circle, Japanese wood box (3). Diameter 8 3/4  in., 22.3 cm

Provenance: Collection of a Japanese Pharmaceutical Company. 
Sotheby's Hong Kong, 10th April 2006, lot 1660. 

Note: Conical bowls of this fruit-and-flower design can be counted among the most successful blue and white bowl patterns of the early Ming dynasty and belong to the classic repertoire of the Xuande (1426-35) imperial kilns. They reflect the newly awakened interest of the Chinese court in fine blue and white porcelains. Whereas Yongle (1403-24) blue and white is still characterized by many large items created for export, in the Xuande reign the products of the imperial workshops were geared for the imperial house both in size and in taste, exquisitely finished and inscribed with the imperial reign mark.

A bowl of this design in the Palace Museum, Beijing, from the Qing court collection, is illustrated in Geng Baochang, ed., Gugong Bowuyuan cang Ming chu qinghua ci [Early Ming blue and white porcelain in the Palace Museum], Beijing, 2002, vol. 2, pl. 146, where it is stated that this design was frequently copied in the Kangxi (1662-1722) and Yongzheng (1723-35) periods, and where a Xuande-marked copy attributed to the Kangxi reign is illustrated, pl. 179; two such bowls in the National Palace Museum were included in the Museum’s exhibitions Ming Xuande ciqi tezhan mulu/Catalogue of a Special Exhibition of Hsuan-te Period Porcelain, Taipei, 1980, no.36, and Mingdai Xuande guanyao jinghua tezhan tulu/Catalogue of the Special Exhibition of Selected Hsüan-te Imperial Porcelains of the Ming Dynasty, Taipei, 1998, no. 62.

Lot 8. A superbly painted rare blue and white 'dragon' brush washer, Xuande mark and period (1426–1435). Estimate 1,500,000 — 2,500,000 USD. Photo Sotheby's

finely potted, of ten-lobed mallow form with gently flaring sides resting on a countersunk base of corresponding form, the interior superbly painted in rich cobalt blue with a medallion enclosing a five-clawed dragon, with flames issuing from its flanks, plunging and writhing amidst ruyi-form cloud scrolls, framed within double-line borders repeated around the rim, the exterior painted with ten roundels of alternately leaping and plunging dragons amidst clouds, between double-line borders, the underglaze-cobalt of rich midnight-blue with pronounced characteristic areas of 'heaping and piling', the base with the six-character mark within a double-circle. Diameter 8 1/8  in., 20.7 cm

Provenance: Collection of Captain Thomas Arthur (b. 1871) and Emmeline Clarke, née Matthews (d. 1962), Springfort Hall, Mallow, Co Cork, Ireland, and thence by descent.
Collection of Lilian Mabel Hebbert, née Matthews (1891-1976), and thence by descent. 
Collection of Lieutenant Colonel Patrick Robert Ievers (1940-2015).
Priestly & Ferraro, London. 

Whilst it is unknown how this magnificent washer entered the collection of Captain Thomas Arthur and his wife Emmeline Clarke prior to 1962, it is possible that it had previously belonged to Captain Clarke's father, Thomas Clarke (1834-1911) of Allerton Hall, Liverpool, England. Thomas Clarke was a noted collector of English watercolors, some of which were sold at Christie's London, 29th January 1929. His wife and children presented Allerton Hall to the city of Liverpool in 1926. 

For the Imperial Brush
Regina Krahl

In a society like imperial China, where writing and painting played an outstandingly important role, a brush washer was an object of the utmost importance and consideration. Emperors were compelled to write all the time in the fulfilment of their duties, but in addition, many of them enjoyed to compose poetry, to exercise and demonstrate their calligraphic skills, to inscribe colophons on paintings or calligraphies they liked, or to paint themselves. The Xuande Emperor (r. 1426-1435) has gone down in history as one such ruler, who devoted himself to cultural pursuits and employed his brush not only for the affairs of state, but also for artistic endeavours.

While earlier imperial brush washers would have been of greenish-glazed Ru or grey-green crackled guan ware, a blue-and-white porcelain example would have been new at court in the early Ming (1368-1644) dynasty. As one of the first Chinese rulers, the Xuande Emperor appears to have been personally interested in the activities of the imperial kilns at Jingdezhen in Jiangxi province. The relatively new style of blue-and-white porcelain produced there, which was in strong demand abroad, throughout Asia and as far west as East Africa, had at first appeared alien to a Chinese elite trained in the restrained Song (960-1279) aesthetics. Yet the outstanding quality achieved at Jingdezhen in the early 15th century, the elegance of form, and the superbly painted designs which quickly became classics in Chinese art, overcame the erstwhile scepticism. From the Xuande reign onwards, more or less the complete production, inscribed with the imperial reign mark, appears to have been directed and restricted to use at the court. Brush washers such as the present piece, with its subtle mallow shape and delicate roundels of five-clawed dragons alternately ascending and descending, and the imperial Xuande reign mark, would not have been accessible outside the court. 

Xuande brush washers of this classic ten-petalled mallow shape are known with several different dragon designs, as well as with dragon and phoenix, or phoenix only, and in various sizes; the present piece is particularly large. Stem bowls, bowls, dishes and even small ewers appear to have been matchingly shaped and decorated, all with the foot or stem similarly following the lobed outline of the sides. A stem bowl with similar dragon roundels, for example, in the collection of the National Palace Museum, Taiwan, was included in the exhibition Mingdai Xuande guanyao jinghua tezhan tulu/Catalogue of the Special Exhibition of Selected Hsüan-te Imperial Porcelains of the Ming Dynasty, National Palace Museum, Taipei, 1998, cat. no. 111. 

Washers of the present design, however, with dragon roundels, are extremely rare. No washer of this design appears to be preserved in the National Palace Museum, nor to remain in the Palace Museum, Beijing. A smaller brush washer of this design (of 18.5 cm) was sold in our Hong Kong rooms, 27th October 1992, lot 35; another at Hanhai, Beijing, 30th June 1996, lot 990; and a fragmentary example, excavated from the waste heaps of the Ming imperial kilns was included in the exhibition Jingdezhen chutu Ming Xuande guanyao ciqi/Xuande Imperial Porcelain excavated at Jingdezhen, Chang Foundation, Taipei, 1998, cat. no.19-1 

A washer of this design in the Capital Museum, Beijing, lacking the reign mark and attributed to the Yongle period (1403-1424), is illustrated in Beijing wenwu jingcui daxi. Taoci juan/Gems of Beijing Cultural Relics Series. Pottery and Porcelain, Beijing, 2004, pls 73 and 74; and unmarked washers of this form, with dragon roundels around the outside, exist also with an additional dragon painted on the base, matching that on the interior; see an example in the Cleveland Museum of Art illustrated in the Catalogue of the Severance and Greta Millikin Collection, Cleveland, 1990, pl. 27; and another, sold in our Hong Kong rooms, 14th November 1989, lot 18, and again, 5th November 1997, lot 1351, illustrated in Sotheby’s. Thirty Years in Hong Kong, op.cit., pl. 220. 

More common are brush washers of this form, of Xuande mark and period, with a similar dragon among clouds inside, but the dragons outside confined within quatrefoil panels: Four such pieces are listed in the inventory of the holdings of the National Palace Museum Gugong ciqi lu [Record of porcelains from the Old Palace], Taipei, 1961-6, vol. 2, part 1, pp. 105f., plus one with dragon-and-phoenix design, ranging in size from 15.9 to 18.5 cm, and one washer of either design was included in the Museum’s, 1998 exhibition, op.cit., cat. nos 182 and 183. 

The Palace Museum, Beijing, owns a larger, but damaged piece decorated with dragons within barbed panels, see Geng Baochang, ed., Gugong Bowuyuan cang gu taoci ciliao xuancui [Selection of ancient ceramic material from the Palace Museum], Beijing 2005, vol. 1, pl. 101; and smaller washers with roundels of dragon and phoenix or phoenix only, where the center as well as the roundels are filled either with paired dragon and phoenix, or a pair of phoenix, illustrated in Geng Baochang, ed., Gugong Bowuyuan cang Ming chu qinghua ci [Early Ming blue-and-white porcelain in the Palace Museum], Beijing, 2002, vol. 2, pls 123 and 124 (figs 1 and 2), together with Qing copies of the present dragon design, attributed to the Yongzheng reign, pl. 197, and of the phoenix design, attributed to the Kangxi period, pl. 176. 

A blue and white ‘phoenix and dragon’ brush washer, Ming dynasty, Xuande period© The Palace Museum, Beijing

A blue and white ‘phoenix’ brush washer, Xuande mark and period© The Palace Museum, Beijing

Another washer with barbed dragon panels, also considerably smaller (16.1 cm), in the Sir Percival David collection in the British Museum is illustrated in Stacey Pierson, Blue and White for China. Porcelain Treasures in the Percival David Collection, London, 2004, pl. 20; one from the collection of T. Endo was sold three times in our Hong Kong rooms, 15thNovember 1988, lot 117, 29th April 1997, lot 405, and 23rd October 2005, lot 339, and is illustrated in Sotheby’s Hong Kong. Twenty Years, 1973-1993, Hong Kong, 1993, pl. 57, and Sotheby’s. Thirty Years in Hong Kong: 1973-2003, Hong Kong, 2003, pl. 221; another was offered on 8th April 2007, lot 841; and only one other, sold at Christie’s Hong Kong, 28th April 1996, lot 49, is of the same size as the present piece.

Fluted brush-washer, Ming dynasty, Xuande mark and period, AD 1426–35. Porcelain with underglaze cobalt-blue decoration, Jingdezhen, Jiangxi province, PDF A603 © Trustees of the British Museum

Sotheby's. Ming: The Intervention of Imperial Taste, New York, 14 mars 2017, 10:00 AM

School of Hasegawa, A six-fold screen depicting Kakimoto no Hitamaro gazing at the moon and sitting on the shore of Kei no Matsubara, Japan, Momoyama-Edo period, 17th century. Ink and colour on paper and gold leaf, 172 x 377 cm © Gregg Baker Asian Art

Kakinomoto no Hitomaro (662-710) was a Japanese waka poet and aristocrat of the late Asuka period (538 to 710). He was the most prominent of the poets included in the Manyōshū (Poetry Collection of Ten Thousands Leaves) compiled in the middle of the eight century, the earliest surviving anthology of Japanese poems.

Hitomaro was born to the Kakinomoto clan, an aristocratic court family responsible for preserving and reciting the oral history of Japan to the court. Having grown up under the artistic influence of previous generations Hitomaro excelled as a poet. He is believed to have begun working at the court in 680 under Emperor Temmu (631-686) and continued to serve under Empress Jitō (645-703) when it is generally considered that he flourished. He also spent time in government service in several places away from the capital giving him the opportunity to compose poetry praising the Japanese landscape. 

One of the Sanjyurokkasen (thirty-six immortal poets) Hitomaro has always been held in high regard with continuing fame until the present day. Being the most famous of all the 36 poets, images depicting him were often produced as an inspiration for other aspiring poets. This iconic image of a bearded man leaning on an armrest looking up to the right became a standard representation. This screen depicts the poet in his classic pose contemplating the moon from the shores of Kei no Matsubara; a scenic landscape on Awaji Island which gained great fame after Hitomaru’s poem:

Kehi no umi
niwa yoku arashi
karikono no
midarete izimiyu
ama no tsuribune

The sea at Kei
must be a good place to harvest.
For like reeds cut free
they float in confused array-
those boats of the fishermen

A scroll dating to the 13h century attributed to Fujiwara Nōbuzane (1162-1241) depicting Hitomaro in his classic pose can be found in the collection of Kyoto National Museum (Ref. no. A kō 14)

Yuichi Inoue (1916-Tokyo-1985), Shoku (Belonging), Japan, 1976. Ink on paper, 120 x 221.5 cm. Seal 'Yūichi' © Gregg Baker Asian Art

Provenance: Acquired by the previous owner from Japan Art, Frankfurt, Germany

Literature: YU-ICHI, Catalogue Raisonne, vol. 2, UNAC Tokyo, no. 76015

A standing figure of Amida Buddha,  Japan, Heian-Kamakura Period, 12th century. Wood and gilt lacquer. Height 88.50 cm © Gregg Baker Asian Art 

The figure is standing on a lotus base, the hands in an-i-in mudra and the eyes inset with crystal. The head is adorned with a crystal representing the byakugō (white spiraling hair) on the forehead and the nikkei-shu (red jewel on the protrusion on top of the Buddha's head).

A silk kakemono (hanging scroll), Japan, Muromachi period, 16th century. Ink and colour on silk, 203 x 100 cm © Gregg Baker Asian Art

This kakemono is painted in ink and colour with a Shō Kannon seated in kekka fuza (lotus position) on a lotus pedestal raised on a four-legged dais, holding a renge (red lotus) in her left hand. The right hand is in segan-in mudra, the gesture of dispensing favours for the well-being of the world. The head is adorned with kebutsu crown at the base of a tall top-knot and she is wearing an elaborately decorated necklace and armlets.

Tadasuke Kuwayama (Japan, 1935), Tadasky, 1965. Oil on canvas, 142.5 x 142.5 cm. Signed on the reverse © Gregg Baker Asian Art

Provenance: Feigen - Palmer Gallery, Los Angeles

A figure of Amida Buddha, Japan, 15th century. Gilt-wood. Heigt 50 cm © Gregg Baker Asian Art

A gilt-wood figure of Amida Buddha seated in kekka fuza (lotus position) the hands in jō-in (meditation mudra). The head is adorned with crystals representing the byakugō (white spiralling hair) on the forehead and the nikkei-shu (red jewel on the protrusion on top of the Buddha's head).

This type of jō-in mudra is frequently used in Japanese Esotericism, especially in statues of the co-called Esoteric Amida. This particular one is characterized by circles formed with the thumbs and indexes and it stands for a specific rank in the Amida hierarchy. 

The symbolism of the jō-in mudra is closely associated with the concept of complete absorption of thought by intense contemplation of a single object of meditation, in such a way that the bonds relating to the mental faculties to so-called ‘real phenomena’ are broken and the worshiper is thus enabled to identify himself with the Supreme Unity through a sort of super-intellectual raptus. In the jō-in the position of the hands is that of the adepts of yogic contemplation. Thus the jō-in symbolises specifically zenjō (ecstatic thought) for it is the gesture which indicates the suppression of all spiritual disquiet in order to arrive finally at the complete concentration on the truth. 

The position of the hands in the mudra of concentration derives, in accordance with the tradition, from the attitude which the historical Buddha assumed when he devoted himself to final meditation under the Bodhi tree. This id the attitude he was found in when the demon armies of Mara attacked him. He was to alter it only when he called the earth to witness at the moment of his triumph over the demons. Consequently the position symbolises specifically the supreme mediation of the historical Buddha but also the Buddhist qualities of tranquillity, impassivity and superiority. 

The circle formed by the fingers in this figure means the perfection of the Law because the circle is the perfect form. The formation of the two circles by the two hands representing respectively the world of the Buddhas (right hand) and that of Sentient Beings (left hand) indicates that the Law conceived by the Buddha is sustained by Sentient Beings who integrate themselves into it completely. The two juxtaposed circular shapes represent the accomplishment and the perfection of Buddhist Law in its relationship to all Beings. The right-hand circle symbolises the divine law of the Buddha, the left-hand circle, the human law of the Buddha. Side by side, the circles symbolise the harmony of the two worlds, that of Sentient Beings and that of the Buddha. The fingers are entwined; those of the left hand represent the five elements of the world of Beings and those of the right hand the five elements of the world of the Buddhas.

The two circles of this type of jō-in mudra also stand for the two aspects of cosmic unity; the Diamond World and the Matrix World. These circles are separated from each other because they are formed by two different hands. The circles are joined in this mudra to constitute a single unity which symbolises, by the form of their juxtaposition, the double aspect of a single world and the concept of All-One, the basic principle of Esotericism.

Belief in Amida as Lord of the Western Paradise rose in popularity during the late 10th century. Based primarily on the concept of salvation through faith, it was not only a religion which appealed to a broad range of people, but also a direct assertion of piety against the dogmatic and esoteric ritual of the more traditional Tendai and Shingon sects. In Amida’s Western Paradise the faithful are reborn, to progress through various stages of increasing awareness until finally achieving complete enlightenment. 

Images of Amida, lord of the Western Paradise, are known in Japan from as early as the seventh century. Until the eleventh century the deity was most frequently portrayed in a gesture of teaching and was worshipped primarily in memorial rituals for the deceased. However, in the last two centuries of the Heian period worshippers started to concentrate more on the Teachings Essential for Rebirth written by the Tendai monk Genshin (942-1017). The teachings describe the horrors of Buddhist hell and the glories of the Western Paradise that can be attained through nembutsu, meditation on Amida or the recitation of the deity’s name. 

Despite the apparent absence of formal variations in the images themselves, during the latter part of the Heian period important changes did occur in the nature 
of the rituals held in front of the Lord of the Western Paradise. By the twelfth century Image Halls dedicated to Amida were the ritual centres of most complexes. The function of memorial services was expanded so they benefited not only the dead, but also the living. Even rituals with no historical connection to the deity, such as the important services at the start of the New Year, were held there. Of particular significance were the novel ritual practices that were held to guarantee one’s rebirth in Amida’s Western Paradise. Some, such as the re-enactment of the descent of Amida, or the passing of one’s last moments before death clutching a cord attached to the hands of the deity, were entirely new whilst others, including the use of halls dedicated to Amida as temporary places of interment, reflected the fusion of more ancient practices with doctrines of rebirth.

Taihaku Taihaku (1893-Japan-1961), Kunpū (warm breeze), Japan, 1934. aper screens, ink and mineral colours on silver ground, 176.5 x 180 cm (each). Signed 'Shōwa kyūki Taihakusei' (Shōwa 9th year*. Made by Taihaku) © Gregg Baker Asian Art

A pair of two-fold paper screens painted in ink and colour on a silver ground with sagi (egrets) perched on the branches of a yanagi (willow) tree. The light green young leaves are rendered in moriage (raised design) and symbolise early spring. Numerous sakura (cherry blossom) petals are scattered in the air and on the river bank where small tampopo (dandelion) appear in full bloom.

Literature: 1934 Inten, Japan Art Institute Exhibition, exh. cat., p. 735, pl. 37

Suda Kokuta (1906-1990), Untitled, Japan, 1963. Mixed media on canvas, 130 x 97 cm. Signed at the front and on the reverse © Gregg Baker Asian Art

Provenance: Private collection, Osaka, Japan

Gregg Baker Asian Art at TEFAF Maastrich 2017. Stand 260.

Michelangelo, The Virgin and Child with the Infant Saint John the Baptist ('The Taddei Tondo'), about 1504-1505. Marble, 106.8 cm diameter. Royal Academy of Arts, London (03/1774)© Royal Academy of Arts, London; Photographer: Prudence Cuming Associates Limited.

LONDON.- The only marble sculpture by Michelangelo in Great Britain - The Virgin and Child with the Infant St John, also known as the Taddei Tondo – has been announced as an exceptional loan to The Credit Suisse Exhibition: Michelangelo & Sebastiano (opens 15 March 2017). 

The work has been a key part of the Royal Academy collection since it was bequeathed by Sir George Beaumont, entering the collection in 1829. It has only ever been lent once in the 188 years since, and that was over 50 years ago (in 1966) to an exhibition on the Tondo at the Victoria and Albert Museum. 

Dr Gabriele Finaldi, Director of the National Gallery, says “We are very excited to present Michelangelo’s unfinished masterpiece in the National Gallery’s exhibition. Dynamic and delicate, the Taddei Tondo is one of the most important Renaissance works of art in Britain.” 

Christopher Le Brun, President of the Royal Academy of Arts, said: “The Taddei Tondo is one of the most significant treasures in the Royal Academy’s collection. We are delighted to be working with the National Gallery on this major loan to their exhibition, which will provide new and fresh ways of looking at this remarkable sculpture as well as introducing it to wider audiences, before it returns to the RA to be redisplayed as part of our 250th anniversary in 2018.” 

The work was commissioned by Taddeo Taddei around 1504/05 in Florence. At this time he also executed two other circular compositions, a painting, the Doni Tondo (Uffizi, Florence) and a marble relief, the Pitti Tondo (Bargello, Florence). 

At the left side of the Tondo stands the infant figure of St. John the Baptist, with his attribute of a baptismal bowl. He presents a goldfinch (representing the Passion) to the infant Christ, who momentarily turns away, towards his mother, as though symbolically anticipating his future destiny. 

The Taddei Tondo is one of several unfinished sculptural works by Michelangelo, which, since the sixteenth century, have been the focus of much scholarly debate. It is likely that he abandoned some of his sculptures on account of over-commitment to too many projects. His biographer Giorgio Vasari, who knew him, suggested that he did not complete certain compositions out of creative frustration, an idea which has crystallised into the notion of the artist as troubled genius. 

Matthias Wivel, curator of The Credit Suisse Exhibition: Michelangelo & Sebastiano says “We are absolutely thrilled to be able to show this masterpiece as part of the exhibition. It demonstrates beautifully Michelangelo’s mastery of carving, and the emotional and spiritual clarity of his work. In juxtaposition with Sebastiano’s ‘The Madonna and Child with Saint Joseph, Saint John the Baptist and a Donor’ from the National Gallery’s collection, it sums up perfectly the creative kinship between the two artists: Sebastiano’s synthesis of Michelangelesque figures and Venetian principles of formatting and colouring.”

Unknown Netherlandish Master, View of the Rua Nova dos Mercadores, 1570-1619. Oil on canvas London, Kelmscott Manor Collection, The Society of Antiquaries of London© By kind permission of The Society of Antiquaries of London, Kelmscott Manor.

LISBON.- The history of this exhibition begins in April of 1866, when the pre-Raphaelite painter and poet Dante Gabriel Rossetti (1828-1882) left his home in Chelsea, London, to evaluate a painting he had seen in a small antique shop. “A large landscape with about 120 figures of the school of Velasquez, [but] not, [I think], by the great V himself”, wrote the painter. The British art world had awakened to Spanish painting and collectors were on the lookout for works by great masters such as El Greco, Velázquez and Goya. Despite not recognising the city represented in the painting, Rossetti correctly guessed at its Iberian origin. 

An impetuous and eclectic collector, Rossetti divided the canvas into two, probably because it did not fit on the already overcrowded walls of his London home. It is known that Rossetti took these two canvases with him, along with other works of art, when he went to live at Kelmscott Manor (Oxfordshire) with the painter William Morris (Rossetti and Morris shared this house for some months in 1871 and between 24th September, 1872 and July 11th, 1874). It is also known that the two paintings remained in Kelmscott Manor when Rossetti was forced to leave the house suddenly after a problematic love affair. They were later included in William Morris’ assets. 

An article by Julia Dudkiewicz (“Dante Gabriel Rossetti’s collection of Old Masters at Kelmscott Manor” in The British Art Journal, vol. XVI, No. 2, 2015) confirms that these two paintings belonged to Rossetti’s collection. The historian reports that in May Morris’ (18621938) will – daughter of William Morris and heiress of Kelmscott Manor – a list of 220 objects is attached, with descriptions that encompass their provenance. The list includes the two paintings: “two pictures of scenes in a city, part of D. G. R.’s things”. 

The paintings (currently owned by the Society of Antiquaries of London) have remained at Kelmscott Manor since the 19th century but the represented city was only identified in 2009, by Annemarie Jordan Gschwend and Kate Lowe. The first clue that led to its identification was the number of black people portrayed; in 16th century Europe, only Lisbon and a couple of Spanish cities had such a large percentage of Africans. The architectural details such as the tall narrow houses, the covered gallery with marble columns – 149 in total – and the iron railings led Lowe and Jordan to conclude that it was Lisbon. And, more specifically, Rua Nova dos Mercadores, Lisbon’s main trade street in the 16th century, full of merchants, acrobats, musicians, travelling salesmen, knights, jewels, silks, spices, exotic animals and other wonders imported from Africa, Brazil and Asia. 

Unknown Netherlandish Master, View of the Rua Nova dos Mercadores, 1570-1619. Oil on canvas London, Kelmscott Manor Collection, The Society of Antiquaries of London © By kind permission of The Society of Antiquaries of London, Kelmscott Manor.

This exhibition aims to reconstitute the heart of Lisbon during the Renaissance with 249 pieces belonging to 77 lenders: 64 national (institutions and private collections) and 13 international (two private collections and 11 institutions, among them the British Museum, Pitt Rivers Museum, Museo Nacional del Prado, Leiden University Libraries and Museo Nazionale Preistorico Etnografico “Luigi Pigorini”). 

On display for the first time in Portugal, the two paintings representing Rua Nova dos Mercadores open the first of the exhibition’s six sections: “Lisbon City Views: historical background”, “Novelties”, “From Africa”, “Shopping in Rua Nova”, “Animals from other worlds” and “Simão de Melo’s house”. 

Of note within this surprising set of never before assembled pieces are the extraordinary and meticulous Panoramic View of Lisbon, c. 1570- -1580 (Leiden University Library), the Reliquary Casket containing the relics of Saint Vincent (Patriarchal Cathedral - Treasure, Lisbon), the View of Lisbon waterfront with the royal palace, the Paço da Ribeira, 1505 (Câmara Municipal de Cascais/ Condes de Castro de Guimarães Museum), the Euclidis Megarensis Philosophi atque Mathematici [...], mathematical works by Francisco de Melo, 1521 (Stadtarchiv der Hansestadt Stralsund), Terrestrial Paradise by Pieter Brueghel the Younger (Museo del Prado), Processional Cross belonging to Catherine of Bragança containing the relics of Saint Thomas Becket (Vila Viçosa Ducal Palace) and the 1579 cameo, by Jacopo da Trezzo, representing King Manuel I’s rhinoceros (Guy Ladrière Collection).

Anonymous Porthugese cartographer, The Cantino Planisphere, 1502, in and watercolour on vellum,Modena, Biblioteca Estense Universitaria, inv. no. C. G. A

Dirk Stoop (circa 1618-1686), Palace Square of Lisbon in 1662, before 1686, Museum of the City, Lisbon.

Pieter Brueghel the Younger, Terrestrial Paradise, 1620 © Museo del Prado

Caspar and Matthias Merian, African common genet (Genetta genetta), 1657-65, Amsterdam. Copper Plate, John Jonston (publisher).

Possibly Goa, Rosary, 17th Century, gilded silver, 84.5cm long, private collection.

South China, Chasuble, late 17th century, silk, embroidered in silk,110 x 74 cm, private collection

Ceylon, Gold thimble ( three views), 2nd half 16th Century, gold, rubies and sapphires, private collection.

Afro-Portuguese Salt-cellar base, Sierra Leone, c.1490 - 1530, height: 12.5cm, weight: 476g. Sculpted ivory © Proprietário/Onshot, Rui Carvalho

Lot 9. A fine green-enameled 'dragon' bowl, Zhengde mark and period (1506 – 1521). Estimate 250,000 — 350,000 USD. Photo Sotheby's

the deep rounded sides rising from a slightly tapered foot to a flared rim, the exterior with two five-clawed dragons, the attenuated bodies and powerful limbs with scales deftly incised, reserved on the biscuit and covered with green enamel, striding through a finely incised ground of crested waves and rocks, with green-enameled single line borders encircling the rim and foot, the interior centered with a circular medallion enclosing a five-clawed dragon writhing among stylized clouds, with a single line border at the rim, the base with the six-character mark within a double ring in underglaze blue. Diameter 7 7/8  in., 20 cm 

Provenance: The Meiyintang Collection. 
Sotheby's Hong Kong, 9th October 2012, lot 20. 

Exhibition: Evolution to Perfection. Chinese Ceramics from the Meiyintang Collection / Evolution vers la perfection. Céramiques de Chine de la Collection Meiyintang, Sporting d'Hiver, Monte Carlo, 1996, cat. no. 128. 

Bibliography: Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2012, vol. 2, pl. 695.

Sotheby's. Ming: The Intervention of Imperial Taste, New York, 14 mars 2017, 10:00 AM

Lot 793. Louis-Léopold Boilly (1761-1845), La tendresse conjugale, huile sur panneau, signée, 52,5x43,5 cm. Estimation CHF 60,000-80,000.  

GENEVA.- This Spring, Piguet Auction House gives pride of place to the Xavier and Leon Givaudan collection with the wonders of French 18th and 19th century art. The collection houses pieces of furniture and paintings from the most renowned cabinet makers and artists of the period as well as silver and works of art. These works will be auctioned during Tuesday evening’s sale on 14th March and on Wednesday afternoon and evening, 15th March. 

The Givaudan collection will be sold alongside Piguet Auction House’s Spring sale on 13th, 14th, 15th and 16th March. An important ensemble of Jewellery and Watches, Fine Wines and Spirits, Luxury handbags, Silverware, Asian and Oriental art, Modern and Contemporary art will also be presented, having a total estimate of CHF 2.7-3.7 million. 

The Xavier and Leon Givaudan collection 
Originating from Lyon (France), Xavier (1867-1966) and Leon (1875-1936) Givaudan are prime examples of successful industrialists from the pre-war years. The brothers excelled in the production of synthetic perfumes, soaps and chemicals and made their fortune at the dawn of the 20th century. 

These two erudite entrepreneurs developed a certain taste for the arts and were assisted by the best art dealers of the early 20th century in creating a collection that defines the sophistication of 18th century French taste and early 19th century art. Amongst their advisors was Jacques Seligmann & Fils from Paris, an important dealer whose client base included the likes of Count Moïse de Camondo, Baron Edmond de Rothschild and Henry Frick. 

According to the invoices from Seligmann and notes conserved in the family archives, this renowned dealer assisted Xavier with the purchase of a magnificent pair of candelabras attributed to Rémond (lot 591 estimated at CHF 50,000-80,000) and advised the brothers on purchasing paintings, notably that of Boilly (lot 793) and those of Hubert Robert (1733-1808) (lots 803 and 804 each estimated CHF 15,000-20,000) at the Charpentier Gallery. These drawings benefit from a remarkable provenance that can be traced from the present owner right back to the artist. 

Lot 803. Hubert Robert (1733-1808), Ruines dans les environs de Naples, sanguine sur papier, signée, monogrammée, datée 1760 et située "Napoli", 33x45 cm. Estimation CHF 15,000-20,000.

Lot 804. Hubert Robert (1733-1808), Paysans devant l'arc de Constantin, Rome, sanguine sur papier, signée, 39x52 cm. Estimation CHF 15,000-20,000.

The Givaudan collection also includes other works of art and furniture such as a rare pair of Louis XVI candlesticks attributed to one of the most celebrated 18th century gilders, Pierre Gouthière (1732-1813) who had among his clients Madame du Barry, the marchand-mercier Dominique Daguerre and even Marie-Antoinette (lot 599 estimated at CHF 50,000-80,000. 

Lot 599. Exceptionnelle et rare paire de flambeaux d'époque Louis XVI attribués à Pierre Gouthière, en bronze finement ciselé et doréà l'or moulu (dorure d'origine). Estimation CHF 50,000-80,000. 

à fût central en gaine sommé de quatre mufles de lion et orné de draperie, reposant sur des pattes de lion accolées, le binet à motif de grecques émergeant d'un bouquet de feuilles de lotus, base en piédouche à motif de baguette de laurier et frises de dards et d'oves, h. 34 et 35 cm (tige filetée postérieure).

The artistic excellence of the 18th century is also apparent in this superb pair of Louis XV Meissen porcelain candelabras after a model by J.J. Kändler (circa 1740). These candelabras estimated at CHF 30’000-50'000 feature two birds, the speciality of the Meissen factory. These figures are enhanced by Kändler’s talent, Court Sculptor to Auguste le Fort. 

Lot 586. Exceptionnelle et spectaculaire paire de candélabres d'époque Louis XV en porcelaine de Meissen d'après un modèle de J.J. Kändler, circa 1740. Estimation CHF 30,000-50,000. 

montée en bronze ciselé et doré, chacune marquée au "C couronné" (1745-1749), à décor Rocaille mouvementé figurant des feuilles de chêne et glands déposés sur une base à claire voie en forme de coquilles brisées et supportant un branchage fleuri en tôle émaillée formant trois bras de lumière et agrémenté de petits insectes, les fleurs en pâte tendre de Vincennes.

A fine oil painting by Louis-Léopold Boilly (1761-1845), titled La tendresse conjugale, will delight collectors of genre scenes (lot 793 estimated at CHF 60,000-80,000). The collection also holds a red chalk drawing by one of the greatest 18th century Masters, Jean-Honoré Fragonard (1732-1802) which was actually presumed lost. The subject emphasises that this artist was not only a romantic scenes painter, but also a talented historical painter, laureate of the prestigious Grand prix from the Royal academy and who mastered more academic compositions as well (lot 794 estimated at CHF 40,000-60,000). 

Lot 793. Louis-Léopold Boilly (1761-1845), La tendresse conjugale, huile sur panneau, signée, 52,5x43,5 cm. Estimation CHF 60,000-80,000. 

Lot 794. Jean-Honoré Fragonard (1732-1806), "Homme debout drapé pointant sa main droite vers un crâne ", sanguine sur papier, avec signature «fragonard» et inscription sur le montage «IL A ÉTÉ CE QUE JE SUIS : CE QU’IL EST JE LE SERAI BIENTÔT.» sur le montage , 43,5x30,5 cm (feuille). Estimation CHF 40,000-60,000. 

Piguet Auction House also discovered a Portrait of Louis XIV by the workshop of Hyacinthe Rigaud (1659-1743) amongst the treasures in the Givaudan collection. This work is previously unseen and has never before come up for auction. It came from the prestigious collection of Councillor François Tronchin (1704-1798), renowned for his qualities as an art connoisseur and paintings expert. The work appeared on an estate inventory after the death of Tronchin in 1865 at Bessinge château in Cologny (Geneva). It was discovered when the Givaudan family purchased the property and its contents in 1938 (lot 792 estimated at CHF 7,000-10,000). 

Lot 792. Hyacinthe Rigaud (1659-1743), atelier de, Portrait de Louis XIV en cuirasse, ca 1694-1699, huile sur toile, 91x73 cm. Estimation CHF 7,000-10,000. 

The continuous development of the Fine Jewellery and Watches sale 
For a while now Piguet Auction House’s Fine Jewellery and Watches department has been progressing constantly. This March, the Spring sale continues along this upward path, not only by the quantity of pieces in the auction but also in terms of quality. Two watches of particular note for collectors are an 18 carat white gold Rolex Cosmograph Daytona Beach (lot 1236 estimated at CHF 18,000-22,000 and a limited edition Panerai, Luminor GMT (lot 1219 estimated at CHF 10,000-15,000). A large 9.57 carat diamond will draw a certain amount of attention in the Fine Jewellery sale (lot 1459 estimated at CHF 20,000-30,000) as well as a floral brooch Margharita Rosa by Adler estimated at CHF 20,000-30,000 and a pair of David Webb gold and diamond clip earrings (lot 1475 estimated at CHF 5,000-7,000). 

Lot 1236. Rolex, Cosmograph Daytona, Beach, montre chronographe en or gris 750 avec cadran nacre rose pale. Signée Rolex, réf. 16519/4030, n°mouvement 190530, n°boîte A2799111, circa 1998. Estimation CHF 7,000-10,000. 

Lot 1219. Panerai, Luminor GMT, Ed. limitée 069/300, montre en or rose 750 avec indication d'un 2ème fuseau horaire. Signée Panerai, réf. OP6716, n°boîte BB1379062. Estimation CHF 10,000-15,000. 

Lot 1459. Diamant sur papier taille ancienne de 9.57 ct. On joint 1 monture en platine, doigt 51-11. Estimation CHF 20,000-30,000. 

Lot 1365. Adler, Margharita Rosa, bague fleur en or gris 750 sertie d'un saphir rose taille ovale (env. 6.5 ct) les pétales serties de diamants, rubis et saphirs roses taille brillant (total env. 6 ct), signée, doigt 54-14, 13g. Estimation CHF 2,500-3,500. 

Lot 1475. David Webb, paire de clips d'oreilles en or 750 sertie de diamants taille brillant (total env. 3.5 ct), signée, h. 4.5 cm, 63g. Estimation CHF 5 000 -7 000.

The jewellery sale also includes lots which will be sold for charity such as a rivière diamond necklace from the internationally renowned Conductor Joseph Krips, considered the heir of Viennese tradition (lot 1405 estimated at CHF 20,000-30,000). 

Lot 1405. Important collier rivière en or gris 750 serti de 55 diamants taille brillant en chute (total env. 20 ct) dont diamant central env. 2.2 ct, long. 42 cm, 47g. Estimation  CHF 20,000-30,000.

Spring Specialist sale: Fine wines and spirits 
The Fine Wine and Spirits sale in the Spring 2017 auction offers a good selection of great vintage Clarets (Margaux, Mouton-Rothschild, Haut-Brion…), Burgundies (Corton, Mazis-Chambertin, Montrachet…) and some fine Italian wines. 

In the spirits section, the sale includes Hennessy Cognacs (lots 111 to 114), 1928 Armagnacs Sempé (lots 103 to 105) and 1964 chartreuses (lots 108 to 109). 

Great Spring 2017 deals 
Tradition has it that Piguet Auction House always presents a selection of affordable lots and the Spring auction is no exception. Over 500 lots from the 1094 lots presented in the Silent sale are estimated below CHF 300. Here are some examples: 

• Two bottles of 2003 (limited edition) and 1999 Dom Perignon Brut Champagne: CHF 200 (lot 1). 

• A limited edition Mont Blanc Hemingway pen: CHF 200 (lot 890). 

• 1177 (Medium)A pair of Tiffany & Co. gold and diamond heart earrings: CHF 200 (lot 1177 below). 

• A patent yellow leather Christian Dior handbag: CHF 200 (lot 3084). 

• A Louis Vuitton Speedy 30 handbag: CHF 200 (lot 3119). 

• A Georges Braque lithograph (1882-1963): CHF 200 (lot 3492). 

• A Henri Matisse lithograph (1869-1954): CHF 200 (lot 3560). 

• A Dinh Van bracelet: CHF 200 (lot 4079).

Lot 10. An exceptionally rare molded yellow-glazed 'dragon' stembowl, Jiajing mark and period (1522-1566). Estimate 60,000 — 80,000 USD. Photo Sotheby's

 finely potted, the wide flared bowl resting on a narrow stem splaying toward the base, lightly molded to the interior with two five-clawed dragons striding in pursuit of 'flaming pearls', applied overall with a smooth, rich egg-yolk yellow glaze, the interior of the stem reserved in white and inscribed in underglaze blue with the evenly spaced six-character mark under a transparent glaze. Diameter 6 in., 15.1 cm

Provenance: Collection of C. Philip Cardeiro (1930-2014), California.

Note: Stembowls of this form were made in porcelain from as early as the Yuan dynasty and continued to be produced throughout the Ming period. Often placed on altars to hold offerings, stembowls covered in this attractive yellow glaze were reserved for use by the court as the color yellow denoted imperial paraphernalia. The yellow glaze was achieved by adding to the glaze mix a small amount of iron oxide and required the utmost attention at every stage of production, from the purity of the clay and precision of potting to the evenness of the glaze and control of firing, as the slightest irregularity would have resulted in the rejection of the piece.

A closely related example, from the collection of Sir Percival David and now in the British Museum, London, was included in the exhibition Ceramics Evolution in the Middle Ming Period. Hongzhi to Wanli (1488-1620), Percival Foundation of Chinese Art, London, 1994, cat. no. 6; another in the National Palace Museum, Taipei, is illustrated in Monochrome Ware of the Ming Dynasty, bk. II, Hong Kong, 1968, pl. 11; and a third sold in our London rooms, 13th October 1992, lot 95. Compare also a stembowl of similar shape but lacking the molded decoration, in the National Palace Museum, Taipei, published in Minji meihin zuroku [Illustrated catalogue of important Ming porcelains], Tokyo, 1977, vol. III, pl. 37; another sold in our Hong Kong rooms, 18th May 1982, lot 188; and a third, from the Meiyintang collection, illustrated in Regina Krahl, Chinese Ceramics in the Meiyintang Collection, vol. 4, pt. I, London, 2010, pl. 1683, sold in our Hong Kong rooms in 1973, 1978 and 1988, and most recently in our London rooms, 20th May 2001, lot 41.

Stem cup with yellow glaze, Ming dynasty, Jiajing mark and period, AD 1522–1566. Porcelain, moulded, with underglaze cobalt-blue mark, transparent and yellow glazes, Jingdezhen, Jiangxi province, PDF 573 © Trustees of the British Museum

See also the Ming prototype to this stembowl, decorated in the anhua technique with two dragons, from the collection of Mr and Mrs Alfred Clark and now in the Au Bak Ling collection, sold in our London rooms, 9th December 1975, lot 134, and again in our Hong Kong room, 3rd May 1994, lot 56. 

otheby's. Ming: The Intervention of Imperial Taste, New York, 14 mars 2017, 10:00 AM

Lot 11. A large and finely painted blue and white 'dragon' garlic-mouth bottle vase, Wanli mark and period (1573-1619). Estimate 300,000 — 500,000 USD. Photo Sotheby's.

sturdily potted, the pear-shaped body supported on a short foot, tapering to a tall neck with a garlic-head mouth and upright mouth rim, the body painted with two pairs of of sinuous five-clawed dragons, alternately descending and ascending in pursuit of 'flaming pearls' amidst a composite floral scroll, all above floral scroll and lappets at the foot, and below a border of ruyi at the shoulder, the waisted neck painted with lotus scrolls beneath strings of beads suspending jewels and precious objects, below a pendent stiff leaf band, the six-character reign mark inscribed in a horizontal line within a rectangular cartouche at the rim, wood stand, Japanese wood box. Quantité: 4

Lot 12. A large and important wucai'hundred deer' vase, Wanli mark and period (1573-1619). Estimate 800,000 — 1,200,000 USD. Photo Sotheby's.

sturdily potted, of ovoid form rising to a gently waisted neck with a lipped rim, painted in underglaze-blue, green, yellow, aubergine, brown and two shades of iron-red enamel with a continuous scene depicting a profusion of deer in widely varied poses, some resting or grazing, others prancing in playful contest, several partially hidden by the foliage and twisted trunks of pine and wutong trees, all interspersed with spiraling underglaze-blue and green enamel cloud scrolls and with bamboo, pine and fruiting branches, all above a band of stylized lappets at the foot and below a ruyi border at the shoulder and a band of alternating peony and chrysanthemum florets at the neck, all divided by underglaze blue line borders, the unglazed base centered with a recessed circle with the six-character mark inscribed in underglaze blue within a double circle beneath a clear glaze. Height 13 1/2  in., 34.4 cm

Provenance: An English Private Collection.
Bonhams London, 11th July 2005, lot 157. 

Exhibition: Nelson-Atkins Museum of Art, Kansas City, Missouri, 2013-2015 (on loan). 

Note: This magnificent jar represents the height of Wanli porcelain production and embodies the distinctive style during his reign. Complex in composition, this design is endowed with added vitality through the outstanding use of the wucai palette. While the Wanli Emperor is not historically known as a leading statesmen or art lover, the relative stability of his long reign and his great love of luxury allowed potters working at the imperial kilns in Jingdezhen to develop enameling techniques as well as produce a significant amount of porcelain. The present example is distinctive for its palette, as the basic Wanli wucai palette has been extended by the addition of a pale pinkish tone, created by a thinner iron-red wash. This further animates the composition with deer shown in five alternating colors. 

The motif of ‘one hundred deer’ appears to be an innovation of the Wanli reign, and carries numerous auspicious messages. Traditionally the deer is an emblem of immortality in China, believed to live to a very great age. The animal successfully foraged for lingzhi and was believed to store the fungus’s power within its antlers, which then became prized for their medicinal use. The deer is also associated with official salary, as the two words are homophonous, hence images of 'one hundred deer' are representative of ‘one hundred promotions’. 

In addition to its auspicious messages, the scene on this jar, which continues around the whole vessel as if on a handscroll, may also be of the imperial gardens or hunting parks where deer and other exotic animals were known to reside. Ming emperors spent much time in the Imperial Western Park, adjacent to the Forbidden City, which had been reconstructed at the beginning of the Ming dynasty and renovated to resemble an immortal land under the direction of the Jiajing Emperor, who moved there in 1542. 

A similar jar in the National Palace Museum, Taipei, is illustrated in Minji meihin zuroku, Tokyo, 1978, vol. II, pl. 101; one from the collection of Tamisuke Yokogawa, now in the Tokyo National Museum, Tokyo, is published in Illustrated Catalogue of Tokyo National Museum. Chinese Ceramics, Tokyo, 1990, vol. II, pl. 330; another is illustrated in Sekai toji zenshu/ Ceramic Art of the World, vol. 14, Tokyo, 1976, pl. 218; and a fourth from the collection of Ernest Grandidier in the Musée Guimet, Paris, is published in Oriental Ceramics. The World’s Great Collections, Tokyo, 1981, vol. 7, col. pl. 26. See also a further jar in the Schlossmuseum, Berlin, included in the exhibition Chinesische Kunst, Preussische Akademie de Künste, Berlin, 1929, cat. no. 739.

Jarre à décor dit "aux cent daims", règne de Wanli (1573-1620), décor cinq couleurs. Ancienne collection Ernest Grandidier, G4850. Photo ©  RMN-Grand Palais (musée Guimet, Paris) / Richard Lambert

Several jars painted with this motif have been sold at auction: five were sold in our London rooms, the first, 11th July 1978, lot 191, the second, 16th June 1999, lot 794, the third, 10th November 2004, lot 564, the fourth, 14th May 2009, lot 566, and the fifth, 12th May 2010, lot 20; and a further example lacking the reign mark, from the collection of the Pitt Rivers Museum, Farnham, was sold at Christie’s London, 7th November 2006, lot 184.

A wucai 'hundred deer' vase. Wanli mark and period. Sold 51,650 GBP at Sotheby's, 12th May 2010, lot 20. Photo Sotheby's

The motif of ‘one hundred deer’ was revived during the Qianlong reign in famille-rose enamels; see one in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85; and another sold in these rooms, 16th March 2016, lot 321.

Sotheby's. Ming: The Intervention of Imperial Taste, New York, 14 mars 2017, 10:00 AM

René Lalique. Beetle necklace, circa 1905. Gold, enamel and moulded glass , signed René Lalique© Wartski

Wartski. TEFAF Maastrich. Stand 242.

Verger Frères, Bonsai tree and vase clock, 1920s. Tree in 18-carat gold with nephrite leaves and lapis lazuli berries. Bird carved in orange and white hardstone. Movement by Vacheron Constantin. In glass case surmounted with gold corners and cabochon sapphires© S.J. Phillips Ltd.

S.J. Phillips Ltd. TEFAF Maaastricht 2017. Stand 118

Clara Peeters (Active in Antwerpen, c.1607-1621 of later), Still Life with Cheeses, Almonds and Pretzels, c. 1615, Mauritshuis, The Hague, Purchased by the Mauritshuis with support of the Stichting Vrienden van het Mauritshuis, the BankGiro Loterij, the Vereniging Rembrandt (with help of its A.M. Roeters van Lennep Fonds, Utrechtse Rembrandt Cirkel and Caius Cirkel) and a private individual

Fonds, Utrechtse Rembrandt Cirkel en Caius Cirkel) en een particulier, 2012

HE HAGUE.- From 9 March through 25 June 2017 the Mauritshuis presents Slow Food: Still Lifes of the Golden Age, the first exhibition to be devoted to the development of meal still lifes in Holland and Flanders from 1600 onwards. The cornerstone of the exhibition is a masterpiece acquired by the museum in 2012, Still Life with Cheeses, Almonds and Pretzels by Clara Peeters. The exhibition features 22 masterpieces from Washington’s National Gallery of Art, Rijksmuseum Amsterdam, Oxford’s Ashmolean Museum among others including all the works by Peeters from the Museo Nacional del Prado in Madrid. 

The meal still life – a subset of the genre that shows prepared food laid out on a table without figures in the composition - originated around 1600 with painters in Antwerp such as Clara Peeters and Osias Beert. Haarlem-based painters such as Floris van Dijck and Nicolaes Gillis followed them shortly thereafter. Meal still lifes showing richly set tables piled high with tempting morsels and precious objects became increasingly popular in the first decades of the seventeenth century. Various artists eagerly devoted themselves to depicting the objects on display in great detail. The exhibition in the Mauritshuis features paintings from the early years of this genre, the period 1600-1640. 

Osias Beert (Antwerpen? c.1580-1623 Antwerpen), Dishes with Oysters, Fruit, and Wine, c.1610-1620, oil on panel, 53 x 73 cm. Washington, National Gallery of Art, Patrons’ Permanent Fund

Astonishing detail 
Masters of the meal still life depicted refined delicacies such as fish, oysters, prawns, cheese, bread, olives and nuts, offset by fine glassware, gilded goblets, pottery jugs or oriental porcelain. The way in which the details have been rendered is a feat of extraordinary precision, as is the play of light on the various materials. Peeters succeeds in replicating the somewhat crumbly texture of the biggest cheese and the creaminess of the butter curls on the plate with great accuracy in her Still Life with Cheeses, Almonds and Pretzels. The delicate play of light on the blade of the knife is also beautifully rendered. Virtuosity is also on display in the work of Claesz and Heda. In Heda’s impressive Still Life with Gilt Goblet dated 1635, for example, the suggestion of reflected light on the large glass is magnificent. The glass not only reflects the rays of light coming in through a window, but also the muted sheen of a silver tazza (shallow drinking bowl) and a gilded goblet. The reflection resembles a fine mesh on the glass and is a superb example of the craftsmanship that is so characteristic of these early meal still lifes.  

Pieter Claesz (Berchem 1597/98-1660 Haarlem), Still Life with Roemer, Tazza, and Watch, 1636, oil on panel, 44 x 61 cm (17 5/16 x 24 in.), Royal Picture Gallery, Mauritshuis, The Hague, on long-term loan from the Friends of the Mauritshuis Foundation (Gift of Willem Baron van Dedem) 

Interpretation 
The delicacies and precious objects shown in the meal still lifes evoke a utopian world free of hunger and need. The paintings often incorporate a sense of mortality, of the transience of earthly life. This vanitas symbolism is made explicit in the meal still lifes by Claesz and Heda, each of whom include a timepiece in their compositions. At the same time, a good meal also symbolises prosperity and well-being. It is possible that the cornucopia of food shown in the paintings was also intended as an exhortation to moderation. In a number of paintings by Peeters, for example, a knife with the word ‘TEMP[ERANTIA]’ (moderation) on its blade figures prominently. Her aim may have been to impart a deeper meaning to her compositions  

Clara Peeters (Active  in Antwerpen, c.1607-1621 of later), Table with Cloth, Salt Cellar, Gilt Standing Cup, Pie, Jug, Porcelain Plate with Olives and Cooked Fowl, c.1611, oil on panel, 55 x 73 cm. Madrid, Museo Nacional del Prado

Mini food festivals 
The museum will organise a series of small-scale food festivals during the exhibition, which will centre on the delicacies depicted in the paintings. A range of activities focused on food and drink will also take place on four Saturdays during the exhibition. Each edition will focus on a different theme: 18 March – bread & cheese 22 April – meat & fish, 20 May – drinks & glassware,, 17 June – fruit & vegetables. For the duration of the exhibition there will be a greenhouse on the square of the Mauritshuis: Taste Station MH.

Clara Peeters (Active in Antwerpen, c.1607-1621 of later), Still life with fruits and flowers, c.1612-1613. Cooper, 64 x 89 cm, Oxford, Ashmolean Museum, Bequeathed by Daisy Linda Ward, 1939

Floris van Schooten (Haarlem? c.1585/88-1656 Haarlem), Still Life with herring and oysters, c.1625-1630, oil on panel, 35 x 49 cm, Haarlem, Frans Hals Museum, purchased with support from "Donation Drs. J-P. de Man "and the Rembrandt Society, 2011

Francesco Guardi (1712-1793), Piazza San Marco with the Basilica and the Campanile. Sold for: €6,738,500 / £5,829,476 / $7,158,309.© Christie’s Images Limited 2017.

PARIS.- On 7 March 2017, Christie’s Boniface de Castellane and Anna Gould ‘A way of Life’ auction realised a total of €14,266,563 / £12,342,004 / $15,155,370. These exceptional results reflect the relevant choices Boni had made when furbishing his legendary Palais Rose with the most exquisite works of art. 

Lionel Gosset, Head of Collection sales, Christie’s France: “Continuing Christie’s long history of offering prestigious collections at auction, we are honoured to have paid such a beautiful tribute to this important collection. Its celebrated provenance and the pristine quality of its works have attracted bidders from 19 countries across five continents, establishing once again Christie’s France’s leadership in selling collections with success”. 

Connoisseurs, collectors and institutions, such as the Sèvres museum (lot 145) and the Lyndhurst museum –Anna Gould’s childhood home in the state of New York (lots 2, 6, 10 and 16)–, have acquired 96% of the sale, demonstrating continued interest in high quality 18th century pieces. The Palais Rose’s famous Boulle furniture achieved strong prices, as illustrated by the Louis XVI pair of meubles-à-hauteur-d’appui by Etienne Levasseur and Adam Weisweiler which sold for €818,500 (lot 132) and the Louis XIV console attributed to André-Charles Boulle sold for €506,500 (lot 140). Important decorative art from the period also performed very well, as shown by the Sèvres porcelain “vases” which realised €206,500 against a presale estimate of €80,000-120,000 (lot 52) and a George III clock attributed to James Cox achieved €290,500 (lot 89). 

Lot 145. Partie de service de table en porcelaine de Sèvres de la fin du XVIIIe -début du XIXe siècle, circa 1800, diverses marques en bleu aux deux L entrelaces,RF, et Sèvres, diverses marques de peintres. Estimate EUR 20,000 - EUR 30,000 (USD 21,215 - USD 31,822). Sold EUR 43,750 (USD 46,408)  to Sèvres museum. © Christie’s Images Limited 2017.

A décor polychrome et or au centre d'un bouquet de roses dans un médaillon végétal, l'aile à décor de rosaces et de bouquets dans des entrelacs entre deux galons bleus à décor de rang de perles, comprenant: une paire de "seau à glace à trépied" et leur couvercle, deux "seaux crénelés", deux sucriers, leur couvercle et leur plateau, deux confituriers double à plateau adhérent "Lefébure", leur doublure et leur couvercle, six tasses à glace, un plateau Bouret, deux compotiers coquille, deux compotiers carrés, deux compotiers, trente-neuf assiettes "unies" et douze assiettes à dessert; on ajoute deux intérieurs assortis pour les glacières; éclats, égrenures et usures. Longueur des seaux crénelés: 28 cm. (11 in.)

Provenance: Peut-être de l'achat du 29 nivose An VIII (19 janvier 1800) fait par la maison Lemercier et Compagnie: "zones bleu Médaillons, Arabesques".
Ancienne collection Boni de Castellane et Anna Gould, Palais Rose, Paris.

Literature; Inventaire: Mes Laurin et Ader, Etat descriptif et estimatif de meubles, sièges, objets d'art (..) garnissant le Palais Rose, Paris, vers 1961: "n.395. Service en porcelaine de Sèvres du début du XIX°à décor de bouquets, de roses, bandes bleues et roses mauves. 1794-1804 (...) Prisés 18.000 francs." 

Note: Pour un descriptif complet de cette livraison, voir par David Peters, Sèvres plates and service of the 18th century, Little Berkhamsted, 2005, pp. 1235-1236.

Lot 132. Paire de meubles à hauteur d'appui d'époque Louis XVI, vers 1780, estampilles d'Etienne Levasseur et d'Adam Weisweiler, exécutée par E. Levasseur  et rehaussée par A. Weisweiler. Estimate EUR 600,000 - EUR 1,000,000 (USD 636,458 - USD 1,060,763). Price realised EUR 818,500 (USD 868,235) © Christie’s Images Limited 2017.

En marqueterie Boulle de première partie à fond d'écaille de tortue caret, incrustations de cuivre et d'étain gravés, placage d'ébène, ornementation de bronze ciselé et doré, les dessus de marbre Portor à légers ressauts, les montants en pilastre à chapiteau corinthien et centré de masques de satyre encadrant un vantail centré d'une marqueterie probablement d'époque Louis XIV à décor d'un vase fleuri dans un médaillon retenu par un nœud de ruban et entouré de rinceaux, reposant sur des pieds en toupie à cannelures torses, chacun estampillé E.LEVASSEUR sur le montant antérieur gauche, une fois JME pour l'un et deux fois JME pour l'autre et A.WEISWEILER à deux reprises au-dessus de la traverse postérieure du sur-cadre. Hauteur: 108 cm. (42 ½ in.) ; Largeur: 72 cm. (28 ½ in.) ; Profondeur: 41 cm. (16 ¼ in.) 
Etienne Levasseur, reçu maître en 1766
Adam Weisweiler, reçu maître en 1778

Provenance: Vente des collections de Louis-Antoine-Auguste duc de Chabot (1733-1807), Lebrun, Paris, 10 décembre 1787, lot 317 (supplément au catalogue).
Vente des collections de Quintin Craufurd (1743-1819), Paris, 20 novembre 1820, lot 468.
Ancienne collection Boni de Castellane et Anna Gould, Palais Rose, Paris.

Inventaire: Mes Laurin et Ader, Etat descriptif et estimatif de meubles, sièges, objets d’art (…) garnissant le Palais Rose, Paris, vers 1961:
« n. 702 Paire de petits meubles d'appui, ouvrant chacun à une porte, en marqueterie d'écaille, de cuivre et d'étain, dans le style de Boulle. Pieds toupies torsadés. Garniture de bronzes tels que : médaillons, encadrements, masques, etc… Estampille de Weisweiler. Epoque Louis XVI. Dessus de marbre portor prisée 40,000 francs »

Literature

BIBLIOGRAPHIE: G. Mézin,  « Chez Quentin Craufurd en 1819 : Le Goût d'un gentleman espion », in Bulletin de la Société de l'Histoire de l'ArtFrançais, année 2009, Paris, 2010, p. 341 (non illustrés).

BIBLIOGRAPHIE COMPARATIVE: P. Hughes, The Wallace Collection. Catalogue of Furniture, vol. II, Londres, 1996, pp. 594-599.

Note: Avec ses lignes architecturées épurées et sa précieuse marqueterie dite Boulle richement ornée de bronzes dorés, cette rare paire de cabinets est un magnifique exemple du renouveau du « style Boulle » dans les années 1770-1780, caractéristique de l’œuvre de son créateur l’ébéniste Etienne Levasseur. 

LEVASSEUR : GENIE DU RENOUVEAU « BOULLE »

Comme un certain nombre de ses contemporains, Philippe-Claude Montigny, Joseph Baumhauer et Adam Weisweiler, Etienne Levasseur (1721-1798, maître en 1767) collabora avec des marchands-merciers tel que Philippe-François Julliot (1727-1794) qui se spécialisèrent dans la production et la vente de meubles dits Boulle remis au goût du jour vers 1770. Alors que certains ébénistes copièrent à l’identique les modèles du début du siècle d’André-Charles Boulle, Levasseur fut certainement le plus créatif, bien que réutilisant parfois des éléments de marqueterie de meubles réalisés par André-Charles Boulle. La présente paire de cabinets est une parfaite illustration du génie de Levasseur et de sa capacitéà réinterpréter les modèles de son illustre prédécesseur André-Charles Boulle.

Avec son unique vantail orné d’un médaillon, ce modèle de meuble reprend en effet le module central des bibliothèques tripartites de Boulle mais se libère des panneaux qui l’encadrent, créant ainsi un meuble d’un nouveau type. Levasseur s’en fit une spécialité et plusieurs meubles de cette forme portent son estampille ou lui sont attribués. Citons la paire de cabinets ornés de mascarons estampillée Levasseur vendu chez Couturier-Nicolaÿ, Paris, 14 mars 1972, lot 122 (illustrée dans A. Pradère, French Furniture Makers, Paris, 1989, p. 309, ill. 349) ou encore la paire de cabinets vendue chez Christie’s, Londres, 8 décembre 2011, lot 260. D’autres meubles avec même encadrement et des têtes de satyres mais comprenant trois tiroirs en leur milieu sont également répertoriés. Citons notamment la suite de quatre cabinets estampillés par Levasseur vendus chez Sotheby’s, New York, lot 212 (illustrés dans A. Pradère, French Furniture Makers, Paris, 1989, p. 309, ill. 350). Un troisième groupe de cabinets est constitué quant à lui d’un vantail central flanqué de deux panneaux latéraux plus étroits, comme la paire de cabinets de la collection Champalimaud vendue chez Christie’s, Londres, 6 juillet 2005, lot 125, qui provient possiblement de la collection du marquis de Laborde pour son château de Méréville.

Le motif de bouquet de fleurs en marqueterie Boulle visible sur la présente paire s’inscrit lui aussi dans la production de meubles d’André-Charles Boulle. On retrouve notamment ce principe sur les panneaux rectangulaires d’une paire de cabinets provenant des collections de Charles-Joseph Lenoir du Breuil aujourd’hui au musée du Louvre (inv. OA5453 et OA5454). Il est intéressant de noter que ces meubles d’époque Louis XIV portent l’estampille de Levasseur qui les restaura probablement durant la seconde moitié du XVIIIème siècle. Le motif de médaillon suspendu comme un tableau sur fond de placage ou de marqueterie fut quant à lui particulièrement en vogue dans les années 1770, comme en témoignent les nombreuses commodes de Foullet ou encore les bibliothèques de marqueterie Boulle ornées de médaillons de bronze produites pour le marchand Julliot dans les mêmes années.

La postérité de ces deux cabinets sera une série de cabinets bas en marqueterie Boulle à médaillons de fleurs, médaillons de bronze ou bas-reliefs octogonaux, réalisés par Julliot et commercialisés par le marchand Lerouge sous l’Empire qui terminèrent toutes, à la suite de la vente Lerouge de 1818, dans de grandes collections anglaises à l’instar de celle du duc de Wellington à Stratfield Saye et de celle du duc de Buccleuch à Boughton House (A. Pradère, « Lerouge, Le Brun, Bonnemaison : le rôle des marchands de tableaux dans le commerce du mobilier Boulle de la Révolution à la Restauration », in Revue de l’Art, n. 184, 2014-2, pp. 47-62).

LES PROVENANCES DES CABINETS CASTELLANE

Ces meubles sont décrits pour la première fois dans le supplément du catalogue de vente du duc de Chabot, le 10 décembre 1787 :

« 316. Deux bas d’armoires, première partie sur fond écaille ouvrant à un battant, enrichi d’un médaillon ovale à vases fond cuivre & étain, avec cadre à nœud de ruban & feuille d’eau ; les champs à mascarons de faunes & les côtés de même : le tout terminé par un pied à avant-corps très orné, avec tablette en griotte d’Italie. Hauteur 36 pouces, largeur 26 pouces 6 lignes, profondeur 14 pouces [H. 97 x L. 71,5 x P. 37,8 cm.] … 2050 livres Lebrun ».

Alors que la première partie du catalogue de cette vente regroupait les collections de tableaux et d’objets d’art du duc de Chabot, le supplément du catalogue proposait quantité de lots de tableaux et de meubles provenant d’autres amateurs ou marchands dont Le Brun lui-même. En l’occurrence, cette paire de meubles fut achetée par Le Brun 2.050 livres, enchère importante qui laisse penser que Le Brun était commissionné par un de ses clients privés. On ignore l’identité du propriétaire suivant mais ces meubles réapparaissant au début du Premier Empire dans la demeure, rue d’Anjou, d’un des grands collectionneurs étrangers alors installés à Paris, Quentin Craufurd.

Cette paire de meubles est en effet décrite dans la première vente aux enchères des collections de Quentin Craufurd qui eut lieu un an après son décès, le 20 novembre 1820 « et jours suivants » précédée par trois jours d’exposition dans sa résidence parisienne, l’hôtel de Créquy rue d’Anjou. 

« 468. Deux bas d’armoire ouvrant chacun à un vantail, fond écaille, à dessin incrusté en cuivre et étain, encadrement, moulure et pieds à vis en fonte dorée d’or moulu et à: dessus de marbre portor ; le médaillon du milieu offrant un bouquet de fleurs, pareille incrustation en cuivre et étain. Ils portent 41 pouces de hauteur sur 27 de large [H. 111 x L. 73 cm.] ».

Ces cabinets figuraient dans la section du catalogue consacrée aux « Riches meubles, par Boulle et autres ébénistes », et étaient précédés par trois autres paires de bas d’armoires à un vantail ornés de figures des Saisons, décrits sous les numéros 463, 464, 465, et également décrits de façon sommaire dans l’inventaire après décès : « 596. Huit pièces qui sont armoires à hauteur d’appui ouvrant à un vantau partie ébène et écaille avec incrustations de cuivre et d’étain et figures et groupes d’appliques en bronze sur pieds tortue [sic], ouvrage de Boule avec dessus en marbre dit Ste. Anne et portor, prisés ensemble la somme de deux mille quatre cents francs cy ». Ces quatre paires de cabinets bas se trouvaient, ainsi que tous les autres meubles Boulle à hauteur d’appui, dans la bibliothèque de Craufurd, vaste galerie àéclairage zénithal, bâtie dans une aile latérale en retour sur le jardin de l’hôtel de Créquy.

Lot 140. Console d'époque Louis XIV, attribuée à André-Charles Boulle, début du XVIIIe siècle. Estimate EUR 300,000 - EUR 500,000 (USD 318,229 - USD 530,381). Price realised EUR 506,500 (USD 537,277). © Christie’s Images Limited 2017.

En marqueterie Boulle de première partie d’écaille de tortue caret et cuivre gravé et placage d’ébène, ornementation de bronze ciselé et doré, le plateau à décor d’un char tiré par des bœufs soutenant des putti jouant à la balançoire et encadré de rinceaux, la ceinture centrée d’une palmette ajourée et ouvrant par trois tiroirs, reposant sur six pieds dont quatre galbés surmontés de têtes féminines couronnées de feuilles de laurier et de têtes de satyre terminées par des volutes feuillagées et deux pieds fuselés à section octogonale, réunis par une entretoise centrée d’un vase couvert remplacé ; manques et accidents principalement à l'entretoise, quelques éléments associés. Hauteur: 78,5 cm. (31 in.) ; Largeur: 133 cm. (52 ¼ in.) ; Profondeur: 54 cm. (21 ¼ in.)

Provenance: Probablement vente des collections de François-Michel Harenc de Presle (1710-1802), 16 avril 1792, lot 410.
Probablement vente des collections de François-Antoine Robit (v.1762-1815),? 15 Frimaire an 9 (6 décembre 1800), lot 299.
Ancienne collection Boni de Castellane et Anna Gould, Palais Rose, Paris.

Inventaire: Mes Laurin et Ader, Etat descriptif et estimatif de meubles, sièges, objets d’art (…) garnissant le Palais Rose, Paris, vers 1961:
« n. 692 Console en marqueterie, travail des Boulle du XVIIIe à trois tiroirs. Elle pose sur six pieds, dont quatre galbés ornés de cariatides, et deux à colonnettes, sur le plateau décor d'après Bérain, présentant le Triomphe de l'Amour prisée 18,000 francs » ou « n. 693 Autre console plus petite que la précédente, mais de même travail. Garnitures de bronzes différentes. Début du XVIIIe siècle prisée 12,000 francs »

Literature. BIBLIOGRAPHIE : S.Faniel, Le XVIIe siècle français, Paris, 1958, p. 59, fig. 1.
P. Fuhring, « Designs for and after Boulle furniture », in The Burlington Magazine, n. 1071, juin 1992, p. 362, fig. 15.
P. Hughes, The Wallace Collection. Catalogue of Furniture, vol. II, Londres, 1996, pp. 752-757.
A. Pradère, "Harenc de Presle, un banquier collectionneur au siècle des lumières", in L'Objet d'Art, décembre 2008, p. 72 (reproduite).
R. H. Randall, « Templates for Boulle Singeries », in The Burlington Magazine, septembre 1969, pp. 549-553, pl. 18-19.
G. Wilson, « Boulle », in Furniture History Society Bulletin, vol. 8, 1972, pp. 47-69, pl. 42A-B et 43A-B.
Cat. expo., André-Charles Boulle 1642-1732. Un nouveau style pour l'Europe, Paris/Frankfort, 2009, pp. 216-217, 338-339 et 361, ill. E.

Note: Cette console attribuée au plus important ébéniste du règne de Louis XIV, André-Charles Boulle, fait partie d’un rare corpus de consoles mis au point par lui.

TYPOLOGIE DES CONSOLES D’ANDRE-CHARLES BOULLE

Le modèle de console à bustes de femmes présenté dérive de celui créé par André-Charles Boulle à têtes de faunes, vers 1700-1710, dont on connait plusieurs exemplaires notamment à la Wallace Collection de Londres. La première console de ce type pour laquelle Boulle utilise des pieds intermédiaires fuselés venant interrompre la ligne des quatre pieds de biche semble avoir été créé pour le financier Paulin Pondre. Deux dessins attribués à Boulle nous montrent le principe de pieds fuselés et de pieds galbés utilisés sur la même console. Le premier est un dessin à la sanguine conservé au musée des Arts décoratifs de Paris, réalisé vers 1701 et illustrant une table en console à quatre pieds (inv. 723.C4). Un autre projet de console à l’encre noire et au lavis, cette fois-ci à six pieds, est également au musée des Arts décoratifs (inv. 723.B1).  C’est très probablement de ce dessin qu’est issue la gravure du célèbre recueil de dessins de Boulle gravé par Mariette intitulé« Nouveaux Desseins de meubles et ouvrages de bronze et de marqueterie ». La planche 5 illustre en effet une « Grande Table »à six pieds et masques de satyre. 

Attribuéà André-Charles Boulle, Projet de table-console, sanguine, inv. 723.C4 ©Photo Les Arts Décoratifs, Paris/Jean Tholance. 

Attribuéà André-Charles Boulle, Projet de table-console, plume, encre noire, lavis gris sur papier, inv. 723.B1 ©Photo Les Arts Décoratifs, Paris/Jean Tholance. 

Sur notre modèle issu de la collection Castellane-Gould, plus large que celui aux satyres d’environ 15 cm., des bustes de femmes remplacent les têtes de faunes. On trouve également trois tiroirs dont un tiroir médian avec un contour en arbalète orné en son centre d’une palmette, parfois remplacée d’un masque féminin. Plusieurs rares exemplaires du modèle sont recensés.
Un premier en contre-partie à incrustations de nacre et corne polychrome ainsi qu’au motif en soleil au centre et sur les côtés est estampillé par Séverin et ses bronzes portent le poinçon au C couronné. Cette console provient de la collection de Lady Salmond, puis est passée par la Galerie Aveline et la collection Roussel (vente Sotheby’s, Monaco, 22 juin 1986, lot 554). Elle a plus récemment été revendue sur le marché de l’art (collection Léon Lévy, Sotheby’s, Paris, 2 octobre 2008, lot 6).
Une autre console, également avec incrustations de nacre et corne polychrome sur fond de marqueterie en première partie est ornée d’un masque féminin au centre de la ceinture (collection de la comtesse de Craven ; Sotheby’s, Londres, 15 décembre 1961, lot 170). 

Une paire à dessus de marbre avec un masque de Bacchus au centre de la ceinture a fait partie de la collection du comte de Harrington (Sotheby’s, Londres, 22 novembre 1963, lot 69). Un autre exemplaire en contre-partie à trois tiroirs est aujourd’hui conservé au Mobilier national, placé au Palais de l’Elysée (A. Pradère, « L’Ameublement de l’Elysée », in Connaissance des Arts, Hors Série n. 72, 1995).

Notons que le plateau de notre console porte le décor dit du Char à bœufs en première partie. Il est en tout point identique à celui de la console à six pieds (dont quatre surmontés de têtes de satyre) conservée à Weimar (Residenzschloss, inv. 33/64 a et b). On retrouve en effet des putti sous un baldaquin transporté par deux bœufs marchant vers la droite dans un encadrement de rinceaux, vrilles et agrafes feuillagées. La même scène est représentée sur le plateau de la console d’une paire de la Wallace Collection mais les bœufs marchent vers la gauche et les rinceaux à chaque extrémité du plateau sont en contre-partie (inv. F424). Une empreinte à l’encre et à la sanguine sur papier de ce décor au Char a été réalisée au début du XVIIIe siècle et est aujourd’hui conservée au Museum of Fine Arts de Boston (inv. 1931.31.1243.2). J.-N. Ronfort en attribue le dessin central à Jean-Philippe Boulle, lui-même influencé par Cornelis Bos et son estampe du Char fantastique de 1550, et les rinceaux l’encadrant à André-Charles. Peut-être faut-il voir ici une collaboration du père et du fils qui, très tôt au début du XVIIIe siècle, travaillent au sein du même atelier.

(Détail du plateau)

Relevé d’un plateau attribuéà J.-P. et A.-C. Boulle, Museum of Fine Arts, Boston. © Maria Antoinette Evans Fund - Museum of Fine Arts, Boston

LES COLLECTIONS HARENC DE PRESLE ET ROBIT

On trouve une console de ce modèle, présentant les mêmes dimensions et la même description avec trois tiroirs, décrite dans la première vente de la collection de François-Michel Harenc de Presle, le 16 avril 1792 :

« 410. Idem [MEUBLES DE BOULE]. Une table à six pieds, dont les deux de devant triangulaires à consoles, sabots & bustes de femmes de ronde bosse ; ouvrant à trois tiroirs, le dessus en marqueterie et en quart de rond de bronze, avec entre jambes. Haut. 30 pouces [81 cm.], largeur 50 [135 cm.], profondeur 19 [51,3 cm.] ».

La console à six pieds ornait le grand cabinet en damas vert de Harenc de Presle au premier étage de son hôtel de la rue du Sentier, comme le laisse penser la description du guide de Thiery en 1783 qui mentionne dans cette pièce des vases posés sur des « consoles de Boule ».

D’origine hollandaise, Harenc de Presle est le fils d’un banquier parisien. Banquier à son tour, il fait l’acquisition d’une charge de secrétaire du Roi en 1743 et commence à collectionner dans ces mêmes années. Client de marchands-merciers et notamment de Lazare Duvaux, il se fournit également auprès de Charles Cressent. Un important ensemble de meubles de Boulle et d’après Boulle est ainsi constitué, certainement grâce à l’aide des marchands Julliot qui lui livrent plusieurs meubles dont l’importante paire de cabinets estampillée Dubois (vente Harenc de Presle, 16 avril 1792, lot 411, puis le 30 avril 1795, lot 259, collection van Hoorn, puis Ephrussi, puis Guerlain, Galerie Segoura, vente Christie’s, Paris, 16 décembre 2008, lot 2).

En 1792, Harenc décide de son vivant de disperser sa collection. La vente d’avril 1792 fut toutefois annulée, peut-être en raison des temps troublés, et reportée au 30 avril 1795. Notre console figure avec la même description que dans le catalogue de la vente avortée de 1792, mot pour mot (les pouces convertis en centimètres), sous le lot 258. Retirée alors de la vente, la console fut cédée, comme une bonne partie de la collection Harenc et dans des conditions inconnues, au collectionneur François-Antoine Robit (v.1762-1815). 

Ancien marchand-drapier, Robit avait fait des affaires immobilières à Paris, achetant notamment un hôtel, 4 rue du Bouloy, et s’était constitué une importante collection de tableaux, meubles et objets d’art, en profitant des occasions offertes par la Révolution. Robit commença à connaître des difficultés financières dès le début des années 1800 et dut mettre en vente ses collections.
La console fut alors décrite dans les mêmes termes qu’auparavant dans le catalogue de la 1ère vente de Robit, initialement prévue le 15 Frimaire An 9 (6 décembre 1800) dans la salle de vente de Le Brun rue de Cléry :

« 299. Une table à six pieds, dont les deux de devant triangulaires à consoles, sabots et bustes de femmes de ronde bosse, ouvrant à trois tiroirs, le dessus en marqueterie, et en quart de rond de bronze avec entre jambes. Haut. 80cm, larg. 1m34cm, profond. 51cm ».

La vente fut annulée, les objets étant réengagés au Mont-de-Piété, et reportée au 11 mai 1801. Elle eut lieu au Mont-de-Piété, rue Vivienne, avec Paillet et Delaroche pour experts. La console fut alors décrite ainsi :

« 327. Une belle table à six pieds, dont les deux de devant triangulaires et à consoles sont décorés de bustes de femmes en ronde bosse ; l’entablement à trois tiroirs : le tout avec ornements de fonte dorée de bon genre et bien distribuée…200 F, Gamba (sur folle enchère à 275F de Le Brun l’Aîné) »

Ce n’est que plus de cent cinquante ans plus tard qu’on retrouve sa trace, dans l’inventaire après décès d’Anna Gould en 1961. Notons que deux numéros pourraient cependant convenir pour notre console puisque qu’Anna Gould eut deux consoles de ce modèle dans son Palais Rose de l’avenue Foch. La première décrite est, sous le numéro 692 une « Console en marqueterie, travail des Boulle du XVIIIe à trois tiroirs. Elle pose sur six pieds, dont quatre galbés ornés de cariatides, et deux à colonnettes, sur le plateau décor d'après Bérain, présentant le Triomphe de l'Amour (18,000 francs) » tandis que le numéro suivant précise « n. 693 - Autre console plus petite que la précédente, mais de même travail. Garnitures de bronzes différentes. Début du XVIIIe siècle (12,000 francs) ».

Lot 52. Paire de "vases" en porcelaine tendre de Sèvresdu XVIIIe siècle, à montures en bronze doré, la porcelaine circa 1768-75, marques en creux R et Co (?) sur un des deux vases. Estimate EUR 80,000 - EUR 120,000 (USD 84,861 - USD 127,291). Price realised EUR 206,500 (USD 219,048). © Christie’s Images Limited 2017.

Le corps oviforme à décor en relief de godrons bleus sur la partie basse et chutes de laurier et baies or sur la partie haute, la prise en forme de bouton bleu et or, le piédouche à décor de plumes blanches et or se détachant sur un fond bleu, fêlures et petites restaurations; la monture carrée à pans coupés à décor ciselé d'écailles de poisson. Hauteur totale: 44 cm. (17 3/8 in.)

Provenance: Ancienne collection Boni de Castellane et Anna Gould, Palais Rose, Paris.

Literature. Inventaire: Mes Laurin et Ader, Etat descriptif et estimatif de meubles, sièges, objets d'art (..) garnissant le Palais Rose, Paris, vers 1961: "n.217 Paire d'ornements en forme d'oeuf en ancienne porcelaine tendre bleu blanche et or, décor de cannelures à pointes d'asperges, monture en bronze ciselé et doré. Travail Anglais (Minton) de la fin du XVIII° ou du début du XIX° (félures et égrenures). Prisés 3.000 francs". 

Note: Comme le note Adrian Sassoon dans sa recherche sur le vase ’à chaîne’ des collections du J. Paul Getty Museum, publiée par l’Association des Amis de Sèvres dans Mélanges en souvenir d’Elisalex d’Albis, Paris, 1999, p.92, les formes et dimensions des vases produits à Sèvres sont régulièrement améliorées, voire changées et chaque fois sont agrémentées d’un nouveau nom.

Après de nombreuses recherches dans les archives de Sèvres et échanges avec Mesdames Rosalind Savill et Tamara Préaud sur « notre » paire, il s’avère que leur identification précise reste un mystère et que cette paire apparaitrait comme les seuls exemplaires de cette forme connus à ce jour. 
Néanmoins, notons une mention qui peut être rapprochée de nos deux vases, tirée des Inventaires généraux de la Manufacture pour la période 1752-1771 (effectués en 1814): "Porcelaines de France / Inventaires fait le 1er janvier 1771 (pour 1770) 2 vases a œuf a Cotes en relief 84 (livres) chaque..."
Une autre mention est celle de Gillian Wilson à propos « d’une paire de vases proches du ‘vase à chaine’ qui se trouve dans une collection privée à Paris, mais plus petits et sans date » ; probablement les « nôtres » - Cf. par Adrian Sassoon, Op. Cit., p.94. 

Leur style Néoclassique évident, qualifié aussi de «Goût à la grecque », tend à les situer dans les productions de la manufacture royale des années 1760-1775. 
A cette époque Jean-Claude Duplessis, père, orfèvre et bronzier à la manufacture de 1748 jusqu’à sa mort en 1774, dessine la plupart des formes. Son style Rocaille évolue vers le nouveau style, certainement influencé par son fils, du même nom - qui lui survivra, jusqu’en 1783, à la manufacture -, mais surtout par Etienne Maurice Falconet qui y reste jusqu’en 1766.
On attribue à Duplessis, père un important ensemble de vases dont l'esprit se rapproche des « nôtres » : le vase ‘à tête de lion’ (vers 1765-69), le vase ‘chinois’ ou ‘à pied de globe’ (vers 1769), le vase ‘à bande tournante’ (vers 1769), le vase ‘grille’ (vers 1773), le vase ‘du côté du Roi’ (vers 1775), le vase ‘œuf godronné’ (vers 1770), le vase ‘àœuf à côtes et reliefs’ (vers 1770), ou encore le vase ‘à chaine’ ou ‘côtes de melon’ ( vers 1769-76).

Malheureusement, d’après les informations généreusement communiquées par Madame Tamara Préaud, aucun dessin préparatoire, ni de plâtre, concernant « nos » vases, n’est conservéà la manufacture. 
Le modèle en plâtre le plus proche de nos deux exemples, toujours conservéà Sèvres – Cité de la Céramique, correspond au vase ‘ à chaine’ ou ‘cotes de melon’ ; il est illustré par Albert Troude dans Choix de modèles de la Manufacture nationale de porcelaine de Sèvres appartenant au Musée Céramique, Paris, s.d., pl. 90. Attribuéà Jean-Claude Duplessis par Svend Eriksen, il est d’une forme très proche des vases en bronze doré du bureau de Louis XV réalisé par Oeben et Riesener et livréà Versailles en 1769 pour le bureau du roi. 

Albert Troude, Choix des Modèles de Sèvres, Paris, s.d., pl. 90.

Nos deux vases ne comportent aucune marque peinte. Néanmoins, sur l’un des deux, il existe une marque en creux R et une seconde plus difficile à déchiffrer avec un C en cursive près d’un autre élément non lisible.
Cette marque R est répertoriée par Dame Rosalind Savill dans The Wallace Collection Catalogue of Sèvres Porcelain, Londres, 1988, vol. III, p. 1121. Elle est donnée à Roger, père ; repareur sur porcelaine tendre jusqu’en 1773, puis sur porcelaine dure, il revient à la porcelaine tendre vers 1777. Sa marque est répertoriée sur des vases produits pendant les années 1760 et 1770, souvent sur des formes complexes et inhabituelles : vase à‘jets d’eau’, ‘à tête de sphinx’, ‘momies’,’ royal’ ou ‘tourterelles’. On sait également qu’il a travaillé en 1776 sur un vase ‘crimatoire’ dont on ne connait pas le dessin.
Concernant le fond de couleur, c’est très certainement un fond « bleu Fallot », probablement du nom de son créateur Jean-Armand Fallot. Il a travailléà la manufacture de 1765 à 1773 aux couleurs avant d’être doreur puis peintre. La première utilisation de ce fond de couleur date de vers 1768-69, comme le mentionne Tamara Préaud dans sa notice sur les deux vases ‘à bande tournante’ conservés dans les collections du musée Condéà Chantilly, Paris, 2005, p.26.

Lot 89. Pendule à musique d'époque George III, signature de Thomas Best, attribuée à James Cox, Londres, troisème quart du XVIIIe siècle. Estimate EUR 200,000 - EUR 300,000 (USD 212,152 - USD 318,229). Price realised EUR 290,500 (USD 308,152) © Christie’s Images Limited 2017.

En bronze ciselé et doré, plaques d'agate rubanée et cailloux du Rhin, à décor de feuillages, de fleurs, d'agrafes, de piastres et de mascarons, le cadran émaillé blanc porté par un taureau entouré de deux personnages chinois, reposant sur une boîte centrée d'une rosace supportée par quatre dragons enserrant une sphère, posé sur une caisse contenant un mécanisme musical soutenue par quatre éléphants, le mouvement signé"Tho Best / LONDONt / 137" et numéroté P 20 1. Hauteur: 39,5 cm. (15 ½ in.) ; Largeur: 21 cm. (8 ¼ in.) ; Profondeur: 18 cm. (7 in.)

Provenance: Ancienne collection Boni de Castellane et Anna Gould, Palais Rose, Paris.

Inventaire: Mes Laurin et Ader, Etat descriptif et estimatif de meubles, sièges, objets d’art (…) garnissant le Palais Rose, Paris, vers 1961: « n. 330 Pendule travail anglais du XVIIIe siècle en bronze doré et en agate, elle contient une boîte à musique décor chinois et d'éléphants prisée 4,000 francs.

Note: Cette spectaculaire pendule est très certainement l’oeuvre de James Cox, un des plus brillants horlogers londoniens du XVIIIe siècle. Elle illustre plusieurs tendances et éléments majeurs de l’histoire de l’horlogerie, tant techniques (en associant musique et mécanismes d’automate) qu’historiques (en illustrant les relations britannico-chinoises au XVIIIe siècle).

James Cox
Le XVIIIe siècle fut sans nul doute un âge d’or pour la fabrication des horloges mécaniques, ancêtres des futurs automates. Répandus dans toute l’Europe ces mécanismes, alors parfaitement maîtrisés des artisans, devinrent très rapidement de véritables chefs-d’oeuvre d’horlogerie. Nous retrouvons en Angleterre, mais également aux Pays-Bas ou en Flandres, des pendules représentant très minutieusement de petites scènes traitées avec soin et toujours de manière rafinée et élégante.
Dans la seconde moitié du XVIIIe siècle le milieu de l’horlogerie anglaise sera marqué par une fgure emblématique : James Cox (1723-1788).
Ce célèbre horloger connu un immense succès non seulement en Angleterre mais aussi par-delà les frontière, conquérant des places fortes de l’Extrême- Orient.
En 1757 il est mentionné pour la première fois comme exerçant au 103 Shoe Lane Fleet Street. Développant une véritable industrie internationale il sut s’entourer des meilleurs artisans parmi lesquels se trouvaient des bijoutiers, des joailliers, des sertisseurs, des émailleurs ainsi que des peintres sur émail. De 1760 à 1770 il connut les années les plus prolifques de sa carrière. Son esprit entrepreneurial le ft même investir en 1769 dans la Manufacture de Porcelaine de Chelsea qu’il racheta à Nicholas Sprimont et qu’il revendit l’année suivante à Wiliam Duesbury. C’est dans la tradition des cabinets de curiosités, très en vogue à cette époque, que certaines de ses plus belles oeuvres furent exposées, notamment entre 1772 et 1775, dans son musée de Spring Gardens où le public pouvait alors admirer sa production en cours. En 1773 bien que le musée attirait encore les foules, Cox endetté de 220 000 £ demanda la permission au roi George III de vendre ses pièces à la « Public Lottery ». C’est ainsi que le 1er mai 1775, jour de la loterie, ses oeuvres furent fnalement vendues, non pas au marché asiatique comme Cox s’y attendait mais à un européen admirateur de ses inventions. Le musée ferma alors ses portes en 1775. Après cette date Cox semble disparaitre pendant quelques années. C’est en 1783 qu’il fera parler de lui une dernière fois. Artisan tourné vers le monde, James Cox également très proche de Jacquet-Droz et Leschot, fameux horloger helvétiques, créa un véritable engouement sur le marché asiatique féru de sa production la plus précieuse. Cette année en efet, la compagnie de Jaquet-Droz et Leschot développa une nouvelle branche à Londres où un accord sera signé avec James Coxen tant que sous-traitant. Les archives de Jaquet-Droz démontreront que de 1783 à 1796 un grand nombre de mécanismes alors crées à Genève seront exportéà Canton dans la boutique de Cox, une initiative qui avait été prise par son fls John Henry Cox parti en 1781 afn de s’établir comme marchand.

La Chine : un territoire conquis
Les arts décoratifs chinois furent fortement infuencés par le mécénat impérial de la dynastie de l’empereur Qian Long (1735-1796). Grand collectionneur et amateur d’art chinois mais également européen, ses commandes s’étendirent au-delà des frontières orientales. L’horlogerie occidentale, introduite depuis 1601 à la cour de Chine, mêlait connaissances techniques des mécanismes européens à d’extraordinaires décors sinisants. A partir des années 1765, James Cox commença à produire de somptueuses oeuvres aux décors de chinoiseries où l’on pouvait retrouver de délicates figures tels que des éléphants, des pagodes ainsi que des personnages chinois. Véritable témoignage des infuences et des flux qui existaient entre les deux continents la St. James’s Chronicle des 27-29 aout 1722 y mentionna d’ailleurs le refus à la frontière chinoise d’une grande partie des oeuvres signées Cox et fnalement rapatriée à Londres. De plus, le musée de Cox, Spring Gardens près de Charins Cross, publia au cours de ces années un catalogue qui ne recensait pas moins d’une vingtaine d’objets mécaniques, tous originellement prévus pour l’exportation en Chine. Ce sont ces modèles, dont certains furent des présents à l’empereur chinois Qian Long, qui deviendront le symbole de cette capacité d’exportation qu’eut James Cox. Aujourd’hui encore nous pouvons admirer les oeuvres de Cox en Chine où elles sont précieusement conservées dans les collections du musée du Palais de la Cité Interdite de Pékin, tout comme celles d’autres artistes anglais tels que James Newton, James Smith ou Timothy Williamson. Une de ses pièces les plus abouties représente un bouc fastueusement paré de pierres précieuses supportant une caisse très semblable et contemporaine à notre présent lot, elle-même pourvue d’un mécanisme à décor d’éléphants et de fgures chinoises illustrée dans Timepieces in the collection of the Palace Museum, classics of the Forbidden city, Pékin, 2012, fg. 107, p. 180.

Notre présente pendule est absolument caractéristique de l’oeuvre de James Cox. Certains éléments naturalistes tout comme les animaux et encore les personnages ornant la partie haute sont d’ailleurs récurrents dans son oeuvre. Sur un piétement rocaille entre en association diférents animaux exotiques, ainsi qu’une garniture de vases, le tout parfaitement mis en valeur par de fnes et précieuses plaques en agate. Une pendule comportant le même vocabulaire ornemental fut présentée et proposée à l’Exceptional sale, Christie’s, Londres 4 juillet 2013, lot 27. De plus, l'horloge de Cox la plus élaborée dans sa conception qui reft surface ces dernières années sur le marché est sans nul doute la Westminster Swan Clock passée en vente Christie’s, Londres, 7 juin 2007, lot 125, anciennement propriété du duc de Westminster. Ce modèle de base très reconnaissable est régulièrement utilisé par James Cox. Nous pouvons notamment l’admirer sur celle conservée aujourd’hui au Victoria and Albert Museum (inv. Gilbert-35 :1 to 13-2008) provenant de la collection Rosalinde et Arthur Gilbert. Ian White référence deux pendules de James Cox assez proches de celle de Boni de Castellane (English Clocks for the English Markets. English Clockmakers Trading in China & the Ottoman Empire 1580-1815, Ticehurst, 2012, fg. 7.9 et 7.11).

A George III ormolu, gold, agate and glass-mounted and paste-gem musical and automaton table clock with necessaire, by James Cox, London, circa 1770-1775, Christie's, Londres, vente 7 juin 2007, lot 125 © Christie's Images 2007

A George III ormolu, silver and agate musical time piece table clock, James Cox, London, circa 1766. Christie's, Londres, vente 4 juillet 2013, lot 27. © Christie's Images 2013

Art Déco works by Cartier where among the highlights of the sale, as the Mystery Clock achieved €686,500 against a presale estimate of €150,000-200,000 (lot 18) and the ‘Jardin Japonais’ desk set achieved €1.118.500 (lot 19), a new record for an object by Cartier sold at auction.  

Lot 18. Pendule mystérieuse Art Déco cristal de roche, émail, onyx, turquoises et diamants, par Cartier. Estimate EUR 150,000 - EUR 250,000 (USD 159,199 - USD 265,332).  Price realised €686,500 (729.256.76 USD). © Christes Images Ltd 2017.

(Cf. my post Pendule mystérieuse Art Déco cristal de roche, émail, onyx, turquoises et diamants, par Cartier)

Lot 19. Nécessaire de bureau Art Déco "Jardin japonais", par Cartier. Estimate EUR 1,000,000 - EUR 1,500,000 (USD 1,061,329 - USD 1,591,993). Price realised €1.118.500 (1.188.164.32 USD). © Christes Images Ltd 2017.

(Cf. my post: Nécessaire de bureau Art Déco "Jardin japonais", par Cartier) 

Finally, leading the sale was the magnificent view of the Piazza San Marco, with the basilica and the campanile by Francesco Guardi (lot 46), for which determined bidding resulted in a total of €6,738,500 / £5,829,476 / $7,158,309, making it the highest price achieved by far for an old master painting sold at auction in France over the past two decades.

The top price of the evening was for Peter Doig’s spellbinding snow scene Cobourg 3 + 1 More, which saw determined bidding in the saleroom and on the phone and sold for £12,709,000 / $15,530,398 / €14,640,768. © Christie’s Images Limited 2017.

LONDON.- The Post-War and Contemporary Art Evening Auction continued the confidence that launched the season, totalling £96,384,000 / $117,781,248 / € 111,034,368, a 65% increase on last February’s equivalent total, with strong sell-through rates of 95% by lot and 98% by value. The top price of the evening was for Peter Doig’s spellbinding snow scene Cobourg 3 + 1 More, which saw determined bidding in the saleroom and on the phone and sold for £12,709,000 / $15,530,398 / €14,640,768. Another highlight Mark Rothko’s No. 1 (1949), realised a price of £10,693,000 / $13,066,846 / €12,318,336 demonstrating that American artists were a particular draw for collectors. This was echoed with Jean-Michel Basquiat’s Self Portrait, from the collection of U2’s Adam Clayton, selling for £2,225,000 / $2,718,950 / €2,563,200, and Basquiat’s Alpha Particles (£3,973,000 / $4,855,006 / €4,576,896, both emphasising international demand for the artist ahead of his first UK retrospective at the Barbican later this year. The appeal of contemporary European masters was demonstrated by Jean Dubuffet’s painting Être et paraître (To Be and to Seem), achieving £10,021,000 / $12,245,662 / €11,544,192, while his work on paper Deux Arabes gesticulant (Two gesticulating Arabs) set a world record at auction for the medium of £1,109,000 / $1,353,198 / €1,277,568. The total to date for 20th Century at Christie’s is £258,313,636 / £318,704,602 / £300,478,142. 

Peter Doig, Cobourg 3 + 1 More, 1994. Oil on canvas. 78½ x 98⅜ in (200 x 250 cm). Sold for £12,709,000 in the Post War and Contemporary Art Evening Sale on 7 March at Christie’s London © Christie’s Images Limited 2017.

Mark Rothko (1903-1970), No. 1 (1949), signed and dated ‘MARK ROTHKO 1949’ (on the reverse), oil on canvas, 78¼ x 38¾in. (198.8 x 98.4cm.) Painted in 1949. Price realised GBP 10,693,000 (USD 13,066,846) © Christie’s Images Limited 2017.

"The exceptional sell-through rates of 95% by lot and 98% by value demonstrate that Christie’s is able to anticipate and meet the demands of the market today. The prices achieved for American artists demonstrate that they are a significant force and London is an international platform, with top prices achieved for Carl Andre, Jean-Michel Basquiat, Alexander Calder, Robert Rauschenberg, Mark Rothko and Andy Warhol. Jean Dubuffet was another major highlight selling above estimate. The evening opened with record prices at auction for Wolfgang Tillmans, currently the subject of a celebrated retrospective at Tate Modern, quickly followed by records for Cecily Brown, Njideka Akunyili Crosby, Henry Taylor, Albert Oehlen, Carol Rama and Günther Uecker.” --Edmond Francey, Head of Department, Post-War and Contemporary Art, London.

World auction records were set for seven artists including Njideka Akunyili Crosby, whose painting The Beautyful Ones achieved £2,517,000 / $3,075,774 / €2,899,584, over four times its high estimate of £600,000 / $750,000 / €700,000, Albert Oehlen’s Selbstporträt mit Palette (Self-portrait with Palette) which sold for £2,965,000 / $3,623,230 / €3,415,680, Cecily Brown’s triptych The Sick Leaves (£1,805,000 / $2,205,710 / €2,079,360), Günther Uecker’s Spirale Iand Spirale II (£2,629,000 / $3,212,638 / €3,028,608), Carol Rama’s Bricolage (£185,000 / $226,070 / €213,120), Henry Taylor’s Terri Philips (£149,000 / $182,078 / € 171,648). 

The evening opened with a fast pace that set the tone for the rest of the auction, Wolfgang Tillman’s groundbreaking Freischwimmer 186, which sold for more than double its estimate to realise £269,000 / $328,718 / €309,888, a world record price at auction for the artist. Another highlight was the joint record for Joan Miró and Josep Llorens Artigas’s Vase, which achieved over five times its low estimate at £785,000 / $959,270 / €904,320. Additional highlights from the evening included Thomas Schütte’s Stahlfrau No. 6 (Steel Woman, No. 6) sold for £2,629,000 / $3,212,638 / €3,028,608 and Neo Rauch’s record for a work on paper (£353,000 / $431,366 / €406,656).

Wolfgang Tillmans (B. 1968), Freischwimmer 186, signed and numbered 'Wolfgang Tillmans 1/1+1' (on a label affixed to the reverse), c-print in artist's frame, image: 66 7/8 x 84 1/8in. (170.6 x 213.6cm.), overall: 71 3/8 x 88 1/8in.(181 x 223.8cm.) Executed in 2011, this work is number from an edition of one plus one artist's proof. Price realised GBP 269,000 (USD 328,718). World record price at auction for the artist © Christie’s Images Limited 2017.

Joan Miro (1893-1983) and Josep Llorens Artigas (1892-1980), Vase, partially painted and glazed earthenware vase, height: 13½in. (34.6cm.) Executed in 1941-1944, this vase is unique. Price realised GBP 785,000 (USD 959,270) © Christie’s Images Limited 2017.

Thomas Schütte (B. 1954), Stahlfrau No. 6 (Steel Woman, No. 6) , stamped and dated 'SCHUTTE 2003' (lower left of the figure), steel, 65 x 98 3/8 x 60 5/8in. (165 x 250 x 154cm.) Executed in 2003. Price realised GBP 2,629,000 (USD 3,212,638) © Christie’s Images Limited 2017.

Neo Rauch (b. 1960), Nerv, signed, titled and dated 'NERV RAUCH 01' (lower right), oil on paper, 97 5/8 x 78in. (248 x 198cm.) Executed in 2001. Price realised GBP 353,000 (USD 431,366) © Christie’s Images Limited 2017.

Lot 13. A rare wucai'lotus scroll' tripod censer and cover, Wanli marks and period (1573-1620). Estimate 40,000 — 60,000 USD. Photo Sotheby's.

formed of three sections, the censer body of low cylindrical form supported on three ruyi-form feet below a flanged rim, vividly painted around the exterior with foliate lotus scrolls with blossoms in blue, red and white, between lotus sprays on the feet, and a blue-ground classic scroll at the rim, the interior fitted with a dish-shaped porcelain liner decorated with fruiting and flowering branches of peach enclosed in lobed panels against a blue lattice ground, inscribed with the six-character mark, further surmounted by a domed reticulated cover with blue and red diapers within a border of detached classic scroll segments and a composite floral scroll around the sides, all divided by line borders, the base partially glazed and inscribed in a countersunk medallion with the second six-character mark within double circles (3). Diameter 8 5/8  in., 21.8 cm 

Provenance: Collection of Emil Hultmark (1872-1943), Stockholm, Sweden. 
Sotheby's Hong Kong, 13th November 1990, lot 148. 
Christie's New York, 21st March 2002, lot 173. 

Bibliographie: Leopold Reideister, Ming-Porzellane ind schwedischen Sammlungen, Berlin, Leipzig, 1935, pl. 46(c). 

Lot 14. An extremely rare blue and white ewer, Ming dynasty, early 16th century. Estimate 60,000 — 80,000 USD. Photo Sotheby's.

the globular body rising from a spreading foot to a waisted neck with a garlic-head mouth and upright mouthrim, the serpentine spout attached to the neck by a S-scroll strut opposite a tall looped handle, the body painted to one side with a cruciform atop a pyramidal base with three spear-like projections issuing from the cross, the principal motif executed in a checkerboard pattern and surrounded by scrolling pomegranates, on the reverse a winged figure squatting with arms raised within a sun-shaped medallion above a blue dot flanked by scrolling pomegranate, the neck with bands of pomegranate, lotus, and ruyi petals, the spout with flower scroll flanked by two pairs of flame scrolls, the handle and foot each with a cloud scroll between two lines, barbed cartouches encircling the bases of the spout and handle, a double-lozenge with flowing ribbons below the spout, a ruyi head tied with a ribbon below the handle, the foot ring unglazed. Height 6 3/8  in., 16.2 cm

Provenance: Sotheby's Hong Kong, 21st - 22nd May 1979, lot 54.

Note: The principal decoration on the body of the ewer is highly enigmatic and no other example of Chinese porcelain bearing this iconography appears to be recorded.

The cruciform mounted on a stepped base and painted with a square pattern is seemingly unique as both a motif and as a decorative strategy on ceramics. The pedestaled cross entered the area around Western Tibet in the 8th and 9th centuries via Nestorian Christians, as testified by textual records and images of the crosses carved into stone. In the early 20th century, the Tibetologist August Hermann Francke recorded images of these engraved Nestorian crosses in ‘Felseninschriften in Ladakh,’ Sitzungsberichte der Preussischen Akademie der Wissenschaften, Philosophisch-Historische Klasse, 1925, p. 371, pl. 2 (fig. 1). Some of the Western Tibetan Nestorian crosses feature the cross-and-pedestal with plant-like auxiliary lines or birds. In other words, they contain all of the elements seen on the ewer. The combination of cruciform and winged forms (both as angels and as birds) also appears on Nestorian stone stele of the Yuan dynasty, and on Yuan period small bronze pendants, which may have served as seals, clan markers, or personal adornments. A bronze pendant in the collection of the Hong Kong University Art Museum, for instance, takes the shape of a cross with diagonal lines connecting the roundels at each of its termini, its central roundel has a Buddhist swastika, and its upper roundel has a tree-of-life image. Images of this and related pendants are featured in Charlotte Chang, 'Nestorian Crosses of the Yuan Dynasty,' Asian Art Newspaper, 11 May 2016. The 'torma meeto' ('small god(dess)') pattern in Bhutanese weaving is similarly structured as a stepped pedestal supporting a cross topped with a tree-of-life, as illustrated in David K. Barker, Designs of Bhutan, Bangkok, 1985, p. 9, pl. 7 (fig. 2).

fig. 1. A Nestorian cross carved in stone at Domkhar in Lower Ladakh (near Western Tibet), as drawn by A. H. Francke 

fig. 2. An illustration of the Bhutanese ‘torma meeto’ (‘small god(dess)’) weaving pattern  

An alternative inspiration for the cruciform on the ewer may have been the Tibet Buddhist crossed-vajra (also known as the double-vajra), which symbolizes absolute stability in the universe. Many iterations of the crossed-vajra circulated in China and Tibet in the Ming dynasty. For example, it is represented with scrolling extensions issuing from its arms on a 16th century silver ewer from Eastern Tibet in the collection of the Newark Museum that is published in Valrae Reynolds, From the Sacred Realm: Treasures of Tibetan Art from the Newark Museum, New York, 1999, pl. 80.  The crossed-vajra also appears on blue and white wares, such as the Chenghua period dish sold in our Hong Kong rooms, 30th October 2002, lot 278. Collectively, this evidence demonstrates that the form of a stepped pedestal surmounted by a cross issuing supplementary lines had precedents in the Sino-Himalayan artistic vocabulary leading up to the Ming dynasty when the ewer was created.

The squatting figure in the radiating medallion bears a strong resemblance to images of Garuda, the Hindu and Tibetan Buddhist King of the Birds. In Indian and Himalayan traditions, Garuda is depicted with wings, a beak, human arms, and either human or eagle-like legs. Myths identify him as the sworn enemy of snakes, and he therefore serves an apotropaic function. Garuda is also a guardian of wealth and treasures, and is associated with the sun and fire. The tomb of Prince Zhuang of Liang (d. 1441) at Zhongxiang (Hubei) contained a gold plaque bearing an image of Garuda that is strikingly similar to that on the ewer, with the King of Birds squatting atop an interwoven network of snakes within a medallion, included in Fan Jeremy Zhang, Royal Taste: The Art of Princely Courts in Fifteenth-century China, New York, 2015, cat. no. 66 (fig. 3). At the same time, Garuda featured prominently in sculptural, painted, and textile arts of the Himalayas. Any of these might have been transmitted to Jingdezhen for use as a visual source for the figure represented on the present ewer.

fig. 3. A gold plaque of Garuda from the tomb of Prince Zhuang of Liang (d. 1441)© Hubei Provincial Museum

A painted thangka from the latter half of the 13th century shows winged Garudas on either side of a crossed-vajra on a flat pedestal, as illustrated in Steven M. Kossak and Jane Casey Singer, Sacred Visions: Early Paintings from Central Tibet, New York, 1998, cat. no. 25. Although the thangka pre-dates the ewer by three centuries, it is possible that variants of this iconographical pairing continued into the Ming period and were transmitted to ceramic artisans at Jingdezhen.

The square pattern of the cruciform-and-pedestal motif may have been borrowed from textiles. The Bhutanese 'torma meeto' pattern is necessarily composed of small blocks due to the interweaving of threads in its construction. Additionally, there is evidence that Tibetans of the Ming dynasty used quilts of square patchwork and that contemporaneous Chinese artisans wove checkered polychrome silks that incorporated animal and auspicious motifs within the squares, as shown in Dieter Kuhn, ed., Chinese Silks, New Haven, 2012, pl. 8.36. Whether woven or quilted, Himalayan textiles could have provided the formal inspiration for the checkerboard pattern found on the ewer. These textiles could have also supplied the principal imagery applied to the ewer.

The form of the ewer identifies it as a product of the Jingdezhen kilns in the early 16th century. A slightly taller ewer of the same shape bearing an apocryphal four-character Xuande reign mark in the collection of the Gardiner Museum of Ceramic Art, Toronto is illustrated in Patricia F. Ferguson, Cobalt Treasures: The Robert Murray Bell and Ann Walker Bell Collection of Chinese Blue and White Porcelain, Toronto, 2003, cat. no. 47.  Another, also with an apocryphal Xuande mark, in the collection of the Ottema Kingma Foundation, the Netherlands is published in Eva Ströber, Ming Porcelain for a Globalized Trade, Stuttgart, 2013, cat. no. 54. A third example with this design and mark was sold in our London rooms, 13th/14thNovember 1972, lot 382. The aforementioned Eastern Tibetan silver ewer of the 16th century also takes this form. 

Sotheby's. Ming: The Intervention of Imperial Taste, New York, 14 mars 2017, 10:00 AM 

Lot 65.6 A blue and white 'phoenix' jar, Jiajing mark and period (1522-1566). Estimate 8,000 — 12,000 USD. Photo Sotheby's.

of globular form, the rounded sides rising from a recessed base to a short straight neck, brightly painted around the body in inky cobalt tones with a pair of soaring phoenix, their elaborate tails fanning across the cloud-filled sky, between a row of upright lappets skirting the foot and pendent ruyi collaring the shoulder, a keyfret band encircling the neck, the base with a six-character mark within double circles in underglaze blue. Height 4 3/4  in., 12.1 cm

Sotheby's. Important Chinese Art, New York, 14 Mar 2017, 10:30 AM