Lot 2. Récipient, Vietnam, Culture de Gò Mun, 1100 BCE – 500 BCE. Estimation : 100 € / 150 €. Photo Cornette de Saint-Cyr
Terre cuite, H. H. 16 cm. A décor peigné et incisé.
Arts d'Asie - Art Tribal - Documentation chez Cornette de Saint Cyr Paris, 75008 Paris, le 24 Mars 2017 à 14h00. Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13. Consultant pour le Vietnam : Monsieur Philippe Truong. Tel. : +33 6 31 34 40 59
Julian Schnabel, Eddie Stern (Shiva), 2008. Technique mixte, 160 x 119 cm, 63 x 46 7/8 in. © Julian Schnabel.
PARIS - Après avoir exposé Julian Schnabel en 1980 puis en 1983 et 1995 à Paris, la Galerie Templon présentera au printemps 2017 une série inédite en France du peintre américain, Shiva Paintings.
Autour de la figure du dieu hindou Shiva, Julian Schnabel développe une conversation entre la culture occidentale et les traditions de l’Orient. En appliquant ses mots, gestes et formes abstraites, à l’huile et à la résine, sur des images préexistantes de Shiva imprimées sur polyester, Julian Schnabel se confronte à un "palimpseste de la représentation" en intervenant a posteriori sur une imagerie déjà créée et connue.
Placéà l’arrière plan, la peinture photographiée de Shiva semble pourtant remonter comme un sujet de premier plan, par la force des interventions de l’artiste : à l’image du Dieu, à la fois dissimulateur et révélateur, la peinture qui le recouvre agit comme une force de révélation. Julian Schnabel se rapproche de la vision hindouiste de la destruction ayant pour but la création d’un monde nouveau.
Dans un jeu d’hybridations techniques et de synthèse entre abstraction moderne et tradition orientale, Julian Schnabel soulève la question du renouveau de la culture occidentale. Et sous-entend que "pour que la peinture l’emporte", le peintre a besoin de tout : de l’ancestral et du moderne, de l’Orient et de l’Occident.
Julian Schnabel, Untitled (BEZ), 2011. Technique mixte, 160 x 109 cm, 63 x 42 7/8 in. © Julian Schnabel.
Néà New York en 1951, Julian Schnabel vit entre New York et Montauk, Long Island, aux Etats-Unis. Peintre, sculpteur et réalisateur, il a constitué une œuvre en constante évolution. Il se fait connaître dès la fin des années 1970 avec des peintures réalisées à partir de débris de vaisselle. Aux côtés de Jean-Michel Basquiat, Eric Fischl, David Salle, il participe au mouvement néo-expressionniste qui prône le retour à une figuration alliant violence et émotion. Adepte des formats monumentaux, Julian Schnabel a exploré de très nombreux styles, matériaux et techniques (plâtre, assiettes, bâches de camion, voiles, portes). En 1996, il réalise son premier film, Basquiat. Suivront Avant la nuit (2000), Le Scaphandre et le Papillon (2007) et Miral (2010).
Aujourd’hui, l’influence de son travail sur une nouvelle génération d’artistes américains est soulignée, et son parcours fait l’objet d’un réexamen critique.
Julian Schnabel a eu sa première exposition française à Paris à la Galerie Templon en 1980. Il a depuis largement exposéà travers le monde, notamment au Stedelijk Museum (Amsterdam, 1982), Tate Gallery (Londres, 1982), Kunsthalle Düsseldorf (1987), Centre Pompidou (Paris, 1987), Whitney Museum of Modern Art (NYC, 1987), San Francisco Museum of Art (1987), Palais des Beaux-Arts (Bruxelles, 1989), Museo Reina Sofia (Madrid, 2004), Museo Correr (Venise, 2011), Museu de Arte de Sao Paulo (2014), Aspen Art Museum (2016).
Ses œuvres font partie des plus grandes collections internationales dont celles du MOMA (NYC), Whitney Museum of American Art, Met (NYC), Moca (LA), Tate (Londres), Centre Pompidou (Paris).
Julian Schnabel, Untitled (Chinese), 2011. Technique mixte, 229 x 203 cm, 90 1/8 x 79 7/8 in © Julian Schnabel.
PARIS.- Following on from exhibitions of Julian Schnabel’s work in 1980, 1983 and 1995 in Paris, in spring 2017 Galerie Templon will be presenting a series of work by the American painter previously unseen in France: Shiva Paintings.
Julian Schnabel uses the figure of the Hindu god, Shiva, to build a dialogue between Western culture and Eastern traditions. By applying his words, gestures and abstract forms in oil and resin to pre-existing images of Shiva printed on polyester, Julian Schnabel is embarking on a ‘representational palimpsest'1 with an a posteriori modification of existing and well-known imagery.
The photographed painting of Shiva is placed in the background, yet seems to emerge as a subject in the foreground thanks to the powerful effect of the artist’s actions: in the image of the god, both dissembling and enlightening, the painting that covers him serves as a force for revelation. Julian Schnabel adopts an approach similar to the Hindu vision of destruction as a principle serving to create a new world.
In an interplay of hybridisation techniques and synthesis between modern abstraction and Eastern tradition, Julian Schnabel raises the question of the revitalization of Western culture. And infers that 'in order for painting to prevail’2, the artist needs to draw on every source: from the ancestral to the modern, from both the East and the West.
Born in New York in 1951, Julian Schnabel divides his time between New York and Montauk, Long Island, in the USA. His work as a painter, sculptor and director is constantly evolving. He first gained recognition in the late 1970s with his broken crockery paintings. Alongside JM Basquiat, Eric Fischl and Davis Salle, he was a member of the neo-expressionist movement which advocated a return to figurative art combining violence and emotion. A master of monumental formats, Julian Schnabel has explored a vast array of styles, materials and techniques (plaster, plates, lorry tarpaulins, sails and doors). He directed his first film in 1996, Basquiat, followed by Before Night Falls (2000), The Diving Bell and the Butterfly (2007) and Miral (2010).
The influence his work has on a new generation of American artists is increasingly evident, and his artistic journey is the subject of a critical re-examination.
Julian Schnabel first exhibited his work in France at Galerie Templon in Paris in 1980. His work has been exhibited throughout the world, including at the Stedelijk Museum (Amsterdam, 1982), Tate Gallery (London, 1982), Kunsthalle Düsseldorf (1987), Centre Pompidou (Paris, 1987), Whitney Museum of Modern Art (NYC, 1987), San Francisco Museum of Art (1987), Palais des Beaux-Arts (Brussels,1989), Museo Reina Sofia (Madrid, 2004), Museo Correr (Venice, 2011), Museu de Arte de Sao Paulo (2014) and Aspen Art Museum (2016).
His work also features in the most prestigious international collections, including at the MOMA (NYC), Whitney Museum of American Art, Met (NYC), Moca (LA), Tate (London) and Mnam-Centre Pompidou (Paris).
[1] Donatien Grau, Julian Schnabel, 2014, Guy Pieters Gallery
[2] Idem
Julian Schnabel, Untitled (BEZ), 2008. Technique mixte, 208 x 149 cm, 81 7/8 x 58 5/8 in. © Julian Schnabel.
Lot 4. Boucle de ceinture, Vietnam, Culture de Đông Sơn, 500 BCE – 100 BCE. Estimation : 300 € / 400 €. Photo Cornette de Saint-Cyr
Bronze à patine archéologique, L. 12 cm - Rare modèle en forme d’oiseaux.
Arts d'Asie - Art Tribal - Documentation chez Cornette de Saint Cyr Paris, 75008 Paris, le 24 Mars 2017 à 14h00. Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13. Consultant pour le Vietnam : Monsieur Philippe Truong. Tel. : +33 6 31 34 40 59
Lot 3. Rare bassin, Vietnam, culture de Đông Sơn, 500 BCE – 100 BCE. Estimation : 300 € / 400 €. Photo Cornette de Saint-Cyr
Bronze à patine archéologique, D. 24 cm. Rare bassin en bronze de la culture de Đông Sơn avec un décor de cercles pointés reliés par des tangentes et motif « dent de loup ».
Arts d'Asie - Art Tribal - Documentation chez Cornette de Saint Cyr Paris, 75008 Paris, le 24 Mars 2017 à 14h00. Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13. Consultant pour le Vietnam : Monsieur Philippe Truong. Tel. : +33 6 31 34 40 59
Bonfils. Sfinx en piramides van Gizeh / Sphinx and Pyramids of Giza, ca. 1870 - ca. 1898. Rijksmuseum, Amsterdam, RP-F-F00992-A
AMSTERDAM.- This spring, Huis Marseille will host a major exhibition about 19th century photography in Egypt. Join us for a trip along the Nile in the footsteps of the many travellers and photographers who rediscovered the country in the 19th century. The exhibition consists entirely of objects from Dutch collections and offers a diverse portrayal of both the country and photography. From the lively streets and monumental mosques of Cairo to the impressive monuments in faroff Nubia, long before they were ‘evacuated’ by UNESCO during the building of the Aswan dam (1958-1970). From the serene early photos taken by Maxime Du Camp during his trip through the Orient with Gustave Flaubert, to the spontaneous, unembellished amateur photos that Jan Herman Insinger took during his travels in ‘the land of the Nile cataracts’, in what is now the far south of Egypt and northern Sudan.
Antonio Beato (1834-1906), Standbeeld van Ramses II in Memphis, Egypte / Statue of Ramses II at Memphis, Egypt, ca. 1880-1890. Rijksmuseum, Amsterdam, RP-F-1197-27-56
Unprecedented precision
Egypt has a unique place in the history of photography. As soon as the invention of photography hit the world headlines in 1839, photographers began travelling to Egypt. The new medium promised to produce instant copies of the ancient reliefs of Thebes, Memphis and Karnak with unprecedented precision, whereas artists had to labour for years to draw them. In 1850 the first photos of Egypt were published in Europe and over the following fifty years at least 250 amateur and professional photographers would visit the country for shorter or longer periods. They came from Europe as well as from the numerous far-flung corners of the Ottoman Empire.
Jan Herman Insinger (1854-1918), Gemummificeerd lichaam van een vrouw genaamd Hont-tani, 1886. Rijksmuseum van Oudheden, Leiden.
Egyptomania
After Napoleon’s military invasion of Egypt in 1798 a veritable Egyptomania had gripped Europe, as manifested in science, art, literature and fashion. The emergence of Egyptology as an academic discipline, the rise of tourism and the technological and economic development of photography itself became closely intertwined in the 19th century. This was because photographers were working for different markets simultaneously and therefore served both Egyptologists and tourists alike. Their photos went on sale in Europe too and as a consequence photography not only encouraged tourism, but also foreign investment in Egypt.
Antonio Beato, Tempelcomplex van Luxor gedeeltelijk onder water door hoge waterstand van de Nijl, ca.1890.
Dutch Nile travellers
This exhibition features a variety of Dutch Nile travellers including antiquities collector and amateur photographer Jan Herman Insinger, photographer and photograph collector Richard Polak, artists Willem de Famars Testas and Marius Bauer and the Rotterdam ship-owner Hendrik Veder.
Anoniem / Anonymous Studioportret van een fellah-vrouw, Egypte / Studio portrait of a fellah woman, ca. 1895. Rijksmuseum, Amsterdam, RP-F-1997-28-35.
Special objects on loan
Especially for this exhibition Huis Marseille has been able to borrow a large number of photos, albums and books illustrated with photos from several Dutch collections, including the Rijksmuseum, the Dutch National Museum of Antiquities, the Dutch Museum of Photography, the National Library of the Netherlands, the Dutch Royal Collections, Teylers Museum and the Special Collections of Amsterdam and Leiden Universities.
Henri Béchard, Beklimming van de grote piramide, ca. 1860-1880 (Collectie Rijksmuseum, Amsterdam, inv.no. RP-F-F80372-A);
Francis Frith (1822-1898) De piramiden van Gizeh, Egypte / The Pyramids of Giza, Egypt, 1856-1859. Rijksmuseum, Amsterdam, RP-F-F80272.
Lot 608. A pair of 'Yaozhou' celadon-glazed dishes, Northern Song dynasty (960–1127). Estimate 20,000 — 30,000 USD. Photo: Sotheby's.
each with shallow lobed sides rising from a short foot, freely carved to the interior with a central medallion enclosing a duck swimming amid stylized waves, framed by a band of combed waves, the exterior with abstract floral sprays, all beneath a lustrous olive-green glaze (2). Diameter 6 1/2 in., 16.4 cm
Note: See a closely related dish illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 1, London, 1994, pl. 414, together with a bowl of the same design, pl. 413. Compare also three Yaozhou bowls with the similar design, one in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (I), Hong Kong, 1996, pl. 105, and two illustrated in Jan Wirgin, 'Sung Ceramic Designs', Bulletin of the Museum of Far Eastern Antiquities, no. 42, Stockholm, 1970, pls 8c and 8f.
Sotheby's. Important Chinese Art, New York, 14 Mar 2017, 10:30 AM
Lot 612. A pair of 'Yaozhou' persimon-glazed dishes, Northern Song dynasty (960–1127). Estimate 20,000 — 30,000 USD. Photo: Sotheby's.
each of conical form with the gently rounded sides rising from a short splayed foot to an everted rim, covered overall with a metallic russet glaze, stopping irregularly at the foot to reveal the buff-colored stoneware body (2). Diameter 5 7/8 in., 15 cm
Note: Persimmon-glazed wares in the Song dynasty (960-1279) were produced at several kilns in North China; the most famous being those of the Ding and Yaozhou kilns in Hebei and Shaanxi provinces, respectively. Compare a Yaozhou persimmon-glazed bowl sold in our New York rooms, 30th March 2006, lot 39; and another, from the Kwan Collection, illustrated in Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 86, and later sold in our London rooms, 12th November 2003, lot 43.
Sotheby's. Important Chinese Art, New York, 14 Mar 2017, 10:30 AM
Lot 621. A ''Yaozhou' persimon-glazed cupstand, Northern Song- Jin Dynasty. Estimate 25,000 — 35,000 USD. Photo: Sotheby's.
finely potted in the form of a small cup with rounded sides and inverted rim, resting in the center of a circular dish, all supported on a splayed hollow foot, covered overall save for the foot ring with a russet-brown glaze. Width 4 5/8 in., 11.7 cm
Sotheby's. Important Chinese Art, New York, 14 Mar 2017, 10:30 AM
Lot 642. A carved 'Yaozhou' celadon-glazed bowl, Northern Song dynasty (960–1127). Estimate 2,500 — 3,500 USD. Photo: Sotheby's.
the conical body flaring from a shallow foot to a slightly everted rim, the interior freely carved and combed with a foliate scroll, the exterior with radiating vertical lines, covered overall with an olive-green glaze pooling to darker tones within the carved recesses. Diameter 7 1/8 in., 18.2 cm
Sotheby's. Important Chinese Art, New York, 14 Mar 2017, 10:30 AM
Lot 644. A carved 'Yaozhou' celadon-glazed bowl, Northern Song-Jin dynasty. Estimate 5,000 — 7,000 USD. Photo: Sotheby's.
the deep conical body rising from a short spreading foot, the interior freely carved with luscious curling leaves dancing around a peony in full bloom all within an incised upper brand, the exterior carved with narrow blade-like leaves rising from the foot to an incised upper band, covered overall in an olive-green glaze. Diameter 5 7/8 in., 14.9 cm
Sotheby's. Important Chinese Art, New York, 14 Mar 2017, 10:30 AM
Verdura. Dogwood Pendant Brooch. Star sapphire, spinel and gold. $78,000 © Verdura 2014
Verdura. Dogwood Earclips. Sapphire, ruby and gold. $72,000 © Verdura 2014
Verdura. Dogwood Earclips. Spinel, diamond and gold. $56,000 © Verdura 2014
Lot 609. A small 'Jun'-type purple-splashed dish, Jin-Yuan Dynasty. Estimate 12,000 — 15,000 USD. Photo: Sotheby's.
the shallow sides rising from a short foot to an upright rim, covered overall with a sky-blue glaze punctuated with pale purple splashes to the interior, the glaze thinning at the rim and falling short of the foot to reveal the yellowish-white stoneware body. Diameter 5 5/8 in., 14.3 cm
Sotheby's. Important Chinese Art, New York, 14 Mar 2017, 10:30 AM
Lot 610. A small 'Jun' purple-splashed cupstand, Jin-Yuan Dynasty. Estimate 10,000 — 15,000 USD. Photo: Sotheby's.
potted in the form of a small cup resting in the center of a circular dish, all supported on a splayed hollow foot, covered overall with a lustrous sky-blue glaze, thinning at the rim and stopping irregularly at the foot to reveal the buff-colored stoneware body. Width 3 1/8 in., 8 cm
Note: Jun cupstands are relatively rare, although a few published examples are known. See one in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (I), Hong Kong, 1996, pl. 223; and another, together with a cup, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 3, pt. II, London, 2006, pl. 1458; and a third, from the Yangdetang collection, sold in these rooms, 17th March 2015, lot 87.
A rare 'Jun' cupstand, Song dynasty from the Yangdetang collection, sold 37,500 USD at Sotheby's New York, 17th March 2015, lot 87. Photo: Sotheby's.
Sotheby's. Important Chinese Art, New York, 14 Mar 2017, 10:30 AM
Lot 639. A purple-splashed 'Jun' dish, Jin dynasty (1115-1234). Estimate 8,000 — 12,000 USD. Photo: Sotheby's.
with a shallow gently curved cavetto rising from a short tapered foot to a flat everted rim, covered overall in a thick sky-blue glaze with a single dark-blue and purple splash to the interior, the glaze thinning to a translucent mushroom-brown at the edges, Japanese wood box (2). Diameter 5 3/4 in., 13.8 cm
Sotheby's. Important Chinese Art, New York, 14 Mar 2017, 10:30 AM
Lot 640. A green 'Jun' saucer dish, Song-Jin dynasty. Estimate 4,000 — 6,000 USD. Photo: Sotheby's.
he shallow rounded sides rising from a short straight foot to an upright rim, the foot encircled by incised concentric lines, covered overall with an olive-green glaze pooling unevenly on the underside, the unglazed foot burnt orange in the firing. Diameter 5 3/4 in., 13.4 cm
Sotheby's. Important Chinese Art, New York, 14 Mar 2017, 10:30 AM
Lot 641. A 'Jun' purple-splashed jar, Jin-Yuan Dynasty. Estimate 4,000 — 6,000 USD. Photo: Sotheby's.
the globular body supported on a short splayed foot, the short wide neck flanked by two loop handles, splashed on both sides with a rich purple on the pale blue glaze draining from the rim to reveal the russet body beneath and stopping irregularly above the foot to reveal the pale buff body. Width 6 5/8 in., 16.8 cm
Provenance: Christie's Hong Kong, 26th April 1999, lot 653.
Sotheby's. Important Chinese Art, New York, 14 Mar 2017, 10:30 AM
Lot 614. A small green 'Jun' tripod censer, Yuan Dynasty (1279–1368). Estimate 5,000 — 7,000 USD. Photo: Sotheby's.
the compressed globular body rising from three short tapered legs to a waisted neck with an everted rim, covered overall with a lustrous olive-green glaze suffused with a fine network of crackles, the feet unglazed to reveal the gray stoneware body. Height 2 1/4 in., 5.7 cm
Sotheby's. Important Chinese Art, New York, 14 Mar 2017, 10:30 AM
Archaic vessel, Gu, Shang dynasty, 1600--1050 BC, Anyang culture, 1300-1050 BC, 12th-11th century BC. Bronze with green patina, malachite encrustation. Height 31 cm. Pictogram inside the foot, X-ray© Gisèle Croës s.a. Arts d'Extrême Orient.
Archaic vessel, Bianhu, Han Dynasty, 206 BC - AD 220. Bronze with green and blue patina, malachite and azurite encrustation. Height 36 cm© Gisèle Croës s.a. Arts d'Extrême Orient.
Wrestling earthenware figures, Tang dynasty, 618-907. Beige earthenware, black and orange pigments. Height 17 cm© Gisèle Croës s.a. Arts d'Extrême Orient.
Set of four armchairs (detail, two of four), Qing dynasty, 1644-1911, early 18th century. Qiangjin lacquer, 110 x 54 cm© Gisèle Croës s.a. Arts d'Extrême Orient.
Provenance: Private collection, Palm Beach; A&J Speelman; Lullin Collection, Switzerland early 1980; private collection, New York
Allegorical portrait of a young man, Qing dynasty, 1644-1912, late 18th century. Oil on copper, 23.5 x 20 cm© Gisèle Croës s.a. Arts d'Extrême Orient.
Provenance: Kevork Essayan and Rita Gulbenkian Collection, inv. no. 88; private collection, France, Val de Loire
Gisèle Croës s.a. Arts d'Extrême Orient. TEFAF Maastricht 2017. Stand 822
Bartolomeo Cavarozzi (Viterbo 1587-1625 Rome), Still Life with quinces, apples, azeroles (hawthorn berries), black grapes, white grapes, figs and pomegranates. Oil on canvas, 87.5 x 117.6 cm. Inscribed to the reverse of the original canvas ‘463’© Colnaghi
Provenance: Wilhelm Itzinger (1835-1888); his sale at Rudolph Lepke, Berlin, 21 April 1903 (as Antonio de Pereda); Benoit Oppenheim (1842-1931) and by descent to his son, Rudolph Oppenheim (1871-1922) and by descent to his daughter, Louise Mary Oppenheim (1896-1982) and Hugo James Hardy (1877-1936); Rudolph Hardy (1923-2016)
Juan Van der Hamen y Léon (1596-Madrid-1631), Still life with basket and fruit. Oil on canvas, a pair, 79 x 99 cm (Each). Signed and dated© Colnaghi
Juan Van der Hamen y Léon (1596-Madrid-1631), Still life with basket and terracotta jars. Oil on canvas, a pair, 79 x 99 cm (Each). Signed and dated© Colnaghi
Colnaghi. TEFAF Maastricht 2017. Stand 306
Verdura. No. 86 Cuff, $34,000 © Verdura
One-of-a-kind 18k yellow gold hinged cocholong cuff set with a round, late 19th century filigree element, consisting of 13 round and oval turquoises, and six European-cut diamonds weighing approximately .67 carats.
