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Christie's New York presents the Sale of Indian and Southeast Asian Art in March

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NEW YORK, NY.- On March 19, Christie’s saleroom will be devoted to the classical works of Indian and Southeast Asian Art. Christie’s will offer an extensive selection of over 200 lots of sculpture, paintings, ritual objects, and works of art from India, Tibet, Nepal and Southeast Asia. Highlights include a Tibetan gilt bronze figure of a bodhisattva (pictured above), a Gandharan bronze figure of Buddha from the 6th/7th century, and a South Indian Chola bronze figure of Vinadhara Dakshinamurti. 

The Tibetan gilt bronze figure of a bodhisattva from the 9th/10th century comes from a private European Collection (estimate on request). Standing nearly four feet tall, this large and resplendent figure of a bodhisattva is one of the most impressive early sculptures in bronze to be seen outside of Tibet. The present work represents a unique moment in stylistic development, evolving from and engaging with the nearby artistic traditions of Northeastern India and Nepal while working with the existing Tibetan style of sculpture. Certain aspects of the work also demonstrate a familiarity with Nepalese sculpture, specifically the treatment of the headdress

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An important and large gilt bronze figure of bodhisattva. Tibet, 9th-10th century, 43 ¼ in. (110 cm.) high. Estimate upon request. Photo: Christie's Images Ltd 2013

Standing with both legs straight, his right hand held to his chest in jnanamudra and his left holding the stem of a lotus, clad in a short dhoti incised with a foliate pattern and secured with a festooned belt with a pendant string of jewels, adorned with various jewelry and the sacred thread, the face with gentle smile, elongated eyes, and gently arching brows flanked by pendulous earlobes supporting heavy earrings and surmounted by a foliate tiara, the hair with neat curls at the front arranged in a tiered chignon topped with a lotiform finial, with locks escaping over the shoulders

Provenance: Private collection, Europe, acquired in London, 9 January 1987

Literature: P. Pal, Himalayas: An Aesthetic Adventure, 2003, p. 169, cat. no. 108
Rossi & Rossi, Gods and Demons of the Himalayas, 2012, p. 44, cat. no. 16

Exhibited: Himalayas: An Aesthetic Adventure, The Art Institute of Chicago, 5 April - 17 August 2003, cat. no. 108
Gods and Demons of the Himalayas, Fine Art Asia, Hong Kong, 4-7 October, 2012; Rossi & Rossi, London, 1-10 November, 2012, cat. no. 16

Notes: This large and resplendent figure of a bodhisattva is one of the most impressive early sculptures in bronze to be seen outside of Tibet. The right hand is raised to the chest with the fingers curled inwards with a short stub remaining that would have supported a ritual implement. Based on the gesture of the hand, it is likely he held a vajra. In 2003 Dr. Pal argued that this figure might represent the deity Vajrasattva (P. Pal, Himalayas: An Aesthetic Adventure, 2003, p. 169, cat. no. 108), noting the precedent for some standing Vajrasattva figures in early Tibetan sculpture. Vajrasattva is usually shown holding the vajra in front of the chest, while ringing the ghanta, the ceremonial bell, with his other hand.
The Vajrasattva identification, however, is tempered by that deity's association with Vajrayana Buddhism, rather than Mahayana. While Vajrayana was introduced to Tibet as early as the 10th century through the work of Rinchen Zangpo and, later, Atisha, it remained for many years in the domain of learned monks. The myriad of secret rituals that formed the basis of early tantric Tibetan Buddhism was far too esoteric for the masses of common worshippers. Instead, the traditions of the earliest form of Buddhism, associated with worship of Shakyamuni Buddha and the sixteen arhats (previously referred to as Hinayana), and Mahayana, with its emphasis on the bodhisattvas, were more dominant systems amongst the Buddhist masses in this period in Tibet. Temples associated with monasteries would have had multiple shrines, with some devoted to "Hinayana," others with Mahayana images, and a third group reserved for Vajrayana practices. The first two types of shrines would have been generally available to all who wished to worship, while the tantric parts of the temple were reserved for the practiced Vajrayana monk or guru. As these practitioners understood the philosophy of Vajrayana beyond the visual level, they would not have needed and therefore were unlikely to have commissioned large images such as the present example. It is more likely that a bodhisattva sculpture of this size and date would have been found in the Mahayana part of a temple.
As Buddhism evolved, schisms within the faith resulted in divergent belief systems; the earlier "Hinayana" form, with its emphasis on the Shakyamuni Buddha and the arhats, was to a certain extent supplanted by Mahayana Buddhism, which placed a greater importance on Amitabha and a core group of bodhisattvas. Enlightened beings whose goal was to help all creatures attainnirvana, bodhisattvas were appropriate figures of worship for the common Buddhist masses. In early Tibetan temples, these figures would have been imposingly large and placed in groups of either three or eight. An important early example of a bodhisattva triad was installed at the Kojarnath temple in Purang in the Kingdom of Guge in Western Tibet. Dating from the late 10th or early 11th century, the triad depicted a large figure of Manjushri in silver at center, flanked by comparably sized figures of Avalokiteshvara and Vajrapani - the three bodhisattvas were referred to as "The Three Lords of the World." At this time, Guge was an important Buddhist center and popular pilgrimage destination for Tibetans; its king, Ye shes 'Od, sent out emissaries to India to bring back Buddhist scholars and texts, and Rinchen Zangpo (958-1055), who had studied under Atisha in India, is credited with the Second Diffusion of Buddhism to Tibet. It is likely the early triad at Kojarnath, produced sometime after Rinchen Zangpo's return from India, served as the model for other Mahayana shrines in Tibet. Indeed, a resplendent triad in the Pritzker Collection and included in the 2003 Chicago exhibition is likely based in part on the triad at Kojarnath (see P. Pal, Himalayas: An Aesthetic Adventure, 2003, pp. 136-137, cat. no. 87). While the iconography and religious practice of the Kojarnath triad and others like it are likely models for the present work, stylistically that work and the current example would have been markedly different. The present work represents a unique moment in stylistic development, evolving from and engaging with the nearby artistic traditions of Northeastern India and Nepal while working with the existing Tibetan style of sculpture. In the straight hips, lithe torso, and tall face, there is little evidence of a Kashmiri influence, making it unlikely the work could have originated in Western Tibet. The attention to the jewelry, in particular the sacred thread and the pendant string of jewels between the legs, can be compared with Pala examples of the 9th and 10th centuries. Likewise, the soft modeling of the belly and the associated curvilinear waist of the dhotiis a development of Northeastern Indian sculpture, in contrast to the straight waist of Kashmiri bronzes. The facial features, with the prominently curved nose, almond-shaped eyes, and most strikingly, the treatment of the brows and urna, also refer to Pala stylistic conventions.
Certain aspects of the work also demonstrate a familiarity with the sculpture of Tibet's neighbor, Nepal. The most striking resemblance to Nepalese style is found in the treatment of the headdress. In the present work, the hair is arranged in three domed tiers, faced with foliate medallions and topped with a tall finial in the form of a Nepalese Vajracharya crown (for a 13th century example of a three-tiered crown, see J. Huntington and D. Bangdel, Circle of Bliss: Buddhist Meditational Art, 2004, p. 225, cat. no. 60). Indeed, the Pala style had by the 9th and 10th centuries permeated Nepalese sculptural traditions, and it is possible both the Pala and Nepalese influences found in the present work were established through study of Nepalese sculpture, rather than actual Pala prototypes.
The present example relates to two silver sculptures of Avalokiteshvara and Vajrapani in the Ngor Monastery in Southern Tibet, dated to the 11th century (see U. von Schroeder, Buddhist Sculpture in Tibet, vol. I, pp. 310-311, cat. nos. 106B and 106D). In the image of Avalokiteshvara in particular, the armbands, bracelets, sacred thread, ribbons at the hips, and the pendant string of jewels between the legs are remarkably similar to those in the present example, as is the straight leg posture, long arms, and thin neck. In the figure of Vajrapani, one can detect similarities to the current example in the hand gestures and also in the unusual finial of the chignon. While today housed at Ngor, they were originally installed at Sakya Monastery, an important Buddhist center founded in the 11th century in South-Central Tibet, close to the border with Nepal, and home to the Sakya order of Tibetan Buddhism.

Also among the highlights of the sale is a bronze figure of Shiva Vinadhara Dakshinamurti, one of four types of supreme teachers of ultimate awareness, understanding, and knowledge (estimate: $400,000-600,000). Executed during the Chola period in Southern India, this representation of Vinadhara bears close resemblance to that of Tripuravijaya, the vanquisher of the triple-city of demons, based on the iconographic convergence between the two forms. A consignment of the Dharma Collection, this bronze has an exceptional pedigree, having been exhibited at several notable institutions, including the Art Institute of Chicago, the Cleveland Museum of Art, and the Museum of Fine Arts in Boston. 

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A Bronze Figure Of Shiva Vinadhara Dakshinamurti, South India, Chola period, last quarter 10th century first quarter 11th century, 21 3/8 inches (54.3 cm) high. Estimate: USD400,000-600,000. Photo: Christie's Images Ltd 2013

Sensitively cast and superbly modeled standing with one foot slightly foward on a lotus base over a square plinth, his principle hands poised to play the vina and the upper ones holding the battle-axe and antelope, dressed in a short veshti secured with a belt and adorned with various necklaces and the sacred quadruple thread, the face wearing a benevolent expression with gentle smile and elongated eyes, the tall jatamukuta supporting the skull, serpent, and crescent moon

Provenance: George Bickford Collection, Cleveland, by 1965
The Dharma Collection, Israel, acquired circa 1984

Literature: P. Chandra, et al., Master Bronzes of India, 1965, cat. no. 38
S. Czuma, Indian Art from the George P. Bickford Collection, 1975, cat. no. 16

Exhibited: Master Bronzes of India, The Art Institute of Chicago, 3 September 10 October; The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, 10 October - 19 December 1965; The Cleveland Museum of Art, 19 January - 27 February 1966; Asia House Gallery, New York, 12 October - 11 December 1966, cat. no. 38

Indian Art from the George P. Bickford Collection, The Cleveland Museum of Art, 14 January - 16 February 1975; University Art Museum, University of Texas, Austin, 20 March - 25 April 1975; Krannert Art Museum, University of Illinois, Champaign, 5 October - 9 November 1975; Fogg Art Museum, Harvard University, Boston, 3 February - 7 March 1976; University Gallery, University of Florida, Gainesville, 28 March - 3 May 1976; Phoenix Art Museum, 28 May - 30 July 1976; University Art Museum, University of California, Berkeley, 5 October - 28 November 1976; University of Michigan Museum of Art, Ann Arbor, 2 January - 13 February 1977, cat. no. 16

On loan to the Museum of Fine Arts, Boston, 1985-1998 (loan no. 551-1985)

54958057925016705_t5IU1gbC_cNotes: Shiva Vinadhara Dakshinamurti is one of four types of Dakshinamurtis, or supreme teachers of ultimate awareness, understanding, and knowledge. "Dakshinamurti" literally means "one who faces south," the direction associated with change, transformation, and renewal. In the aspect of Vinadhara, the player of the vina, Shiva expounds on the timeless principles of vocal and instrumental music, which is known to lead to liberation (moksha) without strain. In Indian philosophy music is comparable to yogic practice in that both involve the control of breath, mental absorption, and the ultimate release from all obsessions of the mind.

The representation of Vinadhara bears close resemblance to that of Tripuravijaya, the vanquisher of the triple-city of demons, based on the iconographic convergence between the two forms, especially as depicted during the Chola period. The legend of Tripuravijaya recounts that Shiva at one time granted three cities made of gold, silver, and iron, and situated in the heavens, the air, and on earth, to some powerful demons. Over a period of one thousand years these demon cities became so powerful and wreaked such havoc that the gods, concerned for the safety of the universe, appealed to Shiva for assistance. Shiva raised his bow, and using a snake as his bowstring, he reduced the three cities to ashes with a single flaming arrow. In both Shiva as Vinadhara and as Tripuravijaya, the principle hands are positioned in such a fashion that his left hand could be holding a bow or the neck of the vina, and his right could be holding an arrow or plucking the instrument's strings. His upper hands hold a battleaxe and antelope, as in the present example, or occasionally a trident, and he sometimes bears a skull in addition to the serpent and crown in his jatakamukuta.

The close visual parallel between Tripuravijaya and Vinadhara reveals the god's dual aspects of powerful warrior and beneficent yogi. The subtle divergence in appearance between these two manifestations of Shiva provides continued material for scholarly discussion. In the exhibition catalogue The Sensuous and the Sacred (2002), Vidya Dehejia and R. Nagaswamy re-identify two examples of this iconographic type, one from the Cleveland Museum of Art and the other from the collection of Robert H. Ellsworth (pp. 106-111, cat. nos. 5 and 6), as Shiva Tripuravijaya. Stylistically the present work has much in common with these two published works. The proportions of the body are similar, with broad shoulders, elongated legs, and firm, high buttocks, and the veshti is similarly tied, with a short pleat hanging between the thighs. The jewelry is also similarly designed and placed, including the coiling acanthus-leaf-styled armbands, the quadrupled holy thread, and the heavy anklets that rest atop the feet. Notable are the tassels of his necklaces; one hangs from the present figure's right shoulder towards the front and the other hangs in the middle of the back, terminating in a peepul leaf design. Very similar tassels are seen in the two works mentioned above, as well as in a figure of Bhogeshvari from Pallavesvara (see D. Barrett, Early Cola Bronzes, 1965, fig. 33). All three comparable works are dated between circa 950-1000, hence a similar date seems likely for the present figure.

The proliferation of images of (and resembling) Tripuravijaya may be connected to the expansion and consolidation of the Chola dynasty and the flourishing of its artistic legacy under Queen Sembiyan Mahadevi (active 941-1001) and her son, the great Emperor Rajaraja Chola I (r.985-1014), during the second half of the tenth century. Rajaraja I, for whom Shiva as Tripuravijaya seems to have held a special significance (for a well-researched discussion see G. J. Schwindler, "Speculations of the Theme of Siva as Tripurantaka as it Appears During the Reign of Rajaraja I in the Tanjore Area ca. A.D. 1000," in Ars Orientalis, vol. 17 (1987), pp. 163-178), is known to have attacked three important regions - Kerala, Sri Lanka, and the Pandya domain - in order to break up their control of the western trade and consolidate the region under Chola power. The emperor was a great warrior, but he was also an ardent devotee of Shiva, and he contributed greatly to the Chola's artistic legacy through his sponsorship of the Brihadisvara Temple in Thanjavur. Shiva as Tripuravijaya is prominently featured on the Great Temple's interior and exterior walls, and it is likely that portable representations of Trupiravijaya, Dakshinamurti and other deities similar to the present figure, were included among the processional bronzes that propelled the ruler's great devotion throughout the surrounding city streets. This is an exceptionally well-modeled bronze with extraordinary grace and pedigree.

A magnificent figure of Buddha is one of the largest of its kind, at over one foot in height, belonging to an extremely rare type of bronze cast in the regions of ancient Gandhara and the Swat Valley in the 5th through 7th centuries (estimate: $500,000-700,000). Also contributing to the work’s importance is that it still carries its backplate, a combined nimbus and aureole with radiating spokes with an extremely rare motif of flying geese. As the goose is a traditional Indian symbol for the soul, it represents the notion of reincarnation, and is thus an appropriate visual symbol for the Buddhist pursuit of transformation. 

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A highly important and rare bronze figure of Buddha, Gandhara, 6th-7th century, 14¼ in. (36.2 cm.) high. Estimate $500,000-700,000. Photo: Christie's Images Ltd 2013

Standing with his right hand raised in abhayamudra and the left hanging at his side, dressed in a billowing robe draped over both shoulders, the face with full lips and heavy-lidded eyes with the locks of hair pulled up and tied in a topknot, backed by a combined nimbus and aureole with a band of flying geese, the two at the top with a strand of jewels issuing from their mouths, surrounded by foliate bands, all within a border of radiating spokes

Provenance: Private Collection, Tokyo
Eurasian Art, acquired in 1982
Private collection, Kyoto, 1982-2004
Private collection, New York, 2004-2013

Notes: This magnificent figure of Buddha belongs to an extremely rare type of bronze cast in the regions of ancient Gandhara and the Swat Valley in the 5th through 7th centuries. The figure is one of the largest of its type, and it still carries its backplate, a combined nimbus and aureole with radiating spokes with an extremely rare motif of flying geese. The solidly cast bronze is a masterpiece of the Buddha image, which illustrates the profound marriage of the contemporary Gupta style with the earlier influences of Hellenistic Gandhara.
The ancient region of Gandhara, straddling the Khyber Pass in what is now eastern Afghanistan and western Pakistan, was for centuries an important center of trade and commerce due to its position at the crossroads between India, China, and the Mediterranean world. In the centuries before the beginning of the Common Era, the region came under Hellenistic control after Alexander the Great annexed Gandhara to his expansive empire and later the Gangetic regions of central India during the reign of the great Mauryan emperor Ashoka. Buddhism had been well established during this time, with the Indo-Greek king Menander and Ashoka himself acting as important royal propagators of the faith, but it is not until the time of the Kushans in the early centuries CE, almost simultaneously in Gandhara and Mathura in Central India, that images of the Buddha in anthropomorphic form appear.
Gandhara during the Kushan period was a fervent center of Buddhism, with thousands of monasteries sprawled across the wide riverine plains and tucked away in the more remote valleys north of the Kabul River. The demand for images of the Buddha was great and the vast quantity of works in schist and stucco, and to a lesser degree terracotta and bronze, illustrates the rich artistic tradition of the region. The decline of the Kushans, however, precipitated the invasion of the Huns in the middle of the 5th century, and the peace and splendor of Gandhara was destroyed. Those that survived sought refuge in the remote valleys of Swat and the Hindu Kush, where Buddhism quietly endured until the invasion of Muslim forces in the 10th and 11th centuries.
During the 5th - 7th centuries, the period referred to as Post-Gandhara, the production of large Buddhist works in stone and stucco declined, while the creation of smaller scale images in bronze reached a zenith. This phenomenon must be explained in part by the new conditions of Buddhist worship during this time; except for certain sites such as Bamiyan, the large and wealthy monasteries of the previous era had been replaced by smaller, migratory groups of worshippers. The Chinese pilgrim Xuanzang, who traveled to India in the first half of the 7th century, described the situation in Swat as follows: "There had formerly been 1400 monasteries but many of these were now in ruins, and once there had been 18,000 [Buddhist] Brethren but these had gradually decreased until only a few remained" (U. von Schroeder, Indo-Tibetan Bronzes, 1981, p. 72). Pushed to the margins of society, the Buddhist adherents could no longer afford to commission large and permanently installed works. Images in stucco were extremely fragile, while works in schist were too heavy to transport. Bronze, on the other hand, was durable, and when scaled down to a small size and cast in several parts, could be bundled up and carried from place to place. Despite the reduced size, the present work would no doubt have been an expensive and precious object of veneration.
Stylistically and iconographically, the present work conforms to the related group of bronzes from the region that have variably been dated to the 5th through 7th centuries. Buddha is shown standing with his right hand in abhayamudra, while the left hangs at his side in a gesture that is intended to represent him holding the folds of his sanghati. The sanghati is draped over both shoulders and forms a distinct V-shape at the chest that is found in many of the late Gandharan bronzes. While some of the late Gandharan bronzes display Gupta-style characteristics, such as stylized drapery folds and a fleshy body type, the present work clearly references classical Gandharan sculpture. The folds of the robe fall in asymmetrical naturalistic pleats and reveal a subtle contrapposto stance and the body's lithe form underneath. Similarly, other bronzes from the region depict the hair in tight curls, an Indian convention that is largely adopted in later Swat, Kashmiri, and Himalayan bronzes. The Gandharan manner is to show wavy locks of hair tied in a topknot - while partially stylized in the current work, it nonetheless references the Gandharan convention. Surprisingly, Buddha is depicted in the present example wearing a simple bracelet on his left wrist; upon leaving the palatial life of his upbringing, Gautama Buddha is said to have relinquished all the finery of his previous lifestyle, including his jewelry. In design, the bracelet appears to resemble a hinged armlet, similar to an example at the Metropolitan Museum of Art (see K. Behrendt, The Art of Gandhara in the Metropolitan Museum of Art, 2007, p. 16, cat. no. 11).
The combined nimbus and aureole backplate of the present work is related to the small group of late Gandharan bronzes where the backplate has survived, including two figures at the Metropolitan Museum of Art, but with an unprecedented flourish of details. Art historians have labeled the unusual radiating spokes as a 'pearl-and-oval' pattern - a lozenge that extends from a single bead and terminates in three beads arranged in a triangle. The exact significance of the shape is unclear, although some have suggested the three beads may relate to the triratna, the 'Three Jewels' of Buddhism - the Buddha, the dharma, and the sangha (brotherhood of monks). The form is clearly related to the stucco halos found in niches in the caves of Bamiyan, dated to the late 6th and early 7th centuries, and it is partly through the connection of the two halo types that scholars have dated the corpus of the late Gandhara bronzes. The radiating spokes of the backplate provide a visual dynamism in juxtaposition with the restrained pose of the Buddha and may represent the omnipotence of Buddha's law.
The band of flying geese worked in low relief around the edge of the nimbus and aureole is without precedent in the halos of the late Gandhara bronzes, and it distinguishes the present example as one of the most unusual of the group. The hamsa (goose) is a traditional Indian symbol for the soul, and it represents the notion of reincarnation. The geese are thus an appropriate visual symbol for the Buddhist pursuit of transformation. The hamsa is found in some of the funerary art of Gandhara, including a reliquary in the form of a goose in the British Museum (see W. Zwalf, Gandhara Sculpture in the British Museum, 1985, p. 345, cat. no. 657).
When seen as a repeated motif in a running band, however, the goose motif immediately references the 'Kanishka' casket unearthed at Shah-ji-ki-Dheri in Peshawar, reputedly containing the relics of Kanishka I (see E. Errington and J. Cribb (eds.), Crossroads of Asia, 1992, p. 193, cat. no. 193). While the casket's association with the great monarch has been called into question, it can be said with certainty to have been discovered within the remains of an enormous stupa produced in the Kushan era. The casket depicts images of the Buddha, a Kushan king identified as Kanishka, and several attendant deities, all below a band of flying geese holding wreaths in their mouths. Because the hamsa appears here and elsewhere in a royal context, it has been argued that the Kushan rulers adopted the goose as a royal symbol. While the present work certainly post-dates the Kushan period, it is possible the artist included the band of hamsas as another icon of Buddha's regal status.
The impressive size of the present example coupled with the unusual iconography of the backplate help to further distinguish the bronze amongst an already rare group. Such works would have been carried by itinerant monks as well as traveling merchants across the trade routes of Asia, and the influence of the late Gandhara style can be detected as far away as China, Korea, and Japan.

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A highly important and rare silver-inlaid bronze figure of the youthful Buddha, Gandhara or Kashmir, circa 7th century, 19¼ in. (48.9 cm.) high. Estimate $500,000-700,000. Photo: Christie's Images Ltd 2013

Standing with his left arm raised in a rare mudra, wearing a short dhoti with the pleated tail gently incised, the youthful body sensitively modeled with soft belly, powerful thighs, and fleshy neck, the face with elongated silver-inlaid eyes in a gentle and direct gaze surmounted by a highushnisha, backed by a convergent halo and aureole outlined with an oval-and-pearl pattern, with three crescent moons at the top and upper sides and with an internal border filled with a fruit-laden vine

Provenance: Private collection, Tokyo
Eurasian Art, acquired in 1980
Private Collection, Kyoto, 1980-2004
Private collection, New York, 2004-2013

Notes: The sensuous modeling and rare subject matter of this highly important work of early Indian Buddhist art results from the convergence of post-Gandharan and early Gupta aesthetic ideals that took place in the Kashmiri/Swat Valley region during the 6th - 8th centuries. Expertly crafted during an innovative transitional period, when Gandhara's Hellenistic elements, such as highly modeled musculature, deeply pleated garments, and waving hair loosely gathered in a topknot, were gradually giving way to the supple, fleshy contours, almond eyes, and contemplative grace that characterize Gupta sculpture from North and Central India, the figure is testament to a unique historical moment from which only a small number of bronzes survive.

This sculpture is not only remarkable for its rare historical origins, but also for its large scale and particularly its highly rare subject matter and iconography. The figure depicts the Buddha at the time in his youth when he transitions from childhood to adolescence. Although he displays an adult Buddha's benevolent yet authoritative stance and facial features, here he is clothed only in a child's short dhoti with a simple straight waist and incised pleated tail, as opposed to the longsanghati in which he typically appears as an adult. His left hand forms an extremely rare mudra, in which the palm faces his body and the third finger meets the thumb with the rest of the fingers gently curled inwards, a gesture that appears in a limited number of other bronzes produced in the Swat Valley and Kashmir between the 6th and 8th centuries (see U. von Schroeder, Indo-Tibetan Bronzes, 1981, pp. 83, 89, 117, figs. 5I, 8E, and 15 F, G); such comparisons further situate the figure within this region and corroborate a date of circa 7th century. Further Kashmiri/Swat features include the incised brows, heavy-lidded eyes with the lidded area perfectly equal to that of the exposed eye and lower lid, the sophisticated silver inlay in the eyes and urna, rings of beauty encircling the neck, and the supple belly with a quadrant form gently articulated just above the waistband of the dhoti.

The present example shares much in common with a bronze figure of the Infant Buddha in the collection of the Art Institute of Chicago, dated stylistically to the 5th/6th century (see E. Errington and J. Cribb (eds.), Crossroads of Asia, 1992, pp. 213-214, cat. no. 208). Though the legs are missing in the Art Institute's work, the high ushnisha, hand position (in mirror image), silver-inlaid eyes, and style of dhoti are remarkably similar. The Art Institute's Buddha has a more childish body type, with a slightly shortened torso, less clearly defined upper chest, and a fuller face, possibly indicating that the present work in comparison is meant to depict the Buddha at a slightly later moment in his life.

The convergent aureole and halo backplate behind the standing figure is extremely rare, and its stylistic development can be traced through a limited number of surviving comparables from late Gandhara. Beginning with a 5th-century example published in U. von Schroeder's Indo-Tibetan Bronzes, 2008, p. 79, fig. 3D), the halo and aureole are combined into a single backplate bordered by globular beads, with an extra bead at the point of intersection. Additional 5th/6th century examples (von Schroeder, figs. 4A, 4B, 4C and 4F) reveal that these beads become progressively elongated and then eventually form the "oval and pearl" pattern, a leaf- or flame-like projection with a bead at the base and three beads at the tip (see lot 210 for further discussion of the possible significance of the "oval and pearl" motif). In addition, the present example shows that the internal outline directly around the figure changes from being a single vine to a wider band encompassing an actual fruit-laden vine in the middle. The sole other example presently known with a similar motif is another bronze Buddha figure, circa late 6th century, in which the internal outline is filled with an elaborate floral pattern bordered on either side by pearls (see again U. von Schroeder, Indo-Tibetan Bronzes, 1981, p. 76, cat. no. 59, TMMA 1981.188a,b). Such portable bronzes would have been instrumental in the transmission of style and decorative motifs; the vine motif for example draws from 5th-century sculpture from Mathura, in which the halo behind the seated figure has concentric circles filled with floral vines, lotus petals, and radiating spikes (see J. Vogel, "La Sculpture de Mathura," Ars Asiatica, 1930, plate XXXVII a and b, and also M.C. Joshi, et al., The Golden Age of Classical India: The Gupta Empire, pp. 145-151, figs. 8-10).

The exceptional qualities of this sculpture combined with a sensitivity of casting at the peak of a transitional moment in the history of Southern Asian art make this figure of Buddha a masterpiece of bronze figural sculpture from the juncture of the Gandharan and Gupta periods.


"Marcel Breuer (1902-1981). Design et architecture" @ Cité de l´architecture et du patrimoine

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Marcel Breuer, Begrisch Hall, campus University Heights de l’Université de New York, 1967-1970

Conçue et réalisée par le Vitra Design Museum, cette rétrospective présente le travail de Marcel Breuer, de la petite à la grande échelle, du mobilier au volume, du design à l'architecture. 

La partie consacrée au design présente les principales pièces de mobilier dessinées par Marcel Breuer, exposées sur des socles et complétés de vitrines avec documents photos, plans, dessins et cartels.

Le volet Matériaux de l'exposition, évoque les principales créations de mobilier de Marcel Breuer selon un parcours retraçant l'utilisation successive de quatre différents matériaux : le bois massif, l'acier tubulaire, l'aluminium et le contreplaqué.

Dans le domaine des meubles en acier tubulaire en particulier, de nombreuses oeuvres originales permettent au visiteur de comprendre la rapidité avec laquelle Marcel Breuer a su reconnaitre les potentialités de ce matériau. Les parties dédiées au travail de l'aluminium et du contreplaqué sont marquées par les innovations de Marcel Breuer : le piètement traineau appliqué au tube d'acier et la transposition de la chaise en aluminium en contreplaqué (chaise Isokon, 1935). Les pièces sont accompagnées de dessins, de catalogues de meubles, d'un grand nombre de photographies contemporaines d'architectures intérieures..

La partie consacrée à l'architecture présente douze maquettes, reparties en trois thèmes « Maisons », « Espaces » et «Volumes», et complétées par des croquis, des plans ainsi que de nombreuses photographies. Représentant chacune une oeuvre majeure, elles font référence aux solutions constructives ou formelles, appliquées par Marcel Breuer à d'autres réalisations.

L'exposition présente aussi, avec photos et films, trois grandes réalisations architecturales de Marcel Breuer en France: la salle des séances plénières de l'Unesco à Paris (1952-1958, avec B. Zehrfuss et P.L. Nervi), le siège d'IBM à La Gaude, près de Nice (1961, avec R. Gatje) et le site de Flaine (1960-1976).

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Marcel Breuer, Fauteuil en lattes de bois ti 1a, 1924 © Thomas Dix

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Marcel Breuer, Chaise Longue WB 346, 1932. Collection Vitra Design Museum. © Andreas Sütterlin

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Marcel Breuer, Fauteuil avec accoudoirs B35, 1928-29. Edité par Thonet, Collection Vitra Design Museum © Thomas Dix

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Marcel Breuer, Fauteuil B3, structure d’acier tubulaire, 1927. Edité par Standard Mobel, Collection Vitra Design Museum © Thomas Dix

Important, early 18th Century, Chinese Yongzheng Mark and of the Period porcelain dish

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Important, early 18th Centruy, Chinese Yongzheng Mark and of the Period porcelain dish.© 2013  I.M Chait.

decorated in doucai-style underglaze blue with overglaze enameled coral red, in a design of five lotus blossoms amid scrolling foliage to the interior, with matching exterior; of unusually pristine condition; D: 8 1/8" - Estimate $25,000-30,000

I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART  -  March 17 2013 - Telephone 310.285.0182 - www.chait.com

Beau petit bureau bonheur du jour. Transition des époques Louis XV et Louis XVI

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Beau petit bureau bonheur du jour. Transition des époques Louis XV et Louis XVI. Photo Aguttes

en placage de bois de rose marqueté de croisillons sur des contres fonds de bois de violette. Il présente à la partie supérieure un gradin rehaussé d'une galerie ajourée, en bronze ciselé et doré, ouvrant par quatre tiroirs et un vantail. La partie inférieure ouvre par un tiroir en ceinture et deux vantaux, dissimulant deux tiroirs. Montants à pans coupés. Pieds cambrés. Ornements de bronze ciselé et doré, à frise godronnée, chutes à rinceaux et feuillages, petits sabots. Trace d'estampille et JME. H : 91 - L : 53,5 - P : 39 - Estimation : 26 000 / 28 000 €

Aguttes. Mardi 26 février 2013. Hôtel des Ventes de Neuilly - 164bis, avenue Charles de Gaulle - Neuilly/Seine - http://www.aguttes.com

Cartel d'applique en bronze ciselé et doré. Fin de l'époque Louis XV

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Cartel d'applique en bronze ciselé et doré. Fin de l'époque Louis XV. Photo Aguttes

Le cadran indique les heures en chiffre romain et les minutes en chiffre arabe. Il est inscrit dans des encadrements à branchages fleuris et feuillagés, présentant au centre des attributs de la Musique. Sonnerie à la demande. Cadran et mouvement signés DEY, bronze signé Saint Germain à Paris. H : 39 - L : 23 - P : 9. Estimation : 16 000 / 18 000 €

Aguttes. Mardi 26 février 2013. Hôtel des Ventes de Neuilly - 164bis, avenue Charles de Gaulle - Neuilly/Seine - http://www.aguttes.com

Chinese 18th Century, Qianlong Period, celadon glazed porcelain jar

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Beautifully modeled, large antique Chinese 18th Century Qianlong Period, celadon glazed porcelain jar. © 2013  I.M Chait.

of squat compressed baluster form; with highly unusual moulded mock-ring handles with foliate appliqués in relief; H: 11 5/8"- Estimate $5,000-7,000

I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART  -  March 17 2013 - Telephone 310.285.0182 - www.chait.com

18th Century celadon glazed porcelain bowl, Qianlong Mark and of the Period

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Antique Chinese, 18th Century celadon glazed porcelain bowl, Qianlong Mark and of the Period. © 2013  I.M Chait.

of wide shallow flared form, with foliate 'pie-crust' rim and incised wavy lines to the interior and exterior; D: 10 1/8" - Estimate $4,000-5,000

I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART  -  March 17 2013 - Telephone 310.285.0182 - www.chait.com

Large paire de fauteuils à dossier cabriolet. Estampille de P. Pluvinet. Epoque Louis XVI

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Large paire de fauteuils à dossier cabriolet. Estampille de P. Pluvinet. Epoque Louis XVI. Photo Aguttes

en bois mouluré, rechampi crème. Les assises en écusson. Dés à rosaces. Pieds fuselés à cannelures rudentées. Garniture de velours vert, à l'anglaise. Philipe Joseph Pluvinet, reçu Maître le 14 Juillet 1754 -94 x 63 x65 cm - Estimation : 15 000 / 18 000 €

Aguttes. Mardi 26 février 2013. Hôtel des Ventes de Neuilly - 164bis, avenue Charles de Gaulle - Neuilly/Seine - http://www.aguttes.com


Table dite « cabaret », Second tiers du XVIIIe siècle

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Table dite « cabaret », Second tiers du XVIIIe siècle. Photo Aguttes

à plateau à cuvette, en bois laqué noir au vernis européen, à décor en camaïeu doré, d'une scène animée de personnages orientaux, dans un paysage lacustre. Montants et pieds cambrés. (reprises au décor) - H : 71 - L : 54,5 - P : 40,5. Estimation : 13 000 / 15 000 €

Aguttes. Mardi 26 février 2013. Hôtel des Ventes de Neuilly - 164bis, avenue Charles de Gaulle - Neuilly/Seine - http://www.aguttes.com

Famille Noire enameled, Kangxi-style porcelain vases, 19th Century or earlier

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Rare pair of tall antique, Chinese Famille Noire enameled, Kangxi-style porcelain vases, 19th Century or earlier. © 2013  I.M Chait.

of squared bottle form; with matching design of birds and flowering hawthorne branches on a black ground, with finely modeled openwork hydra handles; each with six-character marks; H: 22" (each approx.) - Estimate $4,000-5,000

I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART  -  March 17 2013 - Telephone 310.285.0182 - www.chait.com

Éloge de la Haute Couture à l'Hôtel de Ville

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Madeleine Vionnet, robe du soir, vers 1931. Collection Musée Galliera Satin de soie ivoire, boucle en métal garni de cristaux. © musée Galliera, Ville de Paris, droits réservés

La haute couture est née à Paris au milieu du 20e siècle. Cette discipline qui relève du grand art s'appuie sur le savoir-faire de milliers de petites mains : brodeuses, couturières, plumassières... qui perpétuent les traditions et contribuent à porter haut le rayonnement de Paris. À partir des chefs-d’œuvre des collections du Musée Galliera, l’Hôtel de Ville propose un hommage à ce monde fantasmé et méconnu, fleuron de la culture française ainsi qu’à cette industrie parisienne caractérisée par sa créativité et sa haute technicité.

Organisée par la Mairie de Paris avec le soutien de Swarovski , l'exposition vous invitera à admirer les mythiques robes de Chanel, Balenciaga, Vionnet, Courrèges et bien d’autres... Une occasion unique de découvrir des chefs d’oeuvre pour la plupart jamais dévoilés. Ces tenues prestigieuses choisies parmi les collections du Musée Galliera seront accompagnées de dessins et de photographies afin de permettre au public de se glisser dans les coulisses d'ateliers célèbres dans le monde entier et d’assister à la naissance de ces œuvres, de leur conception jusqu’à leur achèvement.

Worth, Doucet, Poiret, Lanvin, Vionnet, Patou, Chanel, Molyneux, Rochas, Maggy Rouff, Jacques Heim, Nina Ricci, Schiaparelli, Jacques Fath, Balenciaga, Grès, Balmain, Carven, Christian Dior, Givenchy, Cardin, Yves Saint Laurent, Courrèges, Jean Paul Gaultier, Lacroix, Alaïa… 

C'est l’histoire de l’industrie du luxe, faite de ces créateurs flamboyants et de petites mains au talent inimitable, qui sera pour la première fois racontée dans sa totalité et permettront d’entrer en immersion dans l’univers de la haute couture made in France.

Qu'est-ce qu'est la Haute Couture ? 

L'origine de la haute couture remonte à Charles Frédéric Worth qui ouvre en 1858 la première véritable maison de haute couture au 7 rue de la Paix, créant des modèles originaux pour des clientes particulières.

La haute couture relève du travail des ateliers comme celui des paruriers (plumassiers, brodeurs, modistes...), qui, chaque saison, créent des pièces d'exception.

Le terme de haute couture constitue une appellation juridiquement protégée. Les principaux critères, établis en 1945 et actualisés en 1992, sont les suivants : employer un minimum de 15 personnes dans les ateliers, le travail se doit d'être réaliséà la main dans les ateliers au nombre de deux, utilisation d’une certaine surface de tissus, unicité de pièces sur mesure, participation à au moins deux défilés par an (printemps-été et automne-hiver), qui présenteront au moins une trentaine de modèles par collection composés de modèles du jour et du soir.

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Worth, tea gown, vers 1895. Collection Musée Galliera Façonné de soie à fond satin vert et motifs en velours coupé bleu nuit, doublure en taffetas de soie vert. © musée Galliera, Ville de Paris, droits réservés

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Beer, robe du soir, vers 1912. Collection Musée Galliera Tulle de soie, dentelle et mousseline de soie crème, broderies de paillettes de perles, de tubes et de cristaux, motifs floraux, glands de perles et de tubes, doublure en satin de soie ivoire. © musée Galliera, Ville de Paris, droits réservés

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Chanel, robe du soir, 1923. Collection Musée Galliera Crêpe de soie bleu foncé, broderies de paillettes bleues, pans de crêpe de soie gris et bleu clair. © musée Galliera, Ville de Paris, droits réservés

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Jérôme, robe du soir, vers 1925. Collection Musée Galliera Sergé de soie crème, broderies de fils métalliques or, de perles transparentes, roses, vertes et de cristaux, paradis turquoise, fleur en taffetas de soie rose, doublure en taffetas blanc. © musée Galliera, Ville de Paris, droits réservés

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Jérôme, robe du soir, vers 1925. (détail) Collection Musée Galliera Sergé de soie crème, broderies de fils métalliques or, de perles transparentes, roses, vertes et de cristaux, paradis turquoise, fleur en taffetas de soie rose, doublure en taffetas blanc. © musée Galliera, Ville de Paris, droits réservés

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Jean Patou, robe du soir, 1925. Collection Musée Galliera Satin de soie noir, broderies au crochet de perles blanches, de paillettes nacrées et translucides, polychromes, de tubes givrés, de demi-tubes vermillon, de cristaux roses facettés, doublure en mousseline de soir noire. © musée Galliera, Ville de Paris, droits réservés

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Jeanne Lanvin, robe du soir Concerto, hiver 1934-1935. Collection Musée Galliera Crêpe de soie crème, col en pastilles de Celluloïd noir montées sur tulle. © musée Galliera, Ville de Paris, droits réservés

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Schiaparelli, gants du soir, vers 1936. Collection Musée Galliera Veau-velours noir, application de faux ongles en métal doré, couture sellier, couture piquée, doublure en soie blanche. © musée Galliera, Ville de Paris, droits réservés

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Bruyère, robe de mariée, 1944. Collection Musée Galliera Satin de soie blanc matelassé, décor de soutache blanche, doublure en taffetas de rayonne blanc. © musée Galliera, Ville de Paris, droits réservés

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Christian Dior, robe du soir Palmyre, automne-hiver 1952. Collection Musée Galliera Satin de soie gris perle, broderies de perles, de paillettes, de fils de rayonne bleus, de lamé et de cristaux. © musée Galliera, Ville de Paris, droits réservés

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Balenciaga, robe du soir, automne-hiver 1960. Collection Musée Galliera Faille de soie moirée crème, broderies de cannetilles or et de cristaux roses. © musée Galliera, Ville de Paris, droits réservés

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Balenciaga, robe du soir, vers 1960. Collection Musée Galliera Taffetas de soie changeant vert foncé, tulle de soie, broderies au crochet de Lunéville « au vermicelle » de perles de verre et de paillettes, broderies à l’aiguille de cristaux roses taillés en cabochons et de lames métalliques. © musée Galliera, Ville de Paris, droits réservés, 2013

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Balenciaga, ensemble du soir composé d’une tunique et d’une jupe, août 1967. Collection Musée Galliera Gazar d’Abraham rose pâle, tulle polyamide, applications de fleurs de taffetas de soie gaufré et de plumes d’autruche rose pâle, doublure en taffetas de soie et mousseline de soie. © musée Galliera, Ville de Paris, droits réservés

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Alaïa, robe à bandes, 1990. Collection personnelle de M. Alaïa. Jersey de rayonne et lycra. © musée Galliera, Ville de Paris, droits réservés

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Christian Lacroix, ensemble du soir (jupe et sweater à manches courtes) Coup de roulis, automne-hiver 1991-1992. Collection Musée Galliera Haut en tricot de laine de chenille et de lurex jaune, noir et or, jupe en jacquard de soie monté sur de l’organza de soie jaune d’or à grands motifs noirs. Bolducs sur chacune des deux pièces : 52 Coups de roulis. © musée Galliera, Ville de Paris, droits réservés

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Christian Dior par John Galliano, ensemble du soir Shéhérazade, printemps-été 1998. Collection Christian Dior Robe en double satin topaze brûlé, incrustations de trois velours de soie miel doré, topaze et topaze brûlé avec un décor en appliqué de motifs de velours vert jade et de satin duchesse bleu nuit rebrodé de fils d’or et de cristaux. © musée Galliera, Ville de Paris, droits réservés

Cindy Chao Royal Butterfly Brooch adds new sparkle to Smithsonian Gem Hall

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Cindy Chao. The Art Jewel 2009 Black Label Masterpiece Royal Butterfly brooch

WASHINGTON, DC.- The National Museum of Natural History’s famous gem collection has a new addition: the Cindy Chao Black Label Masterpiece Royal Butterfly Brooch. Created by Chao in 2009, the brooch will be the first Taiwanese-designed piece in the collection. It was donated to the museum by the artist, where it will be on display to the public for the first time March 6 in the Janet Annenberg Hooker Hall of Geology, Gems and Minerals. 

The Royal Butterfly, composed of 2,328 gems, totals 77 carats. The brooch is set with fancy-colored and color-changing sapphires and diamonds, rubies and tsavorite garnets. The centerpieces of the butterfly’s wings are four large-faceted diamond slices stacked atop a pave layer of faceted diamonds, creating a pattern resembling the microstructure and scale of a living butterfly’s wings. 

The brooch sparkles in daylight, but it evokes a surreal quality when viewed under ultraviolet light in the dark—it glows. Many of the gem stones Chao used fluoresce, which means they emit visible light when viewed under ultraviolet light. Under ultraviolet light, the Royal Butterfly comes to life with a dazzling array of neon colors and light.While some gems may appear colorless in daylight, under ultraviolet light they turn a bright blue and green. Others burn a fiery orange or red. It will not be possible to show off this hidden beauty in the brightly lit exhibit case, but images of the Royal Butterfly under ultraviolet light will be featured on the museum’s website. 

The awe-inspiring array of colorful and glistening gems and Cindy Chao’s masterful design combine to create a whimsically beautiful jeweled butterfly that we are delighted has fluttered from Taiwan into our National Gem Collection,” said Jeff Post, curator of the museum’s Gems and Minerals collection. “It is a wonderful gift that I am sure will be immensely popular with our visitors.” 

Chao is a renowned contemporary jewelry artisan, known for her ability to create wearable works of art that are coveted across the globe. Her ancestral heritage has been influential in her work, as has her father, a noted Taiwanese architect and sculptor who instilled in her a relentless attention to detail and form. She founded her company, CINDY CHAO The Art Jewel, in 2004. In 2007 she became the first Taiwanese jewelry artist to take part in the Christie’s New York fine jewelry auction.

I believe that a piece of jewelry can reflect the history of an era, and being included in a leading institution like the Smithsonian is a dream for any artist,” said Chao. “It is humbling to know that millions of visitors will be able to see the Black Label Masterpiece Royal Butterfly Brooch and be exposed to my jewelry craftsmanship.” 

The celebrated brooch joins the Smithsonian’s gem and mineral collection, one of the largest of its kind. The collection supports museum exhibitions and behind-the-scenes geologic research. The Janet Annenberg Hooker Hall of Geology, Gems and Minerals is located on the second floor of the museum and remains one of the museum’s most popular exhibition halls. 

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Front view of the Cindy Chao Black Label Masterpiece Royal Butterfly Brooch. Photo: Cindy Chao.

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Back view of the Cindy Chao Black Label Masterpiece Royal Butterfly Brooch. Photo: Cindy Chao.

L’Ecole de Shanghai (1840-1920), Peintures et calligraphies du musée de Shanghai au musée Cernuschi

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Ren Xun (1835-1893), Portrait de Wu Dacheng entouré de sa collection de bronzes antiques. Encre et couleurs sur papier. H. 39,7cm – L. 99cm – sans date - © Musée de Shanghai

Poursuivant son exploration de la peinture chinoise après les expositions  « Six siècles de peintures chinoises » en 2009,  « Artistes chinois à Paris » en 2011, le musée Cernuschi propose, grâce aux prêts exceptionnels du musée de Shanghai, de découvrir  une période clé de l’histoire de l’art chinois au cours de laquelle peintres et calligraphes réunis à Shanghai ébauchent une nouvelle modernité.

Au XIXème siècle, la dynastie Qing est profondément ébranlée par la révolte des Taiping et la menace militaire des puissances occidentales. A partir des années 1840, la région du Jiangnan, au centre sud de la Chine, est le théâtre  de conflits armés qui ravagent les villes de Nanjing (Nankin), Yangzhou, ou Hangzhou. La communauté d’artistes qui avaient participé au rayonnement exceptionnel de ces cités au XVIII siècle, est dispersée. De nombreux peintres et calligraphes fuyant les conflits convergent alors vers la région de Shanghai où se développe une nouvelle culture influencée par les échanges avec le reste du monde.

Ces bouleversements  historiques seront  à l’origine d’un profond bouleversement culturel mais aussi d’un véritable renouveau des arts, caractérisé par la libération du trait et l’irruption de la couleur.

L'exposition présentera dans un premier temps l'héritage du Jiangnan en montrant comment, genre par genre, les peintres sont habités par les réminiscences des styles créés dans cette région. Elle accordera ensuite une place importante aux personnalités les plus marquantes: celles qui ont provoqué une rupture dans la représentation humaine en créant des images réalistes ou caricaturales, comme Ren Xiong ou Ren Bonian; celles comme Xu Gu, qui ont sorti le paysage des formules stylistiques héritées du début de la dynastie Qing, et qui l'ont orienté vers une simplification essentielle.

La transposition des modèles calligraphiques dans le domaine de la peinture consacre la puissance expressive du trait. Ce style, initié par Zhao Zhiqian, trouve son aboutissement dans l'œuvre de Wu Changshuo. C'est probablement dans la catégorie des "peintures de fleurs et d'oiseaux" que cette évolution du style est la plus manifeste: la tige d'une plante, la queue d'un poisson sont animés d'un puissant dynamisme dont l'effet est renforcé par des tons vifs, parfois empruntés à la palette occidentale.

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Qian Hui’an (1833-1911), En versant du thé, en nettoyant la pierre à encre. Encre et couleurs sur papier. H.27,4cm – L. 34,2cm – 1871 - © Musée de Shanghai

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Ren Xiong (1823-1857), Album de paysages et de personnages: Nong Yu attire le phénixEncre et couleurs sur papierH. 27,4cm - L. 34,2cm – sans date - ©Musée de Shanghai

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Ren Yi (1840-1895) et Hu Yuan (1823-1886), Portrait de Gao YongEncre et couleurs sur papier – vers 1877. H. 130,9cm – L. 48,5cm © Musée de Shanghai

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Ren Xiong (1823-1857), La chaumière du lac Fan (détail). Encre et couleurs sur papier – sans date. H.35,8cm – L. 705,4cm © Musée de Shanghai

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Wang Su (1794-1878),  Portrait de Bao Shichen.  Encre et couleurs sur papier – sans date. H.29,6cm – L. 51,5cm - © Musée de Shanghai

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Wu Changshuo (1844 – 1927), Compositions florales: Gourdes. Encre et couleurs sur papier – sans date. H. 42,8cm – L. 43,2cm © Musée de Shanghai

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Wu Changshuo (1844 – 1927), Composition hivernale: Prunus et rocher. Encre et couleurs sur papier. H. 42,8cm – L. 43,2cm. Sans date © Musée de Shanghai

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Wu Changshuo (1844-1927), Calligraphie cursive. Encre sur papier - 1907. H. 143,5cm – L. 37,5cm © Musée de Shanghai

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Xugu (1823-1896), Album aux motifs végétaux et animaliers. Encre et couleurs sur papier – sans date. H. 34,7cm – L. 40,6cm © Musée de Shanghai

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Wu Youru (? – 1893), Scènes de la vie féminine. Encre et couleurs sur soie – 1890. H. 28cm – L. 34cm © Musée de Shanghai

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Xugu (1823-1896), Album de paysages et de personnages : Pagode. Encre et couleurs sur papier – 1876. H. 38,3cm – L. 52,5cm ©Musée de Shanghai

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Xugu (1823-1896), Paysage.  Encre sur papier – sans date. H. 147cm – L.40cm © Musée de Shanghai

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Zhao Zhiqian (1829-1884), Calligraphie sigillaire et de chancellerie. Encre sur papier – 1869. H. 176,6cm – L. 0,47cm © Musée de Shanghai

Gold: Status and Glory. Masterpieces from the Middle Ages and Today

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Giovanni Corvaja (b. 1971), The Golden Fleece Brooch, 2007, 18 ct gold. Depth: 2.3 cm; diameter: 6 cm. Adrian Sassoon, London.

The timeless allure of gold will be celebrated in an exceptional exhibition entitled Gold: Status and Glory and is the result of a collaboration between two dealers, Adrian Sassoon and Moretti Fine Art. It will be staged at Moretti Fine Art, 2a-6 Ryder Street, St. James’s, London SW1, from 2 to 31 May 2013. Fabrizio Moretti explained: “As a gallery specialising in Italian Old Masters, we are constantly confronted with the magnificence of gold. This exhibition is an opportunity to examine this highly prized material in the contexts of decoration, devotion and drama.” Gold: Status and Glory will present fifteen exquisite objects by the contemporary Italian goldsmith Giovanni Corvaja in the context of 14th and 15th century Italian gold-ground devotional paintings.

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Giovanni Corvaja (b. 1971), Bracelet, 2010, 18 ct gold cage, 950 platinum wire and coloured enamel. Depth: 3 cm; diameter: 12 cm. Adrian Sassoon, London.

Giovanni Corvaja has been fascinated and inspired by metals, especially gold, since early childhood. His jewellery is represented in some of the most famous public collections in the world not only as jewellery for adornment but also, as the respected British jewellery specialist and author Geoffrey Munn OBE says in his catalogue essay for the exhibition, “as examples of miraculous contemporary craftsmanship and art”. Munn continues “Ductile, malleable and incorruptible gold holds a deep fascination for Corvaja. However, the miraculous qualities of the metal, especially its unique beauty, can only be revealed by the experience and skill of the goldsmith. Although Giovanni Corvaja follows a very ancient tradition in his workshop in Todi in Italy, he has developed skills and techniques that have broken all previous bounds. Central to these is the ability to draw the precious yellow metal into threads hardly thicker than a spider’s silk”. 

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Giovanni Corvaja (b. 1971), Necklace, 2011, 18 ct gold, 19 alloys shading from white to yellow to white again. Length: 130 cm. Adrian Sassoon, London.

In ancient times gold was collected by staking riverbeds with sheepskins rich in lanolin. The water drove tiny grains of gold across the surface of the wool where they were entrapped. The skin was then dried and burned leaving only pure gold behind. This is probably the origin of the legend of the Golden Fleece. Its magic has inspired Giovanni Corvaja’s recent work in which he has woven gossamer strands of gold into the semblance of fur and wool and gathered it in frames and honeycombs to be worn as bracelets, brooches and pendants. Light and air pass freely through these sculptural jewels and sometimes, in the tradition of the Etruscan goldsmiths, tiny beads of coloured enamel heighten their unique effect, raising jewellery, once again, to the highest level of art.

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Giovanni Corvaja (b. 1971), The Golden Fleece Headpiece, 2008-9, 18 ct and 22 ct gold. Height: 27 cm; diameter 35 cm. Adrian Sassoon, London.

After more than a decade of ceaseless application and research, this truly remarkable artist discovered a particular alloy of gold that was both a beautiful colour and unusually ductile allowing it to be drawn to a fineness of less than ten microns. For over 1,500 hours Corvaja wove this thread and produced an extraordinary cloth made from 110 kilometres of almost transparent gold wire, a masterpiece of tactile experience, being both cool and silky smooth. It is possible to subtly change the hue of gold from buttercup yellow to fugitive shades of pink and green and even moonshine white by making an alloy with other metals. Giovanni enjoys experimenting and, for added magic, has created a warp made of threads, each composed of 291 wire fibres in a pale yellow 18 ct gold, while the weft is of a yellow-orange 22 ct gold alloy and has braided threads also comprising 291 wires. The result is a cloth that is almost pure gold in colour with subtle shimmering variations.

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Giovanni Corvaja (b. 1971), Carved Box, 2012, 18 ct yellow gold. Height: 5.6 cm; diameter 9 cm. Adrian Sassoon, London.

The fifteen exquisite pieces by Corvaja to be shown in this exhibition are each made from 18ct gold and include a Golden Fleece brooch, an elaborate gold cage bracelet with 950 platinum wires and coloured enamel, a sinuous necklace made with 19 alloys shading the gold from white to yellow and back to white again, and a Golden Fleece headpiece made of 18 and 22 ct gold cloth, comprising over five million single strands making a total of 200 kilometres of wire.

Giovanni Corvaja was born in 1971 in Padua and was educated in that city of goldsmiths where he was taught by the celebrated master goldsmith, Francesco Pavan. He began to work with gold in 1984 when he was just 13 and immediately recognised it as his métier. In 1988 he was awarded the Diploma di Maestro d’Arte and in 1990 the Maturità d’Arte Applicata. In 1990 he enrolled in the Royal College of Art in London to continue studying art jewellery, graduating with an MA in 1992 when he returned to Padua. In 2001 he moved to Todi, a historical Etruscan town in central Italy, where he has restored a 15th century building, now his spacious workshop. His career has also been distinguished with four solo exhibitions and numerous group shows throughout the world. 

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Neri di Bicci (1418-1492), St Lawrence in Glory with four angels, 1470-1475. Panel, 38 x 24.5 cm. Moretti Fine Art.

The use of gold in Trecento and Quattrocento gold-ground pictures gave the illusion that the panels were made of solid gold, creating ethereal images with an illusion of heaven. The metal was meticulously handled to prevent cracks or faults when it was placed onto the bole (a prepared clay surface). Among the eight fine examples of such works in this show will be St Lawrence in Glory with four angels by Neri di Bicci, (Florence, 1418-1492), one of the masterpieces in the huge corpus of works attributed to the artist. The fine painted decoration of the rear of the panel, with the monogram of Christ at the centre, is almost certainly contemporary with the image on its front and the little painting, outstanding for its exquisite workmanship and the richness of its decorative aspects, is one of the finest achievements of Neri di Bicci’s mid career in the early 1470s.

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Veronese Painter (c. 1380-1390), Crucifixion and Annunciation. Panel, 67 x 49.8 cm. Moretti Fine Art.

Crucifixion and Annunciation, dating from around 1380-90 by an unknown artist from Verona, is a rare example of a Veronese painting on panel for this period as frescoes were more usual. The composition is constructed on three levels: in the foreground the mourners stand on the left while to the right soldiers are disputing the robe of Christ; behind them in the middle ground are surging ranks of horsemen, an idea deriving from Giotto; and in the upper part Christ is depicted between the thieves and the lament of the angels. The scene is remarkably animated with the many heads at the bottom, the variety of gestures and the frenetic interaction of the figures. The Annunciation, painted with the Angel Gabriel in the upper left corner and the Holy Spirit in the form of a dove flying towards the Virgin in the right, together with other stylistic elements, all point to the hand of a Veronese painter. 

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Maestro Francesco (active c. 1380-c. 1400), The Coronation of the Virgin, with Saints. Panel, shaped top: 95.4 x 56.2 cm including an addition of 7.9 cm to the top. Moretti Fine Art.

The Coronation of the Virgin, with Saints Nicholas of Bari, Anthony Abbot, John the Baptist, Francis of Assisi, Phillip and Zanobi, a beautiful work by Maestro Francesco (active Florence c. 1380-c. 1400), was formerly in the collection of H.R.H. Princess Louise, Duchess of Argyll, one of Queen Victoria’s daughters. She gave it to Christ Church, Victoria Road, London, in 1932 and it later belonged to the Chrysler Museum of Art, USA.

From the secular to the sacred, Gold: Status and Glory will offer visitors a remarkable experience which will show the timeless appeal and symbolism of gold as it was perceived in imagery of the Middle Ages juxtaposed with Giovanni Corvaja’s work, representing the finest craftsmanship of the 21st century.

Chinese blue soufflé glazed porcelain yen-yen vase, late Kangxi Period

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Antique, early 18th Century Chinese blue soufflé glazed porcelain yen-yen vase, late Kangxi Period. © 2013  I.M Chait.

of well potted form with typical wide flaring mouth; H: 17"; Estimate $3,000-4,000

Provenance: Bonham's San Francisco October 2004, Lot 4239

I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART  -  March 17 2013 - Telephone 310.285.0182 - www.chait.com


Extremely rare and large, antique Chinese porcelain jardinière, 18th-19th Century

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Extremely rare and large, antique Chinese porcelain jardinière, 18th-19th Century. © 2013  I.M Chait.

of wide circular form, with fine coral red faux bois glaze imitating wood grain, D: 13 1/2" - Estimate $6,000-8,000

I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART  -  March 17 2013 - Telephone 310.285.0182 - www.chait.com

Paire de paravents à 6 panneaux (byobu) figurant une scène de chasse sur fond de paysage. Fin période Edo

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Paire de paravents à 6 panneaux (byobu) figurant une scène de chasse sur fond de paysage. Fin période Edo. Photo Boisgirard et Associés

H. : 171.5 cm, l. : 63 cm (2x 6x) - Estimation : 8 000 / 12 000 €

Les chasseurs appartiennent à l'une des tribus vivant dans les régions du nord de l'empire chinois. Durant la période Edo, les informations sur ces régions lointaines étaient plutôt vagues et basées sur des sources exclusivement chinoises.
En 1645, une étude qui comportait également des illustrations fut publiée à Nagasaki. Celle-ci décrivait 42 nations étrangères ainsi que les peuples autochtones de Mandchourie, Mongolie et autres régions. Les illustrations qui y figuraient furent longtemps utilisées comme modèle pour représenter les peuples ‘'barbares'' et furent souvent recopiées. Les explorations des iles du Nord de Hokkaido et des iles Sakhalin par Mogami Tokunai (1775-1836) ainsi que celles de Mamiya Rinz (1775-1844), stimulèrent l'intérêt japonais pour ces régions.
Ce dernier voyagea jusqu'aux confins de la province moderne de Heilongjiang en 1809 et cartographia la région centrale de Mandchourie ainsi que l'estuaire de la rivière Amur. Par ailleurs, quand les explorations Russes débutèrent dans la région d'Amur après 1824, l'intérêt japonais pour ces régions fut de nouveau stimulé.
Les personnages dépeints ici sont probablement Dattan, mot japonais équivalent du mot ‘'tatare'' (terme d'origine turque emprunté par les chinois).
Ce terme est utilisé depuis la dynastie Ming pour désigner les nomades du plateau mongolien.
Pendant la période Edo au Japon, le terme ‘Dattan' désigna de manière générale les asiatiques du nord mais pris également une connotation méprisante pour nommer les Mandchouriens. Les chasseurs, en particulier leur chef et ses assistants assis dans une tente sont représentés portant des habits de style chinois et ils utilisent des armes chinoises.
Bien que les paravents soient anonymes, il est probable que les paysages, les personnages et les animaux aient été peints par des artistes différents. Les tigres et panthères sont peints de manière plus réaliste que les chat- tigres (nekotora).
En effet, au Japon, à la période Edo, on ne connaissait les tigres que par les illustrations qu'on en avait vues (Il faut aussi souligner que les tigres sont plutôt petits pour des tigres de la région d'Amur, ou même pour des tigres de la région Caspienne).

Set of two six panel byobu screens depicting a landscape with a hunting scene. The hunters belong to one of the tribes living in the regions to the North of the Chinese Empire. During the Edo period knowledge of these regions was rather vague and completely based on Chinese sources. In 1645 a work was published in Nagasaki with illustrations of persons who represented forty-two foreign nations and peoples who also included natives of Manchuria, Mongolia and other regions. These illustrations stood model for later depictions of ‘barbarians' and were times after times copied.
The explorations of Mogami Tokunai (1755-1836) of the northern islands Hokkaido and Sakhalin and of Mamiya Rinz (1775-1844) who traveled to a Chinese outpost on the river Amur in modern Heilongjiang Province in 1809 and who drew a map of central Manchuria and the Amur estuary stimulated Japanese interests in Manchuria and beyond especially after 1824 when the Russian exploration of Amur region began.
The people here are probably Dattan, the Japanese name (from the Chinese after a Turkish term) for ‘Tatars', since the Ming dynasty a general term for nomads of the Mongolian Plateau.
In Edo period Japan ‘Dattan' became a term for North Asians in general and a contemptuous term for Manchurians in particular.
The hunters and especially their headman with his attendants sitting in a tent are depicted in more or less Chinese dress and they use Chinese weapons.
Though the screens are anonymous it is quite likely that the scenery and the figures and animals were painted by different hands. The tigers and panthers are a little more realistic than the house cat-tigers (nekotora) of Edo Japan when tigers were only known as pictures (though the tigers are rather small for Amur-tigers and even for Caspian tigers). Bakumatsu period (1840-1870).

 

Boisgirard et Associés. Vendredi 1 mars 2013. Drouot Richelieu - Salle 14 - 9, rue Drouot - 75009 Paris - http://paris.boisgirard-antonini.com/

Paire de paravents byobu à six panneaux à motifs de grues et de pins (matsu) sur un fond de feuilles d'or, symbole de longévité.

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Paire de paravents byobu à six panneaux à motifs de grues et de pins (matsu) sur un fond de feuilles d'or, symbole de longévité. Fin du XVIIIe siècle. (Ere Edo). Photo Boisgirard et Associés

H. : 170 cm, l. : 63.5 cm (x6). Estimation : 8 000 / 12 000 €

A set of two anonymous six-panel byobu-screens depicting auspicious cranes (tsuru) and pine-trees (matsu) on gold-leaf ground symbolizing long life. Late 18th century. H. : 170 cm, W. : 63.5 cm (6x)

Boisgirard et Associés. Vendredi 1 mars 2013. Drouot Richelieu - Salle 14 - 9, rue Drouot - 75009 Paris - http://paris.boisgirard-antonini.com

Rare Chinese Song Dynasty, Junyao glazed dish

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Rare Chinese Song Dynasty, Junyao glazed dish. © 2013  I.M Chait.

of footed disc form, showing fine color and with exceptional purple "splash" sections to the center; D: 4 5/8" - Estimate $6,000-8,000

I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART  -  March 17 2013 - Telephone 310.285.0182 - www.chait.com

Song-style porcelain brushwasher, probably Kangxi Period

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Very unusual and antique, Chinese Song-style porcelain brushwasher, probably Kangxi Period. © 2013  I.M Chait.

of beehive form: covered in Jun-type blue and purple glaze; D: 4 1/4"; wood stand - Estimate $1,000-1,250

I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART  -  March 17 2013 - Telephone 310.285.0182 - www.chait.com

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