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Treasures from the Wreck of the Unbelievable: Damien Hirst’s Mythological Extravaganza in Venice

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Damien Hirst, The Fate of a Banished Man (Standing). Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017

VENEZIA‘Treasures from the Wreck of the Unbelievable’. It is the first major solo exhibition dedicated to Damien Hirst in Italy since the 2004 retrospective at the Museo Archeologico Nazionale in Naples (“The Agony and Ecstasy”) and is curated by Elena Geuna, curator of the monographic shows dedicated to Rudolf Stingel (2013) and Sigmar Polke (2016) presented at Palazzo Grassi.

The exhibition is displayed across 5,000 square meters of museum space and marks the first time that Palazzo Grassi and Punta della Dogana, the two Venetian venues of the Pinault Collection, are both dedicated to a single artist.

Damien Hirst’s most ambitious and complex project to date, ‘Treasures from the Wreck of the Unbelievable’ has been almost ten years in the making. Exceptional in scale and scope, the exhibition tells the story of the ancient wreck of a vast ship, the ‘Unbelievable’ (Apistos in the original Koine Greek), and presents what was discovered of its precious cargo: the impressive collection of Aulus Calidius Amotan – a freed slave better known as Cif Amotan II – which was destined for a temple dedicated to the sun.

Until 3 December 2017, Palazzo Grassi and Punta della Dogana

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Damien Hirst, Five Grecian Nudes, Five Antique Torsos, Grecian Nude (three versions)Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017

 

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Damien Hirst, Pair of Masks (left), Sphinx (right)Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017 

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Damien Hirst, Hydra and Kali (two versions), Hydra and Kali Beneath the Waves (photography Christoph Gerigk)Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017 

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Damien Hirst, Skull of a Cyclops, Skull of a Cyclops Examined by a Diver (photography Christoph Gerigk)Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017 

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Damien Hirst, (right to left) The Diver with Divers, (Photography Christoph Gerigk), Calendar StoneThe DiverPhotographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017

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Damien Hirst, The Warrior and the BearPhotographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017 

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Damien Hirst, Aspect of Katie Ishtar ¥o-landi Beneath the Sea (photography Christoph
Gerigk). Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. 
All rights reserved, DACS/SIAE 2017 

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Damien Hirst, Aspect of Katie Ishtar ¥o-landiPhotographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017 

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Damien Hirst, Aspect of Katie Ishtar ¥o-landiPhotographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017 

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Damien Hirst, A collection of vessels from the wreck of the Unbelievable. Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017 

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Damien Hirst, Jade BuddhaPhotographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017 

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Damien Hirst, ProteusPhotographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017

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Damien Hirst, Remnants of Apollo. Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017 

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Damien Hirst, Skull of a CyclopsPhotographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017 

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Damien Hirst, Sphynx. Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017

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Damien Hirst, Mickey. Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017 

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Damien Hirst, Skull of a UnicornPhotographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017 

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Damien Hirst, The Sadness. Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017

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Damien Hirst, The Severed Head of Medusa. Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017

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Damien Hirst, The Severed Head of Medusa. Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017

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Damien Hirst, Unknown PharaohPhotographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017

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Damien Hirst, Unknown Pharaoh (detail). Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017

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Damien Hirst, Demon with Bowl (Exhibition Enlargement)Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017


A drawing by Sir Peter Lely is expected to create a sensation at auction

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Sir Peter Lely (1618-80), Portrait of a Young Girl. Black and white chalk heightened with red chalk and pink pastel, 29.5 x 20 cm. Estimate: 12.000-15.000۩ Ivoire Nantes

NANTES.- This lovely drawing by Sir Peter Lely, an important, rarely seen portrait painter at the English royal court in the late 17th century, is being offered by IVOIRE NANTES Auction to be held Tuesday, 13 June 2017 

Sir Peter Lely (1618-80), an Englishman of Dutch descent, is an important, rarely seen artist. A fashionable portrait painter in England at the end of the 17th century, he was an official painter at the Royal Court of England and also a great art lover and collector of drawings. 

This beautiful drawing, signed “PL”, being auctioned by IVOIRE NANTES, has belonged to several important English collections. It was framed in Pittsburgh, Pennsylvania (according to a label on the back) and later purchased in London by a Frenchman who took it to the Dordogne. Since then, it has remained in the same family through the generations. 

The soft mix of chalks in this lovely drawing contributes to its great poignancy. With a reasonable estimate of €12,000-€15,000, it is expected to create a sensation at auction. 

Sir Peter Lely was an immensely popular portraitist of the monarchs of his time and also painted many portraits of voluptuous, nonchalant aristocratic ladies. Early in his career, Lely made an effort to depict the spirit and character of his models in the style of Van Dyck, but later he concentrated on their outward grace. 

Sir Peter Lely also produced more intimate portraits, especially of his family. The portrait of this girl has not been linked to the artist’s known portraits, making it all the more appealing. 

(1) Sir Peter Lely put together an important collection of paintings and drawings. In addition to works by Van Dyck, his painting collection was especially rich in Venetian works by Guercino, Guido Reni, Claude Lorrain and Peter Paul Rubens. His collection of drawings and prints is said to have numbered nearly 10,000 pieces, making it the richest ever brought together in England.

La galerie De Jonckheere inaugurera le jeudi 22 juin prochain un nouvel espace à Monaco

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Façade de la galerie De Jonckheere à Monaco.

MONACO - Fondée en 1976, la galerie De Jonckheere est la référence de la peinture flamande des XVIe et XVIIe siècles. Depuis 2012, la galerie accompagne aussi ses collectionneurs sur les traces des grands maîtres de l’art moderne. Dans cette dynamique, elle ouvre les portes d’un nouvel espace à Monaco le jeudi 22 juin 2017, avenue Princesse Grace.

Fréquentée et influente, la cité monégasque tient aujourd’hui un rôle important parmi les places artistiques internationales.

L’étude approfondie des oeuvres sélectionnées par De Jonckheere et l’énergie mise en oeuvre pour déceler les plus belles oeuvres du marché ont permis à la galerie d’asseoir sa réputation et son expertise des grands maîtres flamands depuis quarante ans. Parallèlement, son goût pour la peinture des grands maîtres de l’art moderne a progressivement mené la galerie àétendre son activité avec le même engagement.

À l’image des nouvelles générations de collectionneurs, De Jonckheere s’inscrit dans une démarche évolutive de l’histoire : celle d’accompagner les amateurs dans l’enrichissement de leurs collections par des oeuvres d’exception. 

L’inauguration d’un nouvel espace à Monaco marque cet élan, soutenu par l’arrivée de la nouvelle génération De Jonckheere. Dans un espace d’envergure, la galerie proposera un cycle de trois expositions annuelles qui mêleront leur expertise de l’art flamand à celle de l’art moderne en un seul lieu, au coeur du paysage culturel monégasque. 

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© Galerie De Jonckheere Monac

RENCONTRE DE MAÎTRES : L’EXPOSITION INAUGURALE

L’exposition inaugurale intitulée « Rencontre de Maîtres » réunit des oeuvres majeures de maîtres anciens et modernes. Les compositions des suiveurs et émules du peintre Jérôme Bosch, parmi lesquels la dynastie Brueghel, Lucas Cranach Le Jeune, Abel Grimmer, Jan Van Kessel, Herri Met de Bles, Frans Snyders, Peeter Snyers, Isaak Soreau, Adriaen Van Stalbempt, David Teniers, Louis de Caullery, Francesco Guardi et Corneille de Lyon côtoieront les chefs-d’oeuvres des maîtres modernes tels que René Magritte, Alexander Calder, Lucio Fontana, Jean Dubuffet, Nicolas De Staël ou encore Enrico Castellani. 

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Lucas Cranach Le Jeune (1515 Wittenberg - Weimar 1586), Lucrèce, panneau : 77,3 x 53 cm © © Galerie De Jonckheere Monaco

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Alexander Calder (1898 Lawnton - New York 1976), Deux horizontales et neuf verticales, 1956, Tôle, fil de fer et peinture : 48,3 x 152,4 x 38,7 cm © Galerie De Jonckheere Monaco

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Philippe Pastor (1961 Monaco), Bleu monochrome (12 078 BM), 2012, 162 x 130 cm © Galerie De Jonckheere Monaco

SCÈNES DE LA VIE FLAMANDE

Des scènes religieuses aux scènes rurales et célébrations traditionnelles, la diversité des sujets et des styles de la peinture flamande des XVIe et XVIIe siècles sont de parfaites illustrations de la vie dans les Pays-Bas méridionaux de l’époque. La richesse des détails et du vocabulaire pictural des tableaux exposés sont révélateurs de la modernité de cette peinture.

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Pieter Brueghel Le Jeune (1564 Bruxelles - Anvers 1638), L’été : le repas des moissonneurs, panneau : 59,7 x 80,4 cm © Galerie De Jonckheere Monaco

MAÎTRES DE L’ART MODERNE

Face à ces grands maîtres de l’art flamand, De Jonckheere expose une sélection de ses dernières plus belles acquisitions d’art moderne, où Lucio Fontana sera mis à l’honneur avec plusieurs exemples de Concetto Spaziale, et des pièces inédites d’un artiste incontournable du Surréalisme, René Magritte.

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Lucio Fontana (1899 Rosario Sana Fé - Varese 1968), Conceto Spaziale, Attese, toile : 55 x 46 cm © Galerie De Jonckheere Monaco

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René Magritte (Lessines 1898 – 1967 Bruxelles), Shéhérazade, 16,7 x 12,7 cm © Galerie De Jonckheere Monaco

A rare and large silver-inlaid bronze figure of Shakyamuni Buddha, Inlaid He Chaozong seal mark, Qing Dyna

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Lot 108. A rare and large silver-inlaid bronze figure of Shakyamuni Buddha, Inlaid He Chaozong seal mark, Qing Dynasty. Estimate £10,000 - 15,000Sold for £851,000 (€1,006,052). Photo: Bonhams.

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The finely-cast deity seated cross-legged in dhyanasana, with a dhoti falling over the legs, the hands resting in dhyana mudra, wearing loose robes well decorated along the hem with scrolling lotus flowers, draped around the shoulders and open to reveal the bare chest and an inner garment tied at the waist, the eyes slightly downcast with a serene expression flanked by elongated earlobes beneath tight snail shell curls around the protuberant ushnisha, wood stand. 35.5cm (14in) high (2).

Provenance: a distinguished French private collection, and thence by descent; according to the owner acquired in China in the 1950s

NoteCompare with a related silver-inlaid bronze seated figure of Shakyamuni Buddha, Shisou mark, 16th/17th century, illustrated in Sydney L. Moss Ltd., Emperor, Scholar, Artisan, Monk: The Creative Personality in Chinese Works of Art, London, 1984, pp.278-279.

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A large bronze figure of the Medicine Buddha on a lotus stand, 16th century

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Lot 111. A large bronze figure of the Medicine Buddha on a lotus stand, 16th centuryEstimate £5,000 - 8,000Sold for £21,250 (€25,121). Photo: Bonhams.

Heavily cast seated cross-legged in dhyanasana on a lotus pedestal, with downcast eyes forming a meditative face flanked by pendulous ears and beneath a prominent ushnisha, simply attired in a robe with floral hem loosely revealing the chest, the hands in bhumisparsa mudra45cm (17 3/4in) high. (2).

Provenance: an English private collection

NoteCompare with a similar bronze figure of the Medicine Buddha, seated on a lotus pedestal and dated to the 16th century, sold at Sotheby's Paris, 16 December 2015, lot 63.

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A fine and large bronze figure of Vairocana, 16th century

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Lot 112. A fine and large bronze figure of Vairocana, 16th century. Estimate £30,000 - 50,000Sold for £37,500 (€44,332). Photo: Bonhams.

The finely-cast deity seated in dhyanasana with the hands in uttrabhodi mudra, the eyes slightly downcast with a serene expression flanked by elongated earlobes suspending ornate earrings, all beneath blue-painted snailshell curls surrounded by a tall pierced tiara enclosing seated Buddhas and issuing ribbons falling over the shoulders, the elegantly flowing robes revealing a plain chest with a long life symbol. 52.7cm (20 3/4in) high

Provenancea European private collection

NoteConsidered the 'Primordial' Buddha, Vairocana was also deemed the embodiment of the Buddhist concept of Emptiness, sunyata and Encompassing Wisdom, one of the qualities of the Five Dhyani Buddhas, represented on the pointed crown. The uttrabodhi mudra displayed by the figure represents Supreme Enlightenment, a quality possessed by one of the Five Dhyani Buddhas, of which Vairocana was one, the other four being Aksobhya, Ratnasambhava, Amitayus and Amoghasiddhi. The complete group, with Vairocana at the centre, is cast on the pointed crown of the present figure.

Closely-related figures of Vairocana, Ming dynasty, were sold at Sotheby's New York, 16 March 2016, lot 368; and Christie's Hong Kong, 1 June 2011, lot 3770.

A large bronze figure of Vairocana, Ming dynasty

A large bronze figure of Vairocana, Ming dynasty. Sold 237,500 USD at Sotheby's New York, 16 March 2016, lot 368. Photo: Sotheby's

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A magnificent large Ming gilt-bronze figure of Vairocana, Ming dynasty, 16th century. Price realised HKD 11,860,000 (USD 1,531,645) at Christie's Hong Kong, 1 June 2011, lot 3770. © Christie's Images Ltd 2011

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A large gilt-bronze figure of the King of Medicine, Yaowang, 16th-17th century

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Lot 114. A large gilt-bronze figure of the King of Medicine, Yaowang, 16th-17th century. Estimate £25,000 - 35,000Sold for £35,000 (€41,377). Photo: Bonhams.

Finely cast with a long beard and serene downcast gaze beneath an official cap, seated with his right hand resting on his knee, his left hand carrying a gourd, clad in long flowing robes incised with a five-clawed dragon medallion to the chest, another dragon medallion chasing a flaming pearl to the back, ruyi-cloud hems. 34.8cm (13 3/4in) high (2). 

NoteThe present figure appears to be a rare portrayal of Sun Simiao 孫思邈 (AD 581-682), a physician of the Sui/early Tang dynasties, reputed to have served the Tang emperor Taizong. He is typically portrayed holding a double-gourd medicine jar.

Sun Simiao was acclaimed for his significant contribution to the development of Chinese medicine, in particular the compilation of the Beiji Qianjin Yaofang 《備急千金要方》, the first medical encyclopedia in China, in AD 652. He was later deified in the Daoist pantheon, revered as the King of Medicine and as a protective guardian of health in Chinese popular religion.

The double gourd, or hulu (葫蘆), is a close homophone for fulu (福祿), or 'good fortune and prosperity'. According to Daoist beliefs, the double gourd is perceived to contain a micro-universe where Immortals dwell for eternity, thus it is associated with wishes for longevity. 

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A gilt-bronze figure of a Bodhisattva, Qianlong period (1736-1795)

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Lot 117. A gilt-bronze figure of a Bodhisattva, Qianlong period (1736-1795). Estimate £3,000 - 5,000Sold for £18,750 (€22,166). Photo: Bonhams.

Cast standing on a single-lotus pedestal, the bodhisattva portrayed with a benign face beneath an elaborate headdress, dressed in a long robe finely pleated with pendulous U-shaped folds to the chest, the right hand raised in abhaya mudra and the other in varada mudra. 

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A large gilt-lacquered wood figure of a guardian deity, Qing Dynasty

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Lot 119. A large gilt-lacquered wood figure of a guardian deity, Qing Dynasty. Estimate £5,000 - 6,000Sold for £60,000 (€70,932). Photo: Bonhams.

The warrior clad in a finely-carved armour over billowing robes, the midriff with a fierce mythical-beast mask girdle, the left hand resting on his hip, the right hand resting on a sword hilt, the face with a stern expression beneath an elaborate helmet, wood stand. 110cm (43 1/4in) high. (4).

Provenance: an Italian private collection 

Note:  The sword which the figure holds hints that the present lot may be a representation of the guardian deity of the South, Virudhaka (ch: Molihong). The deity of the south is the ruler of the wind and his symbolic weapon is the sword which he carries in his right hand to protect the Dharma and the southern continent.

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A parcel-gilt bronze 'Eight Buddhist Emblems' incense burner, gui, Incised Hu Wenming six-character mark, 17th century

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Lot 121. A parcel-gilt bronze 'Eight Buddhist Emblems' incense burner, gui, Incised Hu Wenming six-character mark, 17th centuryEstimate £8,000 - 12,000Sold for £15,000 (€17,733). Photo: Bonhams.

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The vessel, rising from a high tapering foot with rounded sides curving inwards towards the rim, cast in low relief with the Eight Buddhist Emblems, bajixiang, between scrolling ruyi heads and animated mythical creatures, flanked by loop handles emanating from dragon heads, the base incised with six-character mark reading 'Made by Hu Wenming of Yunjian'. 16.5cm (6 1/2in) wide

Provenance: an Italian private collection 

NoteHu Wenming is considered amongst the most accomplished artisans of the late Ming dynasty. The shape of the incense burner is based on an archaic prototype dating to the Shang or Zhou dynasties. The animated creatures, however, may have been drawn from the 'Classic of Mountains and Seas', Shan Hai Jing, compiled between the 2nd or 3rd century AD, which provided a vast array of motifs employed on later bronze and porcelain vessels.

A bronze incense burner signed by Hu Wenming and decorated with mythical creatures is illustrated in Power and Glory: Court Arts of China's Ming Dynasty, San Francisco, 2008, p.180 fig.111; another, similarly signed and cast with mythical creatures, is in the Phoenix Art Museum, illustrated by R.Mowry, China's Renaissance in Bronze: The Robert H. Clague Collection of Later Chinese Bronzes, Phoenix, 1993, p.69.

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A pair of yellow-glazed saucer-dishes, Guangxu six-character marks and of the period (1875-1908)

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A pair of yellow-glazed saucer-dishes, Guangxu six-character marks and of the period (1875-1908)

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Lot 148. A pair of yellow-glazed saucer-dishes, Guangxu six-character marks and of the period (1875-1908)Estimate £2,000 - 4,000Sold for £3,125 (€3,694). Photo: Bonhams.

Each with shallow rounded sides rising from a short tapering foot, covered overall with a rich lemon-yellow glaze. 10.7cm (4 1/4in) diam. (2).

Provenance: A distinguished European private collection, and thence by descent

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A rare Jun-type glazed figure of Buddha, 18th century, the European ormolu mount 19th century

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A rare Jun-type glazed figure of Buddha, 18th century, the European ormolu mount 19th century

Lot 155. A rare Jun-type glazed figure of Buddha, 18th century, the European ormolu mount 19th centuryEstimate £5,000 - 8,000Sold for £75,000 (€88,665). Photo: Bonhams.

he Buddha rendered with downcast and serene expression beneath blue glazed hair, seated in dhyanasana, the hands raised in front of the chest in auspicious mudra, clad in an bright red robe draped over the shoulders, the exposed skin of the Buddha applied with lacquer and gilt, with ornate metal stand. 28.5cm (11 1/4in) high. (2).

NoteCompare with a related guan-type glazed figure of Buddha, Yongzheng-Qianlong, in the Sir Augustus Wollaston Franks collection (1826-1897), in the British Museum, museum no.Franks.244. It is possible that the present lot would have been part of a set of Buddhas produced in different glazes.

Figure of the Buddha, Gautama, Guan yao type, Qing dynasty, Yongzheng-Qianlong period (1723-1795)

Figure of the Buddha, Gautama, Guan yao type, Qing dynasty, Yongzheng-Qianlong period (1723-1795). Donated by Sir Augustus Wollaston Franks collection (1826-1897), Franks.244. © The Trustees of the British Museum.

Compare also the modelling of a white-glazed figure of Guanyin, inscribed 'Respectfully made by Tang Ying', Qianlong, illustrated in Tianjin Museum, London, 2012, pl.222. Tang Ying (1682-1756), acclaimed as the greatest of all the supervisors of the Imperial Kilns, first came to the kilns as resident assistant in 1728. He was particularly known for his highly successful imitation of early wares; the Jingdezhen tao lu notes that: 'His close copies of famous wares of the past were without exception worthy partners [of the originals]; and his copies of every kind of well-known glaze were without exception cleverly matched ...', translated by R.Kerr in Chinese Ceramics - porcelain of the Qing Dynasty 1644-1911, London, 1986, p.20.

This innovation steeped in tradition by reintroducing earlier glazes of the Song dynasty, such as Jun and Guan are indeed evident in the present lot and the British Museum example mentioned above. The careful modelling of both Buddha examples are similar in their treatment to that of the Tianjin Museum Guanyin.

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

An white-glazed anhua-decorated 'dragons' stem bowl, 18th century

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Lot 158. An white-glazed anhua-decorated 'dragons' stem bowl, 18th century. Estimate £8,000 - 12,000Sold for £5,000 (€5,911). Photo: Bonhams.

The shallow bowl with flared rim supported on a tall hollow splayed stem, the interior deftly incised with two striding dragons, applied overall with a transparent glaze. 10.8cm (4 1/4in) high. 

Provenance: a distinguished European private collection

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A rare blue and white alms bowl and cover, Qianlong period (1736-1795)

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A rare blue and white alms bowl and cover, Qianlong period (1736-1795)

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Lot 204. A rare blue and white alms bowl and cover, Qianlong period (1736-1795), 16.5cm (6 1/2in) diam. (2).. Estimate £12,000 - 15,000Sold for £20,000 (€23,644). Photo: Bonhams.

The bowl of compressed globular form surmounted by a domed cover, the exterior and interior vibrantly painted with dense floral scrolls including lotus and peony blossoms, all wreathed in curling leaves borne on undulating stems, the outer rim bordered with a classic scroll, the cover similarly decorated on the exterior and interior, the outer rim with a classic scroll.  

Provenancean English private collection

NoteCompare with a very similar blue and white alms bowl and cover, Qianlong, which was sold at Sotheby's Hong Kong, 7 April 2015, lot 3111.

A rare blue and white alms bowl and cover, Qing dynasty, Qianlong period (1736-1795)

A rare blue and white alms bowl and cover, Qing dynasty, Qianlong period (1736-1795), 16 cm., 6 1/4  in.. Sold 1,125,000 HKD at Sotheby's Hong Kong, 7 April 2015, lot 3111..  Photo: Sotheby's.

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A pair of famille rose 'Eight Immortals' wine cups, Iron-red Daoguang seal marks and of the period (1821-1850)

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A pair of famille rose 'Eight Immortals' wine cups, Iron-red Daoguang seal marks and of the period (1821-1850)

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 Lot 215. A pair of famille rose 'Eight Immortals' wine cups, Iron-red Daoguang seal marks and of the period (1821-1850). Estimate £3,000 - 5,000Sold for £3,750 (€4,433). Photo: Bonhams.

Of octagonal form with each side depicting one of the Eight Daoist Immortals and their attributes, all above a band of crashing waves, the rims gilt. Each 6.3cm (2 1/2in) diam. (2).  

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A rare and large famille rose porcelain plaque, Daoguang period (1821-1850)

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Lot 216. A rare and large famille rose porcelain plaque, Daoguang period (1821-1850). Estimate £3,000 - 5,000Sold for £31,250 (€36,943). Photo: Bonhams.

Finely enamelled with The Five Ancients gazing at a handscroll depicted with the taiji symbol as young attendants prepare tea, carry books, cups and a zither, below the Hehe Erxian floating in the clouds, all amidst a mountainous landscape with craggy rocks and pine trees, inset within a huanghuali frame on stand. With stand: 114.3cm (45in) high (2).

NoteDelicately enamelled with mythical Daoist imagery and a variety of auspicious flowers and birds, the plaque is imbued with symbolic significance and would have probably been intended as part of a large screen gracing the interior of an Imperial hall. The five figures gazing at the handscroll may symbolise the Five Elements of Wood, Fire, Earth, Metal and Water of the Chinese cosmology, which together with the yin and yang forces, depicted on the handscroll, generated all changes and animated the cosmos.

The brilliant enamels and highly naturalistic facial expressions noted on the present plaque are features characterising porcelain dating to the Jiaqing and Daoguang emperors. Compare with similarly depicted famille rose plaques, inset in a twelve-leaf hardwood screen, Jiaqing/Daoguang, sold at Sotheby's New York, 30 March 2006, lot 190 and the famille rose plaques inset in a twelve-leaf huanghuali screen, Jiaqing, sold in these rooms, 15 May 2014, lot 88.

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A famille rose 'hundred bats' globular trumpet-necked vase, Guangxu six-character mark and of the period (1875-1908)

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A famille rose 'hundred bats' globular trumpet-necked vase, Guangxu six-character mark and of the period (1875-1908)

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Lot 218. A famille rose'hundred bats' globular trumpet-necked vase, Guangxu six-character mark and of the period (1875-1908), 39.5cm (15 1/2in) high. . Sold for £16,250 (€19,210). Photo: Bonhams.

Brightly enamelled with a profusion of iron-red bats in flight amidst multicoloured lingzhi clouds, between a band of ruyi heads at the rim and upright lappets around the foot, divided at the shoulder by a band of lotus sprays alternating with gilt shou characters on the shoulder above a gilt relief border.

Provenance: an English private collection

NoteRepresented in conjunction with the character shou 壽, meaning longevity, and blossoming lotuses, symbolising fertility, bats are homophone with the word for happiness 福. Combined with coloured clouds, symbolic of luck, red bats were also regarded as representing the upper limits of heaven, generating the pun 'Vast happiness piled up to the sky', hongfu qitian 洪福齊天.

Compare with a very similar vase, Guangxu, in the Nanjing Museum, illustrated in China's Jingdezhen Porcelain Through The Ages, Qing Dynasty, Hong Kong, 1998, p.357. 

A similar vase, Guangxu mark and of the period, was sold in these rooms on 17 May 2012, lot 359.

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

Ruby and diamond 'Floral' bangle

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Lot 14. Burmese "Pigeon Blood Red" Ruby and diamond 'Floral' bangle. Estimate HK$850,000 - 1,200,000 (US$109,000 - 154,000)© Tiancheng International

Modelled as floral motifs, the pistils each set with an oval ruby weighing 2.08 and 1.29 carats respectively, the petals decorated with brilliant-cut diamonds extending to the bangle, the diamonds together weighing approximately 9.00 carats, mounted in platinum and 18 karat yellow gold, detachable pendant and brooch fitting, bangle inner circumference approximately 158mm. 

Accompanied by SSEF report numbered 87686, dated 20 September 2016, stating that the 2.08 and 1.29 carat rubies are natural, Red colour of strong saturation, of Burmese origin, with no indications of heating; with comments, stating that 'The colour of these rubies may also be called "Pigeon Blood Red" based on SSEF reference standards.'

NoteTHE PIGEON’S BLOOD RED. Red is an auspicious colour to the Orientals. There are myths and legends about people who wear rubies are blessed with flourishing romance, family harmony and longevity. The Shwedagon Pagoda in Yangon, Burma was liberally crowned with 2317 pieces of rubies upon its restoration. Ancient warriors of Burma were accustomed to embed a ruby into their bodies, symbolising victories, whereas in Ancient China, the wardrobe and headpiece of the emperors and the highestranking officials were adorned with a ruby signifying their distinguished positions during the Qing-dynasty. Since antiquity, rubies have an indispensable imprint in the history of royal jewellery collections across the world. Natural rubies mostly originated in Asia, including Burma, Thailand and Sri Lanka as far as Africa and Australia. Among all, the valley of Mogok in Burma is the most fabled mine in the world. Rubies with true pigeon’s blood red colour are the most precious and treasured. American gemologist, Richard W. Hughes once mentioned, ‘…asking to see the pigeon’s blood is like asking to see the face of God’ in one of his books–A pilgrimage to Mogok – Valley of Rubies. Continuous mining over the millennia has made natural rubies weighing over five carats extremely rare. Most rubies unearthed these days are then treated with heat for quality enhancement but they lost the genuine quality which Mother Nature has brought to our eyes.

Tiancheng InternationalHONG KONG SPRING AUCTION, Jewellery and Jadeite, 4 June · 1 pm

Jadeite and diamond pendant

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Lot 31. Jadeite and diamond pendant.  Estimate HK$450,000 - 950,000 (US$58,000 - 122,000)© Tiancheng International

The pendant set with a rectangular curved jadeite plaque of good translucency and intense emerald green colour, framed by brilliant- and princess-cut diamonds, surmounted by tapered-baguette diamonds, the diamonds together weighing approximately 1.65 carats, mounted in 18 karat white gold. 

Plaque measuring approximately 35.34 x 17.66 x 5.62mm.

Accompanied by Hong Kong Jade & Stone Laboratory report numbered KJ84765, dated 18 March 2014, stating that the jadeite is natural, known in the trade as 'A Jade'.

Tiancheng International. HONG KONG SPRING AUCTION, Jewellery and Jadeite, 4 June · 1 pm

Fine sapphire and diamond ring

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Lot 33. Fine 22.97 carats Burmese "Cornflower Blue" sapphire and diamond ring. Estimate HK$4,500,000 - 5,500,000 (US$577,000 - 705,000)© Tiancheng International

Centring on a cushion-shaped sapphire weighing 22.97 carats, decorated with brilliant-cut diamonds extending to the shoulders, the diamonds together weighing approximately 8.35 carats, mounted in platinum. Ring size: 5¾

According to Gübelin report numbered 16038098, dated 22 March 2016, stating that the 22.97 carat sapphire is natural, Blue colour, of Burmese origin, with no indications of heating; along with an information sheet, stating that 'The demand for natural, unheated sapphires keeps growing while the supply of such gems remains limited, making large, natural sapphires of gem-quality from all major sources (such as Kashmir, Burma (Myanmar), Sri Lanka, Madagascar and Tanzania) difficult to find.'; 

Lotus premium report numbered 8822-2485, dated 17 February 2017, stating that the 22.97 carat sapphire is natural, Blue colour, of intense saturation and medium-deep tone, of Burmese origin, along with a colour type comment, stating that the lively blue colour of this gem earns it the Lotus "Cornflower Blue" distinction;

SSEF report numbered 85091, dated 20 March 2016, stating that the 22.97 carat sapphire is natural, Blue colour of medium strong saturation, of Burmese origin, with no indications of heating;  

10 GIA reports, stating that the diamonds ranging from 0.62 to 0.58 carat are F to G colour, VVS2 to VS2 clarity, 9 with Triple Excellent (Excellent Cut, Polish and Symmetry) and one with Excellent Cut.

Tiancheng International. HONG KONG SPRING AUCTION, Jewellery and Jadeite, 4 June · 1 pm

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