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Ecole flamande du XVIIème siècle, suiveur d'Anton van Dyck, Saint Sébastien

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Ecole flamande du XVIIème siècle, suiveur d'Anton van Dyck, Saint Sébastien. Photo Millon et Associés

Toile, 170 x 115cm. Restaurations - Estimation : 3 000 - 4 000 €

Reprise partielle d'une composition de van Dyck conservée à l'Alte Pinakothek à Münich.

Millon et Associés. Mercredi 6 mars 2013. Drouot Richelieu - Salle 1 et 7 - 9, rue Drouot - 75009 Paris. contact@millon-associes.com - Tél. : 01 47 27 95 34


Christie's to offer fine Chinese carvings and works of art from the Lizzadro Collection

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A Fine White Jade Axe-Form Pendant, 18th-19th Century. Estimate: USD10,000-15,000. Photo: Christie's Images Ltd 2013.

NEW YORK, NY.- On March 21, Christie’s will offer over 100 superb works from A Collecting Legacy: Fine Chinese Jade Carvings and Works of Art from the Lizzadro Collection. Joseph Lizzadro (1898–1972) was Italian by birth, who emigrated with his father to the United States in the early 1900s. Following his move to Illinois, Lizzadro worked his way up from a laborer at the Meade Electric Company, and eventually was appointed Chairman of the Board. Lizzadro took up the art of lapidary and began his lifelong passion and fascination with Chinese jade and hardstone carvings. Over the years, his collection grew and he expressed interest in sharing “with others our enjoyment of the eternal beauty in gem stones and our appreciation of the art with which man has complemented the work of nature.” 

Lizzadro’s dream was realized on November 4, 1962, when the Lizzadro Museum of Lapidary Art opened its doors to the public in Elmhurst’s Wilder Park. The collection continues to grow under the discerning eye of his son, John Lizzadro, Sr., who shares his father’s passion for Chinese carving. The museum now houses more than 200 pieces of jade and other hardstones, including pieces of international importance. It also displays exhibits explaining the evolution of these stones, especially jade, while also celebrating the art of the lapidary.

Christie's to offer fine Chinese carvings and works of art from the Lizzadro Collection A Well-Carved White Jade Ruyi Scepter, Qianlong/Jiaqing period, 1736-1820, 15 3/8 in. (39 cm) long. Estimate: $200,000-300,000. Photo: Christie's Images Ltd 2013. NEW YORK, NY.- On March 21, Christie’s will offer over 100 superb works from A Collecting Legacy: Fine Chinese Jade Carvings and Works of Art from the Lizzadro Collection. Joseph Lizzadro (1898–1972) was Italian by birth, who emigrated with his father to the United States in the early 1900s. Following his move to Illinois, Lizzadro worked his way up from a laborer at the Meade Electric Company, and eventually was appointed Chairman of the Board. Lizzadro took up the art of lapidary and began his lifelong passion and fascination with Chinese jade and hardstone carvings. Over the years, his collection grew and he expressed interest in sharing “with others our enjoyment of the eternal beauty in gem stones and our appreciation of the art with which man has complemented the work of nature.” Lizzadro’s dream was realized on November 4, 1962, when the Lizzadro Museum of Lapidary Art opened its doors to the public in Elmhurst’s Wilder Park. The collection continues to grow under the discerning eye of his son, John Lizzadro, Sr., who shares his father’s passion for Chinese carving. The museum now houses more than 200 pieces of jade and other hardstones, including pieces of international importance. It also displays exhibits explaining the evolution of these stones, especially jade, while also celebrating the art of the lapidary.

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A Well-Carved White Jade Ruyi Scepter, Qianlong-Jiaqing period, 1736-1820; 15 3/8 in. (39 cm) long. Estimate: $200,000-300,000. Photo: Christie's Images Ltd 2013

Ruyi means `as one desires,' and is associated with expressions such as jixiang ruyi, “may all your good fortunes be fulfilled.” These ruyi scepters were known to have been commissioned by Qing emperors either to commemorate birthdays or to be bestowed as birthday gifts. This well-carved scepter is adorned with a fruiting and flowering double-gourd vine, an important symbol in Chinese art and culture as it represents several auspicious meanings. With its numerous seeds, the double gourd is a symbol of fertility, particularly for male children, as the word for “seed” shares the same pronunciation as `son.' The word for gourd (hulu) is also a pun for `good fortune' (fu) and `emolument' (lu) combined

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A White Jade Archaistic Openwork Plaque. Qianlong Four-Character Inscribed Mark And Of The Period (1736-1795; 41/8 in. (10.2 cm) high. Estimate: $80,000-120,000. Photo: Christie's Images Ltd 2013

Carved in the 18th century, a magnificent white jade archaistic openwork plaque likely credits its design to Han dynasty (206 BC - AD220) prototypes. Many pieces that were produced in the Qianlong reign, including this plaque, were slightly modified to suit the prevailing taste of the Emperor. The plaque depicts a pair of dragons with contorted bodies flanking a ring dividing the three characters of the phrase yi zisun, which translates to “blessings for future generations.” 

A large majority of archaistic jades from the Qianlong period were in essence carved in imitation of jades and bronze vessels from the Shang to Han dynasty, and many pieces that were produced in the Qianlong reign were slightly modified to suit the prevailing taste of the Emperor. The design of the present plaque is based on Han dynasty prototypes, such as the Western Han dynasty openwork plaque of similar shape in the Qing Court collection illustrated in The Complete Collection of Treasures of the Palace Museum - 40 - Jadewares (I), Hong Kong, 1995, p. 257, no. 215. Also illustrated, pp. 258-9, no. 216, is another plaque carved as a bi surmounted by the characters yi shou (for the benefit of longevity) carved in openwork.
An excavated plaque, very similar in design to the present plaque, which is dated to the Qianlong period, which also incorporates the three characters yi zi sun in the design, is in the National Museum of China, Beijing, and illustrated in Zhongguo guojia bowuguan guancang wenwu yanjiu congshu - yuqi juan, Shanghai, 2007, p. 340, no. 281. Another, of similar type, in the Qing Court collection, which incorporates the four characters, changyi zisun in the lower section, is illustrated in The Complete Collection of Treasures of the Palace Museum - 42 - Jadewares (III), Hong Kong, 1995, p. 158, no. 127. A Qianlong period plaque, very similar to this latter plaque, in the Oscar Raphael Collection is illustrated by James C.S. Lin in "The Collection of Qing Dynasty Jades in the Fitzwilliam Museum", Arts of Asia, May - June 2010, p. 114, no. 14. It, too, is carved with the four characters changyi zisun and inscribed liangzi yibai liushiba hao (liang-character series no. 168).
Three further plaques of this type have been sold at auction. The first, carved with four characters changyi zisun, inscribed with the same reign mark in li shu, clerical script, on the outer edge, and numbered renzi qishijiu hao (ren-character series no. 79), was sold at Christie's New York, 16 September 2010, lot 1094. The second, inscribed with the mark zhizi yibailiushijiu hao(zhi-character series no. 169), was sold at Sotheby's Hong Kong, 27 April 2003, lot 3, and was later included in the exhibition, A Romance with Jade from the De An Tang Collection, Palace Museum, Beijing, 2004, no. 21. The third, with the characters yangzi erbai hao (yang-character series no. 200), from the collection of L. de Luca, was sold at Sotheby's, Hong Kong, 8 April 2011, lot 2805.

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A Very Rare Pale Greyish-Green And Brown Jade Bowl Liao/Yuan dynasty (10th-13th century BC) 6 in. (15.3 cm) diam. Estimate: $80,000-120,000. Photo: Christie's Images Ltd 2013

Both the shape of this extremely rare bowl and the type of dragon carved around the sides are highly unusual for a jade bowl of this period. The particular type of dragon depicted here, with its long snout, long sweeping horns, fierce expression, wildly undulating body and curved scimitar-like claws, was used as decoration on various mediums from the Tang through the Yuan dynasty.

A rare and important 'Ding' bowl, Northern Song Dynasty

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A rare and important 'Ding' bowl, Northern Song Dynasty - Sotheby's

the finely potted body of slightly rounded and steep flared form rising from a short spreading foot to an upright rim, deftly carved to the interior with scrolling leafy lotus sprays, the exterior carved and molded with three rows of overlapping upright leaves, applied overall with an even ivory-colored glaze with characteristic teardrops at the base, the rim of the bowl and the footrim left unglazed showing the fine compact body beneath. Diameter 5 3/8  in., 13.4 cm -   Estimation: 200,000 - 300,000 USD

NOTE: The present bowl displays all the characteristics attributed to the finest ‘Ding’ wares known in museum and private collections. Celebrated for their thin potting, fine near-white body and an ivory-colored glaze which tends to run down in somewhat darker ‘tears’, ‘Ding’ wares were ranked among the ‘five great wares’ of the Song a term coined by collectors of the Ming and Qing dynasties. The high quality of the potting seen here is evident in the feather light weight of the bowl with the carved walls especially thin and delicate. The whiteness of the body is also special, as is the case with most ‘Ding’ wares, it did not require the application of a slip to appear white after firing. The glaze is expertly applied with the incised lotus spray design seen in the interior of the bowl in harmony with the overlapping leaves applied to the exterior of the piece. ‘Ding’ designs generally display a high level of naturalness and fluidity, however, the maker of this bowl appears to have bee  particularly skilled at rendering his lines in a spontaneous manner, creating a decoration that is especially free in style. The shape of the bowl is also worth noting as, while rare amongst ‘Ding’ bowls, the type is known from silver examples of the Song period. For example, see a bowl illustrated in Zhongguo jin yin poli falangqi quanji, vol. 2 (2), Shijiazhuang, 2000, pl. 261, together with another silver bowl of more rounded body but the exterior molded with layers of overlapping upright leaves, reminiscent of that seen on this bowl, pl. 262.

Only one other bowl of the same form, size and almost identical decoration is known; the piece in the British Museum London, published in The World’s Great Collections. Oriental Ceramics, vol. 5, Tokyo, 1981, pl. 57. This bowl was bequeathed to the museum in 1947 by Henry J. Oppenheim, together with a small number of other ‘Ding’ pieces, including a plain dish with foliate rim, pl. 62, and a bowl with molded decoration of boys and flowers, pl. 61.

The kiln site identified with ‘Ding’ ware is located at Quyang in Ding county, Hebei province. This was an area formerly known as ‘Dingzhou’. ‘Ding’ production consisted mostly of small utilitarian wares such as dishes and bowls, generally left in their natural form undecorated in 10th and early 11th century. From the late 11th century and early 12th century they are increasingly incised and carved and later through the thirteenth century mold-impressed and densely patterned. Rose Kerr in her work on the collection of Song ceramics in the Victoria and Albert Museum, London, mentions that the ‘fact that Ding ware was an official ware made one feature of its decoration especially pronounced. This was its tendency to mimic other, more precious materials such as gold and silver, huge quantities of which were stored in palace treasures’. See Rose Kerr, Song Ceramics, London, 1982, p. 102, for further information.

Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 19 mars 2013 - www.sothebys.com

A small carved 'Ding' bowl, Song dynasty

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A small carved 'Ding' bowl, Song dynasty - Sotheby's 

of deep form with rounded sides rising to a metal-bound rim, freely carved on the interior with a lotus spray, covered overall with a creamy ivory-white glaze. Diameter 3 5/8  in., 9.2 cm - Estimation: 4,000 - 6,000 USD

Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 19 mars 2013 - www.sothebys.com

Miroir à parecloses, Venise, seconde moitié du XVIIIe siècle

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Miroir à parecloses, Venise, seconde moitié du XVIIIe siècle. photo Kohn

Bois doré et glace. H. 191 cm, L. 84 cm - Estimation : 40 000 / 50 000 €

Ce miroir à parecloses en bois sculpté et doré, caractéristique des oeuvres vénitiennes du XVIIIe siècle, a pu conserver ses glaces d'origine.

Le miroir central est encadré par des montants droits qui se chantournent en partie haute et basse.

Les parecloses reçoivent un délicat décor de fleurs et fleurettes venant en applique.

L'amortissement est centré d'une large rosette.
Deux feuilles d'acanthe affrontées émergent des épaulements et s'épanouissent au sommet pour encadrer un médaillon finement sculpté d'un gentilhomme, coiffé d'une superbe perruque.

Ce personnage, à l'allure fière, est vêtu d'une armure. Oeuvre de commande, ce miroir témoigne de toute la majesté de son commanditaire.

Kohn. Mardi 5 mars 2013. Hôtel Le Bristol - Salon Castellane - 112, rue du Faubourg Saint Honoré– 75008 Paris - www.kohn.com

Coffret au chiffre d'un membre de la famille Chigi, Rome, vers 1700

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Coffret au chiffre d'un membre de la famille Chigi, Rome, vers 1700. photo Kohn

Ecaille teinté, verre églomisé or sur fond noir et bois doré. H. 23 cm, L. 46 cm, P. 42 cm - Estimation : 70 000 / 100 000 €

Ce rare coffret présente un superbe décor réalisé selon la technique du verre églomisé or sur fond noir, visible sur chacune des faces et le couvercle.
En façade se détachent les armes de la célèbre famille Chigi, dont certains membres occupèrent les plus hautes fonctions civiles et religieuses dans la ville de Rome.

Elles se composent de deux angelots évoluant au milieu de rinceaux et de feuilles d'acanthe.
Au centre, une couronne ouverte surmonte un monogramme « MC ».

Le décor végétal se retrouve sur le couvercle à pans où s'y mêlent des masques de grotesque.
Chaque panneau de verre est encadré d'un placage d'écaille.

Une riche ornementation de bois doré souligne les arêtes du coffret.

Il repose sur quatre pieds terminés par une épaisse feuille d'acanthe.

L'intérieur est tendu de soie vieux rose.

La provenance prestigieuse indiquée par le monogramme ajoute à la très grande rareté et la qualité de cet objet. Connu depuis l'Antiquité, la technique du verre églomisé (nom qui n'apparaîtra qu'au XVIIIe siècle) remporta un grand succès, mais sur une très courte période, au tournant du XVIIe et du XVIIIe siècle. Grâce à cette technique, les artistes souhaitaient rivaliser avec les décors des grands marqueteurs de l'époque tels André-Charles Boulle.
Très proche du grand style Louis XIV, le grand goût du baroque italien se manifeste notamment au niveau des pieds composés d'une large volute.

Kohn. Mardi 5 mars 2013. Hôtel Le Bristol - Salon Castellane - 112, rue du Faubourg Saint Honoré– 75008 Paris - www.kohn.com

An unusual white-glazed fluted cupstand, Five Dynasties - Sotheby's

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An unusual white-glazed fluted cupstand, Five Dynasties - Sotheby's

of circular section, supported on a wide splayed base, the tray with high fluted sides, enclosing the central bud-form pedestal with petal-grooved sides from a collar of emerging ruyi lappets, covered overall in a translucent ivory-colored glaze pooling to an olive-green along the base and foot. Diameter 5 1/8  in., 13 cm - Estimation: 6,000 - 8,000 USD

NOTE: A similar example of this rare and distinctive form was sold in our London rooms, 7th June 1981, lot 223.

Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 19 mars 2013 - www.sothebys.com

Two white-glazed foliate dishes, Five Dynasties

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Two white-glazed foliate dishes, Five Dynasties - Sotheby's

each dish molded with steep, slightly flared, fluted sides and supported on a slightly splayed foot of wedge section, the body covered in a vitreous white glaze, one base with unglazed section revealing the body turned a buff color in firing (2). Diameter 4 1/2  in., 11.4 cm - Estimation: 10,000 - 15,000 USD

PROVENANCE: Collection of Gale R. Blosser (1913-2009), acquired at Kalk Bay Antiques, Cape Town, 1970s.

NOTE: A dish of this form, glaze and dimension excavated from Bin County Shaanxi Province is illustrated in Yaoci tulu, Beijing, 1957, pls. 28 and 29.

Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 19 mars 2013 - www.sothebys.com


Gu Wenda, China Park - #3 River

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Gu Wenda, China Park - #3 River.Photo Christies Image Lt 2013

Ink on paper, 180 x 180 cm. (70 /8 x 70 7/8 in.). Executed in 2011.

Chinese Contemporary Ink. Christie's Private Sale. Contact: Carmen Shek, Associate Specialist. Hong Kong: +852 2760 1766 - New York: +212 484 4894 - Email cshek@christies.com

Gu Wenda, China Park - #3 Mountain Range

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Gu Wenda, China Park - #3 Mountain Range.Photo Christies Image Lt 2013

Ink on paper, 180 x 180 cm. (70 /8 x 70 7/8 in.). Executed in 2011.

Chinese Contemporary Ink. Christie's Private Sale. Contact: Carmen Shek, Associate Specialist. Hong Kong: +852 2760 1766 - New York: +212 484 4894 - Email cshek@christies.com

Gu Wenda, China Park - #3 Pine & Cypress

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Gu Wenda, China Park - #3 Pine & Cypress.Photo Christies Image Lt 2013

Ink on paper, 180 x 180 cm. (70 /8 x 70 7/8 in.). Executed in 2011.

Chinese Contemporary Ink. Christie's Private Sale. Contact: Carmen Shek, Associate Specialist. Hong Kong: +852 2760 1766 - New York: +212 484 4894 - Email cshek@christies.com

Gu Wenda, China Park - #3 Wind & Rain

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Gu Wenda, China Park - #3 Wind & Rain.Photo Christies Image Lt 2013

Ink on paper, 180 x 180 cm. (70 /8 x 70 7/8 in.). Executed in 2011.

Chinese Contemporary Ink. Christie's Private Sale. Contact: Carmen Shek, Associate Specialist. Hong Kong: +852 2760 1766 - New York: +212 484 4894 - Email cshek@christies.com

Gu Wenda, China Park - #3 Emperor

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Gu Wenda, China Park - #3 Emperor.Photo Christies Image Lt 2013

Ink on paper, 180 x 180 cm. (70 /8 x 70 7/8 in.). Executed in 2011.

Chinese Contemporary Ink. Christie's Private Sale. Contact: Carmen Shek, Associate Specialist. Hong Kong: +852 2760 1766 - New York: +212 484 4894 - Email cshek@christies.com

16th century Ottoman Iznik masterpeices return to Mayfair after a century for sale at Bonhams

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Vases bought by Bank of England deputy governor link Cornwall and Cambridge to the Ottoman Empire. Photo: Bonhams

LONDON.- Two rare Iznik bottles from the golden age of the Ottoman Empire will return to New Bond Street in Mayfair after nearly a century when they are auctioned at Bonhams next Indian and Islamic sale on April 23 for an estimated £150,000. 

The bottles were previously sold by the well-known antiques dealer Frank Dickinson from his gallery at 104 New Bond Street in January 1919 for what was then the huge sum of £501 10s. The buyer was Leonard Daneham Cunliffe, the Deputy Governor of the Bank of England, co-founder of the merchant bank Cunliffe Brothers, a Director of the Hudson Bay Company and a major investor in Harrods. Cunliffe, whose tastes were eclectic, but always with a great eye for quality, used his ever expanding collection of antiques to decorate his various homes, which included properties at 109 Eaton Square and a neo-classical country house, Trelissick House, near Truro. When Cunliffe died in 1937, the major part of his vast collection of Renaissance bronzes, paintings, Chinese ceramics, Limoge enamels, furniture and paintings, was bequeathed to the Fitzwilliam Museum in Cambridge. 

Trelissick House and the Iznik bottles passed to his step-daughter Ida Copeland, and they have remained there until recently. Ida’s husband, Ronald, was the president of Copeland and Spode, the well-known English ceramics company based at Stoke-on-Trent. In 1931, Ida stood successfully against Sir Oswald Mosely and won the seat as Conservative MP for Stoke, which she held until 1935. In 1955 Ida gave 376 acres of Trelissick gardens, parkland and woods to the National Trust, retaining the house itself for the Copeland family. 

The bottles, originally purchased as ‘Rhodian’ bottles, wrongly named after the Greek island of Rhodes, where a large number of Ottoman Turkish Iznik ceramics were found, appeared on a number of inventories after their acquisition in 1919, variously described as Persian and only being identified as Iznik dating to circa 1575 recently. With their bold and colourful floral designs, they are expected to sell at Bonhams salerooms at 101 New Bond Street, just three doors down from the antiques gallery where they were bought by Leonard Cunliffe. 

Alice Bailey, Head of Bonhams Islamic Department, says: “To find one Iznik bottle of this type from the second half of the 16th century is very rare, but to come across two splendid examples in the same English collection is astonishing. The market for important Iznik ceramics is very strong, particularly amongst Turkish collectors, and these pieces are certainly worthy of a major collection or institution.” 

The contents of Trelissick House, the Copeland family home, including the Spode-Copeland Collection of ceramics, will be sold by Bonhams on-site as a single owner house sale on 23rd and 24th July 2013. In scope, scale and importance, the collection of Spode is unrivalled in private hands. The sale will also include fine English and French furniture, Chinese porcelain, silver, wine, books and paintings, including a collection of John Frederick Herring Snr paintings originally commissioned by the Copeland family in the 19th century. Held in the picturesque setting of Trelissick House, the house sale will be a major event in Bonhams summer schedule of sales. 

German museum Staatsgalerie Stuttgart returns painting of the Virgin and Child looted by Nazis

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The Virgin and Child, a painting attributed to the Master of Flemalle. "For the first time in the 10 years history of the Max Stern Art Restitution Project, a German museum has returned a work, a painting of the Virgin and Child, to the estate of the late German-Canadian art dealer of Jewish heritage, lead by Concordia University in Montreal, Canada." AFP PHOTO.

MONTREAL (AFP).- A German museum for the first time on Tuesday returned a painting despoiled by the Nazis to the estate of a late German Jewish art dealer. 

Concordia University in Montreal, acting on behalf of the executors of the estate of Max Stern (1904-1987), announced Staatsgalerie Stuttgart's restitution of an early Northern Renaissance painting belonging to Stern. 

Clarence Epstein, who leads the restitution project, received the painting at a ceremony at the Canadian embassy in Berlin. He was accompanied by Canadian Immigration Minister Jason Kenney. 

The painting of the Virgin and Child, attributed to the Master of Flemalle (1375-1444), identified by historians as Robert Campin, was donated to the Stuttgart museum after the Second World War. 

"This work is important because, first of all, it's an early Renaissance painting. Early Renaissance paintings are not very frequently on the market, particularly if you can look at the market today. They are highly praised and highly sought after works," Epstein told AFP.

"And Campin was one of the most important painters of his time in Europe," he added. 

Since 2003, Concordia has sought to recover more than 400 paintings lost to Stern at the hands of the Nazis through a forced sale in 1937. 

Stern himself shuttered his Dusseldorf gallery in December of that year, and fled to London before settling in Canada. While in London he was forced to liquidate even more paintings, including the Virgin and Child, in order to buy a German exit visa for his mother. 

He would go on to become one of Canada's most important art dealers and collectors. 

The bulk of his estate following his 1987 death was bequeathed to Concordia, McGill University in Montreal, and Hebrew University in Jerusalem. 

The Stuttgart recovery comes on the 100th anniversary of the founding of the Stern Gallery in Dusseldorf by Max Stern's father, Julius. 

It is the tenth return in ten years for the restitution project, and its recovery is thanks to researchers at Staatsgalerie Stuttgart and the Holocaust Claims Processing Office of the New York State Department of Financial Services, which has taken an active role in pursuing Stern claims since the inception of the project.

"We uncovered very important archival documents that convinced the State of Baden-Wurttemberg that this claim was very solid," explained Epstein.

The documents helped researchers connect the work to a family that owned it just prior to Stern and proved that he was the owner "during the Nazi era, and how he lost it under duress even while he was not in Germany because he was being extorted for money by the (German) national socialist government for the purpose of buying his mother out of Germany.

"So we now have the whole paper trail that was uncovered in the last two to three years."

Epstein said German government funding for its museums to investigate the origins of their artworks was crucial too. These earmarked monies, however, are insufficient "bearing in mind that we are in the heart of a country that was at the heart of this issue (and so) the chances of identifying problematic works is incredibly high in almost every museum in Germany," he said.

Also, "there is still a lot of work to be done with private museums in Germany," he said. "We currently have about 40 paintings on our radar." Concordia president Alan Shepard opined that "the most immediate challenge lies in encouraging a number of other museums currently in possession of Stern paintings to follow the lead of the Staatsgalerie." By: Jacques Lemieux © 1994-2013 Agence France-Presse


First exhibition in over two decades to trace Caravaggio's impact on European art opens in Hartford

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Michelangelo Merisi da Caravaggio, Saint Francis of Assisi in Ecstasy, 1594-1595, Oil on canvas, 92.4 x 127.6 cm, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1943.222.

 HARTFORD, CT.- The Wadsworth Atheneum Museum of Art will bring together five of Caravaggio’s extraordinary paintings in an exhibition that traces his tremendous influence on seventeenth–century European art. Burst of Light: Caravaggio and His Legacy will also include nearly fifty paintings by his followers, known as “Caravaggisti”, including masterworks by artists such as Gentileschi, Ribera, Zurbarán and Sweerts. On view from March 6 – June 16, 2013 at the Wadsworth Atheneum, Burst of Light is the first exhibition in more than 25 years to explore the legacy of this Italian Baroque master. 

“We are thrilled to present five original Caravaggio paintings at the museum, providing a rare opportunity for our visitors to experience these masterpieces collectively and in the context of Caravaggio’s followers,” said Susan L. Talbott, Director and CEO, Wadsworth Atheneum. “The exhibition will include the Wadsworth’s own Caravaggio painting, Ecstasy of St. Francis, which was the first Caravaggio work acquired by an American museum in 1944. Painted by the youthful Caravaggio in 1595, it is one of the earliest works in which the revolutionary aspects of Caravaggio’s style are evident.” 

Burst of Light will bring together five works by Caravaggio: the Wadsworth’s Ecstasy of St. Francis, Martha and Mary Magdalen from the Detroit Institute of Arts, Salome Receives the Head of St. John the Baptist from the National Gallery in London, The Denial of St. Peter from the Metropolitan Museum of Art (through April 29), and Saint John the Baptist in the Wilderness from the Nelson-Atkins Museum of Art. 

Caravaggio developed a highly distinctive style during his short but influential career, including the use of dramatic lighting, realistic detail, emotionally compelling compositions, and religious themes. Many artists throughout Europe integrated aspects of Caravaggio’s style into their own work, a school of artists who are known as “Caravaggisti.” Burst of Light will feature 30 works by French, Flemish, Italian, and Spanish painters who were influenced by Caravaggio. 

The exhibition was co-organized by the Wadsworth Atheneum, the Musée Fabre, Montpellier, the Musée des Augustins, Toulouse, and the Los Angeles County Museum of Art under the auspices of FRAME, (French Regional American Museum Exchange) a consortium of 26 museums in France and North America that promotes cultural exchange in the context of museum collaborations. Elements of the exhibition opened simultaneously at the two French museums in June 2012, and a version of the combined exhibitions was on view at the Los Angeles County Museum of Art from November 11, 2012 – February 10, 2013, before making its final stop at the Wadsworth Atheneum. 

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Simon Vouet, Saint Jerome and the Angel, c. 1622, Oil on canvas 144.8 x 179.8 cm; Frame 165.1 x 204.5 x 7.3 cm. National Gallery of Art Washington, D.C., Samuel H. Kress Collection, Photo © 2012 National Gallery of Art, Washington, D.C.

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Michelangelo Merisi, called Caravaggio (1571 - 1610), Saint John the Baptist in the Wilderness, (1604 - 1605), oil on canvas. Height: 1,727.2 mm (68 in). Width: 1,320.7 mm (52 in). Nelson-Atkins Museum of Art,  Kansas City, Missouri, William Rockhill Nelson Trust, 52-25. hoto Courtesy of the Nalson Atkins Museum of Art by Jamison Miller.

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Carlo Saraceni, The Martyrdom of St. Cecilia, c. 1610, Oil on canvas, 135.89 x 98.425 cm, Los Angeles County Museum of Art, Gift of the Ahmanson Foundation (AC 1996.37.1), Photo © 2012 Museum Associates/ LACMA.

Petit coupe papier en or rose et or jaune ciselé 14 K

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Petit coupe papier en or rose et or jaune ciselé 14 K (585 millièmes).  Photo Osenat Fontainebleau

serti de quatre très petits rubis au pourtour. La prise en jade néphrite. Travail russe de Saint Petersbourg réalisé avant 1896 et attribuéà Karl Fabergé, car portant le poinçon de Michael Perchin, chef d'’atelier de Karl Fabergé entre 1886 et 1903 ainsi qu’un numéro de stock gravéà la pointe (50847). Poids brut : 24 g. Longueur : 13,6 cm. Estimation: 3000 - 4000 €€

Provenance : Collection de la Princesse Mathilde Bonaparte -Demidoff. Figure sous le numéro 431.

Osenat Fontainebleau. Collection du prince Victor NAPOLéON et de la Princesse Clémenti. Dimanche 24 mars à 14h30 à Fontainebleau. 5, rue Royale, 77300 Fontainebleau. Tél. : 01 64 22 27 62 - Fax : 01 64 22 38 94 - contact@osenat.com

Très importante garniture de trois vases d' Augustus Rex , circa 1730 en porcelaine de Meissen. Vers 1728-1733

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Très importante garniture de trois vases d' Augustus Rex , circa 1730 en porcelaine de Meissen. Vers 1728-1733Photo Osenat Fontainebleau

à décor polychrome d'«indianische blumen». Elle comprend un vase couvert de forme ovoïde avec deux oiseaux posés sur une branche de bambou, sur l'autre face une grue posée sur un tertre et au dessus un phénix en vol. Au col, feuillages et fleurs et à la base, trois réserves de pivoines bordées d'un filet vert. Ces réserves se détachent sur un fond de pétales ocres ornées de pivoines violines et rouges. Filets or sur les bords. Prise du couvercle en forme de bouton à fond or. Les deux vases cornets à renflement sont décorés d'un oiseau posé sur une branche de bambou entouré de pivoines et sur l'autre face d'un phénix en vol. Au col, un oiseau branché entouré de pins, de fleurs de prunus, de chrysanthèmes, de papillons et d'un oiseau en vol. A la base, trois réserves avec fleurs de prunus, pins, pivoines et rochers fleuris bordées d'un filet or. Ces réserves se détachent sur un fond de quadrillés rouges et violines, agrémentés de pivoines. Les trois vases sont marqués AR en bleu sous émail. Vers 1728-1733. Hauteur du vase couvert: (A) 55,5 cm. Hauteur des deux vases: (B) 47 cm et (C) 46 cm. Estimation: 100 000 / 150 000 €

Provenance : Probablement commandées pour le palais Japonais de Dresde par Auguste II, roi de Pologne. Collection de la Marquise de Parabère, maîtresse du Régent. Depuis lors, dans sa descendance.

Exposition : Musée National de Céramique à Sèvres « Porcelaines de Saxe » du 4 juillet au 1 septembre 1952 , sous le numéro 64.

Depuis la Renaissance, la beauté de la porcelaine extrême-orientale exerçait sur les cours européennes une telle fascination qu'on lui attribuait même des pouvoirs magiques. Auguste II, dit le Fort, électeur de Saxe et roi de Pologne n'échappait pas à cette passion pour la porcelaine. Lors de son grand tour à travers l'Europe, il fut très certainement influencé par la beauté des cabinets de porcelaine des princes européens, par la cour de Versailles et par les châteaux royaux d'Oranienburg et de Charlotteburg en Prusse. A Amsterdam, le comte Pietro Roberto von Lognasco (1659-1742) fournissait ce dernier par séries et services entiers de porcelaines de Chine et du Japon, qui avaient été acheminés par la Compagnie unie des Indes orientales aux Pays-Bas. Auguste le Fort était probablement un de leurs plus importants clients. Sa passion allait devenir légendaire avec l'échange au printemps 1717 d'un régiment de six cents cavaliers saxons offerts à Frédéric-Guillaume 1er de Prusse, en contrepartie d'une livraison de cent cinquante et une pièces de porcelaine bleue de Chine provenant des riches collections d'Oranienburg et de Charlottenburg. Les dépenses de l'Electeur de Saxe étaient si somptuaires, il lui en coûta 1.000 000 thalers lors des premières années de son règne (1697-1733), que l'on en vint à comparer la porcelaine à un «bol sanglant de la Saxe». En 1726, Auguste le Fort écrivait au comte Flemming; «Ne savez-vous pas qu'il en est des oranges comme des porcelaines, que ceux qui ont une fois la maladie des unes ou des autres ne trouvent jamais qu'ils en aient assez et que plus ils en veulent avoir». Il devint urgent à l'Electeur de Saxe de trouver la bonne formule de cette pâte pour fonder une manufacture qui pouvait se substituer à ces porcelaines extrême-orientales si onéreuses; La recherche de l'or demeurait également une préoccupation essentielle pour ce prince avide de pouvoir et de richesses. Alerté des connaissances en alchimie d'un certain prussien Johann Friedrich Böttger, il décida manu militari, d'emprisonner ce dernier successivement dans un château à Dresde puis à Meissen afin que son protégé puisse y poursuivre dans le plus grand secret ses recherches sur l'or. Aidé du mathématicien et physicien von Tschirnhauss (1651-1708), les aléas de ses expériences le conduiront contre toute attente à la découverte en 1709 de la formule de la porcelaine dure. Cette nouvelle «porcelaine blanche» réunissait les qualités tant recherchées de la porcelaine extrême-orientale; blancheur dans la masse, transparence de la pâte et une couverte très dure qui justifiait son appellation de porcelaine dure. Les monts Métallifères de la Saxe possédaient des gisements de cette argile blanche, le kaolin qui permettait cette nouvelle formule révolutionnaire. Convaincu par les résultats des expériences de Böttger, Auguste le Fort fondait le 23 janvier 1710 la manufacture de porcelaine de Dresde, transférée quelques mois plus tard pour des raisons de sécuritéà Meissen. La direction artistique fut confiée à l'orfèvre de la cour de Dresde, Johann Jakob Irminger (1635-1724). On doit au peintre Johann Gregorius Höroldt (1696-1775), venu de Vienne en 1720, l'application des couleurs «petit feu», des fonds colorés, des chinoiseries et des «indianische Blumen» d'inspiration japonaise. A partir de la deuxième moitié des années 1720, la marque bleue des épées entrecroisées apparaîtra en grande majorité sur l'ensemble des objets sortis des fours. En ce qui concerne la marque AR, elle fut appliquée à partir des années 1720 sur les pièces commandées par Auguste le Fort, plus particulièrement sur les vases et cela jusqu'à la mort d'Auguste III en 1756.

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Frédéric-Auguste de Saxe, dit « le Fort ».

 

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Parallèlement et à l'imitation des Empereurs japonais et chinois, qui selon l'imaginaire de l'époque vivaient dans des palais en porcelaine, Auguste le Fort dans sa volonté de suprématie décide de transformer en 1727 le palais hollandais de Dresde en un gigantesque château des porcelaines, appelé dès lors «Palais Japonais». Ce premier bâtiment dit hollandais fut probablement construit en 1715 par le comte Flemming à la demande du roi et vendu à ce dernier en 1717. Son appellation faisait référence à la porcelaine et aux objets hollandais qui y étaient abondamment présentés. La construction d'un deuxième «palais japonais» sur les fondations du premier est probablement le projet le plus ambitieux d'Auguste le Fort car sa portée devait être non seulement esthétique mais également politique et avait pour vocation d'être ouvert au public. Ce palais comportait 32 pièces, disposées suivant l'étiquette de la cour. La couleur utilisée pour chacune des pièces symbolisait une qualité ou un état: le rouge représentait le pouvoir, le vert l'humilité, le jaune la splendeur, le bleu la divinité et le pourpre l'autorité. La disposition des porcelaines n'obéissait pas qu'aux seuls critères esthétiques mais répondait aussi à des principes scientifiques. La provenance était prise en compte, séparant les porcelaines extrême-orientales du rez-de-chaussée de celles de la manufacture de Meissen disposées à l'étage supérieur; habile manière pour souligner la suprématie de cette dernière sur sa rivale extrême-orientale. Dans cette volonté de souligner l'hégémonie de la Saxe, le programme iconographique du plafond de la galerie de l'Elbe représentait l'allégorie de la Saxe faisant face à celle du Japon, laquelle était couronnée par Minerve pour l'excellence de ses porcelaines tandis qu'une personnification de la jalousie et du dépit contraignait le Japon à renvoyer ses vases en Extrême-Orient. Un grand nombre de pièces, 35 798, avaient été commandées à la manufacture de Meissen et devaient être présentées sur toutes les surfaces disponibles voire même devaient être disposées sur des consoles et des appliques ou enchâssées dans les motifs de plâtre ou de stuc du décor. Malheureusement, avec la mort d'Auguste le Fort le 1er février 1733, ce projet si d'ambitieux et d'un raffinement à l'image de son instigateur resterait inachevé.

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Philippe de France, duc d'Orléans appelé aussi Philippe d'Orléans.

 

La Marquise de Parabère Marie-Madeleine de Parabère, fille du marquis de la Vieuville, gouverneur du Poitou, et de Marie-Louise de la Chaussée d'Eu, dame d'atours de la duchesse de Berry naquit à Paris le 6 octobre 1693. Elle est la grande favorite du Régent et par sa beauté s'inscrit dans la lignée des femmes de sa famille. Au lendemain de ses huit ans, elle est mariée à César-Alexandre de Baudéan, marquis de Parabère de trente ans son aîné, quelque peu falot. Cette union ne pouvait satisfaire cette femme qui libérée de la surveillance de sa défunte mère put donner libre cours à son désir de liberté. Son charme, sa gaité, son goût pour les plaisirs ne pouvaient que s'accorder au tempérament du Régent et conquérir le coeur de ce dernier. Cette idylle commença en 1715, dura cinq ans et donna naissance à deux ou trois enfants que le Régent ne reconnut pas en raison de la nature volage de sa maîtresse. On prête effectivement à la marquise de Parabère de nombreux amants; lord Bolingbroke, le chevalier de Matignon (après 1715), Nocé, Clermont, Beringhen en 1720, Monsieur de la Mothe-Houdancourt en 1728 et le prestigieux Duc de Richelieu, dont elle fut très sincèrement éprise sans que la réciproque soit vraie. Elle eut dans le coeur du Régent, une place tout à fait privilégiée, que l'on pourrait comparer à celle de Madame de Montespan pour Louis XIV. Belle, enjouée, aimant avant tout le plaisir et ne pensant qu'à se divertir, l'ambition et la cupidité lui étaient étrangères. «Elle se donna mais ne se vendit pas». Aux dires de la mère du Régent, «elle aimait le Régent pour lui, elle recherchait en lui le convive charmant, l'homme aimable». En galant homme, le Régent aimait prévenir le moindre désir de ses maîtresses, auquel il répondait par des prodigues libéralités. Sachant que la Marquise de Parabère avait le goût des porcelaines, il n'eût de cesse de lui en offrir. Il lui en coûta dix-huit cent mille livres. Son «petit corbeau noir» comme aimait l'appeler le Régent eut un large crédit sur l'esprit de ce dernier qui la savait «insouciante et désintéressée». En 1720, lassée des infidélités de ce dernier, elle décide de rompre et s'oriente vers une vie plus assagie. Faute d'argent, sa tentative de mariage avec le duc de Brancas échoua. Après 1739, elle se retira tout à fait du monde et mourut à Paris le 13 août 1755. L'attachement que le Régent éprouvait pour sa maîtresse est notamment illustré dans le tableau de Jean Baptiste Santerre au château de Versailles aux dimensions imposantes (2,57x400) représentant le Régent et la marquise sous l'apparence de Minerve. Le Régent Philippe II, duc d'Orléans, né le 2 août 1674 à Saint-Cloud et mort le 2 décembre 1723 à Versailles, duc de Chartres puis duc d'Orléans en 1701, est le fils de Philippe de France, frère de Louis XIV et de sa seconde épouse, la princesse Palatine Charlotte- Elisabeth de Bavière (1652-1722). De son mariage avec mademoiselle de Blois, bâtarde légitimée de Louis XIV, naquirent huit enfants cependant cette union ne fut pas très heureuse. Malgré ses qualités militaires et la bravoure dont il fait preuve lors de la guerre de Succession d'Espagne, il est écarté des successions. Le roi Louis XIV lui reproche son comportement libertin et des soupçons planent sur lui quant à la mort du Dauphin et de sa famille. A la mort de Louis XIV en 1715, il revient au duc d'Orléans la Régence du royaume, pendant la minorité de Louis XV. Cette période de la Régence se caractérise par de nouvelles orientations politiques et économiques. Le Palais Royal où le Régent réside devient le coeur de la vie politique et artistique, supplantant ainsi Versailles. Il se transforme également en un lieu de débauche avec les soupers que le Régent y organise, recevant à sa table les plus «roués» de Paris, (appellation pour ceux qui méritaient le supplice de la roue). La présence de sa fille aînée, Marie-Louise Elisabeth d'Orléans et son attitude tout aussi scandaleuse, devinrent les sujets de prédilection des chansons satiriques de l'époque qui allèrent jusqu'à faire courir des rumeurs sur les relations particulières du Régent et de sa fille.

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Dernier cadeau diplomatique d'Auguste le Fort, pour la reine Ulrika Eleonora de Suède. Une garniture de cinq vases de tailles différentes commandée en 1733 et livrée après la mort d'Auguste le Fort en 1734, comprenant un vase couvert et quatre vases cornets de tailles différentes, conservés au Nationalmuseum de Stockholm. Inv: NMK 125/1940, NMK 658-9 et NMK 1322-3

In the National Museum of Stockholm: A group of five vases of different sizes ordered by Augustus The Strong in 1733 and delivered after his death in 1734 as a diplomatic gift consisting of one covered vase and four cornet shaped vases. Inv. NMK 125/1940, NMK 658-9 et NMK 1322-3.

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Une paire de vases cornets à décor de fleurs des Indes vers 1733 provenant de la collection Lesley et Emma Sheafer conservée au Métropolitain Museum de New York. (don 1973) Inv: 1974-356.505

In the Metropolitan Museum A pair of cornet shaped vase with Indian flowers decoration around 1733 coming from the Lesly and Emma Sheafer collection (donation 1973). Inv: 1974-356.505.

Bibliographie: - Die Galerie der Meissener Tiere: Die Menagerie Augusts des Starken fur das Japanische Palais in Dresden, Samuel Wittner - Fragile Diplomaty: Meissen porcelain for european courts 1710-1763, Maureen Cassidy-Geiger

A very rare garniture of three meissen augustus rex vases, circa 1730 decorated with polychrome «Indianische blumen». It consists of an oval covered vase decorated with two birds sitting on a bamboo branch on one side, and on the other side with a crane standing on a mound and above it a flying phoenix. Leaves and flowers adorn the neck of the vase and on the base, three reserves with a green thread enhanced with peonies. These reserves contrast with an ochre petalled background with purple and red peonies, and have gold edgings. The knob of the lid has a green background. The two cornet bulged shaped vases are decorated with a bird sitting on a bamboo branch surrounded by peonies, and on the other side a phoenix in flight. On the neck a bird sitting on a branch surrounded by pines, plum blossom, chrysanthemum, and a bird in flight. On the base, three reserves with plum blossom, pine trees, peonies and flowering rocks with gold edging. These reserves stand out on a red and purple cross hatching with peonies. The three vases are marked AR in underglaze-blue. Hight of the covered vase: (A) 55,5 cm. Hight of the two vases: (C) 46 cm. and (B) 47 cm.

Provenance: Probably commissioned for the Japanese Palace, Dresde by Augustus II, King of Poland. Marquess de Parabère collection, the Régent mistress. Thence by descent. Exibited: Musée National de Céramique, Sèvres, “Porcelaines de Saxe” from July the 4th to September the 1st 1952, under number 64.

Osenat Fontainebleau. Collection du prince Victor NAPOLéON et de la Princesse Clémenti. Dimanche 24 mars à 14h30 à Fontainebleau. 5, rue Royale, 77300 Fontainebleau. Tél. : 01 64 22 27 62 - Fax : 01 64 22 38 94 - contact@osenat.com

A Pair Of Blue And White Rouleau Vases, Qing Dynasty, Kangxi Period

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A Pair Of Blue And White Rouleau Vases, Qing Dynasty, Kangxi Period - Sotheby's

each of cylindrical form set with a short neck with a galleried mouth, the body painted with quatrefoil, fan and square panels containing either landscapes, bird and flowers, treasured objects, sea horses, or deer and crane, all reserved against a blue ground with scrolling lotus left in white, set below a peony scroll at the shoulders and a ruyi and key-fret band collaring the neck (2); Height 18 in., 45.7 cm. Estimation: 50,000 - 70,000 USD

PROVENANCE: Sotheby's New York, 30th March 2006, lot 309.

Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 19 mars 2013 - www.sothebys.com

A Blue And White Rouleau Vase, Qing Dynasty, Kangxi Period - Sotheby's

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A Blue And White Rouleau Vase, Qing Dynasty, Kangxi Period - Sotheby's

of characteristic cylindrical form, with a columnar neck and galleried rim, finely painted in bright and inky tones of blue with a continuous scene of sages in discussion within a skiff floating along a riverscape graced with high mountains, pine forests and birds, observed by a lone fisherman, the other sage with his attendant carrying a qin, a crenelated border and band of scrolls and ruyi-heads at the neck, the base inscribed with a double circle; Height 17 1/2  in., 44.4 cm. Estimation: 25,000 - 35,000 USD

PROVENANCE: Sotheby's New York, 20th March 2007, lot 803.

Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 19 mars 2013 - www.sothebys.com

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