Lot 205. Vase en grès céladon, 14 cm, 5 1/2  in. Estimation 2,000 — 3,000 €. Photo: Sotheby's.

la panse sculptée d'une épaisse ligne continue en spirale sur le pourtour, surmontée d'un haut col en trompette, entièrement recouvert d'une glaçure céladon translucide 

A SMALL CELADON-GLAZED RIBBED MALLET-SHAPED VASE

Lot 206. Grand plat en grès céladon Longquan, Dynastie Ming, XIVe siècle, 42 cm, 16 1/2  in. Estimation 4,000 — 6,000 €. Photo: Sotheby's.

de forme ronde, les cotés arrondis, un simple médaillon en léger retrait délimitant le bassin, entièrement couvert d'une belle et épaisse glaçure céladon uniforme. 

Nandipha Mntambo, Moonlit shadows 1, 2017. Oil and gold leaf on canvas, 18.0 × 180.0 × 6.5 cm© Andréhn-Schiptjenko

Nandipha Mntambo, Moonlit shadows 2, 2017. Oil and gold leaf on canvas, 200.0 × 200.0 × 6.5 cm© Andréhn-Schiptjenko

Nandipha Mntambo, Moonlit shadows 3, 2017. Oil and gold leaf on canvas, 180.0 × 180.0 × 6.5 cm© Andréhn-Schiptjenko

Nandipha Mntambo, Topography of Memory 5, 2015. Cow hair and ink, 95.5 × 116.8 cm© Andréhn-Schiptjenko

The founding of Andréhn-Schiptjenko in 1991 marked the start of a new generation of galleries in Scandinavia. Andréhn-Schiptjenko has consistently been committed to working on an international arena and to the long-term representation of emerging and established contemporary international artists from all over the world.

The gallery has organized and curated exhibitions that have become seminal in the Nordic context, successfully launching the careers of Scandinavian artists such as Annika Larsson, Matts Leiderstam and Annika von Hausswolff and giving artists such as Uta Barth, Siobhán Hapaska, Nandipha Mntambo and Xavier Veilhan their first European or Scandinavian one-person exhibition. In recent years the gallery programme has expanded to working with the estates of Francesca Woodman and Siri Derkert, successfully renewing interest in their work. 

Having established itself as one of the leading galleries in Scandinavia the gallery enjoys privileged relationships with museums and collectors. In recent years the gallery activities have expanded to encompass art-advisory services for larger projects in collaboration with architects and to handling commissions for public sculpture. 

Andréhn-Schiptjenko, June 15 - 18, 2017. Art Basel 2017, Stand M19. Messeplatz 10, 4005 Basel, Switzerland

Lot 208. Bol en grès Jun, Dynastie Yuan-Ming, 18,5 cm, 7 1/4  in. Estimation 3,000 — 5,000 €. Photo: Sotheby's.

les côtés profonds se prolongeant en des bords légèrements incurvés, entièrement recouvert d’une belle glaçure bleu ciel s’arrêtant irrégulièrement juste au-dessus du pied et ponctuée de deux taches violettes et ocre, la glaçure s’amincissant au bord prenant une couleur beige clair. 

Lot 209. Jarre en grès Jun, Dynastie Ming, 15,8 cm, 6 1/4  in. Estimation 3,000 — 5,000 €. Photo: Sotheby's.

la panse globulaire au col large légèrement incurvé, flanqué de deux petites anses arrondies, le tout reposant sur un pied évasé, couverte d'une épaisse glaçure bleu pastel mouchetée de beige. 

Lot 210. Pot en grès Jun, Dynastie Song-Yuan, Diam. 9,5 cm, 3 3/4  in. Estimation 2,000 — 3,000 €. Photo: Sotheby's.

lde forme tulipée, reposant sur un pied légèrement évasé, entièrement recouvert d'une glaçure laiteuse de couleur bleu poudré, couvercle en bois sculpté et ajouré (2). 

Nicolas de STAËL (1914 - 1955), Arbres et maisons (Paysage), 1953. Oil on canvas - 65 x 81 cm© Adagp, Paris 2017

Jean Fautrier, Les pommes (Le jour et la nuit), 1940. Haute pâte on paper mounted on canvas, 81.0 × 116.0 cm © Applicat-Prazan

Jean Dubuffet, Mirobolus blanc, 1945. Haute pâte on canvas, 46.0 × 38.0 cm© Applicat-Prazan

Pierre Soulages, Peinture, 130 x 97 cm, 1949, 1949. Oil on canvas, 130.0 × 97.0 cm© Applicat-Prazan

Manolo Millares, Cuadro 74, 1959. Mixed media on canvas, 162.0 × 130.0 cm© Applicat-Prazan

Applicat-Prazan is a leading international gallery of modern art located in Paris.

Our line is as follows:

Hyper-specialization which has led the gallery to concentrate on European Post-war and on the most significant Artists of this period who worked in Paris: Jean Dubuffet, Jean Fautrier, Hans Hartung, Jean Hélion, Asger Jorn, Wifredo Lam, Alberto Magnelli, André Masson, Georges Mathieu, Serge Poliakoff, Jean-Paul Riopelle, Pierre Soulages, Nicolas de Staël, Maria Elena Vieira da Silva, Wols, Zao Wou-Ki, …

Hyper-selectivity – confining the gallery’s choice of paintings to those we judge to be the most qualitative

A policy specifically adapted to the private collector who by definition takes a long term view of things, smoothing out the effects of speculation.

Applicat-Prazan participates in Tefaf Maastricht, Art Basel Hong Kong, Tefaf New York Spring, Art Basel, Frieze Masters, Fiac, and Art Basel Miami Beach.

Applicat-Prazan. June 15 - 18, 2017. Art Basel 2017, Stand F6. Messeplatz 10, 4005 Basel, Switzerland

Caroline Achaintre, Ditto, 2017. Sculpture, ceramic, 60.0 × 22.0 × 4.0 cm© Art : Concept

Caroline Achaintre, Melville, 2017. Sculpture, ceramic, 40.0 × 36.0 × 5.0 cm© Art : Concept

Geert Goiris, Mirror, 2015. Photography, archival pigment print, 71.1 × 55.9 cm© Art : Concept

Art : Concept, June 15 - 18, 2017. Art Basel 2017, Stand P5. Messeplatz 10, 4005 Basel, Switzerland 

Room 12. Hermaphrodite. Deceptive Appearances Section.

MADRID.- The Museo del Prado is inviting visitors to focus on its collection from a different viewpoint through a selection of 30 paintings, sculptures and drawings which are habitually on display in its galleries. Representing part of the complex western cultural heritage, they can now be viewed as a marvellous testimony to different, minority and, on occasions, silent affective formulas. 

Each of these independent but interrelated thematic routes reflects an affective reality with a social status that has changed in relation to different periods and places and which has been reflected in art in a range of diverse and appealing ways. On the one had these routes emphasise the way the various iconographies of love have passed unnoticed or were even concealed in the past and on the other, the naturally inclusive fact of their existence.  

These works refer to concepts such as love between free equals in the classical world and the persecution of relationships of that type in the new Christian era; the status of different and ambiguous individuals as a spectacle in their own right during the early modern age; and the sole possibility of the acceptance of other alternatives through a literary and mythological key in images which were only for the enjoyment of the social elites. 

The first route, Immortal Friendships, looks at sentimental and political relationships between people of the same sex. From antiquity onwards these relationships came to acquire mythical status in art history and literature as a starting point for the creation of an alternative identity legitimised by history.

The second, Pursuing Desires, looks at the persecution of artists and the denigration of works of art over the centuries due to their personal identity or subject matter and iconography respectively, given that they made visible relationships and identities outside of the prevailing morality of the time. Some artists, such as Botticelli or Leonardo, were put on trial while other artists testified against them. 

Scenes from The Story of Nastagio degli Onesti, Sandro Botticelli, 1483. Mixed method on panel, 83 x 138 cm, Madrid, Museo Nacional del Prado

The Mona Lisa, Anonymous (Workshop of Leonardo Da Vinci), 1503 - 1519. Oil on walnut panel, 76.3 x 57 cm, Madrid, Museo Nacional del Prado

Venus, Bacio Bandinelli, 1530 - 1534. Bronze, 179 x 58 cm, Madrid, Museo Nacional del Prado

David with the Head of Goliath, Caravaggio, c. 1600, Madrid, Museo Nacional del Prado

Saint Sebastian, Guido Reni, 1617 - 1619. Oil on canvas, 170 x 133 cm, Madrid, Museo Nacional del Prado

Hippomenes and Atalanta, Guido Reni, 1618 - 1619. Oil on canvas, 206 x 297 cm, Madrid, Museo Nacional del Prado

Jupiter and the Gods urging Apollo to take back the Reins of his Chariot, Cornelis Cornelisz. van Haarlem, 1594. Oil on panel, 44 x 98 cm, Madrid, Museo Nacional del Prado

Many works of art suffered a similar fate and were either encrypted or were ignored for what they showed. The body and its image structure the argument of the third route, Deceptive Appearances. Inconformity with the corporeal norm is to be found in a number of works in the collection, including The Hermaphrodite and the two paintings of bearded women by Ribera and Sánchez Cotán. Also featured are examples of transvestism and the reversal of gender roles.  

 Brígida del Río, the Bearded Lady of Peñaranda, Juan Sánchez Cotán, 1590. Oil on canvas, 102 x 61 cm, Madrid, Museo Nacional del Prado

Sleeping Hermaphrodite, Matteo Bonuccelli, 1652. Bronze, 61 x 160 cm, Madrid, Museo Nacional del Prado 

Achilles among the Daughters of Lycomedes, Peter Paul Rubens, 1617 - 1618. Oil on canvas, 248.5 x 269.5 cm, Madrid, Museo Nacional del Prado

Hercules and Omphale, Antonio Dumandré, XVIIIe century, 82 x 50 cm, Madrid, Museo Nacional del Prado 

Vertumnus and Pomona, Peter Paul Rubens, 1636 - 1637. Oil on panel, 26.5 x 38.3 cm, Madrid, Museo Nacional del Prado

To love like the Gods, the final route, brings together a series of mythological works that represent relationships between equals in settings remote from the real world. Works of this type were intended for the private spaces of the social elites. These stories of gods showed behaviour forbidden to mortals which only rulers and princes could contemplate.  

Ganymede, Anonymous artist, 160 - 170. White marble, 150 x 106 cm, Madrid, Museo Nacional del Prado

The Abduction of Ganymede, Peter Paul Rubens. Oil on canvas, 181 x 87,3 cm. 1636 - 1638, Madrid, Museo Nacional del Prado

Diana and Callisto, Peter Paul Rubens, Ca. 1635. Oil on canvas, 202.6 x 325.5 cm, Madrid, Museo Nacional del Prado

 The Death of Hyacinthus, Peter Paul Rubens, 1636 - 1637. Oil on panel, 14.5 x 13.6 cm, Madrid, Museo Nacional del Prado

Narcissus, Anonymous artist, Roman, 25 - 50. White marble, 116 x 44 cm, Madrid, Museo Nacional del Prado

The project is completed with two exceptional works from the collection, El Cid by Rosa Bonheur and El Maricón de la Tía Gila by Goya. These are little-known creations which give visible form to two complementary realities through a female artist and a subject matter that clearly relate to the content of the itinerary as a whole. 

El Cid, Rosa Bonheur. Oil on canvas, 95 x 76 cm, 1879 Madrid, Museo Nacional del Prado

In conjunction with The Other’s Gaze, the Museum’s website (www.museodelprado.es) is featuring a series of conversations between artists such as Guillermo Perez Villalta, Javier Codesal, Helena Cabello and Ana Carceller, Alexander Apostol and El Palomar; and historians, journalists and cultural agents such as Estrella de Diego, member of the Real Academia de Bellas Artes de San Fernando, Manuel Olveira of the MUSAC, Jaime de los Santos, head of cultural promotion, Region of Madrid, and Javier Moreno of El País. These conversations will focus on the principal issues and problems behind the representation of other types of love and sexuality through art and literature.

Lot 185. A very important imperial bronze bell "Bozhong", China, Qianlong, dated 1761. With inscription by Emperor Qianlong. Estimate CHF 200,000 / 300,000 (€ 185 190/277 780). Sold for CHF 1 035 000 (hammer price). © Koller Zurich

ZURICH.- The 13-14 June Asian Art auctions at Koller Zurich were enormously successful, with a string of top prices for Chinese & Himalayan art, particularly for three rare Chinese Imperial artworks from a private collection - which alone realized 2.64 million Swiss Francs - as well as for lamaistic sculpture from the Himalaya region, which saw very competitive bidding and record prices. The two-day auction series realized in total 8.4 million Swiss Francs, against a pre-sale estimate of 2.9 million, making it the most successful Asian Art auction of any European auction house this season. 

Regi Preiswerk, Head of Department for Asian Art at Koller: “We were thrilled to be able to offer these magnificent works in our auction. Because of an intensive marketing campaign in China, including our presence at the International Antiques Fair in Hong Kong, we attracted a significant number of new bidders and buyers to the auction, whom we are pleased to welcome to Koller’s clientele.“ 

Chinese imperial treasures create a sensation 
Three important Chinese imperial artworks from a private collection were featured in Koller’s 13 June auction, and their presence created a wave of excitement that was felt as far as Beijing and Hong Kong. The three items - a carved palace partition, a pair of Imperial bronze censers, and a bronze bell with an emperor’s inscription, were in a German private collection for over 100 years and came to the market for the first time in Koller Auction’s sale. The three lots will all very likely return to China. 

Antique Chinese bell changes hands for 1.2 million Swiss Francs 
Dating from the 18th century, the bronze bell bears an inscription from the Chinese emperor Qianlong (1711-1799). Shepherds found eleven antique “bozhong” bells from a set of twelve in 1761, and they were brought to the imperial court. In order to complete the set of twelve distinct tones, the Emperor had this twelfth bell cast and inscribed. After a prolonged, tense bidding war, the bell sold to a Chinese bidder for CHF 1.2 million. 

Lot 185. A very important imperial bronze bell "Bozhong", China, Qianlong, dated 1761. With inscription by Emperor Qianlong. Estimate CHF 200,000 / 300,000 (€ 185 190/277 780). Sold for CHF 1 035 000 (hammer price). © Koller Zurich

Masterfully carved room divider realizes nearly a million 
According to Koller’s research, the masterfully carved palace partition was very likely made for the living quarters of the Empress Dowager Cixi (1835-1908). This type of partition with pierced carving was a typical element of interior decoration for imperial palaces of the Qing period in China. In Beijing two other examples with octagonal doorways are known: a room divider in the Chuxiugong palace hall, a residential building in the western area of the Forbidden City, and another in the Yiluandian Palace, but which was completely destroyed by fire in 1901. The partition in Koller’s auction is the only one of its type ever offered for public sale, and realised CHF 940 500. 

Lot 184. A magnificent caohuali imperial palace partition with octagonal doorway carved in open work, China, 19th centur. 287x396x11 cm. Estimate CHF 800 000 / 1 400 000 (€ 740 740 / 1 296 300). Sold for CHF 800 000 (hammer price). © Koller Zurich

Imperial bronze censers sell for more than eight times the pre-sale estimate 
The Imperial provenance of this pair of unusual bronze censers was never in doubt, as comparable examples only exist in front of two palaces in the Forbidden City, as well as at the entrance of Beihei Park (which was formerly also part of the Imperial city). Representing mythical dragon-turtles, or Bixi, bidding for the pair quickly rose far above the pre-sale estimate and finally ended at CHF 486 000.  

Lot 183. A fine pair of imperial bronze censors in the shape of dragon-turtles (bixi), China, 18th -19th century. Length 42 cm. Covers lost. Estimate CHF 60,000 / 90,000 (€ 55 560/83 330). Sold for CHF 405 000 (hammer price). © Koller Zurich

Bronze with rich green patina. The animals stand on a plate of tiles in a rectangular basin, on whose base fine-reliefed waves can be seen. While the above open tank is the one of a turtle, the rest of the animal with shed, mane, horn and tail resembles a kite. They stretch their heads up and tear open their mouths. The edge of the basin is modeled on a stone balustrade. Lid lost.

Himalayan bronzes sell for record prices 
The demand for lamaistic art from the Himalayan region was very strong in Koller’s 13 June auction, and several sculptures made top prices, such as a very early Buddha Shakyamuni from the Pala Empire that sold for CHF 1.17 million, a Nepalese figure from the Khasa-Malla Kingdom that fetched CHF 538 000, and a wonderfully serene Tibetan figure of a standing Bodhisattva that changed hands for CHF 756 000.

Lot 115. A bronze figure of Buddha Shakyamuni on a lion throne, Northeastern India, Pala, 8th-9th century. Height 16.5 cm. Silver and copper inlays. Estimate on request. Sold for CHF 1 000 000  (hammer price). © Koller Zurich

Bronze with silver and copper inserts. The historical Buddha sits in the diamond seat on a double lotus dome with displaced leaves. This rests on a parallelepiped throne supported in the corners of four lions (simhasana). A cloth falls in double fold on all four sides over the edge. The monk's gown is smoothly laid back and covers only the left shoulder. The right hand touches the earth in bhumisparsamudra, the left rests over the lap. This gesture is reminiscent of Shakyamuni's victory over the tempter, Mara, when he was sitting under the bosha-space just before enlightenment (maravijaya). 

Back Sanskrit donor inscription in Siddhamatrika script: Hum Mahavira Svaha "Heil euch oh grossher!" 

This Buddha could possibly originate from the Nalanda Monastery in Bihar in North India. Nalanda was a center for Buddhist studies between the 8th and 12th centuries. Scholars from many countries outside India studied for many years at Vajrayana Buddhism at the Nalanda University. On the way back to their home countries they are usually carried out in addition to manuscripts written on palm-leaf, so small statues cast in bronze or made of stone. This Buddha image must have been more than 1000 years in Tibet and what countless times touched and ritually washed, as indicated by the shiny surface. 

Compare: By Schroeder, Ulrich. 1981. Indo-Tibetan Bronzes, pp. 252-261, plates 54-58. By Schroeder, Ulrich. 2001. Buddhist Sculptures in Tibet, Volume One: India & Nepal; pp. 228-229, pl. 67th

Lot 127.  A magnificent gilt copper alloy figure of a standing bodhisattva, Tibet, 14th century. Height 27 cm. Stone inlays. Base plate lost. Estimate CHF 60,000 / 90,000 (€ 55 560/83 330). Sold for CHF 640 000 (hammer price). © Koller Zurich

Fire-gilt copper alloy. The young bodhisattva stands in a light tribhanga on a double lotospodest. Both hands hold lotus stalks, which grow out of the pedestal and unfold beside the shoulders in magnificent bloom. The right hand of the bodhisattva shows the vitarkamudra. A copfaureole encompasses the crowned head, which is additionally decorated with four-leaved earrings and fluttering hairs. Rich stems complete the magnificent appearance. Base plate lost.

Old private Belgian collection, purchased at Galerie Koller Zurich, Nov. 1979, lot 67.

Lot 333. A Longquan celadon baluster jar carved with the Eight Immortals, China, Yuan-early Ming dynasty, diameter 27 cm. Later added is bronze. Estimate CHF 18,000 / 25,000 (€ 16 670/23 150). Sold for CHF 18 000 (hammer price). © Koller Zurich

From the Longquan ovens. Under the typical celadon glaze cut decor of the Eight Immortals on rocky ground, between flowers and clouds. The lower third of the outer wall is occupied by a dense lotus leaf rim. Later gilded bronze base. 

Koller Zurich. Asian Art: Himalaya, China - Tuesday 13 June 2017, 10.00 AM

Lot 348. A yellow-glazed dish., China, underglaze blue Jiajing six character mark in a double circle and of the period, diameter 17.9 cm. Estimate CHF 8,000 / 12,000 (€ 7 410/11 110). Sold for CHF 10 000 (hammer price). © Koller Zurich

Stylish round bowl with slightly extended lip on a wide foot. The thinness of the glaze is condensed into the form of tiny streaks, and in the interior there is accumulation of individual spots which make the yellow-brown appear. Jiajing double-glass jaw in double ring.

Koller Zurich. Asian Art: Himalaya, China - Tuesday 13 June 2017, 10.00 AM

Lot 341. A famille verte rouleau vase decorated with a pair of phoenixes, China, Kangxi period, height 46.5 cm. Estimate CHF 8,000 / 12,000 (€ 7 410/11 110). Sold for CHF 8 000 (hammer price). © Koller Zurich

The circulating decor in the colors of the Famille verte, with little gold hewn, prominently shows a pair of phoenixes in front of overgrown peonies. Another pair of birds sitting on a blossoming cherry branch, in the background flying small birds. A grid border on the shoulder sets the flower decoration on the short, grooved neck from the main decora. Chip at the foot.

Koller Zurich. Asian Art: Himalaya, China - Tuesday 13 June 2017, 10.00 AM

Lot 337. A blue and white "phoenix tail" vase with lotus decoration, China, Kangxi period (1662-1722), height 46 cm.  Estimate CHF 6,000 / 9,000 (€ 5 560/8 330). Sold for CHF 6 000 (hammer price). © Koller Zurich

Slender vase with contrasting neck. The under-glass-bubbled decor depicts lotus blossoms on the neck and the bulbous wall with creeping stems and leaves. Geometrically-abstract borders separate the decorative fields from each other and frame them.

Koller Zurich. Asian Art: Himalaya, China - Tuesday 13 June 2017, 10.00 AM

Lot 349. A white-glazed stem cup with anhua dragon decoration, China, 17th century. Height 10.5 cm. Estimate CHF 3,000 / 5,000 (€ 2 780/4 630). Sold for CHF 6 000 (hammer price). © Koller Zurich

Wide bowl with extended lip on slightly tapered, grooved foot. A thin, fluid glaze overlays the incised Anhua decor inside, which shows two four-clawed dragons with flamed wish beads. Cloth-bound case with leather mounts. Transport container. Two fine hairlines.

Koller Zurich. Asian Art: Himalaya, China - Tuesday 13 June 2017, 10.00 AM

Lot 350. A pair of famille rose bowls, China, Yongzheng six character mark of the period (1723-1735), diameter 13.8 cm. Estimate CHF 6,000 / 9,000 (€ 5 560 / 8 330). Sold for CHF 4 000 (hammer price). © Koller Zurich

Minor chip and underglaze body cracks. (2)

Koller Zurich. Asian Art: Himalaya, China - Tuesday 13 June 2017, 10.00 AM

Archduke Ferdinand II (1529 - 1595), around 1575, German © KHM-Museumverband

INNSBRUCK.- 450 years ago, on January, 17 1567, Archduke Ferdinand II (1525-1595) made his solemn entry into Innsbruck. Ambras Castle Innsbruck is marking this anniversary by dedicating a major exhibition to the princely sovereign of Tyrol for the first time. For around thirty years the Habsburg Archduke guided the fortunes of the County of Tyrol. Prior to that, he was appointed administrating governor to the Kingdom of Bohemia, taking up residence in Prague in 1547. 

Ferdinand II, Archduke of Austria, was not just a regent descended from one of Europe’s most influential ruling dynasties who held political office in Prague and Innsbruck. As a commissioning patron he also surrounded himself with European artists and was instrumental in promoting the Renaissance in central Europe. 

Indeed, many events are to be held throughout Tyrol in 2017 to mark the 450th anniversary. This first-rate exhibition is set to be the cultural event of the year in Innsbruck.  

Wrap presentation: Austria, Archduke Ferdinand II, German, around 1560/1580 © KHM-Museumverband

Ferdinand II, Archduke of Austria: One of history’s most prominent collectors of art 
At Ambras Castle the most striking legacies bequeathed by the cultured humanist and sovereign prince include a unique Renaissance castle ensemble and the Archduke‘s own collections, specifically the armouries and the chamber of art and curiosities. 

For his world-famous art collections Ferdinand II commissioned a separate museum building, preserved at its original site to this very day. Ambras Castle Innsbruck is therefore the oldest museum in the world and an unrivalled cultural monument to the Renaissance. 

Archduke Ferdinand II, after 1557, Francesco Terzio (around 1523 Bergamo - 1591 Rome (?)) © KHM-Museumverband

This major anniversary exhibition (conception: Schloss Ambras Innsbruck in cooperation with the National Gallery in Prague and the Institute of Art History CAS of the Czech Academy of Sciences) is accompanied by catalogues in English and in German. 

The exhibition will also be shown at the Wallenstein Riding School, National Gallery in Prague, presented from November 3, 2017 to February 26, 2018.

Archduke Ferdinand II, 1548, Jakob Seisenegger (1505 Lower Austria - 1567 Linz) © KHM-Museumverband

Archduke Ferdinand II, about 1544, Described to: Guillaume Scrots (1537 - 1553 as active proof) © KHM-Museumverband

Archduke Ferdinand II as a boy, c.1540, To: Jakob Seisenegger © KHM-Museumverband

Archduke Ferdinand II, according to 1582, Anonymous. South German or Tyrol © KHM-Museumverband

Archduke Ferdinand II, 1594, Pietro de Pomis (1569 Lodi - 1633 Graz) © KHM Museum Association

Hochschul, Ambras Castle Innsbruck © KHM-Museumverband

© KHM-Museum Association

 Spanish Hall, Ambras Castle Innsbruck © KHM-Museumverband

View of Innsbruck from: Schwazer Bergbuch, Tyrol (Schwaz?), 1556, Ludwig Läßl (?, Concept), Jörg Kolber (?, Miniatures). Watercolor pencil drawing Innsbruck, Tiroler Landesmuseum Ferdinandeum, ,856, Sheet 15 © Tyrolean Provincial Museums

Servatius Rorif (died 1593), Claviorganum, Austria Tyrol or Germany, Augsburg, Between 1564 and 1569 © KHM-Museum Association

Archduke Ferdinand II (1529-1595) © KHM-Museum Association

Archduke Ferdinand II (1529-1595) armour © KHM-Museum Association

© KHM-Museum Association

© KHM-Museum Association

© KHM-Museum Association

© KHM-Museum Association

© KHM-Museum Association

Bust of the Bending Hl. Maria Magdalena, around 1590/95, Workshop: Ottavio Miseroni © KHM-Museum Association

© KHM-Museum Association

Anne of Gonzaga-Mantua, archduchess of Austria-Tyrol, at the age of 16 years, in 1582© KHM-Museum Association

© KHM-Museum Association

Philippine Welser (1527-1580), South German, around 1557, oil on canvas , Vienna, Museum of Fine Arts, Painting Gallery, Inv.-No. 8012 © KHM-Museum Association

Archduke Ferdinand II, on the deathbed, 1595, Giovanni Pietro de Pomis (attributed), 1595 . Oil on canvas, Vienna, Museum of Fine Arts, Paintings, Inv.-No. 8992 © KHM-Museum Association

Kunst- und Wunderkammer. The Kunst- und Wunderkammer at the Ambras Palace in Innsbruck is the only art-chamber of the Renaissance preserved in its original location to be an incomparable cultural monument! Establishment of the 1970s. © KHM-Museum Association

Ferdinand II, Annales rerumbelli domique ab austriacis habsburgicae gentis principibus a rudolpho i. usque ad carolum v. gestarum, Gerhard de Roo & Konrad Dietz, 1592, Innsbruck: Hans Baur, 1592; Paper, original leather binding with gold-embossed band shield And Erzherzogshut , Innsbruck, University and Provincial Library of Tyrol, sign. 21 C 7© Universitäts- und Landesbibliothek Tirol

DALLAS, TX.- A diverse collection of decorative items, many with an Asian motif, led the way at Heritage Auctions’ $1.5 million dollar Fine and Decorative Arts including Estates Auction June 10-12. Nearly 1,500 bidders from around the world bid on the 1,293 lots via phone, internet and HALive!. 

An ornate and intricate Chinese Carved, Lacquered and Inlaid Table Cabinet sold for an impressive $45,000, leading the auction. Two other Asian-inspired pieces joined the table cabinet as high value lots: a Large Chinese Carved Coral Figural Group sold for $27,500 and a fine pair of Mintons Partial Gilt Pate-sur-Pate Porcelain Moon Flask Vases realized $25,000. 

Lot 61429. A Chinese Carved, Lacquered and Inlaid Table Cabinet, 36.8 x 36.8 x 29.2 cm. Sold for $27,500. 

The table cabinet having top inlaid with floral motif, cased framed in brass trim, front with articulated court scene, top opening to reveal upper compartment, doors opening to reveal five drawers. Errant losses and cracking to lacquer, minor losses to inlay, with wear commensurate with age and use. 

Lot 61418. A Large Chinese Carved Coral Figural Group, 28.6 x 37.5 x 7.0 cm. Sold for $27,500. 

Significant damage to base of coral to one end, break to midsection of dragon, coral glued to base. 

Lot 61418. A Fine Pair of Mintons Partial Gilt Pate-sur-Pate Porcelain Moon Flask Vases, Stoke-on-Trent, Staffordshire, England, circa 1873-1891. Marks to underside: (crown-over-globe), MINTONS, 1348. Marks to pate-sur-pate: ALB, 26.4 cm. Sold for $25,000. 

The pair of vases each in moon flask form with sage green glaze to bodies, pate-sur-pate decoration to front cartouches depicting bucolic scenery of putti playing instruments among doves, putti drawing in front of bust and easel, cartouches framed in laureate wreath decoration, gilt embellishments to spouts, handles, and footed bases, reverses with plain grounds; pate-sur-pate decoration signed with artist initials ALB, likely for Albion Birks.

Very minor rubbing to gilding, light wear to underside, presenting as well-preserved examples. 

PROPERTY FROM THE COLLECTION OF BIRKS MUSEUM, MILLIKIN UNIVERSITY, DECATUR, ILLINOIS.

“We were pleased to see strong results in a wide range of categories from the Asian Art and clocks to English and French furniture,” said Karen Rigdon, Director of Silver and Decorative Arts at Heritage Auctions. “We received interest and bids from around the world for this sale and a number of nice pieces, including the Pate-sur-Pate vases and a beautiful late 19th-century German Polyphon Renaissances music cabinet impressed.” 

Two unique and dramatic paintings also exceeded expectations: Louisa McElwain’s dramatic oil on canvas, Silver Rain, hammered for $30,000, and Mihail Chemiakin’s Carnival at St. Peter's, 1979-1988, oil on canvas, sold for $20,000.  

A beautiful and creative bronze by Salvador Dalí, Le profil du Temps, 1984, sold for $18,750, while an intricate Chinese Carved Rosewood Horseshoe Chair from the Property of a Lady of Title collection garnered $17,500. 

Lot 61700. Salvador Dalí (Spanish, 1904-1989), Le profil du Temps, 1984. Bronze with brown and greenish patina, 52.1 cm high. Ed. 166/350. Inscribed on base: Dali / 166/350. Sold for $18,750.

LITERATURE: R. & N. Descharnes, Dalí: le dur et le mou, sortilège et magie des formes: sculptures & objets, no. 589, p. 233.

Bruce Hochman OS has kindly confirmed the authenticity of this lot.

Lot 61035. A Chinese Carved Rosewood Horseshoe Chair, Property of a Lady of Title, 99.1 x 74.9 x 57.2 cm. Sold for $17,500. 

The chair having horseshoe-shaped crestrail and arms mounted with silvered metal floral plaques, armrests with scrolled and foliate reticulated carving, reticulated carving to backrest, caned seat, four bowed legs raised on squared stretcher terminating in scrolled feet. 

Other top lots included, but were not limited to: 

• Kyffin Williams, Sunset Over a Patagonian Valley, oil on canvas from a Texas estate: $18,750 

• A pair of Louis XV-Style Gilt Bronze-Mounted Mahogany Vitrines: $16,250 

• A Louis XV-Style Patinated and Gilt Bronze with White Marble Clock Garniture: $15,000 

Lot 61029. A Chinese Huanghuali Altar Table, Property of a Lady of Title, 87.0 x 144.8 x 47.0 cm. Sold for $15,000.

PROVENANCE: Teresa Coleman Fine Arts, Hong Kong;
Acquired from the above.

Some fading and water staining to top, minor errant age-related cracking, with wear commensurate with age and use.