Qiu Zhijie, A Nostalgic Person. A set of three hanging scrolls. Each scroll measures 137.2 x 69.5 cm. (54 x 27 3/8 in.). Executed in 2013. Photo Christie's Image Ltd 2013
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
Qiu Zhijie (B.1969), A Fortune Teller. Ink on paper. A set of three hanging scrolls. Each scroll measures 137.2 x 69.5 cm. (54 x 27 3/8 in.). Executed in 2013.
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
Qiu Zhijie (B.1969), A Satisfied Art Collector. Ink on paper. A set of three hanging scrolls. Each scroll measures 137.2 x 69.5 cm. (54 x 27 3/8 in.). Executed in 2013. Photo Christie's Image Ltd 2013
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
Qiu Zhijie (B.1969), A Blessed Child. Ink on paper. A set of three hanging scrolls. Each scroll measures 137.2 x 69.5 cm. (54 x 27 3/8 in.). Executed in 2013. Photo Christie's Image Ltd 2013
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
A Large Imperial Celadon Jade Seal. Qing Dynasty, Seal Of Empress Dowager Cixi (1835-1908). Photo Sotheby's
of large square form, surmounted by a well-carved pair of addorsed dragons, each powerfully carved with piercing eyes and nostrils flaring above curling whiskers and clenched mouths bearing sharp fangs, the two scaly bodies tightly intertwined and crouching on the haunches, pierced through the centre with an aperture, the square seal deeply carved with the characters Yikun Gong yulan (Imperially Appreciated at the Yikun Palace), the stone of light green tone with natural veining; 12.7cm., 5in., wide. Estimate: 40,000 - 60,000 GBP
PROVENANCE: Acquired or by descent to Sir Oswald Birley circa 1920-30;
thence by descent
EXHIVITED: Rhoda Koenig, ‘Top Dog’, The World of Interiors, December 1996, illustrated on a table in the Dining Room, p.71
NOTE: The present imperial seal is carved in relief with the five characters Yikun gong yulan which may be translated as ‘Imperially Appreciated at the Yikun Palace’. A similar seal, which is of the same form, size and material to the present example and is similarly surmounted by a pair of addorsed scaly dragons each beast powerfully fashioned with flaring nostrils and menacing teeth, can be found in the Fitzwilliam Museum, Cambridge. The Fitzwilliam seal, while bearing the same five characters, is carved in intaglio script (yinwen), confirming that seals of this type were made in sets. See the Fitzwilliam seal illustrated in James C.S. Lin, The Immortals Stone, Chinese Jades The Yikun Palace, located in the Western section of the Forbidden City in Beijing and part of the Six Western Palaces (Xiliu gong), historically served as the accommodation for empresses and concubines from the Ming dynasty (1368-1644) to the Qing period (1644-1911). During the late Qing it was rebuilt and linked to Empress Dowager Cixi’s favourite residence complex, the Chuxiu Palace. After the death of the Xianfeng Emperor in 1861, Cixi’s son was crowned emperor and she was awarded the title ‘Honourable Mother Empress Dowager’ (Shengmu huangtaiho), and given the honorific name ‘Cixi’.
Cixi swiftly took over the management of state affairs, albeit from behind a screen, and enjoyed absolute political power, ruling the nation for the next 48 years. Her seals, including the present example, set her apart from other empresses and concubines, and serve as important documentary proof of her prevailing status in the Qing court. While an unusually large number of seals were made while she was in power, those that are identifiable and directly attributable to her, as this seal, are limited in number.
For further examples of imperial seals belonging to Cixi, see one made for the Tihe Palace, sold at Sotheby’s Paris, 18th December 2008, lot 7, from the collection of Emile Guimet; and another, of rectangular form bearing the inscription Lijing xuan yulan (Imperially Appreciated at the Lijing Pavillion), illustrated ibid., cat. 83a,b and c.
Sotheby's. Mark Birley: The Private Collection. London | 21 Mar 2013 - www.sothebys.com
An Imperial Green Jade 'wufu wudai tang guxi tianzi bao' Seal. Qing Dynasty, Qianlong Period - Sotheby's
of square form, surmounted by a pair of addorsed dragons, each powerfully carved with bulging eyes and flaring nostrils above long whiskers, the mouth open to reveal its curled tongue between sharp fangs, with two long studded horns extending back over its head along a combed mane with finely incised details, the two scaly bodies tightly intertwined and crouching on their haunches, pierced through the center with an aperture, the seal face carved with the characters wufu wudai tang guxi tianzi bao (Seal of the Seventy-Year - Old Son of Heaven of The Hall of Five Happinesses and Five Generations) and carved in honor of the Qianlong emperor's 70th birthday in 1781, the stone of a gray-green color flecked with paler inclusions. Length 5 1/8 in., 13. 1 cm; Width 5 1/8 in., 13.1 cm. Estimate: 1,000,000 - 1,500,000 USD
Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 19 Mar 2013 - www.sothebys.com
Celadon-glazed porcelain dish with Persian poetry. China; 15th century (Calligraphy: Iran; 16th-17th century). Diam: 48.5 cm. Inv. no. 6/1978. The David Collection
Chinese porcelain with a celadon glaze was greatly admired in the Islamic world under the early Abbasid caliphs (8th-9th century), and after the advent of the Mongols in the 13th century it attained a very special status. Written sources show that in certain places in the Middle East, it was believed that celadon would shatter if it were used to hold poisoned food.
The type and content of the inscription lead us to surmise that this dish, which was originally made in China, was later incised in Iran after the 16th-17th century. The inscription is a Sufi-inspired Persian poem:
“O king, look at me generously as a dervish / Look at my condition, my sick and wounded heart / Although I do not deserve your forgiveness, do not look at me; look to your generosity.”
Lucio Fontana, Spatial Concept (Concetto spaziale), 1951. Solomon R. Guggenheim Foundation, Hannelore B. and Rudolph B. Schulhof Collection, bequest of Hannelore B. Schulhof, 2012 © Courtesy of Peggy Guggenheim Collection
VENICE.- Lucio Fontana (1899- 1968), Piero Dorazio (1927-2005), Enrico Castellani (b. 1930), Paolo Scheggi (1940-1971) and Rodolfo Aricò (1930-2002) are the five pioneering artists of the exhibition Postwar. Italian Protagonists, at the Peggy Guggenheim Collection on view until 15 April 2013. Curated by Luca Massimo Barbero, the exhibition is a re-reading of Italian art in the wake of the Informel painting that prevailed in the 1950s. The ‘protagonists’ brought the Italian art scene to an international public with a pictorial language specific to the early 60s, a new painting using the power of color and the iconography of the monochrome as defining visual and conceptual elements. The exhibition unfolds chronologically, showcasing the experimentation of each artist as, departing from the work of Lucio Fontana, these new generations developed a personal language at a critical moment of their artistic practice between the 60s and 70s.
Postwar. Italian Protagonists offers the public two moments of special interest. Tribute is paid to Paolo Scheggi, a Tuscan artist who died young and whose experimentation and profound artistic sensibilities are rediscovered here. Among his eight works on display is Intersuperficie curva bianca (1963), recently donated to the museum by Franca and Cosima Scheggi. The spotlight is also shone on Rodolfo Aricò in two rooms which, together with an accompanying publication of his artistic production from the 1960s, were made possible by the collaboration of the Archivio Rodolfo Aricò.
Lucio Fontana opens the exhibition, as a father figure in Italian and international post-war and contemporary art. Concetto Spaziale (1951) and Concetto Spaziale (1957), recent donations to the Peggy Guggenheim Collection, exemplify respectively the monochromatic ground of Fontana’s “buchi” (holes) and his more matière based work, which together lead us to the vestiges of Informel in Quanta (1960), a masterly work loaned by the Fondazione Lucio Fontana in Milan. Its nine red three-dimensional shapes form a kind of constellation of cuts and holes which anticipate the shaped canvases of American art in the same period. In its conceptual essentialism this work sets up a contrapuntal dialogue with Fontana’s ceramics of the 50s, three plates suspended between the Baroque and the great explosion of Art Informel.
The exhibition proceeds with a selection of five works by Piero Dorazio, one of the founders of Italian abstract painting, centered upon his artistic practice between 1962 and 1965. His optical and structural lattices expand across the canvas in paintings such as Antelucano (1962), demonstrating the clarity of a rigorous symbolic system articulated in line and especially color. Dorazio's abstract style is strongly characterized in Mar Maraviglia (1962) and Unitas (1965, Peggy Guggenheim Collection), focal point of this second gallery together with Durante l'Incertezza (1965), a canvas of monumental proportions (225 x 320 cm) that functions as a kind of response to the mural-sized works of contemporary American painting and testifies to the artist’s continuous dialogue with the U.S. scene.
Surface, synthesis and objectification are represented in the room dedicated to Enrico Castellani, a major figure in contemporary Italian art, co-founder of the journal Azimuth with Piero Manzoni. After his early Informel experiments, Castellani, together with Manzoni, instigated the total revision of his artistic practice with the use of monochrome canvases, often completely white and ‘extroflexed’ (with extruded points and zones) in such a way as to create iridescent lights and shadows that alter according to the angle of the light source. The Castellani room provokes the gaze of the viewer with the hypnotic Superficie angolare rossa (1961), loaned by the Archivio Castellani, Milan, displayed alongside Superficie bianca (1967) and Superficie bianca (1974), here exhibited to the public for the first time.
The gallery dedicated to Paolo Scheggi offers an intensely original display which brings the Tuscan artist’s innovative visual research to the attention of the wider public. One wall shows the three white Intersuperfici in counterpoint with the three black-hued Intersuperfici. A strong chromatic impact is created by Intersuperficie Curva Arancio (1969) and Intersuperficie curva rossa, hung at opposite ends of the room. The title Intersuperfici refers to three superimposed canvases, pierced by circular and elliptical openings. It refers to the play of the viewer’s gaze over the different planes. The characteristic monochrome represents the link both to Fontana’s experiments and to those of the generations born in the 1930s and 40s: a language through which the artist put behind him the expressive implications of the Informel, returning to the wellsprings of the historic avant-gardes. In tandem with this rediscovery of Scheggi at the Peggy Guggenheim Collection, the Centro per l'arte contemporanea Luigi Pecci of Prato will host, from 23 March 2013, a monographic exhibition entitled Paolo Scheggi. Intercamera plastica e altre storie on the occasion of Franca and Cosima Scheggi’s donation of the work Intercamera plastica (1967) to the Tuscan museum.
Rodolfo Aricò (1930-2002), Structure, 1967. Oil on canvas 262x200 cm. Courtesy A arte Studio Invernizzi, MIlan. Photo: Bruno Bani, Milano© Archivio Rodolfo Aricò, Milano.
The exhibition closes with Rodolfo Aricò, whose work is characterized by a rational and expressive syntax of structural rigour and chromatic sensibility. The two dedicated rooms focus on works of 1966-70 which witnessed the definition of his signature ‘object-paintings’: shaped canvases that Aricò developed in dialogue with international explorations of expressive reduction, from the Post-painterly abstraction of Morris Louis and Kenneth Noland to the Minimalism of Donald Judd and Sol LeWitt. Aricò’s forms originate from a fresh meditation on European visual culture of the past: a progression in reverse, which departs from the historical avant-gardes of the early 20th century to arrive at the perspectival Renaissance painting of Paolo Uccello, to whom tribute is paid in the work Studio 2. Paolo Uccello (1970). The return of Aricò’s work to Venice renews his connection to a city that hosted several important moments in his career, from the retrospective at Palazzo Grassi (1974) to his recurring participation in the Venice Biennale of Art (1964, 1968, 1980 and 1986).
Rodolfo Aricò, Milan 1969. Courtesy Archivio Rodolfo Aricò, Milano.
Large miroir discoïde à manche en forme de colonnette papyriforme. Egypte, Moyen Empire, 2065-1781 av. J.-C. Photo Millon et Associés Paris
Un épais rivet à l'imitation du métal vient souder le manche à la tige. Alliage cuivreux à patine verte lisse. Manche en partie restauré. H : 28.5 cm - Estimation : 800 / 1 000 €
Millon et Associés Paris. Vendredi 8 mars 2013. Drouot Richelieu - Salle 15 - 9, rue Drouot - 75009 Paris
Miroir circulaire à contour festonné, orné de lignes concentriques gravées autour d'un ombilic conique. Parthe. Photo Limoges Enchères
La poignée est une statuette de femme debout au visage effacé, une main sur les hanches, un bras levé, la main posée sur la tête. Patine verte lisse. Haut : 18, 5 cm, diam : 12 cm - Estimation : 500 / 1 000 €
Provenance : Ancienne collection JP Barbier,
collection Lansac, Limoges.
Vente Boisgirard, A. Kevorkian, 1980
Limoges Enchères. Samedi 9 mars 2013. 32, rue Gustave Nadaud 87002 Limoges Cedex - Tel: 05.55.77.60.00
Miroir en bronze à belle patine verte. Epoque présumée : Louristan 1500-700 avant JC. Photo Limoges Enchères
La poignée est ornée de motifs géométriques ciselés. Haut : 21 cm. Estimation : 500 / 1 000 €
Provenance : Collection Lansac, Limoges.
Mythes et Légendes, place des Vosges, Paris, 1980.
Limoges Enchères. Samedi 9 mars 2013. 32, rue Gustave Nadaud 87002 Limoges Cedex - Tel: 05.55.77.60.00
A Fine Copper-Red-Glazed Vase (meiping), Qianlong Seal Mark And Period - Sotheby's
with a tapering body rising to a round shoulder beneath a waisted neck and a slightly flared lipped rim, the exterior applied overall with a lustrous red glaze thinning at the mouth and pooling to a deeper tone at the foot, seal mark in underglaze blue. Height 11 7/8 in., 30.1 cm - Estimation: 120,000 - 140,000 USD
PROVENANCE: Collection of Professor Ross Edman.
Sotheby's New York, 23rd September 1995, lot 426.
Sotheby's New York, 19th March 2008, lot 151.
NOTE: The use of copper-red glaze at Jingdezhen was revived by the Kangxi emperor after the decline in usage during the late 15th, 16th and early 17th centuries. With the effort to reproduce classic Ming sacrificial-red (jihong) porcelains, Qing copper-red pieces quickly outnumbered their Ming counterparts. Nigel Wood in Chinese Glazes, London, 1999, p. 180, notes how the French Jesuit missionary, Pere Francois D'Entrecolles (b. 1664-1741) wrote letters giving detailed accounts of the copper-red production at Jingdezhen, the sourcing of the copper for the glaze, the recipes and the kiln location of the firing of these wares. D'Entrecolles was aware of the difficulties involved in the making of copper-red wares and his account confirms the high level of technical knowledge of the potters at Jingdezhen. Although copper-red pieces can be readily found from the Kangxi and Yongzheng periods, by Qianlong's reign they became fewer in number.
Qianlong meiping in copper-red glaze are rare, although a small number are recorded, ranging between 9 and 12.5 inches in height. See a slightly smaller meiping in the Roemer Museum, Hildesheim, also with a Qianlong reign mark and of the period, illustrated in Ulrich Wiesner, Chinesisches Porzellan, Mainz am Rhein, Hildesheim, 1981, pl. 99; and another sold in our Hong Kong rooms, 10th April 2006, lot 1521. Another smaller example, from the Jingguantang
collection, was sold at Christie's Hong Kong, 5th November 1997, lot 864; and a larger vase of this form and glaze, from the collection of Professor Ross Edman, was sold at Sotheby's New York, 23rd September 1995, lot 426.
Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 19 mars 2013 www.sothebys.com
A Flambe-Glazed Vase (fanghu), Qianlong Seal Mark And Period - Sotheby's
of archaic bronze form, the pear-shaped body of rectangular section rising from a short foot to a quatrefoil rim, set at the shoulders with a pair of square lug handles and molded to the front and back with a raised peach-form panel, covered overall with a rich purplish red glaze with lavender blue streaks thinning to cream along the edges, the base incised with a seal mark under a toffee-brown glaze. Height 11 7/8 in., 30.1 cm - Estimation: 80,000 - 120,000 USD
Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 19 mars 2013 www.sothebys.com
Collier antique composé de 20 petits médaillons en feuilles d'or, époque hellénistique tardive, Ier s. av J.-C. Photo Hôtel des Ventes de Genève
décor de cercles concentriques avec centre conique, alternés avec 2 rangs de passants en pâte de verre bleue et verte, médaillon central conique en feuille d'or décoré de traits radiants, long. 37 cm - Estimation : 3 000 / 5 000 CHF
Hôtel des Ventes de Genève. Mercredi 13 mars 2013. Hôtel des Ventes de Genève - 51, rue Prévost-Martin - 1205 Genève. Tel: +41 22 320 11 77
2 pendants d'oreilles en or à tête de taureau, probablement époque hellénistique. Photo Hôtel des Ventes de Genève
l'une ornée d'une agate, nombreux motifs et frises en filigrane, h. 3-4 cm - Estimation : 500 / 700 CHF
Références: modèles similaires illustrés dans In Pursuit of the absolute Art of the Ancient World: The Georges Ortiz collection, no 164
Hôtel des Ventes de Genève. Mercredi 13 mars 2013. Hôtel des Ventes de Genève - 51, rue Prévost-Martin - 1205 Genève. Tel: +41 22 320 11 77
A Rare Molded 'Longquan' Celadon Vase, Yuan Dynasty - Sotheby's
robustly potted, of large baluster shape with an ovoid body rising to a tall cylindrical neck, the shoulders crisply molded with scrolling lotus blossom and foliage borne on a continuous undulating stem, set between a neck decorated with three detached sprays of chrysanthemum blossoms, and carved overlapping upright leaves skirting the foot, covered overall in a rich unctuous bluish green glaze thinning to a pale gray, the rim fitted with a silver band. Height 18 1/2 in., 47 cm - Estimation: 100,000 - 150,000 USD
PROVENANCE: Collection of Mrs. S.K. de Forest, New York.
Collection of Warren E. Cox, New York.
Sotheby's New York, 22nd February 1973, lot 196.
Sotheby's New York, 21st September 2006, lot 99.
EXHIBITED: Exhibition of Early Chinese Pottery and Sculpture, Metropolitan Museum of Art, New York, 1916, cat. no. 256.
LITTERATURE: Warren E. Cox, The Book of Pottery and Porcelain, Vol. 1, New York, 1945, p. 144, pl. 45.
NOTE: Very few vases of this type have glazes this exceptional in color. It is also rare to find molded lotus flowers as opposed to peonies. Compare two vases with their mouths reduced and decorated with peonies in the Topkapi Saray Museum, illustrated in Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Vol. 1, London, 1986, nos. 204 and 205. For a complete vase of this type in the Palace Museum, Beijing, see Longquan qingci, 1966, pl. 41. Smaller and simpler examples have been found on a shipwreck off Sinan, Korea, datable to about the third decade of the 14th century, included in the Special Exhibition of Cultural Relics found off Sinan Coast, Seoul, National Museum of Korea, 1977, cat. pl. 23.
Longquan vases with molded and applied decoration first appeared in the late Song Dynasty and were produced in large quantities in the Yuan. They were assembled in sections and instead of having a base, the bottom section was closed with an inverted saucer-shaped piece of clay. Compare a similarly shaped yen-yen vase in the Percival David Foundation, London, inscribed with the date corresponding to 1327, illustrated in Margaret Medley, Yuan Porcelain and Stoneware, London, 1974, pl. 58.
Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 19 mars 2013 www.sothebys.com
A Rare Celadon-Glazed Six-Necked Vase (liulianping), Qianlong Seal Mark And Period - Sotheby's
with five baluster-form vases enclosing the inner central and tallest vase, rising to narrow cylindrical necks, each with a single raised filet and terminating in an everted mouth and tapering to form a joined base, covered overall in a vitreous pale sea-green celadon glaze, seal mark in underglaze blue. Height 9 3/4 in., 24.6 cm - Estimation: 200,000 - 300,000 USD
PROVENANCE: Acquired by the family before 1960 and thence by descent.
NOTE: This type of rare vase appears to have been made for imperial use during both the Yongzheng and Qianlong periods. Of the few known Qianlong examples, three have been previously sold at Sotheby's, one with incised decoration in these rooms, 18th September 1996, lot 225 and another in our Hong Kong rooms, 5th-6th November 1996, lot 862 and most recently in these rooms 20th March 2012, lot 237. A similar example with a plain celadon glaze of slightly smaller dimension is illustrated in Chinese Porcelain, The S.C. Ko Tianminlou Collection, Hong Kong, 1987, pl. 149, and another example in the Art Institute of Chicago was included in the Exhibition of Chinese Ceramics, Los Angeles County Museum, 1952, Catalogue, no. 366. A vase with a sky-blue glaze is illustrated in Treasures in the Royalty, The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 326. A similar vase with a teadust glaze preserved in the National Palace Taiwan is illustrated in Catalog of the Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, Taipei, 1986, p.123, no. 96.
Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 19 mars 2013 www.sothebys.com
El Greco, Saint Dominic in Prayer, est. £3-5m. Photo: Sotheby's.
LONDON.- Later this year, Sotheby’s will offer for sale 141 works of art, including important paintings, sculpture and decorative arts from the renowned collection of the late Dr. Gustav Rau, the great 20th Century philanthropist and collector. Works will be offered across a broad range of categories, including Impressionist & Modern, Old Master & British Paintings, 19th Century European Paintings and European Sculpture and Works of Art. Highlights include Claude Monet’s oil on canvas Le Pont de Bois (est. £4-6 million); El Greco’s Saint Dominic in Prayer (est. £3-5 million) and Giovanni Domenico Tiepolo’s Jacopo Porto Appointed Governor of Vicenza (est. £3-5 million) With a combined total value in excess of £16 million, the collection is being sold by UNICEF Germany to fund long-term assistance programs for children, and especially to further assist the Ciriri hospital in eastern Congo.
Dr. Philipp Duke of Württemberg, Chairman Sotheby's Europe, Managing Director Sotheby's Germany, said: “Dr. Rau collected with a rare energy and wisdom. An austere man who wasted no money on himself, he was nonetheless always ready to pursue the greatest works of art, across all schools and genres, to create one of the 20th Century’s most comprehensive and exciting collections. It is a tremendous honour for Sotheby’s to be handling works from this illustrious collection and to know that the funds will be used to further causes close to Dr. Rau’s heart.”
Gustav Rau (1922-2002), scion of a wealthy German industrialist family, was a truly unique collector. Having followed his father into the automotive business, at the age of 40, he decided to train as a doctor with the intention of working in the developing world. Following his father’s death, he sold the family company and began to use the proceeds to help diminish poverty in the Third World. He moved to the Democratic Republic of Congo, where he lived for two decades, building a hospital at Ciriri and serving as a doctor for the surrounding community. Over a period of 40 years, he also indulged his passion for the arts, building one of the world’s most important private collections – travelling from his remote village in Africa to purchase prized works in the salerooms of Europe. Self-taught, but with an instinctive eye, his collection encompassed superb works from the early Quattrocento all the way through to the Modern era. On his death, Dr. Rau bequeathed his outstanding collection to UNICEF.
Works from the Rau Collection will be offered in:
• Sotheby’s London Impressionist and Modern Art Evening Sale, 19th June 2013
• Sotheby’s London Impressionist and Modern Art Day Sale, 20th June 2013
• Sotheby’s London 19th Century European Paintings, 23rd May 2013
• Sotheby’s London European Sculpture and Works of Art, 2nd July 2013
• Sotheby’s London Old Master & British Paintings Sale, 3rd/4th July 2013
• Sotheby’s London Collections Sale, 24th September 2013
• Sotheby’s Zurich, Swiss Art Sale, 2013
Claude Monet, Le Pont de Bois, est. £4-6m. Photo: Sotheby's
Tête féminine Vietnam. Milieu du 20 ème siècle.
coiffée d'un haut chignon élaboré et paré de pendants d'oreilles à la beauté idéalisé en Kwan Yin. Bronze signé. 25cm. Estimation 2 500 € - 3 000 €
Indochine. Les parapluies du Mandarin de Justice, Ambassade de la Cour de Hué, Orchestre tonkinois, militaires tonkinois, Cho-Ra, femme Yao, Reddition d un chef de bande, c. 1885-1892 Par Charles-Edouard HOCQUARD et par Pierre DIEULEFILS
7 tirages albuminés 11 x 17 cm à 16,4 x11,7cm. Estimation: 150 € - 200 €
