WOODBURY & PAGE et autres. Indonésie et Indochine : types, scène des champs, c. 1870-1880

3 tirages albuminés montés sur pages d'album 20,5 x 24 cm et inf. Estimation 150 €-200 €

MILLON & ASSOCIES. mardi 19 mars. 19 rue de la Grange Batelière 75009 Paris. Tél. : 01 47 27 95 34 - Fax : 01 48 00 98 58 - contact@millon-associes.com

Indochine-Cochinchine Saigon, Phnom Penh, cap St Jacques, types, Chinois, enfants, bonzes, coolies, mains d'un mandarin, " petit pied ", acteur, tirailleurs annamites.. Travaux des champs, rizière, rivière, pagode.

Plus de 50 tirages albuminés, légende manuscrite à l'encre sur pages d'album 21 x 16 cm. Estimation 400 € - 600 €

MILLON & ASSOCIES. mardi 19 mars. 19 rue de la Grange Batelière 75009 Paris. Tél. : 01 47 27 95 34 - Fax : 01 48 00 98 58 - contact@millon-associes.com

Ecole des Pays-Bas Méridionaux, Le Jugement Dernier, XVème siècle (détail). Musée d'Art Ancien de Bruxelles

Rogier van der Weyden, Pietà, La lamentation (détail). Chêne, 32,5 x 47,2 x 0,35. (ca. 1441). Musée d'Art Ancien de Bruxelles

Hieronymus van Aken dit Bosch, Calvaire avec donateur (détail). Chêne, 74,7 x 61 x 1,5, (ca. 1490). Musée d'Art Ancien de Bruxelles

 Musée d'Art Ancien de Bruxelles

Pieter Boel ; figures attribuées à Jacques Jordaens, Vanitas. Toile; 141 x 199. Musée d'Art Ancien de Bruxelles

Pieter Boel ; figures attribuées à Jacques Jordaens, Vanitas (détail). Toile; 141 x 199. Musée d'Art Ancien de Bruxelles

Cornelis Norbertus Gysbrechts, Vanitas. Huile sur toile, 63,5 x 47,5. Musée d'Art Ancien de Bruxelles

Cornelis Norbertus Gysbrechts, Vanitas (détail). Huile sur toile, 63,5 x 47,5. Musée d'Art Ancien de Bruxelles

 Musée d'Art Ancien de Bruxelles

 Musée d'Art Ancien de Bruxelles

Musée d'Art Ancien de Bruxelles

Attribuéà Jan Brueghel II, Le Calvaire (détail).. Musée d'Art Ancien de Bruxelles

Chinese Ancestor Portrait, Color Inks on Silk, 19th century. Est. USD150,000/250,000.

NEW YORK, NY.- A preview of the iGavel online auction of important Asian, Ancient & Ethnographic works of art will take place during Asia Week New York, March 15-22, it was announced by Lark Mason, founder and president of the Harlem-based auction house, at 227 East 120th Street. Over 400 lots, drawn from a cross-section of periods and disciplines, will be offered in the online sale goes live on April 17 to May 1. 

"I am pleased to preview a wide variety of freshly offered Asian items including bronzes, paintings, furniture, scholars' articles, and ceramics during Asia Week New York," says Lark Mason, who created the highly successful online auction platform in 2003. “Our estimates allow both seasoned and novice collectors to purchase quality works of Asian art.” 

The sale’s top ten highlights include: 

• Chinese Ancestor Portrait, Color Inks on Silk, 19th century Ancestor portraits are common in China but those of such extraordinary large size are unusual. The sitter of this portrait is unidentified, but clearly an individual of importance and high rank. (Est. $150,000/250,000) 

• Chinese Archaistic Rhinoceros Horn Libation Cup, 17th/18th century Rhinoceros horn carvings in China are valued due to the symbolism Chinese culture associates with both the horn and the rhinoceros, including strength, power and wealth. Sometime before the Tang Dynasty, the Chinese came to believe that the rhino horn contained magical powers, and because of that it was included as part of the eight Taoist Treasures. The Chinese also for centuries ground the horns to create medicine. This particular example draws upon ancient Chinese bronze decorative elements, emphasizing antiquity and the connection with the present and the long history of Chinese civilization. (Est. $70,000/100,000) 

• Chinese Archaic Bronze Vessel, Gui, Western Zhou Dynasty Est. Chinese bronze ritual vessels from the Western Zhou period are among the most dramatic and beautiful examples of Chinese art. This vessel is called a Gui and it was used for food offerings. Some ancient bronzes are accompanied by inscriptions, such as this example, which is cast with an inscription on the center of the interior. While inscriptions were rare on Shang dynasty bronzes, they became a little more commonplace during the Zhou period, and have become a help to modern historians in understanding values of the time, or social or historical events. The fine quality casting and beautiful patina in tones of grey, brown, and green make this an exceptional example. (Estimate: $40,000/60,000) 

• Chinese Porcelain Underglaze Blue and Copper Red Decorated Meiping Vase, 18th century The provenance of this vase includes Yamanaka & Co, and was sold in 1943 in the sale ‘Collection of Chinese and Other Far Eastern Art.’ Yamanaka was the preeminent Asian art dealer of the late 19th and early 20th centuries with galleries in Asia, London, and several American cities. His galleries had some of the finest examples of Chinese art, and a client list that included Prince Kung. This vase is unusual for its large size and bold decoration, which is usually reserved for much smaller examples. (Estimate: $20,000/30,000) 

• Chinese Porcelain Green-Ground Famille Rose Jar, Jiaqing Mark and Period This jar demonstrates the fine overglaze enameling that Chinese artisans developed on porcelains during the Qing dynasty. The artist included a shou character which means ‘longevity’, peaches, also a symbol for longevity and a Buddhist endless knot representing the spiritual path. (Estimate: $10,000/15,000) 

• Mughal Ivory and Tortoiseshell Cabinet, 17th century The Mughal Empire, established by descendants of Genghis Khan, reigned in India from 1526 to 1757. The period saw the traditional culture of India assimilated with Persian culture, and the art of India from this time is defined by this Indo-Persian integration. The scrolling lotus pattern on this box is indicative of Indo-Persian art. The scrolling pattern itself is influenced by the Persian geometric motifs of nomadic tribes and by Islamic design; however, the choice of lotus flower is uniquely Asian. (Est.$10,000/15,000) 

Chinese Huanghuali Mirror Stand, 18th century. Huanghuali is a wood prized by Chinese furniture collectors. Estimate: USD8,000/12,000.

• Chinese Huanghuali Mirror Stand, 18th century Huanghuali is a wood prized by Chinese furniture collectors. It is a hardwood from the rosewood family and was used in the construction of fine quality furniture during the late Ming and early Qing dynasties. Stands of this type were used by women and often incorporate, as does this example, designs of flowers that were appreciated by the user. The drawers were used for storing cosmetics. Chinese construction techniques principally relied upon the use of mortise and tenon and other joins, such as dovetails. This piece purposely highlights the use of dovetails in the joinery of the drawers, showcasing the skill of the cabinetmaker (Estimate: $8,000/12,000) 

• Chinese Jadeite Vase and Cover, 20th century The Chinese have valued jade from Neolithic times to the present, because of the durability of the stone and its hard composition. Like gold to a Westerner, jade has an intrinsic value as a material, and the most prized jadeite incorporates bright apple-green and lavender colors that can be seen on this vase. (Estimate: $8,000/12,000) 

• Chinese Cloisonné‘Lotus’ Decorated Tripod Censer, Ming Dynasty Cloisonne censers of this shape are unusual. The bold lotus scroll is typical of decoration from the mid-Ming period. This shape became popular during the Ming dynasty, originating from an ancient bronze called a Li Ding. The original vessels were used for heating food over the fire, and during the Ming, the shape adapted to use for burning incense (Estimate: $5,000/8,000) 

Tomioka Tessai (1836-1924), Hanging Scroll – Title: Letter to Mr Watanabe Yoen. Period: Taisho Period, c. 1920. Material: Ink on Paper.

BASEL.- BachmannEckenstein | JapaneseArt are showing again during Asia Week New York, not only as an Affiliate Member of the JADA (Japanese Art Dealers Association), but also as a new member of Asia Week New York, and at a new location. 

They are following their reputation of being “two scholarly Swiss dealers … highly regarded for their taste and knowledge in the fields of pre-modern calligraphy, painting, and tea ceramics,” and so they are showing among other works the following highlights: 

· A landscape with pavilion painting by Ikeno Taiga (1723-1776). This undated landscape probably comes from his last decade and exhibits Taiga’s mature style in its rigorous but idiosyncratic brushwork, combined with sparing application of color and a warm, intimate atmosphere that pervades this and other late works. 

· Over the last several years BachmannEckenstein have explored the private sides of famous artists by their examining the personal letters. This year they include correspondence written by Otagaki Rengetsu (1791-1875), Tomioka Tessai (1836-1924), Rai Sanyo (1780-1832), and Yosa Buson (1716-1783). 

· A number of hanging scrolls by “the last great Nanga painter” Fukuda Kodojin (1865 -1944), an artist BachmannEckenstein has handled for many years, and who has become increasingly popular amongst collectors and museums alike. 

· A small but exquisite selection of the extremely seeked after and increasingly difficult to find ceramic artist, calligrapher, and poet, Otagaki Rengetsu (1791-1875). 

· An elegant sake flask by Hamada Shoji (1894-1978), one of his most representative forms, takes the pre-modern style beyond. (#2265) 

Exhibiting at: Gallery Schlesinger 24 East 73rd Street | 2nd Floor New York, NY 10021 P: 212-734-3600

Ikeno Taiga (1723-1776), Hanging Scroll – Title: Landscape with Pavilion. Period: Edo Period - after 1750. Material: Ink and colour on silk.

A Chinese Order of the Double Dragon. © Maynards

VANCOUVER.- Maynards will be hosting an International & Asian Art Auction on March 12 – 13. 

The auction will offer a unique range of jades, ceramics, other antiques and fine arts. Combined, the collections are valued from $1 to $1.5 million. Maynards is hoping to surpass last year’s outstanding jade auction which resulted in a several pieces going for $1.3 million. 

This year, Maynards is proud to feature pieces from the collection of the late philanthropist and prominent Iranian business man, Mr. Habib Sabet. Several of Mr. Sabet’s pieces will be up for auction on Wednesday March 13th from 9:20 p.m. onwards. They include: 

· Lot 584 & 587; Two Chinese jade vases of very pale celadon colour, valued $40,000 to $60,000 

A Chinese jade vase and cover of very pale celadon colour. © Maynards

the flattened baluster form body carved in the manner of archaistic bronze with opposing phoenix and a loose ring and mask handle and having four loose ring and dragon head handles below the neck, the cover with four mythical beasts seated below a floral finial, Qianlong (1730-1795). Height: 16 1/2 in. (42 cm) (comes with carved and gilt wood stand). Condition: Good, drilled at base and cover as a lamp - Estimate $ 40,000-60,000

Provenance: Purchased from Christies London, June 21st 1971. From the Collection of the late Habib Sabet, and thence by familial descent to the current owner. 

A Chinese pale celadon jade vase and cover. © Maynards

carved in relief in the manner of archaic bronze form with Toatie masks and a pair of loose ring handles, the cover with a pair of phoenix and a flower finial, Qianlong (1736-1795) height: 13 in. (33 cm) (comes with carved wood stand). Condition: Converted as a lamp, drilled - Estimate $ 40,000-60,000

Provenance: From the Collection of the late Habib Sabet, and thence by familial descent to the current owner.

· Lot 585; Chinese light celadon jade incense burner and cover, valued $40,000 to $60,000 · Lot 585; Chinese light celadon jade incense burner and cover, valued $40,000 to $60,000 

A Chinese light celadon jade incense burner and cover. © Maynards

The base with carved peony handles with loose rings and six mythical beast masks with loose rings, the three leg with carved beast masks; the cover with three lion dogs and loose rings, Qianlong (1736-1975) height: 7 1/2 in. (19 cm) (comes with carved and gilt wood stand).  Condition: Converted as a lamp, drilled - Estimate $ 40,000-60,000

· Lot 586; A Chinese spinach green jade potpourri holder, valued $40,000 to $60,000

A Chinese spinach green jade potpourri (Lu) and pierced cover. © Maynards

the base with floral designs in relief and having a pair of dragon handles with loose rings; the domed cover pierced with floral traceries below a lotus blossom finial, Qianlong (1736-1795)height: 6 1/2 in. (16.5 cm) (comes with carved and gilt wood stand). Condition: Converted as a lamp, drilled - Estimate $ 40,000-60,000

Provenance: Purchased from Christies London, June 21st 1971. From the Collection of the late Habib Sabet, and thence by familial descent to the current owner. 

· Lot 588; A Chinese imperial jade table screen, valued $40,000 to $60,000

A Chinese imperial jade table screen and gilt cloisonne stand. © Maynards

the very light celadon coloured screen carved in relief with a crab amongst lotus and millet stems below a pierced stylized dragon top, Qianlong (1735-1795) The screen: 10 in. h. x 7 1/4 in. w. (25.5 x 18 cm).  Condition: A 3 inch crack at top, 3/4 inch crack to side. Estimate $ 40,000-60,000

Provenance: Purchased from Christies London, June 21st 1971 by the Sabet family. From the Collection of the late Habib Sabet, and thence by familial descent to the current owner. 

· Lot 589; A finely crafted Chinese mutton fat green jade potpourri holder, valued $80,000 to $120,000

A Chinese mutton fat jade potpourri (Lu) and cover. © Maynards

the bowl and cover pierced with scrolling flowers and phoenix having two carved floral handles below a coiled dragon finial and raised upon three stub feet, Qianlong (1736-1795)height: 5 1/2 in. (14 cm). Condition: Good, some natural fissures to base - Estimate $ 80,000-120,000

Provenance: Purchased from Christies London, July 1963, Lot 3, by the Sabet family. From the Collection of the late Habib Sabet, and thence by familial descent to the current owner.

“We are delighted to offer a diverse array of international art pieces” says Hugh Bulmer, Vice President and specialist in Asian ceramics, “Mr. Sabet was an astute collector of Chinese jade antiques and his pieces showcase fine jade of the period.” 

The Sabet family antique collection includes pieces with exquisite craftsmanship from both the eighteenth century French decorative arts and Chinese jades. Habib Sabet was a successful businessman who founded more than 40 corporations and introduced the first television network in Iran, collected these pieces throughout the duration of this life. He spent his last years based in Paris, France tending to his extensive collection. Though many pieces in the collection remain in the Sabet family, many of the rarer and unique pieces now reside in some of the world’s most prestigious museums including the Louvre and Getty Museum. 

Habib Sabet was a highly prominent 20th century Iranian businessman, who achieved great corporate success in countless commercial and industrial ventures in banking, construction, pharmaceuticals, energy and more. Habib and his son can be credited with the introduction of the first television network in Iran. Habib Sabet was a noted philanthropist and collector of art and antiques. His passion for antiques included, but was not limited to, the exquisite craftsmanship of eighteenth century French decorative arts and Chinese jades. In a chapter concerning Habib Sabet in Eminent Persians: The Men and Women Who Made Modern Iran, 1941-1979, the author makes note that for Mr. Sabet, "one indulgence was collecting antiques and jade," and that, "he spent his last years travelling, and tending to his vast collection of antiques and works of art." Some of the Sabet treasures have now made their way into the great museums of the world, such as the Louvre and the Getty Museum. Mention of French furniture belonging to Habib Sabet, now in the Getty Museum, can be found in Hess, Catharine and Gillian Wilson. A Summary Catalogue of European Decorative Arts in the J. Paul Getty. Los Angeles, California: The J. Paul Getty Museum, pgs 29 & 42.

In addition to the Sabet family’s collection, Maynards’ auction also includes an “Order of the Double Dragon” medal awarded to a Scottish missionary, Dr. Dugald Christie, by the Emperor of China. Dr. Christie was awarded the medal for his work in dealing with the 1912 Plague in China. Dr. Christie’s medical service to China has been documented in several books including the Thirty Years in Moukden 1883-1913. 

A Chinese Order of the Double Dragon. © Maynards

First Class, Third Grade, in gold, the front decorated with double dragons inside a kingfisher feather border, the reverse inscribed with Chinese characters, presented to Dr. Dugald Christie, Esq. C.M.G., Medical Officer by the Emperor of China for his work in the Prevention of the Plague, Mukden Station. 2 1/2 x 1 3/4 in. (6.35 x 4.45 cm). Estimate $ 70,000-90,000 

Provenance: Dr. Christie, (1855-1936), was a Scottish medical missionary who studied medicine at the Edinburgh Medical Missionary Society. In 1882 he began work as a medical missionary in Manchuria and by 1883 had opened a small hospital which served the residents during outbreaks of war and epidemics. In this small hospital he began training students in the ways of western medicine. By 1912 he had established the Mukden Medical College which went on to produce hundreds of medical graduates each year. For his many years of dedicated service to the people of China he was the recipient of many awards including: Russian Red Cross Decoration in 1905:, Chinese Red Cross Decoration in 1908: Chinese Order of the Precious Star in 1911; Chia Ho in 1922; and this Order of the Double Dragon for his work in dealing with the Plague in 1912. 

Also a writer he published several books including Thirty Years in Moukden 1883-1913.

Dr. Dugald Christie, Esq. C.M.G., Medical Officer © Maynards

Li Huayi, Whispering Pine, Reaching to the Clouds (The Band, 1969), 2012 (detail). Photo: Sotheby's.

NEW YORK, NY.- From 14-28 March 2013 as part of Asia Week New York Sotheby’s SI2 Gallery will present an exhibition of Chinese Contemporary Ink Paintings entitled SHUIMO, the combination of the two Chinese characters meaning water and ink. The exhibition explores the diversity of Chinese ink painting with examples ranging from bold abstraction, to attentive traditionalism to light-hearted pop, many of which have been painted especially for the show. The exhibition features 14 of the leading artists working in the medium today with pieces by Cai Xiaosong, Arnold Chang, Gu Wenda, Li Huayi, Li Jin, Li Xiaoke, Liu Dan, Master of the Water Pine and Stone Retreat, Peng Wei, Qin Feng, Tai Xiangzhou , Xu Lei, Zeng Xiaojun and Zhu Wei. Prices for the pieces in the exhibition range from $8,000 to over $1 million.

Meeseen Loong, organizer of the exhibition said: “We are thrilled to present SHUIMO/Water Ink, the first selling exhibition of Asian Art at Sotheby’s New York. With an increasing number of museum and gallery shows in the US, interest in Contemporary Chinese ink painting has never been higher. This exhibition showcases the diversity and talent of many of the today’s leading Chinese Ink artists bringing their work to the global audience that will be in New York for Asia Week.” 

Chinese ink painting, an essential component of the culture for millennia, has entered a period of bold renewal and reinterpretation. The fourteen artists of SHUIMO are in the vanguard of this renaissance with styles ranging from bold abstraction to reinvigorated traditionalism to personal and playful figurative painting. From the simple elements of water and ink emerge artworks of intimate subtlety and overwhelming emotional power. 

SHUIMO artists produce landscape paintings that connect with the past from Li Huayi’s monumental works to modern expressiveness of Arnold Chang and Qin Feng, to the intimate sereneness of the Master of the Water Pine and Stone Retreat. 

Rock paintings have long been admired both as a combination of abstraction, still life, and landscape paintings. Like many rock painters Liu Dan, Zeng Xiaojun, and Cai Xiaosong first made their names as landscapists. Wenda Gu studied landscape painting and experimented with abstraction before creating the “pseudo-characters” that have become his most recognizable motifs. In a well-known ongoing series he combines a pseudo-character with a landscape set in an abstract space. 

The three figure painters in the exhibition, Li Jin, Peng Wei, and Zhu Wei, have produced modern takes on the genre that dominated so much of twentieth century art, drawing upon classical themes and techniques. 

Li Huayi, Whispering Pine, Reaching to the Clouds (The Band, 1969), 2012. Photo: Sotheby's.

Still Life with Grapes, Apples, Nuts and Terracotta Jar, Juan Fernández el Labrador. Oil on canvas, 62,5 x 46,5 cm, c.1633, Private Collection.

MADRID.- The Museo del Prado presents the first monographic exhibition on one of the most exquisite painters in 17th-century Europe: Juan Fernández El Labrador, who was active in Madrid between 1630 and 1636. El Labrador is one of the least known artists working in this genre and within the history of Spanish Baroque painting. 

While El Labrador’s paintings have previously been included in survey exhibitions on the still life, this is the first time that almost all his oeuvre has been brought together. Comprising eleven of the thirteen painting attributed to him, the exhibition will help to promote greater knowledge of this enigmatic artist’s remarkable output. In addition to bringing together almost all his known paintings for the first time, the exhibition will allow visitors to appreciate works that have never or very rarely been on public display in Spain. This is the case with Still Life of Grapes, Acorns and a Glass with Apples from a private Barcelona collection. It was formerly in the collection of the Dukes of Parcent and has not been seen in public since it was sold at auction in 1979. Similarly, Still Life with Grapes and Still Life with Grapes, Apples, dried Fruit and a terracotta Jug, both in private collections, have only been seen in exhibitions outside Spain, while Still Life with Grapes, Quinces and dried Fruit is in the British Royal Collection will be seen for the first time in Spain. That work arrived in Britain around 1634-35 after it was commissioned by the English Ambassador in Madrid who gave it to Charles I, one of the most sophisticated art collectors in Europe at the time and the owner of an outstanding collection. Charles patronised artists such as Orazio Gentileschi, Rubens and Van Dyck. 

While El Labrador’s images of grapes and autumn fruit constitute his best known and most numerous works, there are also two flower paintings, one of which belongs to the Prado. It will hang alongside the other works in the small gallery of still lifes into which Room D in the Jerónimos Building will be transformed for the exhibition. 

Sections of the exhibition The exhibition is organised into 2 sections that reveal the evolution of the artist’s compositions, from his earliest works that solely depict bunches of grapes to his late paintings in which they are combined with other elements. 

Section I. A modern Zeuxis

Bunches of grapes have been a favoured motif in still-life paintings since the genre was invented in the late 16th and early 17th centuries. By depicting them artists could demonstrate their skills, capturing textures, structure and the stage of ripeness of the fruit. However, for an erudite public they also evoked a classical episode that upheld the superiority of painting. According to classical texts, in the 5th century BC the Greek painter Zeuxis of Heraclea depicted grapes with such realism that some birds came down to peck at them in one of his paintings of this subject. 

In his earliest known works El Labrador only depicted grapes, which are presented in a striking manner. The minutely detailed bunches are seemingly suspended in darkness and lit with extremely contrasting light while all spatial references are eliminated. The grapes’ realistic, instantaneous appearance challenged viewers of the day and revealed the artist’s remarkable imitative powers, which were sufficient for him to be termed a modern Zeuxis. 

Section II Nature on the canvas: spring and autumn

From 1633 El Labrador began to paint more complex compositions in which his distinctive grapes are combined with other elements. These still lifes always include fruit and plants that ripen in autumn or keep well over the following months. Generally products of the summer and autumn, they are depicted alongside bunches of grapes on small ledges that are seen from the front and stand out against the shadowy backgrounds. An apparent disorder prevails in these works, in which the artist generally added a refined vessel or recipient made of a gleaming or coloured material that creates a subtle contrast with the simplicity of acorns or chestnuts. These works can be seen as celebrations of autumn in which the variety of fruit implies a display of humble abundance. In 1635, and perhaps on the suggestion of one of his English clients, El Labrador expanded his range of subjects to depict bouquets of flowers. These brought him fame due to their freshness and sense of realism and he added new, spring-like colours to his palette.

Juan Fernández El Labrador

The documentation on Juan Fernández located to date only refers to the first seven years of the 1630s. The artist was known as “El Labrador” [the agricultural labourer] due to his rural origins and while it is assumed that he was born in Extremadura, nothing is known of his birth or artistic training. He was brought up by a leading Italian aristocrat, Giovanni Battista Crescenzi, who had an important influence on artistic matters in the reigns of Philip III and Philip IV. Crescenzi was one of the promoters of the still life and it seems very likely that he encouraged El Labrador to devote himself to painting fruit. This genre was evolving rapidly and was greatly in demand at the Madrid court and throughout Europe. The humble appearance of El Labrador’s paintings, which are both extremely simple and astonishingly realistic, must have cause a great impact at a time when such works were becoming more complex and Baroque. 

Around 1633 Juan Fernández left Madrid. According to his early biographers he retired to the country where he devoted himself to “portraying” the fruits of the natural world, with which he would have been notably familiar. It is said that he came to court during Easter Week to sell his paintings, which were acquired by the most important aristocratic collectors. Among the artist’s clients was the British Ambassador, Sir Arthur Hopton, who sent works by El Labrador to Charles I. Another royal collector to own a painting was Anne of Austria, Queen of France. As a result, El Labrador was one of the few Spanish artists known outside the Iberian Peninsula in the 17th century. 

El Labrador’s fame was based on his highly individual approach to the depiction of fruit and flowers, particularly grapes, which were the principal motif in his paintings. In his still lifes he reveals a distinctive combination of the naturalist tradition with startling compositional formats. His use of painstaking detail is heightened by the extremely contrasting lighting derived from Caravaggio and a very close-up viewpoint. The dark backgrounds and absence of spatial references make these works completely timeless, particularly his depictions of hanging bunches of grapes, which convey an aesthetic close to modern art. While the artist can be related to the evolution of the genre in the first half of the 17th century, his work also implies a unique contribution for its time.

El Labrador’s enigmatic personality and the fact that he moved away from the court at the height of his artistic powers, focusing on a new naturalism that went against the prevailing trend of the time, is even more striking given the very small number of works known by his hand. While there are early references to other paintings by him, at the present time only thirteen can be securely attributed. 

Juan Fernández “El Labrador”, Still Life with Four Bunches of Grapes, c. 1630 - 1635. Oil on canvas, 45 x 61 cm. Madrid, Museo Nacional del Prado.

Vase of Flowers Juan Fernández el Labrador. Oil on canvas, 44 x 34 cm c.1635 - 1636, Madrid, Museo Nacional del Prado

Two Bunches of hanging Grapes, Juan Fernández el Labrador. Oil on canvas, 29 x 38 cm, c. 1629 - 1630, Madrid, Museo Nacional del Prado

A Chinese crackle ware flared bowl impressed on the exterior with Phoenix and Dragon © Maynards. 

leaf mark to base 3 in. h. x 7 1/2 in. w. (7.6 x 19 cm) - Estimate $ 400-600. Sold $ 805

Maynards. March 12 – 13. International & Asian Art Auction - http://auctions.maynardsfineart.com

Three Qingbai glaze tea pots, probably Song dynasty © Maynards. 

length of largest tea pot: 4 1/2 in. (11.5 cm) - Estimate $ 500-600. Sold $ 690

Maynards. March 12 – 13. International & Asian Art Auction - http://auctions.maynardsfineart.com

A pair of rhino horn cups © Maynards.

each: 3 in. d. x 2 in. h. (7.6 x 5 cm) - Estimate $ 600-800. Sold $ 1,725

Maynards. March 12 – 13. International & Asian Art Auction - http://auctions.maynardsfineart.com/

A Chinese carved horn paper weight © Maynards.

fully carved with three dragons playing in clouds in elaborate work, Qing dynastylength: 6 3/4 in. (17 cm) - Estimate $ 1,000-1,500. Sold $ 1,062

Maynards. March 12 – 13. International & Asian Art Auction - http://auctions.maynardsfineart.com/

A blue and white vase painted with flowers in a rocky garden © Maynards.

the pyriform body with later European silver mounts and stopper, 18th century porcelain height: 6 1/2 in. (16.5 cm). Later mounts - Estimate $ 300-500. Sold $ 649

Maynards. March 12 – 13. International & Asian Art Auction - http://auctions.maynardsfineart.com/

Paire de fauteuils, Vietnam, ca fin 19° siècle. Photo Cornette de Saint Cyr Paris

Bois et nacre. 100 x 60 x 47 cm. Exceptionnelle paire de fauteuils aux pieds et cadres sculptés à l'imitation de troncs noueux et branchages. Certaines parties, essentiellement les dossiers, sont rehaussés de décors incrustés de nacre. Les quatre pieds reposent sur des sphères maintenues par des griffes. Petits accidents et manques visibles. Estimation : 2 800 - 4 000 €

Cornette de Saint Cyr Paris. Mardi 26 mars 2013. Hôtel Salomon de Rothschild, Petit Salon - 11, rue Berryer - 75008 Paris. Expert : Jean-Luc ESTOURNEL. Tel. : +33 6 09 22 55 13. Commissaire-priseur : Bertrand Cornette de Saint Cyr. Tel. : +33 1 47 27 11 24

Ganesa. (Ganesha). Art pré-angkorien, ca 7°- 8° siècle. Photo Cornette de Saint Cyr Paris

Grès. H. 88,5 cm avec tenon. Accidents, restaurations, et manques visibles. Estimation : 50 000 / 80 000 €

Le dieu à tête d'éléphant est représenté debout, les oreilles déployées, les deux mains en avant de part et d'autre d‘un abdomen rebondi, maintenant à droite un radis (ou la pointe de sa défense brisée), et à gauche un modaka, (bol de gâteaux) dans lequel vient plonger sa trompe.
Les jambes potelées et l'abdomen rebondi constituent un écho aux iconographies archétypales indiennes. Un classique sampot court est noué sous la protubérance abdominale. Deux tenons de renfort relient les bras à l'abdomen.
Son corps est totalement dépourvu de parures comme cela semble être l'usage durant la période préangkorienne.
Il faut sur cette oeuvre noter le talent du sculpteur qui a parfaitement su synthétiser et réunir les éléments anthropomorphes et zoomorphes, avec un rendu exceptionnel du crâne, des yeux et de la trompe éléphantesques.
La rondeur générale des formes exprime totalement les notions de tranquillité, d'aisance et de protection associées à la divinité.
Le style particulier de cette sculpture, permet de la rapprocher d'un Ganesa assis du Musée de Phnom Penh (inv. K40) découvert en 1920 à Bassak, district de Romduol, province de Svay Rieng en 1920, et daté des 7° - 8° siècles, et d‘un autre conservé au Musée de Long An au Vietnam (inv. LG87 LA93 DA56) découvert à Loc Ciang province de Long An.

Références : - Catalogue de l'exposition “Les Ganesa du Musée National”, Phnom Pen 2000
- Catalogue de l'exposition “Arts of Ancient Viet Nam” Museum of Fine Arts de Houston et Asia Society 2009-2010

Provenance : - Collection privée.
- Acquis comme provenant d'une ancienne collection constituée au Vietnam durant la période coloniale.

Cornette de Saint Cyr Paris. Mardi 26 mars 2013. Hôtel Salomon de Rothschild, Petit Salon - 11, rue Berryer - 75008 Paris. Expert : Jean-Luc ESTOURNEL. Tel. : +33 6 09 22 55 13. Commissaire-priseur : Bertrand Cornette de Saint Cyr. Tel. : +33 1 47 27 11 24

Buddha, Java, période dite de Java central, Style de Borobudur, ca 8°- 9° siècle. 

Andésite. H. 37 cm. Accidents, manques, et restaurations visibles. Estimation : 60 000 / 90 000 €

Belle tête à l'expression intériorisée présentant toutes les caractéristiques classiques de l'iconographie bouddhique, urna au centre du front, chevelure bouclée, usnisa développée au sommet du crâne, lobes d'oreilles distendus et plis de beauté au niveau du cou.

Provenance : Ancienne collection d'une famille de commerçants Portugais ayant entretenu de fortes relations commerciales avec l'Indonésie dans les années 1930

Référence : Catalogue de l'exposition “Borobudur” Petit Palais - Paris, 1978

Cornette de Saint Cyr Paris. Mardi 26 mars 2013. Hôtel Salomon de Rothschild, Petit Salon - 11, rue Berryer - 75008 Paris. Expert : Jean-Luc ESTOURNEL. Tel. : +33 6 09 22 55 13. Commissaire-priseur : Bertrand Cornette de Saint Cyr. Tel. : +33 1 47 27 11 24.

Tête anthropomorphe, Inde du nord-est ou Bangladesh, ca 6° siècle. Photo Cornette de Saint Cyr Paris

Terre cuite. H. 20,5 cm. Petits accidents et manques visibles. Estimation : 7 000 / 8 000 €

Très belle et imposante tête de personnage présentant une riche coiffure bouclée, et une superbe asymétrie au niveau des l'ornementation des oreilles.
La lèvre inférieure est ourlée.
Tous ces éléments sont caractéristiques des meilleurs exemples plastiques de l'esthétique de la période Gupta.

Provenance : Collection privée Européenne
Cette sculpture est accompagnée d'une analyse de thermoluminescence, au résultat cohérent avec la datation proposée.

Cornette de Saint Cyr Paris. Mardi 26 mars 2013. Hôtel Salomon de Rothschild, Petit Salon - 11, rue Berryer - 75008 Paris. Expert : Jean-Luc ESTOURNEL. Tel. : +33 6 09 22 55 13. Commissaire-priseur : Bertrand Cornette de Saint Cyr. Tel. : +33 1 47 27 11 24.

Divinité féminine, Inde du nord-ouest ou Pakistan, ca 6°-8° siècle. Photo Cornette de Saint Cyr Paris

Terre cuite. H. 19 cm. Petits accidents et manques visibles. Estimation : 6 200 / 7 500 €

Très belle tête au visage délicatement modelé, surmonté d'une superbe coiffure de laquelle un bijou descend sur le front. Rare et beau témoignage de cette esthétique indienne du Nord-Ouest de l'Inde qui essaima dans les sanctuaires d'Asie Centrale le long de la route de la soie.

Cette sculpture est accompagnée d'une analyse de thermoluminescence, au résultat cohérent avec la datation proposée.

Cornette de Saint Cyr Paris. Mardi 26 mars 2013. Hôtel Salomon de Rothschild, Petit Salon - 11, rue Berryer - 75008 Paris. Expert : Jean-Luc ESTOURNEL. Tel. : +33 6 09 22 55 13. Commissaire-priseur : Bertrand Cornette de Saint Cyr. Tel. : +33 1 47 27 11 24.

Musicienne. Chine, ca 18ème siècle. Photo Cornette de Saint Cyr Paris

Encre et pigments sur soie. 157 x 81 cm (hors montage). Tendue sur panneau, et encadrée sous verre. Estimation : 8 000 / 10 000 €

Importante peinture représentant une jeune femme richement costumée, jouant de la flute devant des bambous et des pivoines épanouies.
Le haut de la composition est occupé par un phénix en vol retournant sa tête vers la musicienne.
Le bambou, la pivoine et le phénix sont trois éléments chargés d'une forte puissance symbolique dans la peinture chinoise, transmettant des messages allant au delà de la simple esthétique, ou de la puissance décorative.

Cornette de Saint Cyr Paris. Mardi 26 mars 2013. Hôtel Salomon de Rothschild, Petit Salon - 11, rue Berryer - 75008 Paris. Expert : Jean-Luc ESTOURNEL. Tel. : +33 6 09 22 55 13. Commissaire-priseur : Bertrand Cornette de Saint Cyr. Tel. : +33 1 47 27 11 24

Femmes jouant aux cartes. Ecole chinoise, ca 19ème siècle. Photo Cornette de Saint Cyr Paris

Pigments sur papier. 47 x 54 cm (à vue). Encadrée sous verre. Estimation : 4 000 / 5 000 €

Deux femmes jouent aux cartes assises sur des tabourets chinois autour d'une table tripode circulaire d'inspiration européenne.
Le fond de la composition est occupé par les éléments architecturaux entourant un jardin au centre duquel repose un énorme rocher aux formes tourmentées.

Cornette de Saint Cyr Paris. Mardi 26 mars 2013. Hôtel Salomon de Rothschild, Petit Salon - 11, rue Berryer - 75008 Paris. Expert : Jean-Luc ESTOURNEL. Tel. : +33 6 09 22 55 13. Commissaire-priseur : Bertrand Cornette de Saint Cyr. Tel. : +33 1 47 27 11 24.