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A turquoise, enamel and gold necklace, by Louis Comfort Tiffany, Tiffany & Co

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Lot 149. A turquoise, enamel and gold necklace, by Louis Comfort Tiffany, Tiffany & Co. Estimate: USD 30,000-USD 50,000. Price realised USD 150,000. © Christie's Images Ltd 2017

Suspending a rectangular green and blue champlevé enamel plaque, centering upon an oval turquoise cabochon, to the finelink double-strand neckchain, set with turquoise cabochon and ancient Egyptian lotus motif enamel links, circa 1910, 15 ins., mounted in gold. Signed Tiffany & Co.

Provenance: The Estates of Gladys and Robert Koch
Previously sold at Christie's New York, 20th Century Decorative Arts and Design, Including the Property from the Estates of Gladys and Robert Koch, 9-10 March 2004, Lot 47

Formely in the Garden Museum Collection.

Literature: A. Duncan, Louis C. Tiffany: The Garden Museum Collection,England, Antique Collectors' Club Limited, 2004, p. 517
J. Loring, Louis Comfort Tiffany at Tiffany & Co., New York, Harry N. Abrams, Inc., 2002, p. 56.

Christie'sMagnificent Jewels & the Rockefeller Emerald, 20 June 2017, New York, Rockefeller Center


A black opal and multigem pendant necklace, by Louis Comfort Tiffany, Tiffany & Co

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Lot 176. A black opal and multigem pendant necklace, by Louis Comfort Tiffany, Tiffany & Co. Estimate: USD 25,000 - USD 35,000Price realised USD 150,000. © Christie's Images Ltd 2017

Suspending a pendant, centering upon an oval black opal cabochon within a circular-cut sapphire and demantoid garnet surround, with sculpted enameled gold leaves of grapevine motif at the front and reverse, to the demantoid garnet and sculpted gold enameled leaf surmount and similarly set finelink gold neckchain and clasp, circa 1915, 18 3/4 ins. Signed Tiffany & Co.

Formely in the Garden Museum Collection.

Literature: A. Duncan, Louis C. Tiffany: The Garden Museum Collection,England, Antique Collectors' Club Limited, 2004, p. 501.

Christie'sMagnificent Jewels & the Rockefeller Emerald, 20 June 2017, New York, Rockefeller Center

A black opal, demantoid garnet, sapphire and enamel necklace, by Louis Comfort Tiffany, Tiffany & Co

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Lot 184. A black opal, demantoid garnet, sapphire and enamel necklace, by Louis Comfort Tiffany, Tiffany & Co. Estimate: USD 90,000 - USD 120,000Price realised USD 118,750© Christie's Images Ltd 2017

Suspending a drop black opal cabochon pendant, within a textured gold foliate mount, to the black opal cabochon surmount, within a circular-cut demantoid garnet, sapphire and gold bead scroll, enhanced by a circular-cut demantoid garnet floret, the reverse of green, blue and orange enamel foliate design, joined to a three-row gold rope chain, with clasp and enhancers of similar motif, circa 1920, 16 1/2 in., chains of later addition; Signed Tiffany & Co.

Provenance: Previously sold at Christie's New York, Tiffany: Innovation in American Design, 10 December 1998, Lot 419

Formely in the Garden Museum Collection.

Literature: A. Duncan, Louis C. Tiffany: The Garden Museum Collection,England, Antique Collectors' Club Limited, 2004, p. 516
J. Loring, Louis Comfort Tiffany at Tiffany & Co., New York, Harry N. Abrams, Inc., 2002, p. 66-67. 

Christie'sMagnificent Jewels & the Rockefeller Emerald, 20 June 2017, New York, Rockefeller Center

A moonstone and sapphire necklace, by Louis Comfort Tiffany, Tiffany & Co

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Lot 158. A moonstone and sapphire necklace, by Louis Comfort Tiffany, Tiffany & Co. Estimate USD 20,000 - USD 30,000. Price realised USD 118,750© Christie's Images Ltd 2017

Designed as a series of oval moonstone cabochon links within gold filigree surrounds, each link joined by a line of three collet-set circular-cut sapphires, and fine link gold chain, circa 1910, 19 1/2 ins., mounted in gold and platinum. Signed Tiffany & Co.

Formely in the Garden Museum Collection.

Literature: A. Duncan, Louis C. Tiffany: The Garden Museum Collection,England, Antique Collectors' Club Limited, 2004, p. 516
J. Loring, Louis Comfort Tiffany at Tiffany & Co., New York, Harry N. Abrams, Inc., 2002, p. 498.

Christie'sMagnificent Jewels & the Rockefeller Emerald, 20 June 2017, New York, Rockefeller Center

A cabochon emerald, sapphire, coloured sapphire and fire opal pendant necklace, by Louis Comfort Tiffany, Tiffany & Co

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Lot 160. A cabochon emerald, sapphire, coloured sapphire and fire opal pendant necklace, by Louis Comfort Tiffany, Tiffany & Co. Estimate USD 20,000 - USD 30,000. Price realised USD 118,750© Christie's Images Ltd 2017

The detachable drop-shaped pendant set with an oval emerald cabochon, within an oval and circular emerald, sapphire, pink sapphire and fire opal cabochon beadwork frame, suspended by two gold oval link and beadwork chains to a bezel-set oval and circular cabochon emerald, sapphire, pink sapphire and fire opal chain, circa 1920, 36 1/2 ins., mounted in gold. Signed Tiffany & Co.

Provenance: Previously sold at Christie's New York, Tiffany: Innovation in American Design, 10 December 1998, Lot 375

Formely in the Garden Museum Collection.

Literature: A. Duncan, Louis C. Tiffany: The Garden Museum Collection,England, Antique Collectors' Club Limited, 2004, p. 508
J. Loring, Louis Comfort Tiffany at Tiffany & Co., New York, Harry N. Abrams, Inc., 2002, p. 64

Christie'sMagnificent Jewels & the Rockefeller Emerald, 20 June 2017, New York, Rockefeller Center

An iconic Favrile Glass Beetle and Gold Necklace, by Louis Comfort Tiffany, Tiffany & Co

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Lot 164. An iconic Favrile Glass Beetle and Gold Necklace, by Louis Comfort Tiffany, Tiffany & Co. Estimate USD 25,000 - USD 35,000. Price realised USD 106,250© Christie's Images Ltd 2017

The front suspending three blue iridescent favrile glass beetles from the two-row favrile glass beetle neckchain, spaced by beaded gold columns, circa 1910, 18 1/4 ins., mounted in gold. Signed Tiffany & Co.

Formely in the Garden Museum Collection.

Literature: A. Duncan, Louis C. Tiffany: The Garden Museum Collection,England, Antique Collectors' Club Limited, 2004, p. 492

Christie'sMagnificent Jewels & the Rockefeller Emerald, 20 June 2017, New York, Rockefeller Center

New Van Dyck painting on display at the Ashmolean

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Anthony Van Dyck (1599–1641), Portrait of Elizabeth Howard, 1st Countess of Peterborough, around 1638.

OXFORD.- The Ashmolean now has on long-term loan a new painting by Flemish portrait painter, Anthony Van Dyck (1599–1641). 

The portrait of Elizabeth Howard, 1st Countess of Peterborough, is on display in the Mallett Gallery of European Art (Gallery 44) alongside other portraits by Van Dyck, Thomas Gainsborough and Joshua Reynolds. Painted around 1638 it demonstrates Van Dyck’s skill in depicting the wealthy British aristocracy. 

Elizabeth Howard, reputedly a great beauty, is dressed in lavish silk and lace and is wearing pearl and diamond jewellery which is painted with particular delicacy. She was married to John Mordaunt, 1st Earl of Peterborough (about 1598–1642) who had been educated at Oxford. It is therefore appropriate that the portrait of his wife is now on display in the Ashmolean Museum. 

Mordaunt later joined the court of the Prince of Wales, the later King Charles I, for whom Van Dyck worked as court painter from 1632 onwards. The couple were, however, zealous republicans during the English Civil War.

"Degas, Impressionism, and the Paris Millinery Trade" at the Legion of Honor, June 24 - September 24, 2017

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Edgar Degas, "Portrait of Zacharian," ca. 1885. Pastel on paper laid down on board, 15 5/8 x 15 5/8 in. (39.7 x 39.7 cm). Private CollectionImage courtesy of the Fine Arts Museums of San Francisco.

SAN FRANCISCO—Best known for his depictions of Parisian dancers and laundresses, Edgar Degas (French, 18341917) was enthralled with another aspect of modern life in the French capital: high-fashion hats and the women who created them. Degas’s fascination inspired a visually compelling and profoundly modern body of work that documents the lives of what one fashion writer of the day called “the aristocracy of the workwomen of Paris.” Despite the importance of millinery as a subject in Degas’s oeuvre, there has been little discussion of its place in Impressionist iconography, until now. The Fine Arts Museums of San Francisco bring new light to the subject with this presentation of Degas, Impressionism, and the Paris Millinery Trade.

Edgar Degas, 'The Millinery Shop,' 1879–1886

Edgar Degas, "The Millinery Shop," 1879–1886. Oil on canvas, 39 3/8 x 43 5/8 in. (100 x 110.7 cm). The Art Institute of Chicago, Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.428. Bridgeman Images. Image courtesy of the Fine Arts Museums of San Francisco.

This landmark exhibition features more than 40 Impressionist paintings and pastels, including key works by Degas, as well as Pierre-Auguste Renoir, Édouard Manet, Mary Cassatt, and Henri de Toulouse-Lautrec. Approximately 40 spectacular examples of period hats—including nine from the Fine Arts Museums’ collections—also will be displayed.

This exhibition highlights several facets of our extensive holdings, which comprises not only exemplary paintings and drawings of French Impressionism but also exquisite hats of the same time,” says Max Hollein, Director and CEO of the Fine Arts Museums. “There have been numerous exhibitions on Degas, but this is the first to focus on his works inspired by the milliners of Paris and to present them alongside the works these artisans themselves were creating.”

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Edgar Degas, "The Milliners," ca. 1898. Oil on canvas, 76 x 82 cm (29 5/8 x 32 1/4 in.). Saint Louis Art Museum, Director's Discretionary Fund; and gift of Mr. and Mrs. Wilbur D. May, Dr. Ernest G. Stillman, Mr. and Mrs. Sydney M. Shoenberg Sr. and Mr. and Mrs. Sydney M. Shoenberg Jr., Mr. and Mrs. Irving Edison, and Harry Tenenbaum, bequest of Edward Mallinckrodt Sr., and gift of Mr. and Mrs. S. J. Levin, by exchange, 25:2007. Photograph by Jean Paul Torno Image courtesy of the Fine Arts Museums of San Francisco.

Highlights include paintings from the Musée d’Orsay, the Art Institute of Chicago, the J. Paul Getty Museum, and the St. Louis Museum of Art, which are displayed near hats from the Musée des Arts Décoratifs, the Los Angeles County Museum of Art, and the Museum of Fine Arts, Boston. These works present the social and historical context of the millinery trade, which captivated Degas and his peers.

Our installation not only provides new insights on paintings by familiar artists such as Degas, Renoir, and Cassatt but it is also a remarkable opportunity to explore the intricate layers of social, economic, and gendered meaning behind the production, wearing, and depictions of hats in 19th-century French art and culture,” says Melissa Buron, associate curator of European painting for the Fine Arts Museums. “One of the project’s main themes is the changing social roles of women as both creators and consumers of these fashionable accessories.”

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Edgar Degas, "The Milliners," 1882–before 1905. Oil on canvas, 23 5/8 × 29 1/2 in. J. Paul Getty Museum, Los Angeles, 2005.14. Image courtesy of the Fine Arts Museums of San Francisco.

The exhibition is the first to examine the height of the millinery trade in Paris, from around 1875 to 1914, as reflected in the art of the Impressionists and French milliners. From the start of the Third Republic until the outbreak of World War I, there were around 1,000 milliners working in what was then considered the fashion capital of the world. Degas and the Impressionists’ representations of millinery became a central theme within the broader avant-garde ambition to showcase the diversity of Parisian modern life.

We are excited to share the Museums’ important collection of French-made hats and bonnets from this imaginative period in millinery history,” says Laura L. Camerlengo, assistant curator of costume and textile arts at the Fine Arts Museums. “We trace the journey of these accessories from creation to wear, hoping to foster a fresh appreciation for the artistry of the milliners and their extraordinary creations, and to shed new light on their lives and the lives of their clients.”

James Tissot, 'The Shop Girl,' 1883–1885

James Tissot, "The Shop Girl," 1883–1885. Oil on canvas, 57 1/2 x 40 in. (146.1 x 101.6 cm). Art Gallery of Ontario, Toronto, Gift from Corporations’ Subscription Fund, 1968. Bridgman Images. Image courtesy of the Fine Arts Museums of San Francisco.

The exhibition is organized by the Fine Arts Museums of San Francisco and the Saint Louis Art Museum. The presentation in San Francisco is overseen by Melissa Buron, associate curator of European paintings at the Fine Arts Museums of San Francisco and Laura L. Camerlengo, assistant curator of costume and textile arts at the Fine Arts Museums of San Francisco. Degas, Impressionism and the Paris Millinery Trade will be on view at the Legion of Honor from June 24 through September 24, 2017.

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E. Motsch, designer, Man’s top hat, 1915–1930. Labels: “Special E. M”; “E. Motsch / 42 Avenue George V / 68.R.François 1er / Paris”; “D. P.” Silk pile with cotton foundation, wool hatband, silk grosgrain ribbon binding, leather headband, and silk lining, 22 5/8 in. (57.5 cm) circumference. Museum of Fine Arts, Boston, Bequest of Dana Pond, 1979.393Image courtesy of the Fine Arts Museums of San Francisco.

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Maison Virot, Woman's hat, ca. 1900 with alterations. Plaited straw over wire frame; silk velvet and maline; silk roses, leaves, and ferns, 39.4 x 38.1 cm (15 1/2 x 15 in.). Fine Arts Museums of San Francisco, Gift of Jane Scribner, 49.10.25. Image courtesy of the Fine Arts Museums of San Francisco.

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Installation view of "Degas, Impressionism, and the Paris Millinery Trade" at the Legion of Honor, June 24 - September 24, 2017. Image courtesy of the Fine Arts Museums of San Francisco.

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Installation view of "Degas, Impressionism, and the Paris Millinery Trade" at the Legion of Honor, June 24 - September 24, 2017. Image courtesy of the Fine Arts Museums of San Francisco.

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Installation view of "Degas, Impressionism, and the Paris Millinery Trade" at the Legion of Honor, June 24 - September 24, 2017. Image courtesy of the Fine Arts Museums of San Francisco.

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Installation view of "Degas, Impressionism, and the Paris Millinery Trade" at the Legion of Honor, June 24 - September 24, 2017. Image courtesy of the Fine Arts Museums of San Francisco.

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Installation view of "Degas, Impressionism, and the Paris Millinery Trade" at the Legion of Honor, June 24 - September 24, 2017. Image courtesy of the Fine Arts Museums of San Francisco.

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Installation view of "Degas, Impressionism, and the Paris Millinery Trade" at the Legion of Honor, June 24 - September 24, 2017. Image courtesy of the Fine Arts Museums of San Francisco.


An unusual multi-colored zircon and platinum necklace, by Louis Comfort Tiffany, Tiffany & Co

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Lot 166. An unusual multi-colored zircon and platinum necklace, by Louis Comfort Tiffany, Tiffany & Co. Estimate USD 30,000 - USD 50,000. Price realised USD 106,250© Christie's Images Ltd 2017

Suspending a circular-cut orange-brown zircon, measuring approximately 25.50 x 25.30 x 15.07 mm, enhanced by two circular-cut blue zircons set in an overlapping motif, accented by baguette-cut blue zircons, extending sculpted platinum and navette cabochon zircon terminals, to the neckchain of similar design, circa 1920, 19 ins., mounted in platinum. Signed Tiffany & Co.

Formely in the Garden Museum Collection.

Literature: A. Duncan, Louis C. Tiffany: The Garden Museum Collection,England, Antique Collectors' Club Limited, 2004, p. 520.

Christie'sMagnificent Jewels & the Rockefeller Emerald, 20 June 2017, New York, Rockefeller Center

An amethyst and gold brooch, by Louis Comfort Tiffany, Tiffany & Co

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Lot 178. An amethyst and gold brooch, by Louis Comfort Tiffany, Tiffany & Co. Estimate USD 10,000 - USD 15,000. Price realised USD 106,250© Christie's Images Ltd 2017

Centering upon a lozenge-shaped amethyst, within a sculpted gold grape leaf and hexagon-shaped cabochon amethyst surround, circa 1920, 1 3/4 ins., mounted in gold. Signed Tiffany & Co.

Formely in the Garden Museum Collection.

Literature: A. Duncan, Louis C. Tiffany: The Garden Museum Collection,England, Antique Collectors' Club Limited, 2004, p. 488
J. Loring, Louis Comfort Tiffany at Tiffany & Co., New York, Harry N. Abrams, Inc., 2002, p. 51.

Christie'sMagnificent Jewels & the Rockefeller Emerald, 20 June 2017, New York, Rockefeller Center

A black opal, demantoid garnet and sapphire pendant necklace, by Louis Comfort Tiffany, Tiffany & Co

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Lot 128. A black opal, demantoid garnet and sapphire pendant necklace, by Louis Comfort Tiffany, Tiffany & Co. Estimate USD 20,000 - USD 30,000. Price realised USD 93,750© Christie's Images Ltd 2017

Suspending an oval black opal cabochon, within a sculpted gold grapevine surround, enhanced by circular-cut demantoid garnets and sapphires, to the double-strand finelink neckchain, set with links of similar motif, with gold grapevine detail at reverse of pendant, circa 1910, 23 1/2 ins., mounted in gold. Signed Tiffany & Co.

Formely in the Garden Museum Collection.

Literature: A. Duncan, Louis C. Tiffany: The Garden Museum Collection,England, Antique Collectors' Club Limited, 2004, p. 515
Cf. J. Loring, Louis Comfort Tiffany at Tiffany & Co., New York, Harry N. Abrams, Inc., 2002, p. 70.

Christie'sMagnificent Jewels & the Rockefeller Emerald, 20 June 2017, New York, Rockefeller Center

A colored diamond ring, by Louis Comfort Tiffany, Tiffany & Co

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Lot 170. A colored diamond ring, by Louis Comfort Tiffany, Tiffany & Co. Estimate USD 30,000 - USD 50,000. Price realised USD 87,500© Christie's Images Ltd 2017

Of navette design, set with three marquise-cut yellow diamonds, and a marquise-cut fancy intense yellow diamond, weighing approximately 1.38 carats, within a gold wire and beadwork scroll mount, circa 1915, ring size 5 1/2, mounted in gold. Signed Tiffany & Co.

Accompanied by report no. 2181417413 dated 15 May 2017 from the GIA Gemological Institute of America stating that the diamond, weighing approximately 1.38 carats, is fancy intense yellow, natural color, VS2 clarity

Formely in the Garden Museum Collection.

Provenance: Previously sold at Christie's New York, Tiffany: Innovation in American Design, 10 December 1998, Lot 294
Former Massachusetts Governor Alan Tufts Fuller and his wife, Viola Davenport
By descent in the family

Literature: A. Duncan, Louis C. Tiffany: The Garden Museum Collection,England, Antique Collectors' Club Limited, 2004, p. 522.

Christie'sMagnificent Jewels & the Rockefeller Emerald, 20 June 2017, New York, Rockefeller Center

A moonstone, sapphire and gold necklace, by Louis Comfort Tiffany, Tiffany & Co

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Lot 165. A moonstone, sapphire and gold necklace, by Louis Comfort Tiffany, Tiffany & Co. Estimate USD 20,000 - USD 30,000. Price realised USD 81,250© Christie's Images Ltd 2017

Suspending a a V-shaped sculpted gold plaque of foliate motif, set with five oval moonstone cabochons, with circular-cut sapphire accents, to the graduating strand finelink and gold bead neckchain, spaced by collet-set oval moonstone cabochons, circa 1925, 25 ins.. Signed Tiffany & Co.

Formely in the Garden Museum Collection.

Literature: A. Duncan, Louis C. Tiffany: The Garden Museum Collection,England, Antique Collectors' Club Limited, 2004, p. 500
J. Loring, Louis Comfort Tiffany at Tiffany & Co., New York, Harry N. Abrams, Inc., 2002, p. 73.

Christie'sMagnificent Jewels & the Rockefeller Emerald, 20 June 2017, New York, Rockefeller Center

A large yellow-ground bats and clouds porcelain bottle vase, underglaze blue Qianlong mark, Guangxu period

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A large yellow-ground bats and clouds porcelain bottle vase, underglaze blue Qianlong mark, Guangxu period

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Lot 677. A large yellow-ground bats and clouds porcelain bottle vase, underglaze blue Qianlong mark, Guangxu period (1875-1908), H. 52,8 cm. Estimate €6 000/10 000. Lot sold 7 500 €© Nagel

Very minor wear to enamels.

Property from a South German private collection, assembled between 1960 and 1990.

Nagel. Fine Asian Art - Salzburg, 16./17.06.2017

A blue and white porcelain bowl with sea creatures, underglaze blue Daoguang seal mark and period (1821-1850)

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A blue and white porcelain bowl with sea creatures, underglaze blue Daoguang seal mark and period

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Lot 679. A blue and white porcelain bowl with sea creatures, underglaze blue Daoguang seal mark and period (1821-1850). D. 19,1 cm. Estimate €1 500/2 500. Lot sold 3 300 €. © Nagel

Few small restored chips ro frits to rim.

Property from an old Austrian private collection.

Nagel. Fine Asian Art - Salzburg, 16./17.06.2017


A blue and white and iron-red decorated bat and cloud vase, underglaze blue Guangxu mark and period (1875-1908)

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A blue and white and iron-red decorated bat and cloud vase, underglaze blue Guangxu mark and period (1875-1908)

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Lot 680. A blue and white and iron-red decorated bat and cloud vase, underglaze blue Guangxu mark and period (1875-1908). H. 32 cmEstimate €800/1 200. Lot sold 800 €. © Nagel

Crack from mouth to neck.

Property from an old Austrian private collection.

Nagel. Fine Asian Art - Salzburg, 16./17.06.2017

A small Wenzhu sitting on a throne, Kangxi period (1662-1722)

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A small Wenzhu sitting on a throne, Kangxi period (1662-1722)

Lot 681. A small Wenzhu sitting on a throne, Kangxi period (1662-1722). H. 11 cm. Estimate €800/1 200. Lot sold 1 700 €. © Nagel

Minor chip.

Property from an Italian private collection, acquired in the 1980s.

Nagel. Fine Asian Art - Salzburg, 16./17.06.2017

A Ming-style blue and white vase, Guangxu mark and period (1875-1908)

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A Ming-style blue and white vase, Guangxu mark and period (1875-1908)

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Lot 683. A Ming-style blue and white vase, Guangxu mark and period (1875-1908). H. 38,4 cm.  Estimate €3 000/5 000. Lot sold 3 000 €. © Nagel

The vase is painted in fifteenth century style with a broad band of composite foliate scroll above a petal-lappet band on the globular body, and bands of pendent ruyi heads and further foliate scroll on the shoulder, all separated by plain rib borders below a band of upright leaves rising from a key-fret border towards a further ruyi band and wave border on the neck. Few short firing cracks to feet, mouth rim very slightly chipped.

Former property from a Dutch private collection.

Nagel. Fine Asian Art - Salzburg, 16./17.06.2017

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Lot 13. Ludwig Deutsch (Austrian, 1855-1935), At Prayer, signed and dated 'L. Deutsch 1923' (lower left), oil on panel, 22 x 17 3/8 in. (55.9 x 44.1 cm). Estimate GBP 400,000 - GBP 600,000 (USD 516,000 - USD 774,000) © Christie's Images Ltd 2017

Provenancewith Mathaf Gallery, London (inv. no. S209).
Acquired from the above by the present owner.

LiteratureJ.M. Mackenzie, Orientalism. History, theory and the arts, Manchester, 1995, p. 75 (illustrated and further illustrated on the cover).

NoteLudwig Deutsch, arguably the most important Austrian Orientalist, was born in Vienna, and attended the city's renowned Academy of Fine Arts before settling in Paris. Largely influenced by Jean-Léon Gérôme's academic style, he began travelling to the Middle East, particularly to Egypt, by the 1880s. Although little is known about Deutsch's visits to Egypt, it appears that from 1883 until 1904 he travelled there as many as five times. Deutsch's home outside Paris was also decorated in the fashionable Orientalist style and housed a large collection of objects he brought back from his travels to the Middle East. Many of these props, such as daggers, arm shields, kursi and hookahs appear frequently in his pictures, adding colour and texture to the overall composition while demonstrating the riches of the Eastern lands. 

At Prayer is a remarkable example of the artist's mature style and his striking use of colour. The subject of mosque interiors and men at prayer were of frequent interest to Orientalist painters mainly for practical and occasionally philosophical reasons. The fundamental practical reason was that some of the most extraordinary architectural edifices in the East were non-secular buildings such as the Ummayad Mosque in Damascus, the Great Mosque in Cordoba, Hagia Sofia in Constantinople, the Caïd Bey Mosque in Cairo and the Green Mosque in Bursa. Such structures were scattered throughout the Middle East and were some of the most imposing works of art on display. The message conveyed by mosque architecture is one of power.  

"In the Ottoman Empire, secular power and religious authority were personified in the Sultan himself, whose rule had been granted by God. The great imperial mosques therefore were an expression of the sultan's grandeur: indeed, mosques are known by the names of their benefactors more often than not and unlike Christian churches, they are never given names associated with God or with religious personages" (D. Kuban and A. Ertug, Sinan: an Architectural Genius, Bern, 1999, p. 20). This point also ties into the philosophical attraction to the subject matter. Both ritualistically and theoretically, prayer practice in Islam is different to Christianity. In Islam, Allah is devoid of any human characteristics and therefore is everywhere without any limitations of time or space. "Since the mosque is not a house of God, it is not consecrated in the sense that a pagan temple or Christian church is. In Islam, prayer is a common and simple duty incumbent upon a believer. It can be performed anywhere. Islam a priori rejects the notion that any artefact - any man made thing - can have any religious significance and this principle holds true for mosques...A mosque indicates a place of gathering but it is a communal gathering and not a transcendental one" (Kuban and Ertug, loc. cit., p. 20).  

Most artists visiting the Middle East were drawn to these impressive structures but only those who fully embraced these foreign lands and their different cultures became interested in the underlying cultural and religious differences. More often than not Orientalist painters, such as Jean-Léon Gérôme, depicted the act of prayer in mosque interiors with some Christian predisposition. As artists were often not allowed to paint in harems or mosques their imagery of people in such locations is often based on Edward Lane's book entitled An Account of the Manners and Customs of the Modern Egyptians. Such a source of imagery made it easier for artists to paint what they had not researched, observed or understood. Deutsch in At Prayer challenges himself to step beyond physical descriptions of worlds foreign to him and exhibits a deeper understanding of the Middle East. The meditative mood of the individual depicted in At Prayer communicates a finer spiritual commitment rather than a mere rhythmic following of dogmatic rituals.  

By the time the present work was executed in 1923, Ludwig Deutsch had been visiting the Middle East for decades. In At Prayer there are some compositional similarities with his earlier paintings of palace guards. The apparent and expressive focal points, such as the elaborate 19th Century north-western Persian carpet and the mother-of-pearl inlaid kursi are all archetypal elements of Deutsch's painting.

Christie's. 19th Century European & Orientalist Art, 13 July 2017, London, King Street

Ludwig Deutsch (Austrian, 1855-1935), The Koran School, 1905

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Lot 19.  Ludwig Deutsch (Austrian, 1855-1935), The Koran School, 1905, signed, inscribed and dated 'L. Deutsch PARIS 1905' (lower left), oil on panel, 27½ x 32 in (69.9 x 81.3 cm). Estimate GBP 300,000 - GBP 500,000 (USD 387,000 - USD 645,000) © Christie's Images Ltd 2017

Provenance: Anonymous sale; Christie's, London, 26 March 1987, lot 77.
with Mathaf Gallery, London (inv. no. P.95).
Acquired from the above by the present owner.

Note: Executed at a time when Ludwig Deutsch (see Lot 13) was moving from a photorealist to a looser style, the present work combines the best elements of both: the extraordinary attention to detail of the former, rendered softer and less austere by the latter, to create an overall picture of great drama and intimacy. The present painting is among the ones where Deutsch began to experiment with a technique influenced by Post-Impressionism, which would eventually come to characterise his late style. Although he continued up to 1910 to produce exceptionally detailed and intensely observed paintings, he was also attracted to a more painterly approach to his subject. Thus in the present work, Deutsch contrasts a precise observation of some of the objects with broadly described, and muted harmonies of grey and brown, which dominate any detail of motif in the foreground. 

Together with these stylistic changes in the later years of Deutsch's career a different subject matter emerged. The artist moved away from depictions of the ruling classes, clothed in richly coloured and textured materials, and set in broader layered architectural surrounding. Instead, as in the present work, he represents the day-to-day activities of society, using simply clothed figures in humble, but distinctly Arab, interiors. 

The artist is thought to have visited Egypt as many as five times between 1883 and 1904, where he completed studies from which he drew inspiration on his return to France. He had several studios in Paris, where he kept a vast collection of objects collected on these travels, such as costumes, furniture, arms, pipes and ornaments. 

In the present painting Deutsch uses the architecture to frame the group of figures attending a Koran school. The inky shadow of the interior contrasts with the light emphasizing the central figure of the cleric, his arms opened in a solemn gesture. The artist’s most refined works are often conceived around a central figure, about whom pivots the whole crowd involved in the painting. This central figure embodies the spirit of the whole: immobile, grave and emanating a powerful sense of mystical solemnity. The costumes of the various figures stand out in vivid complementary ochres, blues and greens, and lend accents to the whites of the turbans.  

The study of the Koran plays a major role in the upbringing and spiritual development of a Muslim. The spirituality of the Orient fascinated the artist. Here the artist has purposefully populated his composition with only the most incidental of objects -- a chair, a simple pair of shoes, some books- to focus instead on the overall atmosphere. 

Christie's. 19th Century European & Orientalist Art, 13 July 2017, London, King Street

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