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A celadon-glazed 'trigram' vase, Xuantong mark and period

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A celadon-glazed 'trigram' vase, Xuantong mark and period

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Lot 847. A celadon-glazed 'trigram' vase, Xuantong mark and period (1909-1911). Height 11 in., 28.1 cm. Estimate 5,000 — 7,000 USD. Lot sold 20,000 USD. Courtesy Sotheby’s.

of cong form, each side molded with bagua arranged in two columns, applied overall with a sea-green glaze, the base with a six-character mark in underglaze blue

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017


A celadon-glazed cong vase, Guangxu mark and period (1875-1908)

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A celadon-glazed cong vase, Guangxu mark and period (1875-1908)

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Lot 817. A celadon-glazed cong vase, Guangxu mark and period (1875-1908). Height 11 in., 27.9 cm. Estimate 3,000 — 5,000 USD. Lot sold 18,750 USD. Courtesy Sotheby’s.

the body of square section rising from a short straight circular foot to a tapering circular neck with a lipped rim, molded with the 'Eight Trigrams' to each of the four sides, covered overall in a lustrous celadon glaze, the base with a six-character mark in underglaze blue, wood stand (2).

Provenance: Collection of Bernard Mannes Baruch (1870-1965), New York (by repute). 

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017

A blue and white 'dragon' bowl, Jiaqing seal mark and period (1796-1820)

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A blue and white 'dragon' bowl, Jiaqing seal mark and period (1796-1820)

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Lot 813. A blue and white 'dragon' bowl, Jiaqing seal mark and period (1796-1820). Diameter 6 7/8  in., 17.5 cm. Estimate 3,000 — 5,000 USD. Lot sold 17,500 USD. Courtesy Sotheby’s.

of ogee form supported on a tapered foot, the exterior painted in a deep cobalt hue with two lively dragons dashing through clouds, one glancing back toward the other, all between double lines at the rim and foot, the interior with a writhing dragon within a double circle, another double circle at the rim, the base with a six-character seal mark in underglaze blue.

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017

A famille-rose 'Orchid' box and cover, Tongzhi mark and period (1865-1875)

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A famille-rose 'Orchid' box and cover, Tongzhi mark and period (1865-1875)

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Lot 816. A famille-rose'Orchid' box and cover, Tongzhi mark and period (1865-1875). Width 6 in., 15.2 cm. Estimate 2,000 — 3,000 USD. Lot sold 16,250 USD. Courtesy Sotheby’s.

of square section, the cover with a gently domed top, enameled with scattered sprays of green and pink flowers borne on stems, the rim gilt, repeated on the lower section, the base with a four-character mark in iron red (2).

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017

An underglaze-blue and yellow-enameled 'Dragon' dish, Qianlong seal mark and period (1736-1795)

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An underglaze-blue and yellow-enameled 'Dragon' dish, Qianlong seal mark and period (1736-1795)

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Lot 801. An underglaze-blue and yellow-enameled 'Dragon' dish, Qianlong seal mark and period (1736-1795). Diameter 10 in., 25.5 cm. Estimate 3,000 — 5,000 USD. Lot sold 16,250 USD. Courtesy Sotheby’s.

painted to the interior with a writhing dragon in pursuit of a 'Flaming Pearl', the exterior similarly decorated, the base with a six-character seal mark in underglaze blue.

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017

Four blue and white 'Phoenix' dishes, Qing dynasty, Jiaqing, Daoguang, Tongzhi marks and period

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Four blue and white 'Phoenix' dishes, Qing dynasty, Jiaqing, Daoguang, Tongzhi marks and period

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Lot 812. Four blue and white 'Phoenix' dishes, Qing dynasty, Jiaqing, Daoguang, Tongzhi marks and period. Diameter of largest 6 1/2  in., 16.5 cm. Estimate 6,000 — 8,000 USD. Lot sold 15,000 USD. Courtesy Sotheby’s. 

each decorated with a pair of confronting phoenix amidst cloud scrolls, one base with a Jiaqing seal mark, two with Daoguang seal marks, one with a Tongzhi mark, all marks with six characters and in underglaze blue (4).

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017

A yellow-ground famille-rose 'medallion' bowl, Daoguang seal mark and period (1821-1850)

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A yellow-ground famille-rose 'medallion' bowl, Daoguang seal mark and period

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Lot 805. A yellow-ground famille-rose'Medallion' bowl, Daoguang seal mark and period (1821-1850). Diameter 5 7/8  in., 14.9 cm.Estimate 4,000 — 6,000 USD. Lot sold 13,750 USD. Courtesy Sotheby’s.  

the exterior painted with four medallions enclosing brightly enameled flowering branches, the interior with a central floral medallion and four floral sprays in underglaze blue, the base with a six-character seal mark in underglaze blue

ProvenanceGuest & Gray, London. 
Austrian Private Collection. 
Sotheby’s London, 15th May 2013, lot 320.

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017

A large famille-rose 'Dragon' basin, Qing dynasty, 19th century

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A large famille-rose 'Dragon' basin, Qing dynasty, 19th century

Lot 976. A large famille-rose'Dragon' basin, Qing dynasty, 19th century. Diameter 14 1/4 in., 36.2 cm. Estimate 4,000 — 6,000 USD. Lot sold 13,750 USD. Courtesy Sotheby’s.  

of cylindrical form, to the straight sides rising to a flat rim, brightly enameled, the interior with a pair of writhing dragons contesting a 'Flaming Pearl' amidst fiery clouds, enclosed by a band of 'Eight Buddhist Emblems' on a yellow ground, the exterior with a continuous landscape of fishermen and farmers amid riverways, mountains, fields and dwellings nestled among trees and rocks, the base flat, unglazed.

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017


A pair of famille-rose 'Auspicious Emblems' dishes, Guangxu marks and period (1875-1908)

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A pair of famille-rose 'Auspicious Emblems' dishes, Guangxu marks and period (1875-1908)

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Lot 808. A pair of famille-rose'Auspicious Emblems' dishes, Guangxu marks and period (1875-1908). Diameter 6 in., 15.2 cm. Estimate 7,000 — 9,000 USD. Lot sold 10,625 USD. Courtesy Sotheby’s.  

each finely decorated to the interior with interlinked composite floral scrolls encircling a central floret, all surrounded by beribboned 'Eight Auspicious Emblems' around the cavetto, the exterior with three detached scrolling floral sprigs, the base with a six-character mark in iron red (2).

ProvenanceA Beijing collector, acquired in the 1940s.
Gifted in the 1970s to a Canadian missionary family in China, and thence by descent.

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017

A pair of large blue and white 'Peony Meander' vases, Qing dynasty, Kangxi period (1662-1722)

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A pair of large blue and white 'Peony Meander' vases, Qing dynasty, Kangxi period (1662-1722)

Lot 825. A pair of large blue and white 'Peony Meander' vases, Qing dynasty, Kangxi period (1662-1722). Height 19 1/2  in. 49.5 cm. Estimate 5,000 — 7,000 USD. Lot sold 10,625 USD. Courtesy Sotheby’s.  

each of baluster form, painted overall in rich underglaze cobalt blue with blossoms borne on leafing stems (2).

ProvenanceSotheby's London, 11th June 1974, lot 4, (inventory no. P120).

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017

The Stadel Museum in Frankfurt presents two outstanding artists - Henri Matisse and Pierre Bonnard

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Pierre Bonnard, Reclining nude against a white and blue plaid, ca. 1909, Städel Museum, Frankfurt, © VG Bild-Kunst, Bonn 2017, Property of the Städelscher Museums-Verein e.V.

From 13 September, the Frankfurt museum will be presenting two outstanding artists – Henri Matisse (1869–1954) and Pierre Bonnard (1867–1947) – in an exhibition that is the first in Germany to bring these key modern masters together. At the heart of the comprehensive presentation is the friendship between the two French artists which lasted for over forty years. Both painters shared a preference for the same range of subjects: interiors, still lifes, landscapes and the female nude. With a selection of more than a 120 paintings, sculptures, drawings and prints, the exhibition opens a dialogue between Matisse and Bonnard and offers new perspectives on the development of the European avant-garde from the beginning of the twentieth century to the end of the Second World War.

For this year’s major autumn show, the Städel has been able to secure a wide range of outstanding loans from internationally renowned collections, among them the Art Institute of Chicago, Tate Modern in London, the Museum of Modern Art in New York, the Centre Pompidou and the Musée d’Orsay in Paris, the State Hermitage in Saint Petersburg and the National Gallery of Art in Washington. Also on display will be a host of major works from private collections, which are not normally accessible to the public. An absolute highlight among these are the two paintings which the artists owned from one another: Pierre Bonnard’s Evening in the Living Room (1907, private collection) and Henri Matisse’s The Open Window (1911, private collection). They are being shown together for the first time here in Frankfurt. Another exhibition highlight is Matisse’s Large Reclining Nude of 1935, on loan from the Baltimore Museum of Art, which has not been seen in Germany for more than thirty years. This iconic nude was a milestone on the artist’s journey towards an aesthetic of highly simplified forms and shows his studio assistant and last important model, Lydia Delectorskaya. It is very likely that the painting was inspired by Bonnard’s Reclining Nude against a White and Blue Plaid (ca. 1909), which it closely resembles in composition, and which has been in the collection of the Städel Museum since 1988. The opportunity to show these two paintings in dialogue was key to the planning of this project.

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Henri Matisse (1869–1954), Large Reclining Nude, 1935. Oil on canvas, 66.4 x 93.3 cm, Baltimore Museum of Art © Succession H. Matisse / VG Bild-Kunst, Bonn 2017. 

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Pierre Bonnard (1867–1947), Evening in the living room, 1907. Oil on canvas, 42,5 x 73,4 cm, Private collection © VG Bild-Kunst, Bonn 2017

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Henri Matisse (1869–1954), The Open Window, 1911. Oil on canvas, 72,7 x 60,3 cm, Private collection © Succession H. Matisse / VG Bild-Kunst, Bonn 2016.

The exhibition is sponsored by the multinational bank Société Générale and supported by the Städelscher Museums-Verein as well as the Georg and Franziska Speyer Foundation.

Henri Matisse and Pierre Bonnard are represented in our collection by two marvellous paintings: a nude by Bonnard and a still life by Matisse,” says Philipp Demandt, Director of the Städel Museum. “Taking these two paintings as the starting point, our main exhibition for this year reveals a visual interplay between these two artists, whose influence on each other becomes unmistakable when their works are seen side by side. The exhibition continues the Städel’s successful series, where we present our visitors not only with unique masterpieces but also with new and fresh perspectives on the major protagonists of modern art.” 

The exhibition has been curated by Felix Krämer, who will be taking up the post of Director at the Museum Kunstpalast in Düsseldorf from October, and co-curator Daniel Zamani (Städel Museum). “Following the exhibition 'Monet and the Birth of Impressionism' (2015), the Städel Museum is turning to another exciting chapter in the history of French art: the friendship between Henri Matisse and Pierre Bonnard, which lasted over 40 years,” explains Krämer. “The exhibition brings out the creative dialogue between these two exceptional artists. It has been a long time since so many of their major works have been seen in Germany.” As Zamani points out, “Both artists developed an unmistakable and individual pictorial language, driven by their unremitting dedication to their work and life-long delight in experimentation. Even during their own lifetime Matisse and Bonnard were seen as two of the most important pioneers of modern art. With Bonnard’s paintings, in particular, it is only when you come face to face with the originals that you become aware of their full fascination. It is worth visiting the Städel just for that.”

The title of the exhibition, Long Live Painting!, is based on the programmatic exclamation “Vive la peinture!” with which Matisse saluted his friend Bonnard on 13 August 1925. Those three words on a postcard from Amsterdam were the beginning of a correspondence that went on for more than twenty years and that testifies to the depth of the respect and appreciation the two artists felt for each other. In the first decade of the twentieth century, both artists left Paris, then the capital of the avant-garde, for the Côte d’Azur, where they continued to cement their reputation as protagonists of the European art scene. Despite the near-contiguity of their lives and careers, art historians tend to correlate the two artists with opposing trends: Bonnard’s breezy, loose brushwork and scintillating soft pastels give rise to the construct of the painter as the last great heir of Impressionism, while Matisse’s preference for strong colours and flat, heavily contoured compositions earn him the accolade of being named a pioneer of twentieth-century abstraction. 

In thematic chapters, the exhibition focuses on different interpretations of major genres: interiors, still lifes, landscapes and nudes. The aim of presenting Matisse and Bonnard together is to allow comparative contemplation, to create a space in which commonalities and differences emerge – but not to engender any kind of competition. Such a thing would be quite at odds with the relationship between the two artists. “When I think of you, I think of a mind cleansed of every old aesthetic convention, and it is that alone that permits a direct view of nature, the greatest joy that can befall a painter. I enjoy a little of that, thanks to you” wrote Bonnard to Matisse in January 1940. The value which the latter attached to the judgement of his friend is documented in a letter of November of the same year: “I need to see someone, and you’re the one I want to see.” Matisse did not want to discuss his pictures with anyone else. Seldom have two artists complemented one another so well.

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 Henri Matisse (1869 – 1954), Odalisque with a Tambourine, 1925/26. Oil on canvas, 74,3 x 55,6 cm, The Museum of Modern Art, New York / © Succession H. Matisse / VG Bild-Kunst Bonn 2017 / Photo: 2017. Digital Image, The Museum of Modern Art, New York / Scala, Florenz.

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Pierre Bonnard (1867-1947), Nude at the Mirror, 1931. Oil on canvas, 152 x 102 cm. Photo Archive - Fondazione Musei Civici di Venezia © VG Bild-Kunst, Bonn 2017 / Photo: Claudio Franzini.

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Pierre Bonnard (1869–1954), Woman Leaving the Bath, ca. 1925. Oil on canvas, 110 x 94.9 cm, Jeff & Mei Sze Greene Collection © VG Bild-Kunst, Bonn 2017

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Henri Matisse (1869–1954), Asia, 1946. Oil on canvas, 116,2 x 81,3 cm, Kimbell Art Museum, Fort Worth, Texas © Succession H. Matisse / VG Bild-Kunst, Bonn 2017

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Henri Matisse (1869 – 1954), Odalisques, 1928. Oil on canvas, 54 x 65 cm, Moderna Museet, Stockholm © Succession H. Matisse / VG Bild-Kunst, Bonn 2017 / Photo: Moderna Museet, Stockholm.

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Henri Matisse (1869 – 1954), The Gulf of Saint-Tropez, 1904. Oil on canvas, 65 x 50,5 cm, Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Photo: Walter Klein, Düsseldorf © Succession H. Matisse / VG Bild-Kunst, Bonn.

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Pierre Bonnard (1867-1947), Terrace in the South of France, 1925. Öl auf Leinwand, 78 x 63 cm, Collection Fondation Glénat, Grenoble © VG Bild-Kunst, Bonn 2017.

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Pierre Bonnard (1867–1947), The Sun-Filled Terrace,1939–1946. Oil on canvas, 71 x 236 cm, Private collection © VG Bild-Kunst, Bonn 2017.

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Henri Matisse (1869 – 1954), Trivaux Pond, 1916/17. Oil on canvas, 92,7 x 74,3 cm, Tate, London 2017 © Succession H. Matisse / VG Bild-Kunst, Bonn 2017 / Photo: Tate, London 2017.

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Pierre Bonnard (1867-1947), The Family in the Garden (Grand-Lemps), ca. 1901. Oil on canvas, 109,5 x 127,5 cm, Kunsthaus Zürich © VG Bild-Kunst, Bonn 2017.

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Henri Matisse (1869–1954), Still Life with „The Dance“, 1909. Oil on canvas, 89,5 x 117,5 cm, The State Hermitage Museum, Saint Petersburg © Succession H. Matisse / VG Bild-Kunst, Bonn 2016 / Photo: Vladimir Terebenin.

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Pierre Bonnard (1867–1947), The Bowl of Fruit, 1914. Oil on canvas, 46 x 37.5 cm, Private collection © VG Bild-Kunst, Bonn 2017.

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Henri Matisse, (1869 – 1954), Flowers and Ceramic Plate, 1913. Oil on canvas, 93.5 x 82.5 cm, Städel Museum, Frankfurt am Main © Succession H. Matisse / VG Bild-Kunst, Bonn.

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Pierre Bonnard (1867–1947), Bouquet of Mimosas, ca. 1945. Oil on canvas, 62 x 68 cm, Private collection © VG Bild-Kunst, Bonn 2017.

st_presse_hm_women_with_sofa_or_the_diwan_1921

Henri Matisse (1869–1954), Women with Sofa or The Diwan, 1921. Oil on canvas, 92 x 73 cm, Musée de lʼOrangerie, Paris, Sammlung Jean Walter und Paul Guillaume © Succession H. Matisse / VG Bild-Kunst, Bonn 2017.

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Pierre Bonnard (1867 – 1947), The Bowl of Milk, ca. 1919. Oil on canvas, 116,2 x 121,0 cm, Tate, London 2017 © VG Bild-Kunst, Bonn 2017 / Photo: Tate, London 2017.

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Henri Matisse (1869 – 1954), Nice, Black Notebook, 1918. Oil on canvas, 71 x 236 cm, Hahnloser/Jaeggli Stiftung, Kunstmuseum Bern © Succession H. Matisse / VG Bild-Kunst, Bonn 2017.

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Pierre Bonnard (1867-1947), The Window, 1925. Oil on canvas, 108,6 x 88,6 cm, Tate, London © VG Bild-Kunst, Bonn 2017 / Photo: Tate, London 2017.

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Henri Matisse (1869–1954), Selfportrait, 1906. Oil on canvas, 55 x 46 cm, Statens Museum for Kunst, Kopenhagen © Succession H. Matisse / VG Bild-Kunst, Bonn 2017 / Photo: SMK.

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Pierre Bonnard (1867-1947), Selfportrait, 1930. Pencil and watercolor on paper, 65 x 50 cm, Private Collection © VG Bild-Kunst, Bonn 2017.

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Henri Cartier-Bresson (1908 –2004), Henri Matisse at home in southern France, Vence, 1944 © Henri Cartier-Bresson / Magnum Photos, Courtesy Fondation HCB / Agentur Focus

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Henri Cartier-Bresson (1908 –2004); Pierre Bonnard at home in southern France, Le Cannet, 1944 © Henri Cartier-Bresson / Magnum Photos, Courtesy Fondation HCB / Agentur Focus

 

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Exhibition views Matisse - Bonnard: "Long Live Painting!". Photos: Stadel Museum

Coupe en forme de coquillage la prise formée d’un putti, Poinçon de Nuremberg, Vers 1600

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Lot 184. Coupe en forme de coquillage la prise formée d’un putti, Poinçon de Nuremberg, Vers 1600. Estimation 9 000 €. Photo Prunier OVV 

Elle repose sur un dauphin lui-même posé sur un tertre de rocaille. La coupe rompt avec l’orfèvrerie de l’époque médiévale. L’architecture, qui était à la mode va laisser place à une ornementation orientée sur la nature et le naturalisme. Nuremberg touche à la perfection dans ce type de production honorant des commandes luxueuses pour “les chambres des merveilles”. La vaisselle des princes devait impressionner durant les banquets et l’orfèvrerie d’apparat couvrir les tables et buffets.

SVV JEAN EMMANUEL PRUNIERSplendeurs de la Haute ÉpoqueDimanche 24 septembre à 14h30 à Louviers

Pistolet d’arçon à rouet, Epoque fin du XVIe siècle

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Lot 129. Pistolet d’arçon à rouet, Epoque fin du XVIe siècle. Estimation 8 000 - 10 000 €. Photo Prunier OVV 

La crosse incrustée de motifs de guirlandes, feuillages, animaux et oiseaux en corne. Long: 41 cm.

Un grand nombre de ces pistolets sont exposés au musée de Dresde. Un autre modèle daté de 1579 très proche appartient aux collections du Victoria and Albert Museum de Londres.

Collection troyenne.

SVV JEAN EMMANUEL PRUNIERSplendeurs de la Haute ÉpoqueDimanche 24 septembre à 14h30 à Louviers

Pyxide ou custode au toit conique, Limoges, époque XIIIe siècle

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Lot 37. Pyxide ou custode au toit conique, Limoges, époque XIIIe siècle. Estimation : 10000/12000 €Photo Prunier OVV 

à décor de huit blasons et rinceaux en cuivre doré, gravé et émail champlevé bleu, blanc et noir. H : 9,5 cm. Manque la croix latine.

Ancienne Collection Seward Kennedy.

Cette boite était destinée à contenir les hosties consacrées. La codification des blasons se développe au XIIIe siècle et reste étroitement liée à l'émaillerie. En langage héraldique émaux veut dire couleur.

SVV JEAN EMMANUEL PRUNIERSplendeurs de la Haute ÉpoqueDimanche 24 septembre à 14h30 à Louviers

Adam et Eve, Rhin supérieur, première moitié du XVIe siècle


A celadon-glazed 'Changsha' bowl, Tang dynasty-Five Dynasties

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A celadon-glazed 'Changsha' bowl, Tang dynasty-Five Dynasties

A celadon-glazed 'Changsha' bowl, Tang dynasty-Five Dynasties

Lot 946. A celadon-glazed 'Changsha' bowl, Tang dynasty-Five Dynasties. Diameter 5 3/4  in., 14.6 cm. Estimate 2,000 — 3,000 USD. Lot sold 6,250 USD. © Sotheyby's. 

the straight sides rising from a slightly splayed foot and a countersunk base, applied overall with a lightly crackled olive-green glaze, pooling slightly around the exterior of the rim, Japanese wood box (5)

Provenance: Collection of Dr. Isaac Newton (d. 1982), acquired circa 1947-51, no. 195. 
Bluett & Sons, London, 3rd May 1961.
Collection of M. Hanabusa, Esq.  

ExhibitedThe Ceramic Wares of Hunan Province, Bluett & Sons, London, 1961.

NoteThe lot is accompanied by a copy of the original Bluett & Sons invoice and introduction to the exhibition. 

Original Bluett & Sons introduction to the exhibition

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017

Portrait de Franchesco del Nero (1487-1563), Attribuéà Julio Mazzoni (1518-1589)

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Lot 115. Portrait de Franchesco del Nero (1487-1563), Attribuéà Julio Mazzoni (1518-1589). Estimation : 50000/60000 €. © Prunier OVV 

Bronze à patine sombre verdatre. Le personnage est représenté avec beaucoup de réalisme. H : 82 cm. Hauteur totale avec le socle : 105 cm.

Note: Franchesco del Nero était le questeur, trésorier, secrétaire apostolique du Pape Clément VII (1523-1534). L'identité du personnage nous est donnée grace à Giorgio Vasari dans ses “Vite" sur les meilleurs artistes de la Renaissance italienne (réédité par André Chastel, Tome 9 p.p. 109 et 114) ou est cité le nom de notre sculpteur originaire de Piacenza. Vasari insiste sur ses talents concernant l'exécution du buste en marbre qui surmonte le tombeau de Franchesco del Nero toujours en place dans une chapelle de l'église Santa Maria da Minerva.

Le catalogue de Fritz Goldschmidt (Berlin 1914), ou sont présentées les photographies des bronzes Renaissance du musée Friedrich (Aujourd'hui Bode Museum), présente page 5 figure 4 un buste. Une notice précise le numéro d'inventaire, la provenance (Palais del Nero, Florence aujourd'hui Torrigiani), la date de l'achat par le musée de Berlin, la dimension (82 cm) et la description suivante : buste travaillé de facon brute, patine naturelle sombre verdatre, surface peu ciselée. Ce buste est resté au musée de Berlin de 1895 à 1945, année ou il a disparu sous les bombardements. Notre buste est proche du modèle de Berlin. Il s'agit bien du même personnage, les dimensions sont identiques, la patine sombre est verdatre et la surface peu ciselée. En revanche, sur notre modèle le piédouche d'origine est différent. Il est quadrangulaire en pierre de Florence, taillé de facon brute à l'arrière, et parfaitement ajusté au buste.

Nous sommes en présence d'une deuxième version moins fouillée dans les détails. L'existence de plusieurs tirages, compte tenu de la célébrité du personnage, n'a rien d'exceptionnelle. Sa fonction et son rang social expliquent l'existence de plusieurs bronzes. Un troisième exemplaire présentant la même taille, la même patine et un socle similaire à celui de Berlin est exposé au Musée Pouchkine de Moscou.

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Giulio Mazzoni, Buste de Francesco del Nero, 1550-1560 (?). Bronze,  Musée Pouchkine de Moscou

Portrait de Gabrielle d'Estrées, Epoque fin du XVIe siècle

A Qingbai 'melon' box and cover, Song dynasty

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A Qingbai 'melon' box and cover, Song dynasty

Lot 943. A Qingbai'melon' box and cover, Song dynasty (960-1279). Estimate 3,000 — 5,000 USD. Lot sold 3,750 USD. © Sotheyby's

of compressed globular form resembling a melon with lobed sides, an applied curled stem emerging from the convex center of the cover, applied overall in a translucent light turquoise-blue glaze pooling in the recesses, save for the raised interior rim and base left unglazed revealing the white body, the latter with a four-character mark in relief reading Cai jia hezi ji (the Cai family [made this] box) (2)

ProvenanceBelgian Private Collection.

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017

A large russet-splashed bowl, Northern Song -Jin dynasty (960-1234)

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A large russet-splashed bowl, Northern Song -Jin dynasty

Lot 948. A large russet-splashed bowl, Northern Song -Jin dynasty (960-1234). Diameter 9 in., 22.8 cm. Estimate 4,000 — 6,000 USD. Lot sold 6,250 USD. © Sotheyby's

of conical form supported on a straight foot and rising to an upright rim, covered overall with a lustrous black glaze splashed with russet, the glaze stopping above the foot to reveal a buff stoneware body.

Sotheby's. Saturday at Sotheby's: Asian Art, New York, 16 Sep 2017

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