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A Faux-Bois Bucket. Qing Dynasty, Yongzheng Period

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A Faux-Bois Bucket. Qing Dynasty, Yongzheng Period - Photo Sotheby's 

the straight, slightly everted sides resting on a low broad footring, naturalistically painted overall in different shades of reddish-brown enamel in imitation of a bucket made from straight wooden slats with a strong grain, held together around the centre and base by hoops of plaited bamboo painted in pale green, the recessed base later drilled with a central hole enabling the bucket to serve as a flower-pot; height 18 cm., 7 1/8 in., 19.4 cm., 7 5/8 in. Estimation: 450,000 - 550,000 HKD

EXHIBITED: Chinese Ceramics from the Meiyintang Collection, The British Museum, London, 1994.
Evolution to Perfection. Chinese Ceramics from the Meiyintang Collection/Evolution vers la perfection. Céramiques deChine de la Collection Meiyintang, Sporting d’Hiver, Monte Carlo, 1996, cat. no. 198.
China. The Three Emperors 1662-1795, Royal Academy of Arts, London, 2005-6, cat. no. 235.

 

LITTERATURE: Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 2, no. 947.

 

NOTE DE CATALOGUE: Porcelain simulations of other materials are one of the many inventions of the Jingdezhen potters during the
Yongzheng period (AD 1723-35), which became even more popular during the Qianlong reign (AD 1736-95). The immensely increased range of glaze and enamel colours and shades in the early 18th century made it possible to create extremely life-like reproductions of other media. Of course, potters had always copied other materials, but the sophistication of these early Qing works lies not only in their verisimilitude, but moreover in the fact that what was copied were not just more precious materials, as previously, but also more humble ones.

Comparable faux-bois flower pots of Yongzheng mark and period, of similar form but supported on low feet, are in the Palace Museum, Beijing, and in the National Palace Museum, Taiwan, see Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl. 146; and Koky Shin shi zuroku. Kkiy, Yseiy/Illustrated Catalogue of Ch’ing Dynasty Porcelain in the National Palace Museum, Republic of China: K’ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 97.

Sotheby's. The Meiyintang Collection, Part IV - An Important Selection of Imperial Chinese Porcelains. Hong Kong | 09 oct. 2012 www.sothebys.com


Coupe aux inscriptions coufiques, Nichapour, 10ème siècle

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Coupe aux inscriptions coufiques, Nichapour, 10ème siècle. Photo Artcurial - Briest-Poulain-F.Tajan

Coupe tronconique évasée en céramique, décorée en engobe brun sur engobe blanc d'une inscription coufique concentrique et du nom Ahmed dans le fond. Bouchage au bord, sinon complète et belle glaçure. Diamètre : 22 cm. (8 ¾ in.) - Estimation : 10 000 / 12 000 €

A NISHAPUR SLIP-PAINTED CERAMIC BOWL WITH KUFIC INSCRIPTIONS, 10TH CENTURY

Provenance : Collection privée allemande.

Exposition : Morgenländische Pracht, Hamburg, Museum für Kunst und Gewerbe, 1993 : n°21.

Publication : Publiée par Jens Kröger er Claus-Peter Haase.

Artcurial - Briest-Poulain-F.Tajan. Mardi 9 octobre 2012. Hôtel Dassault - 7 Rond Point des Champs-Elysées - 75008 - Paris. www.artcurial.com 

A Fine Pair of Aubergine-Glazed Saucer Dishes. Marks and Period of Yongzheng

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A Fine Pair of Aubergine-Glazed Saucer Dishes. Marks and Period of Yongzheng - Photo Sotheby's

each delicately potted with a slightly recessed centre, the rounded flared sides resting on a short straight foot, finely incised on the exterior with the 'Eight Buddhist Emblems' tied with ribbons, between incised fillets around the rim and foot, covered overall with a deep aubergine glaze with a slight iridescence, the base reserved in white and inscribed with a six-character reign mark within a double ring in underglaze blue; 11.3 cm., 4 1/2 in. Estimation: 350,000 - 450,000 HKD

PROVENANCE: Collection of J.F. Woodthorpe.
Collection of H.M. Knight.
Sotheby’s Hong Kong, 29th November 1979, lot 347.Sotheby’s Hong Kong, 17th May 1988, lot 83.

LITTERATURE: Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 2, no. 892.

NOTE DE CATALOGUE: Although the aubergine glaze colour had been developed already in the Xuande period (AD 1426-35), it remained very rare until the Qing dynasty, when it became popular mainly for bowls and dishes. Dishes with similar engraved designs are illustrated in John Ayers, The Baur Collection Geneva: Chinese Ceramics, Geneva, 1968-74, vol. III, pls. A 476 and 477; another pair from Elphinstone collection is in the Sir Percival David Collection in the British Museum, London, see Margaret Medley, Illustrated Catalogue of Ming and Ch'ing Monochrome in the Percival David Foundation of Chinese Art, London, 1973, nos. B 585 and 586; and a single dish is illustrated in Qingdai danse you ciqi tezhan [Special exhibition of monochrome glazed porcelain of the Qing dynasty], National Palace Museum, Taipei, 1981, cat. no. 45.

A pair of similar dishes from the Goldschmidt collection, sold in these rooms 13th November 1990, lot 69, is illustrated in The Tsui Museum of Art. Chinese Ceramics IV: Qing Dynasty, Hong Kong, 1995, pl. 30; another pair from the J.M. Hu Family Collection was sold in our New York rooms 23rd September 1995, lot 428; and one from the collection of Dr. Per Hedenius, sold in our London rooms 9th December 1975, lot 160, was included in the exhibition Chinesische Keramik. Meisterwerke aus Privatsammlungen, Museum für Ostasiatische Kunst, Cologne, 1988, cat. no. 124. 

Sotheby's. The Meiyintang Collection, Part IV - An Important Selection of Imperial Chinese Porcelains. Hong Kong | 09 oct. 2012 www.sothebys.com

Coupe à inscription coufique, Nichapour, 10ème siècle

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Coupe à inscription coufique, Nichapour, 10ème siècle. Photo Artcurial - Briest-Poulain-F.Tajan 

Coupe tronconique en céramique, décorée en engobe brun sur engobe blanc d'une inscription concentrique coufique à mi-hauteur des parois, d'un motif brun dans le fond et d'une frise en dents de scie sur le pourtour. Restaurations. Diamètre : 25,5 cm. (10 in.) - Estimation : 5 000 / 7 000 €

A NISHAPUR SLIP-PAINTED CERAMIC BOWL WITH KUFIC INSCRIPTION, 10TH CENTURY

Provenance : Collection privée allemande.

Artcurial - Briest-Poulain-F.Tajan. Mardi 9 octobre 2012. Hôtel Dassault - 7 Rond Point des Champs-Elysées - 75008 - Paris. www.artcurial.com 

A Coral-Red Bowl. Ming Dynasty, Jiajing Period - Sotheby's

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A Coral-Red Bowl. Ming Dynasty, Jiajing Period - Photo Sotheby's

the rounded sides rising from a tapered foot to a gently flared rim, overglazed with an iron-red enamel of warm tone on the interior and exterior, the domed base left white and covered with a transparent glaze slightly tinged to blue; 11.3 cm., 4 1/2 in. Estimation: 350,000 - 450,000 HKD

PROVENANCE: Collection of Lord Cunliffe.
Sotheby’s Hong Kong, 17th May 1988, lot 6.
Sotheby’s Hong Kong, 30th April 1991, lot 28.

LITTERATURE: Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 2, no. 702.

NOTE DE CATALOGUE: This iron-derived coral-red glaze was very rarely used on its own as a monochrome glaze colour, but a matching coral-red dish of the Jiajing period (AD 1522-66), also unmarked but from the Qing court collection, is in the Palace Museum, Beijing, see The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl. 29; another iron-red bowl of similar form, but with the enamel more unevenly applied, was sold in these rooms, 15th November 1988, lot 152.

Sotheby's. The Meiyintang Collection, Part IV - An Important Selection of Imperial Chinese Porcelains. Hong Kong | 09 oct. 2012 www.sothebys.com

Coupe ilkhanide à l'oiseau, Djovein, 13ème-14ème siècle

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Coupe ilkhanide à l'oiseau, Djovein, 13ème-14ème siècle. Photo Artcurial - Briest-Poulain-F.Tajan

Coupe hémisphérique en céramique, décorée en noir et léger relief sous glaçure turquoise d'un oiseau en vol parmi des rinceaux fleuronnés ponctués de bleu. Corolle de pétales au revers. Complète. Diamètre : 18,5 cm. (7 ¼ in.) - Estimation : 10 000 / 12 000 €

AN ILKHANID UNDERGLAZE-PAINTED CERAMIC BOWL WITH A FLYING BIRD, 13TH-14TH CENTURY

Provenance : Collection privée allemande.

Artcurial - Briest-Poulain-F.Tajan. Mardi 9 octobre 2012. Hôtel Dassault - 7 Rond Point des Champs-Elysées - 75008 - Paris. www.artcurial.com 

A Copper-Green Glazed Bowl with Incised Floral Decoration, Mark and Period of Yongzheng - Sotheby's

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A Copper-Green Glazed Bowl with Incised Floral Decoration, Mark and Period of Yongzheng - Photo Sotheby's

the deep rounded sides supported on a low straight foot, incised around the exterior with a dense floral scroll with five circular blooms borne one a single undulating stem wreathed by subsidiary sprigs and feathery leaves, covered overall with a deep green glaze with a slightly iridescent surface, the base reserved in white and inscribed with a six-character reign mark within a double ring in underglaze blue; 13.7 cm., 5 3/8 in. Estimation: 90,000 - 120,000 HKD

LITTERATURE: Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 2, no. 887.

NOTE DE CATALOGUE: Monochrome copper-green glazed bowls are well known from the Yongzheng period (AD 1723-35), but the presentpiece with its flower pattern and its unusual, bold manner of engraving may be unique.

Sotheby's. The Meiyintang Collection, Part IV - An Important Selection of Imperial Chinese Porcelains. Hong Kong | 09 oct. 2012 www.sothebys.com

Coffret à bijoux ottoman, 18ème siècle

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Coffret à bijoux ottoman, 18ème siècle. Photo Artcurial - Briest-Poulain-F.Tajan

Coffret quadrangulaire à quatre pieds et couvercle en pente, en bois plaqué d'écaille de tortue et de nacre, tapissé de fleurs et d'une profusion de branches feuillagées. Hauteur : 42,2 cm. (16 ¼ in.), Largeur : 54 cm. (21 ¼ in.), Profondeur : 33,5 cm. (14 in.) - Estimation : 8 000 / 12 000 €

AN OTTOMAN TORTOISE SHELL AND MOTHER-OF-PEARL CASKET, 18TH CENTURY

Artcurial - Briest-Poulain-F.Tajan. Mardi 9 octobre 2012. Hôtel Dassault - 7 Rond Point des Champs-Elysées - 75008 - Paris. www.artcurial.com 


Contents of the home of Princess Viola von Hohenzollern in Scotland for sale at Bonhams Edinburgh

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The image of Charles II after Sir Peter Lely, is a three quarter length portrait of Charles II in a blue robe, an oil on canvas it is estimated to sell for £7,000-9,000. Photo: Bonhams.

EDINBURGH.- The contents of Scotland’s Killochan Castle, built in 1324 and bought by the present owner Princess Viola von Hohenzollern 15 years ago, will be sold by Bonhams on November 7th in Edinburgh.

A relative of Kaiser Wilhelm II by marriage, the princess is offering for sale a set of 12 silver-mounted beakers made for Edward Prince of Wales, later Edward VII as well as portraits of her husband's ancestors, William III and Charles II. The full-length portrait of William III, an oil on canvas, after Sir Godfrey Kneller, is estimated to sell for £6,000-8,000. The original work is in Windsor Castle. The image of Charles II after Sir Peter Lely, is a three quarter length portrait of Charles II in a blue robe, an oil on canvas it is estimated to sell for £7,000-9,000.

Princess Viola von Hohenzollern comments: “I have long had a love of Scotland and have visited the country since the 1980’s. In 1997 I succumbed to the opportunity to purchase Killochan Castle, an important tower house with a history that dates back to 1324. The castle sits in an idyllic setting between rolling hills, nestled down within an ancient wood, close to the beautiful Ayrshire coast. With its fortifications and many secret passages a tangible sense of history pervades the castle. I was often struck by a sense of wonder that I was living in a house that has been continuously inhabited for the last seven hundred years. Some of the objects in the sale were acquired with the house and many others were added by me. It is with reluctance that I have decided to leave Killochan but I hope that others will enjoy attending the sale.”

The top lot in the sale is a truly charming Victorian sporting picture by Richard Ansdell estimated to sell for £60,000-80,000. Richard Ansdell, RA (British, 1815-1885) Winter Shooting, Hares and Ptarmigan, signed and dated 'R Ansdell/1869', an oil on canvas.

It was exhibited in Royal Academy in 1869. This is an excellent example of Ansdell's Scottish highland paintings. A prolific exhibitor at the London academies (showing 149 works at the Royal Academy, as well as 30 at the British Institution) Ansdell was one of the most successful Sporting artists of his generation. He exhibited many Scottish subjects throughout his long career, and built a Lodge on the banks of Loch Laggan. Ansdell's best highland works rival that of Sir Edwin Landseer; as one critic noted in 1860, 'Ansdell's products are among the best of their kind...if we had no Landseer, Ansdell would, unquestionably, occupy the very foremost place in this department of art' (Art Journal, 1860, p.223).

There are also a few arresting pieces of furniture including a Queen Anne giltwood table, in the manner of James Moore estimated to sell for £12,000-18,000.

Another attractive item is an early full length portrait is of Kenneth Duffis, 3rd Lord of Sutherland with his dog.dating from circa 1710.

History of Killochan Castle
Killochan Castle has a documented history dating back to 1324 when Robert the Bruce granted the lands of Killochanto to the Cathcarts of Carleton on condition that they presented “three sufficient spears” on Christmas Day at the Head Manor of Turnberry. The castle remained in the Cathcart family for the next 630 years, one of the lengthiest terms of ownership in one family for a Scottish residence.

One of the finest examples of early Scottish fortified architecture, the castle was first built in 1338 as a four-storey tower house with impregnably thick walls. The entire Clan of the Cathcarts at one time were besieged within the vaulted ground floor. A date stone above the front door shows that in 1586, Ihone Cathcart added a wing to the Castle making it L-shaped and also added two extra floors to the original Tower. The castle has well placed shot holes and gun loops facing in all directions from the turrets and there is a machicolation over the front door through which boiling oil could be poured on tax inspectors, estate agents and other unwanted guests The castle also has a great number of secret passages and stairways built into the huge stone walls and behind panelling. The former morning room, now a bedroom, was known as the `Laird’s Lug’ as the Laird, having retired, could eavesdrop from behind the panelling and learn of plots to overthrow him. If the odds were too heavily stacked against him, he also had his escape route through a tunnel from the Saloon under the lawn.

Throughout the 17th century the castle was a stronghold of the Covenanters. The strength of the fortifications, coupled with the extensive network of secret passages meant that even a garrison of 120 soldiers ordered to attack Killochan in 1678 had to admit defeat. During the 18th Century outbuildings on the north side of the castle were demolished and Robert and James Adam, known for their work locally at Culzean and Dalquharran, designed a new wing and the gatehouse. 

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A Queen Anne giltwood side table in the manner of James Moore. 56.5cm wide, 40.5cm deep, 76cm high (22" wide, 15.5" deep, 29.5" high). Estimate: £12,000 - 18,000. Photo: Bonhams.

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The full-length portrait of William III, an oil on canvas, after Sir Godfrey Kneller, is estimated to sell for £6,000-8,000. Photo: Bonhams.

LACMA presents renown French ceramics from the MaryLou Boone Collection

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Ewer, c. 1700, Rouen, France, Earthenware with tin glaze and enamel (grand feu faïence), Los Angeles County Museum of Art, gift of MaryLou and George Boone in honor of the museum’s twenty-fifth anniversary, M.2010.51.1, photo © Susan Einstein

LOS ANGELES, CA.- Daily Pleasures: French Ceramics From the MaryLou Boone Collection features more than 130 pieces from the finest collection of French faience and soft-paste porcelain on the West Coast. The ideal fusion of the useful and the beautiful that is found in these French ceramics of the seventeenth and eighteenth centuries is the essence of what inspired MaryLou Boone to assemble her outstanding collection from the foremost manufactories of the era. Although originally made to emulate Asian hard-paste porcelain imported into Europe, faience and soft-paste porcelain ultimately became distinctive and sought-after ceramics in their own right. The collection includes wares for dining and taking tea, for storing the many toiletries necessary for a stylish appearance, and for preparing mixtures that comforted in time of sickness. Emphasizing myriad aesthetic influences, chronicling advances in technology, and reflecting the rhythms of domestic life, these objects provide a unique view of French customs and culture and continue to bring pleasure to daily life.

“This exhibition reveals and celebrates both the artistry that exists in the service of the utilitarian and the ability of this discriminating collector to bring together remarkable examples of that artistry,” said Elizabeth Williams, assistant curator of decorative arts and design at LACMA.

The exhibition and catalogue not only bring together years of MaryLou Boone’s discerning acquisitions but also recognize a substantial gift to the two institutions that Mrs. Boone and her late husband, Dr. George Boone, have generously supported and passionately championed. The Boones established a longstanding relationship with LACMA, where Dr. Boone served as a life trustee and the couple endowed the popular Boone Children’s Gallery. Similarly, the Boones have been benefactors of the Huntington Library, Art Collections, and Botanical Gardens, where Marylou served as a trustee. In 2010, MaryLou gave approximately twenty-five pieces from her collection to both LACMA and the Huntington, significantly enhancing their holdings and bringing new life to their permanent collection galleries.

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Narcissus Scene Cup and Saucer Set, 1746, Vincennes Porcelain, Vincennes, France, soft-paste porcelain, The Huntington Library, Art Collections, and Botanical Gardens. Gift of MaryLou Boone, photo © Susan Einstein / Leda and the Swan scene Sugar Box (part of a déjeuner service), 1746, Vincennes. Porcelain, Vicennes, France, soft-paste porcelain, The Huntington Library, Art Collections, and Botanical Gardens, gift of MaryLou Boone, photo © Susan Einstein

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Caster, Plate Mustard Pot and Ewer; 1700–1730, Rouen, France, earthenware with tin glaze and enamel (grand feu faïence), Los Angeles County Museum of Art, gift of MaryLou and George Boone in honor of the museum’s twenty-fifth anniversary, photo © Susan Einstein

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Oval Dish, c. 1770, Joseph-Gaspard Robert Manufactory, Marseille, France, c. 1750–1800, earthenware with tin glaze and enamel (petit feu faïence), Los Angeles County Museum of Art, gift of MaryLou and George Boone in honor of the museum’s twenty-fifth anniversary, photo © Susan Einstein

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Saltcellar, Hors d’Oeuvre Dish, Pepper Box and Trembleuse Cup and Saucer; c. 1700–1750, Saint-Cloud Manufactory, France, c. 1693–1766, soft-paste porcelain with underglaze blue and glaze, Los Angeles County Museum of Art, gift of MaryLou and George Boone in honor of the museum’s twenty-fifth anniversary, photo © Susan Einstein

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Covered Sugar Bowl, 1780, Lunéville, France; and Sugar Spoon, 1775, Lunéville Petit Feu Faïence Manufactory, Lunéville, France; gifts of MaryLou Boone, photos © Susan Einstein

Harunobu (vers 1724 - 1770) Aiban yoko-e, "Furyu enshoku Maneemon"

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Harunobu (vers 1724 - 1770) Aiban yoko-e, "Furyu enshoku Maneemon". Photo Ader

Maneemon et sa concubine pratiquant des préliminaires dans une chambre sur fond jaune avec aquarium et vue sur un lac parsemé de fleurs. (Coupé, petits trous). Dim. : 20,4 x 25,5 cm - Estimation : 2 000 - 3 000 €

Ader. Vendredi 12 octobre à 14h00. Drouot Richelieu Salle 7. SHUNGA - Estampes japonaises érotiques. EMail : contact@ader-paris.fr - Tél. : 01 53 40 77 10

Goshichi (vers 1776 - 1831), Douze pages d'album illustrées, doublées, une doublure, aiban yoko-e

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Goshichi (vers 1776 - 1831), Douze pages d'album illustrées, doublées, une doublure, aiban yoko-e. Photo Ader

amants dans une chambre, la femme jouant du samisen, amants dans la nuit, la femme tenant une ombrelle; amants dans une chambre, un collier sur la table; amants s'embrassant dans une chambre, un éventail sur le sol; amants à l'heure du thé, amants épiés par deux vieillards, amants sur des balles de riz épiés par un jeune homme avec un lampion et couples de rats observés par un autre rat (rajouts de dessins); couple en pleine étreinte, un chat les observant; amants devant un tsuitate; amants, l'homme un éventail à la main, la femme montrant des fruits; amants sur la table de la véranda à l'heure du thé; une doublure doublée (usée, trous) avec un texte. (Pliures médianes, coupés). Dim. : 22,4 x 32,3 cm - Estimation : 2 600 - 2 800 €

Ader. Vendredi 12 octobre à 14h00. Drouot Richelieu Salle 7. SHUNGA - Estampes japonaises érotiques. EMail : contact@ader-paris.fr - Tél. : 01 53 40 77 10

Koryusai (actif dans les années 1760 - 1780) Oban yoko-e, "Shikido Torikumi"

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Koryusai (actif dans les années 1760 - 1780) Oban yoko-e, "Shikido Torikumi".

couple s'étreignant allongé derrière un paravent. Dim. : 25 x 38 cm - Estimation : 1 900 - 2 000 €

Ader. Vendredi 12 octobre à 14h00. Drouot Richelieu Salle 7. SHUNGA - Estampes japonaises érotiques. EMail : contact@ader-paris.fr - Tél. : 01 53 40 77 10 

Utamaro (1753 - 1806), Oban yoko-e

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Utamaro (1753 - 1806), Oban yoko-e. Photo Ader

amants sur le point de s'étreindre, la femme prenant la jambe de l'homme, approchant sa bouche du pied. (Coupé, une tache d'humidité). Dim. : 25,4 x 38,8 cm - Estimation : 1 900 - 2 000 €

Ader. Vendredi 12 octobre à 14h00. Drouot Richelieu Salle 7. SHUNGA - Estampes japonaises érotiques. EMail : contact@ader-paris.fr - Tél. : 01 53 40 77 10

Harunobu (vers 1724 - 1770) Aiban yoko-e

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Harunobu (vers 1724 - 1770) Aiban yoko-e. Photo Ader

homme épiant à l'entre-porte d'une maison un couple en pleine étreinte. (Coupé). Dim. : 20,4 x 26,5 cm - Estimation : 1 500 - 2 000 €

Ader. Vendredi 12 octobre à 14h00. Drouot Richelieu Salle 7. SHUNGA - Estampes japonaises érotiques. EMail : contact@ader-paris.fr - Tél. : 01 53 40 77 10


Kikumaro (1774 - 1836) Album comprenant 26 pages

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Kikumaro (1774 - 1836) Album comprenant 26 pages. Photo Ader

dont 10 illustrations représentant des couples s'étreignant. (Petits trous de vers, accidents). Dim. : 23,5 x 17,5 cm - Estimation : 1 500 - 2 000 €

Ader. Vendredi 12 octobre à 14h00. Drouot Richelieu Salle 7. SHUNGA - Estampes japonaises érotiques. EMail : contact@ader-paris.fr - Tél. : 01 53 40 77 10

Chôkyôsai Eiri (actif entre 1789 et 1801 ), Oban yoko-e de la série " Fumi no kiyogaki", vers 1801.

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Chôkyôsai Eiri (actif entre 1789 et 1801 ), Oban yoko-e de la série " Fumi no kiyogaki"Vers 1801. Photo Ader

modèles de calligraphie, une prostitué oranda-yuki avec un hollandais. On pensait d'abord que l'encens qui brûle sur la table de chevet, était censé couvrir les odeurs des étrangers, mais en réalité il fut acheté dans des boutiques spécialisées dans les aphrodisiaques (Yotsumeya). Cette composition s'inspire d'une estampe d'Utamaro Utamakuro, les poèmes de l'oreiller. (Pliure médiane). Dim. : 25,1 x 36,5 cm. Estimation : 1 500 - 2 000 €

Ader. Vendredi 12 octobre à 14h00. Drouot Richelieu Salle 7. SHUNGA - Estampes japonaises érotiques. EMail : contact@ader-paris.fr - Tél. : 01 53 40 77 10

Harunobu (vers 1724 - 1770) Aiban yoko-e. Vers 1768

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Harunobu (vers 1724 - 1770) Aiban yoko-e. Vers 1768. Photo Ader

amants dans une réserve à thé, observés par un homme nu tenant une bougie. " Les Aventures romantiques en vogue de Maneemon " (Furuyu enshoku Maneemon). (Coupé, petits trous). Dim. : 20,7 x 27,7 cm. Estimation : 1 000 - 2 000 €

Ader. Vendredi 12 octobre à 14h00. Drouot Richelieu Salle 7. SHUNGA - Estampes japonaises érotiques. EMail : contact@ader-paris.fr - Tél. : 01 53 40 77 10

Harunobu (vers 1724 - 1770) Oban yoko-e

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Harunobu (vers 1724 - 1770) Oban yoko-e. Photo Ader

amants, l'homme s'apprêtant à honorer la femme devant un paravent, une jeune fille les épiant cachée sous une couverture. (Coupé, usures). 25 x 27,8 cm - Estimation : 1 000 - 2 000 €

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Queen Victoria Eugenia of Spain's Cartier bracelet to lead Sotheby's Geneva sale of Magnificent Jewels

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Le Bracelet Cartier de Victoire Eugénie, Reine d’Espagne. Photo: Sotheby's

GENEVA.- Six months after the sale of the legendary Beau Sancy – one of the most important royal diamonds ever come to auction, Sotheby’s Geneva will present – in its 14 November 2012 sale of Magnificent Jewels – another jewel of impeccable royal provenance: a sumptuous conch pearl Cartier bracelet which once belonged to Queen Victoria Eugenia of Spain (1887-1969). Comprising over 590 lots, the sale will also be highlighted by an important selection of royal and noble jewels, as well as exceptional gemstones, diamonds and period jewels. 

Commenting on the November Magnificent Jewels sale, David Bennett, Chairman of Sotheby’s Jewellery Department in Europe and the Middle East said: “Set with charming and rare conch pearls, this unique, sumptuous, and truly royal bracelet – unquestionably one of the greatest jewels designed by Cartier during the 1920s – is offered alongside exceptional gemstones and period jewels, many of them from noble and aristocratic collections. A feast for all lovers of fine jewellery”

Jewels of Royal & Noble Provenance

Continuing Sotheby’s long tradition of offering jewels with royal and noble provenance, this autumn sale will be spearheaded by an astonishingly beautiful and unique conch pearl, enamel and diamond bracelet made by Cartier, Paris in the late 1920s. Formerly in the personal collection of Queen Victoria Eugenia of Spain (1887-1969), the grandmother of Juan Carlos, the present King, this bracelet comes for sale from a member of the Spanish royal family where it has remained since it was commissioned. 

Born at Balmoral Castle, in Scotland in 1887, Victoria Eugenia was the granddaughter of Queen Victoria of the United Kingdom. Considered a great beauty of her time, Ena, as she was known to her family and the British public, married King Alfonso XIII of Spain in 1906. When she passed away in 1969, the Queen left behind an impressive collection of jewels. 

The illustrious provenance of this bracelet combined with its exceptional design and the distinctive nature of the materials employed, makes it one of the most important jewels created by Cartier in the inter-war period. Although the fruiting vine central motif is shared with other ‘tutti frutti’ bracelets introduced by Cartier in 1925, the use of conch pearls in the jeweller’s creations of this period is unique. One can only assume that such an element was requested or provided by the client. Estimated at CHF 750,000-1,300,000 ($800,000-1,400,000), this stunning piece was singled out amongst the extraordinary jewels of the nineteenth and twentieth centuries and illustrated in the recently released book, Celebrating Jewellery, by David Bennett and Daniela Mascetti . 

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The pair of ruby and diamond pendent earrings of HSH Princess Max Egon zu Hohenlohe-Langenburg. Photo Sotheby's

The sale features an important selection of jewels with noble provenance, including a pair of ruby and diamond pendent earrings suspending sensational, perfectly matched Burmese rubies of 11 carats each. Dating from 1921, these splendid earrings were formerly in the collection of HSH Princess Max Egon zu Hohenlohe-Langenburg (1892–1990). They were given as a gift on the occasion of her wedding, by her parents Trinidad von Scholtz Hermennsdorff, Duchess of Parcent, and Ambassador Manuel de Yturbe of Mexico. These earrings have since passed down through the family (est. CHF 1,400,000-2,330,000/ $1,500,000-2,500,000). 

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The diamond rivière of the late Princess Frances Alice Poniatowska. Photo Sotheby's

Also from aristocratic provenance, a group of jewels from the late 19th century come from the collection of the late Princess Frances Alice Poniatowska (1901-1989), née Willing Lawrance. Highlights include a diamond rivière, designed as a graduated row of fifty-five circular-cut and cushion-shaped diamonds (est. CHF 250,000-350,000/ $270,000-375,000), a pair of natural pearl and diamond pendent earrings from circa 1900, each suspending a drop-shaped natural pearl (est. CHF 180,000-280,000/ $190,000-300,000) and two natural pearl and diamond hat pins (est. CHF 70,000–120,000/ $75,000 – 130,000 and CHF 100,000-200,000/ $110,000-215,000). 

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The pair of natural pearl and diamond pendent earrings of the late Princess Frances Alice Poniatowska. Photo Sotheby's

Exceptional gemstones and diamonds

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Photo Sotheby's

The sale also features a group of exceptional gemstones and diamonds, led by a rich assortment of sapphires. Fine examples of Kashmir sapphires are found in a splendid sapphire and diamond ring, set with a 16.99 carat cushion sapphire (est. CHF 750,000-1,300,000/ $800,000-1,400,000) and a pair of sapphire and diamond ear clips by Cusi, set with cushion-shaped sapphires weighing 12.29 and 13.09 carats (est. CHF 400,000-600,000/ $430,000-640,000). 

Burmese sapphires are represented by a highly important 39 carat step-cut sapphire of superb colour, mounted as a ring (est. CHF 300,000-400,000 / $320,000-430,000).

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Photo Sotheby's.

The offering of coloured gemstones includes a large number of fine rubies, mostly of Burmese origin. Among them is an 11.01 carat cushion-shaped Burmese ruby, claw-set to a mount composed of overlapping stylised leaves signed by Lenfant (est. CHF 1,225,000-1,690,000/ $1,300,000-1,800,000). 

Burmese rubies also highlight two superb signed jewels: the first, a fine ruby and diamond ring by Harry Winston features a ‘pigeon blood’ ruby weighing 6.09 carats (est. CHF 430,000-715,000/ $460,000-765,000); the second, a pair of ruby and diamonds ear clips by M. Gérard, set with Burmese rubies of 6.03 and 7.11 carats is estimated at CHF 480,000-760,000 ($515,000-815,000). 

Emeralds complete the selection of coloured gemstones. Discovered in the 16th century, Columbian emeralds exhibit the most vivid green, as exemplified in a superb emerald and diamond ring, set with a cushion-shaped emerald weighing 17.61 carats. The stone has been spared any enhancement (est. CHF 420,000-610,000/ $450,000-650,000). 

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An exceptionally rare fancy deep blue diamond weighing 10.48 carats. Photo Sotheby's

The sale also comprises magnificent diamonds, spearheaded by an exceptionally rare fancy deep blue diamond weighing 10.48 carats. Cut as a superb drop-shaped briolette, its many facetted surface is designed to reflect and refract light. In addition, the stone has been certified flawless by the GIA (Gemological Institute of America) – the highest grade in terms of polish and symmetry (est. CHF 3,280,000–4,200,000/ $3,500,000-4,500,000). 

Among the white diamonds on offer is a step-cut diamond weighing 21.19 carats which carries an estimate of CHF 1-1.5 million ($1,070,000-1,600,000). 

Fine Period and Signed Jewels 

The sale also comprises a wide range of fine period jewels signed by the most famous and celebrated jewellers of the 20th century, including Cartier, Belperron, Boucheron, Buccellati, Bulgari, Chaumet, Graff, Harry Winston, M. Gérard, René Boivin, Tiffany & Co., Van Cleef & Arpels and Webb. 

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Cartier's 1930's Diamond bracelet, set with a 8.82 carat D colour diamond. Photo Sotheby's

Cartier is represented by several magnificent creations. From the 1930s: a diamond bracelet, set with a 8.82 carat D colour diamond (est. CHF 280,000-465,000/ $300,000-500,000) and a diamond double clip brooch, also set with fine pear-shaped stones (est. CHF 140,000-235,000/ $150,000-250,000). 

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Cartier's 1930's diamond double clip brooch, also set with fine pear-shaped stones & Cartier’s 1920s superb gem-set compact with a water-dragon motif. Photo Sotheby's

Cartier’s 1920s production in art deco style was inspired by many Oriental subjects and designs. The strong influence of the Far East on the jeweller’s choice of chromatic combinations and materials is seen in a superb gem-set compact with a water-dragon motif (est. CHF 15,000-25,000/ $16,000-27,000). 

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A pair of gold and diamond cuffs in the form of small crowns by Suzanne Belperron (1900-1983). Photo Sotheby's

Following Sotheby’s white glove sale of 60 Jewels from the personal collection of Suzanne Belperron (1900-1983) in May 2012 , this autumn’s sale will present two important jewels by the most talented and influential female jeweller of the 20th century. Testament to the unprecedented combinations of stones and minerals that made Belperron’s style is an agate, coral and diamond brooch from circa 1935, designed as an articulated flower (est. CHF 140,000-235,000/ $150,000-250,000).

A fine example of the jeweller’s innovative aesthetic is to be found in a pair of gold and diamond cuffs in the form of small crowns, also dating from circa 1935 (est. CHF 280,000-375,000/ $300,000-400,000). 

Transcending time, Van Cleef & Arpels’ unmistakable creativity is displayed in two spectacular pieces of jewellery coming from the collection of a European noble family. The first is a ruby and diamond bracelet, set with oval and circular-cut rubies (est. CHF 280,000-465,000/ $300,000-500,000); the second, a pair of ruby and diamond ear clips, each set at the centre with a cushion-shaped ruby weighing 3.79 and 3.94 carats respectively (est. CHF 70,000-115,000/ $75,000-125,000). 

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