Joseph Paelinck (Oostakker 1781-1839 Brussels), Bacchus and Ariadne. Oil on canvas, 187 x 133 cm (73.6 x 52.4 in.) © Didier Aaron

Provenance: C. F. Southgate Collection; Collection of George William Coventry, ninth Earl of Coventry (1838-1930)

Exhibition: Salon de Lille de 1825, no. 501.

The Didier Aaron gallery was established in Paris, France in 1923. Originally focused on Asian art and European furniture and decorative arts, the gallery quickly evolved into an establishment selling important European paintings and drawings. The New York gallery opened in 1977 and five years later, in 1982, another gallery location opened in London. For nearly a century, Didier Aaron has been selling major works of art to museums and private collectors around the world.

Didier Aaron at TEFAF New York Fall 2017, Stand: 51. Primary Address: 32 East 67th Street, New York, NY 10065, United States. T  212-988-5248 - info@didieraaron.com - www.didieraaron.com/

Dutch-Decorated ‘Crucifixion’ Saucer, China, Qing dynasty (1644-1911), circa 1720-1730, decorated circa 1730. Porcelain decorated in Holland in polychrome enamels and gold. Diameter 21 cm (8.3 in.) © Jorge Welsh Works of Art

Provenance: John Newall Esq Collection

Jorge Welsh Works of Art at TEFAF New York Fall 2017, Stand: 51. Primary Address: 116 Kensington Church Street, London, W8 4BH, United Kingdom. T  +44(0)2072292140 - uk@jorgewelsh.com - www.jorgewelsh.com 

Meissen Charger from the Christie-Miller service, Circa 1740-42. Hard-paste porcelain. Diameter 44.5 cm (17.5 in.) © Michele Beiny

Provenance: Samuel E. Christie Miller, sold Sotheby’s 7 July 1970, lot 20; Kiyi and Edward Pflueger; Dr. and Mrs. Paul Sullivan

Literature: Hugo Morley-Fletcher, Early European Porcelain & Faience, The Pflueger Collection, 1993, vol. I, pp. 42-43, ill.

Michele Beiny at TEFAF New York Fall 2017, Stand: 78. Primary Address: 53 east 82nd street, New York, NY 10028, United States. T  +1-212-794-9357 - michele@michelebeiny.com - michelebeiny.com

Lot 218. A French silver mounted two-handled Imari bowl and cover, the mounts, Paul Leriche, Paris, 1722-1726, with associated unmarked stand. Estimate 15,000 — 20,000 GBP. Courtesy Sotheby's.

the porcelain decorated in reds, greens, blues and gold with floral sprays, the bowl, cover and stand with gadrooned rims, the bowl with bifurcated scrolling handles chased with leaves, the slightly-domed cover flat-chased with Regence foliage, the finial cast as a blooming flower on a sun-burst calyx; the bowl 20.9cm., 8 1/4 in. over handles. 

Provenance: Sotheby's, Paris, 10 April 2008, lot 117

Bibliography: A very similar bowl, cover and stand, bearing marks for Paris, 1717-22, was sold at Sotheby's, Monaco, 16 June 1996, lot 168.

Note: The majority of French silver-mounted porcelain dates from the late 17th and early 18th centuries. The Simaese Ambassador's visit to Versailles in 1686 awoke the taste for oriental wares; the fashion for embellishing the porcelain by adding silver mounts, which only ever applied to a fraction of the overall trade, reaching its peak during The Regence (1715-23).

In the trades early days much of the porcelain was supplied by the Dutch East India Company. However, before long, French traders took advantage of the huge demand, and in 1700 the Mercure de France announced the arrival of the Amphitrite, a ship carrying a cargo of 180,000 pieces of porcelain. By 1722 individual French ships were carrying up to 300,000 pieces. (see C. Sargentson, Merchants and Luxury Markets, London, 1966, pp.64-66).

Lot 218. A French silver mounted two-handled Imari bowl and cover, the mounts, Paul Leriche, Paris, 1722-1726, with associated unmarked stand. Estimate 15,000 — 20,000 GBP. Courtesy Sotheby's.

the porcelain decorated in reds, greens, blues and gold with floral sprays, the bowl, cover and stand with gadrooned rims, the bowl with bifurcated scrolling handles chased with leaves, the slightly-domed cover flat-chased with Regence foliage, the finial cast as a blooming flower on a sun-burst calyx; the bowl 20.9cm., 8 1/4 in. over handles. 

Provenance: Sotheby's, Paris, 10 April 2008, lot 117

Bibliography: A very similar bowl, cover and stand, bearing marks for Paris, 1717-22, was sold at Sotheby's, Monaco, 16 June 1996, lot 168.

Note: The majority of French silver-mounted porcelain dates from the late 17th and early 18th centuries. The Simaese Ambassador's visit to Versailles in 1686 awoke the taste for oriental wares; the fashion for embellishing the porcelain by adding silver mounts, which only ever applied to a fraction of the overall trade, reaching its peak during The Regence (1715-23).

In the trades early days much of the porcelain was supplied by the Dutch East India Company. However, before long, French traders took advantage of the huge demand, and in 1700 the Mercure de France announced the arrival of the Amphitrite, a ship carrying a cargo of 180,000 pieces of porcelain. By 1722 individual French ships were carrying up to 300,000 pieces. (see C. Sargentson, Merchants and Luxury Markets, London, 1966, pp.64-66).

Lot 83. Diamond and natural pearl brooch, mid 19th century. Estimate 40,000 — 60,000 GBP. Courtesy Sotheby's.

Designed as a grape vine, set throughout with cushion-shaped diamonds, suspending five drop-shaped natural pearls. 

Accompanied by a gemmological report.

Lot 256. Jadeite, onyx and diamond pendant, Boucheron, circa 1925. Estimate 12,000 — 15,000 GBP. Courtesy Sotheby's.

Set with an oval jadeite disc carved on both sides with a design of double gourds on a vine, within a millegrain border set with rose and circular-cut diamonds, the base set with polished onyx and jadeite sections, suspended from a diamond set tapered loop, one diamond deficient, signed Boucheron, French assay marks. 

Lot 157. A celadon and russet jade ‘bird’ pebble, Yuan-Ming dynasty (1279-1644). Estimate HKD 130,000 - HKD 180,000. Price realised HKD 162,500. © Christie's Images Ltd 2017

2 7/8 in. (7.2 cm.) wide, box.

Christie's. The Pavilion Sale Chinese Ceramics and Works of Art, 2 October 2017, Alexandra House, Hong Kong

Lot 151. A small jade cup, Song-Ming dynasty (960-1644). Estimate HKD 50,000 - HKD 80,000. Price realised HKD 62,500. © Christie's Images Ltd 2017

3 in. (7.5 cm.) diam., wood stand, box.

Christie's. The Pavilion Sale Chinese Ceramics and Works of Art, 2 October 2017, Alexandra House, Hong Kong

Lot 154. A jade 'Rope Twist' ring, Song-Ming dynasty (960-1644). Estimate HKD 50,000 - HKD 70,000. Price realised HKD 62,500. © Christie's Images Ltd 2017

2 3/8 in. (6 cm.) diam.

Christie's. The Pavilion Sale Chinese Ceramics and Works of Art, 2 October 2017, Alexandra House, Hong Kong

Joseph Paelinck (Oostakker 1781-1839 Brussels), Bacchus and Ariadne. Oil on canvas, 187 x 133 cm (73.6 x 52.4 in.) © Didier Aaron

Provenance: C. F. Southgate Collection; Collection of George William Coventry, ninth Earl of Coventry (1838-1930)

Exhibition: Salon de Lille de 1825, no. 501.

The Didier Aaron gallery was established in Paris, France in 1923. Originally focused on Asian art and European furniture and decorative arts, the gallery quickly evolved into an establishment selling important European paintings and drawings. The New York gallery opened in 1977 and five years later, in 1982, another gallery location opened in London. For nearly a century, Didier Aaron has been selling major works of art to museums and private collectors around the world.

Didier Aaron at TEFAF New York Fall 2017, Stand: 51. Primary Address: 32 East 67th Street, New York, NY 10065, United States. T  212-988-5248 - info@didieraaron.com - www.didieraaron.com/

Dutch-Decorated ‘Crucifixion’ Saucer, China, Qing dynasty (1644-1911), circa 1720-1730, decorated circa 1730. Porcelain decorated in Holland in polychrome enamels and gold. Diameter 21 cm (8.3 in.) © Jorge Welsh Works of Art

Provenance: John Newall Esq Collection

Jorge Welsh Works of Art at TEFAF New York Fall 2017, Stand: 51. Primary Address: 116 Kensington Church Street, London, W8 4BH, United Kingdom. T  +44(0)2072292140 - uk@jorgewelsh.com - www.jorgewelsh.com 

Meissen Charger from the Christie-Miller service, Circa 1740-42. Hard-paste porcelain. Diameter 44.5 cm (17.5 in.) © Michele Beiny

Provenance: Samuel E. Christie Miller, sold Sotheby’s 7 July 1970, lot 20; Kiyi and Edward Pflueger; Dr. and Mrs. Paul Sullivan

Literature: Hugo Morley-Fletcher, Early European Porcelain & Faience, The Pflueger Collection, 1993, vol. I, pp. 42-43, ill.

Michele Beiny at TEFAF New York Fall 2017, Stand: 78. Primary Address: 53 east 82nd street, New York, NY 10028, United States. T  +1-212-794-9357 - michele@michelebeiny.com - michelebeiny.com

Lot 218. A French silver mounted two-handled Imari bowl and cover, the mounts, Paul Leriche, Paris, 1722-1726, with associated unmarked stand. Estimate 15,000 — 20,000 GBP. Courtesy Sotheby's.

the porcelain decorated in reds, greens, blues and gold with floral sprays, the bowl, cover and stand with gadrooned rims, the bowl with bifurcated scrolling handles chased with leaves, the slightly-domed cover flat-chased with Regence foliage, the finial cast as a blooming flower on a sun-burst calyx; the bowl 20.9cm., 8 1/4 in. over handles. 

Provenance: Sotheby's, Paris, 10 April 2008, lot 117

Bibliography: A very similar bowl, cover and stand, bearing marks for Paris, 1717-22, was sold at Sotheby's, Monaco, 16 June 1996, lot 168.

Note: The majority of French silver-mounted porcelain dates from the late 17th and early 18th centuries. The Simaese Ambassador's visit to Versailles in 1686 awoke the taste for oriental wares; the fashion for embellishing the porcelain by adding silver mounts, which only ever applied to a fraction of the overall trade, reaching its peak during The Regence (1715-23).

In the trades early days much of the porcelain was supplied by the Dutch East India Company. However, before long, French traders took advantage of the huge demand, and in 1700 the Mercure de France announced the arrival of the Amphitrite, a ship carrying a cargo of 180,000 pieces of porcelain. By 1722 individual French ships were carrying up to 300,000 pieces. (see C. Sargentson, Merchants and Luxury Markets, London, 1966, pp.64-66).

Lot 218. A French silver mounted two-handled Imari bowl and cover, the mounts, Paul Leriche, Paris, 1722-1726, with associated unmarked stand. Estimate 15,000 — 20,000 GBP. Courtesy Sotheby's.

the porcelain decorated in reds, greens, blues and gold with floral sprays, the bowl, cover and stand with gadrooned rims, the bowl with bifurcated scrolling handles chased with leaves, the slightly-domed cover flat-chased with Regence foliage, the finial cast as a blooming flower on a sun-burst calyx; the bowl 20.9cm., 8 1/4 in. over handles. 

Provenance: Sotheby's, Paris, 10 April 2008, lot 117

Bibliography: A very similar bowl, cover and stand, bearing marks for Paris, 1717-22, was sold at Sotheby's, Monaco, 16 June 1996, lot 168.

Note: The majority of French silver-mounted porcelain dates from the late 17th and early 18th centuries. The Simaese Ambassador's visit to Versailles in 1686 awoke the taste for oriental wares; the fashion for embellishing the porcelain by adding silver mounts, which only ever applied to a fraction of the overall trade, reaching its peak during The Regence (1715-23).

In the trades early days much of the porcelain was supplied by the Dutch East India Company. However, before long, French traders took advantage of the huge demand, and in 1700 the Mercure de France announced the arrival of the Amphitrite, a ship carrying a cargo of 180,000 pieces of porcelain. By 1722 individual French ships were carrying up to 300,000 pieces. (see C. Sargentson, Merchants and Luxury Markets, London, 1966, pp.64-66).

José Maria Gonsalves (atrib.), Two Views of Goa, India, Goa, 1830s. Oil on canvas. H. 64 cm W. 50 cm © Jorge Welsh

LONDON - The exhibition Turn of the Sea: Art from the Eastern Trade Routes focuses on the period between the 16th and the 19th century and displays works of art that were not only the result, but also contributed to the creation of global connections. Included in the exhibition are works of art from Benin, Kongo, India, Sri Lanka, China and Japan, that illustrate and highlight this extraordinary period of cross-cultural encounters. This was the commencement of a dialogue between many different cultures which continues to the present day, sometimes referred to as the beginning of globalisation. The objects of this exhibition, illustrated and discussed in the accompanying catalogue, were carefully selected for their quality, rarity, artistic expression and documental relevance to the history of those times.

This exhibition on cross-cultural works of art has been chosen specially for the 20th anniversary of Asian Art in London.

Oratory with Painting, Japan, Momoyama period (1573-1615), 16th century. Wood (Hinoki cypress, pine wood and ebony) lacquered in black with mother of pearl inlays and painted in gold and silver; copper fittings; oil painting on copper. H. 41 cm W. 32.5 cm L. 4.5 cm © Jorge Welsh

Four Tulip Vases, China, Qing dynasty, Kangxi period (1662-1722), ca. 1700. Porcelain decorated in underglaze cobalt blue. H. 42 cm W. 9 cm © Jorge Welsh

Gustav Klimt, "The Virgin," 1913. Oil on canvas, 74 3/4 x 78 3/4 in. (190 x 200 cm). National Gallery Prague, Inv. 04512© 2017 National Gallery in Prague. Image Courtesy of the Fine Arts Museums of San Francisco

SAN FRANCISCO, CA.- The Fine Arts Museums of San Francisco present Klimt & Rodin: An Artistic Encounter, on view at the Legion of Honor, on the occasion of the 100th anniversary of the deaths of Auguste Rodin in November 1917 and Gustav Klimt in February 1918. The exhibition celebrates the legacies of these two pioneers, who each broke the reigning aesthetic boundaries of the time to find new vocabularies and create powerful agendas for modern painting and sculpture. Arranged in dialogue with the Legion of Honor’s acclaimed collection of Rodin works, Klimt & Rodin provides an incredibly rare opportunity for American audiences to see a range of signature works by the Austrian master Klimt. 

“This will be an exceptional and breathtaking opportunity to experience the art of Gustav Klimt in San Francisco,” says Max Hollein, Director and CEO of the Fine Arts Museums of San Francisco. “And as a native Viennese, I am especially proud that we are able to present the beloved works by Klimt at the Legion of Honor. With our important Rodin collection, we are perfectly situated to engage Klimt’s masterpieces in dialogue with Rodin’s oeuvre.” 

Auguste Rodin, "The Kiss," 1881–1882 (reduced 1904 [no. 4], cast ca. 1914). Bronze, 23 1/4 x 14 1/4 x 14 7/8 in. (59.1 x 36.2 x 37.9 cm). Inscribed: Rodin. Fine Arts Museums of San Francisco, Gift of Alma de Bretteville Spreckels, 1941.34.8. Image courtesy of the Fine Arts Museums of San Francisco

This first major Klimt exhibition on the West Coast surveys the span of the artist’s practice. Among the 30 works by Klimt that are being exhibited are iconic paintings, such as Nuda Veritas (1899), Klimt’s response to the conservative views of the art establishment, on loan from the Österreichisches Theatermuseum; Upper Austrian Farmhouse (1911), in his landscape style, loaned by the Belvedere in Vienna; Portrait of Ria Munk III (1917) from the Lewis Collection; and The Virgin (1913), loaned from the National Gallery in Prague, in which Klimt’s use of color is on full display. 

“This exhibition will provide an insight into leading art developments in Europe at the turn of the century through the lens of two of its most important artists,” adds curator Tobias G. Natter. “It marks the very first time a survey of Klimt’s works with some of his most outstanding masterpieces will be exhibited in California.” 

Gustav Klimt, "The Arts, Paradise Choir, and The Embrace (detail of Beethoven Frieze)," 1902. Casein paint, chalk, graphite, applied plaster, and various appliqué materials, 84.7 x 189.4 in. (215 x 481 cm). Oesterreichische Galerie im Belvedere, Vienna, Austria © Belvedere, Vienna. Image Courtesy of the Fine Arts Museums of San Francisco

Setting the context for the exhibition are two seven-foot-tall panels reproduced from one of Klimt’s most celebrated works, the Beethoven Frieze (1902). The exhibition copy of the frieze will give American audiences a special opportunity to experience the iconic work outside of Vienna. Widely regarded as the start of Klimt’s “golden period”, the frieze was painted for the 14th Vienna Secessionist exhibition in celebration of Beethoven’s Ninth Symphony and illustrates the human desire for happiness in a tempestuous world marked by suffering. 

A key moment of the exhibition is the meeting between Klimt and Rodin in 1902. While Klimt, the president of the Vienna Secession, was still developing his signature style, Rodin was at the peak of his international fame. Vienna was honored to welcome the sculptor, who had exhibited several key works at the Vienna Secession — one of the most innovative manifestations of Viennese Modernism — the year prior. Rodin visited the exhibition in person and was fascinated by its temple-like space and the groundbreaking Beethoven Frieze, which lead to a meeting between the two artists. Klimt & Rodin stages another encounter between the two artists for the first time in more than a century. 

Auguste Rodin, "Pierre de Wiessant," 1886 (reduced 1886, cast before 1929). Bronze, 17 3/4 x 9 x 9 in. (45.1 x 22.7 x 22.7 cm). Inscribed: A. Rodin and ALEXIS. RUDIER. / FONDEUR. PARIS. Fine Arts Museums of San Francisco, Gift of Alma de Bretteville Spreckels, 1941.34.15. Image courtesy of the Fine Arts Museums of San Francisco

“Rodin’s work represents modernity in sculpture and the rejection of the academic tradition, and has inspired admirers and followers all over the world.” states Martin Chapman, curator in charge of European decorative arts and sculpture at the Fine Arts Museums. “It’s a great pleasure to be able to show our extraordinary holdings with a rich trove of paintings and sketches by Klimt from significant collections around the world.” 

Approximately 25 sculptures and works on paper by Rodin from the Fine Arts Museums’ collection provide visual dialogues with the works by Klimt. The exhibition is thematically arranged around the Vienna Secession, Rodin’s 1901 exhibition in Vienna, Rodin’s 1902 visit to Vienna, Klimt’s landscapes and Rodin’s surfaces, and the depiction of women - for both artists an eternal source of inspiration - exploring shared touch points and developments in the two artists’ practices throughout. 

Gustav Klimt, "Johanna Staude," 1917–1918. Oil on canvas, 27 1/2 x 19 3/4 in. (70 x 50 cm). Österreichische Galerie Belvedere, Vienna, inv. no. 5551. Image courtesy of the Fine Arts Museums of San Francisco

Klimt’s portrait style is represented through his modern paintings of society women, such as Portrait of Sonja Knips (1898), Johanna Staude (1917-18), and The Black Feathered Hat (1910), the latter from a period when the French influence in Klimt’s work was particularly strong. Also on view are a number of erotic drawings, highlighting his preoccupation with the female body. Klimt’s landscape paintings, revealing his independence of form, represent another significant genre in the exhibition, as seen in Italian Garden Landscape (1913), with its expressive brushwork and color. 

The Legion of Honor is the sole venue for the exhibition, which is on view from October 14, 2017 through January 28, 2018. The exhibition is guest curated by Dr. Tobias G. Natter; leading Klimt scholar, previous director of the Leopold Museum and former curator in chief at the Belvedere in Vienna, with contribution from Martin Chapman, curator in charge of European decorative arts and sculpture at the Fine Arts Museums of San Francisco.

Gustav Klimt, "Portrait of Sonja Knips," 1898. Oil on canvas, 57 1/8 x 57 1/2 in. (145 x 146 cm). Österreichische Galerie Belvedere, Vienna, inv. no. 4403. Image Courtesy of the Fine Arts Museums of San Francisco.

Gustav Klimt, "Nuda Veritas," 1899. Oil on canvas, 99 1/4 x 22 1/8 in. (252 x 56.2 cm). Österreichisches Theatermuseum, inv. O-3556. Courtesy Kunsthistorisches Museum Wien. Image Courtesy of the Fine Arts Museums of San Francisco.

Auguste Rodin, "Age of Bronze (L'Age d'Airain)," ca. 1875–1877. Bronze, 181.6 x 54 cm. Fine Arts Museums of San Francisco, Gift of Alma de Bretteville Spreckels. Image Courtesy of the Fine Arts Museums of San Francisco.

Gustav Klimt, "Portrait of Ria Munk III (Bildnis Ria Munk III)," 1917 (unfinished). Oil on canvas, 180 x 90 cm. The Lewis Collection. Image courtesy of the Fine Arts Museums of San Francisco.

Gustav Klimt, "The Black Feathered Hat (Der Schwarze Federhut)," 1910. Oil on canvas, 79 x 63 cm. Private collection, courtesy of the Neue Galerie, New York. Image Courtesy of the Fine Arts Museums of San Francisco.

Gustav Klimt, "Portrait of a Lady," 1917–1918. Oil on canvas, 26 3/8 x 22 in. (67 x 56 cm). Lentos Kunstmuseum Linz, inv. nr. 3. Lentos Kunstmuseum, Linz, Austria / Bridgeman Images. Image Courtesy of the Fine Arts Museums of San Francisco.

Gustav Klimt , "Alley in front of Castle Chamber," 1912. Oil on canvas, 43 1/4 x 43 1/4 in. (110 x 110 cm). Österreichische Galerie Belvedere, 2892. Artothek / Bridgeman Images. Image Courtesy of the Fine Arts Museums of San Francisco.

Gustav Klimt, "Baby (Cradle)," 1917–1918. Oil on canvas, 110 x 110 cm. National Gallery of Art, Washington, Gift of Otto and Franciska Kallir with the help of the Carol and Edwin Gaines Fullinwider Fund, 1978.41.1. Image courtesy of the Fine Arts Museums of San Francisco.

Moritz Nähr, "Gustav Klimt’s last studio, at Feldmühlgasse 11, in the thirteenth district of Vienna, shortly after his death, with two unfinished paintings, “The Bride” and“Lady with a Fan,” on two easels." Photograph, 1918. Österreichische Nationalbibliothek – Bildarchiv, Vienna, Austrian Archives, 00621247. Courtesy of the Fine Arts Museums of San Francisco.

Claude Lemery, "Rodin’s Studio in Pavilion of Alma, Meudon," ca. 1912. Gelatin silver print, 5 x 6 3/4 in. (12.6 x 17.2 cm). Fine Arts Museums of San Francisco, Museum purchase, Gift of Mrs. George S. Wong, 1994.12.1. Image courtesy of the Fine Arts Museums of San Francisco

Gustav Klimt, 1913. (Photo by d' Ora/ullstein bild via Getty Images). Image courtesy of the Fine Arts Museums of San Francisco.

Auguste Rodin, circa 1900. (Photo by Hulton Archive/Getty Images). Image courtesy of the Fine Arts Museums of San Francisco

Gerhard RICHTER (Germany b.1932), Reader(804), 1994. Oil on canvas, 72 x 102cm. Collection: San Francisco Museum of Modern Art, USA. Purchase through the gifts of Mimi and Peter Haas and Helen and Charles Schwab, and the Accessions Committee Fund: Barbara and Gerson Bakar, Collectors Forum, Evelyn D. Haas, Elaine McKeon, Byron R. Meyer, Modern Art Council, Christine and Michael Murray, Nancy and Steven Oliver, Leanne B. Roberts, Madeleine H. Russell, Danielle and Brooks Walker, Jr., Phyllis C. Wattis, and Pat and Bill Wilson © Gerhard Richter 2017

BRISBANE.- An extensive exhibition of works by Gerhard Richter, one of the world’s most highly regarded and influential artists, opened exclusively at Brisbane’s Gallery of Modern Art. 

Premier and Arts Minister Annastacia Palaszczuk said the ‘Gerhard Richter: The Life of Images’ exhibition further cements GOMA’s excellent international reputation. 

‘I’m thrilled an exhibition of this calibre has been developed and presented here in Queensland – it’s a first in Australia and further reinforces GOMA’s place as a leading contemporary art museum showcasing the best of global art on our doorstep,’ the Premier said. 

Gerhard RICHTER (Germany b.1932), Ella (903-1), 2007. Oil on canvas, 40 x 31cm. Private Collection © Gerhard Richter 2017

Deputy Premier and Member for South Brisbane Jackie Trad, who today attended a special preview of the exhibition, said visitors to GOMA will treasure this once-in-a lifetime opportunity. 

‘Excitingly, this exhibition was curated locally by Dr Rosemary Hawker, Senior Lecturer in Fine Art, Griffith University and Geraldine Kirrihi Barlow, Curatorial Manager, International Art, QAGOMA with input from Gerhard Richter himself,’ Ms Trad said. 

‘GOMA has already had a blockbuster year with the record-breaking‘Marvel: Creating the Cinematic Universe’ exhibition. I’m sure this world-exclusive exhibition will be just as warmly embraced by locals and visitors alike. 

‘This is an incredible opportunity to see the first major exhibition of Gerhard Richter’s work in Australia, right here in my community of South Brisbane.’

Gerhard RICHTER (Germany b.1932), Strip (927-9), 2012. Digital print on paper between Alu Dibond and Perspex (Diasec), 210 x 230cm. Collection: Albertinum | Galerie Neue Meister, Staatliche Kunstsammlungen Dresden © Gerhard Richter 2017

Queensland Art Gallery | Gallery of Modern Art (QAGOMA) Director, Chris Saines said ‘Gerhard Richter: The Life of Images’ featured intimate family portraits, large-scale abstracts and tapestries, exquisite landscapes, a new and extensive overview of the artist’s life-long archival project Atlas, and the major four-part abstract series, Birkenau 2014. 

‘In addition to key works from the artist’s personal collection, and pre-eminent public collections such as the Museum of Modern Art, New York; TATE, London; Los Angeles County Museum of Art; SFMOMA, San Francisco; and Staatliche Kunstsammlungen, Dresden, it features loans from numerous private collections in Europe and the USA,’ Mr Saines said.  

Gerhard RICHTER (Germany b.1932), Self-portrait (836-1), 1996. Oil on linen, 51 x 46cm. Collection: Museum of Modern Art, New York, USA. Gift of Jo Carole and Ronald S. Lauder and Committee on Painting and Sculpture Funds© Gerhard Richter 2017

‘The exhibition reveals the scope of Gerhard Richter’s extraordinary output across six decades and captures the breadth and technical virtuosity of a creative practice operating between the twin poles of realism and abstraction. 

‘Audiences will see Richter’s responses to some of modern history’s pivotal events such as World War Two, the horror of the Holocaust and the creation of a divided post-war Germany, all of which coincided with the rapid ascendancy of the mechanically reproduced image. 

‘Through the artworks we encounter Richter’s endless variation of technique and inventiveness as a painter.'

Gerhard RICHTER (Germany b.1932), Orchid (848-9), 1997. Oil on aludibond, 29 x 37cm. Private Collection © Gerhard Richter 2017

Gerhard RICHTER (Germany b.1932), Seascape (377), 1975. Oil on canvas, 200 x 300cm. Froehlich Collection, Stuttgart, Germany © Gerhard Richter 2017

Gerhard RICHTER (Germany b.1932), Canary landscape (259), 1970. Oil on canvas, 120 x 150cm. Collection: IVAM, Institut Valencià d'Art Modern, Generalitat, Spain © Gerhard Richter 2017

Gerhard RICHTER (Germany b.1932),  Two candles (499-4), 1982. Oil on canvas, 80 x 100cm. Leeum, Samsung Museum of Art, Seoul, South Korea © Gerhard Richter 2017

Gerhard RICHTER (Germany b.1932), Skull (548-1), 1983. Oil on canvas, 55 x 50cm. Gerhard Richter Archive, Dresden, Germany. Permanent loan from a private collection © Gerhard Richter 2017

Gerhard RICHTER (Germany b.1932), Meadowland (572-4), 1985. Oil on canvas, 90.5 x 94.9cm. Collection: Museum of Modern Art, New York, USA, The Museum of Modern Art, New York. Blanchette Rockefeller, Betsy Babcock, and Mrs Elisabeth Bliss Parkinson Funds, 1985 © Gerhard Richter 2017

Gerhard RICHTER (Germany b.1932), I.G. (790-3), 1993. Oil on canvas, 82 x 92cm. "La Caixa" Collection, Contemporary Art. Barcelona, Spain © Gerhard Richter 2017

Gerhard RICHTER (Germany b.1932), St Andrew (653-2), 1988. Oil on canvas, 200 x 260cm. Collection: Los Angeles County Museum of Art, USA, Modern and Contemporary Art Council Fund © Gerhard Richter 2017

Gerhard RICHTER (Germany b.1932), Abstract painting (726), 1990. Oil on canvas, 2 canvases: 250 x 350cm (overall); 250 x 175cm each Collection: Tate. Purchased 1992 © Gerhard Richter 2017

Gerhard RICHTER (Germany b.1932), Birkenau (937-4), 2014. Oil on canvas, 260 x 200cm, Gerhard Richter Archive, Dresden, Germany. Permanent loan from a private collection © Gerhard Richter 2017

Gerhard RICHTER (Germany b.1932), Hood (Ed. 88), 1996. Offset lithograph, white Japanese paper, 46.9 x 46.9cm. Collection: Dallas Museum of Art, Dallas, USA. Dallas Museum of Art, Dallas Museum of Art League Fund, Roberta Coke Camp Fund, General Acquisitions Fund, TWO x TWO for AIDS and Art Fund, and the Contemporary Art Fund: Gift of Mr. and Mrs. Vernon E. Faulconer, Mr. and Mrs. Bryant M. Hanley, Jr., Marguerite and Robert K. Hoffman, Howard E. Rachofsky, Deedie and Rusty Rose, Gayle and Paul Stoffel, and two anonymous donors © Gerhard Richter 2017

Gerhard RICHTER (Germany b.1932), September (Ed. 139), 2009. Print between glass, 66 x 89.8cm. Collection: Dallas Museum of Art (DMA), Dallas, USA, Lay Family Acquisition Fund © Gerhard Richter 2017

Gerhard RICHTER (Germany b.1932), Phantom Interceptors (50), 1964. Oil on canvas, 140 x 190cm, Froehlich Collection, Stuttgart, Germany  © Gerhard Richter 2017

Gerhard Richter, 2009© Gerhard Richter 2017 (23082017)

Gerhard Richter, 1993© Gerhard Richter 2017 (23082017)

Gerhard Richter, 1995© Gerhard Richter 2017 (23082017)

Gerhard Richter, 1970© Gerhard Richter 2017 (23082017)

Lot 119. A yellow-ground famille rose'floral' dish, Guangxu six-character mark in iron red and of the period (1875-1908), 10 in. (25.5 cm.) diam. Estimate HKD 50,000 - HKD 70,000. Price realised HKD 62,500. © Christie's Images Ltd 2017

Lot 121. A famille rose'Bajixiang' dish, Guangxu six-character mark in iron red and of the period (1875-1908), 13 1/2 in. (34 cm.) diam. Estimate HKD 80,000 - HKD 100,000. Price realised HKD 100,000. © Christie's Images Ltd 2017