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Yves Klein (1928-1962), Mononchrome bleu sans titre (IKB 280), 1957

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Lot 26. Yves Klein (1928-1962), Mononchrome bleu sans titre (IKB 280), 1957. Estimation 200 000 € / 300 000 €. Courtesy Cornette de Saint Cyr Paris.

Pigment pur et résine synthétique sur isorel. Daté au dos. Porte le cachet de l'artiste au dos; 18 x 12 cm - 7.08 x 4.72 in. 

Dry pigment and synthetic resin on Masonite, dated and the back, artist’s stamp at the back 

Cette oeuvre est inventoriée dans les archives Yves Klein sous le numéro IKB280. 

Un certificat de Rotraut Klein-Moquay, en date du 14 janvier 2003, sera remis à l'acquéreur 

Provenance- Don de l'artiste en 1957 
- Collection particulière, Paris (depuis 1972) 

Art Contemporain - Art Africain Contemporain chez Cornette de Saint Cyr Paris, 75008 Paris, le 25 Octobre 2017 à 14h30


Yves Klein (1928-1962), Vénus bleue, (S41), 1962-1982

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Lot 25. Yves Klein (1928-1962), Vénus bleue, (S41), 1962-1982. Estimation 80 000 € / 120 000 €. Courtesy Cornette de Saint Cyr Paris.

Pigment pur et résine synthétique sur moulage en plâtre. Monogrammé et numéroté 110/300 sur la cuisse gauche. Porte le cachet sur la cuisse gauche. Porte une étiquette numérotée 110/300 en dessous; 69,5 x 30 x 20 cm – 27.36 x 11.81 x 7.87 in. 

Dry pigment and synthetic resin on plaster casting 

L'authenticité de cette oeuvre nous a été aimablement confirmée par les archives Klein-Moquay 

Cette oeuvre, conçue en 1962 a étéédité par la Galerie Bonnier - Genève en 1982 : 
- 300 exemplaires numérotés de 1/300 à 300/300 
- 50 exemplaires numérotés de HC I/L à HC L/L 
- 3 exemplaires marqués du monogramme de l'artiste 001/003 à 003/003.

Art Contemporain - Art Africain Contemporain chez Cornette de Saint Cyr Paris, 75008 Paris, le 25 Octobre 2017 à 14h30

 

Bedford Master, Golden Legend Master, Jouvenel Master and Bartholomeus Anglicus Master, Book of Hours, Paris, circa 1431-40

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Bedford Master, Golden Legend Master, Jouvenel Master and Bartholomeus Anglicus Master, Book of Hours, Paris, circa 1431-40. Illuminated manuscript on vellum, with 22 large and 60 small miniatures, all text pages with four-sided illuminated borders, 20.5 x 14.5 cm (8.1 x 5.7 in. large octavo)© Heribert Tenschert

Likely made for the second wife of the Duke of Bedford, Jacquette de Luxembourg.

ProvenanceA. Hachette (1953)

LiteratureE. König, Paris mon amour, Bibermühle 2017

The primary focus of our business, which was established in 1977, are the finest manuscripts and printed books available in the book market: beautifully illustrated and scientifically researched catalogues present illuminated manuscripts from the Middle Ages and the Renaissance to an international public of collectors and scholars. In addition we continue to publish outstanding catalogues of other important rare books such as early or illustrated incunabula and illustrated books from all periods, especially the masterpieces of French 18th century engraving. Books printed on vellum, beautiful bindings from the last six centuries as well as modern artist-books and private press books round off our offerings.

Heribert Tenschert - Illuminated Manuscripts at TEFAF New York Fall 2017, Stand 23. Primary Address: Bibermuehle 1-2
8262 Ramsen, Switzerland. T  0041527420575 - mail@antiquariat-bibermuehle.ch - www.antiquariat-bibermuehle.ch

'Le Grand Mazarin', Louis XIV, Napoleon diamond to be auctioned off in Geneva

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 Le Grand Mazarin, an historic coloured diamondThe old mine brilliant-cut diamond, weighing approximately 19.07 carats. Accompanied by report no. 5182785154 dated 4 October 2017 from the GIA Gemological Institute of America stating that the diamond is Light Pink colour, VS2 clarity, and Diamond Type Classification letter stating that the diamond has been determined to be Type IIa. Estimate on Request. © Christie's Images Ltd 2017

GENEVA - On 14 November in Geneva, one of France’s most storied gems comes to auction at Christie’s. Here, the remarkable story of a diamond with three centuries of royal provenance.

The diamond known as the Grand Mazarin originated in the Golconda mines, in India’s Deccan plateau. The Golconda mines are legendary for having produced some of the most important diamonds in history — among them the Koh-i-Noor, the Regent Diamond and the Wittelsbach-Graff, all famous for their exceptional clarity.

The stone, which will be offered on 14 November in the Magnificent Jewels sale at Christie’s in Geneva, takes its name from Cardinal Mazarin, who became France’s Chief Minister in 1642. Toward the end of his life, Mazarin assembled a collection of 18 exceptional gems. Purchased from the royal families of Europe or sourced from the jeweller Lescot, they were the most beautiful jewels on the Continent.

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Philippe de Champaigne (1602-1674), The Mazarin Cardinal. Musée Condé, Chantilly, France / Bridgeman Images.

Of the 18, eight were ‘square cut’ diamonds; the largest of these was known as the Grand Mazarin. These stones became part of the French crown jewels and would remain the favourites of the French royal family for more than 200 years, having first passed from Mazarin to King Louis XIV — The Sun King — in 1661, when the French ruler was only 23 years old.

Louis’ wife, Maria Theresa of Austria, is likely to have been the first person to wear the Grand Mazarin. After Maria Theresa’s death, Louis XIV added the Grand Mazarin to his chain of diamonds, set in descending size order, on which it remained for many years.

 

 

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Le Grand Mazarin, an historic coloured diamond. The old mine brilliant-cut diamond, weighing approximately 19.07 carats. Accompanied by report no. 5182785154 dated 4 October 2017 from the GIA Gemological Institute of America stating that the diamond is Light Pink colour, VS2 clarity, and Diamond Type Classification letter stating that the diamond has been determined to be Type IIa. Estimate on Request. © Christie's Images Ltd 2017

The Sun King’s 72-year reign would leave its indelible mark on French history — the Château of Versailles, whose construction he supervised, has left to posterity the image of a king enamoured by grandeur. 

In 1792, the French Revolution had been underway for three years. Severely weakened, King Louis XVI was forced to hand over all the property of the French crown, now stored in the Garde-Meuble, or royal treasury. The publication in 1791 of a complete inventory of the French crown jewels convinced a group of around 30 men to pull off the crime of the century.

After breaking into the Garde-Meuble — a building that can still be seen on the Place de la Concorde in Paris — the robbers pried open the cabinets and seized all of the French crown jewels. The outrage and subsequent investigation were headline news in every French newspaper. Together with all the finest diamonds in France, the Grand Mazarin had simply disappeared.

Ill prepared from the start, most of the thieves were arrested and sentenced to death. One of them begged to be spared the scaffold in return for surrendering his portion of the spoils, soon returning a bag containing a number of diamonds, including the Grand Mazarin, to the authorities. It was a lucky break — fortunately, the 1791 inventory had provided crucial information for identifying and recovering the stone. Other stones were never found.

The fall of the monarchy called the fate of the crown jewels into question, but the rise of Emperor Napoleon brought a new fashion for celebrating the splendours of the past. In 1810, the Emperor commanded jeweller François-Regnault Nitot to create a magnificent set of diamond jewellery for his wife Marie-Louise. It included a crown, a diadem, a necklace, a comb, a pair of three-drop earrings, bracelets, a belt, 10 dress jewels and eight rows of gold collets. The diadem was set with the most beautiful of the crown diamonds, the Grand Mazarin among them. But the Emperor’s reign was short: on the return of King Louis XVIII to Paris, the stone was removed and returned to the crown.

The plan to sell the French crown jewels was put in motion not long after their appearance, in 1884, in an exhibition at the Louvre. Despite heated opposition, an auction was held in May 1887. The Grand Mazarin was purchased by Frédéric Boucheron, one of the favoured jewellers of France’s great families.

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The French crown jewels were exhibited in the Musée du Louvre in 1884. Above, a page from the exhibition catalogue. © Bibliothèque Nationale de France.

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A page from the 1887 French Crown Jewels auction catalogue. Photo by Berthaud. © Bibliothèque Nationale de France

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Invoice in the name of Boucheron for the Grand Mazarin diamond, lot 46 of the 1887 auction of the French crown jewels© Boucheron archives.

In 1962, the Louvre held an exhaustive, meticulously researched exhibition showcasing the most important jewels ever produced in France, with a special place reserved for the French crown jewels. The Grand Mazarin was listed as number 22, between the legendary Regent and Sancy diamonds. This would be the last time it was ever exhibited in public. The stone was subsequently sold to the European private collection from which it comes to auction at Christie’s.

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A woman poses with the 'Le Grand Mazarin', a 19.07 carat pink diamond, at Christie's auction house in London on October 17, 2017. 'Le Grand Mazarin' is estimated to reach 6-9 million dollars on auction in Geneva on November 14, 2017. CHRIS J RATCLIFFE / AFP.

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A woman poses with the 'Le Grand Mazarin', a 19.07 carat pink diamond, at Christie's auction house in London on October 17, 2017CHRIS J RATCLIFFE / AFP.

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A woman poses with the 'Le Grand Mazarin', a 19.07 carat pink diamond, at Christie's auction house in London on October 17, 2017CHRIS J RATCLIFFE / AFP.

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The diamond was stolen during the French RevolutionCHRIS J RATCLIFFE/ AFP/ GETTY IMAGES

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“Le Grand Mazarin”, a 19.07-carat light pink diamond. AP / Tim Ireland.

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"Le Grand Mazarin", diamant rose de 19,07 carats ayant appartenu à la royauté française, le 17 octobre 2017 à Londres. Photo CHRIS J RATCLIFFE. AFP.

A Celadon Jade Bi-disc with Dancing Figures, Eastern Han Dynasty (25–220 AD)

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Lot 38. A Celadon Jade Bi-disc with Dancing Figures, Eastern Han Dynasty (25–220 AD). Starting price 25.000 EUR© Hermann Historica GmbH

Hetian celadon jade, accentuated with russet patches and veins, inner circle depicted with cattail design, and outer circle vividly rendered with seven musicians. Diameter 20.9 cm, thickness 0.6 cm. 

Hermann Historica GmbH. Jade, weighted by aeons of Chinese culture, 80335 München, Linprunstraße 16. Auction on Friday, November 10, 2017 from 10:00 

A Celadon Jade Bi-disc with Dragon Design, Western Zhou Dynasty (circa 1046-771 BC)

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Lot 38. A Celadon Jade Bi-disc with Dragon Design, Western Zhou Dynasty (circa 1046-771 BC). Starting price 25.000 EUR. © Hermann Historica GmbH

A Hetian celadon jade highlighted with attractive dark patches and russet veins, both sides densely detailed with double-head dragon design, slightly blemished. It is a typical jade piece for Imperial House in late Western Zhou Dynasty. Diameter 17.9 cm, thickness 0.7 cm

Hermann Historica GmbH. Jade, weighted by aeons of Chinese culture, 80335 München, Linprunstraße 16. Auction on Friday, November 10, 2017 from 10:00 

A Celadon-glazed amphora, Tang Dynasty (618-907)

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A Celadon-glazed amphora, Tang Dynasty

Lot 6. A Celadon-glazed amphora, Tang Dynasty (618-907), 18 1/2 in., 47 cm. Estimate 25,000 — 35,000 USD. Lot sold 24,000 USD© Sotheby's.

the ovoid body rising to a tall waisted neck collared by nine carved rings and a cupped mouth with an everted rim, the broad shoulders set with a pair of S-curved handles anchored by a small ball and with molded dragon heads on the other end peering into the the mouth of the vessel, the upper portion dipped in a pale-yellow celadon glaze.

ProvenanceThe collection was formed in China between the 1920s - 50s.

NoteA larger glazed amphora of this shape, in the Palace Museum, Beijing, is illustrated in Zhongguo taoci quanji, vol. 5, Shanghai, 2000, pl. 147; and another, in the Nezu Institute of Fine Arts, Tokyo, is included in Sekai tôji zensh?vol. 11, Tokyo, 1976, pl. 113. Compare also an amphora of similar size and design sold in these rooms, 15th June 1983, lot 152; and another, of the same size but of more rounded body and shorter neck, sold in our London rooms, 29th March 1977, lot 224. 

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 31 mars 2005

A large celadon amphora with applied decoration, Tang dynasty (618-907)

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A Large celadon amphora with applied decoration, Tang dynasty

Lot 7. A large celadon amphora with applied decoration, Tang dynasty (618-907), 19 1/2 in., 49.5 cm. Estimate 20,000 — 30,000 USD. Lot sold 18,000 USD. © Sotheby's.

the tall ovoid body set with a waisted neck collared by concentric rings, rising to a cupped mouth and flanked by a pair of dragon handles spring up from the shoulder and biting the rim of the vessel, further embellished with Central Asian arabesque and figural appliqués on the shoulder and neck, the upper portion covered in a pale celadon-green glaze.

NoteThis amphora is most unusual for its applied decoration around the neck. See a straw-glazed amphora of similar large size but lacking the applied decoration on the body, sold in these rooms, 15th June 1983, lot 152; and another glazed amphora of related form from the Edward T. Chow collection sold in our London rooms, 16th December 1980, lot 220. 

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 31 mars 2005


A green-glazed molded flask, Tang Dynasty (618-907)

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A green-glazed molded flask, Tang Dynasty

Lot 14. A green-glazed molded flask, Tang Dynasty (618-907), height 6 in., 15.2 cmEstimate 3,000 — 5,000 USD. Lot sold 18,000 USD. © Sotheby's.

the compressed apple form vessel supported on a splayed foot and set with a narrow neck flanked by a pair of small holes for a rope handle, each side crisply molded with a boy dancing with a long flowing scarf upon a lotus base, encircled by a foliate scroll, applied with a dark green glaze.

Note: The posture of the boy seems to derive from Indian art.  The dance which he is performing is known by the historical name of huxuan, presumably from Sogdiana, in which the dancer makes a series of rapid gyrations.  Bai Juyi mentions it in a famous poem, and the Buddhist iconographies frequently associate the dance with the Pure Lands.  A very similar flask with the same design, is in the Musée National des Arts Asiatiques-Guimet, Paris and illustrated in From Beijing to Versailles, The Urban Council , Hong Kong, 1997, pl. 24, p.101.  Also compare a similar molded flask but with foreigners,  illustrated in Wenwu, 1986, vol. 6, p. 52. 

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 31 mars 2005

A sancai-glazed ovoid jar, Tang Dynasty (618-907)

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A sancai-glazed ovoid jar, Tang Dynasty

Lot 13. A sancai-glazed ovoid jar, Tang Dynasty (618-907), 6 3/4 in., 17.2 cm. Estimate 3,000 — 5,000 USD. Lot sold 12,000 USD. © Sotheby's.

the white body strikingly covered in bold vertical green stripes with wax-resist florettes, flanked by cobalt, straw and amber-glazed stripes, all below an amber-glazed short neck with a rolled lip.

ProvenanceThe collection was formed in China between the 1920s-50s.

NoteThis Tang jar is unusual for its decoration not only in the traditional sancai  colors but also with stripes in cobalt-blue glaze.  A slightly larger sancai  jar of similar shape and floral design, but lacking the blue stripes, was included in the Special Exhibition of Tang Tri-colour, National Museum of History, Taipei, 1994, pl. 81; and another, included in the Oriental Ceramic Society exhibtion Wares of the T'ang Dynasty, London, 1949, cat.no. 45, was sold in our London rooms, 26th June 1973, lot 9. A third jar also decorated with florettes and stripes, with a matching cover, in the British Museum collection, is illustrated in Margaret Medley, T'ang Pottery and Porcelain, London, 1981, pl. 29.

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 31 mars 2005

A green-glazed bowl, Tang Dynasty (618-907)

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A green-glazed bowl, Tang Dynasty

Lot 15. A green-glazed bowl, Tang Dynasty (618-907), 6 1/2 in., 16.5 cm. Estimate 6,000 — 8,000 USD. Lot sold 6,000 USD. © Sotheby's.

the shallow wide bowl with rounded sides rising to everted rim glazed with an asparagus-green streaking along the sides and pooling in the center, stopping unevenly around the white-bodied foot.

Provenance: The collection was formed in China between the 1920s-50s.

NoteA green-glazed bowl of this form, from the Walter Hochstadter collection, was sold at Christie's New York, 20th September, 2001, lot 18. See also two bowls of this shape decorated with sancai glaze illustrated in Three-colour Glazed Pottery Kilns of the Tang Dynasty at Huangye, Beijing, 2000, pl. 51, nos. 2 and 7.

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 31 mars 2005

A sancai glazed covered jar, Tang Dynasty (618-907)

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A sancai glazed covered jar, Tang Dynasty

Lot 16. A sancai glazed covered jar, Tang Dynasty (618-907), overall height 9 1/2 in., 24.1 cm. Estimate 15,000 -- 20,000 USD. Lot sold 18,000 USD. © Sotheby's.

of ovoid form, the white body covered halfway down with evenly spaced wax-resist florettes set against a streaky green and amber glaze, surmounted by a matched domed cover with a small bud knop, and similiarly applied with wax-resist spots against a green and amber glaze.

NoteCompare a closely related jar with a matching cover, in the Tokyo National Museum, illustrated in Sekai tôji zenshû vol. 11, Tokyo, 1976, pl. 50; and two others lacking their covers, ibid., pls. 210 and 211. See also a slightly smaller polychrome-splashed jar of similar shape from the Toguri Museum collection, sold in our London rooms, 9th June 2004, lot 71. The pattern on this piece and other jars of this form is reminiscent of designs found on opulent tie-dyed textiles. .

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 31 mars 2005

A small marbled bowl, Tang Dynasty (618-907)

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A small marbled bowl, Tang Dynasty

Lot 18. A small marbled bowl, Tang Dynasty (618-907), 3 1/8 in., 8 cm. Estimate 3,000 -- 5,000 USD. Lot sold 3,600 USD. © Sotheby's.

the wide shallow sides rising to an everted mouth and supported on a ring foot, applied entirely with a finely swirled brown and white clay body veneer, covered beneath an amber glaze imitating wood, the interior with traces of cinnabar red pigmente.

ProvenanceThe collection was formed in China in the 1920s - 50s.

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 31 mars 2005

A fine and rare black glazed 'Yaozhou' ewer, Tang-Five Dynasties

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A fine and rare black glazed 'Yaozhou' ewer, Tang - Five Dynasties

Lot 22. A fine and rare black glazed 'Yaozhou' ewer, Tang-Five Dynasties, 9 1/8 in., 23.2 cm. Estimate 20,000 -- 30,000 USD. Lot sold 33,600 USD. © Sotheby's.

well potted, the pear-shaped body set with a waisted neck and a pinched lip for a spout opposite a strap handle terminating in a scroll on the shoulder, applied evenly overall with a deep brown glaze thinning at the rim and along the edges to a russet brown, stopping neatly before the unglazed foot revealing an oatmeal body.

NoteThe remarkable glaze seen on this ewer is representavive of the very fine black-glazed wares produced at the Yaozhou kilns at Tongchuan in Shaanxi province during the Tang dynasty. See six examples of  black-glazed wares of different shapes and forms illustrated in Yaozhou Kiln, Xi'an, 1992, pp. 25- 28. It is rare to find Tang ewers of this shape, after metal prototypes of the period, although a related Tang phosphatic-splashed ewer with similar bulbous ovoid form body, but with a taller neck and a long double-strap handle, was included in the exhibition Tang Pottery and Porcelain, Nezu Institute of Fine Arts, Tokyo, 1988, cat.no. 31. 

The dating of this lot is consistent with the results of a thermoluminescence test, Oxford Authentication, Ltd., no. P104r84. 

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 31 mars 2005

Hammershøi's 'Interior with Woman at Piano' to be offered by Sotheby's in New York

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Vilhelm Hammershøi (1864 - 1916), Interior with Woman at Piano. Estimate: $2,500,000-3,500,000 / DKK 15.8-22.2 million. Courtesy Sotheby’s.

NEW YORK, NY.- This Autumn, Sotheby’s will offer an elegant and introspective work from Vilhelm Hammershøi’s most accomplished period. Painted in 1901, Interior with Woman at Piano, Strandgade 30 is distinguished by its refined palette of chromatic greys, spare compositional elements, and a mesmeric psychological complexity. Estimated at $2,500,000-3,500,000 (DKK 15.8-22.2 million), the painting will come to auction at Sotheby’s in New York on 14 November 2017 as a highlight of the Evening Sale of Impressionist & Modern Art. In the twenty-five-year period since the work was last offered on the market, Hammershøi has been the subject of numerous retrospective exhibitions in Europe, Asia and America, prompting overdue recognition of one of Denmark’s most innovative and celebrated artists. 

Claude Piening, Head of 19th Century European Paintings in London, commented: “Interior with Woman at Piano epitomises Hammershøi’s silent interiors of Strandgade 30. Included in the landmark 2008-9 Hammershøi retrospective at the Royal Academy in London and the Museum of Western Art in Tokyo, this enigmatic painting is heightened by the lone butter dish and plates, constructs which elevate its sense of sparseness and mystery.” 

Nina Wedell-Wedellsborg, Head of Sotheby’s Denmark, said: “It is very exciting to be offering a second masterpiece by Hammershøi in the space of a year, hot on the heels of our success in London in June with White Doors, purchased by Copenhagen’s Ordrupgaard Museum. Now is truly the moment for Hammershøi, whose international standing is greater than ever.” 

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Vilhelm Hammershøi (1864 - 1916), White Doors. Interior Strandgade 30, oil on canvas, 39.5 by 42.5cm., 15½ by 16¾in. Sold for 1,448,750 GBP  to Ordrupgaard Museum, Copenhagenat Sotheby's, 19th Century European Paintings, London, 06 Jun 2017, lot 2Courtesy Sotheby’s.

Hammershøi’s almost spiritualist interest in isolation is most powerfully and consistently articulated in his iconic interiors. In 1898 the artist and his wife Ida moved into their apartment at Strandgade 30 in Copenhagen, where they had the walls painted a cool grey, a colour ideally suited to absorb and reflect the distinct Nordic light, and the woodwork a stark white, to provide a brilliant framing device. While Hammershøi’s artistic ancestry is rooted in the formal traditions of the Dutch Golden Age, and Johannes Vermeer in particular, his approach to established genres of painting is wholly original. Adapting the conventions of classical still life painting, he punctuates the stage with pieces from his collection of household objects, where they reappear in countless configurations. An occasional female figure, usually seen from behind, provides the only human presence. 

In a rare interview from 1907, Hammershøi explained his preference in developing compositional structure: “What makes me choose a motif are… the lines, what I like to call the architectonic attitude in the picture. And then the light, naturally.” The compositional strength of Interior with Woman at Piano, Strandgade 30 is grounded in its decisive use of horizontal and vertical lines. The top of the piano and wainscoting bisects the work in half; the gradient field of cool tonal greys recede and the warm whites of the linen-covered table top is pushed into the space occupied by the viewer. The right angles of the picture frames on the wall are balanced by the ellipses of the dishes, while the irregular forms of the oil lamp and piano’s legs are squared by the hard lines of woodwork extending out to the edges of the canvas. Even though the work has a graphic flatness, Hammershøi expertly conveys texture with the creased linen tablecloth, the cold and rigid density of the ceramics, and the soft mound of butter. His reduction of the objects to their barest elements anticipates the introspective still lifes of Giorgio Morandi. While Hammershøi has often been viewed as an isolated figure within the field of Danish and European Art, his paintings maintain a clear dialogue with those of James McNeill Whistler, Edvard Munch, and Fernand Khnopff, and a resonance can be felt not only in the works of Morandi, but also Gerhard Richter.

NDB: See also:

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Vilhelm Hammershøi (1864-1916): Interior With Piano and Woman in Black. Strandgade 30, 1901. Oil on canvas, 63 x 52.5 cm. © Ordrupgaard Museum, Copenhagen

Hammershøi painted his rooms either empty as in Dust Motes Dancing in the Sunbeams, or populated by objects and people like this, one of the more furnished pictures. The interior is rendered with measured distance – both in the played-down character of the colours and in the characteristic formal structure where the immediate foreground of the picture is empty.

A typical figure in Hammershøi’s work is the woman with her back to us. She stands unmoving as a pillar, not engaged in any action but silently absorbed in her own thoughts. She is like the furniture – and neither the woman nor the furniture demonstrates or carries any real meaning. All the same it is as if an invisible meaning is present. The elements of the picture might suggest an allegory of love and art: not a living, fruitful exchange but an inaccessible tableau where the woman and the objects, encapsulated like objects, first and foremost become an image of melancholy longing.

Hammershøi was the last great painter in Danish nineteenth-century art. He painted against a background of modern experience, but his painting never broke with the basic rules that had defined the point of departure for the pictures of the Danish Golden Age. His work therefore has a distinctive, striking character which expresses both his independent artistic temperament and a longing for the Golden Age whose foundations had been reduced to ruins.

In 1898 Hammershøi moved with his wife Ida to the house on Strandgade 30 where they lived until 1909. The intimate artistic association with central Copenhagen gave his art a new direction. Whereas his motifs had formerly alternated between figure and landscape painting, this location truly made Hammershøi a painter of interiors. The rooms became his constant source of subjects, and the walls and windows that formed the boundary against the world almost literally became the background for his painting. 


A. Aardewerk Dutch Silver and Antique Jewels at TEFAF New York Fall 2017

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René Lalique (Ay 1860-1945 Paris), Pendant, Paris 1901. Gold, enamel and pearls. Height of pendant 6 cm. Signed 'Lalique' and stamped with maker’s mark© A. Aardewerk Dutch Silver and Antique Jewels

The beautiful plique-à-jour enamelled leaves of this pendant “sorbus suecica" or Swedish Whitebeam curl around the pearl berries and the mauve enameled twigs. The original gold chain also has dark mauve enameled links. This elegant pendant was made by René Lalique, the leading innovator on French Jewellery in the late nineteenth century and one of the driving forces behind the development of Art Nouveau in France. Lalique developed a completely original style, drawing inspiration from both nature and Japanese art. This signed and dated pendant, of which the design drawings are known, is a refined example of his work.

ProvenancePrivate collection, The Netherlands.

LiteratureDr. Sigrid Barten, René Lalique, Schmuck und Objets d’art 1890-1910, 1989, ill. 644 on p. 320; O. Coutau-Bégarie, René Lalique, dessins originaux, vente de jeudi 20 Octobre 1994, lot 40 on p. 8; Catalogue Uit de kunst, 100 years VHOK, 2011, ill. 108 on p. 152; Catalogue René Lalique, Master of French Art Nouveau and Art Deco, 2013, ill on p. 48.

ExhibitionApeldoorn, Museum Paleis het Loo, 2011; The Hague, Municipal Museum, 2013.

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Jean Saint, The Van Eys Snuffbox, Amsterdam, 1732. Gold. © A. Aardewerk Dutch Silver and Antique Jewels

The rectangular box has curved corners and the lid is decorated with the arms of Jan Nicolaas van Eys. The coat of arms and the helm and crown above it are chased amid a strictly symmetrical design of C-scrolls, scallop shells, strapwork and mascarons against a textured background. 

Solid gold Dutch snuffboxes are rare. This example is one of the earliest and also one of the few executed wholly in Louis XIV style. Most Dutch gold snuffboxes were made in the Rococo style. In the eighteenth century, almost every well-to-do man would carry a snuffbox. Tobacco was smoked and chewed, but it was also ground to a fine powder and inhaled, to invigorating effect. Snuff was kept in jars, but carried in small quantities for daily use in little boxes that rapidly became a status symbol. The more expensive the snuffbox, the greater the impression its owner could make. Jan Nicolaas van Eys (1691-1758) was a cloth merchant and a prominent member of Amsterdam society. In 1740 he was director of the Levant trade. From 1748 to 1758 he sat on the Council of Amsterdam and from 1753 to 1768 he was one of the commissioners for maritime affairs. 

ProvenanceCollection of Elisabeth Rohde (1915-2013), director of the Pergamon Museum in 1971; she inherited the box from her father Kurt Rohde (1882-1950); this former major had run the Kurt Rohde gallery with Frieda Hinze in Uhlandstrasse, Charlottenburg, Germany, since 1918.

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Adriaan Havelaar, Strawberry dish, The Hague, 1718. Silver, Diameter 21.6 cm (8.5 in.). © A. Aardewerk Dutch Silver and Antique Jewels

The strawberry dish is round with a curved rim divided into large lobes by chased lines. The understated design gives the dish a timeless air and creates a beautiful effect of light. It is a fine example of almost three-hundred-year-old design. The oldest known silver strawberry dish was made in London in 1699. This example, is one of the earliest known Dutch strawberry dishes and also one of the largest.

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Reinier Brandt, A large bread basket, Amsterdam, 1767. Silver. © A. Aardewerk Dutch Silver and Antique Jewels

This basket is one of the largest made by Reinier Brandt, a highly skilled and productive maker of tableware who had made baskets one of his specialities. His skill in spacing the ornamentation on the sloping walls evenly and creating the finest of openwork was unrivalled. Without compromising the strength of the basket, he created an extraordinarily delicate decoration of flowers and vines

The first silver baskets appeared in the Netherlands around 1747. The oval model with the slightly curved upstanding body is typically Dutch. In eighteenth-century inventories, large baskets like this are described as bread baskets. The only other place in Europe where silver baskets were made was England, but the English variants are rounder and have a hinged handle rather than an integral handle at each end. 

The base and side walls of the basket were chased from a single sheet of silver. The upper rim and lower edge, cast in sections, were soldered on. The decoration was then engraved around the basket and only then was the design sawn out. The ornaments on this basket form an elegant whole. The rim and the border of the base are constructed from cast C-shaped ornaments with a variety of cast clusters of fruit between them. The two handles are also decorated with cast flowers and fruit. The side walls are pierced and engraved all round in Louis XV style with flowers, fruit and ears of wheat. Many of them have a symbolic meaning and suggest fertility, growth and vitality, as well as prosperity, wealth and success.

ProvenancePrivate collection, Netherlands

LiteratureJ. W. Frederiks, Dutch Silver, vol II, p. 103 no. 298 fig. 114; A.L. den Blauwen, Nederlands Zilver, 1979, p. 284 no. 137; K.A. Citroen et al., Meesterwerken in Zilver, 1984, p. 143 cat. no. 165 and p. 205; J. Verbeek, Nederlands Zilver, 1988 p. 70 fig. 85; J. R. de Lorm, Amsterdams Goud en Zilver, 1999, p. 150 cat. no. 87.

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Royal Van Kempen, Begeer & Vos, Rivière necklace, Voorschoten, 1920-31. Old European cut diamonds, silver, gold, sixty-seven brilliants and two pear-shaped diamonds, circa sixty-two carats© A. Aardewerk Dutch Silver and Antique Jewels

This necklace is fully set with old European cut diamonds in silver on gold settings. It contains sixty-seven brilliants and two pear-shaped diamonds, weighing around sixty-two carats altogether. The necklace comes to pieces from which two bracelets can be made. One bracelet is made up of the diamonds in the front part of the necklace, including the pear-shaped diamonds, weighing 31.3 carats. The two sections on either side also make a bracelet, with slightly smaller diamonds, twenty-four carats in total. The piece at the centre back is an extension piece to adjust the length of the necklace.

The official name for a necklace like this is a Rivière. The term denotes a necklace made of diamonds or other precious stones that decrease gradually in size from the largest central stone at the front. Rivières were always part of formal dress and were worn by the highest of the elite in the evening and at official events. The more important the wearer, the larger the diamonds or the more numerous the rivières.

ProvenanceThe necklace is in the original case supplied by jewellers J. C. Burnier & Zoon in The Hague. The blue velvet case is stamped with initials in gold: C. d. H d. I. v. It belonged to Baroness d’Hangest d’Ivoy, who married W.J van Lynden in 1911, and has been in the family ever since.

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Carl Bacher, An Egyptian Revival Bangle, Circa 1870. 14-carat-gold, opals, diamonds, green and white enamel in cloisonné bars and rubies. Marked with the maker’s mark of Carl Bacher, 'CB' in an oval. © A. Aardewerk Dutch Silver and Antique Jewels

 The terminals of this sophisticated, elegant 14-carat-gold bangle are in the shape of scarabs carved from opals and set with diamonds. They are set in a gold mount to which a gold bead is attached. The opals are held in stylized red enamel lotus motifs. Behind them is a band of green and white enamel in cloisonné bars; the refined granulation is further accentuated by a band set with rubies.

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François Lambregts (1696-Amsterdam-1751), Kettle on stand. Dutch. Silver in Louis XIV style. © A. Aardewerk Dutch Silver and Antique Jewels

The round, pear-shaped kettle in Lambregts’s is completely smooth with a slightly flattened body. The kettle is decorated around the neck and on the body with cast and applied ornaments of friezes and fleur-de-lis motifs. The tall lid is decorated with cast and applied lily-shaped ornaments around the beautifully executed knob. The high hinged handle is composed of C-scrolls. The spout is also elaborately decorated with foliar motifs.

The kettle stands on a tall stand with a spirit stove. The walls of this stand have openwork all round in a symmetrical pattern in Louis XIV style. The stove stands on three decorated C-shaped feet and has two hinged handles. These ornaments, which originated at Louis XIV’s court, were disseminated in the Low Countries in model drawings by great designers like Daniel Marot.

ProvenanceCollection Joseph M. Morpurgo 1962; private collection, Switzerland; Sotheby's Geneva 1997; private collection, Belgium.

LiteratureCatalogue Oude Kunst en Antiekbeurs Delft 1962; Frederiks, Dutch Silver, vol. II, plate 267, p. 93; Nederlands zilver, 1979 cat. no, 112.

ExhibitionDelft, Oude Kunst en Antiekbeurs, 1962; Amsterdam, Rijksmuseum, Nederlands Zilver, 1979; Toledo, The Toledo Museum of Art, Dutch Silver, 1980; Boston, Museum of Fine Arts, Dutch Silver, 1980.

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François Lambregts (1696-Amsterdam-1751), A set of candlesticks with a pair of Snuffers on stand, Amsterdam, 1726. Silver© A. Aardewerk Dutch Silver and Antique Jewels

The candlesticks stand on gently scrolled feet with patterns on a textured surface. The snuffers sit on a stand with the same decoration. The handles of the snuffers are elegantly formed of C-scroll ornaments. The rectangular holder for the snuffers has moulded corners. There is a large fleur-de-lis ornament on a matt background on the long sides. Fully marked on the underside of the foot with the assay mark for Amsterdam, the Dutch lion, the maker’s mark FL for François Lambregts and the date letter Q for 1726.

ProvenanceA. Aardewerk antiquair juwelier 1973; thereafter private collection, The Netherlands.

A. Aardewerk is a family-owned company specializing in superb quality antique Dutch silver dating from the sixteenth century onwards and in fine antique and period jewels. Emiel and Esther, who were raised with antiques, joined their father in the business in 1995. They are the fourth generation of antiques experts in the family and the directors of the company which is based in The Hague in the Netherlands. A. Aardewerk has been exhibiting at the renowned international TEFAF Art and Antiques Fair in Maastricht since 1995, and has been participating in the PAN Amsterdam Fair since 1993. A. Aardewerk is a member of The Royal Association of Fine Art Dealers in the Netherlands (Koninklijke Vereeniging van Handelaren in Oude Kunst) and of CINOA (Confédération Internationale des Négociants en Oeuvres d’Art).

A. Aardewerk Dutch Silver and Antique Jewels at TEFAF New York Fall 2017, Stand 54. Primary Address: Jan van Nassaustraat 76, The Hague, Netherlands. T  +31703240987 - silver@aardewerk.com - www.aardewerk.com

First exhibition devoted to comparing Picasso and Lautrec opens in Madrid

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MADRID.- The Museo Nacional Thyssen-Bornemisza presents Picasso/Lautrec, the first monographic exhibition devoted to comparing these two great masters of modern art. Although their artistic link has been repeatedly established by literature and contemporary critics, this is the first time their works have been displayed alongside each other in an exhibition. The show also examines this fascinating relationship from new viewpoints, as it does not merely explore the cliché of the young Picasso as an admirer of Lautrec in Barcelona and his early years in Paris, but traces the latter’s lingering influence throughout the Spanish artist’s lengthy career, including his final period. 

Curated by Professor Francisco Calvo Serraller, professor of the department of Art History at the Universidad Complutense in Madrid, and Paloma Alarcó, chief curator of Modern Painting at the Museo Nacional Thyssen-Bornemisza, Picasso/Lautrec brings together more than a hundred works from some sixty public and private collections from all over the world, grouped around the themes that interested both artists: caricature portraits; nightlife in cafés, cabarets and theatres; the harsh reality of marginal individuals; the spectacle of the circus; and the erotic universe of brothels. 

Henri de Toulouse-Lautrec (Albi, 1864‒Château Malromé, Saint-André-du-Bois, 1901) and Pablo Picasso (Málaga, 1881‒Mougins, 1973) never met. By the time Picasso visited Paris for the first time in October 1900, Lautrec was seriously ill and died prematurely the following year. Even so, Lautrec’s radical oeuvre and his conception of modernity made a very powerful impact on the young Picasso. Through him, Picasso discovered the many facets of modern society, which influenced his approach to art. 

Lautrec’s artistic career lasted barely fifteen years, whereas Picasso’s spanned more than seven decades. Both were brilliant artists from childhood, were attracted by Paris during their youth and rejected the academic teachings imposed on them, and both borrowed successively from very similar historical sources, such as the French artists Ingres and Degas as well as El Greco. But above all, their mastery of drawing was one of the key factors that gave meaning to both artists’ oeuvre. Both Lautrec and Picasso drew compulsively throughout their lives, had a special fondness for line and caricature, and filled hundreds of notebooks with extraordinarily skilled drawings from a very early age. It can be said that both men thought and expressed themselves in drawing and that any new work was preceded by endless testing and experimentation on paper. 

Divided into five sections based on the themes that linked the two artists’ worlds symbolically and formally – Bohemians, Underworld, Wanderers, Elles and Hidden Eros – Picasso/Lautrec also provides an insight into the evolution of contemporary art. 

BOHEMIANS 
Lautrec soon became aware of the extraordinary ability of caricature to probe his sitters’ personality. He made many caricatures of himself and exploited his unusual appearance. In 1893, he portrayed himself on the reverse of the poster Jane Avril on the Japanese Divan, drawing – or reading the newspapers according to some interpretations – with his characteristic hat. 

Picasso also used caricature to experiment with his own image in Picasso in a Top Hat (1901), where the prostitutes in the background emulate the nocturnal settings of Lautrec’s works. The same is true of the portrait painted that year of the writer Gustave Coquiot caricaturised as a libertine watching a cabaret performance; and of the female portraits he showed in his first exhibition held in Paris in 1901 – Woman with a Plumed Hat, Woman with a Cape and Bust of a Smiling Woman – painted in the same characteristic style and pointillist technique used by the French artist in works such as Jane Avril (c. 1891‒92). 

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Henri de Toulouse-Lautrec, Self Portrait, 1893 (Autoportrait). Wash drawing on the verso of the poster Divan Japonais, 80 x 61.5 cm, Collection Fondation Pierre Gianadda, Martigny.

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Pablo Picasso, Seated Man with a Hat, 1972 (Homme au chapeau assis). Oil on canvas, 145.5 x 114 cm, Museum Frieder Burda, Baden-Baden © Sucesión Pablo Picasso. VEGAP, Madrid, 2017.

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Henri de Toulouse-Lautrec, El inglés en el Moulin Rouge, 1892 (L’Anglais au Moulin Rouge). Litografía en color, 62,4 x 48,4 cm, Szépművészeti Múzeum, Budapest.

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Pablo Picasso, Gustave Coquiot, Paris, 1901. Óleo sobre lienzo, 100 x 81 cm, Musée national Picasso, París. Depósito del Centre Pompidou, París, Musée national d’art moderne/Centre de création industrielle. Adquisición de los Musées nationaux en 1933Photograph: Centre Pompidou, Paris. Musée national d'art moderne © Succession Picasso/DACS, London 2016

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Henri de Toulouse-Lautrec, Jane Avril, c. 1891-1892. Óleo sobre cartón montado sobre tabla, 63,2 x 42,2 cm, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

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Pablo Picasso, Busto de mujer sonriente, 1901 (Buste de femme souriante). Óleo sobre cartón montado sobre tabla, 60,5 x 83,5 cm, Museo Nacional Centro de Arte Reina Sofía, Madrid. Depósito temporal de una colección privada europea, 2004© Sucesión Pablo Picasso. VEGAP, Madrid, 2017

UNDERWORLD 
Lautrec was one of the first artists to break away from the old hierarchies and blaze a trail towards a new artistic language that incorporated aspects of mass culture. The prolific French artist left an unrivalled repertoire of images of a marginal and bohemian environment in his paintings and colourful commercial posters. Woman in a Café (1886) is a moving example of his masterful depictions of solitary women in cafés; others such as At the Café: The Customer and the Anaemic Cashier (1898) and In a Private Dining Room (at the Rat Mort) (c. 1899) are caustic portrayals of bar scenes of Montmartre. Lautrec also painted the famous stars of the night shows, the singers Aristide Bruant and Yvette Guilbert, and the cabaret artists La Goulue and Jane Avril; the latter was a great friend of Lautrec’s, whose image became firmly established thanks to the painter’s posters. 

Like Lautrec, Picasso developed an insatiable curiosity for the excesses of Parisian nightlife. In The Moulin Rouge (1901), he exaggerates the silhouettes, heightening the figures’ caricature-like appearance and his satirical vision of sexual relations in the private rooms in cafés. He takes a similar approach in The Wait (Margot), a depiction of a courtesan or pierreuse sitting in a café executed with loose, expressive brushstrokes and bright colours that exaggerate her makeup, and The Diners, both dated 1901.  

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Henri de Toulouse-Lautrec,At the Café: The Customer and The Anaemic Cashier, 1898 (Au Café: Le Consommateur et la caissière chlorotique). Gouache on cardboard, 81.5 x 60 cm, Kunsthaus Zürich.

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Pablo Picasso, The Diners, Paris, 1901 (Les Soupeurs). Oil on cardboard, 47.3 x 62.4 cm, Museum of Art, Rhode Island School of Design, Providence. Bequest of George Pierce Metcalf© Sucesión Pablo Picasso. VEGAP, Madrid, 2017 

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Henri de Toulouse-Lautrec, In a Private Dining Room (At the Rat Mort), ca. 1899. Oil on canvas, 55.1 x 46 cm, The Samuel Courtauld Trust. The Courtauld Gallery, London

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Henri de Toulouse-Lautrec, Aristide Bruant dans son cabaret, 1893. Colour lithograph, 138.3 x 100 cm, Victoria and Albert Museum, Londres. Presented by Mrs. J. T. Clarke.

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Henri de Toulouse-Lautrec, En el circo: entrada en la pista, 1899 (Au Cirque: Entrèe en piste). Tiza negra y de color sobre papel, 31 x 20 cm, The J. Paul Getty Museum, Los Ángeles.

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Henri de Toulouse-Lautrec, La Rousse in a White Blouse, 1889. Oil on canvas. 60.5 x 50.3 cm, © Museo Thyssen-Bornemisza, Madrid

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Olivier Debré (1920 - 1999), Sans titre, 1971

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Lot 178. Olivier Debré (1920 - 1999), Sans titre1971. Estimation 40 000 € / 60 000 €. Courtesy Artcurial.

Huile et feuilles d'arbre sur toile. Signée et datée au dos "O. Debré, Automne 71"; 100 x 100 cm (39,37 x 39,37 in.)  

Provenance : Galerie Ariel, Paris 
Collection Hélène Bokanowski 
A l'actuel propriétaire par descendance 

Post-War & Contemporain chez Artcurial, 75008 Paris, le 30 Octobre 2017 à 15h30

Olivier Debré (1920 - 1999), Blanche de Loire aux taches bleues du bas, 1985

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Lot 179. Olivier Debré (1920 - 1999), Blanche de Loire aux taches bleues du bas1985. Estimation 40 000 € / 60 000 €. Courtesy Artcurial.

Huile sur toile. Signée, datée et titrée au dos "O. Debré, Blanche de Loire aux Taches Bleues du Bas, 85", 180 x 180 cm (70,87 x 70,87 in.) 

Provenance : Galerie Daniel Gervis, Paris 
Collection particulière, Vienne 

Post-War & Contemporain chez Artcurial, 75008 Paris, le 30 Octobre 2017 à 15h30

Rare pot en forme d'éléphant, Khmer, 12°-13°siècle

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Lot 134. Rare pot en forme d'éléphant, Khmer, 12°-13°siècle. Estimation: 300 / 500 €. Photo Cornette de Saint-Cyr. 

Rare pot en forme d’éléphant harnaché en céramique à couverte brun verdâtre. Accident à la cuisson au niveau de la base. 13 x 20 x 15,5 cm.

Arts d’Asie chez Cornette de Saint Cyr Paris, 75008 Paris, le 31 Octobre 2017 à 14h30Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13. Consultant pour le Vietnam : Monsieur Philippe Truong. Tel. : +33 6 31 34 40 59

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