Jacques Bertaux (1745 - Arcis-Sur-Aube - 1818), Hunting with the Duc Louis-Philippe d'Orléans or The Scent, 1773. Oil on canvas, 130 x 195 cm (51.2 x 76.7 in.) Signed and dated. Didier Aaron & Cie (Stand 314). © TEFAF 2018

Provenance: Louis-Philippe d’Orléans (1725-1785), probably at the Château de Saint-Cloud; his son, Louis-Philippe II d’Orléans, “Philippe-Egalité” (1747-1793); his son, Louis-Philippe III d’Orléans (1773-1850), King of the French (1830-1848); his son, Antoine-Marie-Philippe d’Orléans, Duc de Montpensier, Infant of Spain (1824-1890); by inheritance, private collection, France, until 1981; Sale Hôtel Drouot, Paris, Etude Couturier Nicolaÿ 10 November 1981; Stair Sainty Matthiesen; Private collection, where?

Nicolas de Largillière (1656 - Paris - 1746), Presumed Portrait of Mademoiselle de La Fosse. Oil on canvas, 56 x 46 cm (22 x 18 in.). Signed and dated on the back of the original canvas 'Peint par N. de Largillière 1716'. Didier Aaron & Cie (Stand 314). © TEFAF 2018

Provenance: Collections of the Château de Bussy.

Lotte Laserstein, Im Andacht (In Devotion Portrait of Traute Rose, Née Gertrude Sussenbach), 1925. Oil on canvas, 65 x 45.7 cm (25.6 x 18 in.) Signed upper left 'Lotte Laserstein'. Agnews (Stand 346). © TEFAF 2018

Provenance: Private collection, Sweden

A box in the form of a head of a hippopotamus, by Fabergé workmaster Michael Perchin, circa 1896. Carved bloodstone mounted in gold, the cover decorated with rococo scrolls and ribbon border, and with diamond thumbpiece. Length 8.9 cm (3.5 in.). A La Vieille Russie  (Stand 110). © TEFAF 2018

Provenance: Countess Zubov; A La Vieille Russie, Paris;

Exhibited: A La Vieille Russie, New York, 'Fabergé', 1983, no. 452; St. Petersburg, State Hermitage Museum, Paris, Musée des Arts Décoratifs and London, Victoria & Albert Museum, 'Fabergé: Imperial Jeweler', 1993-1994, no. 247; Stockholm, Nationalmuseum, 'Carl Fabergé: Goldsmith to the Tsar', 1997.

Scarab double cufflinks and brocches, signed workmaster M. Perchin, St. Petersburg and England, circa 1895 and 1890. Circular gold brooch enameled white, with a brilliant enamel Red Cross, encircled by rose diamonds and Diamond, ruby, and natural pearl bumble bee brooch, set in silver and gold. Fabergé brooch 2.5 cm (1 in.), bee brooch 6.7 cm (2.6 in.). A La Vieille Russie  (Stand 110). © TEFAF 2018

Two covered cups in the form of Turkish ladies' heads with jeweled headdresses, Russia, The Gardner Porcelain Factory, 1770-1790. Porcelain. Height 20.3 cm (8 in.). A La Vieille Russie (Stand 110). © TEFAF 2018

Lot 45. A 'Qiangjin' and 'Tianqi' Lacquer Bowl, Mark and Period of Wanli, dated in Accordance with 1591; diameter 12.9 cm., 5 1/8  in. Estimate 150,000 — 200,000 HKD. Lot sold 200,000 HKD. Photo Sotheby's 2014

with deep rounded sides rising from a short straight foot to a flared rim, the deep red cinnabar ground finely incised and gilt on the exterior in the qiangjin technique and further painted in tianqi polychrome enamels with a continuous scene of eight boys at play, one group of four conversing while the other group plays with a spinning top, the two scenes interrupted by flowering trees and pierced garden rocks issuing plantains, the sky finely textured with diapers enclosing wan symbols, all between a foliate lotus scroll encircling the rim and polychrome petal panels alternating in black, green, yellow and red, the foot picked out with ‘classic’ scroll, the interior and the base lacquered in black, the latter dated with an incised eight-character reign mark in gilt.

Provenance: Christie's London, 14th December 1983, lot 60.

Exhibited: 2000 Years of Chinese Lacquer. Oriental Ceramic Society of Hong Kong and the Art Gallery, the Chinese University of Hong Kong, Hong Kong, 1993, cat. no. 86.
Layered Beauty: The Baoyizhai Collection of Chinese Lacquer, Art Museum, Institute of Chinese Studies, the Chinese University of Hong Kong, Hong Kong, 2010, cat. no. 19.

Note: The motif of children at play, emblematic of fertility is more commonly found in Jiajing period lacquer wares and porcelains, but was still popular in the Wanli period. For a Jiajing reign-marked dish, carved with a scene of a street vendor surrounded by boys depicted in a similar manner as on the current dish, see The Complete Collection of Treasures of the Palace Museum. Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, p. 171, no. 129. Lacquer wares inscribed with a Wanli reign-mark and dated in accordance with the yiwei year (1595) are frequently found, such as a lacquer box and cover decorated with double dragons in similar qianjin and tianqi technique, illustrated, ibid., p. 229, no. 181, but those marked with the xinmao year, as on the current dish, appear to be much rarer.

The '100 children robe' excavated from the tomb of the Empress Xiaojing, the Wanli Emperor's consort, is decorated with a scene of children playing with a spinning top. It is illustrated by Yang Zhishi, 'Cong hai'er shi dao baiziyi', Gu shiwen mingwu xin zheng I, Beijing, 2004, pp. 261-266.

For a Wanli reign-marked qianjin and tianqi dish sold at auction, see Christie's Hong Kong, 30th November 2011, lot 3062.

Sotheby's. The Baoyizhai Collection of Chinese Lacquer, Part 1, Hong Kong, 08 Apr 2014

Jean Dufy (Le Havre, 1888 - Boussay, 1964), Venise, le Grand Canal, 1929. Oil on canvas, 65 x 80 cm (25.5 x 31.5 in.) Signed and dated lower center 'Jean Dufy 29'. Daphne Alazraki Fine Art (Stand 363). © TEFAF 2018

This painting is sold with a certificate of authenticity from Jacques Bailley.

Provenance: Collection Kleinmann & Co, New York; Private collection, Europe.

Literature: Jacques Bailly, Catalogue raisonné de l’oeuvre Jean Dufy, 1888-1964, France 2011, volume I, p. 354, no. 711.

Henri Matisse (Le Cateau-Cambrésis, 1869 - Nice, 1954), Femme assise (Michaela), Nice, 1943. Charcoal and estompe on paper, 48 x 38 cm (19 x 15 in.) Signed and dated lower left 'H. Matisse mai '43'. Daphne Alazraki Fine Art (Stand 363). © TEFAF 2018

This painting is sold with a certificate of authenticity signed by Wanda de Guébriant and M.G. Duthuit, Paris, November 1981.

Provenance: Galerie Daniel Malingue, Paris; Private collection, France.

Henri Le Sidaner (Port Louis, 1862 - Paris, 1939), Table au clair de lune, 1928. Oil on canvas, 73 x 92 cm (28.8 x 38.3 in.) Signed lower right 'Le Sidaner'. Daphne Alazraki Fine Art (Stand 363). © TEFAF 2018

Provenance: Private collection, circa 1960; Acquired from the Estate of the above, UK.

Literature: Yann Farinaux-Le Sidaner, Le Sidaner, L'oeuvre peint et gravé, Milan 1989, no. 648, ill., p. 241.

Francis Picabia (1878 - Paris - 1953), Effet de soleil couchant sur l'étang de Berre-Martigue, 1908. Oil on canvas, 53.9 x 64.4 cm (21.3 x 25.4 in.) Signed and dated lower right 'Picabia 1908'. Daphne Alazraki Fine Art (Stand 363). © TEFAF 2018

This work is in the archives of the Comité Picabia as number AID 3636.

Provenance: Sotheby’s Parke Bernet, New York, 9 November 1979, sale 4304, lot 915; Private Collection, Mexico (acquired from the above sale). 

Eugène Boudin (Honfleur, 1824 - Deauville, 1898), Brest, bateaux dans la rade, c. 1870-73. Oil on canvas, 36.8 x 58.4 cm (14 1/2 x 23 in.) Signed and inscribed lower right: E. Boudin Brest. Daphne Alazraki Fine Art (Stand 363). © TEFAF 2018

Provenance: Galerie Georges Petit, Paris Hector Brame, Paris Donon-Maigret, Paris Palais Galliera, Paris, June 20, 1968, lot 240 Sotheby's, London, April 30, 1969, lot 18 Private Collection Sotheby's, New York, May 19, 1983, lot 307 Private Collection, USA 

Literature: Robert Schmit, Eugene Boudin, Paris 1973, vol. I, no. 562, p. 209, illus. 
Ruth L. Benjamin, Eugene Boudin, New York 1937, illustrated pl. 127

Exhibited: Rennes, France, Musée des Beaux-Arts, Eugene Boudin en Bretagne, 1964, no. 17; also reproduced in the Exhibition catalogue.

Lot 46. A Carved Cinnabar Lacquer Box and Cover, Mark and Period of Wanli, Dated in Accordance with 1595: 9.5 by 29.3 by 29.3 cm., 3 3/4  by 11 1/2  by 11 1/2  in. Estimate 1,200,000 — 1,800,000 HKD. Lot sold 2,200,000 HKD. Photo Sotheby's 2014

of square form with slightly bombé sides and cusped corners, all supported on a square foot, deftly carved in varied levels of relief through layers of rich cinnabar lacquer to the ocher ground below, the cover with a barbed panel enclosing a five-clawed dragon (the fifth claw on the hind feet later removed) holding aloft a ribbon of ruyi-shaped clouds supporting a cash medallion flanked by sprays of millet and inscribed with the four characters tianxia taiping (peace under heaven), all above jagged rocks issuing branches of coral against a wavy sea and a sky of floral diapers, the four corners decorated with foliate mallows on a finely carved ochre-yellow diaper-ground, all surrounded around the sides by rectangular panels enclosing a continuous scroll of camellia, chrysanthemum, hibiscus and peony wreathed in their matching foliage and repeated in a reverse sequence around the box, all reserved on a dense floral ground, the foot picked out with key-fret, the interior and the base lacquered in black, the latter dated with an incised eight-character reign mark in gilt.

Provenance: Collection of Frederick Mayer. 
Christie’s London, 24th / 25th June 1974, lot 120.

Note: The present finely carved box is closely related to one of the same decoration, and inscribed with the same cyclical date corresponding to 1595, in the collection of the Tokyo National Museum, and included in the museum’s exhibition Toyo no urushi kogei, Tokyo, 1977, cat. no. 545, together with a tray bearing the same dragon design as seen on the cover here, cat. no. 548. Compare also an unmarked red lacquer box of this shape, size and decoration sold in these rooms, 2ndMay 2005, lot 618; and another offered in these rooms, 30thOctober 2000, lot 272. 

A rectangular polychrome lacquer box with a similar dragon motif on the cover, dated to 1589, in the National Palace Museum, Taipei, is mentioned by Peter Lam in Layered Beauty, Hong Kong, 2010, p. 126; another, also bearing a cyclical date that corresponds to 1595, was sold at Christie’s Hong Kong, 27th May 2008, lot 1563; and a third rectangular box, in the Palace Museum, Beijing, dated to 1595, is published in Wang Shixiang, Ancient Chinese Lacquerware, Beijing, 1987, pl. 65.

Compare another rectangular box carved in a very similar manner, in the National Museum of Scotland, illustrated in Hu Shih-chang and Jane Wilkinson, Chinese Lacquer, Edinburgh, 1998, pl. 22, where on p. 17, it is mentioned that one claw of the dragon has been removed from each of the hind feet, as seen on the dragon on this box. The removal of a claw was a common practice, as explained by Harry Garner in Chinese Lacquer, London, 1979, p. 92, where he writes that it was either done when the box was presented by the emperor to someone who had merited the honour, but did not have the appropriate ranking to own such an imperial item; or, more often, the claw was removed to disguise the fact than the box may have been stolen or removed illegally from the palace.

Sotheby's. The Baoyizhai Collection of Chinese Lacquer, Part 1, Hong Kong, 08 Apr 2014

Lot 49. An Inscribed Cinnabar Lacquer Songhua Inkstone Set, Mark and Period of Yongzheng, Dated 1724; 12.9 cm., 5 1/8  in. Estimate 800,000 — 1,200,000 HKD. Lot sold 1,960,000 HKD. Photo Christie's Image Ltd 2014

of circular form with straight sides supported on five short narrow feet, the cover with a slightly raised top finely incised and gilt with a twelve-column inscription titled Shiyan fu ('Ode to ink stone') and dated to the ninth day of the ninth month of the second year of the Yongzheng reign (1724), followed by two seals bijing ('excellent writing') and momiao ('incredible ink'), the interior lacquered in black, the sage-green Songhua stone typically streaked with golden veins, finely carved with a smoothly polished central ink grinding surface encircled by a groove and a continuous leafy scroll in low relief around the rounded edge, the recessed base inscribed with a four-character incised reign mark.

Provenance: 2000 Years of Chinese Lacquer. Oriental Ceramic Society of Hong Kong and the Art Gallery, the Chinese University of Hong Kong, Hong Kong, 1993, cat. no. 104.
Layered Beauty: The Baoyizhai Collection of Chinese Lacquer, Art Museum, Institute of Chinese Studies, the Chinese University of Hong Kong, Hong Kong, 2010, cat. no. 16.

Note: The box is incised with an inscription Shiyan fu ('Ode to Inkstone'), which by tradition was composed by the Tang scholar Zhang Shaobao. Inscribed on the box in 1724 right at the end of the Yongzheng reign, it encapsulates the essential nature of the inkstone within.

For another Yongzheng reign-marked Songhua inkstone in the National Palace Museum, Taipei, see A Special Exhibition of Sunghua Inkstone Comparable to the Best Tuan and She Inkstones, Taipei, 1993, pp. 143-145, cat. no. 48. The texture of the stone and style of carving, especially the fluidity of the treatment of the leaves, is close to that on the current inkstone, as is the treatment of the incised mark.

Songhua stone belongs to the sedimentary rock family and is named after the Songhua River in Jilin province. For its natural colouration in the brown and green palette that gives the stone many decorative possibilities combined with its smooth surface texture, it was ideally suited for the making of inkstones. Its association with Jilin in the Manchu motherland made it particularly popular with the Qing rulers. From the Kangxi period, it became a staple of the Palace Workshop carvers.

 Zhou Nanquan in 'Songhuashi yan [Songhua Inkstone]', Wenwu, 1980, no. 1, pp. 86-87, notes that in Qianlong's poetry collection, Shengjing tuchan zayong shier shou ('Twelve Miscellaneous Poems on the Native Products of Shengjing'), the emperor praises the stone as 'Songhua yu' (Songhua jade). He further mentions that in the 39th year of Qianlong's reign (1774) official records list a total of 120 Songhua stone pieces, whether worked or as raw material, in the imperial palace collection. On three occasions that year, raw material amounting to 38 pieces from Jilin province was sent to the palace. Out of five stone pieces, eight inkstones and their boxes were made.

Another study by Chi Jo-hsin in 'A Study of the Sunghua Inkstone Tradition', Special Exhibition of Sunghua Inkstone, National Palace Museum, Taipei, 1993, p. 38, mentions that "during the Qianlong period, an inventory of inkstones in the Imperial Household was compiled. Of the more than two hundred entries in the Hs'i-ch'ing- yen-pu which is part of the Ssu-k'u-ch'uan-shu, six Sunghua inkstones with imperial reign marks of the K'ang-hsi, Yung-cheng and Ch'ien-lung periods are recorded, five of which are in the collection of the National Palace Museum."

Currently there are eighty Songhua inkstones in the Palace Museum, Beijing, of which ten are attributed to Kangxi, sixteen to Yongzheng, thirteen to Qianlong, nine to Jiaqing, one to Daoguang and five to Guangxu's reigns.

Sotheby's. The Baoyizhai Collection of Chinese Lacquer, Part 1, Hong Kong, 08 avr. 2014

Lot 50. An Exceptional 'Qiangjin' and 'Tianqi' Lacquer 'Wandai Shenghe' Double-Lozenge Box and Cover, Mark and Period of Qianlong (1736-1795); width 31.7 cm., 12 1/2  in. Estimate 1,500,000 — 2,000,000 HKD. Lot sold 1,840,000 HKD. Photo Christie's Image Ltd 2014

omodelled in the form of two overlapping lozenges with six cylindrical posts at the corners, the cinnabar lacquer finely incised and gilt in the qiangjin technique and further picked out in tianqi polychrome enamels with five children at play in a fenced garden terrace set with jagged rocks issuing peonies and a lofty aged tree, to the left a boy ride a hobby horse, while another masquerades as the God of examination Kuixing, and the third hits a gong, to the right another boy pulls a cart while his acolyte holds a ruyi sceptre, the sloping sides similarly decorated with wan symbols among multi-coloured clouds repeated above tempestuous green waves around the foot, the straight sides picked out with a floral-diaper ground and descending bats on the cylindrical posts, the base lacquered red and inscribed in gilt Wandai shenghe ('Double Lozenge Box of Myriad Generations') below a six-character incised horizontal reign mark.

Provenance: 2000 Years of Chinese Lacquer. Oriental Ceramic Society of Hong Kong and the Art Gallery, the Chinese University of Hong Kong, Hong Kong, 1993, cat. no. 88.
Layered Beauty: The Baoyizhai Collection of Chinese Lacquer, Art Museum, Institute of Chinese Studies, the Chinese University of Hong Kong, Hong Kong, 2010, cat. no. 23.

Note: For a Jiajing reign-marked double-lozenge shaped covered box from the Qing Court Collection and still in Beijing, see The Complete Collection of Treasures of the Palace Museum. Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, p.193, no. 151 (fig.1). See also a Longqing reign-marked example decorated with dragons and floral borders in the Barber Institute, Birmingham, illustrated by Harry Garner, Chinese Lacquer, London, 1979, pl. 136. These 16th century examples were no doubt the inspiration to the whole group of Qianlong versions, including the current covered box, the Jiajing example is decorated in qiangji and tianqi with a dragon and phoenix amidst flaming clouds. 

fig.1. ‘Qiangjin’ and ‘Tianqi’ Lacquer Double-Lozenge Box and Cover, Mark and Period of Jiajing (1522-1566), Qing Court Collection, Palace Museum, Beijing. After: The Complete Collection of Treasures of the Palace Museum.

For an identical Qianlong reign-marked covered box, see the example in the Tokyo National Museum, illustrated in Oriental Lacquer Arts, Tokyo National Museum, Tokyo, 1977, no. 585. A smaller unmarked cinnabar-lacquer covered box, decorated with boys at play, was sold in these rooms, 25th April 2004, lot 324.

The decoration on the surface is intricately rendered, a highly auspicious profusion of fortuitous symbols emblematic of happiness, prosperity and longevity, including wan symbols, bats and lingzhi. The four-character expression Wandai shenghe ('Double Lozenge Box of Myriad Generations') celebrates future fecundity. The Qianlong artisans have skilfully taken the double-lozenge shaped box from the Jiajing period, with its auspicious, yet more austerely rendered decoration of a dragon and phoenix in more restrained colours, and created a sumptuously decorated and exuberant version abundant in images and emblems fashionable at the Qianlong court

Sotheby's. The Baoyizhai Collection of Chinese Lacquer, Part 1, Hong Kong, 08 avr. 2014

Joos de Momper the Younger (1564 - Antwerp - 1635), The Corn Harvest, circa 1610-1620. Oil on panel, 69 x 106.5 cm (27.2 x 41.9 in.). Arnoldi-Livie (Stand 339). © TEFAF 2018

Provenance: Menke sale, June 1/2, 1904, Brussels, Le Roy, no. 13 (as Jan Brueghel the Elder); Wertheim sale, April 30, 1930, Berlin, no. 62, ill. (as Joos de Momper and Jan Brueghel); Renner Collection, Hamburg; Private collection, Rhineland

Literature: Klaus Ertz, Josse de Momper der Jüngere, Freren 1986, no. 321, p. 553, color ill. p. 225, fig. 244 
Klaus Ertz, Jan Brueghel d. Ältere, Cologne 1979, no. 403, p. 624, ill. p. 477, fig. 577 

Oskar Kokoschka (Pöchlarn, 1886 - Montreux, 1980), Mary Meerson in profile, 1931. Red chalk on paper, 45 x 31 cm (17.7 x 12.2 in.). Signed lower right 'OKokoschka'. Arnoldi-Livie (Stand 339). © TEFAF 2018

Provenance: Paul Cassirer & Co., Amsterdam, 1965; Curtis O. Baer Collection, thence by decent.

Literature: Paul Westheim, Der Zeichner Kokoschka, London 1962, p. 15, no. 126 ill. 

Exhibited: High Museum of Art, Atlanta, 'Drawings from Georgia Collections', 1981, no. 57; High Museum of Art, Atlanta, 'Master Drawings from Titian to Picasso: The Curtis O. Baer Collection', 1985-87, no. 57, p. 162, ill.

Pair of polychrome wall plaques, Delft, circa 1750. Delftware, 27.3 cm (10.7 in.) square. Aronson Antiquairs (Stand 106). © TEFAF 2018

Lot 3038. A white jade 'Bat and Shou symbol' washer, Qing dynasty, Qianlong period (1736-1795); 12.5 cm., 4 7/8  in. Estimate 600,000 - 800,000 HKD. Lot sold 4,600,000 HKD. Photo: Sotheby's.

the lobed sides of quatrefoil section, supported on four small slightly flared ruyi feet, the rim finely carved with a bat spreading its wings grasping a beribonned shou character in its mouth, the character carved in openwork extending the width of the vessel, further flanked by a pair of writhing chilong clambering on the exterior walls and forming the handles, the smoothly polished stone of even milky-white colour with a few icy inclusions.

Provenance: Christie’s London, 4th December 1995, lot 272.
Christie’s Hong Kong, 26th April 1999, lot 509.

Note: The quality of this stone, skilfully accentuated through the finely finished plain surfaces, perfectly complements the auspicious wishes represented through the bat, shou character and knot. Animals and plants whose names were homophonous to words with favourable meanings were commonly employed in Qing decorative arts, for example, the character for bats, hu, is homophonous with the word for blessings, and the knot represents continuity. Vessels adorned with this type of decoration were often presented as gifts on the occasion of a marriage. 

See a similarly decorated marriage bowl of peach form, with a musical chime and double shou character bridging the vessel, flanked with bat handles, formerly on loan to the Percival David Foundation, illustrated in Colin Sheaf, ‘Chinese Jade Colloquy. Percival David Foundation’, Arts of Asia, November/December, 1995, p. 74, pl. 49; and another sold at Christie’s London, 6th June 1994, lot 264. Compare a brushwasher of lobed form and ringed bat handles, but flanking the width rather than the length of the vessel, in the Palace Museum, Beijing, published in Chinese Jades Throughout the Ages, vol. 12, Hong Kong, 1997, pl. 72.

Sotheby's. Fine Chinese Ceramics and Works of Art. Hong Kong, 08 oct. 2013

Lot 3039. A fine and rare white jade dish, Qing dynasty, Qianlong period (1736-1795); 17 cm., 6 2/3  in. Estimate 400,000 - 600,000 HKD. Lot sold 937,500 HKD. Photo: Sotheby's 2013.

of shallow form, resting on a low, square-cut footring, finely carved with wide rounded sides gently everted before the sharp rim, with a well-defined circular floor on the interior, the translucent stone of even white tone with a fine silky smooth polish.

Provenance: Sotheby's Hong Kong, 29th October 2001, lot 697.
The Songzhutang Collection.

Sotheby's. Fine Chinese Ceramics and Works of Art. Hong Kong, 08 oct. 2013

Lot 3041. A white jade figure of Shoulao, Qing dynasty, 18th century; 16.5 cm., 6 1/2  in. Estimate 150,000 - 200,000 HKD. Lot sold 187,500 HKD. Photo: Sotheby's 2013.

the immortal portrayed standing with a gentle smile on his face framed by a finely incised beard, below arched brows and expressive wrinkles on his forehead, sporting a small cap on his characteristically bulging tonsured head and dressed in a plaited robe with ample sleeves, fastened at the waist with a broad sash and cascading in undulous folds over his pointed shoes, his right hand clutching a gnarled staff, now fitted with a coral finial, the left grasping knotted ribbons trailing in front of his robe, the greenish-white stone with a fine smooth polish.

Sotheby's. Fine Chinese Ceramics and Works of Art. Hong Kong, 08 oct. 2013

Lot 604. Pot sur pied, Vietnam, Culture de Đông Sơn, 3°-1° siècle BCE. Terre cuite. H. 17,5 cm. Estimation : 180- 250€. Résultat: 220€. Photo Cornette de Saint Cyr 2013

Décor de motifs géométriques. 

CORNETTE DE SAINT CYR. MARDI 29 OCTOBRE À 14H30. HÔTEL SALOMON DE ROTHSCHILD - GRAND SALON - 11, RUE BERRYER - 75008 PARIS. EMAIL : INFO@CORNETTE-SAINTCYR.COM - TÉL. : +33 (0)1 47 27 11 24 - FAX : +33 (0)1 45 53 45 24

François Chauveau, Queen Kristina entering Paris on September 8, 1656. Photo: Cecilia Heisser/Nationalmuseum

STOCKHOLM.- The National Museum has acquired a drawing by François Chauveau depicting the procession of Queen Kristina’s solemn entry into Paris on 8 September 1656. She was then at the height of her sovereign fame and large crowds of people had gathered on the streets of the city to get a glimpse of the Queen. Until now, the drawing has been part of a private art collection in France. 

Following her abdication, Queen Kristina left Sweden in the summer of 1654. A year later, just before Christmas in 1655, she arrived in Rome without any definite plans for the future. The following summer, she set off for Paris. She was officially thought to be going to Sweden to negotiate about her financial allowance but in fact, her intentions could not have been more different. She had secretely been conferring with the leader of France, Cardinal Mazarin, about launching a military attack on southern Italy, the success of which would make Kristina the Queen of Naples. Eighteen- year-old King Ludvig XIV was initiated into the plans and subsequently, gave the order that Queen Kristina was to be received in France as a soverign ruler. 

François Chauveau (1613 – 1676) were soon recognised for his graphic drawings. Many literary works were illustrated by François Chauveau whose etchings were either based on his own drawings or those of other people. In the 1660s, he was commissioned by Ludvig XIV to engrave images of the tournament organised in celebration of the birth of his son and successive heir in 1662, an assignment that earned him the title ’Royal Engraver’. Royal festivities and ceremonies were usually documented by way of graphic drawings. The drawings and pictures were arranged to vividly recount the course of events, much like the news graphics of today. The engravings gave an official picture of the (often very expensive) festivities, the purpose of which was to impress both foreign and domestic subjects. There are a number of engravings that depict Queen Kristina’s solemn entry into Paris and this drawing is most likely an outline for such an engraving. Another exquisitely detailed drawing signed by ’Chauveau’ can be found in the French National Library. 

The long procession is here seen winding its way towards Notre Dame as faintly shown in the top right-hand corner. In the foreground, Queen Kristina can be seen riding sidesaddle and holding a walking stick. In front of her, four officials are each carrying a canopy. One of the canopies, embroidered with the Coat of Arms of Sweden, was handed over to the Queen at the city gate with the intention that she would ride underneath it when entering the city. However, according to the newspaper La Gazette, her horse Licorne (”Unicorn”) shied away from the canopy and hence, it had to be carried in front of the Queen. 

A year later, the French tributes to Queen Kristina gave way to indignation and hatred when the Queen had her Royal Equerry by the name of Monaldesco executed at the Castle of Fontainebleau after he had betrayed and thus, foiled her plans of becoming the Queen of Naples. 

The acquisition of this drawing was made possible due to a bequest from the Wiros Fund. The National Museum has no funds and means of its own to acquire artwork and therefore, its collections can only be enriched through the kind donation of private individuals as well as foundations and funds. 

François Chauveau, Queen Kristina entering Paris on September 8, 1656, detail. Photo: Cecilia Heisser/Nationalmuseum

Lazarro Casario (1546 - Carrara - 1592), Busts of Federico and Bettina Calderini. Marble. Heights 90.8 and 97.8 (35.7 x 38.5 in.). Antichità Bacarelli (Stand 154). © TEFAF 2018

Provenance: Palazzo Calderini, Bologna.

Lot 36. A fine and rare Ge-type vase, seal mark and period of Qianlong (1736-1795); 16.5 cm., 6 1/2 in. Estimate 4,000,000 — 6,000,000 HKD. Lot Sold 7,220,000 HKD. Photo Sotheby's 2011

the robustly potted globular body rising to a short, waisted neck and an everted rim, set on the shoulders with moulded animal masks and mock ring handles, covered overall in a pale greenish-grey glaze with a striking network of dark-stained crackles, all supported on a low footring dressed in brown, inscribed on the base with an underglaze-blue reign mark, wood stand.

Provenance:  Sotheby's London, 15th December 1981, lot 266.
Sotheby's New York, 3rd December 1986, lot 270.

Exhibited: Evolution to Perfection. Chinese Ceramics from the Meiyintang Collection/Evolution vers la perfection. Céramiques de Chine de la Collection Meiyintang, Sporting d'Hiver, Monte Carlo, 1996, cat. no. 159

Literature: Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 2, no. 878.

Note: Another Qianlong vase of this design, from the collection of the British Rail Pension Fund has been sold in our London rooms, 28th November 1978, lot 198, and in these rooms, 16th May 1989, lot 56; another, sold in these rooms 22nd May 1984, lot 182, was included in the exhibition Selections of Chinese Art from Private Collections, China House Gallery, New York, 1986, cat. no. 9, from the collection of Mrs. A. Alfred Taubman.

Sotheby's. The Meiyintang Collection - An Important Selection of Imperial Chinese Porcelains. 07 Apr 11. Hong Kong

Sicilian-Arabic Casket, Sicily or Southern Italy, 12th -13th century. Ivory with gilt copper mounts, 13 x 22 x 13 cm (5.1 x 8.7 x 5.1 in.) De Backker Medieval Art (Stand 233). © TEFAF 2018

The Madonna surrounded by Saints, Nuremberg, circa 1450-1460. Tempera and gilding on canvas on wood,138 x 206 cm (54.3 x 81.1 in.) (with frame, original). De Backker Medieval Art (Stand 233). © TEFAF 2018

Provenance: St. Catherine’s Church of the former Dominican nuns’ convent in Nuremberg

Maestro di Sant'Anastasia, Corpus, Veneto, circa 1320. Limestone, 50 cm. De Backker Medieval Art (Stand 233). © TEFAF 2018

Lot 614. Bassin, Vietnam, Đông Sơn, 3°-1° siècle BCE. Bronze à patine archéologique. H. 13,50 cm, D. 35 cm. Estimation 3 000 - 3 500 €. Résultat 2 800 €. Photo courtesy Cornette de Saint Cyr 2013.

Chau trong en bronze à classique décor de poissons à l'intérieur. Le revers est comme les tambours orné d'un classique motifs en étoile à connotation solaire, entouré de registres décorés de silhouettes recouvertes de plumes, et d'oiseaux en vol. Belle patine archéologique. Longtemps exclusivement considérés comme appartenant à la culture Dông Son, nombre de ces bassins sont aujourd'hui considérés comme de la période Han-Viet qui lui succède. En effet, des pièces similaires furent retrouvées dans la province du Thanh Hoá comme à Mân Thôn dans une tombe en brique datant des Han ou à Bái Thuong. Le décor suggère que ces bassins aient été réalisés pour l'aristocratie Lac et non pour les dignitaires chinois.

Bibliographie: - Bo van hóa-thông tinh, "Vietnamese Antiquities", Hanoi, 2003, ill. 84; - Louis Bézacier, "Le Viêt Nam", tome 2, Paris, 1972, pl. V-2.

 CORNETTE DE SAINT CYR. MARDI 29 OCTOBRE À 14H30. HÔTEL SALOMON DE ROTHSCHILD - GRAND SALON - 11, RUE BERRYER - 75008 PARIS. EMAIL : INFO@CORNETTE-SAINTCYR.COM - TÉL. : +33 (0)1 47 27 11 24 - FAX : +33 (0)1 45 53 45 24

Lot 619. Hache pédiforme, Đông Sơn, 3°-1° siècle BCE. Bronze à patine archéologique. L. 10 cm. Estimation 350 - 500 €. Résultat 700 €. Photo Cornette de Saint Cyr 2013.

Modèle dit "botte de mandarin" orné d'un cervidé

CORNETTE DE SAINT CYR. MARDI 29 OCTOBRE À 14H30. HÔTEL SALOMON DE ROTHSCHILD - GRAND SALON - 11, RUE BERRYER - 75008 PARIS. EMAIL : INFO@CORNETTE-SAINTCYR.COM - TÉL. : +33 (0)1 47 27 11 24 - FAX : +33 (0)1 45 53 45 24