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"Il n'y a en art, ni passé, ni futur. L'art qui n'est pas dans le présent ne sera jamais." (Pablo Picasso)
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    A rare guan-type quadruple vase, Seal mark and period of Yongzheng (1723-1735)



    Lot 3002. A rare guan-type quadruple vase, Seal mark and period of Yongzheng (1723-1735); 10 cm., 4 in. Estimate 250,000 — 350,000 HKD. Lot Sold 2,660,000 HKD. Photo Sotheby's 2011

    finely potted as four vases of slender cylindrical form with sides gently curving to a short neck and everted rim, conjoined at the sides leaving a square-shaped aperture in the centre, the bodies covered overall in a soft pale bluish-grey glaze suffused with a matrix of golden crackles, the four-character reign mark inscribed character by character on the bases.

    Provenance: Sotheby's Hong Kong, 22nd May 1984, lot 185.

    Note: A slightly smaller Yongzheng vase of closely related form and covered in a pale grey Guan-type glaze, with a reign mark and of the period, in the Palace Museum, Beijing, is illustrated in Qingdai yuyao ciqi, vol. 1, pt. II, Beijing, 2005, pl. 149; and a larger example with a Ru-type glaze in the National Palace Museum, Taipei, is included in the Illustrated Catalogue of Ch'ing Dynasty Porcelain. Kang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 128. See also a similar vase from the James W. and Marilyn Alsdorf collection sold twice at Christie's Hong Kong, 23rd March 1993, lot 735, and again, 2ndNovember 1999, lot 524, from the Robert Chang collection; and a celadon-glazed example from the J.M. Hu collection, sold in our New York rooms, 4th June 1985, lot 4.

    This unusual conjoined vase was first produced during the Yongzheng period and embodies the trend of combining innovation within tradition which characterised imperial objects created during his reign. The simple cylindrical form of the individual vases provide an ideal canvas on which to display the subtle beauty of the glaze that was made to imitate 'Guan' ware, one of the most celebrated ceramic wares of the Southern Song dynasty.

    Sotheby's. Chinese Ceramics & Works of Art, 08 Apr 11, Hong Kong

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    A fine and rare tea-dust glazed tripod jar, Seal mark and period of Yongzheng (1723-1735)


    Lot 3003. A fine and rare tea-dust glazed tripod jar, Seal mark and period of Yongzheng (1723-1735); 20 cm., 8 in. Estimate 400,000 — 600,000 HKD. Lot Sold 860,000 HKD. Photo Sotheby's 2011

    the compressed globular body rising from three short conical feet, studded with bosses to the underside of the belly, the neck set with a pair of loop handles, covered overall in a thick olive-green glaze with suffused golden speckles, the four-character mark incised on the base covered by the glaze.

    Note: Compare a similar vessel in flambé glaze in the Hong Kong Museum of Art, illustrated in the Wonders of the Potter's Palette, Hong Kong Museum of Art, Hong Kong, 1984, cat. no. 62.

    Sotheby's. Chinese Ceramics & Works of Art, 08 Apr 11, Hong Kong

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    Attributed to Pierre Gole (Bergen, Holland 1620-1684 Paris), French middle-table, France, Louis XIV period, circa 1680. Ebony and fruitwood marquetry, H 77 x W 117 x D 73 cm© Galerie Berger

    Pierre Gole, an important cabinetmaker who was raised to 'furniture maker-in-ordinary’ under King Louis XIV. He was the first to create marquetry in tortoiseshell and brass, a technique which became famous with André Charles Boulle (1642-1732).


    Attributed to Robert Osmond (Canisy 1711-1789 Paris), Mantel clock representing 'The Rape of Europa', Louis XV period, circa 1750-1760. Gilt bronze and round white enamel dial, signed 'Fol Fils à Paris'. H 70 x W 53 x D 23 cm© Galerie Berger

    Robert Osmond, a bronze-caster famous for his clock cases.


     Bureau plat, France, Regence period. Stamped by Noël Gérard (1690-1786), active as cabinetmaker circa 1710-1736. Ormolu-mounted amaranth wood. H 77.8 x W 179.5 x D 84.5 cm. © Galerie Berger

    Galerie Berger  at BRAFA, 27 Jan - 4 Feb 2018, Stand 105c10 Place de la HalleFR-21200 Beaune. t +33 (0)3 80 22 09 79 - m +33 (0)6 08 28 05 05 - -

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    Théodore Rousseau, 'La mare', 1842 - 1843© Reims, Musée des Beaux-Arts, photography Christian Devleeschauwer.

    WINTER PARK, FLA.- The Cornell Fine Arts Museum opened the exhibition, Towards Impressionism: Landscape Painting from Corot to Monet. Highlights from the Musée des Beaux-Arts, Reims. 

    This exhibition is curated by Suzanne Greub, founder and director, Art Centre Basel, in collaboration with the Musée des Beaux-Arts, Reims and the City of Reims, France. 

    Towards Impressionism marks the first time that an exhibition drawn exclusively from the Musée des Beaux-Arts in Reims, France – home to one of the largest collections of French 19th century landscape painting – travels to the United States. The Cornell Fine Arts Museum is the first of only two venues nationwide to host this extraordinary exhibition and the only stop on the East Coast. The exhibition traces the revolutionary evolution of landscape painting in France from Romanticism to Impressionism. It tells the story of how Impressionism came to be, and of its lasting power. “We are thrilled by the opportunity to experience the brilliance, revolutionary brushwork, and nuanced tonal palette—in a word, the beauty—of these paintings first hand,” notes CFAM Director Ena Heller. “As a teaching museum, we are equally thankful for the curatorial framework that places the schools of Barbizon and Honfleur within the wider arc of French landscape painting, and traces both their debt to Romanticism and the legacy they handed on to Impressionism.”


    Jean-Baptiste Camille Corot (French, 1796-1875), Printemps, la saulaie (Spring, Willows), Undated, Oil on canvas, 15 3/4 x 23 3/4 in. © Musée des Beaux-Arts, Reims, Legacy Joseph Krug. Photo: C. Devleeschauwer.

    Landscape painters active in the first half of the 19th century found their major inspiration in Dutch and English landscape art. Many were active roughly from 1830 until 1855 in the village of Barbizon, on the edge of the Fontainebleau forest. These artists like Théodore Rousseau, Jean-François Millet, Narcisse Virgile Díaz de la Peña, Charles Jacque, Constant Troyon, Jules Dupré, and others rejected urban life and burgeoning industrialization, seeking instead untouched nature in its original form. They were fascinated by the mysteries of the forest and the rural tradition later described by George Sand in her pastoral novels. Théodore Rousseau (1812–1867) was a friend of the novelist and acted as the leader of the so-called Barbizon School. Rousseau rebelled against official art teaching, adopting thickly applied paint in contrast to the smooth surfaces to be seen in academic paintings. 


    Narcisse Virgile Díaz de la Peña. Landscape at Barbizon, n.d. Oil on canvas. Frye Art Museum, Founding Collection, Gift of Charles and Emma Frye, 1952.035. Photo: Spike Mafford.

    One of the most significant painters and a frequent visitor to the forest of Fontainebleau was Camille Corot (1796-1875). Reims possesses the second largest collection of his work after the Louvre: twenty-seven authenticated works, seventeen of which are being displayed in this exhibition. The Medici Fountain (after 1845) will remind visitors of Corot’s first trip to Italy in 1825. On his arrival in Rome he was immediately dazzled by the southern light that was to become one of the principal subjects of his work. Corot never forgot these formative years, idealizing the landscapes he had studied in the open air as he recreated them later in his studio. Later works herald Impressionism, reminding the visitor that Corot was interested in the ever-changing flow of time and atmospheric effects, painting the same motif at different times of day.  


    Jean-Baptiste Camille Corot (French, 1796-1875), La vasque de la villa Medici, undated, oil on canvas, 7.08” x 11.33.” Musée des Beaux-Arts, ReimsPhoto: C. Devleeschauwer. 

    Honfleur, on the Normandy coast at the mouth of the Seine, also became a magnet for artists from about 1850 onwards. Gathering at the Ferme Saint-Siméon to exchange ideas and support each other, these painters included Eugène Isabey, Paul Huet, Eugène Boudin, Constant Troyon, Jean-François Millet, Camille Corot, Gustave Courbet, Claude Monet, Frédéric Bazille, Johan Barthold Jongkind, Adolphe-Félix Cals, and Louis-Alexandre Dubourg.  

    Eugène Boudin (1824-1898) was one of the first artists to paint en plein air in Honfleur, encouraging Claude Monet, sixteen years his junior, to follow suit. Boudin drew his inspiration from Normandy seascapes and coastal scenes; nobody could capture the endless horizon and the wide expanse of sky in quite the same way. His friend Camille Corot, who purchased several of Boudin’s pastels, dubbed him the “roi des ciels” [king of skies]— praise indeed from an artist who himself ascribed such importance to representing the sky and the atmosphere. Gustave Courbet also succumbed to the magic of the lightness and transparency of a Boudin sky. Eugène Boudin can thus be cast as the immediate forerunner of the Impressionists.  


    Eugène Boudin (French, 1824-1898), Sur la plage de Trouville (On the Beach, Trouville), Undated, Oil on canvas, 15 x 18 1/4 in. © Musée des Beaux-Arts, Reims, Legacy Paul Jamot. Photo: C. Devleeschauwer.

    The exhibition presented at the Cornell Fine Arts Museum displays forty-five paintings in total, by several School of Barbizon painters active after 1830 and by the artists’ circle founded by Eugène Boudin in Honfleur around 1850, as well as from the Musée des Beaux-Arts’ collection of Impressionists, including works by Claude Monet, Pierre-Auguste Renoir, and Camille Pissarro. 

    The full list of artists displayed in this exhibition is as follows: Antoine-Louis Barye, Jean-Victor Bertin, Eugène Boudin, Jean-Baptiste Camille Corot, Gustave Courbet, Charles-François Daubigny, Narcisse Virgile Díaz de la Peña, Jules Dupré, Henri-Joseph Harpignies, Charles Jacque, Stanislas Lépine, Georges Michel, Jean-François Millet, Claude Monet, Camille Pissarro, François-Auguste Ravier, Pierre-Auguste Renoir, Théodore Rousseau, Constant Troyon and Félix Ziem. The exhibition is accompanied by a scholarly catalogue edited by Suzanne Greub and published by Hirmer Verlag, Munich.


    Jean-Baptiste Camille Corot. Monte Cavo, ca. 1825–28. Oil on cardboard. © Musée des Beaux-Arts, Reims, Legacy Paul Jamot Photo: C. Devleeschauwer. 


    Jean-François Millet, 'Hameau cousin à Gréville', 1855-74 © Reims, Musée des Beaux-Arts, photography Christian Devleeschauwer.


    Jean-Baptiste Camille Corot, Le coup de vent (The Gust of Wind), ca. 1865–70. Oil on canvas. © Musée des Beaux-Arts, Reims, Legacy Jules Warnier-David Photo: C. Devleeschauwer. 


    Jean-Baptiste Camille Corot, 'Le lac effet de nuit', ca. 1869© Reims, Musée des Beaux-Arts, photography Christian Devleeschauwer.


    Pierre-Auguste Renoir (French, 1841–1919), Marine, ca. 1883, oil on canvas, 19.21” x 23.19.” © Reims, Musée des Beaux-Arts, photography Christian Devleeschauwer


    Claude Monet, Les rochers de Belle-Île (Rocks at Belle-Île), 1886. Oil on canvas. © Musée des Beaux-Arts, Reims, Legacy Henry Vasnier. Photo: C. Devleeschauwer. 


    Eugène Boudin, 'La Marée montante (baie de Saint-Valéry)', 1888© Reims, Musée des Beaux-Arts, photography Christian Devleeschauwer


    Jean-Baptiste Camille Corot, ‘Le lac, effet de nuit’, ca. 1869


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    Joan Reixach (1431-1482), Mary Magdalene, circa 1455-1465, Spain, Valencia. Oil on wood panel, 97 x 59 cm© Galerie Bernat

    Provenance: private collection, Stockholm

    Exhibition: National Museum of Stockholm 'Fem Sekler Fransk Konst', 1958.


    Juan de Borgoña and studio, Crucifixion with the Mass of Saint Gregory, circa 1530-1536, Toledo, first half of the 16th century. Oil on panel, 80 x 59 cm© Galerie Bernat

    Provenance: private collection, Madrid.


    Nazarene chest, 15th century, Spain, Granada. Built of wood with inlay decoration (fine wood and bone), 22 x 27 x 43.5 cm© Galerie Bernat

    This piece has the folding cover and inlaid decoration which is typical of wooden chests made in Grenadian workshops at the beginning of the 14th century. Following the Christian conquest of Granada in 1492, Mudejar artisans enabled the studios to continue production.

    Provenance: private collection, Madrid.

    Galerie Bernat at BRAFA, 27 Jan - 4 Feb 2018, Stand 41bComte de Salvatierra 2ES-08006 Barcelone. t +34 932 126 898 - m +34 658 905 604 - -

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    A Blue and White 'Seven Sages of the Bamboo Grove' Brushpot, Bitong, Qing dynasty, Kangxi period (1662-1722)

    Lot 135. A Blue and White 'Seven Sages of the Bamboo Grove' Brushpot, bitong, Qing dynasty, Kangxi period (1662-1722); 18.4cm., 7 1/4 in. Estimate 4,000 — 6,000 GBP. Lot sold 22,500 GBP. Photo: Sotheby's 2013.

    of cylindrical form, the exterior painted with seven scholars with attendants engaged in various literati pursuits including painting and playing the qin, all set in a fenced garden with bamboo.

    ProvenanceAn English Private Collection.

    Sotheby's. Fine Chinese Ceramics and Works of Art. London, 15 mai 2013

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    A blue and white 'Floral' jar and cover, Qing dynasty, Kangxi period (1662-1722)

    Lot 138. A blue and white 'Floral' jar and cover, Qing dynasty, Kangxi period (1662-1722); 56.5cm., 22 1/4 in. Estimate 4,000 — 6,000 GBP. Lot sold 5,250 GBP. Photo: Sotheby's 2013.

    the baluster body painted with three rows of petal-shaped floral panels, all reserved on diaper grounds interspersed with small cartouches enclosing the babao (Eight Treasures), the foot and the shoulder encircled with chevron bands, the neck with flowers issuing from rocks, mounted with a metal tap, the domed cover similarly decorated. Quantity: 2.

    Provenance: A Dutch Private Collection.

    Sotheby's. Fine Chinese Ceramics and Works of Art. London, 15 mai 2013

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    A blue and white ‘Xixiang ji’ jar, Qing dynasty, Kangxi period (1662-1722)

    Lot 143. A blue and white ‘Xixiang Ji’ jar, Qing dynasty, Kangxi period (1662-1722); 22cm., 8 5/8 in. Estimate 5,000 — 7,000 GBP. Lot sold 8,125 GBP. Photo: Sotheby's 2013.

    the compressed globular body rising from a tapered foot to a short waisted neck, painted to the exterior with two rectangular cartouches enclosing scenes from Xixiang Ji (Romance of the West Chamber), one with Yingying and Hongniang in a garden listening to Zhang Sheng playing the qin outside the walls, the other with four ladies in a fenced garden, inscribed at the base with an apocryphal Chenghua mark within a double-circle.

    Provenance: An English Private Collection.

    Sotheby's. Fine Chinese Ceramics and Works of Art. London, 15 mai 2013

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    Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette), ‘La femme au perroquet’, 1952. Gouache on paper, 63 x 48 cm. Monogrammed lower right© Boon Gallery

    Certificate of authenticity issued by Nadia Léger, Biot, 1972 

    Provenance: private collection, France.


    Pablo Atchugarry (Montevideo, 1954), White Composition, 2017. White carrara marble, 132.5 x 43 x 25.5 cm. Signed on the base. Unique work

    Certificate of authenticity provided by Pablo Atchugarry

    Provenance: acquired directly from the artist.


    René Magritte (Lessines 1898-1967 Brussels), ‘L'Oracle’, circa 1931. Oil on canvas, 60 x 92 cm. Signed lower right. © Ch. Herscovici – SABAM Belgium 2018

    Provenance: private collection, Belgium; Isy Brachot Gallery, Brussels.

    Literature: D. Sylvester, ‘René Magritte, catalogue raisonné, oil paintings, 1916-1930’, Vol I, Antwerp, 1992, ill. n° 335; The Surrealist Art Centre, ‘Surrealist Masters 1974’, London, Acoris, 1974, ill. p. 87.

    Exhibitions: Palais des Beaux-Arts, Brussels, 1931, n° 50; Boétie Gallery, Brussels, 1945, n° 69; Obelisk Gallery, London, 1961, n° 12; ‘Belgians: Barbarians & Poets’, Museum of Contemporary Art of Rome, Rome, 2015; ‘Masters of Art: Hommage à Magritte’, Boon Gallery, Knokke, 2017.

    Boon Gallery at BRAFA, 27 Jan - 4 Feb 2018, Stand 78cKustlaan 197BE-8300 Knokke-Zoute. m +32 (0)475 45 49 63 - -

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    Necklace. Gold, platinum and diamond, France, circa 1950© Bernard Bouisset


    Pair of ear pendants by Chaumet, French jeweller in Paris since 1780. Sapphires, diamonds, platinum and white gold, circa 1950Certificate stating Burma as the origin of one sapphire and Ceylon for the other. No indication of treatment© Bernard Bouisset


    Twisted necklace. Platinum, diamonds and sapphires. Articulated twist of nine ‘flamme’ design diamonds alternating with oval sapphires of the same design. France, circa 1960. Weight of diamonds: 50 carats. Weight of sapphires: 100 carats© Bernard Bouisset

    Bernard Bouisset at BRAFA, 27 Jan - 4 Feb 2018, Stand 35b20 Rue du 4 SeptembreFR-34500 Béziers. t +33 (0)4 67 28 71 86 - m +33 (0)6 07 10 28 81 - -