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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 Platinum, 18 Karat Gold, Diamond and Mystery-Set Ruby Bird Brooch, Van Cleef & Arpels, France, 1948

    Lot 883. A Platinum, 18 Karat Gold, Diamond and Mystery-Set Ruby Bird Brooch, Van Cleef & Arpels, France, 1948. Estimate 30,000 – 40,000 USD. Lot sold 206,500 USD. Photo: Sotheby's 2012

    the bird perched on a gold branch, set with round and baguette diamonds weighing approximately 7.80 carats, the body mystery-set with calibré-cut rubies weighing approximately 10.50 carats, further accented with round and marquise-shaped rubies, signed Van Cleef & Arpels, numbered 59500, French assay marks.

    Sotheby's. Property from the Estate of Brooke Astor. New York, 24 sept. 2012

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    An iron-red ground famille-verte rouleau vase, Qing dynasty, Kangxi period (1662-1722)

    Lot 337. An iron-red ground famille-verte rouleau vase, Qing dynasty, Kangxi period (1662-1722). Height 18 1/8  in., 46 cm. Estimate 20,000 — 30,000 USD. © Sotheby's

    the cylindrical body well painted with decorative panels reserved against a scrolling chrysanthemum iron red ground, a large rectangular panel with a katydid delicately poised on a flower bud issuing from a floral bower emerging from rockwork, the other large panel with a similar profusion of flowering and fruiting branches suspended from rockwork with a bird perched on a twig, its mate preparing to alight on another branch above, divided by a pomegranate-shaped panel enclosing 'insects and flora' and a leaf-shaped panel enclosing 'fish and waterweeds', all between ruyi head and lappet borders, the shoulder with 'butterfly and prunus' reserved against a green floral ground, the neck with four phoenix roundels between decorative bands, coll. no. 1394.

    The Jie Rui Tang Collection.

    Provenance: Ralph M. Chait Galleries, New York.

    Note: This finely painted vase belongs to rare group of iron-red or green ground cylindrical forms similarly painted with specific bird and flowers with auspicious meaning.

    Similar examples include one from the Salting Collection in the Victoria and Albert Museum, London illustrated in R. L. Hobson, Chinese Pottery and Porcelain, vol. II, London, 1915, pl. 103, one from the Walters Collection is illustrated in Stephen Bushell, Oriental Ceramic Art, New York, 1980, pl. XVII, another from the collection of Frederick J. and Antoinette H. van Slyke was sold in these rooms, 31st May 1989, lot 94. See also a related fish bowl featuring the same palette and decoration, from the Palace Museum, Beijing illustrated in Kangxi, Yongzheng, Qianlong, Kong Kong, 1989, pl. 40.

    Famille Verte Vase, Qing dynasty, Kangxi period, 1680-1722

    Famille Verte Vase, Qing dynasty, Kangxi period, 1680-1722. Porcelain painted in enamel colours. Height: 45 cm. Salting bequest, C.1237-1910. © Victoria and Albert Museum, London 2017. 

    Famille Verte Vase, Qing dynasty, Kangxi period, 1700-1725

    Famille Verte Vase, Qing dynasty, Kangxi period, 1700-1725. Porcelain with overglaze enamels, 181 1/2 in. (461 cm). Acquired by William T. Walters, Walters Art Museum, 1931, by bequest, 49.2355 © Walters Art Museum

    Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM

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    An unusual large 'verte-imari''rouleau' vase, Qing dynasty, Kangxi period, circa 1720




    Lot 103. An unusual large 'Verte-Imari''rouleau' vase, Qing dynasty, Kangxi period, circa 1720; height 26 3/4 in., 68 cm. Estimate 30,000 — 50,000 USDLot Sold  158,500 USD. photo Sotheby's 2011.

    of similar form to the preceding three lots, finely painted with children gamboling around three men and women on a terrace furnished with a table strewn with vases, censers and other objects and a bird cage suspended from a prunus tree, a lady seated on a cloth-covered stool to one side holding a very young child, all between cell-diaper bands at the foot and shoulder, the neck with a group of four young children entertained by an older boy with a puppet.

    ProvenanceProperty of a New York Private Collector.
    Parke-Bernet Galleries, Inc., New York, 4th November 1965, lot 98.

    Sotheby's. Informing the Eye of the Collector: Chinese Ceramics and Works of Art from J.T. Tai & Co. 22 Mar 11. New York

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    A fine blue and white vase (meiping), Ming dynasty, 15th century

    A fine blue and white vase (meiping), Ming dynasty, 15th century

    A fine blue and white vase (meiping), Ming dynasty, 15th century

    A fine blue and white vase (meiping), Ming dynasty, 15th century


    Lot 90. A fine blue and white vase (meiping), Ming dynasty, 15th century; height 12 1/8 in., 30.8 cm. Estimate 30,000—50,000 USD. Lot Sold 362,500 USD. photo Sotheby's 2011

    well potted with high rounded shoulders surmounted by a short waisted neck with cupped rim, painted around the body in tones of deep cobalt-blue with the 'Three Friends of Winter', pine, prunus and bamboo, all between double-line borders, the base encircled by a band of upright overlapping lotus leaves, the shoulders collared by a band of lappets, the base unglazed.

    Note: It is unusual to find a meiping of this period decorated with the 'Three Friends of Winter". More commonly, meiping are decorated with figural or floral compositions. The "Three Friends of Winter" are comprised of bamboo whose characteristic pliancy can withstand strong winds without breaking; the pine tree, green throughout the year and famous for its longevity and strength and the prunus which blossoms early in the spring and lives longest of the flowering fruit trees. The three plants in combination symbolize the ideal person and relationship with flexibility, strength, resilience, productivity and longevity.

    Sotheby's. Informing the Eye of the Collector: Chinese Ceramics and Works of Art from J.T. Tai & Co. 22 Mar 11. New York 

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    Kendi, 15th century, Ming Dynasty, Jingdezhen, Jiangxi Province, China. Underglaze blue decorated porcelain, silver mounts, 17.2 x 21.0 x 9.5 cm. Found in Bukittinggi, West Sumatra, Indonesia. National Museum of Indonesia, Jakarta.

    The elegant shape of this pouring vessel imitates the bronze water containers of Persia and Mughal India. The Indian metal versions originally derived from animal hide drinking flasks that reflected the nomadic Central Asian heritage of the Mughals.

    In the context of its ceremonial use in Islamic West Sumatran society, the crescent moon form of this kendi would have had great symbolic appeal.

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    Kendi, 16–17th century, Ming Dynasty

    Kendi, 16–17th century, Ming Dynasty, Zhangzhou, Fujian province, China. Underglaze blue porcelain, 18.5 x 18.0 cm. Tound in Southeast Asia. Collection of the Asian Art Civilisations Museum Collection, Singapore.

    Kendi are pouring vessels found in many parts of Southeast Asia. The neck of this kendi, which was made in China for export to the Muslim world, is encircled by a band of script replicating Arabic calligraphy. The vessel also features a number of Buddhist symbols including the lotus and conch shell. Widely admired and traded, Chinese blue and white ceramics were a source of inspiration for potters across the wider Asian region. 

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  • 03/18/18--03:16: Comment chercher
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    "Rentrant fort tard de la maison de thé, Nasr Eddin laisse tomber, devant le seuil de chez lui, l’anneau qu’il porte au doigt.
    Aussitôt l’ami qui l’accompagne s’accroupit pour chercher à tâtons. Nasr Eddin, lui, retourne au milieu de la rue, qu’éclaire un splendide clair de lune.

    - Que vas-tu faire là-bas, Nasr Eddin ? C’est ici que ta bague est tombée !

    - Fais à ta guise, répond le Hodja. Moi, je préfère chercher où il y a de la lumière."

    Extrait de "Sublimes paroles et idioties de Nasr Eddin Hodja. Tout Nasr Eddin, ou presque". Paroles recueillies et présentées par Jean-Louis Maunoury. Éditions Phébus, collection "Libretto", 2002. © Editions Phébus

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    Kendi, 15th century, Ayutthya Kingdom (1350-1767), Sawankalok, Thailand

    Kendi, 15th century, Ayutthya Kingdom (1350-1767), Sawankalok, Thailand. stoneware, underglaze iron decoration, 13.5 x 14.5 cm. Found in Southeast Asia© Museum of Asian Art, University of Malaya, Kuala Lumpur

    The typical Southeast Asian pouring vessel, kendi, is spherical in shape with one or more rounded spouts. Kendi were produced and traded throughout Southeast Asia, as well as imported from China. This kendi was made in Thailand, probably for export to Indonesia. Although the vessel was made in the 15th century, the silver surrounding its neck and mouth appears to have been added over 100 years later. The practice of modifying and embellishing ceramics in this way reflects a tradition found in many parts of the Islamic world.

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    Kendi, 17th century, Qing Dynasty

    Kendi, 17th century, Qing Dynasty, Jingdezhen, Jiangxi Provence, China. Underglaze blue decorated porcelain, silver mounts; 17.2 x 21.0 x 9.5 cm; found in Bukittingi, West Sumatra, Indonesia © Art Gallery of South Australia, Adelaide

    With its tall neck and full body, the style of this pouring vessel was informed by the shape of Middle Eastern and South Asian metal ewers. Its floral decoration may have been inspired by a type of ornamentation fashionable in Iran at the time of its production.

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    Exhibition view Lombardo / Gonzalez-Torres. Tullio Lombardo, Young couple (formerly: Bacchus and Ariadne), around 1505/10, stone, marble, traces of painting (Kunsthistorisches Museum Wien, Kunstkammer© KHM Museum Association) & Felix Gonzalez-Torres, Untitled (Perfect Lovers), 1987- 1990, Wall Clocks, Edition of 3, 1 AP (© The Felix Gonzalez-Torres Foundation, Courtesy of Andrea Rosen Gallery, New York)

    VIENNA.- The Kunsthistorisches Museum is presenting the exhibition The Shape of Time. Following monographic exhibitions of Lucian Freud and Joseph Cornell, and collection presentations curated by Ed Ruscha and Edmund de Waal, this is the first group exhibition conceived as part of the museum’s Modern and Contemporary programme. 

    The collections of the Kunsthistorisches Museum represent some 5,000 years of human creativity from Ancient Egypt through to European painting around 1800. The Shape of Time presents a group of remarkable art works dating from 1800 to the present day, as stepping stones to lead visitors from the point at which the museum's own collections end to the point at which we find ourselves today. Among them are major works by artists such as J.M.W. Turner, Claude Cahun, Mark Rothko, Maria Lassnig, Eleanor Antin, Steve McQueen, Catherine Opie and Peter Doig. Borrowed from some of the most important museums and private collections across the world, they have been carefully placed within the rooms of our Picture Gallery in active dialogue with our own historical objects and artists. Visitors are invited to look simultaneously backwards and forwards between objects made hundreds of years apart, either of which has the potential to alter our experience of the other. 


    Exhibition view Titian / Turner. Tiziano Vecellio, Nymph and shepherd, c. 1570/75, Kunsthistorisches Museum Vienna, picture gallery © KHM Museum Association & , Stormy Sea, c. 1840/45, Tate: Accepted by the nation as part of the Turner Bequest 1856 © Tate, London 2017

    The modern works do not attempt to tell the history of art of the last two hundred years, but rather to tune in to the conversations that have taken place across the centuries, and to become part of those conversations themselves. Taking the museum's own collections as the point of departure, the curators have forged a series of encounters between old and new to suggest continuities throughout the history of art. In the spirit of George Kubler’s groundbreaking 1962 book The Shape of Time, they seek to reveal the flow of time and space and the evolution of ideas and images across centuries and cultures, to suggest a view of art history as a reservoir of ideas drawn from repeatedly over time. 

    The exhibition begins, chronologically speaking, with Turner’s painting from 1842, and ends with an important new work made specially for the exhibition by the acclaimed American artist Kerry James Marshall in response to Tintoretto. Conceptually speaking, however, its starting point lies elsewhere, in the landmark 1989 exhibition of furniture objects by Franz West in our Picture Gallery. The first ever exhibition of a living artist in the museum, it set in motion a programme that is continuing today. In recreating one specific situation from this exhibition for The Shape of Time, the museum retraces its own institutional history, an investigation developed further with the inclusion of major works by Lucian Freud and Ron Mueck. At the same time, the exhibition provides us with a roadmap for the future: to the work of Mark Rothko, that the museum will present in the form of a major survey exhihition in 2019, and to other artists whose work might one day be shown in greater depth within the museum. The exhibition also seeks to acknowledge important developments in art since the time that the museum’s collection was formed, through the presentation of modern media such as photography, film and installation, the participation of radical female artists, and the presence of artists from beyond the European continent.  

    Preview_Shape_of_Time_201802_08 (1)

    Exhibition View Tintoretto / Marshall. Jacopo Robusti, gen. Tintoretto, Susanna in the Bath, c. 1555/56, Kunsthistorisches Museum Vienna, Picture Gallery © KHM-Museumsverband & Kerry James Marshall, Untiteld, 2018 © Courtesy of Artists and David Zwirner, London.

    The architecture of the exhibition – for which low stages have been placed beneath the works as an invitation to the visitor to participate, and to activate the dialogues through their own observation of the art works and comparison of them – owes something to the approach of West’s 1989 exhibition in the same galleries. That exhibition’s explanatory text is as relevant today as it was then: “That contemporary art has for the first time made an inroad into this richly traditional institution is due, among other reasons, to the fact that Franz West’s objects on exhibit here counteract the rash and smooth enjoyment of art with bitter irony... The user must leave behind the convention of dwelling passively while regarding art, leave behind a strict separation of the viewing subject and the object to be admired and enter as an actor into the work of art which has thus become a tableau vivant.” 

    The works have been lent by museums across the world – including Tate, London, The Metropolitan Museum of Art, New York, the Musée Picasso, Paris, the Art Institute of Chicago, The British Museum, London, the Musée d’Orsay, Paris, and the Wadsworth Atheneum, Connecticut – in addition to important private collections. 

    The exhibition has been curated by Jasper Sharp, and will be accompanied by a series of artist talks featuring Catherine Opie, Fiona Tan, Kerry James Marshall and Steve McQueen. Catalogue texts have been written by Jennifer Higgie, Ben Street, Jasper Sharp and Anja Heitzer.


    Exhibition view Manet / Velázquez. Édouard Manet, Boy with sword, 1861, The Metropolitan Museum of Art, New York © The Metropolitan Museum of Art, New YorkDiego Rodríguez de Silva y Velázquez, Infant Philipp Prosper, 1659, Kunsthistorisches Museum Vienna, Picture Gallery © KHM Museum Association.


    Exhibition view Rembrandt / Rothko. Rembrandt Harmensz. van Rijn, Great Self-Portrait, 1652, Kunsthistorisches Museum Vienna, Picture Gallery © KHM-Museum Association & Mark Rothko, Untiteld, 1959/60, The Collections of Christopher Rothko @ 2016 by Kate Rothko Prizel and Christopher Rothko


    Rubens / Lassnig Exhibition View. Peter Paul Rubens, Helena Fourment ("The Pelzchen"), c. 1636/38, Kunsthistorisches Museum Vienna, Picture Gallery© KHM Museum Association & Maria Lassnig, Iris Standing, 1972/73 © Maria Lassnig Stiftung, Vienna


    Exhibition view of Antiquity / Antin. Torso: Nude Aphrodite (Type Medici), 1st or 2nd century AD, Roman copy of the Greek original, around 300 BC. Vienna, Kunsthistorisches Museum Vienna, Collection of Antiquities © KHM-Museumsverband & Eleanor Antin, Carving: A Traditional Sculpture, 1972, 148. Courtesy of the Art Institute of Chicago, Twentieth Century Discretionary.


    Exhibition View West / Caravaggio. Michelangelo Merisi da Caravaggio, Rosary Madonna, around 1601, Kunsthistorisches Museum Vienna, Picture Gallery © KHM-Museumsverband & Franz West, Chaise Longue (Caravaggio), 1989, Private Collection, ViennaFranz West, Chaise Longue (Caravaggio), 1989, Musée d ' Art, Toulon (France) © Archive Franz West


    Exhibition view Santvoort / Opie. Dirck Dircksz. Santvoort, Casanova del Monte Turris, Mayor of Prague, 1639Dirck Dircksz. Santvoort, Anna Heinz von Jaden, wife of Casanova del Monte Turris, 1639, Kunsthistorisches Museum Vienna, picture gallery © KHM-Museumsverband & Catherine Opie, Kayla with her young son Owen, 2017Catherine Opie, Joanathan Franzen, 2012Catherine Opie, self portrait, 2017 © Courtesy the artist and Thomas Dane Gallery, London.


    Exhibition view Bruegel / Doig. Peter Doig, Two Trees, 2017 © The Artist. Courtesy Michael Werner Gallery, New York and London & Pieter Bruegel the Elder, Hunters in the Snow (Winter), dated 1565, Kunsthistorisches Museum Wien, Gemäldegalerie © KHM-Museumsverband


    Exhibition view. Peter Doig, Two Trees, 2017 © The Artist. Courtesy Michael Werner Gallery, New York and London