Lot 1512. A carved Qingbai 'Peony' foliate bowl, Southern Song dynasty (1127-1279); 20.5 cm. wide. Estimate HKD 100,000 - 120,000 (USD 12,800 - 15,400). Lot sold HKD 212,400. © 2019 China Guardian (HK) Auctions Co., Ltd.
Provenance: J.J. Lally & Co., New York
A Spanish private collection, Madrid, acquired from J.J. Lally & Co. on 23 June 1990 (invoice).
China Guardian. 2019 Spring Auctions. Ancient Chinese Ceramics from the Tang to the Song Dynasty
Lot 1513. A finely moulded Qingbai dish, Yuan dynasty (1271-1368); 15.5 cm. wide. Estimate HKD 78,000 - 100,000 (USD 10,000 - 12,800). Lot sold HKD 94,400. © 2019 China Guardian (HK) Auctions Co., Ltd.
Provenance: A Hong Kong private family collection, acquired prior to 2000
Sotheby’s Hong Kong, 30 November 2017, lot 542
Littleton & Hennessy Asian Art, Lond.
Exhibited: TEFAF New York Fall, 27-31 October 2018 at Park Avenue Armory, New York, United States, no.1130
Asian Art in London, 1-9 November 2018 at London Gallery, London, United Kingdom, no.1130.
China Guardian. 2019 Spring Auctions. Ancient Chinese Ceramics from the Tang to the Song Dynasty
Lot 150. A European gold bracelet, Late Bronze Age, circa 1390-1000 B.C.; 3 7/8 in. (9.7 cm.) wide; Weight: 1.32 lbs. (599 grams). Estimate: US$400,000 - US$600,000. © Christie's Images Ltd 2019.
Christie's . Antiquities, New York, 29 April 2019
Lot 151. A Greek gold lion head pendant, Classical period, circa 5th-4th century B.C.; ¾ in. (2 cm.) high. Estimate: US$70,000 - US$90,000. © Christie's Images Ltd 2019.
Christie's . Antiquities, New York, 29 April 2019
Lot 152. A pair of Roman gold bracelets, cica 3rd century A.D.; Each: 3 in. (7.7 cm.) width; weight: 206 and 210 grams respectively. Estimate: US$40,000 - US$60,000. © Christie's Images Ltd 2019.
Christie's . Antiquities, New York, 29 April 2019
Lot 153. A Byzantine gold and pearl finger ring, circa 7th century A.D.; 1.½ in. (3.8 cm.) high; ring size 10. Estimate: US$25,000 - US$35,000. © Christie's Images Ltd 2019.
Christie's . Antiquities, New York, 29 April 2019
The sitting room of Titi von Fürstenberg’s home, featuring Picasso’s La Lettre (La Réponse), painted on 16 April 1923, hanging above the fireplace. © 2019 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
NEW YORK, NY.- On May 13, Christie’s will present a dedicated selection of 11 works from A Family Vision: The Collection of H.S.H. Princess “Titi” von Fürstenberg in its Evening Sale of Impressionist and Modern Art. Incorporating a sweeping representation of 20th Century Art, the collection encompasses more than 30 works ranges from Pablo Picasso to Mark Rothko and Andre Derain to Lucio Fontana. Further works will be offered in the Day Sale of Impressionist and Modern Art on May 14, the Morning Sale of Post-War and Contemporary Art on May 16, and in a Paris sale of African Art in October 2019. The personal collection of H.S.H. Princess “Titi” von Fürstenberg reflects her international worldview and passion for culture. During her lifetime, she acquired numerous important examples by some of the greatest names in art history. It was a collection founded not only on Titi’s astute connoisseurship, but her expansive curiosity. Nearly a dozen years after Titi’s death in 2006, the collection serves as a reminder of her tremendous generosity of spirit and an inspiration to future generations of aesthetics and philanthropists.
Adrien Meyer, Co-Chairman, Impressionist and Modern Art, remarked: “HSH Princess“Titi” von Fürstenberg was a passionate collector of the “contemporary art” of her time. Her collection was tirelessly put together with great flair in the 1950’s and ranged from a monumental Rothko to a rare 1956 Dubuffet collage painting, from Ernst to Fontana. It was anchored by a magnificent neoclassical Picasso portrait of Olga (La Lettre (La Reponse)), which had been acquired by her mother Sarah “Sadie” Campbell in 1943 directly from Paul Rosenberg. This collection will appear on the market for the first time as a highlight of the Spring sales allowing Christie’s to pay tribute to Princess Fürstenberg’s remarkable eye.”
H.S.H. Princess Cecil Amelia ‘Titi’ von Fürstenberg née Blaffer.
A distinguished member of the international beau monde, Princess Cecil Amelia von Fürstenberg personified the lively spirit of her native Texas with an effortless continental flair. Across her nearly ninety years, “Titi,” as she was called, was celebrated for her signature charm, élan, and unwavering commitment to furthering her family’s distinguished record of collecting and philanthropy. Cecil Amelia Blaffer was born in Houston in 1919, the descendent of two of Texas’s most prominent families. Titi’s father, Robert Lee Blaffer, was a founder of Humble Oil, which is now Exxon Mobile; her maternal grandfather, William Thomas Campbell, was among the founders of The Texas Company known today as Texaco. The Blaffer family’s philanthropic and cultural efforts made a lasting impact across the state of Texas. Titi’s mother, Sarah “Sadie” Campbell, was one of the state’s most ardent supporters of the arts and a noted connoisseur. Following her marriage to R.L. Blaffer, Sadie devoted much of her energies to building an extensive private collection of Old Master, Impressionist and Modern pictures—a passion that she passed on to her daughter.
In 1975, Titi married Prince Tassilo von Fürstenberg. At the von Fürstenberg’s residences in Europe, the Bahamas and the United States, Titi earned a reputation as a consummate hostess. She was especially dedicated to philanthropy, providing significant financial donations and personal leadership to institutions including the Houston Symphony Orchestra; the Houston Grand Opera; the Wagner Opera Festival in Bayreuth, Germany; the American Cathedral in Paris and St. Martin’s Episcopal Church in Houston, among many others. Titi both preserved and expanded her family’s notable history of philanthropy, folding her own charitable foundation into her mother’s Sarah Campbell Blaffer Foundation, where she served as a trustee for nearly four decades.
Titi’s personal collection reflects her international worldview and passion for culture. During her lifetime, she acquired numerous important examples by some of the greatest names in art history, including Pablo Picasso, Mark Rothko, Fernand Léger, Lucio Fontana, and Pierre-Auguste Renoir. It was a collection founded not only on Titi’s astute connoisseurship, but her expansive curiosity with works from Europe, America, India, and Africa. Nearly a dozen years after Titi’s death in 2006, the collection serves as a reminder of her tremendous generosity of spirit and an inspiration to future generations of aesthetics and philanthropists.
Pablo Picasso (1881-1973), La Lettre (La Réponse), painted on 16 April 1923. Oil on canvas. 39½ x 31⅞ in (100.3 x 81 cm).Estimate upon request. © Christie's Images Ltd 2019 © 2019 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
Leading the sale is Pablo Picasso’s Le Lettre (La Réponse), 1923 (estimate upon request), one of a trio of portraits of his wife, the Russian-born ballerina Olga Khokhlova, which was completed in the early months of 1923.
Picasso and Olga had first met in Rome in February 1917 — she was rehearsing for Serge Diaghilev’s premiere production of the ballet Parade; he was designing costumes and the set for the production. They married the following year and took an apartment in Paris on the fashionable rue la Boétie.
Thereafter, Olga assumed a variety of guises in her husband’s art. Often, he transformed her into a Greco-Roman goddess, her body and features exaggerated to mythological proportions; elsewhere, she is portrayed as an Italianate Madonna, a Spanish matron in a lace mantilla, or most tenderly, a new mother, in scenes inspired by the birth of their sole child — a son, Paulo — in 1921.
In La Lettre (La Réponse) Olga has paused in a moment of reverie, pen in hand and inkwell before her on the desk; her private thoughts are a mystery to us, and probably to Picasso as well, but she shares them here with some unknown confidante. The tactile sensuality of her blue dress contrasts with her ethereal beauty and distant, dignified mien, which seems to mask an inner sadness.
By the time Picasso painted La Lettre (La Réponse), intimations of unease had become evident in their relationship. The change in Picasso’s attitude toward his wife is reflected in his portraits from this period, where Olga is not an object of heated erotic desire, but rather of coolly detached pride and admiration — tinged, in La Lettre (La Réponse), with a certain nostalgic tenderness.
This canvas was one of 16 pictures by Picasso to feature in a landmark exhibition in New York and Chicago—the artist’s first solo showing in America—during the winter of 1923-1924. The impresario of the exhibition was the dealer Paul Rosenberg, who had represented Picasso since 1918.
André Derain (1880-1954), Les voiles rouges, 1906. Oil on canvas. 30 x 39½ in (81.3 x 100.2 cm). Estimate: $4,000,000-6,000,000. © Christie's Images Ltd 2019 © 2019 Artists Rights Society (ARS), New York / ADAGP, Paris.
Also highlighting the selection is Andre Derain’s Les Voiles Rouges, 1906. In the spring of 1906, André Derain embarked on an important painting campaign to London, the results were a radical reimagining of the cityscape, a unique series of paintings filled with bold passages of bright, saturated colour that transformed the familiar landmarks of the English capital into Fauvist visions. The portion of the river Themes illustrated in Les Voiles Rouges is featured in just one other London composition, the atmospheric Effets de soleil sur l’eau, in which the shimmering, dancing play of light on the river is captured in a dazzling mosaic of vibrant greens and golds. Considered together, both Les Voiles Rouges and Effets de soleil sur l’eau represent a clear departure from the bustling atmosphere of Derain’s paintings of the river as it winds its way through the city. Executed in thick layers of wide, slab-like touches of colour, Les Voiles Rouges reflects the bold experimental approach of Derain’s technique during this period, in which, Derain shunned the extreme rigour and analytical precision of the Neo-Impressionist’s pointillism in favour of a more intuitive brushstroke.
Emil Nolde (1857-1956), Herbstmeer XVII, 1911. Oil on canvas. 29 x 34⅝ in (73.6 x 89.9 cm). Estimate: $1,800,000-2,500,000. © Christie's Images Ltd 2019 © Nolde Stiftung Seebüll.
Emil Nolde’s Herbstmeer XVII is part of a sequence of 20 seascapes — Herbstmeer I-XIX, plus one unnumbered example — that he painted on the island of Als during two consecutive autumn campaigns in 1910 and 1911. Eight of these are now in museum collections, five have been lost or destroyed, and seven remain in private hands.
For Nolde, the eternal proximity of the ocean, in all its elemental and indomitable force, held a mystical, almost pantheistic significance. Working from a wooden hut that he erected directly on the beach, with an unobstructed view over the churning ocean, the artist came as close as he ever would in this series to non-representational art.
Mark Rothko (1903-1970), No. 16/No. 12 (Mauve Intersection), 1949. Oil on canvas, 58 x 64 in (148.6 x 163.8 cm). Estimate: $2,000,000-3,000,000. © Christie's Images Ltd 2019 © 2019 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York.
Also offered from The Collection of H.S.H. Princess ‘Titi’ von Fürstenberg is Mark Rothko’s No.16/No.12 (Mauve Intersection), an early example of the enigmatic and colourful floating planes of colour that would come to distinguish the artist’s entire oeuvre.
One of the most accomplished of his ‘Multiforms’, this evocative painting marks the moment when Rothko finally began to relinquish the figurative paintings that had proliferated during the early part of his career, and condense the enigmatic shapes into forms that would become his main and enduring artistic expression.
Before being acquired by Titi von Fürstenberg, No.16/No.12 (Mauve Intersection) was part of the internationally important collection of Rothko’s paintings at The Phillips Collection, Washington, D.C., for more than a decade between 1957 and 1971.
Max Ernst (1891-1976), A la nage, 1950. Oil on canvas. 28 x 36 in (71.1 x 92.1 cm). Estimate: $700,000-1,000,000. © Christie's Images Ltd 2019 © 2019 Artists Rights Society (ARS), New York / ADAGP, Paris.
The work of another of the 20th century’s great art theorists is represented by A la nage by Max Ernst, painted in 1950 — the year in which the artist first returned to Paris after spending the war years in the United States.
Divided into three distinct, horizontal planes, the composition is immediately reminiscent of a landscape. In the upper third of the painting, the gently undulating forms appear like the mountains near the remote town of Sedona, Arizona, where Ernst and his wife Dorothea Tanning had been living since 1946. A verdant green plane, filled with the fantastical patterns created with Ernst’s decalcomania technique, serves as the central register of the canvas, while the terracotta-coloured lower section could read as the space below the earth’s surface.
A single, strange, flattened anthropomorphic figure presides over this otherworldly scene. Most likely the ‘swimmer’ of the title, this form recalls Ernst’s abiding interest in the theme of swimming that had existed throughout his career.
Jean (Hans) Arp (1886-1966), Entitée ailée, conceived in 1961. Polished black granite. Height: 39¼ in (101 cm). Estimate: $1,800,000-2,500,000. © Christie's Images Ltd 2019 © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
Just over a decade after Ernst painted A la nage, Jean Arp — who together with Ernst and Alfred Grünwald had established the Cologne Dada group in 1920 — conceived of Entitée ailée. The undulating form, entirely smooth and restricted to essential features only, was carved from black granite in 1963, and acquired by Titi von Fürstenberg three years later.
Anchored in a taut, rounded mass that evokes the hips of a feminine torso or the bulb of a flowering plant, the sculpture tapers sensuously at mid-section before swelling outward once again. The flowing contours terminate at the top in two burgeoning buds that paraphrase the shape of a head and a raised shoulder — or lifted wing.
Lot 194. A diamond and 34.59 carats Sri Lankan sapphire transformable necklace, by Grassy, circa 1935. Estimate £ 120,000 - 180,000(€ 140,000 - 210,000). © Bonhams 2001-2019
Accompanied by a report from AGL stating that the sapphire is of Sri Lankan origin, with no evidence of heat or clarity enhancement. Report number 1100283, dated 4 April 2019.
Note: The necklace may be worn in a variety of ways: the sapphire detaches and may be worn as a ring; the entire central plaque of the necklace may be detached and worn as a clip; the plaque clasp detaches and may be worn as a clip and the plaque clasp may also be worn in the centre of the necklace. This lot is also accompanied by numerous design drawings by Grassy showing the permutations.
The Biarritz store in 1929. © Grassy
Bonhams. LONDON JEWELS, 30 Apr 2019, 13:00 BST - LONDON, NEW BOND STREET
Lot 196. A 17.43 carats Kashmir sapphire and diamond ring. Estimate £ 300,000 - 400,000 (€ 350,000 - 460,000). © Bonhams 2001-2019
Accompanied by a report from SSEF. For further details please contact the Jewellery Department.
Accompanied by a report from AGL stating that the sapphire is of Kashmir origin, with no evidence of heat or clarity enhancement. Report number 1099717, dated 19 March 2019.
Provenance: Property of a European Noble Family.
Note: Sapphires hailing from Kashmir display a vivid velvety blue hue that is unique to the region. They are among the most highly-prized gems due to their rarity and their scarcity; while there are still superfine sapphires to be found in Burma and Sri Lanka, no mining activity has taken place in Kashmir for many decades and the mine that yielded the finest specimens was largely exhausted by 1887, after only six years of production.
Kashmir sapphires were first discovered in the late 1870s/early1880s high up in the snow-clad Great Himalayas of north-western India where a landslide revealed hitherto unknown deposits in a rock valley 4500m above sea level. By 1882 the Maharaja of Kashmir had taken control of the mine that could only be worked from July-September each year due to the high altitude and near perpetual heavy snowfall. Because of its remote location mining techniques were always primitive. This first mine, known as the Old Mine, was a series of shallow pits sunk into the rock, which issued huge and abundant specimens. By 1887 the Old Mine was nearly exhausted and a New Mine, on the valley floor 250m below, gave up some fine sapphires but they were generally of lesser quality, size and quantity. The area was worked sporadically until the late 1920s/early 1930s but the glory years of the 1880s were never repeated.
Today, Kashmir sapphires set the standard against which all other sapphires are measured and are avidly sought by collectors who are prepared to pay princely sums for top-quality specimens from this extraordinary period in the history of gemmology.
Lot 193. A F colour, VVS1 clarity 9.07 carats Type IIa diamond single-stone ring. Estimate £ 250,000 - 350,000 (€ 290,000 - 410,000). © Bonhams 2001-2019
Accompanied by a report from GIA stating that the diamond weighing 9.07 carats is F colour, VVS1 clarity (potential). Report number 12156161, dated 14 February 2019.
Accompanied by a GIA type classification letter stating that the diamond is Type IIa, dated 14 February 2019.
Accompanied by a report from GIA stating that the diamond weighing 9.07 carats is F colour, Internally Flawless clarity. Report number 12156161, dated 9 March 2010.
Lot 195. A pair of diamond earrings, weighing 11.27 and 10.61 carats. Estimate £ 100,000 - 150,000 (€ 120,000 - 170,000). © Bonhams 2001-2019.
The old brilliant-cut diamonds, weighing 11.27 and 10.61 carats, each within a pinched collet setting.
Accompanied by a report from GIA stating that the diamond weighing 11.27 carats is O-P colour, VS2 clarity. Report number 2205146476, dated 18 March 2019.
Accompanied by a report from GIA stating that the diamond weighing 10.61 carats is U-V colour, SI1 clarity. Report number 6207146480, dated 18 March 2019.
Provenance: Property of a European Noble Family.
Bonhams. LONDON JEWELS, 30 Apr 2019, 13:00 BST - LONDON, NEW BOND STREET
Lot 192. An art deco sapphire and diamond bracelet, by Cartier, circa 1920. Estimate £ 40,000 - 60,000 (€ 46,000 - 70,000).© Bonhams 2001-2019.
The flexible strap of pierced honeycomb design millegrain-set with brilliant and single-cut diamonds, between bands of step-cut and calibré-cut sapphires, mounted in platinum, diamonds approximately 3.00 carats total, signed Cartier Paris, partially struck workshop mark for Charles Holl, rubbed number, French assay marks, length 17.9cm.
Lot 191. A 18.65 carats Sri Lankan sapphire and diamond ring, by Harry Winston. Estimate £ 60,000 - 80,000 (€ 70,000 - 93,000).© Bonhams 2001-2019.
Accompanied by a report from AGL stating that the sapphire is of Sri Lankan origin, with no evidence of heat or clarity enhancement. Report number 1099716, dated 19 March 2019.
Lot 169. Deux « seaux à topette » en porcelaine de Tournai de la fin du XVIIIe siècle, circa 1787-92, marques en creux, inscriptions en noir sur chacun des noms d’oiseaux representés, le premier avec grinpereau, des philip/pines, femelle du serin de Mozambique, piette-chou, de provence., grimpreau verd tach/tée de cayenne., le second avec le todier., todier de St. Domingue., pipit bleu., manakin à gorge/blanche. L.: 14 cm. (5 ½ in.). Estimate EUR 30,000 - EUR 50,000 (USD 33,896 - USD 56,493). © Christie's Images Ltd 2019.
De forme tonneau avec quatre cercles en relief, munis d’anses à enroulement, chaque registre à décor polychrome et or, oiseaux dans un paysage, de profils antiques en grisaille, et d’insectes polychromes dans des réserves or intercalées de motifs floraux stylisés or se détachant sur un fond bleu, filet or sur le bord, percés, petites usures à l’or.
Provenance: Service « en oiseaux de Buffon et or » du duc d’Orléans.
Note: Une autre paire de plus petit format a été vendue chez Christie’s, Paris, le 7 novembre 2012, lot 3.
Cette forme a été produite en quatre grandeurs : le seau à bouteille, le seau à topette, le seau à verre, et le seau à glace.
Le service du duc d'Orléans, Louis-Philippe-Egalité (1747- 1793).
Descendant direct de Monsieur, frère de Louis XIV, et donc cousin du roi Louis XVI, il épouse en 1769 Louise-Marie-Adélaïde de Bourbon-Penthièvre. Installéà Paris au Palais Royal, il reçoit d'une manière somptueuse lors de grands soupers les soirs d'opéra. C'est dans cette optique qu'il commande en 1787 à Tournai un service de 1593 pièces "en oiseaux de Buffon et or". Réalisé de 1787 à 1792, il lui est livré très peu de temps avant son décès en 1793. Criblé de dettes et n'ayant sans doute pas acquitté les factures du service, c'est probablement à ce moment-là que le service est dispersé et en partie acquis par Fogg, un marchand anglais qui revend 600 pièces au Prince de Galles (futur George IV) une dizaine d'années plus tard; ces pièces sont encore aujourd'hui conservées dans les collections royales au château de Windsor.
Le goût pour la porcelaine de Tournai du duc d'Orléans.
La manufacture de Tournai est fondée en 1750 par Francois-Joseph Peterinck. Dès 1751 elle bénéficie de la protection de l'impératrice Marie-Thérèse d'Autriche qui lui accorde l'exclusivité de la fabrication de la porcelaine dans les Pays Bas, et reçoit en 1752 le titre de manufacture impériale et royale. Dès son ouverture, elle produit des services de table et une grande variété de décors. En 1763, Peterinck engage Michel-Henri-Joseph Duvivier, peintre venant de Chelsea. Cette production de plus en plus somptueuse trouve son paroxysme dans le goût néoclassique et un engouement pour les sciences, notamment la botanique et l’ornithologie ; c'est véritablement le Siècle des Lumières. En homme de son temps, le duc d'Orléans commande un service au goût du jour. Ce programme est très ambitieux et illustre de nombreuses influences dans ses formes (Sèvres, Wedgwood, Meissen, Vienne). Celles-ci répondent aux quatre moments du repas : les potages, les entrées, les plats et les desserts. Une dernière partie est consacrée aux boissons chaudes que l'on sert dans les salons. La structure du décor et le décor lui-même sont quant à eux directement inspirés des productions de Sèvres notamment d'un service appelé"Lefébure". Le décor, composé de divers éléments, incorpore notamment des oiseaux inspirés des ouvrages de Buffon et de Seligmann que Joseph Mayer, directeur des peintres, avait pu consulter dans la bibliothèque de Tournai. Pour les pièces plus singulières que sont les jattes à punch et les seaux à glace, les insectes sont remplacés par des têtes à l'antique d'après des dessins de Jean-Ange Canini.
Pour une étude complète de ce service voir par Claire Dumortier et Patrick Habets, Porcelaine de Tournai, Le service d'Orléans, Bruxelles, 2004 ; et le catalogue d'exposition par Claire Dumortier, La table du prince : le service d'Orléans en porcelaine de Tournai, Musées Royaux d'art et d'histoire, Bruxelles, octobre 2004 - février 2005, et particulièrement les pages 142-146 pour une étude précise des pièces de cette forme.
Christie's. The Collector : Le Goût Français, Paris, 18 April 2019
Lot 55. Commode d'époque Louis XV, Estampille de Pierre Fléchy, Milieu du XVIIIe siècle. H.: 86,5 cm. (34 in.) ; L.: 145 cm. (57 in.) ; P.: 68 cm. (26 ¾ in.). Estimate EUR 20,000 - EUR 30,000 (USD 22,597 - USD 33,896). © Christie's Images Ltd 2019.
En vernis européen, ornementation de bronze ciselé et doré, le dessus de marbre brèche d'Alep, à décor d'une pagode et de personnages inscrits dans un paysage arboré, la façade ouvrant par deux tiroirs sans traverse, estampillée sur le montant arrière droit P.FLECHY et JME et deux fois sur le montant arrière gauche ; fentes et quelques manques à la laque.
Pierre Fléchy, reçu maître en 1756.
Provenance: Collection Colbert.
Note: Pierre Fléchy (1715-1769) travaille dans un premier temps comme artisan privilégié puis comme maitre ébéniste, rue du Faubourg Saint Antoine. Le décor le plus typique de sa production est la marqueterie de fleurs en bois clair sur fond de bois de violette, mais il reste influencé par la mode de l’Extrême-Orient et exécute quelques meubles en laque.
Christie's. The Collector : Le Goût Français, Paris, 18 April 2019
Lot 48. Cabinet d'époque baroque, Fin du XVIIe-Début du XVIIIe siècle, probablement Hollande. H. : 159 cm. (62 ½ in.) ; L.: 113 cm. (44 ½ in.) ; P.: 31 cm. (12 ¼ in.). Estimate EUR 25,000 - EUR 40,000 (USD 28,246 - USD 45,194). © Christie's Images Ltd 2019.
En placage d'ébène, de palissandre de Rio et de padouk, orné de gouaches figurant des paysages animés, ouvrant à seize tiroirs, les montants à l'imitation de lapis et de marbre, reposant sur des pieds en boule aplatie.
Christie's. The Collector : Le Goût Français, Paris, 18 April 2019
Lot 93. Retable d'époque baroque, Rome, milieu du XVIIe siècle. H.: 65 cm. ( 25 ½ in.) ; L.: 51 cm. (20 in.) ; P.: 13 cm. (5 ¼ in.). Estimate: €20,000 - €30,000. © Christie's Images Ltd 2019.
En placage d'ébène et de bocote, bronze argenté, filets d'étain et marqueterie de marbres et pierres dure telles que lapis lazuli et jaspe sanguin, centré d'une peinture représentant l'Assomption de la Vierge Marie, flanqué des allégories de la Charité et de la Justice, la base ouvrant à trois tiroirs, sur des patins.
Provenance: Palais napolitain.
Bibliographie comparative: A. Gonzalez-Palacios, Il Gusto dei Principi, Milan, 1993, pp. 364-365.
Christie's. The Collector : Le Goût Français, Paris, 18 April 2019
Lot 94. Paire de capezzale d'époque baroque, Trapani, fin du XVIIe siècle; 23 x 16 cm. (9 x 6 in.). Estimate: €15,000 - €25,000. © Christie's Images Ltd 2019.
En cuivre repoussé, gravé, doré et argenté et corail rouge méditerranéen, de forme ovale, la première présentant la Vierge à l'Enfant et la seconde une sainte dans un cadre octogonal rythmé de fleurons et de sphinges en terme, le revers orné d'enroulements feuillagés.
Provenance: Vente Christie's, Paris, 16 juin 2015, lot 32.
Palais napolitain.
Bibliographie comparative: A. Gonzalez-Palacios, Il Gusto dei Principi, Milan, 1993, pp. 364-365.
Christie's. The Collector : Le Goût Français, Paris, 18 April 2019
Lot 95. Capezzale de la première moitié du XVIIe siècle, Trapani; 24 x 19 cm. (9 ½ x 7 ½ in.). Estimate: €15,000 - €25,000. © Christie's Images Ltd 2019.
En cuivre et bois dorés, corail rouge méditerranéen et nacre, présentant une sainte dans un encadrement de feuillages sur trois registres, l'arrière avec des traces d'inscriptions à l'encre noire...2 ; plaque arrière manquante et attache associée.
Provenance: Palais napolitain.
Christie's. The Collector : Le Goût Français, Paris, 18 April 2019
Lot 234. An Iznik polychrome pottery dish, Turkey, circa 1580-90. 31.8cm. diam. Estimate £12,000 - £18,000. Photo: Sotheby's.
fritware decorated in underglaze grey-blue, green and bole red with black outlines, floral medley comprising tulips, hyacinths, roses and florettes, breaking-wave and scroll border, paired tulips and rosettes to underside, old collection label 'Art Musulman, Joseph Soustiel, 146 Boul. Haussmann, Paris, 8em with hand-written: 'N.S.10'.
Provenance: Ex-collection Joseph Soustiel (1904-90), Paris.
Sotheby's. Arts of the Islamic World including Fine Rugs and Carpets, London, 01 May 2019, 10:30 AM