Giovanni dal Ponte (1385 - 1437/8), Madonna and Child with Angels, 1410s. Tempera and tooled gold leaf on panel, 88.3 cm x 57.8 cm. Blanton Museum of Art, Austin, TX, USA.
The iconography and technique of this panel are medieval. Set against a cloth of honor held by angels and wearing a crown, the Virgin appears as Queen of Heaven. This is also implied by her seated position; before it was cut along the bottom edge, the panel may have shown the step of a throne. Christ's erect posture and gesture of benediction signal his theological identity as the New Church, while his finch and strand of coral symbolize the Passion, fate of his human incarnation. The exposed upper corners prove that the panel originally had an attached gilt frame. In a typical arrangement, the painting would have been the central image of a many staged altarpiece, with panels of saints to either side. If the austere composition and bold shapes hark back to early Florentine painting and the work of Giotto, a pronounced stylization and a remote feeling reflect intervening developments in the later fourteenth century. At the same time, the intricate ornamentation, the curvilinear rhythm in the Child's cloth and the Virgin's hem, and even the hint of graduated modeling in their flesh are evident responses to the extreme refinement and incipient realism of International Style painting. (source: http://www.terminartors.com)
Giovanni dal Ponte (Giovanni di Marco), Virgin and Child Enthroned between Saints Lawrence and Stephen, c. 1425/26, tempera on three panels, 51 1/2 x 56 1/2 x 3 7/8 inches. Columbia Museum of Art, Columbia, South Carolina. Gift of the Samuel H. Kress Foundation, CMA 1954.23
Occupying a 15th-century palazzo on the Grand Canal, the legendary Gritti Palace hotel has long been the preferred Venetian perch for international cultural royalty. Following an exquisite restoration by designer Chuck Chewning, the Gritti is rejuvenated—and more luxurious than ever. A Luxury Collection hotel, sits majestically on Venice’s Grand Canal. Following structural upgrades by architect Gretchen Alexander Harnischfeger, designer and Donghia creative director Chuck Chewning masterminded a top-to-bottom interior renovation.
Nineteenth-century blackamoor lamps flank the entrance.
A Baroque church altar rail still serves as the front desk, while the lobby floors were relaid with new marble.
A 19th-century copy of Titian’s portrait of the Venetian doge Andrea Gritti graces the Explorer’s Library, which is filled with old navigational instruments and books on discovery.
Chewning clad the library’s walls in a Rubelli damask and mingled Donghia furnishings—the sofas and cocktail table—with the hotel’s antiques.
The Bar Longhi—named after the 18th-century genre painter Pietro Longhi, three of whose works hang there—has new custom-designed Donghia furniture, including lounge chairs covered in a Rubelli brocatelle as well as tables.
Stools in a Rubelli faux leather are pulled up to the bar, which is made of a Baroque marble altar rail. The Gritti Palace.
The magnificent hand-painted ceiling beams in the dining room are antique, but the terrazzo floor is new, modeled after the Apollo Room in the nearby Palazzo Pisani Moretta; the brocade on the walls and the brocatelle on the antique chairs are both by Rubelli, and the antique sconces are Venetian.
The hotel’s premier suites are named for either famous guests or local landmarks and traditions. In the Hemingway Suite, many of the furnishings predate the renovation, including the Murano chandelier, the vintage mirror, the 18th-century walnut secretary, and the antique Venetian gilded chairs, which were reupholstered in a Rubelli brocade; the curtain fabrics are also by Rubelli, while the cocktail table and carpet are Donghia designs, the latter made by Luke Irwin.
The room’s bed features an antique headboard and is dressed in Frette linens with a throw and pillows of Rubelli fabrics; the chairs and ottoman are antique, and the paintings are Venetian scenes.
Arrayed on the walls of the Peggy Guggenheim Suite are artworks intended to evoke the collector’s taste; the sofa is a copy of one that was in her Palazzo Venier dei Leoni (now the Peggy Guggenheim Collection museum).
A Joan Miró etching (top center) overlooks the sitting area.
The sculptural antiqued-mirror valances in the suite were designed by Donghia; a framed 1960s Hermès scarf hangs above the bed, and vintage Fornasetti plates are displayed between the windows.
A Donghia light is suspended above the tub, which is equipped with Dornbracht fittings.
The bath is sheathed in Cremo Tirreno marble.
The Donghia Suite, an homage to decorator Angelo Donghia, the firm’s founder, features a silver-leafed ceiling, Venetian-stucco walls, and a bleached-and-lacquered herringbone floor. The chandelier and seating are all by Donghia; the two large paintings, of the Chrysler Building, are by Bobo Ivancich.
A view from the Pisani Suite’s bedroom across to its lounge, where an antique Sicilian majolica bust is displayed atop an antique bureau; throughout the suite, exquisite foliate moldings form cartouches that are painted in contrasting colors and inset with artworks and decorative objects.
The John Ruskin Suite’s vivid floral wall covering is offset by its striped curtains; all fabrics, including the velvet on the Napoléon III chaise longue, are by Rubelli.
A 19th-century beamed ceiling distinguishes the Punta della Dogana Suite, whose sitting area is furnished with a Donghia-designed table and chairs; the curtains are of a Rubelli damask.
In the bedroom—lined in a Rubelli stripe—hand-colored Venetian etchings overlook the antique bed and bench; the Murano lamps (with Fortuny-fabric shades) are new.
The Redentore Terrazza Suite’s spacious roof terrace—a rarity on the Grand Canal—offers incomparable views of the magnificent Basilica di Santa Maria della Salute and the rest of Venice; the furnishings include armchairs by Dedon.
Of flattened, ovoid form on an oval footrim, the bottle is carved on the narrow sides with mask and ring handles. The stone is a transparent, pale yellow of even tone. 2¼ in. (5.7 cm.) high, tourmaline and glass stopper. Estimate USD 800.00 - 1,200.00
The bottle is of ovoid form and carved from the translucent, grey stone with a butterfly amongst blossoming plum and chrysanthemum and a cat alertly crouched on a rock clearly rendered utilizing the dark brown inclusions of the stone. 1 7/8 in. (4.7 cm.) high, glass stopper. Estimate USD 2,000.00 - 4,000.00
Christie’s. Chinese Works of Art Online Only: Snuff Bottles & Books www.christies.com
An enamelled porcelain bottle Imperial, Jingdezhen kilns, Daoguang four-character seal mark in iron red and of the period (1821-1850). Photo Christie's Image Ltd 2013
Of flattened, rounded form on an oval footrim, the bottle is painted on each side with a katydid picked out in green, yellow, and black. 2¼ in. (5.7 cm. ) high, agate stopper. Estimate USD 1,500.00 - 2,500.00
Notes: The katydid, either alone or with its cage, became a very popular subject on snuff bottles during the early 19th century. An emblem of courage, the katydid in Chinese is pronounced guoguo, which sounds the same as the word 'country'. The rebus is interpreted as jinzhong baoguo, meaning 'to be loyal to one's country'. Large quantities of imperially made bottles were presented to officials around the country as a sign of imperial recognition. Such a pun would have been a subtle and effective way of reminding officials of an essential feature of Confucian government. Another reason for the popularity of the katydid imagery is linked to the production of cricket and katydid cages and the popular pastime of katydid fights.
Snuff bottles with this theme can be found with a variety of design combinations. A Daoguang-marked bottle, painted with the katydid on the cage on one side, and a single katydid on the reverse, is illustrated by Moss, Graham, Tsang, in A Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, Vol. 6, Part 3, Arts of the Fire, Hong Kong, 2008, pp. 690-1, no. 1318. The katydid theme can also be found on imperial glass bottles. See, for example, a Gueyue Xuan-marked example, published in Moss, Graham, Tsang, The Art of the Chinese Snuff Bottle, The J & J Collection, Vol. I, New York, 1993, no. 201.
Christie's. Chinese Works of Art Online Only: Snuff Bottles & Books www.christies.com
Of flattened, rounded form on an oval footrim, the bottle is carved through the sapphire-blue layer to the clear ground with a swimming carp grasping trailing gourds or whisps of clouds in its mouth. 2¼ in. (6 cm.) high, coral stopper. Estimate USD 2,000.00 - 3,000.00
Notes: The fish has been a popular motif since the Neolithic times and used in pottery and bronze and across the range of decorative arts. The word fish or yu is a pun for abundance, surplus or plenty. Specifically, the word for carp, liyu, is a pun for "enormous profits".
Christie's. Chinese Works of Art Online Only: Snuff Bottles & Books www.christies.com
The first bottle is of flattened, rounded-rectangular form on a conforming footrim. The semi-transparent stone is of even, smoky grey tone. The second is of rounded form and carved on either side with a raised circular panel and with raised oval panels on each shoulder. The semi-transparent stone of an even, warm, grey tone. 2 1/16, 2 1/8 in. (5.2, 5.4 cm.) high, jadeite stoppers (2). Estimate USD 2,000.00 - 3,000.00
Notes: Black or brown crystal, more popularly known as 'tea crystal' or 'smoky crystal', is an attractive material with a subtle, metallic, inky-brown color. As with other crystal examples and snuff bottles made from flawless, transparent material, the integrity of form and subtle visual equilibrium is achieved by the careful hollowing of the interior, combined with the masterful balance of the outer contours of the bottle.
Christie's. Chinese Works of Art Online Only: Snuff Bottles & Books www.christies.com
18 Karat gold, coral, emerald and enamel butterfly brooch, Cartier, Paris, circa 1945. Photo Sotheby's
The fanciful insect decorated with 3 segments of carved coral, the gold wings and head applied with black enamel, further decorated with 3 cabochon emeralds and 2 small round diamonds, signed Cartier, numbered 644506A, maker's mark and French assay mark. With signed box. Estimate 5,000 — 7,000. Lot Sold: 16,250 USD
Sotheby's. Magnificent Jewels. New York | 17 Apr 2008 www.sothebys.com
Art Deco Peacock butterfly brooch, circa 1935. Photo courtesy Hancocks & Co
Beautiful multi-gem brooch designed as a Peacock butterfly in ruby, diamond, amethyst and blue and yellow sapphires with a diamond-set body and further diamond highlights circa 1935; 130 baguette and brilliant-cut diamonds diamonds 4.00cts approx; 78 calibré-cut rubies 10.00cts approx; 94 calibré-cut yellow and blue sapphires 7.00cts approx; 32 calibré-cut amethyst 3.00cts approx. Platinum marked PT950 and 18ct white gold. Clips both attached to a frame that allows both halves to be worn together as one brooch or separately as two clips both with double-prong brooch fittings. Weight 31.10gms - Dimensions 6.70cm x 4.50cm. Price: £25,000 to £50,000
Van Cleef & Arpels Paris, circa 1980. Coral, onyx and diamond butterfly design brooch-pendant. Photo courtesy Hancocks & Co
Unusual brooch / pendant designed as a butterfly in 18ct yellow gold its open wings pavé set with brilliant cut diamonds and black onyx and each enhanced by a carved coral 'stripe' Van Cleef & Arpels, Paris circa 1980. 75 brilliant cut diamonds 2.00cts approx; 42 round onyx; 4 fluted coral sections. 8ct yellow gold signed VAN CLEEF & ARPELS and numbered 7270 and stamped 750 with French assay marks and maker's marks for Pery. Weight 17.70gm - Length: 4.50cm / 1 3/4' - Width: 3.60cm / 1½'. Accompanied by a brown suede maker's pochette signed to the interior 'la boutique' Van Cleef & Arpels. Price £25,000 to £50,000
René Lalique Paris, possibly enamelled by Feuillatre. Art Nouveau, c. 1895. Beautiful and rare enamel and diamond butterfly brooch. Photo courtesy Hancocks & Co
Important and rare enamel brooch in the form of a butterfly in flight its wings in polychrome enamel with a satin finish, the thorax, abdomen and antennae set with European brilliants and rose-cut diamonds and the eyes with cabochon rubies mounted in silver and yellow gold René Lalique, Paris circa 1895; 13 old and rose-cut diamonds; 2 cabochon rubies; 18ct yellow gold and silver signed Lalique with French assay and maker's marks for René Lalique. Weight 30.90gm - Length 9.00cm / 3½'. Accompanied by a purpose-made fitted case signed 'Anchorman Collection' to the lid. The Museum Garden Collection was original named The Anchorman Collection and all the smaller works had purpose made, cushioned and linen carrying cases created for them. Price £250,000 to £500,000
Literature: This brooch can be seen in 'Louis C Tiffany: The Garden Museum Collection' by Alistair Duncan p. 615 as well as further details on the Museum Garden Collection p.21 - 23.
Further butterfly designs by Lalique can be seen in 'René Lalique: Schmuck und Objet's D'Art 1890-1910' p.435
Provenance: Given by Rene Lalique to his daughter Suzanne Lalique-Haviland. Remained in her collection until about 1989. Then part of the Anchorman Collection at 'Garden Museum's Collection' Japan. Christies London June 2000 Christies London November 1988
Notes: The daughter of René Lalique and Alice Ledru – herself the daughter of the sculptor, Auguste Ledru, a friend of Rodin - Suzanne Lalique was regularly called upon by her father for her creativity and judgement. From 1910 onwards, she would create powder boxes and sweet boxes for him and, later, vases and other decorative pieces. Lalique-Haviland, unlike many children who work in the same field as a famous parent, apparently had no desire to imitate her father's style. Her work is as emphatically of the Art Deco style as Rene Lalique's was of Art Nouveau. Through her marriage with Paul Burty Haviland, she discovered another family of artists and came face to face with the world of porcelain. A Jill of all trades, she also brought her talent to bear in the fields of painting and textiles.
From her earliest years, she had cultivated friendships with several famous writers, including Paul Morand and Jean Giraudoux. In 1937, she was appointed to design the stage set for the play by Luigi Pirandello, Right You Are! (If You Think So), at the Comédie Française. It was the start of a long career at that prestigious theatre, during which, up to the beginning of the 1970s, Suzanne Lalique Haviland would be involved in the design, stage sets and costumes of nearly 50 plays.
En forme de papillon, le corps composé d'un saphir rose et d'une améthyste, la tête formée d'une perle (non testée), les ailes en émail bleu et vert en plique-à-jour souligné de petits diamants ronds taillés en rose, les pattes en or jaune, montures en argent et or jaune, vers 1900. Estimate €6,000 - €8,000. Price Realized €20,900
AN EARLY 20TH CENTURY ENAMEL, SAPPHIRE, AMETHYST, PEARL, DIAMOND, SILVER AND GOLD BUTTERFLY BROOCH
Christie's. BIJOUX. 17 June 2008. Paris - www.christies.com
This dazzling iridescent fossil of an 80 million year old ammonite measuring two feet in diameter was discovered near Alberta, Canada and is a particularly rare example of an ancient sea creature that went extinct at the same time as most dinosaurs. The spectacular coloration is the result of millions of years of high temperatures and pressures acting on the animal’s shell to create a gemstone known as ammolite.
Ammonite, opalised, 254nm fluorescence, photograph by The Bob.
Turbo shell with ornate silver gilt mounts in the shape of sea monsters and stylized fish.
This drinking cup was presented by the Dutch West India Company to Piet Hein in recognition of his capture of a fleet of Spanish ships filled with gold and silver in 1649. It had been lost for 227 years until Galerie J. Kugel of Paris recently rediscovered it.
A Fine Engraved Nautilus Shell Decorated with the Royal Armourial and Feathers of Albert, Prince of Wales and with Isambard Kingdom Brunel’s Ship’s ‘The SS Great Britain’ and ‘The SS Great Western’ Giving their specifications and detailing their launching. Photo courtesy Finch & Co
‘Engraved with a common penknife by C.H Wood who had the distinguished honour of presenting one similar to Her Most Gracious Majesty Queen Victoria, Jun. 1845’,(small chip with a hairline fissure to one edge). Circa June 1845. Size: 14cm high, 16cm deep, 8.5cm wide – 5½ ins high, 6¼ ins deep, 3¼ ins wide - SOLD
Buccellati Sterling Silver Nautilus Shell-Form Spoon Warmer, fourth quarter 20th century, by Ilario Pradella, Milan, the realistically-detailed shell supported by a pair of whelk-shell feet, h. 4", w. 3-1/4", l. 5-3/4", 9.65 t. oz.
A Vanitas in the form of a European Medieval Human Skull, ‘Memento Mori’. Circa 1400 – 1500 AD. Photo courtesy Finch & Co
Fine old smooth brown patina. Size: 14.5cm high, 19cm deep, 13cm wide – 5¾ ins high, 7½ ins deep, 5 ins wide. SOLD
Literature Vanite of vanities ….. all is vanitie’. The skull was an admonition to man to reflect on his own end in a transient world and thus become like the hermit St Jerome and the penitent Saint Mary Magdalene by meditating on the skull as an exercise in Christian remorse and penitence. This skull was probably used as an object of devotional contemplation, placed on a desk or in a writing cabinet in a study.
An Interesting Flemish Carved Fruitwood Vanitas of a Human Skull with a Serpent or Viper. Early – Mid 17th Century. Photo courtesy Finch & Co
Size : 9 cm high, 8.5 cm wide, 9 cm deep – 3½ ins high, 3¼ ins wide, 3½ ins deep - SOLD
Literature: What man most fears is death : the final element of earthly life, and today this fear is suppressed and kept out of sight. Artists have used the skull as a personification of death for centuries and to the Renaissance and Baroque mind it was important to remember and be reminded of the transience of human existence. Death was regarded as an integral part of life, ‘Sic Transit Gloria Mundi’ : thus passes the glory of the world, and as such was not be feared.
An Exceptional and Finely Carved German Ivory Vanitas. Early 17th Century. Photo courtesy Finch & Co
Of a partly decomposed human skull, a salamander and snake curling through the hair. Size: 4.5cm high, 7cm deep, 4.5cm wide – 1¾ ins high, 2¾ ins deep, 1¾ ins wide - SOLD
Provenance: Ex Robert Noortman collection
See: Finch and Co catalogue no. 4, item no. 48, for another ivory example, catalogue no. 8, item no. 99, for a fruitwood example and catalogue no. 10, item no. 79, for a silver example
Literature: The macabre motif of the skull with attached tattered scraps of skin dangling from the face, invaded by vermin, with exposed muscles in a state of decomposition conveys the idea of transience and death memorably and terribly. The skull is a warning symbol and an object for meditation, ‘Memento Mori’.
A Small Medieval Human Skull 'Memento Mori'. Circa 1400 – 1500 AD. Photo courtesy Finch & Co
Old dark smooth natural polished patina. Size: 13.5cm high, 18cm deep, 12.5cm wide – 5¼ ins high, 7 ins deep, 5 ins wide - SOLD
Provenance: Ex London Private collection
Literature: Skulls were used in the medieval world as vanitas and an admonitory symbol. They were an object of devotional meditation. St Mary Magdalene is often depicted studying a skull, as during prayer it became a symbol of Christian remorse and penitence. The skull was a warning that man is not divine and cannot escape his irrevocable fate; that all earthly life is transient 'Memento Mori'.
