John Vanderbank the Younger ( London 9 September 1694 – 23 December 1739), Alexander MacFarlane (1702–1755). Oil on canvas, 75 x 62.3 cm. Purchased, c.1937. GLAHA_44266. Hunterian Art Gallery, University of Glasgow. photo credit: Hunterian Art Gallery, University of Glasgow
John Vanderbank the Younger ( London 9 September 1694 – 23 December 1739), A Merchant Captain with Elton's Quadrant, 1730s. Oil on canvas, 127 x 101.6 cm. BHC3128. National Maritime Museum. photo credit: National Maritime Museum, Greenwich, UK
A three-quarter-length portrait facing to left in a blue coat edged with white fur. The sitter also wears a yellow waistcoat with buttons at an angle across the front. He has a hanger (short hunting sword) thrust into a green sash and on his head he wears a peaked fur hat. He holds an Elton quadrant and stands against a background of rocks. The prominence given to the experimental quadrant may indicate that the sitter is Elton himself or someone closely associated with him, possibly Captain Walter Hoxton. He was captain of the ship 'Baltimore' and tested Elton's quadrant on a voyage from the Thames to Maryland and back in 1730. There is a merchant ship on the right.
The artist was an English painter and illustrator of Dutch origin, and son of John Vanderbank the elder, a tapestry-weaver in Soho, London, who died in 1717. He was a successful portrait painter who had studied at Sir Godfrey Kneller's academy from its foundation in 1711. With Louis Cheron, he also founded an art academy in St Martin's Lane in 1720, where great emphasis was placed on life-drawing. In the 1720s the academy attracted sitters and Vanderbank's included Isaac Newton (1725) as well as royal commissions. He is also thought to have influenced William Hogarth and was a book illustrator. The painting is signed 'Jn° Vanderbanck fec' bottom right.
Robe à la Polonaise. French, 1774–93. Silk. Length: 53 in. (134.6 cm) Width: 46 1/2 in. (118.1 cm). Dodge Fund, 1934. 34.112a, b.© 2000–2013 The Metropolitan Museum of Art.
Robe à la Polonaise, British, ca. 1775, silk, cotton. Length: 54 1/2 in. (138.4 cm). Hoeschst Fiber Industries Fund, 1981. 1981.313.2.© 2000–2013 The Metropolitan Museum of Art.
Robe à la Polonaise, British, ca. 1780, linen. Length at CB: 72 in. (182.9 cm). Purchase, Gifts from Various Donors, 1998. 1998.314a, b.© 2000–2013 The Metropolitan Museum of Art.
Pyromorphite - Idaho
Kleinite, a rare mercury species from Nevada
Rice-grain Smithsonite crystals on botryoidal Aurichalcite from New Mexico
Selenite
Roselite
(source http://bijoux-et-mineraux.tumblr.com)
Inside Ralph Lauren's Garage. Vanity Fair
An impressive emerald and diamond pendant-brooch, by Cartier. Photo Christie's Image Ltd 1998
Designed as an old European and old mine-cut diamond openwork panel with a central rectangular-cut emerald weighing 12.28 carats, suspending a diamond palmette and emerald bead drop, to the pear-shaped diamond surmount, circa 1927, in its original Cartier red leather fitted case. By Cartier. Price Realized CHF163,000
Christie's. ART DECO JEWELLERY, 17 November 1998. Geneva - www.christies.com
Cristobal Balenciaga,Harper's Bazaar September, 1939 Photography: Hoyningen-Huene
Cristobal Balenciaga, Mary Jane Russell in gown, photo by Louise Dahl-Wolfe
Cristobal Balenciaga, 1957
Cristobal Balenciaga, 1967.
Cristobal Balenciaga, photo by Irving Penn
VAN CLEEF & ARPELS. Mystery Set Sapphire and Diamond Ring. ©2013 M. Khordipour Enterprises
VAN CLEEF & ARPELS. 8.01ct Emerald Cut Diamond Ring©2013 M. Khordipour Enterprises
Beautiful diamond ring featuring a 8.01ct emerald cut diamond, surrounded by a row of fine Ceylon sapphires. Mounted in a handmade platinum mounting. Center diamond is 8.01ct, K color, VS clarity. This diamond is very lively stone with a beautiful cut. The ring is accented by one baguette diamonds on each side. Price: Available upon request
VAN CLEEF & ARPELS. Platinum Diamond & 11.33ct Sapphire Ring©2013 M. Khordipour Enterprises
Elegant Burma Sapphire set in a platinum mounting and gracefully bejeweled with fine quality round diamonds. Diamonds are approximately H color, VS1 clarity with a toal weight of approximately 2.26ct. The Sapphire is approximately 11.33 carats. Price: $38,000.00
VAN CLEEF & ARPELS. Cushion Cut Burma Sapphire Diamond Ring©2013 M. Khordipour Enterprises
Beautiful natural Burma sapphire ring in an elegant platinum and diamond mounting. Center sapphire weighs 8.91ct and is certified to be of Burmese origin by AGTA. It is flanked by two trapezoid and two sheild shaped diamonds which have a total approximate weight of 1.48ct. Price upon request.
VAN CLEEF & ARPELS. 7.57ct Natural Cushion Cut Sapphire Ring©2013 M. Khordipour Enterprises
Beautiful cushion cut sapphire and diamond ring set in a platinum mounting. Sapphire is certified by SSEF to be natural with no treatments. It is flanked by two trapezoid cut diamonds on each side. Diamonds are approximately G color, VS clarity and have a total weight of 1.61ct. Price: Available upon request
M. Khordipour Enterprises. http://www.mkhordipour.com
A crackled ovoid vase, Qing dynasty, 18th century. Photo Sotheby(s
the curved ovoid body rising from a spreading foot to a wide waisted neck, covered overall in a beige glaze suffused with a russet-brown crackle;14.5cm., 5 3/4 in.Estimate 3,000 — 5,000 - Unsold
PROVENANCE: Purchased in France, 18th May 1977.
Sotheby's. Fine Chinese Ceramics and Works of Art. London | 15 May 2013 - www.sothebys.com
A green crackled meiping, Qing dynasty, 18th century. Photo Sotheby(s
the rounded shoulders rising from a slightly spreading foot to a waisted neck, applied with a green glaze to the exterior, the interior and base glazed white, suffused with a network of buff-orange crackle; 11cm., 4 3/8 in. Estimate 4,000 — 6,000 GBP. Lot Sold: 5,000 GBP
PROVENANCE: Purchased in France, 1979.
Sotheby's. Fine Chinese Ceramics and Works of Art. London | 15 May 2013 - www.sothebys.com
A copper-red glazed meiping, Qing dynasty, 18th century. Photo Sotheby(s
the rounded shoulders rising from a slightly spreading foot to a narrow waisted neck, applied to the exterior with a streaked copper-red glaze, the base glazed white with a raspberry-red band along the footring; 13cm., 5 1/8 in. Estimate 4,000 — 6,000 GBP - Unsold
PROVENANCE: Purchased in France, 16th March 1979.
Sotheby's. Fine Chinese Ceramics and Works of Art. London | 15 May 2013 - www.sothebys.com
A pair of yellow-glazed ‘Dragon’ dishes, Guangxu marks and period. Photo Sotheby(s
each with rounded sides resting on a tapered foot, incised to the interior with two ferocious dragons contesting a flaming pearl, the exterior with hanging grape vines, covered overall in an egg-yolk yellow glaze, the base inscribed with a six-character mark in aubergine. Quantity: 2 - 11.1cm., 4 3/8 in. Estimate 3,000 — 5,000. Lot Sold: 8,125 GBP
PROVENANCE: Purchased in France, 1978.
Sotheby's. Fine Chinese Ceramics and Works of Art. London | 15 May 2013 - www.sothebys.com
A Pair of sang-de-boeuf glazed dishes, Daoguang seal marks and period. Photo Sotheby(s
each with flaring sides rising from a short foot, glazed overall in a greyish liver-red tone, the white base inscribed with a six-character seal mark. Quantity: 2-21cm., 8 1/4 in. Estimate 3,000 — 5,000 GBP. Unsold
PROVENANCE: Purchased in France, 7th May 1986.
Sotheby's. Fine Chinese Ceramics and Works of Art. London | 15 May 2013 - www.sothebys.com
An aubergine-glazed dish, Qianlong Mark And Period. Photo Sotheby's
the curved sides rising from a short foot to a flared rim, applied overall with a brilliant aubergine glaze, the base incised with a six-character mark in three vertical columns within a double-circle; 21.2cm., 8 3/8 in. Estimate 4,000 — 6,000 GBP. Lot Sold: 5,000 GBP
PROVENANCE: Purchased in France, 1986.
Sotheby's. Fine Chinese Ceramics and Works of Art. London | 15 May 2013 - www.sothebys.com
A simulation lacquer porcelain bowl, Qing dynasty, 19th century. Photo Sotheby's
the curved sides rising from a short foot to a gently flaring rim, the exterior carved with four shoucharacter roundels against a diaper ground above a lappet band, the rim and foot encircled with keyfret bands, covered overall in a vermillion-red glaze, the interior and rim in gilt; 11.5cm., 4 1/2 in. Estimate 6,000 — 8,000 GBP. Unsold
PROVENANCE: Purchased in France, 2nd April 1993.
Sotheby's. Fine Chinese Ceramics and Works of Art. London | 15 May 2013 - www.sothebys.com
A rare guan-type altar vessel, fu, Yongzheng seal mark and period. Photo Sotheby's
of rectangular section, the wide flaring sides rising from a spreading foot cut with an arched aperture in the centre of each side, set on one side with a loop handle issuing from animal mask, covered overall in a crackled greyish-blue glaze, the base inscribed with a six-character seal mark; 16.8cm., 6 5/8 in. Estimate 15,000 — 20,000. Lot Sold: 62,500 GBP
PROVENANCE: Sotheby’s London, 7th June 1988, lot 326
Sotheby's. Fine Chinese Ceramics and Works of Art. London | 15 May 2013 - www.sothebys.com
Emerald, diamond, onyx and sapphire pendant-necklace, Mauboussin, circa 1925.
The pendant set with a cushion-shaped emerald weighing 25.50 carats, framed by calibré-cut emeralds and old European-cut, pear-shaped, marquise-shaped and baguette diamonds, anchored by 2 articulated fringes set with emerald-cut and baguette diamonds, calibré-cut emeralds and onyx segments, accented with old European-cut diamonds, sapphires and emeralds, total diamond weight approx 13.95 carats. Via Sotheby’s.
Marlene Dietrich's Trabert & Hoeffer-Mauboussin emerald and diamond bracelet. Via Pinterest
Mauboussin. A Tutti-Frutti Gem-Set Lapel Watch.
Designed as a carved ruby and circular-cut diamond surmount embellished with onyx and emerald accents, suspending an articulated line of graduated carved emeralds within an openwork diamond-set foliate motif accented with cabochon rubies, to a carved emerald depicting a bird within a black enamel and diamond surround, turning to reveal the rectangular-shaped watch case. Via 1stdibs.
An art deco diamond, gem-set and enamel bracelet, Mauboussin, French, circa 1930.
designed as three lozenge-shaped panels centering carved sapphire and ruby leaves and an emerald bead, accentuated with old European and baguette-cut diamonds and black enamel detail, each with openwork oval-shaped spacers of baguette and old European-cut diamonds; signed Mauboussin, with French assay marks and maker’s mark; estimated total diamond weight: 13.90 carats; mounted in platinum. Via Bonhams
PLATINUM, DIAMOND AND COLORED STONE 'TAJ MAHAL' BROOCH, MAUBOUSSIN, PARIS, CIRCA 1925. Via Sotheby's
Gem-set, enamel and diamond brooch, Mauboussin, Paris, 1929. Via Sotheby's.
AN ART DECO SAPPHIRE, DIAMOND AND ONYX NECKLACE, BY MAUBOUSSIN.
The cabochon star sapphire, weighing approximately 86.53 carats, suspended from a diamond, black enamel, onyx ring and carved sapphire top, to the detachable diamond-set link chain, circa 1926, chain 50.0 cm, pendant 7.6 cm, with French assay mark for platinum. Signed Mauboussin France. Via Pinterest
Art Deco aquamarine and diamond necklace, Trabert and Hoeffer-Mauboussin, 1930's. Photo Sotheby's
Set with a step-cut aquamarine, with baguette diamond detail to a necklace set with circular- and single-cut diamonds, length approximately 515mm, signed T&HM, later chain signed Cartier, French assay marks. Estimate 37,000 — 55,000. Lot Sold: 68,500 CHF
Sotheby's. Magnificent Jewels and Noble Jewels. Geneva | 14 May 2012 - www.sothebys.com
Butler and Wilson
The 1st Earl Spencer’s Carved Fustic* and Satinwood Sofa, c. 1758-65. Height: 40½ in (103 cm). Depth: 36 in (91 cm). Length: 86 in (219 cm). Price: $850,000 (£550,000). Apter-Fredericks Ltd, Stand D11.
NEW YORK - An exceptional sofa, dating from the middle of the 18th century and made for the 1st Earl Spencer, will be offered for sale by the leading London furniture dealer Apter-Fredericks at The International Fine Art and Antique Dealers Show. Established in 1989, this prestigious fair features some of the world’s top dealers and takes place at The Park Avenue Armory, New York, from Friday 25 to Thursday 31 October 2013, Stand D11.
The 1st Earl Spencer employed James ‘Athenian’ Stuart (1713-1788), who had just returned from Greece, to decorate a house that would be the very first example of the accurate application of classical design to interior decoration. Spencer House, overlooking Green Park in St James’s, London, was intended to be at the forefront of style and design in mid 18th century England and, as such, established the Spencers as a family of great intellect, sophistication and taste. This settee was part of a suite of seat furniture that is amongst the most successful of John Gordon’s work. Gordon (fl. 1748-d. 1777), a cabinet-maker and upholsterer, was probably involved in furnishing Spencer House from the beginning.
Before 1814 the suite may have been transferred to Althorp, Northamptonshire, which was the childhood home of Diana, Princess of Wales. The suite returned to Spencer House around 1847 and was then taken back to Althorp, certainly by 1874, when an armchair was photographed in the Picture Gallery and photographs taken from 1892 onwards show more of the suite in various rooms including, in 1921, one of this sofa. The 7th, ‘Curator’, Earl Spencer (1892-1975) noted in his manuscript catalogue that the sofa ‘was in the Patchwork Bedroom, covered in chintz. In 1911 it was upholstered in red velvet and placed in the Picture Gallery’.
The sofa is a distinctive model made with various decoration in the late 1750s or early 1760s. The largest set, painted white and gold, was supplied to John Spencer for the Great Ball Room at Spencer House and Lord Spencer commissioned other pieces of the same model, but in polished fustic and satinwood, including this sofa. The embryonic Neo-Classical design seems to be the result of collaboration between James ‘Athenian’ Stuart, who replaced John Vardy as architect of Spencer House in 1758, and John Gordon.
James ‘Athenian’ Stuart is widely recognised for his central role in pioneering Neo-Classicism. His influential career ranged across interior decoration, sculpture, furnishing, metalwork and architecture. Lord Spencer and Stuart were members of the Society of Dilettanti under whose patronage Stuart travelled to Athens in 1751, resulting in the eventual publication of Stuart and Revett’s The Antiquities of Athens (1762-1794). The creation of the ‘Greek Style’ and its impact on British design in the late 18th century is largely due to this landmark publication, the first accurate record of Classical Greek architecture, which served as a principal source book for architects and designers well into the 19th century.
Apter-Fredericks Ltd has been the finest source of 18th and 19th century English furniture for four generations. Run by brothers Harry and Guy, they deal with the utmost discretion and offer the finest service. Their expertise, acquired by researching and handling thousands of pieces and following hours discussing the furniture with experts, researchers, curators and most importantly their clients, is second to none. Set away from the West End, they offer their international clientele a discreet approach to buying and are proud that their pre-eminent position rests solely on the recommendation of satisfied clients. www.apter-fredericks.com
* Fustic is a hard and dense wood from a tropical American tree and has been used for the front and side seat rails and the front legs while the top rail, arm facings, back seat rail and back legs are satinwood.
Lavinia Fontana (Bologna 1552–1614 Rome), Portrait of a Noblewoman, ca. 1580; Oil on canvas, 45 1/4 x 35 1/4 in. Gift of Wallace and Wilhelmina Holladay. National Museum of Women in the Arts© 2012 National Museum of Women in the Arts.
Portrait of a Noblewoman illustrates Lavinia Fontana’s ability to render sumptuous clothing and jewels in astonishing detail. The contrast between the woman and the painting’s plain, dark background is especially strong, ensuring that viewers will focus on the figure.
Recent scholarship has established that this painting of an unidentified, young Bolognese noblewoman is almost certainly her marriage portrait. Studies of account books and family diaries from this period show that the clothes and gems depicted here correspond precisely to the items typical of a high-born bride’s trousseau. Additionally, 16th-century Bolognese brides wore red dresses, and the dog represents marital fidelity.
Suspended from the woman’s belt is a curious item mentioned in numerous family records of that time. It is the pelt of a marten—a slender, minklike creature—whose head and paws are elaborately decorated with jewels. This adornment serves as an additional symbol of the bride’s wealth.
Lavinia Fontana.
Renaissance painter Lavinia Fontana was commissioned to make not only portraits, the typical subject matter for women painters, but also religious and mythological themes, which sometimes included female nudes.
She made great strides in the field of portraiture, which garnered her fame within and beyond Italy. In fact, Fontana is regarded as the first woman artist, working within the same sphere as her male counterparts, outside a court or convent.
At age 25, Fontana married a fellow painter from a noble family, who acted as his wife’s assistant and managed their growing household (the couple had 11 children, only three of whom outlived their mother). For 20 years beginning in the 1580s, Fontana was the portraitist of choice among Bolognese noblewomen. She also painted likenesses of important individuals connected with the University of Bologna.
Fontana’s fame spread to Rome, where she moved in 1604. There she became a portraitist at the court of Pope Paul V and was the recipient of numerous honors, including a bronze portrait medallion cast in 1611 by sculptor and architect Felice Antonio Casoni.
(source: http://www.nmwa.org)