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Brûle-parfum et son socle en bronze, Chine, XVIIème-XVIIIème siècle

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Lot 159. Brûle-parfum et son socle en bronze, Chine, XVIIème-XVIIIème siècle. Diamètre: 23 cm. (9 in.), Hauteur: 12 cm. (4 ¾ in.), Hauteur du socle: 3,5 cm. (1 3/8 in.). Estimate: EUR 4,000 - EUR 6,000Price realised EUR 137,500© Christie's Images Ltd 2019

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Il est de forme circulaire, flanqué de deux anses carrées et repose sur trois pieds s'encastrant dans son socle en bronze trilobé. Les deux bases portent des marques à quatre caractères apocryphes de l'empereur Xuande dans des cartouches rectangulaires. 

Provenance: Acquired by Vittorio Strigari, Italian Consul in Hong Kong, between 1950 and 1952, thence by descent in the family.

A BRONZE CENSER AND ITS BRONZE STAND, CHINA, 17TH-18TH CENTURY

Christie's. Art d'Asie, Paris, 12 Juin 2019


Coupe en jade blanc, dynastie Qing (1644-1911)

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Lot 19. Coupe en jade blanc, dynastie Qing (1644-1911). Largeur: 13,5 cm. (5 3/8 in.). Estimate: EUR 10,000 - EUR 15,000Price realised EUR 137,500© Christie's Images Ltd 2019

Le centre de la coupe est finement sculpté en léger relief d'un caractère shou stylisé entouré par une fleur. Elle est flanquée par deux chauves-souris aux ailes déployées sculptées formant les anses.

Provenance: With Spink & Son Ltd., London, 8 December 1960.

A WHITE JADE 'BAT AND LONGEVITY' DISH, CHINA, QING DYNASTY (1644-1911) 

Christie's. Art d'Asie, Paris, 12 Juin 2019

Importante statue de Ekadashalokeshvara en bronze incrusté de cuivre, Tibet, circa XIVème siècle

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Lot 233. Importante statue de Ekadashalokeshvara en bronze incrusté de cuivre, Tibet, circa XIVème siècle. Hauteur: 80,8 cm. (31 ¾ in.). Estimate: EUR 80,000 - EUR 1120,000Price realised EUR 125,000© Christie's Images Ltd 2019

Il est représenté debout, ses mains principales sont en anjalimudra. Ses six autres bras rayonnent autour de lui tenant des attributs divers. Il est vêtu d'un dhoti incrusté de cuivre maintenu par une ceinture élaborée. Il est richement paré de bijoux. Ses trois visages sont empreints de sérénité. Ses cheveux sont rehaussés de couronnes incrustées de cuivre ; manques.

Provenance: The Dharma collection, acquired from Spink & Son, Ltd., London, 20 November 1997, and thence by descent to the present owner.

LiteratureSpink & Son, Light of Compassion, Buddhist Art from Nepal and Tibet, 1997, p. 22, cat. no. 10. 
Himalayan Art Resources (himalayanart.org), item no. 30552.

Exhibited: Light of Compassion, Buddhist Art from Nepal and Tibet, 18 September - 16 October 1997, Spink & Son, Ltd., London, cat. no. 10.

NoteThe bodhisattva of compassion, Avalokiteshvara, is shown here with multiple faces and arms so that he may see and alleviate the sufferings throughout the world simultaneously. The artist has very sensitively modelled the figure so that the powerful scale does not sacrifice delicacy in the details, such as the careful attention given to the jewellery and the idealized naturalism of the hands. The copper inlay enhances the three-dimensional quality of the triple-layer dhoti and belt, and the undulating planes of the body reach greatest expression in the three distinctly rendered faces. The broad shoulders and slender waist along with the fish-shaped eyes and proportions of the face reveal a site of production in western Tibet. 

The Dharma Collection was formed over the last fifty years by the father of the current owner. His focus was on early representations in Buddhism and he was particularly intrigued by the cross-cultural diffusion of Buddhist styles, symbols and iconography throughout Asia as can be gleaned from the offered lots. He strived to acquire objects which combine spirituality with a distinct sense of individuality.

AN IMPORTANT COPPER-INLAID BRONZE FIGURE OF EKADASHALOKESHVARA, TIBET, CIRCA 14TH CENTURY 

Christie's. Art d'Asie, Paris, 12 Juin 2019

Beau et rare bouddha, Royaume de Dali, XIIe-XIIIe siècle

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Lot 176. Belle et rare grande figurine en bronze laqué doré et patine brune représentant un bouddha assis en position vajraparyankasana, la main droite levée en vitarka mudra, la robe drapée, Royaume de Dali, XIIe-XIIIe siècle. H. : 46 cm. Estimation 30 000 - 40 000 €. Résultat 2 000 000 € (sans les frais). Courtesy DELON-HOEBANX

Etat : Très bon état général, un trou circulaire derrière le crâne rebouché d'une plaquette en bois et deux trous circulaires à l'arrière dans la partie basse au niveau des hanches. 

DELON-HOEBANX. Art d'Asie, 13 juin 2019

Important jade vert sculpté avec traces de rouille représentant un buffle couché, XXe siècle

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Lot 124. Important jade vert sculpté avec traces de rouille représentant un buffle couché, XXe siècle. Dim. : 37 cm. Estimation 8 000 - 12 000 €. Résultat 120 000 € (sans les frais). Courtesy DELON-HOEBANX

DELON-HOEBANX. Art d'Asie, 13 juin 2019

 

A large and unusual bronze 'arrow' vase, touhu, Ming dynasty (1368-1644)

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Lot 3. A large and unusual bronze 'arrow' vase, touhu, Ming dynasty (1368-1644). Hauteur : 52 cm. Estimate 3 000 € - 4 000 €. Lot sold 26 000 €. Courtesy Asium-Millon.

with flattened circular body cast with four taotie masks each separated by a cylindrical tube, all raised on a spreading foot cast with lappets above foaming waves, the tall slender neck with two further cylinders attached at an angle between two applied writhing chilong dragons each clutching a lingzhi spray in its mouth, all beneath four further cylinders attached vertically at the mouth and cast with further taotie masks on a leiwen ground.

Vase à haut col en bronze, touhu, à patine brune, le col orné de anses tubulaires, deux dragons stylisés rampant sur le col. La panse ornée de tubes et masques de taotie en leger relief.

Note: Pour un vase identique vendu aux enchères, voir Bonhams vente du 6 novembre 2014, lot 388. 

Arts de la Chine - Arts du Japon chez Asium-Millon, 75009 Paris (France), le 13 Juin 2019. Monsieur Jean Gauchet, Expert.

Bronze censer and cover, Ming dynasty, Xuande mark, 17th century

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Lot 6. Bronze censer and cover, Ming dynasty, Xuande apocryphal mark, 17th century. Hauteur : 28 cm. Estimate 15 000 € - 20 000 €. Lot sold 38 000 €. Courtesy Asium-Millon.

the body of the censer features as a continuous frieze in high relief. The upper section of the censer is decorated in open cloud work depicting two dragons, symbolising masculinity, and two phoenixes, symbolising femininity. From the centre of the censer rises a reticulated shaped ball of clouds from which a dragon peers outwards over the length of the censer.

Brûle-parfum couvert en bronze partiellement ajouré à décor de dragons et phénixes parmi les nuages, la prise à forme de nuages ajourés. Les anses à forme de masques tenant un anneau. Une frise de pétales de lotus stylisés orne la partie basse. Marque apocryphe Xuande à six caractères sous la base.

Arts de la Chine - Arts du Japon chez Asium-Millon, 75009 Paris (France), le 13 Juin 2019. Monsieur Jean Gauchet, Expert.

 

A good lobed gourd shaped box and cover with hard stone inlays, 19th century

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Lot 19. A good lobed gourd shaped box and cover with hard stone inlays, 19th century. H: 7.0 x L: 15.5 x P: 10.0 cm. Estimate 600 € - 800 €. Lot sold 20 000 €Courtesy Asium-Millon.

Boîte couverte en bois à forme de Conque de forme lobée, le couvercle à décor de fruits et fleurs en pierre dure incrustée en relief. Hauteur : 7 cm Largeur : 15.5 cm Profondeur : 10 cm.

Arts de la Chine - Arts du Japon chez Asium-Millon, 75009 Paris (France), le 13 Juin 2019. Monsieur Jean Gauchet, Expert.

 


A pair of sandalwood, zitan 'scrolls' panels, 18th century

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Lot 20. A pair of sandalwood, zitan'scrolls' panels, 18th century. H: 35.0 x L: 42.5 cm. Estimate 10 000 € - 15 000 €. Lot sold 38 000 €Courtesy Asium-Millon.

deeply carved with pagodas, trees and rocks enhanced with white jade figures included in the scenario.

Paire de panneaux en bois de santal rouge (Zitan) et jades incrustés. Chacun reprenant la forme d’un rouleau, les scènes représentent des pagodes, arbres et rochers sculptés en profondeur agrémenté de personnages en jade blanc incrusté en situation dans le décor. Hauteur : 35 cm Largeur : 42.5 cm.

Arts de la Chine - Arts du Japon chez Asium-Millon, 75009 Paris (France), le 13 Juin 2019. Monsieur Jean Gauchet, Expert.

A famille rose model of Amitayus, Qing dynasty, 18th century

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Lot 140. A famille rose model of Amitayus, Qing dynasty, 18th century. H: 32.0 x L: 21.0 cm. Estimate 10 000 € - 15 000 €. Lot sold 80 000 €Courtesy Asium-Millon.

modelled seated in dhyanasana, The facial features finely rendered in gilt with eyes slightly downcast to provide a serene expression, the hair picked out in blue enamel, swept into a double-topknot and secured by an ornamental jewel, worn behind the five-leaf diadem fastened with ribbons at the back of the head, dressed in a shawl enamelled to depict floral sprays amidst ruyi clouds against a lime-green ground, revealing the broad torso adorned with a fine network of beaded jewellery chains, the dhoti enamelled with lotus sprays against a blue-ground.

Chine, XVIIIème siècle. Rare Amitayus en porcelaine. Hauteur : 32 cm Largeur : 21 cm.

Représenté assis en dhyanasana, vêtu d'un fin dhoti brodé formant d'harmonieux plis devant lui et orné d'élégantes volutes de lotus sur fond turquoise et bleu, la poitrine découverte agrémentée de la croix svastika, sa main droite levée, la gauche en avakashamudra, paré de bijoux précieux et d'une couronne à cinq pointes. Sa peau or est soulignée de bijoux aux couleurs chatoyantes. Ses épaules sont recouvertes d'un châle rouge rehaussé de fleurs et nuages en forme de ruyi. Deux pans flottent de part et d'autre de ses coudes pour retomber sur ses cuisses. Son visage est serein, son front ceint d'une tiare ouvragée. Ses cheveux sont maintenus en un haut chignon, deux mèches retombant de part et d'autre

Pour un amitayus semblable mais dans un mudra différent et possiblement provenant de la même série, voir vente Christie's, 11 decembre 2013, lot 176.

Provenance-collection privée française de Monsieur TOURNET assemblée dans les Années 20 puis par descendance.

Arts de la Chine - Arts du Japon chez Asium-Millon, 75009 Paris (France), le 13 Juin 2019. Monsieur Jean Gauchet, Expert.

A large carved cinnabar mallow form box and cover, Qing dynasty, 18th century

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Lot 227. A large carved cinnabar mallow form box and cover, Qing dynasty, 18th century. H: 12.5 cm - Ø: 40.0 cm. Estimate 6 000 € - 8 000 €. Lot sold 39 000 €Courtesy Asium-Millon.

The top of the cover is deeply carved within an octafoil panel to depict a garden scene with sages and their attendants centered with a bridge and river. Each of the eight sides is decorated with flowers growing on branches within a cartouche, interspersed with lotus flowers, which is repeated on the box.

Chine, XVIIIe siècle. Grande boîte polylobée couverte en laque rouge sculptée. Hauteur : 12,5 cm Diamètre : 40 cm.

Sculptée en relief sur fond rouge, sur le couvercle d'un large médaillon délimité par une frise de grecques et représentant des dignitaires et leurs serviteurs dans un paysage lacustre et montagneux, une riviere et un pont en premier plan, les côtés du couvercle et de la boîte rehaussés de cartouches à décor de rochers et fleurs alternant avec des volutes feuillagées et lotus, le pied et les bordures ornés de frises de grecques ; l'intérieur et la base laqués noirs.

Arts de la Chine - Arts du Japon chez Asium-Millon, 75009 Paris (France), le 13 Juin 2019. Monsieur Jean Gauchet, Expert.

Bartolomé Bermejo: Master of the Spanish Renaissance at the National Gallery, London

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LONDON - This summer, the National Gallery, as part of its Spanish season, will show a select number of works by Bartolomé Bermejo (about 1440–about 1501), one of Spain’s most innovative and accomplished painters active in the second half of the 15th century. 

Bartolomé de Cárdenas was more commonly known as ‘Bermejo’ – meaning ‘reddish’ in Spanish – probably referring to a distinctive physical feature such as red hair or a ruddy complexion. He was born in Cordoba but was principally active in the Crown of Aragon, working in Tous, Valencia, Daroca, Zaragoza, and Barcelona. He led an itinerant life, partnering with local artists to access painters’ guilds and obtain religious commissions in the cities he visited. Bermejo’s personal circumstances remain enigmatic, and very little is known about his life and early training but it seems likely that he was a converso (a Jew converted to Christianity) and that his nomadic career might be partially explained by the establishment of the Inquisition and persecution of Jews by the religious authorities.

The exhibition will include six loans that have never been seen outside of Spain, including two of Bermejo’s masterpieces: 'Triptych of the Virgin of Montserrat' (probably 1470–75), painted for the Italian cloth merchant Francesco della Chiesa, from the Cattedrale Nostra Signora Assunta in Acqui Terme, Alessandria (Italy), and the recently restored Desplà Pietà’ (1490), named after the man who commissioned the work - Lluís Desplà, archdeacon of Barcelona Cathedral, where the painting has been since the 15th century.

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Bartolomé Bermejo, 'Triptych of the Virgin of Montserrat', probably 1470–5, Cathedral of Nostra Signora Assunta, Chapter House/ Acqui Terme (Alessandria) / Italy© Diocesi di Acqui-Cattedrale N. Signora Assunta, Acqui Terme / Photo: Museo Nacional del Prado, Madrid.

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Bartolomé Bermejo, 'Desplà Pietà', 1490, Barcelona Cathedral© Catedral de Barcelona (fotógrafo: Guillem F-H)

In addition, four panels depicting scenes from Christ the Redeemer ('Descent of Christ into Limbo' and 'Resurrection' from Museu Nacional d’Art de Catalunya (MNAC), Barcelona; 'Christ entering Paradise' and 'Ascension' from the Fundació Institut Amatller d’Art Hispànic, Barcelona, all about 1470–5) will be displayed.

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Bartolomé Bermejo, 'Descent of Christ into Limbo', about 1470–5, Museu Nacional d'Art de Catalunya, Barcelona. Acquisition, 1914. MNAC 015872© Museu Nacional d'Art de Catalunya (2019).

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Bartolomé Bermejo. 'Christ in Paradise', circa 1475, Fundación Instituto Amatller de Arte Hispánico, Barcelona.

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Bartolomé Bermejo 'Resurrection', circa 1475, Museo Nacional de Arte de Cataluña.

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Bartolomé Bermejo, 'Ascension', circa 1475, Museo Nacional de Arte de Cataluña.

At the centre of the exhibition will be the National Gallery’s own painting by Bermejo, Saint Michael Triumphant over the Devil with the Donor Antoni Joan (1468). Widely considered the most important early Spanish painting in Britain, it is displayed here for the first time following its recent conservation. The year-long treatment has considerably improved the legibility of the painting, revealing a strong sense of three-dimensionality in the figures and an astonishingly convincing representation of different textures such as the sheen of the fire-gilded armour the archangel wears, with its reflection of the city of Jerusalem on its breastplate, or the minutely described monster at his feet and carefully observed plants dotted around the landscape. The recent scientific examination of the painting has brought to light new information regarding Bermejo’s painting technique. 

Painted in 1468, the 'Saint Michael Triumphant' is thought to have once formed part of an altarpiece dedicated to Saint Michael in the church of the same name in Tous, near Valencia. It is the first of some twenty known works by Bermejo, produced over a career spanning just over thirty years. The first surviving document relating to the artist, in the form of a receipt for partial payment for the 'Saint Michael Triumphant', will be brought alongside the painting for the very first time in this exhibition.

The painting shows an elegant and elongated archangel Michael enveloped in a sumptuous embroidered, jewel-encrusted cape defeating the devil, depicted in the form of a grotesque hybrid monster. Antoni Joan, lord of Tous and the donor who commissioned the work, kneels at the archangel’s feet and looks up from his prayer book to witness Saint Michael’s victory over the devil.

The works on display demonstrate Bermejo’s technical virtuosity and mastery of the oil painting technique; unparalleled among his Spanish contemporaries. Previously thought to have trained in the Netherlands, though no such journey is documented, Bermejo is more likely to have learnt how to paint in oil through close observation of Netherlandish paintings circulating in Spain. It is this technical skill, combined with his inventiveness that sets Bermejo apart as one of the great masters of the Spanish Renaissance.

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Bartolomé Bermejo, Saint Michael triumphant over the Devil with the Donor Antoni Joan, 1468. Bought by Private Treaty Saler with a grant from the American Friends of the National Gallery, London, made possible by Mr J. Paul Getty Jnr ™’s Edownment Fund, 1995. © The National Gallery, London. 

The catalogue accompanying this exhibition will focus on 'Saint Michael Triumphant', discussing the painting in the broader context of Bermejo’s life and career, and it will also include a detailed description of the painting’s recent conservation treatment and scientific examination, publishing technical images for the very first time.

Letizia Treves, the James and Sarah Sassoon Curator of Later Italian, Spanish, and French 17th-century Paintings, said: “Given that so few pictures by Bermejo are known, we are very fortunate to have one of his great masterpieces in the National Gallery. In displaying our painting for the first time alongside Bermejo’s 'Triptych of the Virgin of Montserrat' and the ‘Desplà Pietà’ – neither of which have ever travelled to Britain before – I hope visitors to the exhibition will be dazzled by the sheer beauty and uniqueness of Bermejo’s paintings.”

National Gallery Director, Dr Gabriele Finaldi, said: “The National Gallery’s'Saint Michael Triumphant'is a supreme work of European 15th-century painting. The exhibition introduces the public to Bermejo, a great Spanish Renaissance master with exceptional loans never seen before in Britain.'

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Bartolomé Bermejo 'Arrest of Santa Engracia', 1472-1477. The San Diego Museum of Art, Gift of Anne R. and Amy Putnam, 1941.101. Photograph courtesy of The San Diego Museum of Art.

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Bartolomé Bermejo, 'Death and Assuymption of the Virgin', 1468–1472. © Staatliche Museen zu Berlin, Gemäldegalerie / Christoph Schmidt.

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Bartolomé Bermejo, 'Saint John the Baptist in the desert', circa 1470. Sevilla, Museo de Bellas Artes de Sevilla.

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Bartolomé Bermejo 'Flagellation of Saint Engracia', circa 1474-1477. Museo de Bellas Artes de Bilbao

 

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Bartolomé Bermejo, ‘Adoration of the Magi’, c. 1500. Cabildo de la Capilla Real de Granada. (MNAC).

Rare statue de soldat ou de serviteur en bronze, Chine, dynastie Han de l'Est (av.JC. 25-220)

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Lot 176. Rare statue de soldat ou de serviteur en bronze, Chine, dynastie Han de l'Est (av.JC. 25-220). Hauteur: 69 cm. (24 in.). Estimate: EUR 40,000 - EUR 60,000Price realised EUR 81,250© Christie's Images Ltd 2019

Il est représenté debout, sa main droite est placée le long de son corps, le poing serré. Sa main gauche est levée au niveau de sa poitrine. Ses mains sont percées d'un trou qui accueillait à l'origine un objet. Il porte un chapeau, une longue tunique retenue par une ceinture, un pantalon et des bottes hautes. Il possède une petite bouche, un nez fin et de hautes pommettes. Le bronze est recouvert d'une belle patine gris sombre rehaussée d'oxydations.

A VERY RARE BRONZE FIGURE OF AN ATTENDANT OR SOLDIER, CHINA, EASTERN HAN DYNASTY (AD 25-220)

Provenance: Christie's London, 16 December 1996, lot 54.

Note: Stylistically, this very rare large, and impressive bronze figure is related to the red pottery figures, and the far more rare bronze and stone figures of Eastern Han dynasty date (AD 25-220) from Sichuan province. The simple style of the heavy robe, that crosses in front to reveal the circular neck of an undergarment, can be seen on red pottery figures, such as the large (100 cm.) figure of a farmer wearing a three-quarter-length tunic that exposes his calves and feet, depicted holding a shovel and spade, illustrated by J. Rawson (ed.) in Mysteries of Ancient China, London, 1996, pp. 210-11, no. 113. Another large red pottery figure, described as a peasant-soldier (100 cm.), in the Musée Guimet, is illustrated by J.-P. Desroches in Compagnons d'eternité, Paris, 1996, pp. 88-9. The entry notes that the piece was made in two parts, with a lateral join that is still noticeable, a feature seen in the present bronze figure.

The same kind of robe, also belted at the waist, can be seen on stone figures of labourers of Eastern Han date illustrated in Wenwu, 1993:1, pl. 6, fig. 5. The present figure, may, however, best be compared to another bronze figure of comparable height (67 cm.) illustrated in Gems of China's Cultural Relics, Beijing, 1997, pl. 83. This figure is shown with right hand raised, as if to hold the reins of the prancing horse, and holding a shield on his left arm. He, therefore, must represent a soldier or attendant. He wears a hat similar to that of the present figure, and similar, but shorter robes that expose more of his simply-defined legs. The shape of his face and the facial features are also very similar to those of the present figure. It can be seen that the raised right arm was made separately and attached at the side, which is most likely true of the present figure.  

Other Eastern Han dynasty bronze figures that are stylistically similar, but of much smaller size, which are part of a retinue of horses, horse carriages, drivers and attendants, are illustrated in the catalogue for An exhibition of Archaeological finds of the People's Republic of China, London, 1973, pp. 118-19, nos. 211-212. The same stiff stance, and style of hat and robe of the present figure can be seen on three standing attendants with raised arms that are shown with horse-drawn carriages and a cart, illustrated p. 119. Their raised hands were probably meant to hold reins attached to the horse's harness. An inscription engraved on one of the retinue figures has been translated as: "The governor of Zhang Ye-chang and His Lordship's son Ana: one saddle horse and one horse-leading slave."

See a comparable and related example of a bronze groom and a horse, excavated in 1990 from tomb No.2 of Hejiashan, Mianyang, in the collection of the Mianyang City Museum, Sichuan province, and exhibited in the Metropolitan Museum of Art, New York, April 3 - July 16, 2017, illustrated in 'Age of Empires, Chinese Art of the Qin and Han Dynasties 221BC-AD22', New York, 2017, pl. 40a,b, .p. 119.

Christie's. Art d'Asie, Paris, 12 Juin 2019

Rare statue de Bouddha Shakyamuni en schiste gris, Pakistan, ancienne region du Gandhara, IIème-IIIème siècle

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Lot 242. Rare statue de Bouddha Shakyamuni en schiste gris, Pakistan, ancienne region du Gandhara, IIème-IIIème siècle. Hauteur : 125 cm. (49 ¼ in.). Estimate: EUR 50,000 - EUR 70,000Price realised EUR 62,500© Christie's Images Ltd 2019

Il est représenté debout en samabhanga sur un piédestal orné d’un bodhisattva assis flanqué d’adorants. Il est vêtu d’une robe monastique. Sa main droite est enabhayamudra. Son visage est empreint de sérénité. Un halo est placé derrière sa tête ; accidents et restaurations, socle.

AN IMPORTANT GREY SCHIST FIGURE OF BUDDHA SHAKYAMUNI, PAKISTAN, ANCIENT GANDHARA REGION, 2ND-3RD CENTURY

Provenance: French private collection, acquired from Galerie Ponati, Paris, 12 June 1982.

Note: With the growing popularity of Mahayana Buddhism around the second century large detached images were sculpted alongside narrative friezes. This fine standing Buddha is characteristic of the high point of Gandharan art as represented in the refinement of the carving. The elegant treatment of the drapery subtly reveals the underlying physique of his body.

Christie's. Art d'Asie, Paris, 12 Juin 2019

Statue de Guanyin en bronze incrustée d'argent, Chine, dynastie Qing (1644-1911)

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Lot 173. Statue de Guanyin en bronze incrustée d'argent, Chine, dynastie Qing (1644-1911). Hauteur: 49 cm. (19 ¼ in.). Estimate: EUR 18,000 - EUR 22,000Price realised EUR 50,000© Christie's Images Ltd 2019

Elle est représentée debout, ses mains jointes devant elle. Elle est vêtue d'une longue robe rehaussée de motifs de nuages en incrustations d'argent. Elle porte une signature incrustée d'argent de Yutang Shisou au dos. L'expression de son visage est sereine, son front est rehaussé de l'urna incrusté d'argent.

Provenance: Previously in a French private collection since the 1900s and thence by descent.

A SILVER-INLAID BRONZE FIGURE OF GUANYIN, CHINA, QING DYNASTY (1644-1911)

Christie's. Art d'Asie, Paris, 12 Juin 2019

 


Early Picture of a Dog on a Lead From the collection of Desmond Morris offered at Bonhams

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Lot 2. A large Persian pottery bowl, Circa late 3rd-late 2nd Millennium B.C.; 18cm high, 23.5cm diam. Estimate £ 20,000 - 30,000 (€ 22,000 - 34,000). © Bonhams 2001-2019

One of the first known depictions of a dog on a lead is being offered at Bonhams' Antiquities Sale at New Bond Street on Wednesday 3 July. It is painted on one of three panels of a large Persian pottery jar dated circa late 3rd to late 2nd century BC, and shows a hunter with a bow and arrow holding a curly-tailed dog which, in turn, is herding goats on a mountainside. The estimate of the jar is £20,000 - 30,000.

The jar is part of the collection of Dr Desmond Morris, the celebrated broadcaster, author of The Naked Ape, and Surrealist painter. As Dr Morris told Bonhams Magazine, "The dog is shown with a lead, collar and a curly tail and he is in competition with the shaggy-coated wolf which is bristling on the other side of the vase with a characteristically horizontal tail. It gives us an insight into how these people went hunting – with a herding dog and a hunting dog."

Desmond Morris fell in love with antiquities when he walked into the Cyprus Museum in Nicosia. It prompted him to start a collection that comprised some 3,000 pieces. A selection of these Cypriot works – together with Roman, Persian, and Canaanite objects - will be offered in the sale.

As Dr Morris told Bonhams Magazine, "I saw these amazing pieces of pottery, extraordinary shapes that were so creative and imaginative, that I fell in love with them instantaneously. It was the inventiveness of the way in which they would put little figures all the way around the rim of a bowl, which were all doing things such as making bread. It was like a strip cartoon of ancient life."

Francesca Hickin, Bonhams' Head of Antiquities Department, said, "It is an honour to offer the collection of Desmond Morris. Desmond's book on Cypriot Art is the definitive volume on the subject and this is a collection that has been assembled with knowledge and with love."

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Lot 2. A large Persian pottery bowl, Circa late 3rd-late 2nd Millennium B.C.; 18cm high, 23.5cm diam. Estimate £ 20,000 - 30,000 (€ 22,000 - 34,000). © Bonhams 2001-2019

Of deep cylindrical form flaring towards the rim, decorated in brown with three figurative panels separated by a chequered diamond pattern with dot and circle motifs, the first panel painted with a hunting scene depicting a furry canine, possibly a wolf, chasing two goats with a hunter below with a bow aimed toward five further goats, the next panel showing a man with his bow drawn towards a group of six goats, assisted by a dog on a lead, with a further canine apparently driving the goats towards the hunter, the third panel depicting a man and two yoked oxen.

Provenance: Anonymous sale; Sotheby's, London, 27 March 1972, lot 60. 
Desmond Morris collection, Oxford, acquired at the above sale.

Published: J. Farrington, Man's Best Friend: An Exhibition Celebrating the Centenary of Crufts Dog Show, Birmingham, 1991, p. 15. 

Exhibited: Birmingham Museum and Art Gallery, 'Man's Best Friend: An Exhibition Celebrating the Centenary of Crufts Dog Show', 9 January-17 March 1991.

Note: In the above exhibition catalogue David Symons notes that the hunting scenes can be interpreted either as the depiction of two different canine types, one shaggy and wolf-like, the other sleek and curly tailed, or that the scenes show 'a deliberate distinction between domesticated dogs co-operating with man and a wild canine (a shaggy wolf?) in competition with him'. Dr Morris has suggested that the vase demonstrates an understanding of the domestication process of the dog, which was bred both to look different from wild wolves and to assist man.

Other highlights of the collection include:

 

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Lot 1. A Canaanite bronze figure; Bronze Age, circa 1500-1200 B.C.; 13cm high. Estimate £7,000-10,000 (€ 7,900 - 11,000). © Bonhams 2001-2019

The standing figure with bent arms extended holding two offering vessels, wearing a pleated kilt and conical hat, the face with enlarged features, the right ear with double piercing

Provenance: Dr H. A. Fawcett (1891-1982) collection, UK (inv. No. RG.3.HF). 
Desmond Morris collection, Oxford, acquired in the 1970s at Sotheby's, London.

Note: For a kilted bronze figure of similar pose, cf. O. Negbi, Canaanite Gods in Metal, Tel Aviv, 1976, p.18, pl.14, no. 161. It is suggested that the conical headgear is Anatolian in style.

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Lot 15. A Cypriot terracotta horse, circa 700-600 B.C.; 19.5cm high and 17.5cm long. Estimate: £800 - 1,200 (€ 900 - 1,300)© Bonhams 2001-2019

The horse with applied harness and trappings, modelled with a ridged mane, the hollow body with cylindrical opening at the front, with faded black striped decoration.

ProvenanceAnonymous sale; Christie's, London, 11 December 1974, lot 175. 
Desmond Morris collection, Oxford, acquired at the above sale.

Note: For a slightly later example of a hollow cast horse figurine with an opening at the chest cf. V. Karageorghis, Cypriote Antiquities in the Pierides Collection, Athens, 1973, p.145, no. 91

 

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Lot 23. A large Daunian pottery olla, circa 5th Century B.C.; 31cm high. Estimate: £2,000 - 3,000 (€ 2,200 - 3,400). © Bonhams 2001-2019

With deep funnel-shaped mouth, twin loop handles each with a notch at the apex, and a pair of hand-shaped handles rising from the shoulders, decorated with geometric designs in red and dark-brown.

ProvenanceAnonymous sale; Sotheby's, London, 13 December 1977, lot 115. 
Desmond Morris collection, Oxford, acquired at the above sale.

NoteFor a similar olla modelled with hands, see S. Cassani, The Art of the Italic Peoples, Geneva, 1993, p. 321, fig. 211.

 

There is also a series of Iranian Amlash female figures (estimates from £2,000 – 3,000) with broad hips and pronounced buttocks. As Desmond Morris says, "They display steatophygia, today known as the Kardashian syndrome. It was a fatty deposit that protected the females from starvation. But it was also visually very dramatic. The strange thing is why do these figures found in Iran have steatophygia. I'm guessing it's a feature of the prehistoric mother goddess and that they were used as lucky charms, carried to ensure pregnancy."

Desmond Morris

Desmond Morris, 91, studied at Oxford University, is author of more than 40 books, including The Lives of Surrealists, which was published this year, and has been at the forefront of social anthropology for more than 70 years. One of his most famous films explored the origins of art by investigating the picture-making abilities of chimpanzees. As he told Bonhams Magazine, "When artists such as Miro saw the paintings, they realised ... that this was the birth of art, not the images in the Lascaux caves." 

A diamond and emerald necklace

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Lot 111. A diamond and emerald necklace. Estimate USD 700,000 - USD 1,000,000© Christie's Image Ltd 2019

Graduated faceted diamond beads, single-cut diamonds, emerald bead, white silk cord, white gold, longest length 24 ½ ins. (adjustable).

Provenance: Sheikh Saoud bin Mohamed bin Ali Al Thani.

Exhibited: Victoria and Albert Museum, London 2015, p. 154, no. 97
The Miho Museum, Koka 2016, p. 25, no. 2
Grand Palais, Paris 2017, pp. 358-59, no. 267
The Doge’s Palace, Venice 2017, p. 385, no. 271
The Palace Museum, Beijing 2018, p. 389, no. 271.

Christie's. Maharajas & Mughal Magnificence, New York, 19 June 2019 

 

Cut-cornered rectangular portrait-cut diamond of 20.22 carats

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Lot 273. A cut-cornered rectangular portrait-cut diamond of 20.22 carats, J color, VS2 clarity, Type IIaEstimate USD 500,000 - USD 1,000,000© Christie's Image Ltd 2019

GIA, 2015, report no. 1176200206: 20.22 carats, J color, VS2 clarity, Type IIa

ExhibitedVictoria and Albert Museum, London 2015, p. 49, no. 11
The Miho Museum, Koka 2016, p. 26, no. 3
Grand Palais, Paris 2017, p. 34, no. 4
The Doge’s Palace, Venice 2017, p. 45, no. 1
The Palace Museum, Beijing 2018, p. 50, no. 1
de Young Legion of Honor, San Francisco 2018, p. 46, no. 1

NotePortrait diamonds, also called lasques, are among the earliest cut diamonds preserved to this day. Extremely shallow, they consist of virtually nothing but two tables separated by a tiny row of girdle facets. They were sometimes used to cover miniature paintings and therefore came to be known as portrait diamonds. Due to their extreme flatness, they were unsuited for later recutting and their original shape was preserved, making them historically significant. 

Large portrait diamonds are extremely rare and among few famous examples is one seen on a portrait of Shah Jahan from 1616, where he holds a turban ornament set with an emerald and a portrait diamond or the ‘Russian Portrait Diamond’, dating around 1820, covering a miniature portrait of Czar Alexander I in a bracelet.

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Portrait of Prince Khurran, later Shahbuddin Mohammed Shah Jahan, Mughal Emperor of India, holding a turban ornament or jewel, India, c. 1616. The turban ornament most likely set with a portrait-cut diamond similar to Lot 273. © Victoria and Albert Museum, London

The present diamond also exhibits a feature common in gems shaped for Mughal use, a pair of drilled holes by which a stone could be sewn to a turban or garment to impart both pomp and courtly fashion.

Christie's. Maharajas & Mughal Magnificence, New York, 19 June 2019 

 

An antique diamond and enamel sarpech, mid 19th century

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Lot 334. An antique diamond and enamel sarpech, mid 19th century. Estimate USD 500,000 - USD 700,000© Christie's Image Ltd 2019

The turban ornament set with variously-shaped table-cut diamonds, briolette-cut diamonds, blue, green, white and red enamel on the reverse with plume holder, foil, gold on a lac core, 7 ½ ins.

ExhibitedMetropolitan Museum of Art, New York 2014, p. 56, ill. pp. 64-65
Victoria and Albert Museum, London 2015, pp. 94-95, no. 46
The Miho Museum, Koka 2016, p. 118, no. 85
Grand Palais, Paris 2017, p. 225, no. 167
The Doge’s Palace, Venice 2017, p. 245, no. 167
The Palace Museum, Beijing 2018, p. 263, no. 170
de Young Legion of Honor, San Francisco 2018, p. 180, no. 101.

Christie's. Maharajas & Mughal Magnificence, New York, 19 June 2019 

 

An old mine brilliant-cut light pink diamond of 7.56 carats

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Lot 170. An old mine brilliant-cut light pink diamond of 7.56 carats, VS1 clarity, Type IIa. Estimate USD 400,000 - USD 600,000© Christie's Image Ltd 2019 

GIA, 2017, report no. 2181648399: 7.56 carats, Light Pink, natural color, VS1 clarity, Type IIa.

Christie's. Maharajas & Mughal Magnificence, New York, 19 June 2019 

 

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