Lucio Fontana (1899-1968), Concetto spaziale, Attese. Photo Christie's Image Ltd 2014

signed, titled and inscribed ‘l. Fontana “Concetto Spaziale” ATTESE Motta fa un po schifo...’ (on the reverse); waterpaint on canvas; 23.3/4 x 23.3/4in. (60.1 x 60.4cm.). Painted in 1964. Estimate£700,000 – £1,000,000 ($1,156,400 - $1,652,000).

Provenance: Collection Attilio Sartor, Verona.
Studio Casoli, Milan.
Centro Tornabuoni, Florence.
E. Restelli, Milan.
Galleria Tornabuoni, Florence.
Acquired from the above by the present owner in 2000.
PROPERTY OF A PRIVATE EUROPEAN COLLECTOR

Literature: E. Crispolti, Lucio Fontana: catalogue raisonné des peintures, sculptures et environments spatiaux, vol. II, Brussels 1974, p. 156, no. 64 T 76 (illustrated, p. 157).
E. Crispolti, Lucio Fontana, Catalogo Generale, vol. II, Milan 1986, no. 64 T 76 (illustrated, p. 531).
E. Crispolti, Lucio Fontana, Catalogo ragionato di sculture, dipinti, ambientazioni, vol. II, Milan 2006, no. 64 T 76 (illustrated, p. 718).

Exhibited: Florence, Centro Tornabuoni, Maestri contemporanei – antologia scelta 1990-1991, 1990-1991, p. 101.
Florence, Centro Tornabuoni, Maestri contemporanei – antologia scelta 1992-1993, 1992-1993, p. 60.
Milan, Tornabuoni Arte, Lucio Fontana, 1996, p. 114 (illustrated in colour, p. 115).
Milan, Galleria Blu, Lucio Fontana. Stasera inauguro la mia mostra da Palazzoli, 1999, p. 94 (illustrated in colour, p. 95).

Notes: ‘I have succeeded in giving the spectator an impression of spatial calm, cosmic rigour, serenity and infinity’ (L. Fontana, quoted in Lucio Fontana, exh. cat., Rome, Palazzo delle Esposizioni, 1998, p.250).

Christie's. POST-WAR AND CONTEMPORARY ART EVENING AUCTION. 13 February 2014. London, King Street - www.christies.com

Josef Albers (1888-1976), Study For Homage to the Square: R – III a – 6. Photo Christie's Image Ltd 2014

signed with the artist’s monogram and dated ‘68’ (lower right); signed, titled and dated ‘Study for Homage to the Square R-III a-6 Albers’ 1968’ (on the reverse); oil on masonite; 32 x 32in. (81.3 x 81.3cm.). Painted in 1968. Estimate£250,000 – £350,000 ($413,000 - $578,200)

Provenance: The Artist.
Maximilian Schell, Preitenegg (acquired directly from the artist, December 1972).
Erna Baumbauer, Siegsdorf (acquired from the above, December 1990) and thence by descent to the present owner in September 1995.
PROPERTY FROM A PRIVATE GERMAN COLLECTION

Exhibited: Dusseldorf, Städtische Kunsthalle Düsseldorf, Josef Albers, 1970, p. 58, no. 127.
New York, Metropolitan Museum of Art, Josef Albers: An Exhibition Of His Paintings And Prints, 1971-1972, p. 67, no. 79 (illustrated, p. 23).
New York, The Solomon R. Guggenheim Museum, Josef Albers: A Retrospective, 1988, no. 238 (illustrated in colour, p. 279). This exhibition later travelled to Baden-Baden, Staatliche Kunsthalle Baden-Baden; Berlin, The Bauhaus Archiv and Finland, The Pori Art Museum.
Munich, The Villa Stuck, Anni und Josef Albers, 1990, no. 107 (illustrated in colour, p. 103).

This work will be included in the forthcoming Josef Albers Catalogue Raisonné being prepared by The Anni and Josef Albers Foundation.

Notes: ‘If one says ‘Red’ (the name of a color) and there are 50 people listening, it can be expected that there will be 50 reds in their minds. And one can be sure that all these reds will be very different’ (J. Albers, quoted in Formulation: Articulation, New York 2006, p. 21).

Christie's. POST-WAR AND CONTEMPORARY ART EVENING AUCTION. 13 February 2014. London, King Street - www.christies.com

Massive green-glazed horse. Chinese, Eastern Han dynasty, A.D. 25–220. Red earthenware with green glaze; h. 139.7 cm., l. 119.0 cm., w. 34.0 cm. (55 x 46 7/8 x 13 3/8 in.). Museum purchase, John Maclean Magie, Class of 1892, and Gertrude Magie Fund - 1997-32. Princeton Art University

Cheval. Epoque des Han de l’Est (25 – 220), Sichuan (?). Terre cuite. H : 135 cm L : 130 cm P : 30 cm. M.C. 2007-25. Musée Cernuschi. Copyright © Stéphane Piera / Musée Cernuschi / Roger-Viollet

David Webb 18K gold and ruby brooch. Photo courtesy of David Webb

A Carved Coral, Coral and Emerald Horse Bangle Bracelet, by Van Cleef & Arpels circa 1975. Photo courtesy of FD Gallery

18K Gold, Silver, Mother-of-Pearl, Freshwater Pearl and Colored Stone ‘Plumed Horse’ Brooch, Rene Boivin, France. Photo courtesy of Sotheby’s

An Amethyst, Emerald and Diamond Bangle Bracelet, by David Webb. Photo courtesy of Christie’s

A Gold Pendant Necklace, by Van Cleef & Arpels. Photo courtesy of Christie’s

Roberto Coin Rose Gold & Diamond Horse Bangle. Photo courtesy of Roberto Coin

Boucheron Pégase sapphire ring. Photo courtesy of Boucheron

Hermès A Gold Horse Bangle Bracelet. Photo courtesy of FD Gallery

An Unusual Diamond and Black Onyx Brooch, by Bulgari. Photo courtesy of Christie’s

A Gem-Set Horse Bangle, by Cartier. Photo courtesy of Bonhams

Guy Freres Horse Head and Horn Choker. Photo courtesy of 1stdibs

A Diamond ‘Horse’ Ring. Photo courtesy of Christie’s

An Enamel, Gem and Diamond Bangle, by Frascarolo. Photo courtesy of Christie’s

A Diamond, Multi-Gem and Enamel Brooch, by David Webb. Photo courtesy of Christie’s

Turquoise, Split Pearl, Ruby and Wood ‘Cheval’ Pendant, Rene Boivin, circa 1964. Photo courtesy of Sotheby’s

A Ruby, Enamel and Diamond Bangle, Frascarolo. Photo courtesy of Sotheby’s

Sorab & Roshi Opal Horse Pin. Photo courtesy of Sorab & Roshi

David Webb Two Tone Diamond , Ruby & Red Enamel Horse Brooch. Photo courtesy of Yafa Signed Jewels via 1stdibs

High Karat Gold Cuff Bangle Bracelet, Zolotas. Photo courtesy of Doyle

David Webb Dappled Blue Horse Bracelet. Photo courtesy of David Webb

Hermès Horse Gold Band Ring. Photo courtesy of 1stdibs

Gold and Cabochon Emerald Horse Head Clip-Brooch, Van Cleef & Arpels. Photo courtesy of Doyle.

A Diamond and Emerald Horse Brooch, by Cartier. Photo courtesy of Christie’s

18K Gold, Platinum, Diamond, Ruby, Emerald and Enamel Horse Bangle-Bracelet, David Webb. Photo courtesy of Sotheby’s

A Multi-gem and Gold Horse Brooch, by Rene Boivin. Photo courtesy of FD Gallery

A Ruby, Sapphire and Diamond ‘Horse’ Head Brooch, by Jean Schlumberger, Tiffany & Co. Photo courtesy of Christie’s

Xu Beihong 徐悲鴻 (1895 - 1953), Cheval. Daté 1947. Encre sur papier. H. 93,3 cm ; L. 52,3 cm. M.C. 8700. Don Guo Youshou, 1953. Musée Cernuschi.© Musée Cernuschi de Paris

Xu Beihong 徐悲鴻 (1895 - 1953), Heavenly Horse, 1942. Hanging scroll; ink on paper

Zhang Daqian (張大千, 1899-1983)

Giuseppe Castiglione (郎世寧, 1688-1766)

Ma Jin (馬晉, 1900-1970)

Ni Tian (倪田, 1855-1919)

Liu Danzhai (劉旦宅, 1931-2011)

Zhang Daqian (張大千, 1899-1983)

Blue and white saucer-dish, Tianqi. Photo courtesy of Marchant.

painted with four horses in a field in various poses attended by a seated groom playing a flute, the underside with stylised branches. 21.1 cm diameter. Price£6,500

Formerly in the collection of CGA Clay no. 060.

The wonderfully whimsical depiction of the horses and the subtle intimation of a field as the setting by means of just a few tufts of grass respond well to the Japanese taste of the time.

Marchant. http://www.marchantasianart.com/

A pair of Chinese porcelain blue and white, underglaze copper-red yanyan vases, Kangxi, 1662-1722. Photo courtesy of Marchant.

heightened in white slip, applied and painted with the eight horses of Mu Wang grazing, galloping and reclining in a continuous scene with rockwork, wuti and a large pine tree on a even pale celadon ground; 15 1/8th inches, 38.3 cm high.

Formerly in a private English collection.

A similar single vase was included by S. Marchant & Son in their Recent Acquisitions catalogue 2004, no. 30, p. 39; another, from The Umezawa Kinenkan Museum, is illustrated in Kogei No Bi, Special Exhibition Catalogue at The Osaka City Museum, 1990, no. 19, p. 13.

The eight horses of Mu Wang refer to a Zhou-dynasty story called Mu Tian Zi “The Heavenly son of Mu”, who had eight horses to pull his chariot.

Marchant. http://www.marchantasianart.com/

Johannes Vermeer, La ragazza con l'orecchino di perla, circa 1665 

BOLOGNA (AFP).- Dutch Master Johannes Vermeer's "Girl with a Pearl Earring" is going on show in the city of Bologna in Italy next month but the arrival of the celebrated painting of a young beauty is already causing a stir.

"There is an incredible fever surrounding this painting," the director of the exhibition, Marco Goldin, told AFP-TV at a press presentation.

"Clearly we are expecting a big success. In just a few weeks we have already sold 100,000 tickets," he said -- for an exhibition opening on February 8.

The masterpiece is considered one of the most famous paintings in the world along with Leonardo da Vinci's "Mona Lisa" and Edvard Munch's "The Scream".

The show on the Golden Age of Dutch painting at Palazzo Fava in Bologna is being organised together with the Mauritshuis museum in the Hague and runs until May 25. Mauritshuis, which is under restoration, is also loaning Vermeer's "Diana and Her Companions" and works by Rembrandt, Frans Hals, Ter Borch and Claesz.

"Girl with a Pearl Earring" is finishing up a world tour after being taken to Japan in 2012 and the United States in 2013. Bologna will be its only stop in Europe, before it is returned to the Mauritshuis.

"This is the first time it comes to Italy," Goldin said. 

He explained that thanks to his relationship with Mauritshuis he had "managed to capture the painting against competition from many other museums".

The painting's fame has grown in recent years after it inspired a book and a film starring Scarlett Johansson. Goldin warned it should not be seen as a "pop icon" but as "a sublime representation of beauty in art". © 1994-2014 Agence France-Presse 

Johannes Vermeer, La ragazza con l'orecchino di perla, circa 1665.

Girl with a Pearl Earring. Few titles conjure up such a sense of something immediately recognizable, of a familiar face, of a supreme, enigmatic beauty. The instant reference for everyone is to an image. The bestselling novel and movie have brought even greater worldwide renown. Together with the Mona Lisa and The Scream, it is now one of the best-known and most loved paintings in the world. With these works there is not even any need to mention the artist, because the title already acknowledges their names and ineffable fascination. Housed in one of the most refined galleries in the world, the Mauritshuis in The Hague, Vermeer’s painting attracts huge numbers of beauty lovers to the Dutch city. They all have only one idea in mind – go and meet the Girl with a Pearl Earring.

Just like the Mona Lisa in Paris, or The Scream in Oslo. All three are symbols and emblems even before they are masterpieces – worlds of beauty and secret fascination. It’s as if the image comes out of the work and take the form of an emblem even before being seen as a painting. This only happens to what lives eternally. 

For a couple of years the Mauritshuis – a treasure trove of a superb masterpieces by artists from Vermeer to Rembrandt – has been closed for major restoration and extension work. It is due to reopen in early summer 2014. The extraordinary new wing will combine an intense attachment to the past with a vision of the future. 

For this long period of closure the museum management decided to move part of the collection to the Gemeentemuseum, also in The Hague, so that visitors who came from all over the world did not lose the habit of traveling on to there from Amsterdam. But in an unprecedented move, a large group of stunning works from the collection has gone on tour round the world. And the group includes the Girl with a Pearl Earring. 

Five highly select venues, two in Japan and three in the United States, have hosted, are hosting or will host this remarkable exhibition. The content of the exhibition actually varies from venue to venue with the total works on show ranging from fifteen to thirty. Thus, after Tokyo and Kobe in 2012, the timeless face of Vermeer’s masterpiece will be seen in 2013 in San Francisco (Fine Arts Museum), Atlanta (High Museum of Art) and lastly another legendary gallery – almost a mirror image of the Mauritshuis – the Frick Collection, just a few blocks away from the Metropolitan on Fifth Avenue in New York. In all these locations, people have been flooding into the galleries to enjoy the unique, enthralling experience of seeing firsthand the Girl with a Pearl Earring.

Before going home to the Netherlands for good and never again moving from the Mauritshuis, the possibility arose that the painting could be seen in one last venue after New York. This time in Europe. On the grounds of a reputation for reliable collaboration and trustworthiness that I myself personally and Linea d’ombra have enjoyed in our dealings with all the Dutch museums for at least a decade, the Mauritshuis management offered us the unique opportunity in Europe to stage the exhibition featuring the Girl with a Pearl Earring. We had already discussed the possibility some time back, when the world tour was being prepared, but nothing had come of it. Then, starting in December 2012, we engaged in intense, complex talks for two months. Moving this kind of masterpiece, an icon for whole of the history of art, is obviously far from easy and not something you do every day. Indeed it’s a once in a lifetime occurrence. Now and never again.

Rubelite, Diamond, Pink Sapphire, Moonstone, Ruby and Platinum "Star" Brooch by James de Givenchy for Taffin.

Pair of Blue Sapphire, Multicolor Spinel and Platinum Earclips by James de Givenchy for Taffin

Spinel, 18K Rose Gold and Blackened Steel Ear Pendants by James de Givenchy for Taffin

Carved Crystal "Heart", Lavender Sapphire, Diamond, Platinum and 18K Rose Gold Ring by James de Givenchy for Taffin.

Renaissance Revival Sapphire, Diamond, and Enamel Brooch, Gustave Espinasse. Photo courtesy Skinner.

designed as opposing polychrome basse taille enamel peacocks with rose-cut diamond collars flanking a step-cut sapphire measuring approx. 16.75 x 13.00 x 6.55 mm, framed by rose-cut diamonds and pinecone motifs, suspending a pentagonal fancy-cut diamond measuring approx. 13.30 x 10.30 x 3.35 mm, 18kt gold mount, 3 x 2 3/4 in., French guarantee stamp and partial maker's mark, (minor enamel loss). Estimate $30,000-50,000. Sold for: $71,100

Note: Gustave Espinasse produced jewelry for Boucheron between 1900 and 1908 in collaboration with designers such as master enamelist Lucien Hirtz (see note to lot 514). Espinasse's Renaissance Revival work is marked by the use of opposing figures of animals, sizeable gems, and the pinecone motif. For an example of a gem-set brooch with opposing lionesses and pinecone motif produced by Espinasse for Boucheron in collaboration with Hirtz, see Imperishable Beauty: Art Nouveau Jewelry, by Yvonne Markowitz and Elyse Karlin, with contributions by Susan Ward, cat. 51. According to Vever, the Espinasse lion brooch was exhibited by Boucheron in the 1900 Exposition Universelle of 1900, (see Bijouterie Francaise au XIX Siecle by Henri Vever, vol. 3, p. 434.

Provenance: Descendants of the Walters Family, Baltimore, Maryland. See lot 530 for further history.

Skinner. Fine Jewelry. March 17, 2009. Boston - www.skinnerinc.com

Renaissance Revival 18kt Gold Gem-set Armlet, c. 1880. Photo courtesy Skinner.

the chased and engraved grillework form with foliate devices and strapwork, bezel-set with sapphire and diamond florets, bezel-set sapphire, emerald, and ruby accents, rose-cut diamond highlights, 115.7 dwt, interior cir. 10 in., (several gemstones missing and three small drill holes). Estimate $2,500-3,500. Sold for: $40,290

Note: For similar highly articulated grillework from this period by E. Fontenay, see Bijouterie Francaise au XIX Siecle, by Henri Vever, vol. 3, p. 449.

Skinner. Fine Jewelry. March 17, 2009. Boston - www.skinnerinc.com

Renaissance Revival Enamel and Gem-set Longchain, Tiffany & Co, c. 1901. Photo courtesy Skinner.

designed by Paulding Farnham, the central and terminal pendants joined by scrolling foliate links, decorated front and verso with pink, cerulean blue, and sea green enamel, bezel-set with cabochon ruby, cat's-eye chrysoberyl, and sapphires, and old European-cut diamonds, cushion-cut sapphires, and faceted emeralds, pearl highlights, gold and platinum mount, signed Tiffany & Co., within signed fitted velvet and green morocco box, lg. approx. 58 and 1 3/4 in., (minor enamel loss; pearls not tested for origin). Estimate $75,000-125,000. Sold for: $402,000

Provenance: Lots 312, 461, 464, 520, 522, 523, 529 and 530 descended in the family of William and Henry Walters, who established Baltimore's Walters Art Museum, a privately assembled collection that excels in many diverse fields of the fine arts.

William Walters (1819-1894) left his home town in central Pennsylvania to establish a Baltimore grain trading firm which ultimately developed into one of the country's most important wholesale liquor houses. Divided in his loyalties when the Civil War began, Walters took his wife and children, Henry (1848-1931) and Jennie (1853-1922), to Paris. There he pursued his passion for commissioning art and patronizing modern artists of the French academic school, including Gerome, Barye, and Daumier. Upon the family's return to the U.S., Walters began investing in railroads and banking, and later with his son's participation, he built an enterprise of railroads up and down the east coast. Henry Walters continued to pursue his father's goal of opening a museum, but the scope of his ambitions was even broader than his father's. Whereas William had concentrated in modern European and Asian Art, Henry expanded the collection to include major works by Renaissance masters such as Raphael and El Greco, as well as Classical, Medieval, Egyptian, ancient Near Eastern, and Islamic art. Although not to his taste, Walters allowed himself to be convinced by advisors to collect paintings by Impressionists such as Monet and Degas. At the same time, Walters had also developed a strong enthusiasm for modern decorative arts, including jewelry by Tiffany, Lalique, Melillo, and Faberge.

Impressed by Paulding Farnham and George Kunz's work at the international exhibitions, Walters began to patronize Tiffany & Co. in the early 1890s. At the 1900 Paris Exposition Universelle, he purchased the life-size iris corsage ornament set with color graduated Montana sapphires which remains a centerpiece of the Walters Art Museum collection. (See Paulding Farnham, Tiffany's Lost Genius, by John Loring, pp. 34-35.) According to the museum, this Renaissance Revival longchain was purchased by Henry Walters for "a relative." This relative appears to have been his sister, Jennie Walters Delano, with whom he had spent childhood years learning about art in Paris. Jennie Walters was an advocate of women's education and was attending lectures at Harvard when she met and fell in love with Warren Delano III, a member of the prominent Hudson Valley family. Henry contrived to help Jennie marry Delano, of whom their father initially disapproved, and the siblings remained close, traveling together on Henry Walters' yacht. The necklace has passed down the generations to her descendants. For more information on the Walters' collection, see William Johnston's William and Henry Walters, The Reticent Collectors, from which this history was summarized.

Note: By 1900, Paulding Farnham had won for Tiffany & Co. dozens of awards, medals and honors both at home and abroad for his leadership in jewelry design. While Farnham's original Orchids and Native American and Orientalist work attracted great acclaim, he was also a master of Revival styles. From the time he assumed the role of Tiffany's chief jewelry designer in 1889, after a relatively brief apprenticeship, Farnham began producing extraordinary work in the Renaissance manner. The gem-encrusted Adams Vase, with its elaborate motifs of figures, plants, and animals, is considered the highest expression of the style ever produced in America. Encouraged by the high praise received for the Adams Vase at the Paris Exposition of 1900, Farnham continued designing jewelry in the Renaissance style for the Pan American, Buffalo, and Louisiana Purchase Expositions of 1901 and 1904. The cerulean blue enamel elements of this necklace suggest it was made around the same time as the "Holbein Pendant," exhibited by Farnham at the 1901 Buffalo Exposition. See Paulding Farnham, Tiffany's Lost Genius, by John Loring, p. 145.

Skinner. Fine Jewelry. March 17, 2009. Boston - www.skinnerinc.com

© Marcel Wanders: Pinned Up, 25-year design.

AMSTERDAM.- Marcel Wanders: Pinned Up at the Stedelijk is the designer’s first survey exhibition in Europe since 1999, the first-ever large-scale presentation of Wanders’ work, and the first major design exhibition at the Stedelijk since its reopening in 2012. The exhibition encompasses designs from Wanders’ entire oeuvre, from the late 1980s to the present day. More than 400 objects are on view in the monumental lower-level gallery space in the new wing of the Stedelijk. 

Conceived in three parts, the presentation contains a white zone, which offers an analysis of Wanders’ work based on 10 themes (such as craftsmanship, narratives and dialogues, surface, innovation, archetypes, variation, and playing with scale); a black zone presenting work of a more personal and often experimental nature in a theatrical setting; and a lounge where Wanders’ role as Art Director for design brands, including Moooi, is explored. 

All of Wander’s iconic works are featured, such as the Set Up Shades lamp (1989), the Knotted Chair (1995-1996), Lace Table (1997), Egg Vase (1997), Airborne Snotty Vases (2001), the New Antiques furniture (2005), and the Skygarden lamp (2007). Also on view are lesser-known pieces together with the Carbon Balloon Chair (2013), which makes its European debut in this exhibition. 

JacobTV, alias Jacob Ter Veldhuis, the much-praised Dutch avant-garde pop composer, has created a soundscape especially for the exhibition. 

First-ever public unveiling: The Virtual Interiors

Featured as part of the black zone, the exhibition also includes the first-ever viewing of an extraordinary series of seven ‘virtual interiors’ created by the designer. The works are autonomous digital films of fantasy interiors, some containing Wanders’ designs, others of interiors never destined to exist in the real world. The videos conjure up a dreamlike world, with subtle movements that hypnotize and immerse the viewer. These Virtual Interiors reveal a mysterious, darker side of Wanders. His so-called Monster Chair of 2010 is a prelude to this shadowy world: a chair with the face of a monster embroidered in the back – a reference to Wanders’ imaginary monsters. 

Marcel Wanders (Boxtel, NL, 1963) is recognized as one of the most distinguished designers of recent decades. He made his international breakthrough in 1996 with the Knotted Chair, a combination of high-tech material with a low-tech macramé technique. Wanders was initially associated with the avant-garde, conceptual movement of Dutch Design, which caused an international furor largely through the activities of the Droog Design platform. However, Wanders soon found his way into the wider design industry, with particular success abroad. Since then, his designs have been sold worldwide. 

Wanders is internationally noted for his products, furniture, interiors and bold art direction. He works for internationally distinguished brands and, under the name ‘Personal Editions’ produces more experimental pieces. He has also worked on interior design projects since 1999, such as the VIP Room of the Dutch pavilion at the World’s Fair in Hannover (2000), Villa Moda in Bahrain (2008) and the Andaz Amsterdam Prinsengracht Hotel (2012). 

Marcel Wanders, Knotted Chair, armchair, 1995-1996, Dry / Cappellini / Personal Editions.

Marcel Wanders, One Minute Delft Blue, vases, 2006, Personal Edition. 

Marcel Wanders, Egg Vase, vase, 1997, Dry For Rosenthal / Moooi.

Marcel Wanders, Sparkling Chair, Chair, 2010, Magis.

Marcel Wanders, The Lucky One, sculpture, 2004, Personal Edition.

Marcel Wanders, Big Shadow Special: Eyeshadow, floor lamp, 2011, Cappellini.

Marcel Wanders, Interior Royal Wing Room, Dutch Pavilion Expo 2000, Hanover, 2000, with VIP Chairs (Moooi) and tablecloth (Dutch Textile Museum).

Dutch designer Marcel Wanders poses , during his retrospective at the Stedelijk Museum in Amsterdam, on January 31 2014. AFP PHOTO/ANP KOEN VAN WEEL

Dutch designer Marcel Wanders poses between two of his Knotted Chairs during a preview of his exhibition, entitled 'Marcel Wanders: Pinned Up at the Stedelijk. 25 Years of Design', at the Stedelijk Museum in Amsterdam, on January 31, 2014. The retrospective opens to the public from February 1st to June 15. AFP PHOTO / AMP / KOEN VAN WEEL. 

POITIERS - L’exposition se déroule en sept « espaces » qui permettent de découvrir le cabinet de curiosités dans ses évolutions historiques, du XIVe au XVIIe siècle, avec en point final une ouverture sur la notion de cabinet de curiosités au XXIe siècle.

La galerie initiale 
La galerie initiale fait entrer le visiteur dans la bizarrerie au contact des curiosités qui ont intrigué les premiers collectionneurs. Bric à brac, qui doit provoquer du questionnement et de l’émerveillement devant la variété des formes, des tailles, devant la rareté ou la bizarrerie des objets présentés, par exemple : dragon (la Grand’ Goule), reliquaire, crocodile, et reproduction de nombreuses estampes de Besler, Cospi, Worm…

Le studiolo
Premier exemple de lieu clos, réservé au cénacle choisi, et représentant les différentes formes du savoir en trompe-l’œil (reproduction du studiolo d’Urbino).

Un cabinet du XVIe siècle : l’idéal du microcosme, le rapport entre le cabinet et la Création
 L’idée de cet espace, bien que très rempli, s’articule autour de la classification, du cabinet comme « abrégé du monde », avec des effets de symétrie et de regroupements. Quelques objets réunis là : fossiles, monnaies, bec de toucan, coiffe de plume, caméléon, corail rouge, herbiers…
L’espace est un octogone couvert d’un dôme.

Un engouement européen
Dans cet espace plus ouvert sera suggéré un voyage en Europe, sur les traces des amateurs de curiosités qui allaient d’un cabinet à l’autre, et permettant de donner un visage aux collectionneurs : les Italiens (Manfredo Settala, Ludovico Moscardo, Ferdinando Cospi, Ulisse Aldrovandi), et aussi Peiresc, John Evelyn, Thomas Platter, Charles Patin, Ole Worm. Outils : cartes géographiques, portraits, citations de récits de voyages et de catalogues, objets liés à ces collectionneurs…

Le cabinet princier, type Ambras
Dans un espace étroit et en longueur, évocation d’un cabinet de prince inspiré de celui du château d’Ambras (Autriche), qui se distingue par le caractère luxueux des collections mais aussi par le mélange avec des objets considérés aujourd’hui comme triviaux relevant de l’armement. 

Un cabinet d’apothicaire entre XVIe et XVIIe siècle, tourné vers l’Atlantique
À partir d’un exemple local – cabinet de Contant à Poitiers – sont évoqués les cabinets de savants, ancrés géographiquement et caractérisés par l’activité professionnelle de leur propriétaire. Il rassemble en conséquence des « objets » tels qu'un ensemble d'objets amérindiens, de coquillages… dans un décor de jardin. 

Le cabinet de Chevalier
 Autour de la maquette du premier cabinet de Chevalier à Amsterdam, illustration du contenu du cabinet à partir des descriptions faites par Chevalier. Dans ce cabinet dont la visite était payante, rassemblement de médailles, d’œuvres d’art, de nombreux objets du commerce international  de l’époque… Ses livres sont présentés dans une vitrine, tandis que sont suspendus au plafond requin, vertèbre de baleine, trompe d’éléphant… 

Vers la spécialisation du cabinet, type Ruysch
 Èvocation d'une collection constituée autour de deux axes : l’histoire naturelle (botanique et zoologie), et les pièces anatomiques (corps humain), dont les « objets » ont pu être conservés par la mise au point d’une technique révolutionnaire, celle de l’injection de cire pigmentée dans les tissus. Présentation de vanités tridimensionnelles en regard de bocaux contenant coraux et gorgones… 

Une idée de cabinet au XXIe siècle
 Dans un dernier espace, ouverture sur le XXe et le XXIe siècle et la vivacité de l'idée de curiosité dans le monde d'aujourd'hui. Autour de quelques oeuvres emblématiques - "boîte verte" de Marcel Duchamp, œuvre de Jean-Michel Othoniel, bustes de Jan Fabre, évocation du château d'Oiron -, des objets insolites revisitent la question des "reliques", des images issues de la recherche scientifique illustrent le questionnement permanent sur la connaissance du monde, et nous renvoient à notre fascination pour l'inconnu, l'étrange, le rare, le merveilleux...

À l’Espace Mendès-France

Au cours du XIXe siècle, les progrès dans les différentes disciplines scientifiques sont immenses et conduisent à la naissance de la physique, de la chimie et de la biologie moderne. La science de «  Cabinet de curiosités » devient alors complexe et beaucoup moins accessible aux amateurs. Les institutions, telles que les universités, les écoles qui sont des lieux actifs d’étude et de science, se dotent de collections spécialisées, représentatives des centres d’intérêt des savants. Les spécimens, deviennent ainsi non seulement des objets de recherche mais aussi des supports pédagogiques. L’exposition sera l’occasion de présenter quelques objets en physique et en biologie des collections scientifiques de l’Université de Poitiers.

Vues de l'exposition

Dessins préparatoires pour une boîte de style Louis XVI, Paris, vers 1900.

Fausse tabatière, Rijksmuseum, Amsterdam.

La Galerie Kugel est heureuse de vous convier à une conférence en anglais donnée par Alexis Kugel dans l'auditorium de la Wallace Collection de Londres

18th-century gold boxes: TWO FAKERS UNMASKED

Le lundi 3 mars 2014 à 18h, ouverture des portes dès 17h30, suivi d'un cocktail. 

Les tabatières, comme la plupart des objets précieux avidement collectionnés au XIXe siècle, ont été copiées par des faussaires de talents, mais jusqu’à présent aucun fond d’atelier de faussaire ne nous était parvenu. Alexis Kugel a découvert des éléments provenant de deux ateliers distincts. Leur étude lui a permis de reconsidérer l’authenticité de nombreuses tabatières au sein de collections publiques et privées. Cette découverte est similaire en importante à celles de Reinhold Vasters et Alfred André pour les bijoux Renaissance, et sera d'un grand intérêt pour tous les collectionneurs, conservateurs, marchands et amateurs de boîtes en or.

The Galerie Kugel is delighted to invite you to a conference in English  by Alexis Kugel in the auditorium of the Wallace Collection in London:

18th-century gold boxes: TWO FAKERS UNMASKED

On Monday 3rd March 2014 from 6 pm to 7 pm, followed by a drink.

As with most precious objects that were so avidly sought after by 19th-century collectors, 18th-century gold boxes have been copied by talented fakers, but until now no material from a faker’s workshop has come to light. In this talk, Alexis Kugel will share his discoveries surrounding two independent workshops that allow him to identify numerous gold boxes in private and public collections that are not by whom they purport to be. This finding is of similar importance to the discoveries around Reinhold Vasters and Alfred André in the field of Renaissance jewels, and will be of enormous interest to collectors, curators, dealers and amateurs of gold boxes.

Réservation obligatoire. Reservation required with Carmen Holdsworth-Delgado - carmen.holdsworth@wallacecollection.org - 044 (0)207 563 9515

Leo Pizzo Diamond & Blue Sapphire 18k White Gold Brooch Pin.

This LEO PIZZO 18k white gold floral brooch pin, contain round cut blue sapphires of exquisite color weighing 4.27 carats total and round brilliant cut white diamonds of D-E color, VVS clarity and excellent cut and brilliance weighing 2.56 carat total.
The brooch measures approximately 1 x 1 inches.

Diamond and Fancy Multi Colored Stones 18k Two Tone Gold and Black Rhodium Brooch Pin.

This lovely 18k white and yellow gold with black rhodium flower brooch pin, contains 816 round brilliant cut white diamonds, of F color, and VS2 clarity, weighing 12.24 carats total, 692 round cut fancy yellow diamonds, weighing 6.17 carats total with 17 fancy multi colored stones of different shapes, weighing 5.09 carats total.
The diamond flower brooch measures 3 inches in length.

Diamond 18k Two Tone Gold Flower Pin. 

This lovely 18k white and yellow gold flower brooch pin, contains 163 round brilliant cut white diamonds, of F color, and SI2 clarity, weighing 3.32 carats total with 519 round cut fancy yellow diamonds, weighing 6.18 carats total.
The diamond flower brooch pin measures 48mm in length and 45mm at the widest point.

Man Ray (American, 1890-1976), La jolie. Photo: Bonhams.

signed, numbered and dated '9/ 12./ Man Ray/ 61' (to the figure's neck); gold pendant necklace with a cabochon lapis lazuli set on either side. Pendant size: 9.5 x 10.8 cm (3 3/4 x 4 1/4 in). Necklace diameter: approx. 13 cm (5 1/8 in). Estimate£7,000 - 10,000 (€8,500 - 12,000)

This work was executed after a design by Man Ray of 1961 and produced in an edition of 12 examples plus one épreuve d'artiste in 1970, by GEM Montebello, Milan.

LITERATURE: J. H. Martin, B. Hermann, R. Krauss and M. Ray, Objets de Mon Affection, Paris, 1983 (another version illustrated p. 164).

Bonhams. IMPRESSIONIST AND MODERN ART. 4 Feb 2014, London, New Bond Street - www.bonhams.com