Natural Pearl and Diamond Necklace, Late 19th Century. Photo Sotheby's
Composed of three graduated rows of natural pearls, measuring from approximately 5.00 to 8.45mm, the square clasp set with foil backed cushion-shaped and circular-cut diamonds, length of shortest row approximately 420mm. Estimate 20,000 — 25,000 GBP
Accompanied by SSEF report no. 69924, stating that the pearls were found to be natural, saltwater.
Sotheby's. Fine Jewels. London | 26 Mar 2014, 10:00 AM - www.sothebys.com
Pair of natural pearl and diamond earrings. Photo Sotheby's
Each set with a natural pearl measuring approximately 11.9 to 12.2mm and 12.0 to 12.2mm, and a triangular diamond, post and butterfly fittings. Estimate 15,000 — 20,000 GBP
Property of an Austrian princess
Accompanied by The Gem & Pearl Laboratory report no. 09213, stating that the pearls were found to be natural, saltwater.
Sotheby's. Fine Jewels. London | 26 Mar 2014, 10:00 AM - www.sothebys.com
Natural pearl, cultured pearl and diamond necklace, late 19th century. Photo Sotheby's
Composed of two graduated rows of natural and cultured pearls measuring from approximately 2.0 to 7.0 mm, the clasp set with a blue paste stone, circular- and single-cut diamonds, shortest length approximately 370mm. Estimate 3,000 — 4,000 GBP
Accompanied by a gemmological report.
Sotheby's. Fine Jewels. London | 26 Mar 2014, 10:00 AM - www.sothebys.com
Freshwater pearl, coral, enamel and diamond brooch. Photo Sotheby's
Designed as a swan, the body composed of a freshwater pearl enhanced with brilliant-cut diamonds, accented with enamel, coral and seed pearls. Estimate 3,500 — 4,500 GBP
Accompanied by a report from The Gem & Pearl Laboratory, stating that the pearl is natural, freshwater.
Sotheby's. Fine Jewels. London | 26 Mar 2014, 10:00 AM - www.sothebys.com
Lokapala, Tang Dynasty, 618-906, Sancai glazed pottery, 35 ½ x 15 x 7, Gift of Fred and Jane Brooks, Bruce Museum Collection, 2013.15.01
GREENWICH, CONN.- The Bruce Museum of Greenwich Connecticut announced the gift of six Tang Dynasty ceramics from the collection of Fred and Jane Brooks of Greenwich. This generous gift and the promise of additional donations from the collection establish the Bruce as an important center for the collecting and study of Chinese antiquities.
Highlights of the gift include a dramatically animated, tri-color glazed ceramic Lokapala, or worldly protector, one of the deities who rule the directions of space according to Hinduism and Vajrayana Buddhism. All of the donated works date from the Tang Dynasty (618 – 907 A.D.), which is regarded as one of the greatest periods of artistic creativity in China. In addition to the Lokapala, the gift also includes several ceramic Bactrian camels, some of which are decorated with bright clear glazes and brilliant colors including cobalt blue. The Silk Road between China and the Middle East passed through Bactria and their camels were used to ferry people and goods. Camels were often included as funerary sculpture to ensure that the deceased enjoyed the pleasures of life on earth in the hereafter. While the practice of tri-color glazing had already been developed in the Han Dynasty (206 B.C. – 220 A.D.), it came to its greatest fruition in the Tang period.
The new donations will go on view on March 7 in the Museum together with two other outstanding, colorful Lokapalas that are part of the promised gifts from the Brooks Collection. Executive Director of the Bruce Museum, Peter Sutton, hailed the gift as “an exciting new chapter in the formation of a distinguished permanent collection that reflects all world cultures.” Fred Brooks added that he hoped his example would be an inspiration to others, “attracting donations that will distinguish the Bruce as a destination museum for the study of Chinese art.” And Sutton reminded all the residents of Greenwich to take special pride in this gift since the permanent collections of the Bruce Museum become the collective property of the citizens of the Town.
Camel, Tang Dynasty, 618-906, Sancai with blue glaze pottery, 15 x 12 ½ x 6 in., Gift of Fred and Jane Brooks, Bruce Museum Collection, 2013.15.04
Danish, 2009. By Steffen Dam (b.1961)
The delicate glass models of jellyfish are encased by and incorporated into glass tubes, giving the appearance of study specimens.
heights 20 to 23 cm (8 to 9 in)
Each jellyfish is made individually using a wide range of specialist glass making skills. The artist's creative ability together with this mastery of his craft has produced these exquisite and unique creatures.
Steffen Dam, precise and analytical, spent the first ten years mastering his craft; blowing, casting and grinding, practising and experimenting to achieve perfection. However, he noticed that the unwanted blemishes, the tiny air bubbles and marks, held a certain beauty which he decided to explore. Fifteen years later, these anomalies have been mastered and incorporated into his work and these glass sculptures are the result, an imaginative and delightful journey into an undersea world.
Permanent Collections and Installations:
The Victoria & Albert Museum London, UK
Museum of Arts and Design Collection New York, US
Glasmuseet Ebeltoft Denmark
Museum für Kunst und Gewerbe Hamburg Germany
The Danish Museum of Decorative Art Copenhagen Denmark
The Anneberg Collections Nykøbing S. Denmark
The Danish Arts Foundation
The private collection of Her Majesty Queen Margrethe II
Nykredit Copenhagen Denmark
Seven Bridges Foundation, CT
(source: http://www.peterpetrou.com/)
Andy Paiko Nautilus Collection © 2014 Andy Paiko Glass
Andy Paiko Glass Collection. © 2014 Andy Paiko Glass
Andy Paiko Hourglass© 2014 Andy Paiko Glass
This is a color photo... The sand in this large hourglass is a luminescent/reflective black color...
Andy Paiko Spine jar© 2014 Andy Paiko Glass
a full coyote spine... canis latrans.
Andy Paiko Spine jar© 2014 Andy Paiko Glass
This is a deer spine. The vessel is about 48" tall. It is hand-etched with an entry regarding one's CHARACTER and personality... someone's "backbone"...
Andy Paiko" Canis Auribus Tenere"© 2014 Andy Paiko Glass
A 24 carat gold-plated coyote skull... The alchemist's ultimate goal was not simply to turn lead into gold, but through a series of distillations and transformations of both the body and the mind, to reach a "spiritual gold".... or enlightenment... a state of perfection...
The four alchemical states are here: black: the prima materia; red(wood):the transforming fire; white(clear):the purification; gold:the philosopher's stone...
"Canis auribus tenere" means "to hold a 'dog' by the ears"... An old Latin saying describing the dilemma of being unable to hold on, but afraid to let go. Around the coyote(dog) skull is etched an entry dealing with memory... I feel the same way about some memories: unable to remember everything, and simultaneously afraid to let go of what they represent...
Coyote is recognized as a Native American mythological figure with his counterpart in the Greek Hermes, as well as the Roman Mercury and the Egyptian Thoth; To "hermetically seal" a vessel is to make airtight; Hermes is said to be the father of the hermetic arts: alchemy; Hermeneutics is the science of interpretation...
Andy Paiko object jars© 2014 Andy Paiko Glass
Andy Paiko object jars© 2014 Andy Paiko Glass
Andy Paiko object jar© 2014 Andy Paiko Glass
Andy Paiko object jar© 2014 Andy Paiko Glass
William Hogarth, The Beggar’s Opera II, 1728. Oil on canvas, signed, 47 x 54.6 cm, courtesy of The Fine Art Society.
LONDON.- The Fine Art Society will present The Beggar’s Opera II by William Hogarth (1697-1764), one of the artist’s first works in oil, and one of the earliest paintings ever to depict an English stage performance. Hogarth paintings are very rare and no work of this importance has appeared on the market for many years.
Created during the important transition in Hogarth’s career as he progressed from graphic artist to painter, the work depicts the climactic scene XI in Act III of John Gay’s best known satirical operetta The Beggar’s Opera. In chains, highwayman Macheath stands awaiting execution, flanked by two women who both believe they are his wife. At once comic and dramatic, they plead to their fathers for his release, observed by an audience of aristocratic patrons.
There is a preparatory sketch of the subject in the Royal Library at Windsor Castle. It is the second of five versions painted in oils: the others are in Tate Britain, Yale University, The Yale Center for British Art and Birmingham City Art Gallery.
A lifelong theatre enthusiast, fascinated by the comparison between paintings and stage compositions, Hogarth is once quoted as saying: ‘My picture is my stage, and men and women my players’. 2014 marks the 250th anniversary of Hogarth’s death.
Heralding a move away from his more overtly religious subjects, Eric Gill’s (1882-1940) sensuous nude Headdress celebrates a pure form of female sexuality.
Carved between 20th - 26th February 1928 for an exhibition at the Goupil Gallery, the work was purchased by Sir Hugh Maufe, who displayed it in his dining room at Shepherd’s Hill, Sussex.
The sculpture’s voluptuous breasts, flowing hair and colouring on the lips and nipples have lead many to conclude that the work is inspired by erotic Indian sculpture. Gill’s interest in Indian carving was largely spurred on by his patron, pioneering philosopher of Indian art Ananda Coomaraswamy and friend, the English painter Sir William Rothenstein.
The celebration of the sexualised female figure is a theme Gill would continue to investigate throughout his career.
Rarely on the market, work by William Burges (1827-1881) is characterised by its flamboyance and extravagance, and was celebrated by peers as some of the most brilliant designs and architecture of the day. The Wheel of Fortune, an inlaid octagonal table, is one of Burges’ earliest designs for furniture.
Created for Lieutenant Colonel Somers Cocks as part of an interior scheme for his new house, ‘Treverbyn Vean’ in Cornwall, the table was made by J.G. Crace, inlaid with various woods on an oak base of A.W.N. Pugin’s design.
Amongst the greatest of the Victorian architects, Burges also designed Castell Coch and rebuilt Cardiff Castle under the patronage of the Marquis of Bute from 1869. Jimmy Page, former lead guitarist of Led Zeppelin, now owns Burges’ exquisite self-built and furnished home in Tower House, Kensington.
The Wheel of Fortune is a highlight from the collection of John Scott, which features almost 1,000 pieces of the finest furniture, ceramics, metalwork, glass and sculpture produced in Britain during the 19th century. The collection showcases the genius of progressive British architects, designers, craftsmen and manufacturers working during this period, and illustrates one of the richest and most innovative chapters in the history of design. Over the coming months The Fine Art Society will present a series of spectacular exhibitions featuring works from the John Scott collection, beginning with an exhibition that will be on view at the gallery from 11 June - 4 July 2014.
Tremblant diamond peony spray brooch, mounted in silver and gold.Diamonds total circa 29 cts. Length 9.5 cm. Russia, circa 1870. This jewel symbolizes prosperity, strength, and plenty, and features an ear of wheat and oak leaf that recall the Greater Coat of Arms of the Russian Empire. Photo courtesy A La Vieille Russie
Tremblant diamond and peridot dragonfly brooch, mounted in silver and gold. Width 7 cm. England, circa 1890. Photo courtesy A La Vieille Russie
A natural pearl and diamond cluster necklace, mounted in silver and gold. Length 44.5 cm. England, circa 1890. Photo courtesy A La Vieille Russie
NEW YORK, NY.- Rare Fabergé animals and jeweled Russian Imperial gifts are some of the highlights of an exhibition by the prominent Fifth Avenue jeweler and antique dealer, A La Vieille Russie (ALVR), to be held at The European Fine Art Fair (TEFAF) in Maastricht (March 14-23).
Art works will include Fabergé silver and hardstone animal sculptures, an enameled snuffbox given to the Imperial family doctor by Czar Nicholas II on occasion of the birth of his daughter, and also a bonbonniere once owned by the powerful London banker, Leopold de Rothschild.
"We wish to show the substance, design, quality, and beauty of jeweled items from earlier eras, and we will have a strong selection of Fabergé and Imperial jewels," said Mark Schaffer, a partner in ALVR. "There will be a wide range of jeweled animals – rabbits, horses, dragonflies, crabs, elephants, turtles, monkeys, dogs, fish, and etc.; we have an entire wearable menagerie of antique animal jewelry, and a fantastic collection of Fabergé hardstone and silver animals with excellent provenance."
Other significant jewels will include a 1920s diadem made by French jeweler Chaumet, and a spectacular 19th century Russian tremblant diamond peony brooch.
A 1920s diadem made by French jeweler Chaumet. Photo courtesy A La Vieille Russie
The hardstone Fabergé circus elephants include a 6.5cm tall jasper elephant with rose diamond eyes (c. 1900) that was once owned by HRH Prince Henry, Duke of Gloucester, son of King George V and Queen Mary. There is also a 10cm tall silver stamp moistener (c. 1895) in the form of an elephant standing on its head and forelegs, hind legs up in the air, and the tail serving as the moistener.
A selection of objects by Fabergé. Photo courtesy A La Vieille Russie
Golden quartz sculpture of a lion with elaborately carved mane. Length 5.6 cm. St. Petersburg, circa 1900. Photo courtesy A La Vieille Russie
Nephrite egg-form photograph frame, decorated with two-color gold bows and swags, on a gold base. By workmaster Michael Perchin. Height 6 cm. St. Petersburg, circa 1896. Photo courtesy A La Vieille Russie
Square gold and raspberry guilloché enamel and pearl photograph frame. By workmaster Henrik Wigström. Height 7.6 cm. St. Petersburg, circa 1910. Photo courtesy A La Vieille Russie
Provenance: Purchased from Fabergé’s London branch by H.M. Queen Alexandra (1844-1925) November 13, 1911.
Gold basketweave design box. By workmaster Erik Kollin. Length 4.5 cm. St. Petersburg, circa 1880. Photo courtesy A La Vieille Russie
Among the Imperial presentation pieces is an enamel snuffbox by jeweler Karl Hahn given by Czar Nicholas II and Czarina Alexandra to the family doctor who delivered the their eldest daughter, Olga, in 1895. The snuffbox has Alexandra’s Imperial cipher in diamonds, with ``1895, Tsarskoe Selo’’ inscribed. ALVR will also offer a Fabergé bonbonniere (1908) purchased by Leopold de Rothschild from Fabergé with articulated clown figures from the famous Italian opera, Pagliacci.
An enameled snuffbox given to the Imperial family doctor by Czar Nicholas II. Photo courtesy A La Vieille Russie
Two blue and white baluster jars and covers, Qing Dynasty, Kangxi Period. Photo Sotheby's
each jar molded with three registers of barbed lappet panels each enclosing a flowering tree emerging from rockwork and festooned with hanging vines, the branches and leaves cross-hatched, all between diaper bands at the rim and base, repeated on the domed fitted cover with pointed knop (4). Height of taller 23 1/2 in., 59.7 cm. Estimation 12,000 — 18,000 USD
PROPERTY FROM THE ESTATE OF PETER L. ROSENBERG
A jar of the same form and design is illustrated in Regina Krahl and John Ayers, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. 3, London, 1986, p. 1002, no. 2129.
Sotheby's. FINE CHINESE CERAMICS & WORKS OF ART. 18 MARS 2014 - 19 MARS 2014. NEW YORK -www.sothebys.com
A celadon-ground, underglaze blue and copper red baluster vase, Qing Dynasty, Kangxi Period. Photo Sotheby's.
A pair of underglaze blue and copper-red 'Immortals' bowls, Kangxi marks and period. Photo Sotheby's.
the shallow rounded sides painted in underglaze blue with the 'Eight Immortals', each holding their characteristic attribute, riding on a variety of sea creatures and emblems, including a fish, a mythical beast, a lotus leaf, a staff and a musical instrument, all against a ground of breaking waves in copper-red above a band of key-fret around the foot, the interior with a medallion of Shou Lao and his deer amid similar swirling waves, six-character marks in underglaze blue within a double circle (2). Diameter 7 3/8 in., 18.7 cm. Estimation 100,000 — 150,000 USD
Provenance: Estate of Dr. Lewis C. Walmsley, Toronto
The 'Eight Immortals' were sages who could be identified by their attributes. The bowls depict the 'Eight Immortals' crossing the rough sea after attending the peach banquet of the Queen Mother of the West. Rather than traveling by their clouds, they combined their powers to sail pass the tempest. The proverb is a lesson on how individual strengths and gifts can be used to tackle the same obstacle.
Two Kangxi mark and period bowls with similar decoration were sold, first in our London rooms, 26th June 1973, lot 308, and another in our Hong Kong rooms, 31st October 1974, lot 229.
Sotheby's. FINE CHINESE CERAMICS & WORKS OF ART. 18 MARS 2014 - 19 MARS 2014. NEW YORK -www.sothebys.com
An underglaze blue copper-red cylindrical 'Dragon' vase, Qing Dynasty, 18th century. Photo Sotheby's.
of 'lantern' form, the body decorated with a continuous scene of a scaly copper-red dragon chasing a 'flaming pearl', against a background of underglaze blue waves. Height 11 5/8 in., 29.4 cm. Estimation 20,000 — 30,000 USD
Sotheby's. FINE CHINESE CERAMICS & WORKS OF ART. 18 MARS 2014 - 19 MARS 2014. NEW YORK -www.sothebys.com
William Warham after Hans Holbein the Younger, early 17th century (1527). ©National Portrait Gallery, London.
LONDON.- A new display exploring the high demand for copies and versions of portraits by Tudor court painter Hans Holbein the Younger has opened at the National Portrait Gallery, London. Hans Holbein Re-made brings together a selection of important copies of the celebrated German artist’s portraits, revealing at the same time new research that has emerged from the Gallery’s ongoing Making Art in Tudor Britain project.
During Henry VIII’s reign, Hans Holbein the Younger undertook many portraits of prominent individuals at court, such as Thomas Cromwell, Thomas More and William Warham. In the years following his death in 1543, Holbein’s portraits came to be prized, and demand for his work increased, due to both the importance of his sitters and his own fame and reputation as a highly skilled artist. As a result, there was a lively market for copies of his portraits, with artists producing paintings that faithfully mimicked both the composition and colouration of the original works.
Hans Holbein Re-made will show a selection of copies of Holbein’s portraits from the National Portrait Gallery Collection, including William Warham, John Fisher, Sir Thomas More and Sir Richard Southwell, all of which have undergone technical analysis as part of the Gallery’s Making Art in Tudor Britain research project. This research has revealed new information about how and when the paintings were made, and about the techniques that were used to ensure that the finished works skilfully evoked the originals.
The copied portraits were produced by making patterns from the original drawings and paintings, and by deliberately trying to imitate Holbein’s techniques. It is thought that the artists would have had access to the original Holbein painting (or direct patterns from the original) as the features and proportions of the figures are often matched with considerable exactitude. The differences between the portraits show that, far from being the specialist production of a single workshop, the copies were produced by artists working in numerous different studios. The number of surviving works of this type suggests that there was a lively market for such paintings during the reigns of Elizabeth I and James I.
A portrait of Thomas Cromwell, Earl of Essex, which is thought to be one of the first miniatures Holbein painted, will be displayed alongside a digital interactive screen that will allow the technique used in the portrait to be compared with that seen in another miniature thought to be by an artist working in Holbein’s studio.
A German painter, printmaker and designer, Holbein (1497 or 1498 – 1543) became best known in England for the compelling realism of his portraits. The son of artist Hans Holbein the Elder, he learnt painting from his father and worked in Basle, Switzerland, before moving to London. Holbein worked in England from 1526-28 and returned in 1531/2, remaining here until his death. In addition to becoming court painter to Henry VIII he painted several courtiers, gentry and merchants. Over eighty of his portrait drawings survive, along with miniatures and paintings, providing a remarkable document of the period.
Dr Tarnya Cooper, Chief Curator of the National Portrait Gallery, says: ‘This exciting new research has shown how the memory of the key personalities of Henry VIII’s court was kept alive through the creation and display of newly made portraits at least fifty years later.’
Thomas Cromwell, Earl of Essex, after Hans Holbein the Younger, early 17th century (1533-1534). ©National Portrait Gallery, London.
A blue and white small 'Lotus' dish, Kangxi mark and period. Photo Sotheby's.
of shallow form, painted with a central medallion of scrolling lotus with three open flowers and stylized foliage in the center, with a matching band around the everted rim, the exterior similarly painted between double lines, six-character mark in underglaze blue within double circles. Diameter 6 in., 15.2 cm. Estimation 6,000 — 8,000 USD
Provenance: Taipei, 1993.
Sotheby's. FINE CHINESE CERAMICS & WORKS OF ART. 18 MARS 2014 - 19 MARS 2014. NEW YORK -www.sothebys.com
A blue and white 'Dragon and Phoenix' dish, Kangxi mark and period. Photo Sotheby's.
painted in the center with a medallion of a dragon and phoenix among clouds within a double line border repeated around the rim, the motif repeated on the exterior, six-character mark in underglaze blue within a double circle. Diameter 6 1/8 in., 15.5 cm. Estimation 6,000 — 8,000 USD
Provenance: Taipei, 1995.
A pair of dishes with similar decoration but of slightly larger size from the H.M. Knight collection was sold in our Hong Kong rooms, 21st May 1980, lot 175; and another 23rd May 1981, lot 1167.
Sotheby's. FINE CHINESE CERAMICS & WORKS OF ART. 18 MARS 2014 - 19 MARS 2014. NEW YORK -www.sothebys.com
A blue and white 'Landscape' dish, Qing Dynasty, Early Kangxi Period. Photo Sotheby's.
with steep everted sides, the center painted with towering trees along a river bank where a fisherman, seated in a boat, gazes into the calm water below, with misty mountains in the distance. Diameter 10 1/4 in., 26 cm. Estimation 5,000 — 7,000 USD
PROPERTY FROM THE ESTATE OF PETER L. ROSENBERG
Sotheby's. FINE CHINESE CERAMICS & WORKS OF ART. 18 MARS 2014 - 19 MARS 2014. NEW YORK -www.sothebys.com
JMW Turner, Tintern Abbey: The Crossing and Chancel, Looking towards the East Window, 1794. Photograph: Tate
LONDON.- Ruin Lust offers a guide to the mournful, thrilling, comic and perverse uses of ruins in art from the seventeenth century to the present day, at Tate Britain from 4 March 2014. The exhibition is the widest ranging on the subject of ruins in art to date and includes over 100 works by artists such as J.M.W. Turner, John Constable, John Martin, Eduardo Paolozzi, Rachel Whiteread and Tacita Dean.
The exhibition begins with the eighteenth century craze for ruins that overtook artists, writers and architects. J.M.W. Turner and John Constable were among those who toured Britain in search of ruins and picturesque landscapes, producing works such as Turner’s Tintern Abbey: The Crossing and Chancel, Looking towards the East Window 1794, and Constable’s Sketch for ‘HadleighCastle’ c.1828–9.
Britain’s ruinous heritage has been revisited and sometimes mocked by later artists. Keith Arnatt photographed the juxtaposition of historic and modern elements at picturesque sites for his deadpan series A.O.N.B.(Areas of Outstanding Natural Beauty) 1982–4. John Latham’s sculpture Five Sisters Bing 1976 was part of a project to turn post-industrial shale heaps in Scotland into monuments. Classical ruins have a continued presence in the work of Eduardo Paolozzi, Ian Hamilton Finlay and John Stezaker. In Rachel Whiteread’s Demolished – B: Clapton Park Estate 1996, which shows the demolition of Hackney tower blocks, we see Modernist architectural dreams destroyed.
The exhibition explores ruination through both slow picturesque decay and abrupt apocalypse. John Martin’s The Destruction of Pompei and Herculaneum 1822 recreates historical disaster while Gustave Doré’s engraving The New Zealander 1872 shows a ruined London. The cracked dome of St. Paul’s Cathedral in the distance of this nineteenth century work was a scene partly realised during the Blitz.
Ruin Lust also investigates work provoked by the wars of the twentieth century. Graham Sutherland’s Devastation series 1940–1, depicts the aftermath of the Blitz while Jane and Louise Wilson’s 2006 photographs show the Nazis’ defensive Atlantic Wall along the north coast of France. Paul Nash’s photographs of surreal architectural fragments in the 1930s and 40s, or Jon Savage’s images of a desolate London in the late 1970s show how artists also view ruins as zones of pure potential, where the world must be rebuilt or reimagined.
The exhibition includes rooms devoted to Tacita Dean and Gerard Byrne. Dean’s film installation Kodak 2006 explores the ruin of the image, as the technology of 16mm film faces obsolescence. In 1984 and Beyond 2005–7, Byrne reimagines a future that might have been. The installation presents a re-enactment of a discussion, published in Playboy in 1963, in which science fiction writers – including Isaac Asimov, Ray Bradbury and Arthur C. Clarke – speculate about what the world might be like in 1984.
This transhistorical exhibition is curated by writer and critic Brian Dillon; Emma Chambers, Curator of Modern British Art; and Amy Concannon, Assistant Curator of British Art, 1790–1850. It will be accompanied by a book and a programme of talks and events in the gallery.
John Martin, The Destruction of Pompei and Herculaneum, 1822, restored 2011. Photograph: David Clarke.
Paul Nash, Pillar and Moon, 1932-42. Photograph: Tate
Graham Sutherland, Devastation, 1940: A House on the Welsh Border, 1940. Photograph: Tate
John Piper, Seaton Delaval, 1941. Photograph: Tate
Graham Sutherland, Devastation, 1941: East End, Burnt Paper Warehouse ,1941. Photograph: Tate
Patrick Caulfield, Ruins, 1964. Photograph: Tate © DACS 2013
John Stezaker, The Oath, 1978. Photograph: Tate © John Stezaker
Keith Arnatt, A.O.N.B. (Area of Outstanding Natural Beauty), 1982-4 Photograph: Tate © Keith Arnatt
David Shrigley, Leisure Centre, 1992. Photograph: Tate © David Shrigley
Jane and Louise Wilson, Azeville, 2006. Photograph: Jane and Louise Wilson
Laura Oldfield, Ford Ferrier Estate, 2010. Photograph: Tate © Laura Oldfield Ford.
Laura Oldfield, Ford TQ3382: Tweed House, Teviot Street, 2012. Photograph: Tate© Laura Oldfield Ford
Boîte rectangulaire en placage d'ivoire sculpté. Photo courtesy Claude AGUTTES SAS
à décor floral et ornée sur le courvercle d'une miniature à vue ovale représentant le portrait d'une femme au corset bleu monogrammée J.M (tâche d'humidité). Dim : 14 x 12 x 17 cm. Estimation 1 200 € - 1 500 €
Boule de Canton en ivoire sculpté. Début XXème siècle. Photo courtesy Claude AGUTTES SAS
composée de plusieurs sphères mobiles sur pied cylindrique à décor de dragons orientaux H: 28 cm. (quelques fentes). Estimation 150 € - 200 €
Boule de Canton en ivoire finement sculpté. Début XXème siècle. Photo courtesy Claude AGUTTES SAS
composée de plusieurs sphères mobiles, reposant sur un pied cylindrique à décor de dragons orientaux et d'oiseaux. H: 23,5 cm. Estimation 150 € - 200 €
Boule de Canton en ivoire sculpté. Début XXème siècle. Photo courtesy Claude AGUTTES SAS
composée de plusieurs sphères mobiles, reposant sur un pied cylindrique à décor de dragons orientaux. H: 16 cm. Estimation 80 € - 120 €
Vase tulipe. Travail de maîtrise en ivoire tourné. Photo courtesy Claude AGUTTES SAS
H: 15,5 cm. Estimation 50 € - 80 €
Claude AGUTTES SCP. CABINET D'UN AMATEUR. Mardi 11 mars à 14h00 à Lyon Cedex 06. Contact : Nelly STROHL de POUZOLS. Tél. : 04 37 24 24 23 - Fax : 04 37 24 24 25
Bras de Jésus en ivoire, la main soutient le monde, XVIIe siècle. Photo courtesy Claude AGUTTES SAS
L: 14 cm - Estimation 1 000 € - 1 200 €
Claude AGUTTES SCP. CABINET D'UN AMATEUR. Mardi 11 mars à 14h00 à Lyon Cedex 06. Contact : Nelly STROHL de POUZOLS. Tél. : 04 37 24 24 23 - Fax : 04 37 24 24 25