Pendentif orné d'une soufflure de perle, la monture en platine (950), à décor de fins branchages sertis de diamants taillés en rose. Estimation 1 200 - 1 500 €€. Photo: Artcurial.
Diam. : env. 17 mm - Haut. : 3 cm; poids brut : 9,02 g
Accompagné d'un certificat
A natural pearl, diamond and platinum pendant, accompanied by a certificate
Artcurial- François Tajan. Fine Jewellery. 21 Jul 2015 19:00. Hôtel Hermitage, Monte-Carlo
Le château de Montgeoffroy est un château du XVIIIe siècle situéà Mazé (Maine-et-Loire).
Portrait du maréchal Érasme de Contades. École française du XVIIIe siècle. Château de Montgeoffroy.
En 1676 Érasme de Contades, issu d'une famille de petite noblesse implantée en Anjou depuis Le début du XVIIème siècle, acquit la terre de Montgeoffroy.
Le Château de Montgeoffroy fut construit par le Sieur Jean Benoît Vincent Barré (Architecte parisien) de 1772 à 1776, pour Louis Georges Erasme de Contades, Maréchal de France, sur l’emplacement d’un château du 16ème siècle, dont il ne reste plus que la chapelle ainsi que les deux tours rondes. Ces dernières, ont été habilement incorporées à l’édifice du 18ème siècle.
Un exemple typique de l’architecture du 18ème siècle, le Château de Montgeoffroy a conservé entièrement son mobilier d’époque de styles Louis XV, Transition et Louis XVI. Une majeure partie est estampillée par de grands maîtres ébénistes tels Gourdin, Roussel, Blanchard ou Durand. On peut aussi y admirer de superbes portraits signés Van Loo, Rigaud et Drouais.
Le domaine est dans la famille depuis 1676, et aujourd’hui, plus de trois cents ans après, le Marquis et la Marquise de Contades, vous ouvrent les portes de ce superbe édifice.
French, first half 13th century and later, Window with one of the Miracles of Christ. Estimation 10,000 — 15,000 GBP - Lot. invendu. Photo Sotheby's
inscribed: ST AME.[RI]; leaded stained glass, in a later wood frame; 59.5 by 40.5cm., 23 3/8 by 16in.
Provenance: private collection, Ghent
Note: This unusual stained glass panel is reminiscent of windows from the cathedrals at Chartres, Bourges, Sens and Laon, which date to the first third of the 13th century. Compare Christ's drapery, for example, as well as the faces with wide eyes and thick eyebrows, with figures from the window with the story of the Life of St. Andrew at Chartres (circa 1215-1235; medievalart, op. cit.). The inscription probably refers to St. Amatus (also known as St. Ame), a Benedictine monk and hermit, who founded a monastery for men and women with his convert St. Romaric. However, this inscription is unlikely to have significance for the present scene, which appears to be a later composition representing Christ.
RELATED LITERATURE http://www.medievalart.org.uk/chartres/Chartres_default.htm accessed 24 May 2015
Sotheby's. Old Master Sculpture and Works of Art, 9 juillet 2015 - Londres
North East French, circa 1340-1350, Virgin and Child. Estimation 12,000 — 18,000 GBP - Lot. Vendu 15,000 GBP. Photo Sotheby's
polychromed limestone; 75.5cm., 29¾in.
Provenance: with De Raad, Rosmalen, 1980;
private collection, North Brabant
Note: Even though the jolly facial types and drilled decoration on the agrafes are highly unusual, the sophistication with which the drapery on the present figures are carved compares closely with statues of the Virgin and Child from the Lorraine.
RELATED LITERATURE
J.A. Schmoll gen. Eisenwerth, Die lothringische Skulptur des 14. Jahrhunderts, Petersberg, 2005, nos. 171 and 365
Sotheby's. Old Master Sculpture and Works of Art, 9 juillet 2015 - Londres
French, Lorraine, circa 1330-1350, Virgin and Child enthroned, polychromed oak; 89.5cm., 35¼in.. Estimation 15,000 — 20,000 GBP - Lot. Vendu 18,750 GBP. Photo Sotheby's
Provenance: private collection, Ghent
Note: This tender group of the Virgin and Child is closely related to a stone group in the Bonnefantenmuseum in Maastricht.
RELATED LITERATURE
J.A. Schmoll gen. Eisenwerth, Die Lothringische Skulptur des 14. Jahrhunderts, Fulda, 2005, nos 189 and 356
Sotheby's. Old Master Sculpture and Works of Art, 9 juillet 2015 - Londres
French, mid 14th century, Virgin and Child, polychromed oak; 70cm., 27½in. Estimation 15,000 — 20,000 GBP - Lot. Vendu 18,750 GBP. Photo Sotheby's
Note: This charming example of the seated Madonna with the Christ Child standing prominently facing the worshippers shows many characteristics found in North Eastern French and Mosan examples of the first half to mid 14th century.
RELATED LITERATURE
J.A. Schmoll gen. Eisenwerth, Die Lothringische Skulptur des 14. Jahrhunderts, Fulda, 2005, nos. 96, 99, 100
Sotheby's. Old Master Sculpture and Works of Art, 9 juillet 2015 - Londres
French, mid-16th century, Domed casket, monogrammed: DD or DE on the latch and the underside, gold damascened iron; 9 by 10.5 by 7cm., 3½ by 4 1/8 by 2¾in. Estimation 15,000 — 20,000 GBP - Lot. Vendu 18,750 GBP. Photo Sotheby's
Note: comparable casket with the arms and initials of Louis le Vallois was sold at Sotheby's Paris, 25 November 2010, lot 356.
Sotheby's. Old Master Sculpture and Works of Art, 9 juillet 2015 - Londres
Circle of Pseudo-Monvaern, French, Limoges, circa 1500, Plaque with the Annunciation, the angels banderole inscribed: AVE GRACIA PLENA in brown-red enamel and the canopy above the Virgin:MARIA MATER GRACIEMA in gilding, partially gilt painted enamel on copper, in a painted wood frame; plaque: 21.3 by 18.3cm., 8 3/8 by 7¼in.; frame: 27 by 24cm., 10 5/8 by 9 3/8 in. Estimation 10,000 — 20,000 GBP - Lot. Vendu 27,500 GBP. Photo Sotheby's
Note: The name Pseudo-Monvaerni derives from the inscription MONVAERNI on a triptych now in the Taft Museum in Cincinnati (inv. no. 1931-268). Since the inscription is not a signature the artist responsible for the triptych is now referred to as Pseudo-Monvaerni or the Monvaerni Master. Pseudo-Monvaerni is recognised as one of the first of the artists working with painted enamel in Limoges, arriving there some time around 1460-1480. Art historians have attributed an extraordinary number of enamels to the master since he was first named on the basis of the Taft triptych in the 1840s, leaving a rather incoherent body of work. Here the florid patterning of the background and gilding on the drapery, the linear rendering of the faces, hands and the drapery on an opaque white ground, and the distinctly Gothic composition remind in part of such plaques as the Flagellation in the Louvre (inv. no. OA6309E) or The Nativity from Cracow illustrated by Marquet de Vasselot (op.cit., pl. XIV). However, this lot does not possess the yellows and greys, paillons, and slightly grotesque facial features that seem to characterise the more securely attributed plaques. Perhaps most closely related to our Annunciation isSaint Martin the Beggar in the Metropolitan Museum of Art (inv. no. 41.100.212).
The composition derives from Israhel van Meckenem's engraving of the Annunciation which, in turn, is a reversed version of a print by Martin Schongauer. Another early enameller, The Master of the Louis XII triptych, also referred to Van Meckenem's Annunciation (see Victoria and Albert Museum, inv. no. 552-1877).
RELATED LITERATURE
J. J. Marquet de Vasselot, Les émaux limousins de la fin du XVe siècle et de la première partie du XVIe, Paris, 1921, pp. 236-237, no. 43, pl. XIV; S. Baratte, Les émaux peints de Limoges, cat. Musée du Louvre, Paris, 2000, pp. 30 and 33
Sotheby's. Old Master Sculpture and Works of Art, 9 juillet 2015 - Londres
Attributed to Pierre Veyrier II (active circa 1528-1558), French, Limoges, circa 1550-1560, Large plaque with the Adoration of the Shepherds, partially gilt painted enamel on copper, in a gilt metal mount on a velvet covered wood frame; plaque: 24.4 by 24.4cm., 9 5/8 by 9 5/8 in.; frame: 29.5 by 29.5cm., 11 5/8 by 11 5/8 in. Estimation 25,000 — 35,000 GBP - Lot. Vendu 47,500 GBP. Photo Sotheby's
Provenance: Sotheby's London, 7 December 1989, lot 262
Note: This extraordinarily large and well-preserved enamel is attributable to Pierre Veyrier II on the basis of its parallels with a set of nine plaques with scenes from the Passion of the Christ in The Walters Art Museum, Baltimore, one of which is monogrammed (inv. no. 44.364.), and two further plaques with The Deposition and The Resurrection in the St. Louis Art Museum (inv. nos. 90 and 91:1988). The serene blueish flesh tones, the strongly delineated drapery folds highlighted by gilding applied in plains and dots, the starry sky, the loosely painted grass, the white pea-pod enameling technique used to accentuate the trees in the background, and the elaborate brickwork on the architecture all tie the present plaque to the enamels in the United States. Specifically note the execution of the grass of the Resurrection plaques in both Baltimore and St. Louis, the highlighting of the columns in the present plaque and The Flagellation in Baltimore, and the boldly designed drapery of the sleeping St. Paul in Christ in the Garden of Gethsemane in Baltimore and the Seated Virgin in our enamel. For the designs of the Passion plaques Veyrier was inspired by Dürer's Small Passion but here the artist wonderfully reinterprets a more modern, Mannerist work, Giovanni Jacopo Caraglio's engraving after a Parmigianino drawing now in the Graphische Sammlung, Weimar (inv. no. 7393).
Veyrier is among the more mysterious Limoges enamelers from the 16th century. In addition to the plaques mentioned above, Verdier attributes three further plaques to the artist. Bearing the elements mentioned above in mind, it may be worth reviewing the central plaque with the great Crucifixion at the centre of the often contested triptych constructed from twelve plaques in the 19th-century in the Petit Palais (inv. no. ODUT01260) as a work by Veyrier as well.
RELATED LITERATURE
P. Veyrier, Catalogue of the painted enamels of the Renaissance, cat. The Walters Art Gallery, Baltimore, 1967, pp. 202-212, nos. 121-129; V. Notin (ed.), La recontre des héros, exh. cat. Musée Municipal de l'Évêché, Limoges, 2002, pp. 244-245, no. 84
Sotheby's. Old Master Sculpture and Works of Art, 9 juillet 2015 - Londres
Attributed to Colin Nouailher, French, Limoges, circa 1530-1550, Tazza with an angel feeding a prophet, probably Isaiah, the banderole inscribed: DEVORA VERBVM DNI MANET IN ETERNUM (Swallow the word of god endures forever); with a fragmentary label numbered: 318. on the underside; partially gilt painted enamel on copper; 6.7 by 20.2cm., 2 5/8 by 8in. Estimation 12,000 — 18,000 GBP - Lot. Vendu 23,750 GBP. Photo Sotheby's
Note: Verbum Domini manet in aeternum or "The word of God endures forever" was the defiant motto of the Lutheran Reformation taken from the Prophet Isaiah (Isa 40:8) and Saint Peter (Peter 1:25). It is not normally preceded by the verb devora, meaning devour, swallow or enjoy, which may have been added to mock the reformers. Limoges enamelers are generally regarded as staunch Catholics.
Prophets in similar elaborate clothes feature often in earlier Limoges enamels, including in the Orléans and Baltimore triptychs (see Verdier, op.cit., no. 17) and a set of twenty-one plaques with standing apostles, sibyls, and prophets by Leonard Limousin in the Walters Art Gallery (inv. no. 44.366). The colour scheme, moody expressions of the angel and the prophet, and the opulent gilt details point towards the workshop of Colin Nouailher. On the pair of salts representing the Ages of Love in the Wallace collection, monogrammed N and attributed to Nouailher by Higgott, the gilt foliage is executed in a remarkably similar way and the pilasters on the corners of the salts are identical to those on the underside of the bowl of the present tazza.
RELATED LITERATURE
P. Verdier, Catalogue of the painted enamels of the Renaissance, cat. Walters Art Gallery, Baltimore, 1967, pp. 26-29 and 160-169, nos. 17 and 83-103; S. Higgott, Catalogue of glass and Limoges painted enamels, cat. The Wallace Collection, London, 2011, pp. 210-219, nos. 64a and b; O. Bayer, "A public mystery, Lutheran Quarterly XXVI, 2012, pp. 126-127
Sotheby's. Old Master Sculpture and Works of Art, 9 juillet 2015 - Londres
Pierre Reymond (1513-1584), French, Limoges, 1575, Tazza with the Worship of The Golden Calf, inscribed: EXODE.XXXII., monogrammed: P.R. in brown-red enamel on the bowl and the foot and dated: 1575, partially gilt painted enamel on copper; 15 by 18.3cm., 5 7/8 by 7 1/8 in. Estimation 12,000 — 18,000 GBP - Lot. Vendu 23,750 GBP. Photo Sotheby's
Note: Pierre Reymond and his workshop had the most prolific output of all the 16th-century enamelers, making plaques, plates, vessels and candlesticks with religious, mythological and allegorical subjects. Reymond successfully met the great demand for enamels by simplifying his workshop's production. This involved repeating fashionable decorative patterns -such as the egg and dart motif along the upper edge of the present tazza, cartouches with masks as seen on the underside of the bowl, and, perhaps most recognisably, the inverted S pattern in red enamel along the base- but also relying on graphic sources for the scenes. The representation of Aaron's feast in honour of the Golden Calf, which includes Moses on the mountain on the top right, is taken from the Quadrins historiques de la Bible by Bernard Salomon. The scene is cleverly combined to form a narrative with the Worshiping of the Calf on the base. The whole is beautifully enamelled in grisaille by ways of a technique known as enlevage: a layer of white enamel is applied on a dark ground and partly scratched away to create the grey areas and enliven the surface. Dark cross-hatching, red enamel, flesh tones, and gilding complete the decoration. Tazze by Reymond with a nigh identical bowls are in the Musée du Louvre (inv. no. OA 975) and the Herzog Anton Ulrich-Museum in Brunswick (Lim 75) and dated to 1569 and 1571 respectively.
RELATED LITERATURE
S. Baratte, Les émaux peints de Limoges, cat. Musée du Louvre, Paris, 2000, pp. 195-196; I. Müsch, Maleremails des 16. und 17. Jahrhunderts aus Limoges, cat. Herzog Anton Ulrich-Museum, Brunswick, 2002, pp. 197-199, no. 96
Sotheby's. Old Master Sculpture and Works of Art, 9 juillet 2015 - Londres
French, Limoges, late 16th-early 17th century, Two plaques with the Arrest of Christ and Christ before Pilate, partially gilt painted enamel on copper, in a gilt wood frame ; plaques: 14.2 by 11.8cm., 5 5/8 by 4 5/8 in.; frames: 24 by 22cm., 9½ by 8 5/8 in. Estimation 3,000 — 5,000 GBP - Lot. Vendu 3,750 GBP. Photo Sotheby's
Note: These plaques are from a series of plaques based on the influential Small Passion by Albrecht Dürer. See the full set dated to around 1570-1625 in the Wallace Collection (inv. no. C596).
Sotheby's. Old Master Sculpture and Works of Art, 9 juillet 2015 - Londres
Bague en platine (950), ornée d'un saphir de Birmanie taillé en coussin entouré de diamants taillés en brillant. Estimation: 34 000 - 36 000 €. Photo: Artcurial.
Poids du saphir : 8,03 ct - Poids brut : 10,83 g
Accompagnée d'un certificat du laboratoire SSEF (2014) indiquant origine Birmanie, pas de modification thermique constatée
A sapphire, diamond and platinum ring, accompanied by a SSEF certificate stating that the 8,03 ct sapphire, origin Burma, shows no indication of heating
Artcurial- François Tajan. Fine Jewellery. 21 Jul 2015 19:00. Hôtel Hermitage, Monte-Carlo
Chaumet, Bague en platine (950), ornée d'un saphir ovale du Sri Lanka entre deux diamants taillés en baguette. Estimation: 12 000 - 15 000 €. Photo: Artcurial.
Poids du saphir : 12,34 ct - Poinçon du joaillier Chaumet - Poids brut : 6,75 g
Accompagnée d'un certificat du Laboratoire Gem Paris (2015) indiquant origine Sri Lanka (Ceylan), pas de modification ou traitement observés
A sapphire and platinum ring, by Chaumet, accompanied by a gem paris certificate stating that the 12,34 ct sapphire, origin Sri Lanka shows no indication of treatment
Artcurial- François Tajan. Fine Jewellery. 21 Jul 2015 19:00. Hôtel Hermitage, Monte-Carlo
Van Cleef & Arpels, Broche en platine (950) et or gris 18k (750), stylisée d'une "fleur de pavot"à six pétales ornés en serti mystérieux de saphirs calibrés, le pistil, la tige cintrée et les feuilles mouvementées sertis de diamants taillés en brillant et en baguette. Estimation: 40 000 - 50 000 €. Photo: Artcurial.
Signée Van Cleef & Arpels N.Y 31861 - Haut. : 4 cm; poids brut : 15,82 g
A sapphire, diamond and 18k white gold brooch, by Van Cleef & Arpels.
Artcurial- François Tajan. Fine Jewellery. 21 Jul 2015 19:00. Hôtel Hermitage, Monte-Carlo
Bague en or gris 18k (750), ornée d'un saphir de Ceylan "colour-change" taillé en coussin, épaulé de deux diamants taillés à l'ancienne. Estimation: 22 000 - 25 000 €. Photo: Artcurial.
Poids du saphir : env. 7,90 ct - Poids brut : 9,58 g
Accompagnée d'un certificat du laboratoire SSEF (2015), indiquant origine Ceylan (Sri Lanka), "colour-change", pas de modification thermique constatée
A sapphire, diamond and 18k white gold ring accompanied by a SSEF certificate stating that the 7,9 ct approx color-change sapphire, origin Ceylon (Sri Lanka), shows no indication of heating
Artcurial- François Tajan. Fine Jewellery. 21 Jul 2015 19:00. Hôtel Hermitage, Monte-Carlo
Cartier, Bague dôme en or gris 18k (750), ornée d'un saphir ovale dans un pavage de diamants taillés en brillant. Estimation: 13 000 - 15 000 €. Photo: Artcurial.
Poids du saphir : env. 4,80 ct - Dans son écrin - Signée Cartier - Tour de doigt : 56; poids brut : 10,89 g
A sapphire, diamond and 18k white gold ring, by Cartier.
Artcurial- François Tajan. Fine Jewellery. 21 Jul 2015 19:00. Hôtel Hermitage, Monte-Carlo
Bague en or gris 18k (750), ornée d'une importante tanzanite "vivid blue" de Tanzanie rectangulaire à pans épaulée de deux diamants tapers. Estimation: 75 000 - 80 000 €. Photo: Artcurial.
Poids de la tanzanite : 32,21 ct - Poids brut : 15,16 g
Accompagnée d'un certificat du laboratoire GRS indiquant couleur "vivid blue", origine Tanzanie, pas de modification thermique constatée
A tanzanite, diamond and 18k white gold ring accompanied by a GRS certificate stating that the 32,21 ct "vivid blue" tanzanite, origin Tanzania, shows no indication of thermal treatment
Artcurial- François Tajan. Fine Jewellery. 21 Jul 2015 19:00. Hôtel Hermitage, Monte-Carlo
Bulgari, Bague en or gris 18k (750), ornée d'un saphir ovale de Sri Lanka dans un double entourage de seize diamants taillés en brillant. Estimation: 10 000 - 12 000 €. Photo: Artcurial.
Poids du saphir : env. 3,92 ct - Signée Bulgari - Poids brut : 8,37 g
Accompagnée d'un certificat du laboratoire IGI (2014) indiquant origine Sri Lanka, pas de traitement thermique constaté
A sapphire and diamond ring, by Bulgari, accompanied by an IGI certificate stating that the 3,92 ct sapphire, origin Sri Lanka is free of treatment
Artcurial- François Tajan. Fine Jewellery. 21 Jul 2015 19:00. Hôtel Hermitage, Monte-Carlo
Bague en or gris 18k (750), ornée d'un saphir de Birmanie taillé en cabochon l'entourage fait de deux serpents lovés partiellement sertis de diamants taillés en brillant. Estimation: 9 000 - 11 000 €. Photo: Artcurial.
Poids du saphir : env. 22,58 ct - Poids brut : 19,07 g
Accompagnée d'un certificat du laboratoire SSEF (2014), indiquant origine Birmanie, pas de traitement thermique constaté
A sapphire, diamond and 18k white gold ring, accompanied by a SSEF certificate stating that the 22,58 ct sapphire, origin Burma, shows no indication of heating
Artcurial- François Tajan. Fine Jewellery. 21 Jul 2015 19:00. Hôtel Hermitage, Monte-Carlo