Rosier David Austin Winchester Cathedral.

Le Rosier Winchester Cathedral est une magnifique obtention très prolifique. Sa floraison blanche immaculée est particulièrement impressionnante. En réalité, étant issus du Rosier Mary Rose, il en possède toute les qualités. Il diffère de ce proche parent par la couleur de ses fleurs. La rose, rappel tout à fait les roses anciennes à corolle bien double et auparfum subtil.

C’est un rosier bien ramifié qui produit sans cesse de nouvelles pousses, il reste assez court. Il est donc parfait pour étager un massif de rosiers avec des variétés plus hautes.

Ce Rosier Winchester Cathedral appartient à la famille des Rosiers Anglais, terme inventé par l’obtenteur David Austin lui-même. Ces rosiers sont obtenus par le croisement entre un rosier ancien (gallica, bourbon,…) et un Hybride de Thé ou un Floribunda. Les Rosiers Anglais sont très connus pour être parfaitement remontant et leurs fleurs réputées pour être de belles rosaces bien régulières et très parfumées.

Obtention David Austin 1988.

(source: Promesse de fleurs)

Diamond and Gold Serpent Bracelets, by Hemmerle.

A Multi-colored Diamond and Gold Serpent Bracelet, by Hemmerle

Philippe Halsman — Autoportrait, 1950. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

PARIS - Le photographe Philippe Halsman (Riga, Lettonie, 1906 - New York, 1979) mène pendant une quarantaine d'années une carrière exemplaire, depuis ses débuts à Paris dans les années 1930, jusqu'à l'immense succès de son studio new-yorkais entre 1940 et 1970. 

À Paris, puis à New-York, Philippe Halsman collabore à de nombreux magazines, Vogue, Vu, Voilà..., et Lifedont il réalisera 101 couvertures. En France puis aux États-Unis, il réalise des portraits de nombreuses personnalités comme Marc Chagall, Le Corbusier, Gide, André Malraux, Marylin Monroe, Rita Hayworth, Duke Ellington, Les Windsor, Richard Nixon, Albert Einstein... 
Loin d’être uniquement un photographe de célébrités, il n’aura de cesse d’expérimenter et de repousser les limites de son médium ; sa photographie se caractérise par une approche directe, une parfaite maîtrise technique et un soin du détail. Son activité couvre des champs aussi variés que le portrait, la mode, le reportage, les commandes privées et institutionnelles ou bien encore des projets personnels : il collabore notamment pendant plus de 30 ans avec Salvador Dalí et invente la "jumpology", qui consiste à photographier des personnalités en train de sauter, offrant ainsi un portrait plus naturel et spontané de ses sujets.

Au final, près de 300 images exclusives et documents originaux (planches et tirages par contact, épreuves préliminaires, photomontages, originaux et maquettes) sont présentés pour cette exposition rétrospective, apportant un éclairage unique sur l’œuvre et le processus d’un photographe exceptionnel et atypique.

DU 20 OCTOBRE 2015 AU 24 JANVIER 2016.

Philippe Halsman — Génica Athanasiou, 1934. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman — Expérimentation pour un portrait de femme, 1931-1940. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman — André Malraux, 1934. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman — Marilyn Monroe, 1952. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman — Louis Armstrong, 1966. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman — Muhammad Ali (né Cassius Clay), 1963. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos.

Philippe Halsman — Andy Warhol, 1968. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman — Fernandel, « Quelles sont les mesures prises par le gouvernement français pour accroître le taux de naissance? », The Frenchman, 1948. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman — Jean Cocteau, l’artiste multidisciplinaire, 1949. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman — Le duc et la duchesse de Windsor, 1956. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman — Portrait d’Alfred Hitchcock pour la promotion du film Les Oiseaux, 1962. Musée de l’Elysée © 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman — Dean Martin et Jerry Lewis, 1951. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

Yvonne Halsman — Marilyn Monroe et Philippe Halsman, 1959. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman — Ballet aquatique, 1953. Archives Philippe Halsman © 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman— Marilyn Monroe, 1959. Musée de l'Élysée© 2015 Philippe Halsman Archive / Magnum Photos

Philippe Halsman — Dalí Atomicus, 1948. Musée de l’Elysée© 2015 Philippe Halsman Archive / Magnum. Photos Droits exclusifs pour les images de Salvador Dalí : Fundació Gala-Salvador Dalí, Figueres, 2015

Philippe Halsman — Salvador Dalí dans sa performance pour l’émission télévisée The Morning Show de CBS-TV, 1956. Archives Philippe Halsman© 2015 Philippe Halsman Archive / Magnum Photos. Droits exclusifs pour les images de Salvador Dalí : Fundació Gala-Salvador Dalí, Figueres, 2015

 Philippe Halsman — « Plantées comme deux sentinelles, mes moustaches défendent l’entrée de ma personne », Dalí’s Mustache, 1953-1954. Archives Philippe Halsman© 2015 Philippe Halsman Archive / Magnum Photos. Droits exclusifs pour les images de Salvador Dalí : Fundació Gala-Salvador Dalí, Figueres, 2015

Philippe Halsman —« Dalí en Cyclope », Dalí’s Mustache (couverture), 1949. Archives Philippe Halsman© 2015 Philippe Halsman Archive / Magnum Photos. Droits exclusifs pour les images de Salvador Dalí : Fundació Gala-Salvador Dalí, Figueres, 2015

Artist Wei Dong in his studio. Horseback Rider no. 1 shown in the background. Photo So

HONG KONG - S|2 Hong Kong is delighted to present Crossroads: Wei Dong, a selling exhibition charting the artist’s creative journey over the past two decades. In addition to choice selections from his much celebrated, subversive oeuvre, the exhibition showcases new ink and color landscape paintings that mark the beginning of an important new era for the painter.

Born in Inner Mongolia in 1968, Wei Dong has lived between Beijing and New York for the past twenty years. The painter’s astonishing technical virtuosity is evident in both his acrylic and ink works, and his trademark conflation of the classical and the modern, both Chinese and Western, conjures up surreal, biting commentaries on the desire-driven modern psyche.

In the brand new ink landscapes, Wei Dong departs from his signature lurid polemics to achieve a subtler, yet equally emotionally potent, aesthetic. Humble yet magnificent Ming and Qing-inspired backdrops are graced by quiet, contemplative presences. The restless artist has returned home – literally and figuratively – to his birthplace, to the roots of his artistic training, and to a reconciliation of his deepest conflicts and desires.

Sotheby's Hong Kong Gallery, 5/F One Pacific Place, 88 Queensway
Monday to Friday 10am–6pm
Saturday 11am–5pm
Closed on Sundays and Public Holidays
Enquiries: HKGALLERY@SOTHEBYS.COM | +852 2822 5566

Wei Dong, New Year No. 2, 1996. Signed with one seal of the artist. Ink and colour on paper, 66 by 66 cm.; 26 by 26 in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Springtime Gathering, 1998. Signed with one seal of the artist. Ink and colour on paper, 33 by 66 cm.; 13 by 26 in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Interior Series No. 1, 1999. Signed with eight seals of the artist. Ink and colour on paper  66.4 by 49.5 cm.; 26⅛ by 19½ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, In the Clouds, 2000. Signed and titled in Chinese, dated 2000, silkscreen print on Arches 88 paper, edition of 85, 70 by 58 cm.; 27⅝ by 22⅞ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Flood, 2008. Signed with one seal of the artist. Ink and colour on paper, 130 by 66.5 cm.; 51¼ by 26¼ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, My Marilyn No. 3, 2008. Signed with one seal of the artist and dated 2008. Ink and colour on paper, 132.5 by 66.5 cm.; 52¼ by 26¼ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Fog No. 1, 2008. Signed with one seal of the artist. Ink and colour on paper, 44 by 66.5 cm.; 17⅜ by 30¼ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Horseback Rider No. 1, 2009. Signed WEI DONG and in Chinese. Acrylic on canvas, 167.6 by 163.8 cm.; 66 by 64½ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Lunch in the Woods, 2010. Signed WEI DONG and in Chinese. Acrylic on canvas, 90.2 by 110.2 cm.; 35½ by 43⅜ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Assembly, 2011. igned WEI DONG and in Chinese. Acrylic on canvas, 102.9 by 137.2 cm.; 40½ by 54 in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, My Mediterranean, 2011. Signed WEI DONG and in Chinese. Acrylic on canvas, 100 by 100 cm.; 39⅜ by 39⅜ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, My Biology Teacher, 2012. Signed WEI DONG and in Chinese. Acrylic on canvas, 144.8 by 80.3 cm.; 57 by 31⅝ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, My Ducklings, 2012.  Signed WEI DONG and in Chinese. Acrylic on canvas, 101.6 by 40.6 cm.; 40 by 16 in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Dance Lesson, 2013. Signed WEI DONG and in Chinese. Acrylic on canvas, 121.9 by 60.6 cm.; 48 by 23⅞ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, My First Lesson, 2014. Signed WEI DONG; Signed and titled in Chinese and dated 2014 on reverse. Acrylic on canvas, 35.5 by 28 cm.; 14 by 11 in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Crossroads No. 1, 2015. Signed in Chinese and with one seal of the artist. Ink and colour on paper, 33.5 by 131.5 cm.; 13¼ by 51⅞ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Crossroads No. 2, 2015. Signed in Chinese and with one seal of the artist. Ink and colour on paper, 33.5 by 131 cm.; 13¼ by 51⅝ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Crossroads No. 3, 2015. Signed in Chinese and with one seal of the artist. Ink and colour on paper, 33.5 by 131 cm.; 13¼ by 51⅝ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Crossroads No. 4, 2015. Signed in Chinese and with one seal of the artist. Ink and colour on paper, 33.5 by 131.5 cm.; 13¼ by 51⅞ in. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, My Delacroix, 2015. Signed WEI DONG. Signed and titled in Chinese and dated 2015 on reverse, 
acrylic on canvas, 30 by 30 cm.; 11¾ by 11¾ in.. Photo: Sotheby's.

Provenance: Directly from the artist

Wei Dong, Yesterday's News, 2015. Signed WEI DONG. Signed and titled in Chinese and dated 2015 on reverse, acrylic on canvas, 40 by 30 cm. 15¾ by 11¾ in.. Photo: Sotheby's.

Provenance: Directly from the artist

The “Sopranos” actor Federico Castelluccio bought this St. Sebastian portrait, thought to be by Guercino. CreditFederico Castelluccio Collection

PRINCETON, NJ.- Actor/artist/collector Federico Castelluccio, who recently discovered a Guercino masterpiece half-length Saint Sebastian, circa 1632-1634, will now exhibit the painting at the Princeton University Art Museum as a special installation, this week through late January 2016. This will mark the very first time this painting has ever been on public view in the United States. 

Castelluccio’s painting is one of only three genuine Guercino half-length Saint Sebastians in the world. The other two are at the Pushkin Museum in Moscow and the Ponce Museum in Puerto Rico, with his being the earliest of the three. Giovanni Francesco Barbieri, known as Il Guercino (1591 – 1666), was one of the leading protagonists of 17th Century Italian Baroque painting. 

Through his amazingly well-trained eye and gut instinct, Castelluccio, a very savvy art collector and connoisseur, discovered this long-lost masterpiece in a small auction house in Frankfurt, Germany. Over the last 25 years, he has amassed a very impressive collection of museum quality Old Master paintings and drawings from the 16th, 17th and 18th Centuries from his various travels all over Europe, auctions and private dealers. 

He brought the Guercino home to New York and began a three year process of extensive research to determine the painting’s lineage, while also having various chemical analysis, infrared reflectography and x-radiography done, with top conservators doing the restoration work. Also during this time, the Guercino was authenticated by the world’s leading Guercino experts, David Stone and Nicholas Turner. 

Last year, Castelluccio, who is an accomplished Contemporary Realist painter, as well as being a well-known actor who co-starred on HBO’s The Sopranos, was approached by the Cosso Foundation and the Miradolo Castle museum in Torino, Italy. They asked to borrow his Guercino for their “Saint Sebastian: Beauty and Integrity in Art Between the 15th and the 17th Centuries” exhibit which ran from October, 2014 through March, 2015. This was the first time the painting was on public view anywhere in over 350 years. 

He brought the masterpiece home in late March and, shortly thereafter, was contacted by Princeton about the possibility of exhibiting the painting here in the U.S. for the first time. It will now grace the walls of the Princeton University Art Museum through January 2016. 

As James Steward, Nancy A. Nasher-David J. Haemisegger, Class of 1976, Director at Princeton University Art Museum enthusiastically explains, "This is an exciting recent discovery of a work by one of the Baroque period's great masters, an artist known for the vigorous luminosity of his brushwork. We're delighted to bring it to Princeton to give scholars and visitors an opportunity to consider it in the context of a fine collection of Baroque art, and what it brings to our understanding of the artist. In a museum known for one of the great collections of Guercino drawings in this country, this is an especially appropriate opportunity to exhibit it publicly for the first time outside of Italy, and an opportunity for which we are most grateful to Federico."

Diego Rodríguez de Silva y Velázquez (Spanish, 1599-1660), Infanta Margarita in a Blue Dress, 1659. Oil on canvas. Kunsthistorisches Museum, Gemäldegalerie, Vienna. Copyright: Kunsthistorisches Museum Vienna. 

DALLAS, TX.- The latest of three portraits of the Infanta in the Kunsthistorisches Museum, Vienna, this magnificent painting depicts the sitter at the age of eight, gazing warmly at the viewer and wearing a blue silk dress, richly adorned with the silver borders fashionable in Spain from the 1640s. It was preceded by the Portrait of Margarita in a Pink Dress (1654) and the Portrait of Margarita in a White Dress (1656), the latter corresponding both in costume and style to the contemporary portrait of the Infanta in Las Meninas. Antonio Palomino (1655-1726) thus describes the present work in his Lives of the Eminent Spanish Painters and Sculptors (1724): 

The other portrait [to be sent to Emperor Leopold I] was of the Most Serene Infanta Doña Margarita … of Austria, excellently painted and with the majesty and beauty of the original. To her right, on a small console table, there is an ebony clock of very elegant design, with bronze figures and animals; in its centre is a circle where the chariot of the sun is painted, and within the same circle there is a smaller one with the division of the Hours. 

Following the Prado, the Kunsthistorisches Museum, Vienna, houses one of the largest and most important collections of Velázquez paintings in the world. On loan for over three months, Infanta Margarita in a Blue Dress will join three pictures by Velázquez from the Meadows Museum’s permanent collection, and will add further context to the Museum’s exceptional holdings of painted portraits. 

The anniversary celebration will continue this fall with Treasures from the House of Alba: 500 Years of Art and Collecting, opening on September 11, 2015. This exhibition will include Goyas commissioned by the Albas from the artist during his lifetime, Columbus’s hand-drawn map of the New World, and Impressionist works and Old Masters collected by the Albas when these paintings were contemporary art. The Albas are one of the greatest European aristocratic dynasties, and many of the works in the exhibition have never left their private palaces in Spain. After its run at the Meadows Museum, the exhibition will travel to the Frist Center for the Visual Arts, opening there on February 5, 2016.

Asian Paradise Flycatcher (Terpsiphone paradisi floris), Adult male. 

Asian Paradise Flycatcher (Terpsiphone paradisi floris), Adult male by  Anup Deodhar

Asian Paradise Flycatcher (Terpsiphone paradisi floris), Adult male, Baramulla, Kashmir by Girish

Asian Black Paradise Flycatcher (Terpsiphone atrocaudata), a male, with very long tail feathers, feeding chicks by Young Sung Bae

Male Asian Paradise Flycatcher by zahoor salm

Japanese Paradise Flycatcher father and baby by elisa

Japanese paradise flycatcher. Photo by Shreshth Handel

Two Longquan celadon-glazed blossom-shaped bowls, China, Song dynasty. Estimate 1500/2000 €. Lot sold 1.500 €. Photo Nagel

D. 10,9-11,9 cm. Glaze with minor corossion, one with a very short hairline to rim

Provenance: Senta Wollheim Collection, no. OA 90/187, bought from Lempertz Cologne, sale 541, 29.11.1974, lot 3196 and 3197

NAGEL. "Asian Art". Sale 722, 06/06/2015

A rare small spittoon (zhadou), China, Tang dynasty. Estimate 2500/3500 €. Lot sold 2.600€. Photo Nagel

The heavily potted compressed globular body supported on a low footring, set with a small mouth and a thinly potted wide flaring rim, covered overall with a cream-colored glaze. D. 12,7 cm. Minor corossion, mouth rim with small glaze chip

Provenance: Property from the collection of Senta Wollheim, bought in Germany before 1976

Note; Wares of this type take their shape from metal wares of the Tang dynasty and functioned as spittoons. Smaller vessels of this shape were also used for tea dregs. See a ceramic zhadou, from the Ingram collection, and a silver zhadou from the Kempe collection, both illustrated in M. Vickers, From Silver to Ceramic, Oxford, 1986, pl. 47. A similar example can also be found in the Shaanxi Provincial Museum and is illustrated in Zhongguo wenwu jinghua daquan, Taoci juan, Shanghai, 1993, pl. 243

NAGEL. "Asian Art". Sale 722, 06/06/2015

A large jar and cover, China, Sui Dynasty (581-618). Estimate 2000/3000 €. Lot sold 1.000 €. Photo Nagel

the jar and cover of high fired, beige earthenware is covered on the outside with a transparent, densely crackled yellowish-green tinted glaze, the inside of the body, cover and the flat bottom are left unglazed. H. 19,8 cm. Few very small chips to mouth in the unglazed area

Provenance: Senta Wollheim Collection, no. OA 79, bought from Lempertz, Cologne, sale 537, 8.5.1974, lot 642 (DM 8000.-)

Note: This jar and cover belong to the earliest high-fired white wares of China and represent the earliest porcelain made anywhere in the world, examples of which are rare. A similar piece, from the tomb of the official Ji Wei who was buried in AD610 near Xian in Shaanxi province, is illustrated in Finsterbusch, Zur Archaologie der Pei-Ch'i (550-577) and Sui-Zeit (581-618), 1976, pl. 49, fig. 10, and discussed in an article on Sui Dynasty porcelain by Zhi Yan in Wenwu 1977, no. 2, pp. 57f., where it is reproduced in a line drawing, fig. 1 (5). A jar of this type without a cover in the Palace Museum, Beijing, is illustrated in Porcelain of the Jin and Tang Dynasties, Beijing, 1996, pl. 58

NAGEL. "Asian Art". Sale 722, 06/06/2015

A group of three Qingbai ware bowls, China, Song-Yuan dynasty. Estimate 900/1800 €. Unsold. Photo Nagel

D. 16,8-20,3 cm. Few short hairlines, partly wear to glaze

Property from a Dutch private collection

NAGEL. "Asian Art". Sale 722, 06/06/2015

Two cream-glazed engraved bowls with flower motifs, China, Song dynasty. Estimate 900/1800 €. Unsold. Photo Nagel

D. 18,-19,2 cm. One bowl with tiny glaze frits to rim

Property from a Dutch private collection 

NAGEL. "Asian Art". Sale 722, 06/06/2015

A Yingqing double-gourd iron-spot splashed ewer and a small jarlet, China, Song dynasty. Estimate 1500/2000 €. Unsold. Photo Nagel

Small gourd-shaped ewer with plain handle. The shufu type qingbai glaze is spotted all over with iron oxide spots. H. 6,8-11,2 cm. The small jarlet with a short hairline to mouth

Provenance: Senta Wollheim Collection, no. OA 101/146 bought from Lempertz Cologne, sale 546, 13.6.1975, lot 2397 (the ewer) 

Note: A ewer of this type was included in the Oriental Ceramic Society of Hong Kong exhibition South-East Asian and Chinese Trade Pottery, Hong Kong Museum of Art, 1979, cat.no. 61; one recovered from a ship wrecked off the coast of Korea about AD 1323, is illustrated in Relics Salvaged from the Seabed off Sinan, Materials I, 1985, pl. 77, no. 112; and another example is currently on display in the Victoria and Albert Museum, London: 

NAGEL. "Asian Art". Sale 722, 06/06/2015

A lobed Yingqing ewer, China, Northern Song Dynasty (960-1127). Estimate 2000/3000 €. Sold 2.200 €. Photo Nagel

The ovoid body divided into eight vertical lobes, supporting a tall waisted neck with flared mouth, linked to the shoulders by a tall strap handle with a small tubular eyelet on top, set opposite the high curved upright spout covered overall with a clear glaze of very light blue tint. H. 17,2 cm. Tip of spout slightly chipped

Property from an old European private collection 

Note: A similar ewer and cover, excavated from an early Northern Song tomb in Haining county, Zhejiang province, are illustrated in Wenwu, 1983, no. 8, pl. 5, fig. 3; and another by Ayers in the Seligman Collection Catalogue, vol. II, pl. LXV, no. D222. Two other ewers of this type are illustrated in Chinese Ceramics in the Idemitsu Collection, pl. 417, with cover but lacking the high foot, and pl. 418, of similar form but lacking a cover.

NAGEL. "Asian Art". Sale 722, 06/06/2015

A small stoneware jar with amber glaze with phosphatic-splashes, China, late Tang Dynasty (618-907), ca. 8th or 9th century. Estimate 1500/2000 €. Unsold. Photo Nagel

 the heavy beige coloured stoneware jar with two loop handles on the shoulder is covered with an amber glaze with greyish-white splashes of the Huangdao or Lushan kiln glaze type, leaving the bottom part of the jar and everted foot unglazed. H. 12,6 cm. Minor wear

Provenance: According to the present German owner inherited from a collection formed around 80 years ago

Cf. A ewer of similar form is illustrated in Gugong Bowuyuan cang ci xuanji, Beijing, 1962, pl. 10; another in Regina Krahl, Yuegutang; A Collection of Chinese Ceramics in Berlin, Berlin, 2000, cat. no. 99

A TL-Analysis is consisting with the dating of this lot

NAGEL. "Asian Art". Sale 722, 06/06/2015

A Jian hare's fur tea bowl, China, Southern Song dynasty. Estimate 4000/6000 €. Unsold. Photo Nagel

Of deep rounded form with steep sides rising from the short ink inscribed foot, with a slight indent below the rim, covered in a lustrous caramel-brown glaze streaked with metallic emanating from the central flattened base of the interior, the exterior similarly decorated, the glaze falling short of the base to reveal the burnt purple-brown body. D. 12,6 cm. Very small old restored chip to rim

Property from an old Bavarian private collection, collection by the previous owner in China in the early 20th ct., Chinese box with labels in Chinese and English probably around 1910-20

Note: A bowl of this classic 'Jian' teabowl type in the Arthur M. Sackler Museum, Harvard University, was included in the exhibition Hare's Fur, Tortoiseshell, and Partridge Feathers, Harvard University Art Museums, Cambridge, Mass., 1995, cat. no. 79. Compare several hare's fur bowls recovered from the 'Jian' kiln site in Jianyang county, Fujian province, illustrated in Kaogu jinghua, Beijing, 1993, pl. 285, where a 'gold' and a 'silver hare's fur' glaze are distinguished.

NAGEL. "Asian Art". Sale 722, 06/06/2015

A fine carved, conical lotus bowl with celadon glaze, China, Southern Song Dynasty (1127-1279), Longquan ware, Zhejiang province, Guan type ware of light grey porcelaneous stoneware. Estimate 6000/8000 €. Unsold. Photo Nagel

on the inside and exterior covered with a slightly opaque light green celadon glaze with wide-meshed crackle, partly dense at the rim, and carved on the exterior with upright blades of lotus petals. The small foot ring is left unglazed and has oxidized during the firing to a reddish-brown colour, the interior of the base is glazed, on the outside an old, small sticker with an inventory number 4903. D. 16 cm. Good condition

Property from an old Bavarian private collection, collection by the previous owner in China in the early 20th ct., Chinese box with labels in Chinese and English probably around 1910-20

Compare: Joan Y.H. Ho, editor et al.: The Multiplicity of Simplicity - Monochrome Wares from the Song to the Yuan Dynasties, University Museum and Art Gallery, The University of Hong Kong, 2012 (exhibition catalogue), nos. 47 and 48, two smaller Longquan bowls (diam. 9,6 resp. 11,2 cm), no. 47 a plain bowl with equally widely spaced cracks and described as a Longquan Guan ware bowl covered with a crackled powder green glaze., no. 48 is also carved on the exterior with upright blades of lotus petals, bowls of this shapes and carved lotus décor are called lotus-pod bowls, both dated to the Southern Song dynasty.

NAGEL. "Asian Art". Sale 722, 06/06/2015

Joris van Son (Antwerp 1623 - 1667), A 'Pronk' still life of fruits in a basket together with a gilt goblet, wine glass, a ham, a pie, orange, lemon and a crab, all upon a table draped with blue and white cloths. Estimate   50,000 — 70,000  GBP.  Lot. Sold 87,500 GBP. Photo Sotheby's

signed lower left: J.VAN.SON.f., oil on canvas, in a carved and gilt wood frame, 57.5 by 84 cm.; 22 5/8  by 33 in.

Provenance: Captain C.P. B. Wood, Culmington Manor, Shropshire;
By whom sold London, Christie's, 15 December 1913, lot 20 (with pendant) for £115. 10s. to Tooth;
With H.M. Clark, London;
Wilhelm Caspar Escher (1859–1929), Zurich, by whom acquired from the above before August 1919 for £200;
Thence by descent.

Rxhibition: Utrecht, Centraal Museum, Verborgen. Nederlandse en Vlamse schilderijn uit de 16de en 17de eeuw uit de collective W.C. Escher, 2002, no. 10

Bibliography: R.E.O. Ekkart in Verborgen. Nederlandse en Vlamse schilderijn uit de 16de en 17de eeuw uit de collective W.C. Escher, exhibition catalogue, Utrecht, Centraal Museum, 2002, pp. 67–69, 119, no. 10.

Note: When it was sold at auction in 1913, this painting was sold with a pendant, but this has since remained untraced. Van Son was made a Master in the Antwerp Painters' Guild in 1643–44, when he was only twenty years old, and he died relatively young when still only forty-three. Although his teacher is not recorded, his mature still lifes betray the strong influence of Jan Davidsz. de Heem, who had been a resident of the city since 1632. It is not easy to date Van Son's works precisely, but this canvas is probably a work from the 1650s. The motifs of the basket of fruit anchoring the composition to one side and the central drape of white cloth in the centre, are paralleled in a number of other paintings, such as that sold Monaco, Sotheby's, 17 June 1988, lot 869 and later with Van Haeften in London, and that sold London, Christie's, 9 July 1993, lot 4, in which the elements of the ham and the pie also recur.

Sotheby's. Old Master & British Paintings Day Sale, Londres, 09 juil. 2015

Paul Liégeois (Active in France, mid-17th century), Peaches and plums on a partly draped stone ledge. Estimate   20,000 — 30,000 GBP.  Unsold. Photo Sotheby's

oil on canvas, 33.5 by 45.2 cm.; 13 1/8  by 17 3/4  in.

Provenance: Anonymous sale, Paris, Millon & Associés, 26 March 1999, lot 38.

Sotheby's. Old Master & British Paintings Day Sale, Londres, 09 juil. 2015

Dutch School, 17th century, Still life of apples and pears in a pewter dish. Estimate   20,000 — 30,000 GBP.  Unsold. Photo Sotheby's

oil on panel, possibly reduced, 23.5 by 37 cm.; 9 1/4  by 14 5/8  in.

Sotheby's. Old Master & British Paintings Day Sale, Londres, 09 juil. 2015