Lot 1412. An egg-and-spinach-glazed dish, Kangxi period (1662-1722). Diameter 15.1 cm. Estimated price €800 - €1.000. Result: €992. Courtesy Lempertz
Decorated with irregular splashes of ochre, green, cream and brown stopping short of the foot ring.
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 14:00, Brussels
Lot 1413. A famille verte kendi, Kangxi period (1662-1722). Height 21.5 cm. Estimated price €1.000 - €1.200. Result: €1.178. Courtesy Lempertz
Decorated with chrysanthemum, lotus, peonies and plum blossoms. Restored.
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 14:00, Brussels
Lot 1414. A famille verte shou-character-form ewer and cover, Kangxi period (1662-1722). Height 23.5 cm. Estimated price €2.000 - €3.000. Result: €8.184. Courtesy Lempertz
Of flattened pierced form, painted to each side with a central panel containing a scene of a scholar in a garden enclosed by butterflies and floral sprays. The cover with a lion finial and fixed to the body.
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 14:00, Brussels
Lot 1415. A large famille verte rouleau vase, Kangxi period (1662-1722). Height 76 cm. Estimated price €70.000 - €100.000. Result: €99.200. Courtesy Lempertz
Decorated with a gnarled, flowering plum tree, a magnificent bird with long tail feathers sitting on the branch and another bird in flight and taihu rocks, bamboo branches and narcissus on the tree trunk. Four shaped reserves with lotus flowers on a flower-like cash patterned-ground to the shoulder and a leaf-shaped reserve to the neck with a fisherman being massaged by a boy. To the other side a fan-shaped reserve with a landscape and a rectangular reserve with retracted corners with magnolias on a taihu rock. Spiral border to the rim. Mushikui to inner rim.
Exhibition: Museum Prinsenhof, Delft, The Netherlands, 1955
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 14:00, Brussels
Lot 1418. Two famille verte saucer-shaped Imari dishes, Kangxi period (1662-1722). Diameter 24 cm. Estimated price €500 - €700. Result: €558. Courtesy Lempertz
With scalloped rim, decorated in a central medallion with various shellfish and plants with a seascape of waves, surrounded by shaped reserves depicting auspicious objects, landscapes, foliage and flowers. (2).
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 14:00, Brussels
Andrew Grima. Swinging Pearl Ring, 1970. A Pearl swinging from a Yellow Gold Ring set with Diamonds. GRIMA, Stand A31© 2017 MASTERPIECE LONDON LTD
Jojo Grima. Garnet Drop Earrings. Yellow Gold Drop Earrings set with Golden Diamonds and drop-shaped Garnets. GRIMA, Stand A31© 2017 MASTERPIECE LONDON LTD
Emerald Ring, by Jojo Grima, 2014. A 6.7ct. Colombian Emerald set in 18ct. Grey Gold and surrounded by marquise-cut Diamonds. GRIMA, Stand A31 © 2017 MASTERPIECE LONDON LTD
Francesca Grima. Arabesque Ring. Yellow gold set with brilliant-cut diamonds. GRIMA, Stand A31 © 2017 MASTERPIECE LONDON LTD
Francesca Grima. Dot Ring, 2017. White agate and yellow gold, inspired by Japanese artist Yayoi Kusama. GRIMA, Stand A31 © 2017 MASTERPIECE LONDON LTD
Andrew Grima. "Harvest" Pendant Watch. Yellow gold textured wire and smokey quartz set with diamonds. From the "About Time" collection for Omega, 1969. GRIMA, Stand A31 © 2017 MASTERPIECE LONDON LTD
Andrew Grima. Ruby Ring, 1967. Yellow gold textured wire set with baguette-cut diamonds and rubies. GRIMA, Stand A31 © 2017 MASTERPIECE LONDON LTD
Francesca Grima. "Gherkin" Ring. Inspired by Norman Foster's architectural masterpiece, the "Gherkin" ring is set in yellow gold with either a faceted smokey quartz or a faceted lapis. GRIMA, Stand A31 © 2017 MASTERPIECE LONDON LTD
Jojo Grima. Earrings, 2016. A pair of Yellow Gold Textured Wire and Diamond Earrings. GRIMA, Stand A31 © 2017 MASTERPIECE LONDON LTD
Jojo Grima. Earrings, 2015. Yellow Gold and Diamond Earrings. GRIMA, Stand A31 © 2017 MASTERPIECE LONDON LTD
Andrew Grima. Sapphire Brooch, circa 1970. A Sapphire set in Diamonds and Platinum. GRIMA, Stand A31 © 2017 MASTERPIECE LONDON LTD
Jojo Grima. Multicoloured Necklace, 2014. Amethysts, Diamonds, Tourmalines, Citrines and Aquamarines set in Yellow Gold. GRIMA, Stand A31 © 2017 MASTERPIECE LONDON LTD
Andrew Grima. Lei Necklace, 2011. Modelled after the original 'Lei' Necklace, winner of the De Beers Diamonds International Awards in 1965 and the Duke of Edinburgh Prize for Elegant Design in 1966, modelled by Bond Girl Ursula Andress, this necklace was made by the same master goldsmith in Yellow Gold textured wire and set with 16.84 carats of brilliant-cut Diamonds. GRIMA, Stand A31 © 2017 MASTERPIECE LONDON LTD
Andrew Grima. Shell Necklace, 1972-1973. From the Supershells Collection, a shell set with Diamonds and suspended from a Yellow Gold collar. GRIMA, Stand A31 © 2017 MASTERPIECE LONDON LTD
GRIMA. By Appointment, London, Mayfair, United Kingdom. T +44 (0)7900 590 123 - info@grimajewellery.com - www.grimajewellery.com - E-mail info@grimajewellery.com - Website http://www.grimajewellery.com
Vincent van Gogh, Path in the Woods, 1887, oil on canvas, 45.3 cm x 37.7 cm. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
AMSTERDAM.- The exhibition 'Van Gogh, Rousseau, Corot: In the Forest' combines wooded views and landscapes by Vincent van Gogh with those of such painters as Théodore Rousseau and Camille Corot. From 7 July 2017.
These French artists were among those who retreated to the Forest of Fontainebleau in order to paint the unspoiled landscape. They favoured motifs such as trees, vegetation and the play of light and shade on the foliage and the ground.
Trees, woodland and undergrowth
Van Gogh, too, worked as much as possible out of doors, in the midst of nature, invariably directing his gaze at the trees, woodland and undergrowth. He sought to depict the forest in such a way ‘that one can breathe and wander about in it — and smell the woods’.
In this summer presentation, Van Gogh’s paintings are being shown alongside those of Rousseau, Corot and other artists from the collection of the Van Gogh Museum and The Mesdag Collection. The exhibition also features several extraordinary loans: Van Gogh’s Landscape with leaning trees (1883) and Sunset at Montmajour (1888), both in private collections, alongside Pollard Birch (1885), from the Van Lanschot Collection.
Multimedia guide
Would you like to know more about the wooded views and landscapes by Vincent van Gogh and those of French painters as Théodore Rousseau and Camille Corot? Find out more about the exhibition with the multimedia guide.
Available from 7 July until 10 September in eleven languages. You can book the multimedia guide at the same time as your online ticket.
Free introduction
What’s the relation between nature and Van Gogh’s work? Find out during a free introduction to the exhibition. From 7 July until 8 September: Monday to Friday at 10:30 am.
The introduction outlines Van Gogh’s life in a nutshell: from his initial studies of trees to the sweeping wheatfields painted shortly before his death.
Jules Dupré, The Sunken Path, 1835-1840, Van Gogh Museum, Amsterdam.
Jean-Baptiste-Camille Corot, Souvenir of Nemi. Rocks and shrubs, 1844-1845, The Mesdag Collection, The Hague.
Jean-Baptiste-Camille Corot, Forest of Fontainebleau, 1846 © 2017 Museum of Fine Arts, Boston
Théodore Rousseau, Brook in the Forest of Fontainebleau, 1849, The Mesdag Collection, The Hague.
‘The heath is rich, and there are marshy meadows that often remind me of T. Rousseau.’
To Theo from Hoogeveen, 21 September 1883.
Jean-Baptiste-Camille Corot, Abandoned Quarry, 1850, The Mesdag Collection, The Hague.
Théodore Rousseau, The crooked tree at the Carrefour de l'Epine, 1852, The Mesdag Collection, The Hague.
Claude Monet, Coastal Landscape, 1864, Van Gogh Museum, Amsterdam (acquired with the support of the Vincent van Gogh Foundation and Rembrandt Association)
Narcisse Virgile Diaz de la Peña, The Forest in Fontainebleau, 1867 © Musée des Beaux-Arts de Bordeaux.
Georges Michel, Group of three trees, undated, The Mesdag Collection, The Hague.
‘I see no way of describing the countryside to you as it should be done, because words fail me. But imagine the banks of the canal as miles and miles of Michels.’
To Theo from Nieuw-Amsterdam, 3 October 1883.
Vincent van Gogh, Windswept Trees near Loosduinen, 1883, Private collection.
Vincent van Gogh, Landscape with a Stack of Peat and Farmhouses, 1883. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
Vincent went to Drenthe, a province in the northeast of the Netherlands, in search of the unspoilt countryside he had heard about from other artists.
He thought it was ‘superb’, but he was lonely there and returned to Brabant after three months.
Vincent van Gogh, Pollard Birches, 1884. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
Vincent made a series of seven drawings in the area around Nuenen, including these pollard birches. He hoped – in vain – that his atmospheric impressions of nature would find a ready market.
Vincent van Gogh, Le Saule, 1885, Collection Van Lanschot.
Vincent van Gogh, Trees, 1887, oil on canvas, 46.5 cm x 38.0 cm, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Vincent van Gogh, The Painter on the Road to Tarascon, 1888. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
Van Gogh preferred to work outdoors, like the French landscape painters he so admired.
‘…and am always dusty, always more laden like a porcupine with sticks, easel, canvas, and other merchandise.’
To his sister Willemien, 16-20 June 1888.
Vincent van Gogh, La Crau Seen from Montmajour, 1888. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
Montmajour is a hill close to Arles, which Van Gogh reported visiting more than fifty times. The view it offered was beautiful:
‘The appeal that these vast landscapes have for me is very intense.’
To Theo from Arles, 13 July 1888
Vincent Van Gogh, Sunset at Montmajour, 1888, Private collection.
Vincent van Gogh, The Harvest, 1888. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
Arles was a small town, from which a short walk took Van Gogh into vast landscapes:
‘I have a new subject on the go, green and yellow fields as far as the eye can see, which I’ve already drawn twice and am starting again as a painting.’
To Theo from Arles, 12 June 1888.
Vincent van Gogh, The Pink Orchard, 1888. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
In April 1888, Van Gogh wrote from Arles to his brother Theo in Paris with an order for canvas and paint:
‘…but for Christ’s sake get the paint to me without delay. The season of orchards in blossom is so short, and you know these subjects are among the ones that cheer everyone up.’
To Theo from Arles, 5 April 1888.
Vincent van Gogh, Olive Grove, 1889. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
Vincent painted what he observed, rather than from his imagination. He claimed that the Biblical scenes showing 'Christ in the Garden of Olives' by his artist friends Paul Gauguin and Emile Bernard had ‘driven me mad’. His own paintings of olive groves were done outside, among the trees themselves.
Vincent van Gogh, Garden of the Asylum, 1889. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
Vincent van Gogh, Undergrowth, 1889, oil on canvas, 73.0 cm x 92.3 cm, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Vincent van Gogh, Wheatfield with a Reaper, 1889. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
Vincent painted this wheatfield at Saint-Rémy. A peasant mows the golden stalks in the blazing sun. It was an image for Vincent of the end of life, which would then begin again with the sowing of the grain.
‘Through the iron-barred window I can make out a square of wheat in an enclosure...’
To Theo from Saint-Rémy-de-Provence, 13 May 1889.
Vincent van Gogh, The Garden of Saint Paul's Hospital ("Leaf-Fall"), Saint-Rémy-de-Provence, October 1889, oil on canvas, 73.8 cm, Vincent van Gogh, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
Vincent van Gogh, Landscape at Twilight, 1890. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
‘Finally a night effect – two completely dark pear trees against yellowing sky with wheatfields, and in the violet background the castle encased in the dark greenery.’
To Theo from Auvers-sur-Oise, 24 June 1890.
Vincent van Gogh, Undergrowth with Two Figures, June 1890. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
Vincent van Gogh, Wheatfield under Thunderclouds, 1890. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
Vincent wrote to Theo and to his sister-in-law Jo about his recently painted wheatfields, through which he wanted to express ‘sadness, extreme loneliness’.
Vincent van Gogh, Wheatfield with Crows, 1890. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
This painting was long believed to be Vincent’s last work. A popular myth, but it’s not true.
Vincent van Gogh, Tree Roots, 1890, oil on canvas, 50.3 cm x 100.1 cm, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).
These tree roots are Vincent’s very last painting. Undergrowth in a marlpit painted from close by.
Lot 5001. An earthenware amphora, presumably Iran, 12th - 14th century. H 28 cm. Estimated price €300 - €400. Result: €1.240. Courtesy Lempertz.
Turquoise glaze with craquelure. Pear-form vessel with cylindrical neck and two handles with thumbrests. Older wear to the edges.
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 10:30, Brussels
Lot 5004. A small Iranian fritware bowl, Late 12th - early 13th century. H ca. 8, diameter 18.3 cm. Estimated price €300 - €400. Result: €496. Courtesy Lempertz.
Turquoise glaze with coarse craquelure. A thin-walled, conical vessel with incised rib decor. Restored over breakages, traces of sintering and lustre.
Literature: A similar bowl in the Bumiller Collection, Bamberg, BC-5009; cf. Morgan, in: Grube et alii, Cobalt and Lustre: the First Centuries of Islamic Pottery, London 1994, p. 174, no. 168.
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 10:30, Brussels
Lot 5005. An Iranian fritware bowl with incised decor, Late 12th - early 13th century. Diameter 20.1 cm. Estimated price €300 - €400. Result: €496. Courtesy Lempertz.
Turquoise glaze with dense craquelure, the rim edged with cobalt blue. A thin-walled, conical vessel on a high footring. The interior rim decorated with a double-bordered palmette fries. Restorations over breakages, minor replacements.
Literature: A similar bowl in the Bumiller Collection, Bamberg, BC-5009; cf. Morgan, in: Grube et alii, Cobalt and Lustre: the First Centuries of Islamic Pottery, London 1994, p. 174, no. 168.
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 10:30, Brussels
Lot 5008. Two octagonal Iranian fritware bowls, 12th century. Diameter 20.1 cm. Estimated price €1.000 - €1.500. Result: €992. Courtesy Lempertz.
Turquoise glaze with fine craquelure. Modelled vessels on high footrings. Each with eight panels divided by braided ridges, decorated with facing sphinges and two facing horsemen holding a ring. The scene with the two horsemen is an investiture scene deriving from ancient Persian iconography. Inventory numbers. Older, partially crumbling restorations to the rim. Retouches and traces of sintering.
Provenance: Acquired at the auction "Arts d´orient Archéologie Islam", Hotel Drouot, June, 15th, 1988, lot 76 and 77.
Literature: Cf. Grube, Islamic Pottery of the Eighth to the Fifteenth Century in the Keir Collection, London 1976, p. 166, no. 113.
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 10:30, Brussels
Lot 5009. An Iranian fritware jug, Late 12th - early 13th century. H 26 cm. Estimated price €400 - €600. Result: €992. Courtesy Lempertz.
Turquoise glaze with craquelure. Modelled and subsequently constructed vessel on a low footring. The pierced handle with a thumbrest formed as a pomegranate. The shoulder decorated with a hunting scene surrounded by tendrils in relief. Restored breakages.
Literature: Similar examples in: Watson, Ceramics from Islamic lands, London-Kuwait 2004, p. 315, no. cat. L. 12; Morgan, in: Grube et alii, Cobalt and Lustre: the First Centuries of Islamic Pottery, London 1994, p. 155, no. 150.
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 10:30, Brussels
Lot 5010. A small rounded Iranian fritware jug, late 13th century. H 26 cm. Estimated price €300 - €400. Result: €298. Courtesy Lempertz.
Turquoise glaze with fine craquelure. Of flat, slightly facetted form with a flared mouth, short handle, and small spout. Restored breakages.
Literature: A similar metal jug in the Museum für Islamische Kunst Berlin, inv. no. I. 6973; cf. also Watson, Ceramics from Islamic lands, London-Kuwait 2004, p. 316, cat. L. 13.
Pot, Iran, 13th-14th century. Quartz frit, transparent turquoise glaze. Height: 13.5 cm. Museum of Islamic Art, inv. no. I. 6973 © Photo: Museum of Islamic Art of the Berlin State Museums - Prussian Cultural Heritage
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 10:30, Brussels
Lot 5011. An Iranian fritware jug, Presumably 13th - 14th century. H 31.5 cm. Estimated price €400 - €600. Result: €1.364. Courtesy Lempertz.
Turquoise glaze with fine craquelure. The egg-shaped corpus with wide neck, flared rim, and four attached handles with small thumbrests on a slightly flared foot. The shoulders decorated with an incised band bearing a pseudo inscription. Restored over breakages with some filler used in the place of losses.
Literature: A similar piece in the Museum für Islamische Kunst Berlin, inv. no. I. 3831.
Pot, Iran, 13th century. Quartz frit, decorated and ribbed under transparent turquoise glaze. Height: 27 cm. Museum of Islamic Art, inv. no. I. 3831 © Photo: Museum of Islamic Art of the Berlin State Museums - Prussian Cultural Heritage
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 10:30, Brussels
Lot 5012. An animal-headed fritware ewer, Iranian world, 12th - 13th century. H 30 cm. Estimated price €500 - €1.000. Result: €620. Courtesy Lempertz.
Turquoise glaze with coarse craquelure. Thrown vessel with a modelled spout designed as a horned animal head, handle and thumb-rest. Restored over breakages, traces of sintering and lustre.
Literature: Cf. Grube, Islamic Pottery of the Eighth to the Fifteenth Century in the Keir Collection, London 1976, p. 171, no. 119..
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 10:30, Brussels
Lot 5013. An Iranian fritware tile with a hunting scene, Late 12th century. H 18.5, W 24 cm. Estimated price €1.500 - €2.000. Result: €2.728. Courtesy Lempertz.
Turquoise glaze with coarse craquelure. With a relief depiction of a lion hunt beneath an animal fries. Originally part of an extensive scheme of wall decor. Restored over a breakage, older retouches to the glaze, the surface slightly matte, sintering traces.
Exhibition: Centre Culturel de Boulogne-Billancourt, 26.1. - 26.3.1982
Literature: Cf. Fehérvári, Ceramics of the Islamic World in the Tareq Rajab Museum, London-New York 2000, p. 105, no. 120.
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 10:30, Brussels
Lot 5014. A large Iranian fritware bowl, 12th century. H 12.5, diameter 22 cm. Estimated price €400 - €600. Result: €1.054. Courtesy Lempertz.
Turquoise glaze with fine craquelure. A flared bowl on a high footring. Decorated with six braided ridges, above which the rim forms tapering points, and small rosettes in the fields between the ridges. A glued breakage with minor losses to the glaze, traces of sintering.
Literature: Cf. cat. Islamische Keramik, Düsseldorf 1973, no. 166; Fehérvári, Ceramics of the Islamic World in the Tareq Rajab Museum, London-New York 2000, p. 101, no. 110.
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 10:30, Brussels
Lot 5015. A star-shaped Iranian fritware tile with Lajvardina glaze, late 13th century. Diameter 21 cm. Estimated price €3.000 - €4.000. Result: €4.092. Courtesy Lempertz.
With red and black overglaze decor and remains of gilding on turquoise. Designed as an eight-pointed star depicting a phoenix in relief. The contours picked out in rust-red and black. Restored over breakages, the surface slightly matte, with sintering traces.
Literature: Cf. Lane, Early Islamic Pottery, London 1947, illus. 75 B.
Lempertz. Asian Art II China, Tibetan/Nepalese Art, 18.06.2017, 10:30, Brussels
Fragment (pot), Iran, 13th century. Quartz frit, black painting under transparent turquoise glaze. Height: 16.6 cm. Museum of Islamic Art, inv. no. I. 3842© Photo: Museum of Islamic Art of the Berlin State Museums - Prussian Cultural Heritage. Photographer: Johannes Kramer
Pot, Iran, 13th century. Quartz frit, applied, transparent turquoise glaze. Height: 15,8 cm. Museum of Islamic Art, inv. no. I. 60/62© Photo: Museum of Islamic Art of the Berlin State Museums - Prussian Cultural Heritage. Photographer: Johannes Kramer