LOS ANGELES, CA.- The Fahey/Klein Gallery is presenting Irving Penn: Worlds in a Small Room, Seen & Unseen, a solo exhibition of works by renowned photographer Irving Penn. This exhibition will feature a powerful retrospective of Penn’s ethnographic studies, which illustrate the diversity of Irving Penn and his work. Following a long-established tradition of ethnographic photography, Penn abandoned the tradition’s passivity and instead applied his own unique approach. The photographs on view highlight Penn’s purposeful engagement with his subjects and his exacting attention to detail. A stark contrast from his personality portraits, the photographs in the exhibition are drawn from the images made from his travels to Peru, Dahomey, Morocco, and New Guinea. With the generous assistance from The Irving Penn Foundation, the photographs on view will be a combination of well-known images, as well as a small selection of lesser known and previously unexhibited works from the “Worlds in a Small Room” series. 

Beginning in 1948, when he photographed the Peruvian Indians in Cuzco, Penn travelled the world and compiled what he called, “records of physical presence”. He set up his “ambulant studio” on the edge of the Sahara, among gypsies in Spain, in the highlands of New Guinea, in the mountains of Nepal – and invited the inhabitants to step, for a moment, out of their worlds and into a new one. This new world, neutral territory for both photographer and subject, would serve as a meeting ground for nothing less than an intensely human encounter. 

In a career that spanned nearly seventy years, American photographer Irving Penn (born 1917) created some of the most arresting portraits, influential fashion studies, and provocative still lifes of the twentieth century. As one of the most distinguished photographers of the twentieth century, Penn’s portraiture was a fundamentally important part of his remarkable career. Irving Penn challenged and changed expectations of what a studio portrait can be. As a true mark of the significance of his work, Penn’s photographs have appeared primarily in the pages of Vogue, as well as other prominent magazines, as well as on the walls of established galleries and prestigious museums.

Irving Penn, Three Moroccan Women and a Baby, Morocco, 1971. Silver Gelatin Photograph, Ed. of 14, 14 13/16 x 15 inches. Signed, stamped, titled, dated, numbered verso. Copyright © by The Irving Penn Foundation

Irving Penn, Two Women in Black with Bread, Morocco, 1971. Platinum Palladium Photograph, Ed. of 21, 19 1/2 x 19 7/8 inches. Signed, stamped, titled, dated, annotated verso, Print made 1986. Copyright © by The Irving Penn Foundation

Irving Penn, Four Guedras (B) (All in Black), Morocco, 1971. Platinum Palladium Photograph, Ed. of 21, 11 7/8 x 11 5/8 inches. Signed, titled, dated, and annotated with stamps and pencil verso. Print made in 1992. Copyright © by The Irving Penn Foundation.

Irving Penn, Two Guedras, Morocco, 1971. Silver Gelatin Photograph, Ed. of 15, 19 1/8 x 19 inches. Signed, stamped, titled, dated, annotated verso. Copyright © by The Irving Penn Foundation.

Irving Penn, Three Guedras, One in White, Morocco, 1971. Silver Gelatin Photograph, Ed. of 16, 15 3/16 x 15 inches. Signed, stamped, titled, dated, numbered verso. Copyright © by The Irving Penn Foundation.

Irving Penn, Young Enga Couple, New Guinea, 1970. Platinum Palladium Photograph, Ed. of 30, 20 x 3/16 x 19 3/4 inches. Signed, stamped, titled, dated, numbered verso. Copyright © by The Irving Penn Foundation.

Irving Penn, Tambul Warrior, New Guinea, 1970. Silver Gelatin Photograph, Ed. of 20, 15 1/8 x 15 inches. Signed, stamped, titled, dated, numbered verso. Print made 1984. Copyright © by The Irving Penn Foundation.

Irving Penn, Three Aizo Girls of a Lagoon Village, (Three Dahomey Girls, One Standing), Dahomey, 1974. Platinum Palladium Photograph, Ed. of 30, 19 x 18 3/4 inches. Signed, stamped, titled, dated, numbered, annotated verso. Copyright © by The Irving Penn Foundation.

Irving Penn, Tribesman with Nose Ornament, New Guinea, 1970/1990. Silver Gelatin Photograph, Ed. of 18, 17 5/8 x 18 5/8 inches. Signed, stamped, titled, dated, numbered, annotated verso. Print made 1990. Copyright © by The Irving Penn Foundation.

Irving Penn, Sitting Enga Woman, New Guinnea, 1970/1984. Silver Gelatin Photograph, Ed. of 20, 19 1/8 x 19 inches. Signed, stamped, titled, dated, numbered, annotated verso. Print made 1984. Copyright © by The Irving Penn Foundation.

Irving Penn, Cuzco Children, Peru, 1948. Platinum Palladium Photograph, Ed. of 60, 19 1/2 x 20 1/4 inches. Signed, stamped, titled, numbered, annotated verso. Print made 1973. Copyright © by The Irving Penn Foundation.

Irving Penn, Sitting Man with Pink Face, New Guinea, 1970. Platinum Palladium Photograph, Ed. of 50, 20 11/16 x 19 3/8 inches. Signed, stamped, titled, numbered, annotated verso. Print made 1980. Copyright © by The Irving Penn Foundation.

Irving Penn, Man with Pink Face, New Guinea, 1970. Platinum Palladium Print Mounted to Aluminum, Ed. of 49, 19 7/8 x 19 3/8 inches. Signed and annotated with stamps and pencil verso. Print made in 1978. Copyright © by The Irving Penn Foundation.

Irving Penn, Three Dahomey Girls, One One Reclining, Dahomey, 1967. Silver Gelatin Photograph, Ed. of 15, 19 3/8 x 19 3/8 inches. Signed, titled, dated, and annotated with stamps and ink verso. Printed in 1984. Copyright © by The Irving Penn Foundation.

Irving Penn, Three Asaro Mud Men (A), New Guinea, 1970. Silver Gelatin Photograph, Ed. of 25, 13 3/8 x 13 3/8 inches. Signed, stamped, titled, dated, editioned verso. Print made before 1975. Copyright © by The Irving Penn Foundation.

Lot 1285. A dark olive-green-glazed phoenix-head ewer, Northern Song dynasty (AD 960-1127); 11 ¾ in. (30.5 cm.) high. Estimate USD 3,000 - USD 5,000. © Christie's Images Ltd 2018.

The dark olive-green-glazed ewer has an ovoid body carved with overlapping lotus petals and a tall, tapering, ringed neck flanked by the spout and double-strap handle and surmounted by a phoenix head below the flared, shaped mouth. 

Provenance: Peter Scheinman (1932-2017) Collection, New York.

Christie's. Fine Chinese Ceramics and Works of Art, New York, 13 - 14 September 2018

Lot 1301. A russet-splashed blackish-brown-glazed jar, Northern Song dynasty, 12th century; 5 5/8 in. (14.3 cm.) diam. Estimate USD 4,000 - USD 6,000. © Christie's Images Ltd 2018.

The globular body is covered on the exterior with a lustrous blackish-brown glaze decorated in matte russet 'partridge feather' markings and pools in an irregular line on the lower body exposing the buff-colored ware. The interior is covered with a thin wash of blackish-brown glaze and the top of the rim is unglazed. 

Provenance: Peter Scheinman (1932-2017) Collection, New York.

Christie's. Fine Chinese Ceramics and Works of Art, New York, 13 - 14 September 2018

Lot 1314. A russet-splashed  blackish-brown-glazed bowl and cover, Northern Song-Jin dynasty, 12th century; 4 ½ in. (11.5 cm.) high. Estimate USD 8,000 - USD 12,000. © Christie's Images Ltd 2018.

The bowl has deep, rounded sides covered with a lustrous blackish-brown glaze decorated on the exterior with numerous splashes of russet color and on the interior with a few small splashes, all below the unglazed rim and pooling in a thick line above the foot on the exterior to expose the fine-grained ware. The top of the domed cover is similarly glazed and has an arched stem-form handle.

Christie's. Fine Chinese Ceramics and Works of Art, New York, 13 - 14 September 2018

Lot 1153. A paper-cut resist-decorated Jizhou 'Phoenix' bowl, Southern Song dynasty (1127-1279); 6 3/8 in. (16.2 cm.) diam. Estimate USD 3,000 - USD 5,000. © Christie's Images Ltd 2018.

The widely flared conical bowl is decorated on the interior in resist technique with three long-tailed phoenixes in flight above one flower head in the center, all reserved on a dark-brown glaze against a variegated olive-beige ground. The exterior has numerous pale buff spots on a blackish-brown ground that stops unevenly above the exposed stoneware pottery foot.

Provenance: Stephen Junkunc, III (1904-1978) Collection.

Christie's. Fine Chinese Ceramics and Works of Art, New York, 13 - 14 September 2018

Lot 1304. A Jizhou paper-cut resist-decorated teabowl, Southern Song dynasty, late 12th-13th century; 4 ¾ in. (12.1 cm.) diam. Estimate USD 4,000 - USD 6,000. © Christie's Images Ltd 2018. 

The rounded conical body is resist-decorated on the interior with twelve paper-cut plum blossoms arranged in two tiers above a single blossom in the center, all reserved in dark brown on the finely mottled buff and dark brown ground, and the exterior is covered with a dark brown glaze that falls irregularly to the foot. 

Lot 1305. A small Jizhou leaf-decorated bowl, Southern Song dynasty, late 12th-13th century; 4 ¼ in. (10.9 cm.) diam. Estimate USD 6,000 - USD 8,000. © Christie's Images Ltd 2018.

The bowl has deep rounded sides rising to a finger-grooved rim and is covered inside and out with a dark brown glaze and decorated on the interior with a gossamer imprint of a yellowish-amber leaf.

Provenance: Alberto Manuel Cheung, New York, 29 January 2004.
Peter Scheinman (1932-2017) Collection, New York.

Note: First appearing in the Southern Song dynasty, muye wenyang wan or shuye tuyang wan (‘tree-leaf-pattern bowls’) are the most famous products of the Jizhou kilns and among the most celebrated of all ceramics made for tea use. Such designs were created by affixing a leaf to the interior of a bowl and then immersing the bowl in the dark brown glaze slurry. When fired in the kiln, chemical reactions robbed the leaf of its dark brown color rendering it transparent. The end result was a ghostly impression of the leaf structure, typically golden amber or pale yellow in color. For further discussion of the processes involved in producing leaf decoration and for two examples of bowls decorated in this manner, the first from the collection of The Art Institute of Chicago and the second from the Arthur M. Sackler Museum, Harvard University, see R. Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown and Black-Glazed Ceramics, 400-1400, Cambridge, Massachusetts, 1996, pp. 259-62, nos. 107 and 108. 

A bowl of this type from the Ataka Collection, classified as Important Cultural Property, is in The Museum of Oriental Ceramics, Osaka, and illustrated by G. Hasebe, Ceramic Art of the World, Sung Dynasty, Tokyo, 1977, vol. 12, pp. 109-10, figs. 107-8. Another comparable bowl is illustrated in Oriental Ceramics, The World’s Great Collections, Tokyo National Museum, Tokyo, 1980, vol. 1, no. 94.

Lot 1306. A Jizhou 'tortoiseshell'-glazed jar, Southern Song dynasty, late 12th-13th century; 4 ¼ in. (10.9 cm.) diam. Estimate USD 6,000 - USD 8,000. © Christie's Images Ltd 2018.

The jar is covered inside and out with a dark brown glaze liberally splashed in buff on the exterior and more sparsely on the interior, all below the unglazed mouth rim.

Provenance: Peter Scheinman (1932-2017) Collection, New York.

Christie's. Fine Chinese Ceramics and Works of Art, New York, 13 - 14 September 2018

Lot 1307. A Jizhou splashed brown-glazed stoneware jar, Southern Song dynasty, 12th-13th century; 5 ¼ in. (13.3 cm.) diam. Estimate USD 5,000 - USD 7,000. © Christie's Images Ltd 2018.

The jar is covered with a dark brown glaze that stops above the foot to expose the pale grey ware and is decorated with sweeping brushstrokes of buff color shading to milky blue in areas.

Lot 1286. A large carved Yaozhou bowl, Northern Song dynasty, 12th century; 8 7/8 in. (22 cm.) diam. Estimate USD 8,000 - USD 12,000. © Christie's Images Ltd 2018.

The slightly rounded, widely flared sides are well carved on the interior with two leafy, flowering peony stems bearing two large blossoms and a third smaller blossom in between, the design ending at the plain area below the rim, and the exterior is freely carved with curved lines suggesting large blossoms. The bowl is covered overall with a glaze of greyish-olive color that also covers the center of the base. 

Lot 1288. A Yaozhou conical bowl, Song dynasty, 12th century; 7 ½ in. (19 cm.) diam. Estimate USD 4,000 - USD 6,000. © Christie's Images Ltd 2018.

The slightly rounded, widely flared sides are subtly lobed as six petals that rise to the notched rim and are covered inside and out with a glaze of greyish-olive color.

Provenance: Dries Blitz, 5 November 1998.
Peter Scheinman (1932-2017) Collection, New York.

Lot 1290. A Yaozhou conical bowl, Song dynasty, 12th century; 7 5/8 in. (19.4 cm.) diam. Estimate USD 4,000 - USD 6,000. © Christie's Images Ltd 2018.

The deep, slightly rounded conical sides are applied on the interior with six slender ribs of slip that define six petals, and the bowl is covered inside and out with an olive-green glaze that thins on the ribs.

Provenance: Peter Scheinman (1932-2017) Collection, New York.

Lot 1292. A rare pair of small molded Yaozhou conical bowls, Northern Song-Jin dynasty, 12th-13th century; 5 in. (12.7 cm.) diam. Estimate USD 8,000 - USD 12,000. © Christie's Images Ltd 2018. 

Each bowl with widely flared sides is molded on the interior with a phoenix standing at the base of a flowering stem bearing two fanciful leaves that flank a large central flower centered by a plaque inscribed with the family name Gao jia, and is carved on the exterior with a band of upright petals, all under a glaze of olive-green color. 

Provenance: E & J Frankel, New York, 18 January 1999.
Peter Scheinman (1932-2017) Collection, New York.

Note: The bird motif and the family inscription Gao jia are very rare, and it is even more unusual to find a pair of bowls with this decoration. One bowl with a similar decoration was sold at Christie’s Hong Kong, 4 April 2017, lot 103, and another example was sold at Sotheby’s New York, 30 March 2006, lot 38.

Lot 1293. A rare small Yaozhou figure of a girl, Northern Song-Jin dynasty, 12th-13th century; 3 in. (7.7 cm.) high. Estimate USD 2,000 - USD 3,000. © Christie's Images Ltd 2018.

The hollow figure is shown seated cross-legged and holding a fruit. Her head is tilted slightly to one side and her hair is tied with a ribbon into two loops at her shoulders, all under a glaze of greyish-green tone, zitan stand.

Provenance: Luen Chai, Hong Kong, 29 October 1998.
Peter Scheinman (1932-2017) Collection, New York.

Christie's. Fine Chinese Ceramics and Works of Art, New York, 13 - 14 September 2018

Lot 1293. A small carved Yaozhou bowl, Northern Song-Jin dynasty, 12th-13th century; 4 ¼ in. (10.9 cm.) diam. Estimate USD 4,000 - USD 6,000. © Christie's Images Ltd 2018.

The bowl is carved in the center with a lotus spray below six slightly raised ribs that rise up the rounded sides to the correspondingly notched rim, and is covered inside and out with an olive-green glaze.

Provenance: J.J. Lally & Co., New York, 19 September 2002.
Peter Scheinman (1932-2017) Collection, New York.

Christie's. Fine Chinese Ceramics and Works of Art, New York, 13 - 14 September 2018

Lot 1317. A carved Yaozhou dish, Northern Song-Jin dynasty, 12th-13th century; 7¼ in. (18.3 cm.) diam. Estimate USD 12,000 - USD 18,000.© Christie's Images Ltd 2018.

The shallow dish has rounded sides and a slightly everted rim, and is freely carved in the interior with a leafy stem bearing one blossom, with combed details, and is covered all over in a greyish-green glaze stopping short of the foot burnt orange in the firing. 

Provenance: Mottahedeh Collection; Sotheby's New York, 8 November 1980, lot 149.
The Dr. and Mrs. Corbin Collection, California.

Note: A Yaozhou dish of similar size and decoration was included in the exhibition, The Masterpieces of Yaozhou Ware, Museum of Oriental Ceramics, Osaka, 1997, p. 37, no. 42, where it is dated Northern Song dynasty, 11th-12th century.

Christie's. Fine Chinese Ceramics and Works of Art, New York, 13 - 14 September 2018

Lot 1315. A very rare Yaozhou tripod censer, Northern Song-Jin dynasty, 12th-13th century; 4 5/8 in. (12 cm.) diam. Estimate USD 20,000 - USD 30,000. © Christie's Images Ltd 2018.

The compressed globular body is raised on three lion's-paw feet, and decorated with a band of foliate scroll below a triple-grooved band. The neck is decorated with a band of upright petals below the everted rim. The censer is covered overall with a pale greyish-green glaze. 

PARIS.- En seize éditions, Parcours des mondes s’est imposé comme le plus grand événement international de référence dans la spécialité des arts premiers. Ce « salon ludique en plein air », souvent délicieusement gratifié des faveurs de l’été indien, invite à se joindre aux galeries d’art d’Afrique, des Amériques et d’Océanie et aux galeries expertes en arts d’Asie. Pour sa XVIIe édition ( du 11 au 16 septembre au cœur de SaintGermain-des-Prés, Paris) collectionneurs, amateurs et curieux embarquent pour un tour du monde complet des coutumes cultuelles et rites initiatiques, des représentations de l’Humain ou de l’Animal, et de l’artefact décoratif ou pratique. Le Parcours des mondes 2018 s’articulera également autour de trois temps forts : un hommage à la mythique exposition de 1930 de la Galerie du Théâtre Pigalle et des conférences-débats qui se tiendront à L’Espace Tribal, ainsi que des expositions thématiques organisées au sein de certaines galeries participantes. La richesse de ce tour d’horizon confère au Parcours des mondes une force attractive, aussi bien auprès des nombreuses galeries participantes, que de ses visiteurs, venus des quatre coins de la planète. 

PARIS.- In its sixteen years of existence, Parcours des Mondes has established itself as the world’s most important international tribal art show. This multiple-venue, open-air art fair is always enjoyable and often benefits from Indian summer weather. It affords visitors the opportunity to visit galleries from around the world specializing in the arts of Africa, Oceania, the Americas, as well as the arts of Asia. For its seventeenth edition, held from September 11 through September 16, 2018, in the heart of Paris’ Saint-Germain-des-Prés neighborhood, collectors, aficionados, and the merely curious will, as has become customary, embark on a voyage through the customs and rituals of the world’s traditional cultures, expressed through representations that are sometimes human, sometimes animal, sometimes decorative, and sometimes utilitarian. The 2018 Parcours des Mondes will center around three main events: an homage to the legendary 1930 exhibition that was held at the Galerie du Théâtre Pigalle, a series of lectures and conversations that will take place at the Espace Tribal, and the thematic exhibitions that many of the participating galleries will present. Of course, the wealth of the Parcours des Mondes’ offerings makes it a destination both for the galleries that exhibit there and for its visitors, who come from the world over to attend

Statue janus kabedja, Luba-Hemba, République démocratique du Congo, Hauteur: 36 cm. Historique: Paul Chadourne, Paris© photo Vincent Girier-Dufournier.

PARCOURS DES MONDES EXPANDS ITS HORIZONS 
Adam Lindemann is this year’s honorary president. A major force on the contemporary art scene, but also a major collector and aficionado of tribal art, Lindemann operates Venus Over Manhattan in New York City. He is the author of Collecting Contemporary, a work that became a collectors’ bible of sorts soon after it was published by Taschen in 2006. His presidency of Parcours des Mondes underscores the importance of the relationships between the fields of tribal and contemporary art. 

Statue Malagan, Nord de la Nouvelle-Irlande, Hauteur : 80 cm. Provenance : Ernst Ascher, Paris© photo Hughes Dubois.

AN HOMAGE TO THE 1930 EXHIBITION AT THE GALERIE DU THÉÂTRE PIGALLE 
An homage to the legendary 1930 exhibition organized by Tristan Tzara, Charles Ratton, and Pierre Loeb at the Galerie du Théâtre Pigalle in Paris will be presented at Espace Tribal in the form of a thematic exhibition. The brainchild of Nicolas Rolland and Charles Wesley-Hourdé—two young players on the tribal art market—in collaboration with Tribal Art magazine, the show will reunite a selection of artworks that were displayed at this historic event, the impact of which was decisive in developing a taste and a market for tribal art. The inclusion of archival documents and photographs will enhance the presentation. The 1930 show will also be the subject of morning lecture programs at Café Tribal and the evening discussions that have made Espace Tribal well known as a place for reflection and the sharing of knowledge at Parcours des Mondes.

Crochet à crâne Blackwater, Papouasie-Nouvelle-Guinée, Hauteur : 57 cm. Provenance : Bela Hein, Paris© photo Martin Doustar.

La programmation 2018 au sein des galeries de Parcours des mondes fera évidemment la part belle à la magie et au surnaturel, car ce sont justement les limites de l’intellect qui nous enjoignent à sonder notre âme au moyen de l’art, pour répondre à nos questions éternelles.

THEMATIC EXHIBITIONS 
On first blush, Parcours des Mondes may appear to be a trip through time to experience the mores and cultures of an exotic “other,” as perceived from the perspective of the “self” with which we are so familiar. However, in reality the event invites us to take an internal journey to consider themes and issues that are fundamentally universal but to which approaches vary from continent to continent. The focused exhibitions that will be presented by a number of Parcours des Mondes’ galleries are a manifestation of this concept. The fair demonstrates that art is the reflection of human experience without limits or borders, in which representation and ritual provide portals to the incomprehensible and sacred phenomenon of life.  

The exhibitions that galleries are planning for the 2018 Parcours des Mondes will touch on the subjects of magic and the supernatural, since it is the very limits of our intellect that cause us to search our souls through artistic expression in the quest for answers to our eternal questions.

STÈLE, Arussi, région de Chachamané, Éthiopie, XIXe siècle, H. : 142 cm, Galerie Afrique, 3, rue Guénégaud. © Frantz Dufour.

Chevet. Formé d’un appui-tête incurvé reposant sur un abaque couronnant une colonne cannelée à la base évasée. Égypte, Ancien Empire, 2700-2200 av. J.-C. Ivoire et restaurations visibles, 18 x 14,3 cm. ARTEAS LTD, 15, rue de seine. © Vincent Girier Dufournier.

Provenance : ancienne collection italienne Giancarlo Ligabue (1931-2015) acquis chez Charles Ede London en 1975. 

Appui-nuque Luba, RDC, Bois, Vers 1860, Hauteur : 17 cm. Galerie Jean-Baptiste Bacquart, 27, rue de Seine. © Photo réalisée par Vincent Dufournier.

Provenance : collection privée Anglaise. 

Masque Hemba Soko Mutu, R.D.C., 19ème siècle, Hauteur: 15.2 cm. Galerie Jean-Baptiste Bacquart, 27, rue de Seine. © Photo réalisée par Vincent Dufournier.

Provenance : Galerie Leloup, Mars 1990; Collection privée anglaise. 

MASQUE DE THÉÂTRE OKINA, JAPON, Représentant le personnage Hakushiki-Jō, Période Muromachi (1336-1576), Bois, polychromie, crin, H. : 17,5 cm. Galerie Alain Bovis, 9, rue des Beaux-Arts. © Vincent Luc, agence Phar.

Exposé et publié dans Samouraï, Wereldmuseum, Rotterdam, 2012, p. 192

ÉTRIER D’ÉCHASSE, Ȋles Marquises, Polynésie, XVIIIe-XIXe siècle, Bois, H. : 36,5 cm. Galerie Alain Bovis, 9, rue des Beaux-Arts. © Vincent Luc, agence Phar.

Publié dans Art Océanien, Anthony JP Meyer, 1995, ill. 565. 

MASQUE DE THÉÂTRE NUO, CHINE Représentant le personnage Maître di pan, Bois, polychromie, H. : 15 cm, XVIIIe-XIXe siècle. Galerie Alain Bovis, 9, rue des Beaux-Arts. © Mathieu Ferrier

Exposé et publié dans Le Masque de la Chine, musée Jacquemart André, Paris, France, 2007, p. 165. 

STATUETTE, Songye, république démocratique du Congo, XVIIIe-XIXe siècle, Bois à patine suintante, cauris, H. : 37 cm. Galerie Alain Bovis, 9, rue des Beaux-Arts. © Vincent Luc, agence Phar

MASQUE DE DANSE, Sépik / Ramu, région côtière, bas Sépik, Papouasie Nouvelle Guinée, XIXe siècle, Bois, pigments H. : 33 cm. Chris Boylan - Oceanic Art, 9, rue Visconti. © Lucio Nigro.

Provenance : Wayne Heathcote, Royaume-Uni. 

STATUE DEBLE, Senufo, Côte d’Ivoire Fin du XIXe-début du XXe siècle, Bois H. : 123 cm. Galerie Olivier Castellano, 34, rue Mazarine© Vincent Girier Dufournier

CHAMBRANLE DE PORTE, Maison cérémonielle Maori (détail), Nouvelle Zélanden Vers 1600, H. : 72 cm. Kevin Conru, 27, rue de Seine. © Hughes Dubois

Provenance : Alain Schoffel, France

Tabatière et bâton de danse, Zoulou, Afrique du Sud, XIXe siècle, Corne et bois, H. : 72 cm. Kevin Conru, 27, rue de Seine. © Kevin Conru, photo Hughes Dubois.

Provenance : collection Schoeller. 

FIGURE FÉMININE JONYELENI, Bambara, région de Segou, Mali, Début du XXe siècle, Bois H. : 51 cm. Dandrieu - Giovagnoni, Rome, 8, rue des Beaux-Arts.© Claudio Moretti

MASQUE, Dan Mano, Liberia, Bois, fibre, os, H. : 26 cm. Dalton + Somaré, Milan, 22, rue de Seine© Dalton Somaré

MASQUE CHAMANIQUE, Népal, XIXe siècle, Bois, H. : 28,5 cm. Jo De Buck Tribal Art, Bruxelles, 19, rue de Seine. 

TABOURET, Hemba, république démocratique du Congo ,Environ 1930, H. : 56 cm. . Joshua Dimondstein Tribal Arts, Los Angeles, 29, rue de Seine. © Scott McCue Photography.

Provenance : acquis par un collectionneur new-yorkais au début des années 1970. Resté dans cette collection jusqu'en 2018. Un tabouret similaire se trouve dans le musée de Kinshasa

STATUE FÉTICHE, Yombe, république démocratique du Congo, Fin du XIXe siècle-début du XXe siècle, H. : 25 cm. . Joshua Dimondstein Tribal Arts, Los Angeles, 29, rue de Seine. © Scott McCue Photography.

Provenance : ancienne collection de l'officier colonial allemand Dorbritz, Numéro d'inventaire écrit sur la Yombe : 57756. Une autre statue fétiche yombe de la collection Dorbritz fut acquise par le Linden Museum, Stuttgart, en 1908 (inv. n° 57752). Ex Johann Levy, Paris

MASQUE DE DANSE, Gurunsi, Burkina Faso, région de Léo, XXe siècle, Bois polychrome, H. : 107 cm. Galerie Dodier, Avranches, 35-37, rue de Seine© Michel Gurfinkel

VASE, Pérou, côte nord. Civilisation Viru, 400 / 100 siècle avant J.C. Céramique lustrée ocre-rouge à dessins géométriques noirs. D. : 17,2 / 23,5 cm. Galerie Dodier, Avranches, 35-37, rue de Seine.

MASQUE DE CHAMANE, Evenk, région de Krasnoyarsk, Sibérie occidentale, Russie, XIXe siècle, Cuivre martelé, suie. H. : 26 cm. Martin Doustar, Bruxelles, 4, rue des Beaux-Arts © Martin Doustar.

VÉNUS, Okhotsk, Sibérie orientale, Russie, XIXe siècle ou antérieur, ivoire de morse, H. : 10,5 cm. Martin Doustar, Bruxelles, 4, rue des Beaux-Arts © Martin Doustar

STATUE D’ANCÊTRE, Tabwa mikisi, sud-est de la république démocratique du Congo et nord-ouest de la Zambie, Bois, H. : 57,45 cm. Entwistle, Paris / Londres, 5, rue des Beaux-Arts© Archives Entwistle

STATUETTE TONGIENNE, Ȋles Ha’apai, royaume de Tonga, Polynésie, Début du XIXe siècle, Dent de cachalot (Physeter microcephalus), H. : 12,8 cm. Entwistle, Paris / Londres, 5, rue des Beaux-Arts © Archives Entwistle 

Provenance : collection privée, Royaume-Uni ; Sotheby's Londres, 3 juillet 1978, lot 301 ;
Entwistle, Londres (acquis à la vente précédente) ; Jean-Claude Bellier, Paris ; Entwistle, Londres ; collection privée, États-Unis (acquise auprès du précédent en 1993).
Publiée dans Polynesian Art at Auction 1965-1980, Charles Mack, éditions Northboro, MA, 1982, p. 248 et 249, pl. 110 ; Catalogue of Antiquities, Primitive Art, Islamic, Indian, Tibetan, Nepalese and South-East Asian Art, Sotheby's Londres, 3 et 4 juillet, 1978, lot 301, pl. L.

SCULPTURE FÉMININE RITUELLE, Baoulé (influences Guro) ou Guro, république de Côte d’Ivoire, XIXe siècle, Bois sculpté, patine d’usage brune brillante, fines craquelures, dépôts 51,5 x 13,5 x 13 cm. Yann Ferrandin, 33, rue de Seine.© Hughes Dubois, Paris.

STATUE D'ANCÊTRE, Kulap, Région de Namatanai, Nouvelle Irlande, Archipel Bismarck, XIXe siècle, Roche calcaire, 40 x 10,5 x 9 cm. Finch & Co, Londres , 10, rue des Beaux-Arts. © Finch & Co

Provenance : Ex Linden-Museum Stuttgart, Allemagne
Ex collection Heinrich (un collectionneur du début du XXème siècle à Stuttgart) avec son étiquette de collection attachée
Transmis par descendance. Probablement collecté in situ par Wilhel.

KUPE'E PALAOA, BRACELET DE CHEF, Hawaii, Polynésie, XVIIIe - début XIXe siècle, Dent de cachalot, 3 x 6,5 x 4,5 cm. Finch & Co, Londres , 10, rue des Beaux-Arts. © Finch & Co

Provenance : Ex collection J. Timmermans, Bruxelles
Ex collection P. Mestdagh.

MASQUE SATIMBE, Dogon, Mali, XIXe siècle, Bois sculpté, H. : 98 cm. Galerie Flak, 8, rue des Beaux-Arts.© Danielle Voirin

HOCHET DE CHAMANE, Tlingit, Colombie-Britannique (Côte nord-ouest), Canada, XIXe siècle, Bois sculpté, pigments, cuir, H. : 30,5 cm. Galerie Flak, 8, rue des Beaux-Arts. © Stan Schnier

Provenance : ex-collection Jacques Kerchache vers 1965 ; ex-collection Prince Sadruddin Aga Khan ; ex-Christie's New York, 8 juin 1995.
Publié dans Art Primitif - Amérique du Nord, Galerie Jacques Kerchache, 1965, pl. 27.
Exposé dans Amérique du Nord, Galerie Jacques Kerchache, 19 novembre-19 décembre 1965.

SCULPTURE YIPWON, Fleuve Korewori, Papouasie Nouvelle Guinée, XIXe / début XXe siècle, Bois, pigment, 41,5 x 105,5 cm. Bruce Frank Primitive Art, New York, 40, rue Mazarine. © Bruce Frank Primitive Art

Provenance : Everett Rassiga, New York
Collection Emily and Paul Wingert, New Jersey, acquis du précédent en 1966.

MASQUE GU FÉMININ, Peuple Gouro méridional, XIXe-début du XXe siècle, Bois, pigments, H. : 35 cm. Galerie Patrik Fröhlich, Zürich, 3, rue Visconti.© Museum Fünf Kontinente München.

HARPE ANTHROPOMORPHE KUNDI, Zandé - Nzakara, Haut-Oubangui (République centrafricaine), Milieu du XIXe siècle, Bois, cuir, perles, fibre végétale, H. : 59 cm. Galerie Jacques Germain, Montréal, 28, rue de Seine© Vincent Girier Dufournier

Provenance : Galerie Merton D. Simpson, New York ; collection Roy Sieber, Bloomington (USA) ; Galerie Pierre Dartevelle, Bruxelles ; collection privée, Paris.

STATUETTE BULUL, Ifugao, nord de Luzon, Philippines, Vers 1750, Bois, H. : 50 cm. Bernard de Grunne - Fine Tribal Arts,  4bis, rue des Beaux-Arts. © Frédéric Dehaen

Provenance : Alain Schoffel, Paris ; Robert Burawoy, Paris ; collection privée, acquise en 1981.
Publiée dans The Eloquent Dead, UCLA, Jerome Feldman, Los Angeles, 1985, p. 186, 
n° 246.
Exposée dans The Eloquent Dead, Los Angeles, The UCLA Frederick S. Wight Art Gallery, 8 octobre-24 novembre 1985. 

STATUETTE, Région côtière ou embouchure du fleuve Sépik, Papouasie Nouvelle Guinée, Milieu du XIXe siècle, précontact, Taillé sans outils en métal, H. : 59 cm. Michael Hamson Oceanic Art, Palos Verdes Estates - 5, rue Jacques Callot. 

Ex collection Max Granick, New York
Ex Sotheby's New York, 15 novembre 1988, lot 4.

SCULPTURE FEMININE, Région Lumi, province Sépik, Papouasie Nouvelle Guinée. H. : 96 cm. Wayne Heathcote, Oxfordshire - 12, rue Jacques Callot.

Provenance: Michael Hamson, Palos Verdes, Californie
Collections Sandra Nunnerley, New York et Tim Hunt, New York

Publié dans Architectural Digest, Top American Architect Sandra Nunnerley, septembre 2007.

RELIQUAIRE, Kota, Bois, os, cuivre et laiton, H. : 48,5 cm. Galerie Éric Hertault, 3, rue Visconti © Vincent Girier Dufournier

Provenance : Koffler Erni, Suisse ; Lance Entwistle, Paris ; collection privée, Paris. 

STATUETTE, Baoulé. H. : 42,5 cm. Bois et ancienne patine d’usage. Galerie Éric Hertault, 3, rue Visconti © Vincent Girier Dufournier

Provenance : Georges Stoecklin, États-Unis ; collection privée, New York ; collection particulière, Paris.

CAVALIER FIGURANT UN DEVIN, Baoulé, Côte d’Ivoire, H. : 46 cm. Charles-Wesley Hourdé, 31, rue de Seine.© Vincent Girier-Dufournier

Provenance Collecté avant 1920
par descendance ; collection privée, Paris.

APPUI-NUQUE, Tsonga, Mozambique, XIXe siècle, Bois, 14,5 X 13 cm. Ben Hunter, Londres - 7, rue Visconti.© Ben Hunter

Provenance : collecté dans les années 1930 par un gentleman écossais.

APPUI-TÊTE, Santa Cruz, Iles Salomon, Première moitié du XXe siècle, Bois, 13,6 x 29,5 cm. Ben Hunter, Londres - 7, rue Visconti. © Ben Hunter

Provenance : Sydney & Marjorie Musgrove, Auckland.

ÉTUI À BALLES, Batak, XIXe siècle. H. : 23 cm. Jonathan Hope - 17, rue des Beaux-Arts© PJ Gates

Su Shi (1037-1101), Wood and Rock. Handscroll, ink on paper. Painting: 26.3 x 50 cm (10⅜ x 19¾ in); Overall with mounting: 27.2 x 543 cm (10¾ x 213¾ in). Colophons by Liu Liangzuo (11th century), Mi Fu (1051-1107), Yu Xilu (1278-1368) and Guo Chang (1563-1622). Forty-one collector’s seals, including one of Liu Liangzuo (11th century), one of Mi Fu, 11 of Wang Houzhi (1131-1204), three of Yu Xilu, nine of Yang Zun (circa 1294-after 1333), nine of Mu Lin (1429-1458), two of Li Tingxiang (1485-1544) and two of Guo Chang. Estimate on request. © Christie’s Images Limited 2018.

HONG KONG.- Christie’s will offer one of the world’s rarest Chinese paintings by Su Shi (1037-1101) – the pre-eminent scholar of the Song Dynasty and one of the most important figures in Chinese history. 

The painting, Wood and Rock, will lead Christie’s Hong Kong Autumn Sale 2018. This is an ink-on-paper scroll which depicts withered tree branches standing dignified alongside a curiously-shaped rock, resembling, as one renowned critic put it, giant creatures and dragons appearing and disappearing from stormy seas. 

An esteemed scholar, writer, poet, painter, calligrapher and statesman, Su Shi was unparalleled amongst the Song literati. His artistic accomplishments, coupled with his repeated exiles in later life, made him one of the best-known literary and political figures in Chinese history. 

Given the preeminence of the artist and the extreme rarity of his paintings, Wood and Rock is set to become one of the most important works ever auctioned in world history. 

The painting is part of an extended scroll which is complemented with calligraphy by Mi Fu – a renowned painter and calligrapher and a contemporary of Su Shi. Both Su Shi and Mi Fu are amongst the four most celebrated calligraphy masters of the Song period.

Su Shi (1037-1101), Wood and Rock. Handscroll, ink on paper. Painting: 26.3 x 50 cm (10⅜ x 19¾ in); Overall with mounting: 27.2 x 543 cm (10¾ x 213¾ in). Colophons by Liu Liangzuo (11th century), Mi Fu (1051-1107), Yu Xilu (1278-1368) and Guo Chang (1563-1622). Forty-one collector’s seals, including one of Liu Liangzuo (11th century), one of Mi Fu, 11 of Wang Houzhi (1131-1204), three of Yu Xilu, nine of Yang Zun (circa 1294-after 1333), nine of Mu Lin (1429-1458), two of Li Tingxiang (1485-1544) and two of Guo Chang. Estimate on request. © Christie’s Images Limited 2018.

Who was Su Shi, and why is he so revered within Chinese culture?

VENEZIA.- On the occasion of The Venice Glass Week 2018 , the Gallerie dell'Accademia, in collaboration with Caterina Tognon Vetro Contemporaneo, intend to present a refined selection of glass sculptures by Cristiano Bianchin (Venice, 1963). Gold and black will be the dominant colors of the works chosen to dialogue with the heritage of the museum.

In room I, which presents extraordinary gold backgrounds of the fourteenth and fifteenth centuries Venetian, the visitor will be welcomed by a collector of thoughts, a singular type of vase designed by Bianchin, covered, like the paintings, with precious metal. In the apse of the church (Room XXIII), next to polyptych compartments executed by Jacopo Bellini in collaboration with his sons Gentile and Giovanni, anthropomorphic glasses will be presented, ideally reflecting the figures of the Bellinian saints. Finally, in the Palladian corridor on the ground floor (room 7) where Antonio Canova's plaster bas-reliefs are exhibited, the artist establishes a comparison with the great neoclassical sculptor played on the dichotomy between the white of the Canoviani gypsum and the brilliantly colored Murano glass colors used by Bianchin.

Paola Marini , director of the Gallerie dell'Accademia di Venezia, said: "I am happy that the museum is on the calendar of The Venice Glass Week for the second year in a row. After the presentation, in 2017, of the precious work of Giorgio Vigna, it is now the turn of another great glass talent, who has worked with great continuity and intensity in the furnaces of Murano. I am convinced that the work of Cristiano Bianchin will dialogue with the works of our collection, bringing considerable added value: it will be an exhibition to be discovered ".

Cristiano Bianchin, who lives and works in Venice, trained at the Academy of Fine Arts in his hometown attending the Emilio Vedova course and graduating in painting in 1987. In 1992 he made his first works with vitreous matter, and since then he has worked diligently in the furnaces of Murano. In 1993 he was invited to exhibit two great works in woven hemp at the Fondazione Bevilacqua La Masa, in the Deterritorial Section of the 45th International Venice Visual Arts Biennial, and in 2009 he was guest of the VENICE Pavilion at the 53rd edition of the Biennale with his precious ""glazing. In 2011 he was given a personal room in Paris at the Musée des Arts Décoratifs, on the occasion of the Verre à Venise exhibition - 3 artistes, 3 visions - Cristiano Bianchin, Yoichi Ohira, Laura de Santillana. In 2017 he won the Glass in Venice Award. For the Venetian artist, designing with glass is a necessary analysis of his artistic language, based on the classic Murano glass techniques compared to new and more current formal experiments.

Cristiano Bianchin, Raccoglitore di pensieri, Urna, unique piece, Venezia, 2001. Courtesy Caterina Tognon, Venezia. Photo F. Allegreto.

Cristiano Bianchin, Riposapesi, unique piece, Venezia, 2003-2004. Courtesy Caterina Tognon, Venezia. Photo F. Allegreto.

Cristiano Bianchin, Crisalide con cesto e pigna, unique piece, Venezia, 2005. Courtesy Caterina Tognon, Venezia. Photo F. Allegreto.

Cristiano Bianchin, Crisalide con cesto e pigna (detail), unique piece, Venezia, 2005. Courtesy Caterina Tognon, Venezia. Photo F. Allegreto.

Cristiano Bianchin, Crisaliform (L'Attesa), unique piece, Venezia, 2005. Courtesy of the artist.

Cristiano Bianchin, Crisalislike,contenitore di cocci di vetro, unique piece, Murano, 2005-2006. Courtesy of the artist.

Cristiano Bianchin, Crisaliform (Uomo), unique piece, Venezia, 2007. Courtesy Caterina Tognon, Venezia. Photo F. Allegreto.

Cristiano Bianchin, Crisaliform (Laying), unique piece, Venezia, 2007. Courtesy Caterina Tognon, Venezia. Photo F. Allegreto.

Cristiano Bianchin, Crisalide con cesto, unique piece, Venezia, 2009. Courtesy Private collection, Venezia.

Cristiano Bianchin, Raccoglitore di pensieri, Lingam, unique piece, Venezia, 2013. Courtesy Caterina Tognon, Venezia. Photo F. Allegreto.