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Alain.R.Truong

Alain.R.Truong

Archives Journalières: 21 septembre 2014

Asian Art Week London at Dreweatts & Bloomsbury Auctions

21 dimanche Sep 2014

Posted by alaintruong2014 in Chinese Porcelains, Japanese works of Art

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Étiquettes

“Five Dragons” vase, Blue-and-White, Dreweatts & Bloomsbury Auctions, Edo period, Jiaqing seal mark, lacquer

A Chinese blue and white “Five Dragons” vase, Jiaqing seal mark, 32cm high. Est. £8,000-12,000. Photo courtesy Dreweatts & Bloomsbury Auctions

LONDON.- Dreweatts & Bloomsbury Auctions will be offering a stunning display of Chinese Ceramics and Asian Works of Art during ‘Asian Art in London’ Week. With attractive estimates, the sale will appeal to the new and seasoned collector, bringing an exquisite and affordable end to Asian Art Week 2014. The sale will be held at Dreweatts & Bloomsbury Auctions saleroom in Mayfair on Monday 10th November, with all works on public view at the saleroom throughout Asian Art Week and a late night viewing on Monday 3rd November.

Auction Highlights

• A Tibetan gilt-bronze figure of Jambhala, 16th-17th century, seated on a lion over a lotus base, his right hand raised as if to hold the Wealth banner, his left holding a mongoose, dressed in a festooned robe and adorned with streaming ribbons, 30cm high. Est. £10,000-15,000

• A Chinese blue and white “Five Dragons” vase, Jiaqing seal mark, 32cm high. Est. £8,000-12,000

• An 18th century famille rose Canton enamel kettle and burner, of spherical shape with cabriole spout, enamelled around the body with ladies amid a garden setting, the burner raised on four beast legs. Stand width 15cm, height 11cm, total height 31cm including handle (25.5 without) total width 25cm. Est. £3,000-5,000

• A fine coral-red silk brocade chair cover, Kangxi period (1622-1722) woven with a large full faced gold dragon flying above a celestial mountain amid the clouds of the enlightened world, above which the longevity character, shou, and two cranes fly, mounted with a later buff coloured silk border, height 178cm, width 56cm, Est. £3,000-5,000

• A Lacquer Kodansu (Small Cabinet), Edo period, decorated with floral shrubs by a stream in gold and silver hiramaki-e, takamaki-e, togidashi-e, kirigane and nashiji on a kinji ground, the hinged door opening to reveal three fitted drawers with trays lacquered in iroe-togidashi-e, engraved silver fittings, height 8cm, length 12.5cm, width 7cm, Est. £1,200-1,800

The sale of Fine Chinese and Asian Works of Art will be held during Asian Art Week on Monday 10th November 2014 at Dreweatts & Bloomsbury Auctions’ Mayfair saleroom.

A Lacquer Kodansu (Small Cabinet), Edo period, decorated with floral shrubs by a stream in gold and silver hiramaki-e, takamaki-e, togidashi-e, kirigane and nashiji on a kinji ground, the hinged door opening to reveal three fitted drawers with trays lacquered in iroe-togidashi-e, engraved silver fittings, height 8cm, length 12.5cm, width 7cm, Est. £1,200-1,800. Photo courtesy Dreweatts & Bloomsbury Auctions

Frances Lehman Loeb Art Center to present first U.S. exhibition that explores Renaissance Augsburg’s innovations in works on paper

21 dimanche Sep 2014

Posted by alaintruong2014 in European Prints & Multiples, European Sculpture & Works of Art

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Étiquettes

Augsburg, c. 1509-10, ca. 1508, ca.1529, Chiaroscuro woodcut, Daniel Hopfer I, Emperor Maximilian I, Etching, Hans Burgkmair I, Hans Holbein the Elder, ink, Jost de Negker, Kolman Helmschmid, Lead alloy., Matthes Gebel, Raimond Fugger, Silverpoint

Hans Holbein the Elder (German, ca. 1465 – 1524), Portrait of a Woman, ca. 1508. Silverpoint, ink, and chalk heightened with white on white prepared paper. National Gallery of Art, Washington, Woodner Collection

POUGHKEEPSIE, NY.- The city of Augsburg, Germany has an impressive Renaissance heritage, notably in printmaking innovations, but has long been eclipsed in America by the more well-known Nuremberg. Imperial Augsburg: Renaissance Prints and Drawings, 1475-1540, the first U.S. exhibition to explore Augsburg’s artistic achievements in the late 15th and early 16th centuries, is on view at the Frances Lehman Loeb Art Center at Vassar College from September 19 through December 14, 2014.

Organized by the National Gallery of Art in Washington, Imperial Augsburg focuses on prints, drawings, and illustrated books. However, the exhibition also includes medals and one etched set of armor. Of the almost 100 works presented, most are from the National Gallery’s own collection, with additional loans from the Metropolitan Museum of Art, New York; the Library of Congress, Washington; and private collectors Andrea Woodner and Andrew Robison. The last major exhibition on this subject was mounted more than three decades ago in Augsburg itself.

This exhibition emphasizes the rich and varied works of art on paper produced in Augsburg from 1475 to 1540, paying particular attention to innovative printmaking techniques as well as the fundamental role of imperial patronage.

“It is truly remarkable that the rich and varied history of works on paper in Renaissance Augsburg can be told almost entirely through the National Gallery’s extensive collection of German prints, drawings, and illustrated books—thanks in large part to the contributions of donors over the course of many decades,” said Earl A. Powell III, director, National Gallery of Art.

The exhibition was curated by Gregory Jecmen, associate curator of old master prints and drawings at the National Gallery of Art, Washington, and Freyda Spira, assistant curator of drawings and prints at the Metropolitan Museum of Art, New York. At the Frances Lehman Loeb Art Center, the exhibition is coordinated by Patricia Phagan, the Philip and Lynn Straus Curator of Prints and Drawings.

The opening event for the exhibition at Vassar takes place on Friday, September 19, at 5:30pm in Taylor Hall, room 102, with a lecture entitled “Imperial Augsburg: A Flourishing Market for Innovative Prints” by curators Jecmen and Spira. It is followed by a reception in the Atrium of the Art Center at 6:45pm with music of the German Renaissance played by the St. John’s Recorder Ensemble. These events are free and open to the public.

The Vassar Libraries and Department of Music will also present major activities in conjunction with the “Imperial Augsburg” exhibit: a 4-month exhibit in the Thompson Memorial Library will focus on the famed fourteenth-century illustrated book “The Nuremberg Chronicle”, and the early-music vocal ensemble Pomerium will perform a program of “Music for Imperial Augsburg, 1518-1548” at Skinner Hall. These events are free and open to the public.

Vassar’s Phagan points out that several circumstances came together to give Augsburg the opportunity to rise as an art hub. The city, located in the state of Bavaria in southern Germany, was founded as a Roman settlement in the reign of Emperor Augustus in 15 BCE. Located at the confluence of two rivers and on trade routes through the Alps to Italy, Augsburg was a prosperous manufacturing center in the late 15th and early 16th century that gave rise to the great banking houses of the Fugger and the Welser families. “Together, these circumstances fostered an important and diverse artistic community, with an established tradition in the printing and metalworking industries,” Phagan explains.

Augsburg was also favored by Holy Roman Emperor Maximilian I (reigned 1493-1519), whose patronage reveals, more than anything, the magnitude of the city’s prestige and fame. During his rule, Augsburg became the location of an Imperial Diet (council) and the center from which the emperor organized all of his print and armor commissions. “As Augsburg’s artists benefited from the patronage of the Habsburg court they also created works for the city’s thriving art market,” says Phagan.

The exhibition is presented in four galleries. One gallery focuses on devotional prints and illustrated books representing the Christian contemplative life. In this period Augsburg, as elsewhere in Germany, witnessed rapid changes and realignments in theological beliefs. Its Renaissance artists came of age in a society still very much engaged in the devotional customs of the late Middle Ages, and prints seen in the show played an important role in the expression of religious devotion.

This gallery also emphasizes the city’s role as a center for cutting-edge printing techniques of the time, including color printing pioneered there by the native printer Erhard Ratdolt (1447-1528) through his use of multiple carved wooden blocks, one for each color, in imitation of illuminated manuscripts. It was further developed by his apprentice Hans Burgkmair I (1472-1531) who went on to create a series of imaginative and complex prints. Etching, a technique originally used to decorate armor, was first explored in prints in Augsburg, by Daniel Hopfer (ca. 1470-1536), a painter and armor decorator turned printmaker.

This gallery also emphasizes the city’s role as a center for cutting-edge printing techniques of the time, including color printing pioneered there by the native printer Erhard Ratdolt (1447-1528) through his use of multiple carved wooden blocks, one for each color, in imitation of illuminated manuscripts. It was further developed by his apprentice Hans Burgkmair I (1472-1531) who went on to create a series of imaginative and complex prints. Etching, a technique originally used to decorate armor, was first explored in prints in Augsburg, by Daniel Hopfer (ca. 1470-1536), a painter and armor decorator turned printmaker.

Another gallery features portraits of both famous and obscure citizens. Portraits could serve as public tributes; Augsburg’s artists made many medals and prints of famous residents and visitors, which were widely disseminated. The gallery includes several portraits of Emperor Maximilian, part of an intense visual and literary campaign launched by the ruler. Artists also depicted soldiers and knights, as in an elegant drawing by an unknown artist of a knight holding a halberd, a long-handled weapon.

Another gallery features portraits of both famous and obscure citizens. Portraits could serve as public tributes; Augsburg’s artists made many medals and prints of famous residents and visitors, which were widely disseminated. The gallery includes several portraits of Emperor Maximilian, part of an intense visual and literary campaign launched by the ruler. Artists also depicted soldiers and knights, as in an elegant drawing by an unknown artist of a knight holding a halberd, a long-handled weapon.

A complementary exhibition presented by the Vassar College Libraries explores the most heavily illustrated book of the 15th century, The Nuremberg Chronicle. The exhibition, Never Before Has Your Like Been Printed: The Nuremberg Chronicle of 1493, will be on display in the Thompson Memorial Library from August 27 to December 10.  It showcases printed leaves and editions of this landmark book, and marks the 500th anniversary of the death of the author, the German humanist Hartmann Schedel.

Imperial Augsburg was first shown at the National Gallery of Art in 2012 and it subsequently traveled to the Blanton Museum of Art at the University of Texas at Austin. The accompanying catalogue—the first of its kind in English—serves as an introduction to Augsburg, its artists and its cultural history, during this period. The catalogue is available for sale at the Art Center. At Vassar, this exhibition is generously supported by the Evelyn Metzger Exhibition Fund.

Matthes Gebel (German, ca. 1500 - 1574), Raimond Fugger, ca.1529. Lead alloy. National Gallery of Art, Washington, Samuel H. Kress Collection.

Matthes Gebel (German, ca. 1500 – 1574), Raimond Fugger, ca.1529. Lead alloy. National Gallery of Art, Washington, Samuel H. Kress Collection.

Hans Burgkmair I (German, 1473 – 1531) and Jost de Negker (German, ca. 1485 – 1544), The Lovers Surprised by Death, 1510. Chiaroscuro woodcut printed from 3 blocks on laid paper. National Gallery of Art, Washington, Rosenwald Collection.

Attributed to Kolman Helmschmid (armor maker) and Daniel Hopfer I. ‘Breast-and Back-plate with Virgin and Child with Saints,’ c.1510-1520 etched steel. (Courtesy The Metropolitan Museum of Art, New York, Gift of Marshall Field)

Emperor Maximilian I in the Guise of St. George, by Daniel Hopfer, c. 1509-10. Etching (iron) with open biting, plate bitten twice, on laid paper.

The City of Augsburg, from Hartmann Schedel’s Nuremberg Chronicle, 1493. By the Workshops of Michel Wolgemut and Wilhelm Pleydenwurff. Courtesy the Harry Ransom Center, The University of Texas at Austin.

Alain R. Truong

Alain R. Truong
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