Genus Thopeutica

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Philippines, Sulawesi, Thopeutica, Thopeutica albapicalis, Thopeutica angulihumerosa, Thopeutica eanula, Thopeutica flavilabris, Thopeutica fugax, Thopeutica glorioparadoxa, Thopeutica hirofumii, Thopeutica nishiyamai, Thopeutica perconspicua, Thopeutica rugothoracica, Thopeutica sawadai, Thopeutica stenodera, Thopeutica suavissima, Thopeutica theratoides

Thopeutica (Wallacedela) hirofumii (Cassola, 1991), Female imago, Sulawesi © Anichtchenko

Thopeutica (Philippiniella) suavissima (Schaum, 1862) Female imago Philippines, E. Luzon, Isabela, X.2013 10 mm det. J. Wiesner, 2014 © Anichtchenko

Thopeutica (Philippiniella) rugothoracica (W.Horn, 1907) Female imago Philippines, det. J. Wiesner, 2014 © Anichtchenko

Thopeutica (Thopeutica) angulihumerosa (W.Horn, 1929) Male imago Philippines, N Luzon, Sierra Madre, Isabela. 9 mm; det. J. Wiesner, 2014 © Anichtchenko

Thopeutica (Thopeutica) fugax (Schaum, 1862) Female imago Philippines, Nueva Viscaya, North Luzon, 07.2004

Thopeutica (Philippiniella) eanula (W.Horn, 1905) Male imago Philippines, South Luzon, Laguna. VII. 2004 © Anichtchenko

Thopeutica (Pseudotherates) albapicalis (W.Horn, 1892) Female imago Museum of Zurich © Anichtchenko

Thopeutica (Pseudotherates) flavilabris (W.Horn, 1913) Male imago length: 11 mm Indonesien, Sulawesi, Toboll leg. A.Skale, 2009; det. J.Wiesner, 2009. Foto: U.Schmidt, 2009 © U.Schmidt

Thopeutica (Pseudotherates) theratoides (Schaum, 1861) Male imago lenght: 10 mm Indonesien, Sulawesi, Sawangan leg. A.Skale, 2004; det. J.Gebert. Foto: U.schmidt, 2007 © U.Schmidt

Thopeutica (Thopeutica) perconspicua Cassola & Ward, 2004 Male imago Philippines, Nueva Viscaya, North Luzon 07.2004 det. J. Wiesner © Anichtchenko

Thopeutica (Thopeutica) sawadai. Cassola, 1991. Male imago, length: 13,5 mm. Indonesia, Sulawesi, Toboll leg. A.Skale, 2009; det. J.Wiesner, 2009 Foto: U.Schmidt, 2009 © Anichtchenko

Thopeutica (Thopeutica) stenodera (Schaum, 1861). Male imago, length: 10,5 mm, Indonesien, Sulawesi, Toraut leg. A.Skale, 2006; det. J.Wiesner. Foto: U.Schmidt, 2007 © U.Schmidt

Thopeutica (Wallacedela) glorioparadoxa (W.Horn, 1913). Female imago. Indonesia, Palolo, Central Sulawesi, 03.2008, 19 mm, coll. A. Montes det. Schüle P. © Anichtchenko

Thopeutica (Wallacedela) nishiyamai (Cassola, 1991). Female imago, length: 11,5 mm. Indonesia, North-Sulawesi, Boyong Atas, leg. A.Skale, 2009; det. J.Wiesner, 2009. Photo: U.Schmidt, 2009 © U.Schmidt

Flowers by Sarah Ryhanen

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anemone, Hellebore, Magnolia, Sarah Ryhanen

Magnolias by Sarah Ryhanen

Hellebore and anemones by Sarah Ryhanen

‘Crumpled Books’ by Mark Douglas

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Mark Douglas

‘Crumpled Books’ by Mark Douglas

To see more visit www.duanereedgallery.com

‘Still life and landscapes of the Golden Age’ at the Wallraf-Richartz-Museum & Fondation Corboud

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1660-70, Adriaen Coorte, Aert van der Neer, around 1655, bouquet in a glass beaker, Edwaert Collier, Floral still life in a niche, Ice pleasure in front of a bridge tower, Jacob van Ruisdael, Jan Brueghel the Elder, Jan van de Velde III, Jan van Goyen, Landscape with travelers and roosting flock, late 1640s, Mountain landscape with waterfall, River landscape with fishing boats, Roelant Savery, Salomon van Ruysdael, Still Life with smoking paraphernalia and crabs, Still life with smoking paraphernalia and Stein, Still Life with Strawberries in a terracotta pot, The Mill on the jetty, Tree landscape with pond, Wallraf Museum, Winter Landscape with Ice pleasure, Winter Landscape with Ice pleasure in front of a Capriccio Arnhem

Adriaen Coorte, active 1683-1707 in Middelburg or environment, Still Life with Strawberries in a terracotta pot, 1704, paper on canvas, Heinrich Nolte and Anny Foundation, Dep. 962

Obenmarspforten – Freshly picked are the strawberries in a clay pot and also emit three centuries after Adriaen Coorte painted in a rich and tempting Red The long-hidden masterpiece is the highlight of the new cabinet exhibition « 13 x Sammlerglück – still lifes and landscapes of the Golden Age. ». October 9, 2014 to March 29, 2015, the Wallraf presented so that a round of high-profile permanent loans, which recently received the house from the Essen Heinrich and Anny-Nolte Foundation and from a private European collection. Painting the highest quality of painters such as Jan Brueghel the Elder, Jan van Goyen, Jacob van Ruisdael, Aert van der Neer or Edwaert Collier draw a bow on the most important period of Dutch painting. The important collection of Cologne art gallery is well supplemented in this way to far missing name and motives.

Jan Brueghel the Elder, Brussels 1568 – 1625 Antwerp, The Mill on the jetty 1613, copper, loaned by the Henry and Anny Nolte- Foundation, Essen, Dep. 961

The Dutch painting of the 17th century is famous for its sensual realism. Landscape paintings capture the big world in miniature lifelike. Still Life portray magnificent Blumenbou-channel belongs, but also simple everyday objects as if they were close enough to touch. Then as now, these works are amongst the most sought-after works.The exhibition « 13 x Sammlerglück » shows how happy each and every collection collectors can appreciate being able to call a masterpiece from the Golden Age his own.

Jan Brueghel the Elder, Brussels 1568 – 1625 Antwerpen, bouquet in a glass beaker, after 1608. Wood, on loan from the Henry and Anny Nolte- Foundation, Essen, Dep. 960

The 13 paintings on display are mainly in Haarlem, the actual origin of flowering of Dutch painting in the 17th century, and from the commercial capital Amsterdam. Two colors Merry floral still life, three lovingly detailed winter landscape with ice pleasure, two unusual smoking still lifes and five fine balance of landscape views guarantee visitors span designating moments of wonder and comparing. A special treasure but the « Still Life with Strawberries » the enigmatic Adriaen Coorte include the rare paintings currently the most sought masterpieces of the Golden Age.The work from 1704 enchants the viewer with its modern looking, poetic simplicity.

Wallraf-Richartz-Museum & Fondation Corboud. October 9, 2014 – March 29, 2015

Roelant Savery, Kortrijk 1576- 1639 Utrecht, Floral still life in a niche, to 1627, wood, private collection, Dep.955

Jan van Goyen, Leiden 1596 – 1656 The Hague, River landscape with fishing boats, 1642, wood, private collection, Dep. 953

Jacob van Ruisdael, Haarlem 1628/29 – 1682 Amsterdam, Tree landscape with pond, late 1640s, wood, private collection, Dep. 958

Jacob van Ruisdael, Haarlem 1628/29 – 1682 Amsterdam, Mountain landscape with waterfall, 1660-70, canvas, private collection, Dep. 957

Salomon van Ruysdael, Naarden 1600/03 – 1670 Haarlem, Landscape with travelers and roosting flock, wood, private collection, Dep.954 (4/5?)

Salomon van Ruysdael, Naarden 1600/03 – 1670 Haarlem, Winter Landscape with Ice pleasure in front of a Capriccio Arnhem, 1652, Wood, Henry and Anny-Nolte Foundation, Essen, Dep. 964

Aert van der Neer, Gorinchem 1603/4 – 1677 Amsterdam, Winter Landscape with Ice pleasure, around 1655, wood, Heinrich Nolte and Anny Foundation, Essen, Dep. 963

Jan van Goyen, Leiden 1596 – 1656 The Hague, Ice pleasure in front of a bridge tower, 1655, wood, private collection, Dep 956

Jan van de Velde III, Haarlem about 1620 – 1662 Amsterdam, Still Life with smoking paraphernalia and crabs, 1657, canvas, 63.2 x 54.4 cm, private collection, Dep. 952

Edwaert Collier, Breda 1642 – 1708 London, Still life with smoking paraphernalia and Stein, 1664. Private Collection, Dep. 959

‘Nick Mount: The Fabric of Work—Sculptural Glass from a Master of Australian Craft’ at Bellevue Arts Museum

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Black Scent Bottle, Bob #SB040512, Granulare Fruit, Nick Mount, Olive, Reclining Bob, Scent bottle, Sculptural Glass, Still Life

Nick Mount, Scent bottle combination #120512, 2012. Blown glass, carved, polished, assembled. 80 x 27 x 18 cm. Photo: Pippy Mount

BELLEVUE, WA.- Showcasing the talents of one of the world’s leading studio glass artists, Nick Mount: The Fabric of Work presents over 30 works, many of which are having their premiere showing at Bellevue Arts Museum. The glass objects speak to Mount’s skill in a variety of techniques—including glassblowing, murrina patterning, carving, polishing, and mixed media—and combine the artist’s deep respect for traditional glassmaking with his signature irreverence and wit. Mount pays particular homage to the fragility and distinctive flamboyance of glass made in Renaissance-era Venice by highly skilled master craftsmen, referencing their flowing forms and intricate patterns. His works, however, depart from their historical counterparts in scale and sculptural gesture, as well as their references to tools and the attributes of vocations such as woodworking and metal-smithing, as well as glassblowing.

Nick Mount, Reclining Bob #SB050512 and Bob #SB040512, 2012. Suspended blown glass component, cut and polished. 28 x 47 x 22 cm and 124 x 18 x 13 cm. Photo: Pippy Mount

Skill and artisan practice are integral to Mount’s creative process. As the artist explains, « I identify as a maker and believe ‘work’ is fundamental in the development of identity…and, for me, the fabric of our community is, to a large extent, determined by the work we do with our hands. » This philosophy is expressed in the subtitle of the exhibition—The Fabric of Work.

Nick Mount, Reclining Bob #SB060512, 2012. Blown glass, carved, polished, assembled. 24 x 43 x 18 cm. Photo: Pippy Mount

As a young artist, Nick Mount studied under American glass artist Richard Marquis and developed a fascination for the unknowable nature of glass and the skill required to work with it. Inspired by further studies in the USA and a visit to Murano—the birthplace of Venetian glass tradition—Mount has established himself on the forefront of the studio glass movement, while making significant contributions to the advancement of glass as an artistic medium in Australia. Named a Living Treasure: Master of Australian Craft in 2012, Mount has seen his work represented in major private and public collections and exhibited regularly throughout Europe, the United States, and Japan. His career represents a creative and ongoing exploration of glass that continually reaches new levels of technical and artistic achievement.

Nick Mount, Half Round Fruit Composition: A Still Life #011113, 2013. Blown glass; surface-worked with huon pine stems on rock maple base. 22.5 x 28.5 x 12.5 cm. Photo: Pippy Mount

Nick Mount: The Fabric of Work is part of the Living Treasure: Masters of Australian Craft series, an initiative of Object: Australian Design Centre. Funding for the exhibition was provided by the Government of South Australia through Arts SA and the artist. The local presentation of this exhibition is curated by Jennifer Navva Milliken.

Nick Mount, Black Scent Bottle, Granulare Fruit and Olive: A Still Life #030112, 2012. Blown glass, carved, polished, assembled, jarrah and olive wood stems, rock maple base. 75 x 44 x 18 cm.

Nick Mount, Reclining Bob #SB150709 and Reclining Bob #SB140709, 2009. Blown glass, blanket stitch murrini, carved, assembled. 33 x 8 x 8 cm and 42 x 9 x 9 cm. Photo: Grant Hancock

Nick Mount, Scent Bottle Combination #010811, 2011. Blown glass, carved, polished, assembled. 110 x 125 x 20 cm. Photo: Pippy Mount

“Etamine” by Flower artist Duy Anh Nhan Duc with photographer Isabelle Chapuis

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“Etamine”, Duy Anh Nhan Duc, Isabelle Chapuis

“Etamine” by Flower artist Duy Anh Nhan Duc with photographer Isabelle Chapuis

See more work at www.isabellechapuis.com & www.blossom-talent.com

Pendentif en agate. Dynastie Qing, XIXe siècle

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Agate, dynastie Qing, Pendentif, XIXe siècle

Pendentif en agate. Dynastie Qing, XIXe siècle. Photo Sotheby’s.

sculpté en forme de double-gourde enveloppée dans des feuilles ondulées; 5 cm; 2 in. Estimation 2,000 — 3,000 €. Invendu

A FINE AGATE PENDANT, QING DYNASTY, 19TH CENTURY

PROVENANCE: Acquired in China before 1922.
Thence in the family by descent.

ANCIENNE COLLECTION PARTICULIÈRE ALLEMANDE

Sotheby’s. Arts d’Asie. Paris | 11 déc. 2014

Pendentif en agate. Dynastie Qing, XIXe siècle

Étiquettes

Agate, dynastie Qing, Pendentif, XIXe siècle

Pendentif en agate. Dynastie Qing, XIXe siècle. Photo Sotheby’s.

la couleur naturelle de la pierre habilement sculptée pour représenter des fleurs de prunus blanches et un papillon; 3,8 cm; 1 1/2  in. Estimation 3,000 — 5,000 €. Invendu

A RARE GREY AND WHITE AGATE PENDANT, QING DYNASTY, 19TH CENTURY

PROVENANCE: Acquired in China before 1922.
Thence in the family by descent.

ANCIENNE COLLECTION PARTICULIÈRE ALLEMANDE

Sotheby’s. Arts d’Asie. Paris | 11 déc. 2014

Pendentif en jadéite. Dynastie Qing, XIXe siècle

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'lingzhi', dynastie Qing, jadeite, Pendentif, XIXe siècle

Pendentif en jadéite. Dynastie Qing, XIXe siècle. Lot Vendu 6,250 EUR. Photo Sotheby’s.

rectangulaire, sculpté et ajouré de bambou et d’un lingzhi, le cordon retenant une perle de corail et des petites perles; 5,6 cm; 2 1/4  in. Estimation 3,000 — 5,000 €

A MOTTLED GREEN AND WHITE JADEITE PENDANT, QING DYNASTY, 19TH CENTURY

PROVENANCE: Acquired in China before 1922.
Thence in the family by descent.

ANCIENNE COLLECTION PARTICULIÈRE ALLEMANDE

Sotheby’s. Arts d’Asie. Paris | 11 déc. 2014

Plaque en jade blanc. Dynastie Qing, XVIIIe siècle

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dynastie Qing, jade blanc, plaque, XVIIIe siècle, Zhang Qian

Plaque en jade blanc. Dynastie Qing, XVIIIe siècle. Lot. Vendu 10,625 EUR. Photo Sotheby’s

sculptée d’un côté de Zhang Qian assis sur un radeau et de l’autre d’un poème, la pierre parfaitement blanche et uniforme, suspendue à un cordon agrémenté d’une perle de corail et de petites perles; 4,9 x 3,7 cm; 1 15/16  by 1 1/2. Estimation 5,000 — 7,000 €

A FINE WHITE JADE PENDANT DEPICTING ZHANG QIAN, QING DYNASTY, 18TH CENTURY

PROVENANCE: Acquired in China before 1922.
Thence in the family by descent.

ANCIENNE COLLECTION PARTICULIÈRE ALLEMANDE

Sotheby’s. Arts d’Asie. Paris | 11 déc. 2014