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Alain.R.Truong

Alain.R.Truong

Archives Journalières: 28 janvier 2015

18 Karat Gold, Diamond, Emerald and Enamel Bangle-Bracelet, David Webb

28 mercredi Jan 2015

Posted by alaintruong2014 in Jewelry

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David Webb, Emerald and Enamel Bangle-Bracelet, scaled dragon

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18 Karat Gold, Diamond, Emerald and Enamel Bangle-Bracelet, David Webb. Estimate 35,000 — 45,000 USD. Photo: Sotheby’s.

Designed as a scaled dragon applied with black enamel, set with round diamonds weighing approximately 3.00 carats, completed by two pear-shaped cabochon emerald eyes, internal circumference 6½ inches, signed David Webb.

Literature: Illustrated in David Webb: The Quintessential American Jeweler by Ruth Peltason, pages 156-157.

Sotheby’s. Important Jewels, New York, 05 févr. 2015, 10:00 AM

Pair of 18 Karat White Gold, Colored Diamond and Diamond Earclips

28 mercredi Jan 2015

Posted by alaintruong2014 in Jewelry

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Colored Diamond and Diamond Earclips, cushion-cut colored diamond

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Pair of 18 Karat White Gold, Colored Diamond and Diamond Earclips. Estimate 30,000 — 50,000 USD. Photo: Sotheby’s.

Set with two cushion-cut colored diamonds weighing approximately 6.35 carats, framed by round and marquise-shaped diamonds weighing approximately 3.80 carats.

Please note the diamonds have not been tested for natural origin of color.

Sotheby’s. Important Jewels, New York, 05 févr. 2015, 10:00 AM

Jorge Welsh Oriental Porcelain & Works of Art at TEFAF 2015 Antiques (13-22 March 2015)

28 mercredi Jan 2015

Posted by alaintruong2014 in Chinese Porcelains

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'Soldier' vase, ‘Nodding-Head’ figure, circa 1700, Jorge Welsh Oriental Porcelain & Works of Art, Kangxi period, Qianlong period, Qing dynasty, TEFAF 2015 Antiques

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‘Soldier’ Vase. Porcelain decorated in underglaze cobalt blue. Height 92.7 cm. China, Qing dynasty, Kangxi period (1662-1722), circa 1700. Jorge Welsh Oriental Porcelain & Works of Art (stand 210) – TEFAF 2015 Antiques (13-22 March 2015)

Vases of this shape and size are generally referred to as ‘soldier’ or ‘dragoon’ vases. These names derive from a historic exchange between Augustus the Strong, the Elector of Saxony and King of Poland and Lithuania (1670-1733), and the ‘Soldier King’ Friedrich Wilhelm I, King of Prussia (1688-1740) in 1717. Vases of a similar size, shape and decoration were in fact in the Augustus the Strong Collection, seven of which are now in the Zwinger Museum in Dresden.

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Four ‘Nodding-Head’ figures. Porcelain decorated in overglaze polychrome enamels, 44.5 x 15 cm. China, Qing dynasty, Qianlong period (1736-1795). Jorge Welsh Oriental Porcelain & Works of Art (stand 210) – TEFAF 2015 Antiques (13-22 March 2015)

Although figures of various dimensions and shapes were frequently made for the export market, it is very rare to find porcelain figures with ‘nodding-heads’. This device is more commonly found on unfired clay models of Chinese people made for the export market, which were produced in different sizes, some with silk clothes and real hair attachments, and representing a variety of ages, occupations and lifestyles. A slightly smaller porcelain ‘nodding-head’ figure of a Chinese man was in the Ionides Collection. An exceptional and large figure of a Chinese lady (106 cm high) is in the RA Collection.

Provenance: Collection of an aristocratic 18th-century Roman Cardinal; By descent through the family

Jorge Welsh Oriental Porcelain & Works of Art. Directors: Jorge Welsh, Luísa Vinhais. Rua da Misericórdia, 41-47, 1200-270 Lisbon, Portugal. T  +351 21 395 33 75 – F  +351 21 393 07 03 – pt@jorgewelsh.com 

Jorge Welsh and Luísa Vinhais, with galleries in London and Lisbon, are internationally recognized specialists in oriental porcelain and works of art related to the Portuguese expansion presenting high quality objects from Africa, India, Asia, China and Japan.
Their expertise in this vast area, is reflected not only in their activity as international art dealers and advisors to collections, but also in their contribution to the academic world through their publishing company, their research and sponsorship of projects aimed at furthering the knowledge and understanding of Oriental Art and their contribution to international exhibitions. Every year an exhibition and scholarly catalogue is produced, resulting from years of collecting and research.
Jorge Welsh Oriental Porcelain and Works of Art in London and, Jorge Welsh Porcelana Oriental e Obras de Arte, Lda in Lisbon have sold to major private collectors, institutions, and museums all over the world.
All Jorge Welsh pieces have their own individual illustrated certificate with full description, discussion, period, condition and related bibliography.

Gold, Platinum, Ruby and Diamond Ring

28 mercredi Jan 2015

Posted by alaintruong2014 in Jewelry

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cushion-shaped ruby, old mine-cut diamond, ruby and diamond ring, Tajikistan Ruby

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Gold, Platinum, Tajikistan Ruby and Diamond Ring. Estimate 35,000 — 45,000 USD. Photo: Sotheby’s.

Set with a cushion-shaped ruby weighing 3.65 carats, flanked by two old mine-cut diamonds weighing approximately 3.30 carats, size 5.

Accompanied by AGTA report no. 92029610 stating that the ruby is natural corundum, with no indications of heating.

Accompanied by AGL report. no CS 65493 stating that the ruby is of Tajikistan origin, with no indications of heating.

Sotheby’s. Important Jewels, New York, 05 févr. 2015, 10:00 AM

Two-Color Gold, Emerald and Diamond Ring

28 mercredi Jan 2015

Posted by alaintruong2014 in Jewelry

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Colombian emerald, Emerald and Diamond Ring, octagonal step-cut emerald

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Two-Color Gold, 11.61 carats Colombian Emerald and Diamond Ring. Estimate 35,000 — 45,000 USD. Photo: Sotheby’s.

Centered by an octagonal step-cut emerald weighing 11.61 carats, flanked by two half moon-shaped diamonds weighing approximately 3.00 carats, size 6¼ . 

Accompanied by AGL report no. CS 64498 stating that the emerald is of Colombian origin, clarity enhancement: moderate, type: modern.

Accompanied by GIA report no. 2165659075 stating that the emerald is of Colombian origin, clarity enhancement: moderate.

Sotheby’s. Important Jewels, New York, 05 févr. 2015, 10:00 AM

Attributed to Corneille de La Haye, called Corneille de Lyon (The Hague 1500/10-1575 Lyon), ‘Portrait of a gentleman, bust-length’

28 mercredi Jan 2015

Posted by alaintruong2014 in Old Master Paintings

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bust-length', Corneille de Lyon, Portrait of a gentleman

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Attributed to Corneille de La Haye, called Corneille de Lyon (The Hague 1500/10-1575 Lyon), ‘Portrait of a gentleman, bust-length’, with insription ‘… PINSIT AN M.D.L.XI’ (on the reverse), oil on fruitwood or walnut panel, 7¼ x 5¾ in. (18.4 x 14.6 cm). Estimate $70,000 – $100,000. Photo Christie’s Image Ltd 2015

Notes: Superfluous details have been kept to a minimum in this portrait, encouraging the viewer to focus on the sitter’s penetrating gaze and serious demeanor. The restrained palette of earth tones and deep shades of black also help direct our attention on this young gentleman’s face and the confident character it communicates. The subtle modelling of the sitter’s features, the typical bust-length format, as well as the olive background suggest that the painting is by France’s leading portraitist after the Clouets, Corneille de Lyon. Although the man’s identity has yet to be determined, his rounded beard and attire conform to French fashion of the mid-16th century. In particular, the sitter’s toque and garments closely resemble those worn by the Calvinist jurist Laurent de Normandie in a likeness of 1552 (Musée d’Art et d’Histoire, Geneva, inv. 1928-13; see A. Dubois de Groër, Corneille de La Haye dit Corneille de Lyon, Paris, 1996, pp. 186-7, no. 89), as well as those seen in several other portraits of unknown gentlemen produced by the artist in this period.

Interest in portrait collecting intensified in France during the 16th century. Typically executed on an intimate scale, such as the present example, portraits were often kept in private settings, such as a personal study, where they could be examined at leisure. Corneille employed a variety of background colors throughout his career, including black and blue, and most frequently green, ranging from vibrant lime to more subdued olive. A monochromatic background of a hue similar to the one seen in the present portrait may be found in the Portrait of an Unknown Man in the Musée Bonnat, Bayonne (ibid., no. 104). Working from a photograph, Alexandra Zvereva has suggested that the present portrait may have been produced in Corneille de Lyon’s workshop (written communication, 18 November 2014), noting, however, that the beautiful treatment of the hair and beard as well as the somewhat maladroit proportions, particularly the oversized head, are typical of Corneille.

Christie’s. RENAISSANCE, 28 January 2015, New York, Rockefeller Plaza.

Bernardino Campi (Cremona 1522-1591 Reggio Emilia), ‘Portrait of a young man, bust-length’

28 mercredi Jan 2015

Posted by alaintruong2014 in Old Master Paintings

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Abbott-Guggenheim Collection, Bernardino Campi, bust-length', Portrait of a young man

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Bernardino Campi (Cremona 1522-1591 Reggio Emilia), ‘Portrait of a young man, bust-length’, oil on canvas, 24 5/8 x 18 1/8 in. (62.5 x 46 cm). Estimate $60,000 – $80,000. Photo Christie’s Image Ltd 2015

Provenance: with John Levy Galleries, New York.
Oscar B. Cintas, New York; (†), Parke-Bernet, New York, 1 May 1963, lot 3 ($4,000), as Giovanni Moroni.

The Abbott-Guggenheim Collection: A New York Kunstkammer

Notes: We are grateful to Marco Tanzi for identifying this painting as a work by Bernardino Campi, the preeminent Cremonese portraitist to the philo-Spanish Milanese aristocracy of the mid-16th century (written communication, 19 November 2014). The sitter’s identity remains a mystery, although his stylish black hat, with its gold and pearl encrusted chain, as well as his black jerkin and red and green striped doublet, suggest that he was an aristocrat of considerable wealth. In 1963, when the portrait was sold by the estate of famed collector Oscar B. Cintas, the young man was identified as the Marques de Zúñiga y Requesens, and the painting was accompanied by a letter from Adolfo Venturi dated Paris, 19 May 1928 supporting an attribution to Giovanni Moroni. Despite the sitter’s slight resemblance to Luis de Zúñiga y Requesens (d. 1576), who was governor of the Duchy of Milan in 1572, this identification must be put aside, especially in the absence of any inscriptions or coat-of-arms that would support the theory. Working from photographs, Tanzi dates our portrait to the late 1550s or early 1560s, around the time Bernardino Campi was painting his frescos for the Cappella del Santissimo Sacramento in the church of Santi Rustico e Fermo in Caravaggio. In particular, the jaunty flair and slightly amused expression of our elegant sitter recall the young man in a yellow doublet at the right of Campi’s fresco of Christ Washing the Disciples’ Feet (fig. 1).

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Fig. 1 Bernardino Campi, Washing of the feet, fresco / Photo Credit: Mauro Ranzani / Scala / Art Resource, NY

Bernardino Campi was born in 1522 in Cremona, where he trained as a goldsmith in his father’s workshop, before studying painting with Giulio Campi (probably a distant relative). Bernardino then moved to Mantua to work under Ippolito Costa, and was then exposed to the oeuvre of Giulio Romano, which would have a decisive impact on his style, especially his Mannerist sensibility. In 1541, he returned to Cremona, where he received several prestigious commissions, most notably the frescoes for the ceiling of the chapel of Santi Filippo e Giacomo a San Sigismondo (1546), which he may have executed after a design by, or in collaboration with Camillo Boccaccino. That same year, Sofonisba Anguissola and her sister are documented as entering Campi’s household to receive instruction on painting, and Sofonisba at least would remain there for the following three years. Sofonisba paid tribute to her teacher with a work now preserved in the Pinacoteca Nazionale, Siena, representing Bernardino painting her portrait. During the remainder of his career, Campi enjoyed considerable success as attested to by the favor he was shown by the Gonzagas in and around Milan and the numerous important commissions he received in his native Cremona. His Paradise fresco for the dome of the church of San Sigismondo, Cremona (c. 1570) is often considered his masterpiece.

Although he was well known as a portraitist and his principle biographer Alessandro Lamo recorded several likenesses by him, only two of the artist’s documented works in this genre are known today: his portraits of Catellano Cotta (1553; Pinacoteca Civica, Cremona, Inv. 200) and Don Prospero Quintavalle (signed and dated 1556; Private Collection). A third painting of an unidentified woman, in the Metropolitan Museum of Art, New York (inv. 63.43.1) is also generally accepted to be by Bernardino. The present portrait thus constitutes an important addition to Bernardino’s oeuvre.

Dr. Peter Guggenheim (1927-2012) began a lifetime of collecting when he acquired a cuckoo clock as a gift from his grandfather, Daniel, at the age of six years old. Peter continued the Guggenheim family’s great legacy of collecting in the traditional Kunstkammer manner and for more than 60 years, together with Dr. John Abbott (b. 1925), they cultivated a renowned collection and generously loaned works to the Metropolitan Museum of Art, the Frick Collection, the Smithsonian, the Louvre, and the Royal Academy, among others. The Abbott-Guggenheim Collection: A New York Kunstkammer will be offered at Christie’s New York on 27 January 2014.

Christie’s. RENAISSANCE, 28 January 2015, New York, Rockefeller Plaza.

Pair of Gold, Silver and Emerald Pendant-Earrings, circa 1830

28 mercredi Jan 2015

Posted by alaintruong2014 in Jewelry

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circa 1830, Silver and Emerald Pendant-Earrings

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Pair of Gold, Silver and Emerald Pendant-Earrings, circa 1830. Estimate 7,500 — 10,000 USD. Photo: Sotheby’s.

The tops depicting the bust of a silver male figure, suspending pendants depicting a kneeling silver maiden within a cupola accented by seed pearls;

Sotheby’s. Important Jewels, New York, 05 févr. 2015, 10:00 AM

Pair of Gold and Seed Pearl Pendant-Earrings, mid 19th century.

28 mercredi Jan 2015

Posted by alaintruong2014 in Jewelry

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Gold and Seed Pearl Pendant-Earrings, mid 19th century

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Pair of Gold and Seed Pearl Pendant-Earrings, mid 19th century. Estimate 10,000 — 15,000 USD. Photo: Sotheby’s.

The openwork pear-shaped drops suspended from bow-form links and circular tops, set with numerous seed pearls; pendants detachable; 

Please note the pearls have not been tested for natural origin.

Sotheby’s. Important Jewels, New York, 05 févr. 2015, 10:00 AM

North Italian School, before 1554, Portrait of a man, half-length, in a black slashed doublet

28 mercredi Jan 2015

Posted by alaintruong2014 in Old Master Paintings

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before 1554, half-length, in a black slashed doublet', North Italian School, Portrait of a Man

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North Italian School, before 1554, ‘Portrait of a man, half-length, in a black slashed doublet‘, oil on panel, unframed, 22 x 18¾ in. (56 x 47.7 cm). Estimate $80,000 – $120,000. Photo Christie’s Image Ltd 2015

Provenance: Paulo de Solis or Paolo da Sole, acquired on 22 March 1554.

Notes: This elegant portrait is something of a mystery: neither its sitter nor the artist who painted it are known, yet the quality of its execution is undeniable. The picture displays a crisp design and a smooth finish with barely discernible brushstrokes. Its style has been associated with the naturalism characteristic of the Northern Italian school and bears resemblance to the work of Girolamo da Carpi, as well as to exponents of the Cremonese school such as Antonio Campi and Bernardino Gatti. The sitter’s commanding gaze and austere yet rich dress, consisting of an elaborately slashed black doublet over a white shirt, suggest he was a nobleman. The loops of strings that tie the shirt create a highly decorative effect.

A fascinating insight into the early provenance of this fine portrait and possibly a clue to the sitter’s identity is visible on the reverse of the panel where a Latin inscription, written in a 16th-century humanist script states: ‘Sit nomen Domini benedictum/ Die vig(esi)mo secundo idest 22/ martii 1554 ingredii in domo/ Pauli de Solis a quo fui retractus/ et nunc me possedit’ (‘Blessed be the name of God, the day twenty-second, that is to say 22 of March 1554, I entered the house of Paolo de Solis, by whom I was acquired [presumably directly from the artist] and who now owns me’).

This inscription plays on the common Renaissance topos of the speaking portrait, exemplified most famously by Jan van Eyck’s Portrait of Jan de Leeuw and Portrait of his Wife Margareta (Vienna, respectively, Kunsthistorisches Museum and Groeningemuseum, Bruges), whose sitters address the viewer directly, their ability to speak paralleling the lifelikeness and immediacy of their visual depiction. The inscription on this panel is signed with a monogram reminiscent of notaries’ calligraphic seals, which granted authenticity to legal acts of the period. It has so far been impossible to identify the enigmatic owner Paulo de Solis or Paolo da Sole. He may have been the sitter himself, although the wording suggests otherwise. Rather, he may have been relative or an acquaintance of the sitter, keen to own a likeness of a loved one, or an independent patron of the arts smitten by the magnetic quality of this work.

Christie’s. RENAISSANCE, 28 January 2015, New York, Rockefeller Plaza.

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