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Alain.R.Truong

Alain.R.Truong

Archives Journalières: 5 février 2015

Museum acquires important paintings by Cézanne, Manet, Pissarro, Morisot, and Duchamp

05 jeudi Fév 2015

Posted by alaintruong2014 in Impressionist & Modern Art

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'Avenue de l'Opéra: Morning Sunshine', 'Basket of Fruit', 'Mont Sainte-Victoire', 'Portrait of Gustave Candel’s Father', 'Young Girl with Basket', 1898, Berthe Morisot, Camille Pissarro, Edouard Manet, Marcel Duchamp, Paul Cézanne

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‘Mont Sainte-Victoire’, Paul Cézanne, French, 1839 – 1906. Philadelphia Museum of Art © 2015 Philadelphia Museum of Art

PHILADELPHIA, PA.- The Philadelphia Museum of Art announced today several important gifts to its collection. As a bequest from longtime supporter Helen Tyson Madeira are five paintings by French artists, including Mont Sainte-Victoire (1902–6) by Paul Cézanne; Basket of Fruit (1864) by Édouard Manet; Railroad to Dieppe (1886) and Avenue de l’Opéra: Morning Sunshine (1898), both by Camille Pissarro; and Young Girl with Basket (1892) by Berthe Morisot. In addition, two rare early portraits by Marcel Duchamp have been received from Yolande Candel, the daughter of Duchamp’s lifelong friend, Gustave Candel. They depict her grandparents and were painted in Paris in 1911–12.

These works, all of which are currently on view in the galleries, add greater depth to areas of the collection that are already very strong. The Philadelphia Museum of Art has extensive holdings of the works of Cézanne and houses the world’s largest collection of works by Duchamp.

Timothy Rub, the George D. Widener Director and CEO, stated: “The distinctive character of our collection is due largely to transformational gifts, almost all of which have come from Philadelphians who cared deeply about both this institution and their city. The extraordinary paintings bequeathed to us by Helen Madeira had long been promised to the Museum and can now be seen in the context of the great collection that was a bequest from her parents, Mr. and Mrs. Carroll S. Tyson, Jr., more than five decades ago.

Monumental in form and yet lyrical in character, Cézanne’s view of Mont Sainte-Victoire is among the masterpieces of the last decade of the artist’s life. Depicting one of his favorite motifs—a mountain near his home in Aix-en-Provence—the painting is composed of closely valued tones of blue, green, and ochre that form a sumptuous, tapestry-like surface of rich color. This work is presently installed in Women’s Committee Gallery 164 with two other late major works by Cézanne: a closely related painting of the same title executed from almost the same vantage point, and his celebrated The Large Bathers (1900–1906).

Manet’s Basket of Fruit is the first still life by this great nineteenth-century painter to enter the Museum’s collection. Depicting a small wicker basket filled with fruit atop a white tablecloth, its surface punctuated with prominent creases, the small painting is a superb example of Manet’s ability to animate the simplest forms through lively brushwork and the use of a simple, yet rich palette of colors. Basket of Fruit, on view in Lassin Gallery 153, approaches abstraction by taking simple objects as subject and concentrating on the physical aspects of the paint.

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‘Basket of Fruit’ (1864) by Édouard Manet, from longtime patron Helen Tyson Madeira. Philadelphia Museum of Art © 2015 Philadelphia Museum of Art.

Pissarro’s charming canvas Railroad to Dieppe depicts planted fields in summer under a blue sky inflected with notes of cream. In the middle distance a train approaches, smoke billowing, and to the right a dirt road leads past a country house stretching toward a low line of hills in the distance. The oldest of the Impressionists, Pissarro briefly embraced Pointillism in the 1880s, the decade in which he painted this picture. Later in his career he turned to the urban landscape for inspiration, producing a series of impressive panoramic views of Rouen and Paris, of which Avenue de l’Opéra: Morning Sunshine is a fine example. Both works are on view in Toll Gallery 152.

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‘Avenue de l’Opéra: Morning Sunshine’, 1898. Camille Pissarro, French, 1830 ‑ 1903. Oil on canvas, 26 x 32 1/4 inches (66 x 81.9 cm). Philadelphia Museum of Art, Bequest of Mrs. Helen Tyson Madeira, 1991.

In Berthe Morisot’s loosely brushed Young Girl with Basket, a seated figure relaxes on a cane chair, her back turned from the viewer and a hat covering her eyes. The painting hangs in the Alice Jones Eshleman and William Thomas Vogt Gallery 162.

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‘Young Girl with Basket’ (1892) by French painter Berthe Morisot. Philadelphia Museum of Art © 2015 Philadelphia Museum of Art.

Duchamp’s portraits of the parents of his friend Gustave Candel, on view in Anne d’Harnoncourt Gallery 182, were painted at a pivotal moment in Duchamp’s career and reflect the beginning of a radical shift in his approach to representation and, ultimately, to the function of the work of art itself. Portrait of Gustave Candel’s Father presents a realistically rendered figure seated comfortably in a three-quarter view. Portrait of Gustave Candel’s Mother is enigmatic in character. Her head and shoulders appear to be mounted on a vase-like, pedestaled stand. By contrast with the depiction of the husband, the treatment is cool and precise.

Yolande Candel said: “While growing up, I vividly recall Marcel expressing to my father his personal satisfaction with the fact that so much of his work remained together at the Philadelphia Museum of Art. . . . Furthermore, I think that both paintings would nicely complement the other early canvases by Marcel already in the Museum’s collection.”

Despite Duchamp’s status as one of the great artists of the twentieth century, he produced a relatively small number of works. The Museum’s collection contains 22 paintings, including these new gifts, executed between 1902 and 1914, and nearly 180 works in other media. The two portraits have been exhibited in a number of important exhibitions but have been the subject of little study until recently. Portrait of Gustave Candel’s Mother was recently on view in the exhibition Marcel Duchamp: Painting, Even at the Centre Georges Pompidou.

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‘Portrait of Gustave Candel’s Father’, 1911‑1912. Marcel Duchamp, American (born France), 1887 ‑ 1968. Oil on canvas, 28 3/4 x 21 5/8 inches (73 x 54.9 cm). Philadelphia Museum of Art, Gift of Mme Yolande Candel in memory of her father, Gustave Candel, and Marcel Duchamp, 2014. © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp.

Walker Art Center celebrates three-year initiative with exhibition ’75 Gifts for 75 Years’

05 jeudi Fév 2015

Posted by alaintruong2014 in Post-War and Contemporary Art

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1944, 1965, 1966–1998, 1998, 2005, Cut, Frank Stella, Isamu Noguchi, Kara Walker, LOVE, Luc Tuymans, Michelangelo Pistoletto, Remembrance, Robert Indiana, Timer, Troyanas, Uomo Alla Balconata (Man on a Balcony), Zilia Sánchez

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Isamu Noguchi, Remembrance, 1944. Gift of the Babe and Julie Davis Acquisition Fund, 2013.

MINNEAPOLIS, MN.- On the occasion of its 75th anniversary as a public art center, the Walker Art Center will present 75 Gifts for 75 Years, an exhibition on view February 5, 2015 through August 2, 2015 that showcases some of the newest works of art gifted to the Walker’s collection and underscores the tremendous impact that gifts of art have made on the institution’s collection throughout its history. The Walker, like many institutions, is indebted to the donors who have helped strengthen its holdings through significant gifts of art. While the Walker has made prescient purchases of works of art over the years through an endowment that supports acquisitions, often buying the work of artists early in their careers, this activity alone could not have built the museum into the preeminent repository of contemporary art that it is today.

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Frank Stella, Untitled, 1962. Metallic oil on canvas. 11-1/2 x 22-3/4 in. unframed. Gift of the Babe and Julie Davis Acquisition Fund, 2013.

The “75 Gifts” of the exhibition’s title refers to a selection of works that will celebrate the culmination of the Walker’s three-year initiative to solicit 75 donors to give generously from their personal or corporate collections on the occasion of this anniversary year. As a result of the initiative, more than 250 works of art from nearly 100 donors have been added through outright gift or promise, and 50 artists not previously in the Walker’s collection are now represented.

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Michelangelo Pistoletto, Uomo Alla Balconata (Man on a Balcony), 1965. Gift of Sage and John Cowles, 2014

75 Gifts for 75 Years will be on view concurrently with another anniversary exhibition, Art at the Center: 75 Years of Walker Collections, tracing the growth of the collection under the stewardship of Walker directors and curators since 1942. Curated by the Walker’s Executive Director Olga Viso and guest curator Joan Rothfuss, the exhibition looks at 75 years of collecting history distinguished not only by bold and often risk-taking purchases but also acquisitions that have consistently breached the boundaries of media or disciplines. Together, these exhibitions celebrate a milestone moment for an institution that is now one of the world’s leading centers for contemporary art.

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Zilia Sánchez, Troyanas, políptico (de la serie Módulos Infinitos) [Trojans, polyptych (of the Infinite Modules series)], 1967. Promised gift of Laura and John Taft ©Zilia Sánchez, Courtesy Galerie Lelong, New York.

“The 75th Anniversary Gifts Initiative has made a transformative difference to the collection,” says Walker Executive Director Olga Viso. “It has brought to us a number of works by artists active in the 1960s and early 70s who were not previously represented in the collection, such as the African American painter Beauford Delaney, or early conceptual and minimal artists Joseph Kosuth and Barry Le Va, as well as more contemporary figures like Michaël Borremans, Marlene Dumas and Luc Tuymans whose works would be difficult to purchase given the prices of their works in the current art market.” Alongside the Art at the Center exhibition, 75 Gifts for 75 Years demonstrates the important relationship between gifts and purchases and how these different approaches to building the collection often work in tandem. As Viso points out, “Visitors who visit both shows can readily see how the institution’s more experimental risk-taking purchases in the Burnet gallery that often have a more decidedly global focus, are complemented by gifts of works by artists working nationally and locally.”

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Robert Indiana, LOVE, 1966–1998. Promised gift ©2014 Morgan Art Foundation, Artists Rights Society (ARS), New York.

75 Gifts for 75 Years will include works across media, including gifts or promised gifts in the areas of painting, sculpture, drawing, photography, video, and prints made by artists active since the 1950s. This show will underscore the remarkable generosity of the Walker’s supporters from within the Twin Cities and around the globe, and will showcase the story of ongoing support that has helped the scope of the collection to broaden in important ways. Some of these more recent donations, including works by Robert Indiana, Joseph Kosuth, Claes Oldenburg, Ad Reinhardt, George Segal, Kara Walker, and Andy Warhol help to build on the Walker’s existing areas of strength; others, such as works by Beauford Delaney, Philip Guston, Franz Klein, and Gordon Matta-Clark fill historical gaps; while a range of works by established artists including Marlene Dumas, Barry Le Va, Steve McQueen, Lari Pitman and Luc Tuymans, are by artists new to the collection. Still other gifts have introduced younger artists to the Walker’s holdings who have received significant attention in recent years, such as Dianna Molzan, Tauba Auerbach, Walead Beshty, Sarah Crowner, Zak Prekop and many others. The gifts also include work by numerous artists from Minnesota, including Siah Armajani, Harriet Bart, Jay Heikes, Philip Larson, Scott Nedrelow, Ruben Nusz, David Rathman, Elizabeth Simonson, Alec Soth, and JoAnn Verburg.

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Kara Walker, Cut, 1998. Collection Walker Art Center, Minneapolis Gift of Donna MacMillian, 2013.

“We continue to be awed by the outpouring of support for the institution from donors committed to enhancing the depth and breadth of our holdings,” says Viso. “This effort has brought together individuals across generations, both within our community and around the globe who not only wish to gift us choice works they may have already collected but are also eager to help us acquire prospectively into the future to ensure that the Walker’s collection boldly reflects the art of our time. From artists and friends, to museum members, to new Board members and longtime trustees, the level of participation is unprecedented. It is truly a remarkable moment and indeed several individuals have promised significant bodies of work from their collections.”

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Luc Tuymans, Timer, 2005. Gift of Beth Swofford, 2013.

Exhibition features more than 40 costumes from the popular PBS Masterpiece series Downton Abbey

05 jeudi Fév 2015

Posted by alaintruong2014 in Costume and Textiles

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Biltmore, Downton Abbey

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Downton Abbey (PBS) Season 1,2010. Shown: Shown from left: Hugh Bonneville, Elizabeth McGovern. FILM STILL CREDIT: ©Carnival Films

ASHEVILLE, NC.- Biltmore announces a new exhibition, “Dressing Downton: Changing Fashion for Changing Times,” opening February 5 and continuing through Memorial Day, May 25, 2015. Designed by Exhibits Development Group in cooperation with Cosprop Ltd., London, the exhibition features more than 40 costumes from the popular PBS Masterpiece series “Downton Abbey.” The clothing will be showcased in rooms throughout Biltmore House in groupings inspired by the fictional show and by real life at Biltmore, the grand Vanderbilt estate of the same era.

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Downton Abbey (PBS)Season 1,2010. Shown: Maggy Smith. FILM STILL CREDIT: ©Carnival Films.

Although “Downton Abbey” is fictional, the show depicts an era of great change. The period costumes in the exhibition act as a window into history beginning in 1912 with the sinking of the Titanic, moving into the tumultuous years of World War I, and finally through the dawn of the Jazz Age in the early 1920s. The waves of social change felt abroad also had lasting impact on the Vanderbilts, their servants, and Biltmore as a whole. New stories will be shared about George Vanderbilt, his wife Edith, and their daughter Cornelia, who lived in the 250-room Biltmore House.

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Downton Abbey (PBS)Season 1,2010. Shown: Maids in line. FILM STILL CREDIT: ©Carnival Films.

The Vanderbilts’ home bears striking visual resemblance to the show’s setting at Highclere Castle, making it easy for visitors to blur storylines and experience for themselves a bit of life a hundred years ago. “The day-to-day running of the house was surprisingly similar to that of Downton Abbey,” says Biltmore’s Director of Museum Services Ellen Rickman. “Just like Downton has Mr. Carson and Mrs. Hughes, Biltmore had its own cast of fascinating characters. Displaying these fabulous costumes from the show gives us an unparalleled opportunity to delve into Biltmore’s stories.”

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Downton Abbey (PBS). FILM STILL CREDIT: ©Carnival Films.

Themes in the exhibition include the evolution of fashion, nuances of etiquette and the changing roles of women. The life of service staff will also be explored, including the role of British citizens who worked at Biltmore. Costumes on display will range from country tweeds, to servants’ uniforms, to lavish gowns and evening attire cut from fine fabrics and decorated with intricate embroidery, lace and beading. The award-winning costumes, created by renowned London costume house Cosprop Ltd., were designed with inspiration from old photographs and historic patterns. Some are original pieces from the time period, while others incorporate antique decorative elements that inspired the overall costume design.

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Downton Abbey (PBS). FILM STILL CREDIT: ©Carnival Films.

Admission to the exhibition is included in the price of regular estate ticket purchases. Complementing the exhibition will be a series of estate-wide special events at Biltmore to be announced at a later date.

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Downton Abbey (PBS). FILM STILL CREDIT: ©Carnival Films.

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Downton Abbey (PBS). FILM STILL CREDIT: ©Carnival Films.

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Downton Abbey (PBS). FILM STILL CREDIT: ©Carnival Films.

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Downton Abbey (PBS). FILM STILL CREDIT: ©Carnival Films.

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Downton Abbey (PBS). FILM STILL CREDIT: ©Carnival Films.

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Costumes worn by Lady Mary Crawley, left, and Matthew Crawley in « Downton Abbey » stand on display in the billiards room at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Outfits worn by Cora and Robert Crawley, Countess and Earl of Grantham in « Downton Abbey » stand on display in the Banquet Hall at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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An outfit worn by Cora Crawley, Countess of Grantham in « Downton Abbey » stands on display in the Banquet Hall at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Outfits worn by Robert Crawley, Earl of Grantham in « Downton Abbey » stands on display in the Banquet Hall at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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An outfit worn by Charles Carson, the butler in « Downton Abbey » stands on display in the Banquet Hall at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Outfits worn by Violet Crawley, Dowager Countess of Grantham, foreground, and Robert and Cora Crawley, Earl and Countess of Grantham, background in « Downton Abbey » stand on display at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Outfits worn by Robert and Cora Crawley, Earl and Countess of Grantham in « Downton Abbey » stand on display at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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A dress worn by Cora Crawley, Countess of Grantham in « Downton Abbey » stands on display at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Outfits worn by Robert and Cora Crawley, Earl and Countess of Grantham in « Downton Abbey » stand on display at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Outfits worn by Lady Sybil Crawley, left, and Lady Edith Crawley in « Downton Abbey » stand on display at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Outfits worn by Matthew Crawley, left, and Lady Mary Crawley in « Downton Abbey » stand on display at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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A dress worn by Lady Mary Crawley in « Downton Abbey » stands on display in the library at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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A dress worn by Lady Mary Crawley in « Downton Abbey » stands on display in the library at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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An outfit worn by Lady Edith Crawley in « Downton Abbey » stands on display in the Tapestry Gallery at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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An outfit worn by Lady Edith Crawley in « Downton Abbey » stands on display in the Tapestry Gallery at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Traveling outfits worn by Ladies Mary and Edith Crawley in « Downton Abbey » stand on display in the Tapestry Gallery at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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An outfit worn by chauffeur Tom Branson in « Downton Abbey » stands on display in the Tapestry Gallery at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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An outfit worn by Lady Sybil Crawley in « Downton Abbey » stands on display in the Tapestry Gallery at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Outfits worn by Martha Levinson, left, Violet Crawley, Dowager Countess of Grantham, center, and Lady Edith Crawley in « Downton Abbey » stand on display in the second floor living hall at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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A dress worn by Lady Edith Crawley in « Downton Abbey » stands on display in the second floor living hall at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Outfits worn by Martha Levinson, left, and Violet Crawley, Dowager Countess of Grantham, in « Downton Abbey » stand on display in the second floor living hall at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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A tweed wool suit worn by Robert Crawley, Earl of Grantham in « Downton Abbey » stands on display in the Mr. Vanderbilt’s Bedroom at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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A tweed wool suit worn by Robert Crawley, Earl of Grantham in « Downton Abbey » stands on display in the Mr. Vanderbilt’s Bedroom at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Outfits worn by Lady Sybil Crawley, left, and Virginia Woolf in « Downton Abbey » stand on display at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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A dress worn by Lady Mary Crawley in « Downton Abbey » stands alongside a traditional lady’s maid dress in Mrs. Vanderbilt’s Bedroom at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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A dress worn by Lady Mary Crawley in « Downton Abbey » stands alongside a traditional lady’s maid dress in Mrs. Vanderbilt’s Bedroom at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Costumes worn in Season 4 of « Downton Abbey » stand on display in the third floor living hall at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Costumes worn by debutantes in « Downton Abbey » stand on display in the third floor living hall at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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An outfit worn by American jazz singer Jack Ross in « Downton Abbey » stands on display in the third floor living hall at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Dresses worn by Violet Crawley, Dowager Countess of Grantham, left, and Cora Crawley, Countess of Grantham, in « Downton Abbey » stand on display at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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A dress worn by Violet Crawley, Dowager Countess of Grantham, in « Downton Abbey » stands on display at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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An outfit worn by Martha Levinson in « Downton Abbey » stands on display at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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A dress worn by Cora Crawley, Countess of Grantham, in « Downton Abbey » stands on display in the Louis XV room at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Outfits worn by Matthew Crawley, left, and Harold Levinson in « Downton Abbey » stand on display in the lower floor at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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A day suit worn by Matthew Crawley « Downton Abbey » stands on display in the lower floor at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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A suit worn by Harold Levinson in « Downton Abbey » stands on display in the lower floor at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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An outfit worn by Beryl Patmore, cook in « Downton Abbey », stands on display in the kitchen at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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An outfit worn by assistant cook Daisy in « Downton Abbey » stands on display in the kitchen at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Clothes worn by a footman and a valet in ‘Downton Abbey’ costumes stand on display in the servants dining room at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Clothes worn by the housekeeper and a maid in ‘Downton Abbey’ costumes stand on display in the servants dining room at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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Servants clothing from ‘Downton Abbey’ costumes stand on display in the servants dining room at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

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« Downton Abbey » costumes stand on display in a first floor room at Biltmore (Photo: Katie Bailey/bkbailey@citizen-times.com)

Christie’s Evening Sales of Impressionist, Modern + Surrealist Art total $222 million

05 jeudi Fév 2015

Posted by alaintruong2014 in Auctions, Impressionist & Modern Art

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"La lampe", "Vue sur L'Estaque et le Château d'If ", 'Badende am Waldteich', 'Femme de Venise V', 'Jeune fille au cheval', 'L’Oiseau au plumage déployé vole vers l’arbre argenté', 'Les deux filles', 'Painting (Women, 'Quand l'heure sonnera', 'Three Piece Reclining Figure No. 2 (Bridge Prop)', Alberto Giacometti, Amedeo Modigliani, Birds, Erich Heckel, Henry Moore, Joan Miró, Juan Gris, Marc Chagall, Moon, Paul Cézanne, René Magritte

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Members of staff carry a painting by Paul Cezanne entitled « Vue sur L’Estaque et le Chateau d’lf, » which is estimatd at 8-12 million British pounds (12-18 million USD, 10.5-16 million Euros), during the impressionist, modern and surreal art preview at Christie’s auction house in central London on January 30, 2015. AFP PHOTO / BEN STANSALL.

LONDON.- The Evening Sales of Impressionist and Modern Art and The Art of the Surreal that took place at Christie’s London on 4 February realised a combined total of £147,031,000/$222,751,965/€194,080,920, selling 88% by lot and 94% by value. The auctions had a combined pre-sale estimate of £92.8 million to £133.8 million. The top price was achieved by Joan Miró’s Painting (Women, Moon, Birds), which sold for £15,538,500/ $23,540,828/ €20,510,820 against an estimate of £4 million to £7 million. In total, 36 works of art sold for over £1 million / 45 for over $1 million.

Jay Vincze, International Director and Head of The Impressionist and Modern Art Department, Christie’s London: “We are very pleased with the strong results of this evening’s sales of Impressionist, Modern and Surrealist art which exceeded the top pre-sale estimate and welcomed registered bidders from 34 countries across 5 continents. The broad range of styles and periods of the works offered – many of which came to the market for the first time in generations – contributed to the extraordinary depth of bidding we witnessed. Pan Asian buyers continue to compete for the best works across 20th century avant-garde art, notably extending this season to Surrealist masters such as Magritte, Ernst and Dominguez. This is a strong start to the overall week of five sales for the category at Christie’s in London, which presents new and established collectors with opportunities across price levels.”

Olivier Camu, Deputy Chairman, Impressionist and Modern Art, Christie’s: “This is the first ever surrealist to sale to break the $100 million barrier; this is an exciting moment made possible by the inclusion of two important private European collections which also included Impressionist and Modern works. One of the collections had been hidden away for 50 years and had never come to auction. A great evening for Magritte and Miró: the sale set record prices for a Post-War Miró and a new record for a Magritte work on paper; all 9 Magrittes offered were 100% sold.”

Further leading highlights of the sale include:

Leading the sale’s Impressionist selection was Vue sur L’Estaque et Le Château d’If, circa 1883-1885 by Paul Cézanne, which realised £13,522,500/$20,486,588/€17,849,700 (estimate: £8-12 million). This work was acquired in 1936 by Samuel Courtauld, founder of the illustrious Courtauld Gallery and Institute of Art in London. The auction marked the first time that Vue sur L’Estaque et Le Château d’If has appeared on the market in almost 80 years.

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Paul Cézanne (1839-1906), « Vue sur L’Estaque et le Château d’If « , oil on canvas, 28 3/4 x 23 1/2 in. (73 x 59.7 cm.). Painted circa 1883-1885. Estimate £8,000,000 – £12,000,000 ($12,120,000 – $18,180,000). Price Realized £9,154,500 ($13,740,905). Photo Christie’s Image Ltd 2015

The auction included six works by Joan Miró, which provided the market with what is arguably the best group of works by the artist to be offered in a single sale. The selection achieved a combined total of £32,700,500/$58,700,932/€43,164,660, and was led by the auction’s top lot, Painting (Women, Moon, Birds), which sold for £15,538,500/ $23,540,828/ €20,510,820 (estimate: £4-7 million). The 1950 canvas was executed during the artist’s prodigious post-war period and comes from a Private European collection. It has never before appeared at auction.

Joan-Miró-Painting-Women-Moon-Birds-1950-via-Christies

Joan Miró (1893-1983), ‘L’Oiseau au plumage déployé vole vers l’arbre argenté’, signed ‘Miró’ (lower centre); signed, dated and titled ‘Miró. 1953. L’OISEAU AU PLUMAGE DEPLOYÉ VOLE VERS L’ARBRE ARGENTÉ.’ (on the reverse), oil on canvas, 35 3/8 x 45 3/4 in. (90 x 116 cm.) Painted in 1953. Estimate £7,000,000 – £9,000,000 ($10,507,000 – $13,509,000). Price Realized £15,538,500 ($23,323,289). Photo Christie’s Image Ltd 2015

Also highlighting the selection of works by Miró was his masterful L’oiseau au plumage déployé vole vers l’arbre argenté, 1953, which realised £9,154,500/$13,869,068/€12,083,940 (estimate: £7-9 million).

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Joan Miró (1893-1983), ‘Painting (Women, Moon, Birds)’, signed and dated ‘Miró 1950’ (on the reverse), oil on canvas, 44 7/8 x 57 1/2 (114 x 146 cm.) Painted in 1950. Estimate £4,000,000 – £7,000,000 ($6,004,000 – $10,507,000)). Price Realized £15,538,500 ($23,323,289). Photo Christie’s Image Ltd 2015

La Lampe, 1914, by Juan Gris fetched £4,562,500 /$6,912,188/ €6,022,500, (estimate: £2.5-3.5 million). This work is considered to be among the artist’s greatest contributions to Cubism, establishing Gris as a leading innovator of the revolutionary movement and placing him alongside Picasso and Braque. Christie’s set a new benchmark for the artist in February 2014 when Nature morte à la nappe à carreaux, 1915, sold for £34,802,500, setting a world record price for the artist at auction.

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Juan Gris (1887-1927), « La lampe », signed ‘Juan Gris’ (on the reverse), paper collage, gouache and charcoal on canvas, 21 3/4 x 18 1/4 in. (55.2 x 46.3 cm.). Executed in May – June 1914. Estimate £2,500,000 – £3,500,000 ($3,787,500 – $5,302,500). Price Realized £4,562,500 ($6,848,313). Photo Christie’s Image Ltd 2015

Femme de Venise V by Alberto Giacometti, which was offered from A Distinguished European Collection, realised £6,802,500/$10,305,788/€8,979,300 (estimate: £6-8 million). With an extraordinarily rich brown and green patina the bronze belongs to the renowned series of sculptures created for the Venice Biennale of the same year; it was conceived in 1956 and cast in the artist’s lifetime.

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Alberto Giacometti (1901-1966), ‘Femme de Venise V’, signed and numbered ‘Alberto Giacometti 4/6’ (on the left side of the base); inscribed with the foundry mark ‘Susse Fond Paris’ (on the back of the base), bronze with brown and green patina. Height: 43 1/4 in. (110 cm). Conceived in 1956 and cast in 1958. Estimate £6,000,000 – £8,000,000 ($9,090,000 – $12,120,000). Price Realized £6,802,500 ($10,210,553). Photo Christie’s Image Ltd 2015

Amedeo Modigliani’s rare double portrait Les deux filles, 1918, sold for £7,586,500/ $11,493,548/ €10,014,180, it was offered from A Distinguished European Collection, (estimate: £6-8 million).

Amedeo-Modigliani-1884-1920-Les-Deux-Filles-1918-Via-Christies

Amedeo Modigliani (1884-1920), ‘Les deux filles’, oil on canvas, 39 3/8 x 25 5/8 in. (100 x 65.1 cm). Painted in 1918. Estimate £6,000,000 – £8,000,000 ($9,090,000 – $12,120,000). Price Realized £7,586,500 ($11,387,337). Photo Christie’s Image Ltd 2015

Leading the group of works offered from The Collection of Carl Hagemann, was one of the masterpieces of Die Brücke art, Erich Heckel’s Badende am Waldteich. The 1910 canvas realised £2,994,500/ $4,536,668 /€3,952,740 (estimate: £1.5-2 million), and set a world auction record for the artist.

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Erich Heckel (1883-1970), ‘Badende am Waldteich’, signed with the initials and dated ‘EH 10’ (lower left); signed and dated ‘Erich Heckel 10’ (on the reverse); titled ‘Badende am Waldteich’ (on the stretcher), oil on canvas, 32 3/8 x 37 7/8 in. (82.2 x 96.2 cm). Painted in 1910. Estimate £1,500,000 – £2,500,000 ($2,272,500 – $3,787,500). Price Realized £2,994,500 ($4,494,745). Photo Christie’s Image Ltd 2015

Offered from a Private German Collection, Three Piece Reclining Figure No. 2 (Bridge Prop), a monumental sculpture by Henry Moore, is a powerful example of the artist’s unique ability to balance figuration and abstraction in a sculptural, three-dimensional form, it fetched £4,338,500/ $6,572,828/€ 5,726,820 (estimate: £2-3 million). Conceived in 1963 and cast in an edition of six, other casts are housed in major museums and collections across the world.

Henry-Moore-Three-Piece-Reclining-Figure-No.-2-Bridge-Prop-1963-via-Christies

Henry Moore (1898-1986), ‘Three Piece Reclining Figure No. 2 (Bridge Prop)’, signed ‘Moore’ (on the bottom of the left leg), inscribed with the foundry mark and numbered ‘H. NOACK BERLIN 4/6’ (on the lower extremity between the legs), bronze with green patina. Length (including base): 99 in. (251.5 cm.) Width (including base): 51 7/8 in. (132 cm.) Height (including base): 42 1/2 in. (108 cm.) Conceived in 1963 and cast in an edition of six. Estimate £2,000,000 – £3,000,000 ($3,030,000 – $4,545,000). Price Realized £4,338,500 ($6,512,089). Photo Christie’s Image Ltd 2015

Among the 9 works by René Magritte in the sale the top lot was Quand l’heure sonnera, which realised £4,338,500/ $6,572,828/ €5,726,820 (estimate: £2.5-3.5). The group offered constitutes the most extraordinary and extensive selection of works by the artist to come to the market since the landmark Harry Torczyner sale that took place in 1998 at Christie’s New York.

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René Magritte (1898-1967), ‘Quand l’heure sonnera’, signed ‘Magritte’ (lower right); titled ‘Quand l’Heure sonnera’ (on the reverse), oil on canvas, 39 3/8 x 31 7/8 in. (100 x 81 cm.) Painted circa 1964-1965. Estimate £2,500,000 – £3,500,000 ($3,752,500 – $5,253,500). Price Realized £4,338,500 ($6,512,089). Photo Christie’s Image Ltd 2015

Presented at auction for the first time, having been acquired by A Private European Family almost 60 years ago, Jeune fille au cheval, 1927-1929, by Marc Chagall realised £5,906,500 / $8,948,348/ €7,796,580 (estimate: £2.2-2.8 million).

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Marc Chagall (1887-1985), ‘Jeune fille au cheval’, signed and dated ‘Marc Chagall 929’ (lower left), oil on canvas, 30 1/4 x 39 7/8 in. (77 x 101.5 cm.) Painted in 1927-1929. Estimate £2,200,000 – £2,800,000 ($3,302,200 – $4,202,800). Price Realized £5,906,500 ($8,865,657). Photo Christie’s Image Ltd 2015

Lanvin-Castillo, 1951

05 jeudi Fév 2015

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1951, Gordon Parks, Lanvin-Castillo, Norman Park, Pottier

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Lanvin-Castillo, 1951. Photo by Gordon Parks.

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Lanvin-Castillo, 1951. A buyer sampling an evening dress on a model to check its quality. Photo by Norman Park.

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Model in white satin coat, minutely and finely quilted, over white dress with same quilted yoke by Lanvin-Castillo. Photo by Pottier, 1951

Liv Ballard, Spinning Orb earrings & Cosmos gold cuff

05 jeudi Fév 2015

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Cosmos gold cuff, Liv Ballard, Spinning Orb earrings

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Liv Ballard Spinning Orb earrings in gold with yellow and white pavé diamonds.

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Liv Ballard Cosmos gold cuff with pavé diamonds.

Liv Ballard

Hirsh London, Orion ring, Celestial collection

05 jeudi Fév 2015

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Celestial collection, Hirsh London, Orion ring

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Hirsh London Orion white gold and diamond ring, from the new Celestial collection.

Lara Bohinc, Planetaria ring

05 jeudi Fév 2015

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Lara Bohinc, Planetaria ring

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Lara Bohinc’s Planetaria ring – a nod to Copernicus’ astronomical model – features a gold frame surrounding a translucent rock quartz.

Noor Fares, Tilsam collection

05 jeudi Fév 2015

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Celesta moonstone ring, Dora pendant, Noor Fares, Tilsam collection

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Noor Fares Celesta moonstone ring in yellow gold, from the new Tilsam collection.

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Noor Fares Dora pendant featuring a rock crystal quartz sphere set in grey gold with white diamonds, from the new Tilsam collection.

Noor Fares

Stars and Moons necklace by Jean Schlumberger for Tiffany & Co, circa 1950s

05 jeudi Fév 2015

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circa 1950's, Jean Schlumberger, Stars and Moons necklace, Tiffany & Co

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Jean Schlumberger designed the iconic Stars and Moons necklace for Tiffany & Co in the 1950s. The necklace was recreated in celebration of Tiffany’s 175th anniversary in 2012.

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