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Alain.R.Truong

Alain.R.Truong

Archives de Catégorie: Islamic Art

Iranian Textile History from the Nazmiyal Archives

16 lundi Fév 2015

Posted by alaintruong2014 in Islamic Art

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circa 17th century, circa 1900, Circa Mid 19th Century, Ghashgai, Persian, Persian Overcoat, Silk Textile, Suzani Embroidery

New York – The recorded history of the civilization of the area now known as Iran stretches back to the third millennium BCE, and their textile production goes back even farther. Situated between the Caspian Sea and the Persian Gulf, the region of modern day Iran has been a trading city and cultural epicenter for thousands of years. It has seen the rise and fall of many different dynasties and cultures, which have all left distinct marks on the artistic output of the area, giving Iran’s textiles a unique look and history that is impossible to replicate. In this blog post, we’ll take a deeper look at several examples of antique and vintage Iranian textiles in the Nazmiyal Collection, and explore their cultural context and significance.

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Antique Persian Suzani Embroidery, Circa 17th Century. Photo courtesy Nazmiyal Collection

This embroidered textile was made in the 17th Century, at the height of the Safavid Empire’s dynasty in Iran. The Safavid period is considered by historians to be a peak time of artistry in the region, as the rulers of this dynasty allotted large sums for cultural enrichment and state-sponsored crafts and exports. The Safavid Era began in Iran at the start of the 16th century. The Safavid rulers were able to unite the various territories of Iran, and strengthened their power by establishing new military and political organizations within the region. As a result, a more unified culture was established, complete with its own aesthetics for architecture, artwork, and woven crafts.

The textiles that have survived from this period are regarded as some of the most brilliant embroideries and carpets of the region’s history. Many have floral designs, featuring symbolic cypress trees and boteh plants, while others are more scenic, giving viewers a rare look into the styles of dress and lifestyle of 16th and 17th century Persians. The textiles created during this time period were used as both decorative fabrics as well as made into clothing. Wealthy members of the Safavid court are recorded to have taken great pride in the number of silk and embroidered garments they owned, and it is written that Shah Tahmasp I (1514 – 76) was rumored to change his outfit an astounding fifty times per day!

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Antique Persian Silk Textile, Circa Mid 19th Century. Photo courtesy Nazmiyal Collection

Although the Safavid Era is considered one of the greatest in Persian history, it fell in the mid 18th century, over a period of seven major conflicts and five decades of fighting, which drove the lives of the people of the region into turmoil. Because of this, artistic production during the 18th century declined, although textiles were still being produced on a smaller scale.

At the beginning of the 19th century, a new dynastic family, the Qajars, came into power. This family had the intimidating task of rebuilding a land so ravaged by civil war that at the time, a member of the French Embassy referred to Persia as “more or less a vast cemetery”. In order to establish themselves as the undisputed rulers of the war-torn region, the Qajar family carefully established its image to resemble high-powered leaders from the region’s more glorious past, from the decoration of their lavish palaces, to their gold embroidered and jewel adorned robes.

The rulers of the Qajar dynasty, which would last until 1925, were excellent at using art as propaganda to establish their power. They were dedicated to exhibiting their wealth, and so the Qajar court employed many skilled tailors, and textile creation once again reached the height of opulence and extravagant detail. Although tailors were employed by the courts, textile weaving and embroidery was still a cottage industry in the region, and contracts were assigned to various skilled weavers in cities like Kerman, Isfahan, Tabriz, and Kashan.

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Antique Ghashgai Persian Overcoat, Circa 1900. Antique Persian Silk Textile, Circa Mid 19th Century. Photo courtesy Nazmiyal Collection.

For the majority of the 19th century, much of the textiles created in Persia were sold locally. While Western Europe was increasingly interested in gaining territory in the middle east, their interest did not extend to buying finished products from the region until the turn of the 20th century. The one outlier of this trend is Russia, which from the onset of the 19th century was a major importer of Iranian goods and textiles. The Russian market for Persian ikats and paisleys continued to gain strength from the early 1800’s on.

An influx of of factory-made European fabrics into Persia starting in the 1840’s damaged the Iranian textile industry immensely, as they were much less expensive than Persian-made fabrics, but could be printed with the same patterns to suit Iranians’ tastes. Large import taxes were placed on European goods by the Shahs in order to help Iranian industry, but for a time it seemed the region’s textile industry would never recover from the hit of cheap European imports. To make matters worse, a severe famine at the end of the 19th century left one-third of the population of Southern Persia dead, and 284 textile workshops in Isfahan were forced to close. It appeared that the region was destined to rely on European imports to survive.

Although textile manufacturing in Iran took a hard blow at the end of the 19th century, weaving and embroidery were still respected crafts, and luxury Persian-made fabrics and garments were still in high demand by Iranians who could afford them. This overcoat is an example of one such luxury garment. Overcoats such as this were only worn by the wealthiest members of society, and were elaborately detailed and embroidered with metallic threads. The long sleeves of these coats were either worn fastened to the wrist with ties or buttons, or open and left hanging by the wearer’s sides. The sleeves of these coats were woven to be extra long, to allow the wearer to conceal his hands within them, which was a sign of respect when in the company of a higher-ranking official.

Ironically, although the Iranian textile industry was on the decline, European taste for equally elaborate Persian carpets and rugs during the late 19th and early 20th century was exploding, and exports to Europe and the United States rose steadily. Despite Iran’s tumultuous history, it cannot be denied that the region’s textiles are some of the finest and most elegant in all of the world. The Nazmiyal Collection is proud to showcase its Iranian textiles, and to help bring awareness to the craftsmanship of these beautiful, historic fabrics.

Sabre oriental de parade, Art ottoman, Fin du XIXe siècle

06 vendredi Fév 2015

Posted by alaintruong2014 in Islamic Art

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Art ottoman, fin du XIXe siècle, Sabre oriental de parade

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Sabre oriental de parade, Art ottoman, Fin du XIXe siècle. Estimation 6 000 € – 8 000 €. Photo Jean-Emmanuel Prunier SVV

la lame légèrement courbe est gravée et incisée de motifs de tougra, la poignée est en ivoire et la garde en laiton doré sertie de corail, le fourreau en bois recouvert de soie rouge et garnitures de laiton décorées, gravées et incrustées de corail.

SVV JEAN EMMANUEL PRUNIER. Haute Epoque Moyen age et curiosités, art africain, Asie. Dimanche 15 février à 14h15 à Louviers. Contact : Tél. : 02 32 40 22 30 – Fax : 02 32 25 15 05 – info@prunierauction.com

Royal and aristocratic heirlooms from the four corners of the world to be auctioned at Sotheby’s London

03 mardi Fév 2015

Posted by alaintruong2014 in 19th Century Furniture & Sculpture, Chinese works of Art, European Sculpture & Works of Art, Gold Boxes & Objects of Vertu, Islamic Art

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20th century, Alexis De Caix, Amélie of Leuchtenberg, antique marble inlaid table top, Archduke Franz Ferdinand, Berlin, Bridge & Rundell, brown aventurine quartz, cheval mirror, circa 1805, circa 1855-1871, circa 1865, circa 1890, circa 1903, Emperor Maximilian of Mexico, Empress of Brazil, Florence, Guangxu period, hunting sword, Louis-François Tronquoy, M. Fadderjahn, Marquess of Ormonde, Napoleon III, Opificio delle Pietre Dure, Paris, Pierre Barthélemy Dejante, presentation dagger, presentation snuff box, Prince Heinrich of Prussia, Qing dynasty, Renaissance Style, ruyi scepter, Saudi Royal family, Silver Model of The Warship Kaiser Friedrich III, snuff box, Stanislaus Striberny, surtout de table, Vienna

LONDON.- Following the great success of last year’s “Of Royal and Noble Descent” sale, Sotheby’s London will present a further selection of 250 exceptional royal and aristocratic heirlooms on Tuesday, 24 February 2015. Covering centuries of history and originating from the four corners of the world, including China, Latin America, Saudi Arabia and Europe, this sensational group of furniture, paintings and precious objects not only boasts royal and noble provenance, but also exemplifies the creativity and craftsmanship of their era.

Discussing the forthcoming sale, João Magalhães, Sotheby’s Specialist in Continental Furniture, said: “Having survived through inheritance, many of the lots in the sale have fascinating stories to tell and will appear on the market for the first time. This is an exciting auction covering a wide range of categories, including paintings, furniture, silver, Decorative Arts and Jewellery and we look forward to welcoming collectors to our public exhibition in a couple of weeks.”

Highlights in the sale include:

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A rare set of 24 portraits of Roman emperors and their consorts, in classical poses, dressed in armour and draped clothing, together with the personification of Rome. After Tiziano Vecellio, called Titian, first half of 18th century Est. £80,000-120,000 (€102,000-153,000). Photo Sotheby’s.

This series of panels painted on grey marble derive from a set of 24 prints by the Flemish 16th century engraver Aegidius Sadeler II, of which the 12 portraits of the emperors were done after paintings by Titian. Portrait series showing Roman emperors and empresses were in high demand from the late 17th century onwards, mainly due to the increasing popularity of the ‘Grand Tour’ and these are particularly rare for being painted on marble.

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Prince Heinrich of Prussia’s Silver Model of The Warship Kaiser Friedrich III. M. Fadderjahn (Silberwarenfabrik), Berlin, circa 1903. Est. £60,000-100,000 (€76,500-128,000). Photo Sotheby’s.

Made by the Berlin maker M. Fadderjahn circa 1903, this impressive model was presented to Prince Heinrich of Prussia (1862-1929), Inspector-General of the Navy and younger brother of German Emperor William II. It is a model of the warship SMS KAISER FRIEDRICH III which was launched in 1896 by the Emperor in person, in the name of his father, and was a lead ship of the Imperial fleet. Elaborate silver ship models like the present one were very popular as prestigious gifts for the German Empire’s high nobility and the high military command. However, only a few pieces have survived to this day.

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A wood ruyi scepter, Qing Dynasty, Guangxu Period. Est. £30,000-50,000 (€38,300-64,000). Photo Sotheby’s.

This hardstone, coral and ivory-inlaid wood ruyi sceptre is accompanied by a shaped textile support bearing an inscription meaning “Presented by Gang Yi (1837-1900), who was the Governor of Guangdong during Guangxu period”. According to family tradition, this exquisite piece was acquired by a member of the Brockholst Livingston family (relative of the famous American Revolutionary War officer Henry Brockholst Livingston) during a visit to China in 1863 and thence by descent to the present owner, a German Count.

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A Renaissance style antique marble inlaid table top 2007-2012, executed by the Opificio delle Pietre Dure, Florence with antique stones and marble. Est. £20,000-30,000 (€25,500-38,300).

This exquisite table top was produced over the course of five years by the Opificio delle Pietre Dure, heir to a workshop established by Grand Duke Ferdinando I de Medici in Florence in 1588 and renowned for its works of art made of semiprecious stones and marbles. Inspired by Antiquity and often using Imperial Roman marbles, the workshop’s extraordinary production of table tops, cabinets and decorative panels were highly sought after by European royalty and aristocracy in the 16th-18th centuries.

The present table top was inspired by a late 16th century top, known as the “Medici Treasury”, today in the Museo degli Argenti, Florence. Exclusively made using traditional tools and technique, it features stones from the actual Medicean collection of antique marble and stones, which the Florentine patrons brought over from Rome in large quantities as prize possessions.

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The Archduke Franz Ferdinand hunting sword by Stanislaus Striberny, circa 1890, Vienna. Est. £8,000-12,000 (€10,200-15,300). Photo Sotheby’s.

In 1892, Archudke Franz Ferdinand of Austria-Este, heir to the AustroHungarian Empire, embarked on an around the world journey. Testament to his travel to Nepal and his great passion for hunting is a sword he gave in 1893 to Prem Shamsher Rana, nephew of the Maharaja of Lambjang and Kaski, Prime Minister of Nepal. Made in Vienna by Stanislaus Striberny, circa 1890, this sword is mentioned in the Archduke’s detailed travel diaries. A photograph of Prem Shamsher Rana proudly holding the received gift still exists in the collections of the Weltmuseum in Vienna.

AN IMPORTANT COLLECTION OF ROYAL AND IMPERIAL PRESENTATION BOXES

The sale also comprises a group of ten royal and imperial presentation boxes, led by jewelled pieces featuring the cyphers of Napoleon III and Mexican Emperor Maximilian.

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A  presentation snuff box with the cypher of Napoleon III. Made by Louis-François Tronquoy, Paris, circa 1855-1871. Est. £15,000-20,000 (€19,200-25,500). Photo Sotheby’s.

This jewelled, gold and enamel imperial box was made by LouisFrançois Tronquoy, a prolific snuff box maker and the chief supplier of presentation boxes to Napoleon III. Featuring the cypher of the Emperor of the French, it is further applied with rose-diamond bees. Symbol of immortality and resurrection, the bee was chosen by Napoleon I to link the new dynasty to the very origins of France and was subsequently adopted by Napoleon III.

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A snuff-box with the cypher of Emperor Maximilian of Mexico’s, circa 1865. Est. £5,000-7,000 (€6,400-9,000). Photo Sotheby’s.

The brown aventurine quartz lid of the box is applied with the emerald and diamond-set enamelled crowned cypher of Emperor Maximilian and his consort Carlota.

Archduke Maximilian (1832-1867) was the younger brother of the Austrian emperor Franz Joseph I. In 1861 Maximilian entered into a scheme with Napoleon III to rule Mexico after France captured Mexico City. He declared himself Emperor of Mexico on 10 April 1864 but was captured and executed by the Mexican Republican forces in 1867.

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A presentation dagger commissioned by the Saudi Royal family, 20th century. Est. £8,000-12,000 (€7,700-11,200). Photo Sotheby’s.

From the same collection as the previous two pieces is a jewelled gold, silver and silvergilt dagger, the blade of which is engraved with the emblem of the Kingdom of Saudi Arabia.

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The surtout de table of Marquesses of Ormonde, circa 1805. Attributed to Rundell, Bridge & Rundell, possibly supplied by Alexis De Caix. Est. £8,000-12,000 (€10,200-15,300). Photo Sotheby’s.

This gilt-bronze surtout de table was most probably made for Kilkenny Castle, Ireland, the seat of Walter Butler, 1st Marquess of Ormonde, 18th Earl of Ormonde and his wife Anna Maria Catherine Clarke. Attributed to Rundell, Bridge & Rundell, foremost Royal goldsmith known to have produced outstanding pieces in bronze, this magnificent piece was designed in the French Empire taste in vogue among the fashionable Regency circles.

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The Empress of Brazil’s mirror, circa 1840. Attributed to Pierre Barthélemy Dejante. Est. £2,000-3,000 (€2,550-3,850). Photo Sotheby’s.

Carrying a label with the Brazilian Imperial crown, this Portuguese kingwood gilt bronze mounted cheval mirror in the Empire style is thought to have been supplied to Amélie of Leuchtenberg, Duchess of Braganza, Empress of Brazil (1812-1873) when she was living in Palácio Alvor in Lisbon, as the widow of Dom Pedro, Emperor of Brazil. This exquisite piece is attributed to Pierre Bartholomé Dejante, a Parisian trained cabinetmaker who settled in Lisbon in 1821 and quickly gained a firm reputation in the city. His work was appreciated by the Royal Family who kept commissioning him furnishings for the Palácio de Belém, Palácio da Pena and Palácio das Necessidades, several of which still remain in these palaces.

Amélie of Leuchtenberg was Duchess of Leuchtenberg and Empress of Brazil as the wife of Dom Pedro I of Brazil, IV of Portugal. Granddaughter of Josephine de Beauharnais, Empress of the French, she was the daughter of Eugène de Beauharnais and Augusta Amélia, daughter of Maximilian I, King of Bavaria.

Franz Bausback at TEFAF 2015 Antiques (13-22 March 2015)

25 dimanche Jan 2015

Posted by alaintruong2014 in Islamic Art

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17th Century, Anatolian Highlands, Bird Ushak, Franz Bausback, Lotto Ushak, region of Ushak, TEFAF 2015 Antiques, West Turkey

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Bird Ushak, 168 x 118 cm, West Turkey, Anatolian Highlands, region of Ushak, 17th century. Franz Bausback (stand 232). TEFAF 2015 Antiques (13-22 March 2015)

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Lotto Ushak, 188 x 122 cm, West Turkey, Anatolian Highlands, Region of Ushak, 17th century. Franz Bausback (stand 232). TEFAF 2015 Antiques (13-22 March 2015)

The company Bausback was founded in 1925 by Mr. Franz Bausback. The present owner, Mr. Peter Bausback started to expand the trade with antique oriental rugs and textiles corresponding to European as well as international standards. He has organised various exhibitions in the rooms of the company, which is situated in the center of Mannheim. These exhibitions have been accompanied each year by a catalogue. Now the company is represented on various important Fairs within Europe. The main activity of the company is the trade in antique rugs, flatweaves as well as embroideries of European as well as oriental origin from the 16th to 20th century.

Franz Bausback. Director: Peter Bausback. N 3, 9, Kunststraße, 68161 Mannheim, Germany. T  +49 621 12 92 80-F  +49 621 10 59 57

New Galleries for Islamic Art at the Art Institute of Chicago

13 mardi Jan 2015

Posted by alaintruong2014 in Islamic Art

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10th Century A.D., Agra, Art Institute of Chicago, Bowl with calligraphic decoration, c. 1475-1500, c. 1561, c. 1600, c. 1820, Eastern Iran, Folio, India, Iran, Isfahan, Islamic Art, Iznik, Khamsa of Nizami, late 17th century, Mosque of Rustam Pasha, Ottoman period, Qayrawan, Qur'an manuscript, The Ascent of the Prophet to Heaven, tile, Tomb of I'timad-ud-Daula, Transoxiana, Tunisia, Turban Helmet, Turkey, Western Iran

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Bowl with calligraphic decoration, 10th century. Eastern Iran or Transoxiana (primarily Uzbekistan). Gift of Harvey and Beth Plotnick.

CHICAGO, IL.– The vast and varied Islamic world—at times stretching from Spain and northern Africa to India and Central Asia—produced an equally dazzling diversity of works of art. For the first time in years, the Art Institute is able to present a more comprehensive picture of this diversity with new galleries devoted to Islamic art, appropriately scaled for larger architectural works that help tell the complex story of Islamic cultural production.

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The Ascent of the Prophet to Heaven, page from a copy of the Khamsa of Nizami, c. 1600. Iran. Lucy Maud Buckingham Collection.

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Tile from the Mosque of Rustam Pasha, c. 1561. Turkey, Iznik, Ottoman period. Samuel M. Nickerson Fund.

A selection of key objects from different cultures and time periods introduces visitors to the history, religion, and artistic traditions of Islam. From this introduction, the installation proceeds both chronologically and geographically, with displays that contain, for example, early and medieval objects covering the full expanse of the early Islamic world in one section, while another section features the later great empires of Ottoman Turkey, Safavid Iran, and Mughal India. One display focuses on an especially rich area of the collection: art produced under the Mongols in Iran between the mid-13th and mid-14th centuries. Multiple themes are developed across sections, such as Islamic ornament, including the familiar arabesque; the art of the book; and the surprisingly widespread use of figural decoration.

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Tomb of I’timad-ud-Daula, Agra, c. 1820. India, Agra. Restricted gift of the Friends of Indian and Islamic Art of the Art Institute of Chicago.

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Turban Helmet, c. 1475-1500. Western Iran. George F. Harding Collection.

The installation will be continually refreshed with rotating displays of painting, calligraphy, textiles, and carpets, and visitors will be gratified to see an emphasis on architecture and architectural fragments—tile spandrels from Iran, wooden doors and beams from Morocco—that are so characteristic of Islamic art yet are difficult to display. Works of art from the museum’s own holdings are augmented by important pieces on loan from a number of public and private collections, presenting the richest story possible of the amazingly diverse and robust world of Islamic art.

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Folio from a Qur’an manuscript, 10th century A.D. Probably Tunisia, Qayrawan. Logan-Patten-Ryerson Collection.

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Four Tiles, Late 17th century. Iran; Isfahan, Persian. Mary Jane Gunsaulus Collection.

Carved jadeite necklace leads Grogan’s inaugural Boston auction

19 vendredi Déc 2014

Posted by alaintruong2014 in 20th Century Design, Auctions, Buddhist Works of Art, Chinese Textile, Islamic Art, Jewelry

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and Sapphire Necklace, Art Deco, ca. 1880, Dante Marioni, Diamond, Heriz Carpet, jadeite, Pansy Earclips, pearl, Persia, Platinum, Platinum and Diamond Ring, Silk Needlework Hanging Panel, Tiffany & Company

Lot 197 Art Deco Platinum, Jadeite, Pearl, Diamond, and Sapphire Necklace

Lot 197: Art Deco Platinum, Jadeite, Pearl, Diamond, and Sapphire Necklace, sold for $90,000. Photo Grogan & Company

BOSTON, MA: Grogan & Company’s inaugural auction in their new Boston location drew standing room only crowds from both down the street and across the country. On Sunday, December 14th, Vice President and Gallery Director, Lucy P. Grogan, took the podium at noon and welcomed attendees to Grogan & Company’s new headquarters on Beacon Hill before kicking off the 545 lot auction. The sale featured items across all collecting genres including Fine Art, Jewelry, Silver, Decorative Arts, and Oriental Carpets.

The top lot of the day was an Art Deco Platinum, Jadeite, Pearl, Diamond and Sapphire Necklace featuring a carved rectangular jadeite pendant. After spirited bidding on the internet, phones, and in the room, the necklace sold for $90,000 to a gentleman in attendance, against an $8,000-12,000 presale estimate. While unsigned, the necklace was accompanied by a red leather and silk pearl folder by Cartier, which, according to the family through which it descended, is original to the piece. The carved jadeite pendant suspended from the necklace caused much interest for its likely early Chinese origin.

Platinum, Jadeite, Pearl, Diamond, and Sapphire Necklace Platinum, Jadeite, Pearl, Diamond, and Sapphire Necklace2 Platinum, Jadeite, Pearl, Diamond, and Sapphire Necklace3Platinum, Jadeite, Pearl, Diamond, and Sapphire Necklace4

Lot 197: Art Deco Platinum, Jadeite, Pearl, Diamond, and Sapphire Necklace, sold for $90,000. Photo Grogan & Company

The fine Art Deco necklace featuring a carved jadeite tablet depicting two crabs and sea vegetation measuring approx. 2 3/8 x 1 3/4 in. suspended by an open rectangle channel-set with single-cut diamonds and sapphires from a pearl necklace accented with jade, diamond, and sapphire elements; length 24 1/2 in.; in its original red leather pearl folder marked Cartier. Estimate $8,000-12,000

Provenance: Property of a Lady, Brookline, Massachusetts.

Another highlight lot of the sale also originated in China. A Chinese Silk Needlework Hanging Panel, dating back to the 18th or 19th century, brought $42,000 against a conservative estimate of $1,000-2,000. The large horizontal panel brought significant international interest, finally selling to a client over the phone in Taiwan. A Japanese Carved and Polychrome Wood Guardian Figure of Fofo Myo-o, flanked by two smaller guardian figures, also soared above its $500-1,000 estimate, selling to the trade at $38,400.

Lot 454 Chinese Silk Needlework Hanging PanelChinese Silk Needlework Hanging Panel, 18th-19th century1Chinese Silk Needlework Hanging Panel, 18th-19th century2Chinese Silk Needlework Hanging Panel, 18th-19th century3Chinese Silk Needlework Hanging Panel, 18th-19th century4Chinese Silk Needlework Hanging Panel, 18th-19th century5Chinese Silk Needlework Hanging Panel, 18th-19th century6Chinese Silk Needlework Hanging Panel, 18th-19th century7Chinese Silk Needlework Hanging Panel, 18th-19th century8

Lot 454: Chinese Silk Needlework Hanging Panel, 18th-19th century, sold for $42,000. Photo Grogan & Company

decorated with bats, fanciful birds, peacocks, flowering vases, and branches among moon shaped medallions; length: 8 ft. 3 in.; width: 2 ft. 7 in. Estimate $1,000-2,000

The Fine Art portion of the sale also saw strong results. An oil on panel by Emilio Sanchez Perrier (Spanish, 1855-1907) titled Sevilla sold for $30,000; a watercolor by Stephen Scott Young (American, b. 1957) titled Sundown sold for $24,000; and David Hockney’s (British, b. 1937) lithograph and collage titled Moving Focus: An Image of Gregory sold for $21,600.

Jewelry garnered interest from private buyers and the trade alike. A 5.19 carat Platinum and Diamond ring sold for $60,000 to a private couple. A fine pair of Tiffany & Company Platinum, Gold, Diamond, and Yellow Diamond Pansy Earclips sold for $21,600 to the trade; while two Sapphire and Diamond Rings each sold for $18,000, both to private collectors.

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Lot 171: 5.19 cts Platinum and Diamond ring, sold for $60,000. Photo Grogan & Company

prong-set with a square emerald-cut diamond weighing 5.19 cts. (10.03 x 9.54 x 6.27 mm.) flanked by two baguettes; 3.79 dwts.; size 5. Estimate $50,000-70,000

Accompanied by GIA report no. 2165556697 dated August 26, 2014 stating that the diamond is I color, VS1 clarity.

Platinum, Gold, Diamond, and Yellow Diamond Pansy Earclips, Tiffany & Company

Lot 185: Platinum, Gold, Diamond, and Yellow Diamond Pansy Earclips, Tiffany & Company, sold for $21,600. Photo Grogan & Company

set with approx. 2.50 cts. of full and single-cut white diamonds and approx. 1.75 cts. of single-cut yellow diamonds; signed; 13.83 dwts.; length 1 in. Estimate $14,000-18,000

Additional highlights from the sale’s diverse offerings included a Suite of Three Yellow and Black Glass Vessels by Dante Marioni (American, b. 1964) which sold for $16,800; a Persian Heriz Carpet, ca. 1880, sold for $16,200; a Chinese Gilt and Patinated Bronze Figured of Buddha Seated on a Double Lotus sold for $14,400; and a Louis Vuitton Monogrammed Steamer Trunk sold for $11,400.

Dante Marioni (American, b. 1964), Suite of Three Yellow and Black Glass Vessels

Lot 352: Dante Marioni (American, b. 1964), Suite of Three Yellow and Black Glass Vessels, sold for $16,800. Photo Grogan & Company

height of tallest: 34 in. Estimate $10,000-15,000

Provenance: Holsten Gallery, Stockbridge, Massachusetts, 2004; Boston, Massachusetts Estate.

Notes: Dante Marioni is based in Seattle where he is part of the studio glass movement led by his father, Paul Marioni, and Dale Chihuly. He was named by his father for the Italian poet, Dante Alighieri. At a young age, Marioni became heavily influenced by the ancient tradition of Venetian glass blowing when he attended classes at the Pilchuk Glass School taught by Lino Tagliapietro from the Venini factory in Murano. He also studied at the Penland School of Crafts in North Carolina. At age 21, he received the Louis Comfort Tiffany Award, and at 23 he had his first solo gallery show.

Persian Heriz Carpet, ca. 1880

Lot 467: Heriz Carpet, Persia, ca. 1880, sold for $16,200. Photo Grogan & Company

13 ft. 1 in. x 9 ft. 11 in. Estimate $8,000-12,000

Provenance: Sotheby’s New York, December 3, 2002, Lot 138

Chinese Gilt and Patinated Bronze Figured of Buddha Seated on a Double Lotus Chinese Gilt and Patinated Bronze Figured of Buddha Seated on a Double Lotus2 Chinese Gilt and Patinated Bronze Figured of Buddha Seated on a Double Lotus3

Lot 434: Chinese Gilt and Patinated Bronze Figured of Buddha Seated on a Double Lotus, sold for $14,400. Photo Grogan & Company

with finely chased robe and Chinese characters on reverse of lotus; height: 11 1/2 in. Estimate $1,000-2,000

A large Safavid blue and white pottery dish, Iran, 18th century

16 mardi Déc 2014

Posted by alaintruong2014 in Islamic Art

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18th century, blue and white pottery, Iran, Safavid

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A large Safavid blue and white pottery dish, Iran, 18th century. Estimate £5,000 – £7,000 ($8,365 – $11,711). Price Realized £5,000 ($8,390). Photo Christie’s Image Ltd 2014

With sloping rim on short foot, the white ground painted in cobalt-blue outlined in black with a pair of cranes on a ground of flowering plants, a further crane flying above in a sky decorated with a floral lattice, the upper section of the cavetto with a series of cartouches containing stylised cloudbands, the wide rim with large stylised peonies issuing scrolling vine, the edge of the rim painted brown, the exterior plain, repaired breaks;19 5/8in. (50cm.) diam.

Christie’s. ART OF THE ISLAMIC AND INDIAN WORLDS INCLUDING A PRIVATE COLLECTION DONATED TO BENEFIT THE UNIVERSITY OF OXFORD, PART V, 10 April 2014, London, King Street

A Kubachi pottery dish, North Iran, early 17th century

16 mardi Déc 2014

Posted by alaintruong2014 in Islamic Art

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early 17th century, Kubachi pottery, North Iran

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A Kubachi pottery dish, North Iran, early 17th century. Estimate £4,000 – £6,000 ($6,692 – $10,038). Price Realized £4,375 ($7,341). Photo Christie’s Image Ltd 2014

With sloping rim on short foot, the white interior decorated with a central roundel containing a flowerhead issuing fleshy palmettes alternated with floral sprays, the rim with a band of ochre fish scale motif, the exterior with a black line to top and bottom, otherwise plain, minor repaired chip to rim, otherwise intact, foot drilled for hanging; 14 1/8in. (35.7cm.) diam.

Christie’s. ART OF THE ISLAMIC AND INDIAN WORLDS INCLUDING A PRIVATE COLLECTION DONATED TO BENEFIT THE UNIVERSITY OF OXFORD, PART V, 10 April 2014, London, King Street

Grande coupe au lion rugissant, Est de l’Iran, Xe siècle, Epoque Samanide

12 vendredi Déc 2014

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coupe au lion rugissant, Epoque Samanide, Est de l’Iran, Xe siècle

1418034370058252

Grande coupe au lion rugissant, Est de l’Iran, Xe siècle, Epoque Samanide.  Estimation : 2 500 – 3 000 €. Photo Boisgirard Antonini

Terre cuite à décor peint en vert, noir et ocre sur engobe beige et sous glaçure incolore transparente – Hauteur : 11,5 ; Diamètre : 33,5 cm

BOISGIRARD ANTONINI PARIS, Archéologie – Art de l’Islam- Art d’Asie, le 12 Décembre 2014 à 14h. DROUOT RICHELIEU – SALLE 11 – 9 RUE DROUOT – 75009 PARIS. Tel: 01 53 34 14 44.  Expert: Mr Alexis Renard, Membre de la C.N.E.S, 5 rue des deux ponts Paris 4 – (33) 01 44 07 33 02 – (33) 06 80 37 74 00

Coupe à décor bleu blanc, Raqqa, XIIe – XIIIe siècle

12 vendredi Déc 2014

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décor bleu blanc, Pâte siliceuse, Raqqa, XIIe – XIIIe siècle

1418034370058252

Coupe à décor bleu blanc, Raqqa, XIIe – XIIIe siècle. Estimation : 4 000 € / 5 000 €. Photo Boisgirard Antonini

Pâte siliceuse à décor peint en bleu et noir sur engobe blanc sous glaçure incolore transparente – Hauteur : 6 ; Diamètre : 22,5 cm

Cette coupe est centrée d’une rosette à quatre feuilles entourée de fleurons alternés de tiges fleuries.

BOISGIRARD ANTONINI PARIS, Archéologie – Art de l’Islam- Art d’Asie, le 12 Décembre 2014 à 14h. DROUOT RICHELIEU – SALLE 11 – 9 RUE DROUOT – 75009 PARIS. Tel: 01 53 34 14 44.  Expert: Mr Alexis Renard, Membre de la C.N.E.S, 5 rue des deux ponts Paris 4 – (33) 01 44 07 33 02 – (33) 06 80 37 74 00

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