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Alain.R.Truong

Archives de Catégorie: Russian Art

A La Vieille Russie at TEFAF 2015 Antiques (13-22 March 2015)

23 vendredi Jan 2015

Posted by alaintruong2014 in Jewelry, Russian Art

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A La Vieille Russie, Carl Fabergé, circa 1855, circa 1890, Dessert set, France, Hair ornament, Julius Rappoport, St Petersburg, TEFAF 2015 Antiques

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Carl Fabergé (St. Petersburg 1846-1920 Lausanne), Dessert set. By workmaster Julius Rappoport, St. Petersburg, circa 1890. A La Vieille Russie, Inc (stand 110). TEFAF 2015 Antiques (13-22 March 2015)

Twelve forks and twelve knives set with gilded silver blades and tines feature handles from traditional Japanese kozuka, the handle of a small utility knife. Knives 20.3 cm. Forks 19.7 cm

Provenance: Workmaster Julius Rappoport. St. Petersburg, ca. 1890.

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Hair ornament, France, circa 1855. A La Vieille Russie, Inc (stand 110). TEFAF 2015 Antiques (13-22 March 2015)

Diamond cornflower hair ornament, set en tremblant, with three detachable, articulated en pampille diamond strands, and mounted in gold and silver on a three-pronged comb. Length 10.2 cm. Diamonds circa 22 cts.

A La Vieille Russie specialises in European and American antique jewellery, gold snuff boxes, and objets de vertu. Goldsmith and jeweller Carl Fabergé was a client, and today we are recognized as international experts on his works. A La Vieille Russie also deals in Russian decorative arts, including silver, porcelain and enamel, as well as Russian paintings and icons. We maintain a strong exhibition schedule, including the seminal 500-piece loan exhibition of Fabergé in 1983. A La Vieille Russie was founded in Kiev, moved to Paris at the time of the Russian Revolution, and ultimately to New York.

A La Vieille Russie, Inc. Director: Paul Schaffer

Switzerland-Russia: A merciless battle between collectors at Hôtel des Ventes Geneva

14 dimanche Déc 2014

Posted by alaintruong2014 in 19th Century European Drawings, 19th Century European Paintings, Auctions, Russian Art

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Baron Gérard, Comte Boutourline, Fabergé, François Pascal Simon Gérard, Henrik Wigström, jaspe Kalgan gris, Jean-Auguste-Dominique Ingres, Pendulette de bureau, St-Pétersbourg, Vase russe

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Pendulette de bureau en vermeil guilloché et émail ice blue par la maison Fabergé, maître-orfèvre Henrik Wigström, St-Pétersbourg 1908, numéro d’inventaire ‘10312’. Estimation CHF 30’000-50’000. Adjugé CHF 88’000. Photo Hôtel des Ventes Genève

GENEVA.- With many exhibitions currently celebrating 200 years of diplomatic relations between Switzerland and Russia, the art collections from these two countries remain closely tied. The Russian sale at Geneva’s Hôtel des Ventes on Tuesday 9th December symbolises this connection. The most beautiful pieces were the subject of many a fierce battle between Swiss and Russian collectors present in the saleroom or on the telephone. The elegant clock by Fabergé in 1908 from the Count Boutourline collection was bought by a Swiss collector against a Russian under-bidder for CHF 107,000 while it was a Russian buyer who fought to acquire the Kalgan jasper vase at CHF 110,000 over a Swiss collector, creating a new record price. “The success of this Russian sale confirms Hôtel des Ventes’ prime position on the international market in this speciality”, specifies Bernard Piguet, Director and Chief auctioneer of the auction house.

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Pendulette de bureau en vermeil guilloché et émail ice blue par la maison Fabergé, maître-orfèvre Henrik Wigström, St-Pétersbourg 1908, numéro d’inventaire ‘10312’. Estimation CHF 30’000-50’000. Adjugé CHF 88’000. Photo Hôtel des Ventes Genève

Monture en vermeil de forme ronde avec bord à décor d’une frise rais de coeur, encadrement en émail blanc perlé guilloché de vagues, cadran blanc avec chiffres arabes noires et aiguilles en or rose à décor ajouré de volutes, la portée sertie de petites perles, le dos recouvert d’une plaque en ivoire avec l’entretoise à volutes en vermeil. Dédicace ciselé sur le dos du mouvement « Bonjour philipine » datée 22-VIII-1908, diam. 11,5 cm, diam. cadran 5 cm

Provenance: Comte Boutourline

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Le comte Dimitri Petrovich Boutourline, grand chambellan, conseiller secret du Tsar, sénateur de la Grande Russie et célèbre bibliophile vint s’établir à Florence en 1817 attiré par le système libéral de son ami, le Grand Duc de Toscane. En 1824 il acquit le célèbre palais du Marquis Niccolini situé au centre de Florence où il constitua une nouvelle collection de livres et  d’objets d’art. Son fils Michel était ami et parent de Pouchkine. Son grand-père Alexandre était le favori de l’Impératrice Catherine II.

La famille Boutourline est une importante famille aristocratique et cosmopolite d’origine boyarde qui remonte au XIe siècle.

Avant la Deuxième Guerre Mondiale une partie de la famille vint s’établir en Suisse (Davos)

Count Dimitri Petrovich Boutourline, Grand  Chamberlain, secret Adviser of the Tsar, Senator of the Russian Empire and famous book lover, came to Florence in 1817 attracted by the liberal policies of his friend, the Grand duke of Tuscany.

In 1824, he bought a famous palace from Marchese Niccolini located in the centre of Florence where he started a new collection of books and works of art. His son Mikhail  was one of Puskin’s close friends and relatives. His grandfather, Alexander, was considered a favourite with Empress Catherine II of Russia.

Of boyar origin, the Boutourline family is an important cosmopolitan lineage of Russian aristocracy which dates back to around 11th century AD.

Before the outbreak of World War II, part of the Boutourline family settled in Davos, Switzerland.

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Vase russe en forme de cratère en jaspe Kalgan gris. Estimation CHF 5’000-8’000. Adjugé CHF 90’000. Photo Hôtel des Ventes Genève

à décor sculpté de feuilles d’acanthe et ajouré en treillis sur la partie supérieure, le pied avec une frise de rosaces, le socle à base carrée avec des volutes aux coins et des arabesques gravées sur chaque façade, manufacture Kolyvan, c.1850, h. 33 cm

Provenance: A La Vielle Russie, New York

The sale from the descendant of General Dufour, the Reverdin Estate, saw equal success, particularly during the paintings auction on Wednesday evening. A portrait signed by Baron Gérard sold for CHF 91,000 – three times its low estimate – shortly before the portrait by Ingres was bought at CHF 66,000 to join the collections at Geneva’s Art and History Museum. An 18th century Atlas with the same provenance exchanged hands for CHF 14’000 during the antiquarian book sale on Monday evening.

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François Pascal Simon Gérard (1770-1837), Portrait de François-Gédéon Reverdin, huile sur panneau, monogrammée, annotée au verso « G. Reverdin peint par Fs. Gérard 1796 », 55×44 cm. Estimation CHF 30’000-50’000. Adjugé CHF 75’000. Photo Hôtel des Ventes Genève

Selon des archives de famille, Gédéon Reverdin se rendit à Paris en 1794 où il entra dans l’atelier du peintre Louis David aux côtés de Gérard, Gros, Ingres, Girodet. Gérard fit alors le portrait de Gédéon à cette époque. 27 ans plus tard, ce sera Ingres qui le représentera (voir lot 1329), collection Olivier Reverdin.

Général Dufour

Le Général Dufour est une personnalité genevoise incontournable de l’histoire de la Suisse moderne.
Militaire de renom, ami de Napoléon III, vainqueur de la guerre du Sonderbund, ingénieur et stratège talentueux, homme politique reconnu, homme de science, créateur du drapeau fédéral, acteur incontournable de la jeune Croix-Rouge, il fut également le premier à finaliser une topographie globale et précise de la Suisse: la Carte Dufour.

Dans le cadre de cette entreprise fastidieuse qui dura près de trente ans, le Général se fit réaliser un secrétaire sur mesure, dont le battant spécial de 88 centimètre sur 86 lui permettait de travailler et consulter les nombreuse cartes et relevés.

Il fixa d’ailleurs la taille des feuilles de papier composant la Carte Dufour à 88 x 66 cm,
représentant chacune une portion de territoire de 70 x 48 km.

Pour cette brillante et novatrice réalisation, Dufour se vit décerner la médaille d’or à l’Exposition Universelle de Paris, le 15 novembre 1855.

Ce secrétaire est un témoin historique privilégié de ce vaste projet scientifique, et fût un compagnon de travail particulièrement chronophage du Général Dufour.

Le général Dufour est un aïeul direct d’Olivier Reverdin, dont les objets proposés à la vente.

Collection REVERDIN

A l’occasion de ses ventes de fin d’année, L’Hôtel des Ventes à le plaisir de proposer à l’encan de nombreux objets appartenant à la succession d’Olivier Reverdin domicilié à la fameuse rue des Granges à Genève. Tous les lots marqués en vert dans ce catalogue proviennent de cette collection. Une vingtaine d’objets sont également répartis en vente silencieuse. Ils sont tous facilement repérables sur notre site http://www.hoteldesventes.ch en tapant le mot clef «Reverdin».

Olivier Reverdin (1913-2000) est un célèbre homme politique suisse, humaniste, érudit, figure du journalisme et de la culture genevoise.

Omniscient, il occupa de nombreuses fonctions prestigieuses tant sur le plan politique (conseiller national) que journalistique (président et rédacteur en chef du journal de Genève), que culturel (président de la société suisse de sciences humaines). Il s’attacha aussi particulièrement au classement et à la conservation des archives son aïeul le général Dufour, la plupart étant restées entre ses mains.

Les objets inclus au catalogue transmis de générations en générations sont ancrés dans le patrimoine régional genevois et présentent un riche aperçu des pérégrinations de cet infatigable homme de savoir, voyageur et collectionneur d’Art, descendant d’illustres familles.

Arrière-arrière-petit-fils du général Guillaume Henri Dufour (1787-1875) (se reporter aux lots 1169, 1327, 1340, 1341 ), Olivier Reverdin est aussi héritier d’une longue lignée d’artistes dont nous pouvons citer, François-Gédéon Reverdin, Gabriel Bouthillier de Beaumont (1811-1887) (lots 1320 et 1321) ou Elisa Dufour (1796-1893) (lot 1325)…François-Gédéon Reverdin (1772-1828), peintre, dessinateur et graveur suisse, a été professeur à l’Ecole de dessin de la Société des Arts de Genève. Il a fréquenté des artistes de renom comme Jacques-Louis David (1748-1825) dont il fut l’élève, Jean Auguste Dominique Ingres ou Le Baron Gérard qui firent son portrait à 27 ans d’intervalle (voir lots n° 1328 et 1329).

Les notes manuscrites d’Oliver Reverdin mentionnent un salon Louis XVI commandé à Paris par Léonard Bouthillier de Beaumont pour la résidence familiale de Collonges -sous-Salève. (vraisemblablement le lot 1150).

Le secrétaire à abattant fait sur mesure pour le général Dufour (lot 1169) est un autre exemple des pièces restées dans la famille jusqu’à ce jour.

Grand helléniste et président de l’association Hellas et Roma, Olivier Reverdin collectionna tout au long de sa vie des artefacts des cultures grecques et romaines. L’Hôtel des Ventes présentera cet ensemble, dont une très importante amphore attique, lors de sa vacation spécialisée d’archéologie le 10 mars 2015.

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Jean Auguste Dominique Ingres (1780-1867), Portrait de François-Gédéon Reverdin, crayon de graphite sur papier, dédicacé « Ingres à son camarade et ami Reverdin », daté 15 novembre 1823, 29,5×21,5 cm. Estimation CHF 40’000-60’000. Adjugé CHF 55’000. Photo Hôtel des Ventes Genève

27 ans après le portrait réalisé par Gérard (voir lot 1328), Ingres, avec qui François-Gédéon Reverdin étudia aussi, le représente à son tour.
Fragment d’une lettre de Gédéon Reverdin se trouvant dans les archives familiales adressée en 1823 à son épouse depuis Florence: « Ce cher camarade d’Etudes (M. Ingres) a eu l’aimable bonté de vouloir faire un croquis de ma baroque figure, ce qui a été l’affaire de 3h, je le tiens, il est fort ressemblant, car Guigon juge plus désintéressé que moi en est fort satisfait […] Que diable faire, j’ai cruellement changé depuis que Gérard eut la même fantaisie que mon ami de Florence », collection Olivier Reverdin.

Over 80% of the 3300 lots included in the catalogue (books, luxury leather goods, Asian and Oriental art, furniture, objets d’art, paintings, jewellery and watches) and put up for auction in December found new owners giving a total result of CHF 4.3 million. This ensemble includes close to 1000 lots sold at under CHF 300, allowing the greater majority to participate in the auction and leave with one or more unique gifts for the festive season. “We are always delighted to provide our ever increasing and loyal clientele the opportunity to buy or offer to their nearest and dearest, quality and unseen works of art at an affordable price” underlines Bernard Piguet.

Confrontation between Russian and Swiss collectors for Russian art

For the fifth year running, Geneva’s Hôtel des Ventes organised a December sale dedicated to the wonders of Imperial Russia. This year, all the workmasters purveying the Tsars of the 19th century were represented in the display cabinets at Hôtel des Ventes. The main protagonists of the sale were Russian and Swiss collectors who competed for the star lots. From the very start of the sale, a set of 19th century books illustrated by Alexeïeff was closely fought over between a Russian and Swiss collector before the latter won the lot for a total nearing CHF 56,000, 10 times the low estimate. In effect, these works were dedicated by the illustrator Alexeïeff to his parton who was none other than Swiss filmmaker Nag Ansorge – a true example of an object with bi-national significance.

The battle ensued over a Kalgan jasper vase sculpted with acanthus leaves and a pierced trellis neck which was won by a Russian collector for the exceptional price of CHF 110,000 (lot 362 estimed at 5,000-8,000) achieving a new international record for a single vase of this type and stature. A further confrontation between the two nationalities came about during the sale of the 1908 Fabergé clock which encased a Swiss movement by H. Moser, being bought by a Swiss connoisseur for CHF 107,000 (lot 456 estimated at CHF 30,000-50,000).

A Drawing by Ingres from the collection of Olivier Reverdin, descendant of General Dufour, joins the collections at Geneva’s Art and History Museum.

A portrait signed by Baron Gérard sold for CHF 91,000 (lot 1328) shortly before the portrait by Ingres was bought at CHF 66,000 to join the collections at Geneva’s Art and History Museum (lot 1329). Represented in the saleroom on the night, the museum is “delighted to have acquired this important drawing for the Genevan Heritage”. It must be pointed out that this work, which has never been seen at auction before, was steeped in strong historical heritage as it comes from the collection of Olivier Reverdin, descendant of General Dufour.

The hundred odd contemporary works of art included in the paintings sale met with great success, attracting buyers in Switzerland and abroad as with a high number of visitors during the exhibition that preceded the auction.

The Jewellery and watches sale was well-awaited by the public who gathered at rue Prévost-Martin before the festive season. The saleroom was verging constantly on full capacity from 19:00 until 23:00 where, throughout the evening, over 90% of the lots found a new owner.

Le Conservatoire russe de Paris Serge Rachmaninoff vend 3 chefs-d’œuvre de ses collections chez Christie’s Londres le lundi 24 novembre 2014

23 dimanche Nov 2014

Posted by alaintruong2014 in Russian Art

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Dmitry Stelletsky, Leonid Sobinov, Mikhail Zichy, Séraphin Soudbinine

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Séraphin Soudbinine (Nijni-Novgorod, 1867 – Paris, 1944), Bust of Leonid Sobinov (1872-1934). Estimate £ 80,000-120,000. Photo Christie’s Image Ltd 2014

Le Conservatoire russe de Paris Serge Rachmaninoff vend 3 chefs-d’œuvre de ses collections pour pouvoir poursuivre sa mission d’éducation musicale dans l’esprit qui est le sien depuis sa fondation en 1923. Véritable témoin de l’âme russe à Paris et repère de la communauté russe en exil, le conservatoire eut Rachmaninoff pour recteur jusqu’à son départ définitif pour les Etats-Unis en 1934.

La sculpture monumentale de Soudbinine, artiste rare au génie polymorphe, est un véritable trésor. Il s’agit du buste en marbre de Sobinov, le plus grand ténor russe de son temps et premier directeur élu du Bolchoï. Cette oeuvre datée 1909 et réalisée à Paris à l’occasion de la première Saison russe de Diaghilev témoigne du retentissement de la scène russe à cette époque. Après avoir été marin, Soudbinine est devenu un acteur brillant aux origines du célèbre Théâtre d’art de Stanislavsky à Moscou, puis un sculpteur puissant après sa rencontre avec Rodin et enfin le plus grand céramiste de l’époque Art déco après une visite déterminante des collections d’art chinois au Metropolitan Museum de New York. Il ne s’est jamaiscomplu dans le succès et s’est toujours dépassé dans un constant renouvellement .
C’est la première fois qu’un buste en marbre de Soudbinine est offert à la vente, ses oeuvres étant d’une extrême rareté comme l’a longtemps regretté Karl Lagerfeld à l’affut de ses trésors et qui disait de lui « c’était un gars fantastique ».

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Séraphin Soudbinine (Nijni-Novgorod, 1867 – Paris, 1944), Bust of Leonid Sobinov (1872-1934). Signed, located and dated : Soudbinine, Paris 09. Marble, 65,5 x 75 cm. Executed in 1909. Estimate £ 80,000-120,000. Photo Christie’s Image Ltd 2014

PROVENANCE : Offered to the Conservatoire Rachmaninoff in the 1930s, located in the main hall leading to Serge Rachmaninoff’s office.

EXHIBITED : Salon de la Société Nationale des Beaux-Arts, Grand Palais, Paris, April 16th– June 30th 1911, n°2025

LITERATURE : Catalogue des ouvrages de Peinture, Sculpture, Dessin, Gravure, Architecture, Arts décoratifs exposés au Grand Palais, Paul Hérissey éditeur, Evreux, 1911, p.295.
Le Ménestrel, Salon du Grand Palais, Paris, May 20th 1911.
RGALI (Russian state archives of literature and art), 1910s, f.2741, op.1, ed. kh. 3, l.21, illustrated.
Jean-Marie Lhote, Séraphin Soudbinine, Revue céramique et verre, n°77, July-August 1994, p.28.

RELATED WORKS : Edited in biscuit porcelain (that imitates marble) by the Imperial Manufactory of St Petersburg
Edited in biscuit porcelain by the Sevres Manufactory from 1916.
Edited in bronze cast by Alexis Rudier ( 14 cm)

NOTES: This is Soudbinine’s masterpiece and most important sculpture in marble.

It represents Leonid Sobinov, the most celebrated Russian tenor of his time.

Soudbinine’s major works are extremely rare on the market and this is the first large marble to come at auction for decades.

This very impressive and monumental sculpture expresses life, a strong muscular body, wriggling out of material, a raw bloc of marble. Thanks to this contrast of the finished and unfinished, the tenor looks particularly alive and we can feel the air inflating his stong chest just before singing.

Soudbinine is clearly influenced by Michelangelo’s non finito that he could admire in his two Salves in the Louvre and that Rodin adopted as his creed. The Slaves’ muscular bodies  emerge with all of there might from the marble blocs, real meteria prima. The sculptor seems to gives birth to life as a demiurge.

Soudbinine is one of the most fascinating figure in the art of his time, a real protean genius living an adventurous life leaded by his passions.

He was first a sailor on the Volga and later became an actor at the Moscow Art Theatre with his master Constantin Stanislavski who became a friend to the point where  Soudbinine’s little house became his headquarters. The company met a great success and Soudbinine became a popular actor playing big parts in Alexei Tolstoy’s drama Tsar Feodor Ioannovich and Maxim Gorky’s best known play The Lower Depths.

Le tableau de Stelletsky, Les Radeaux, est l’une des oeuvres majeures de cet artiste qui est le plus grand interprète moderne de la culture orthodoxe comme Chagall le fut pour la culture juive. Il représente des soldats russes au 16e siècle défendant leur territoire face aux invasions tataro-mongols. Il est un symbole de la détermination des russes pour la préservation de leur culture et de leur intégrité territoriale.

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Dmitry Stelletsky (1875-1947), Les Radeaux, signed in Cyrillic ‘Stelletskii’ (lower centre),oil on canvas, 53 5/8 x 35¼ in. (136.2 x 89.4 cm.). Estimate £120,000 – £180,000. Photo Christie’s Image Ltd 2014

Provenance: Donated to the Conservatoire Russe de Paris Serge Rachmaninoff in the early 1930s.

PROPERTY FROM THE CONSERVATOIRE RUSSE DE PARIS SERGE RACHMANINOFF

The large Russian community that gathered in Paris after the 1917 revolution were inevitably compelled to recreate the strong cultural context that formed part of their DNA. With music at the heart of Russian culture, the foundation of the ‘Conservatoire russe de Paris’ in 1923, which boasted many teachers formerly of Russia’s Imperial academies, seemed an ideal way of realising this instinct. Among its founders were Feodor Chaliapin (1873-1938), Alexander Glazunov (1865- 1936), Alexander Gretchaninov (1864-1956) and Serge Rachmaninoff (1873-1943). In 1932, the Conservatory became part of the recently founded Parisian Russian Musical Society, tasked with continuing the work of its St Petersburg predecessor, which had been founded in 1859 and disbanded in 1917. The new conservatory was named after its first honorary chairman, Serge Rachmaninoff, a powerful symbol of Russian music in exile. Concerts by Vladimir Horowitz (1903-1989), Nathan Milstein (1904-1992), Gregor Piatigorsky (1903-1976), Alexander Borovsky (1889-1968) and many others contributed to its lustre and reputation.

The Conservatory became a symbol that the Russian community was both proud of and generous towards. Today, Count Pierre Cheremetiev, a fervent promoter of Russian musical culture, presides over it. New constraints and regulations require the Conservatory to undergo significant renovation. As such, the decision has been made to sell three masterpieces from the collection to allow the Conservatory to continue in its mission of musical education and to endure as a symbol of the Russian soul in Paris. Soudbinine’s impressive marble bust of Sobinov is a magnificent portrayal of the famous tenor by an extraordinary artist, executed at the time of the Diaghilev’s first Russian season in Paris. The large Stelletsky, Les Radeaux, is a vibrant expression of the vital determination of the Russians to preserve their culture and territorial unity, while Child with doll, full of freshness and charm, is a master pastel drawing by Zichy without parallel on the market in recent history. The Conservatory is not a museum and most of its artworks are not on view to the public; these three magnificent works will enter a new stage in their history while remaining a precious testimony to the Russian soul in either the museums or important private collections they go on to grace.

Literature: Exhibition catalogue, Exposition d’art russe, Paris, 1932, listed p. 43, no. 250.

Exhibited: Paris, Galerie ‘La Renaissance’, Exposition d’art russe, 1932, no. 250.

Notes: Stelletsky entered the St Petersburg Academy in 1896. He became fascinated with the iconographic tradition of Russia and developed the theme of Old Russia throughout his oeuvre. Stelletsky was often found in the library studying Russian history and was required to copy from early examples of native art as part of his academic training. He made several visits to cultural and historical sites and adapted the Russo-Byzantine tradition to modern pictorial evolution. Visiting monasteries, copying frescoes and icons, Stelletsky built his own style, drawing on Russian vernacular artistic form. He studied in Paris at the Académie Julian in 1904 and was represented in the Russian art section at the Salon d’Automne in 1906. In 1914 he emigrated to France where he collaborated with Diaghilev. While in Paris he was commissioned to decorate churches and he also continued with his painting. Among his most important projects were the decoration of the interior of Saint-Serge in Paris, the interior decoration for the travelling church of the Society ‘Vitiazi’, and large icons for Russian Orthodox Churches in Paris, Marseilles, Bulgaria and Yugoslavia. Deeply linked to the artistic tradition of Russia, Stelletsky was also inspired by the epic poem The Tale of Igor’s Campaign, in which the Grand Prince of Kiev Igor Sviatoslavovich went into battle against his Polovtsian enemies in 1185. Stelletsky is recorded to have drawn series of illustrations to this greatest, but also most puzzling work of medieval Russian literature, in 218 verses. The present work might be an evocation of The Tale of Igor’s Campaign or an artistic vision of the 16th century Russo-Kazan wars as the expression to preserve Russian culture and territorial unity.

The present work, after its donation to the Conservatoire Russe de Paris Serge Rachmaninoff, used to hang in S. Rachmaninoff’s office.

Le grand dessin de Zichy, Enfant à la poupée, est une œuvre pleine de vigueur et de charme du portraitiste préféré des Tsars Nicolas Ier et Alexandre II. C’est l’oeuvre la plus importante de l’artiste réapparue ces dernières années.

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Mikhail Zichy (1827-1906), Enfant à la poupée (Child with doll), signed, inscribed and dated ‘Zichy. Paris 1875’ (lower left),charcoal and watercolour, heightened with white, on paper, 43 5/8 x 32 1/8 in. (110.8 x 81.5 cm.). Estimate £120,000 – £180,000. Photo Christie’s Image Ltd 2014

Provenance: Donated to the Conservatoire Russe de Paris Serge Rachmaninoff.

PROPERTY FROM THE CONSERVATOIRE RUSSE DE PARIS SERGE RACHMANINOFF

Notes: The favourite portrait artist of both Nicholas I (1796-1855) and Alexander II (1818-1881), Mikhail Zichy was born in 1827 in Zala, Hungary. He first travelled to Russia in 1847 on the invitation of Grand Duchess Elena Pavlovna (1807-1873) who engaged the artist to instruct her daughter, Ekaterina Mikhailovna (1827-1894) in painting and drawing. After completing a number of studies depicting the coronation of Alexander II, Zichy was duly awarded the title of Academician by the St Petersburg Academy in 1856; he was named Court Painter in 1859 and remained so until 1873. Zichy settled in Paris from 1874 until 1881. Free from the restrictions of Imperial patronage and portraiture, he became acquainted with Gustave Doré (1832-1883) who was introduced to him on his first visit to Paris in 1862 by Théophile Gautier (1811-1872), one of the most prominent Romantic French writers.

A Rare Morozov Russian 84 Silver Bust of Emperor Nicholas I after Friedrich August Theodor Dietrich, St. Petersburg, 1896

29 mercredi Oct 2014

Posted by alaintruong2014 in Auctions, Russian Art

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Emperor Nicholas I, Friedrich August Theodor Dietrich, Morozov, Russian 84 Silver, Silver Bust, St Petersburg

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A Rare Morozov Russian 84 Silver Bust of Emperor Nicholas I after Friedrich August Theodor Dietrich, St. Petersburg, 1896. Photo Aspire Auctions, Inc.

Offered by Aspire Auctions, lot 394 Bust of Nicholas I (1825-1855), Czar of the Russian Empire. Portrayed in military uniform and helmet with double headed crowned Imperial Eagle and attached to a silver socle. Front plate with « Nicolas I » in Cyrillic. With maker’s hallmark « Morozov » in Cyrillic with Imperial Warrant of double headed Imperial Eagle to the right, city mark for St. Petersburg, and assay mark for Aleksandr Timofeyevich Shevyakov (1895-1898) and « 84, 1896 » underneath. Weighs 49.92 toz.

The silver casting was made by Morozov, the chief rival to Carl Faberge, also possessed the Imperial Warrant to supply items to the Imperial Court. This is symbolized by the Imperial Eagle on the hallmark of the bust. Ivan Ekimovich Morozov founded an important firm of jewelers and court purveyors « I.E.Morozov » in 1849 which remained in existence till 1917. Friedrich August Theodor Dietrich (German, 1817-1903) was born in Bojanovo (Posen), studied under Drake, Rauch, Tieck and others in Berlin. In 1856 modeled bronze statuettes of the Russian Tzar Nicolas I and the Prussian King Frederick Wilhelm IV.

This item is estimated $2,500-$5,000 and is currently at $2,300. Bidding is going on now at www.aspireauctions.com. The lot will close this Thursday October 30th at 4:33 pm Eastern Time, USA.

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Detail of hallmarks. Photo Aspire Auctions, Inc.

Autumn Auctions at Koller Zurich: Strong results for extraordinary antiques

28 dimanche Sep 2014

Posted by alaintruong2014 in 19th Century European Paintings, Antiquities, Books & Manuscripts, European Ceramics, French & Continental furniture, Jewelry, Old Master Paintings, Russian Art

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Étiquettes

"Carrara" marble, 10th century, 5th century BC, Actaeon, Alexej Iwanow Wichljajew, Altar wing, André-Charles Boulle, “Astronomicum Caesareum”, “Swiss Master”, Barthelemy Blaise, bronze figure, Bureau Plat, bureau-plat "Aux têtes de satire", ca. 1734, circa 1500, Circa 1594, Circa 1610, Circa 1855-60, console “aux griffons”, David Robert, Diamond ring, Empire, François Honoré Georges Jacob-Desmalter, great crested grebe, Greece, Jan Brueghel the Elder, Jean-Baptiste Camille Corot, Jean-Pierre Ador, Johann Joachim Kändler, lidded goblet, Majo Fruithof, marquis de Nicolay, Matthias Stomer, Peter Apian, Régence, Silver-gilt “kovsh”, St Petersburg, step-cut diamond, Zeus

ZURICH.- The Koller auctions from 15 to 20 September 2014 culminated with the sale of a writing desk by André-Charles Boulle for the record price of CHF 3 million and brought about several other surprising sales. The Book auction concluded with three sales in the six-digit range. The “Astronomicum Caesareum” by Peter Apian sold for CHF 660 000.

Furniture

The sensational result of 3 million Swiss francs obtained for the writing desk by the French cabinetmaker André-Charles Boulle was the highlight of the furniture auction (Lot 1078). This is the highest price ever paid for a piece of furniture at an auction in Switzerland and one of the highest prices ever paid for a piece of furniture world-wide. A private collector from London outbid three telephone bidders and an interested party in the auction hall.

Koller Auctions - Furniture & Decoration

Important bureau-plat of the marquis de Nicolay « Aux têtes de satire », Régence, by AC BOULLE (André Charles Boulle, 1643-1732), Paris, approx 1720. Sold for CHF 3 million. Photo Koller Auctions 

Ebony and red / brown tortoise shell, exceptionally finely inlaid with engraved brass fillets in « première partie-« ; flowers, cartouches and leaves. Rectangular top etched in bronze and lined with gold-stamped leather. Front with broad central Retracted drawer, flanked by 1 drawer on each side, and the same but sham arrangement verso, with the exception of the central mascaron of the bust of Democritus. Exceptionally sumptuous matte and polished brass mounts applies. Old restorations, so-called « restaurations d’usage ». 195x98x80 cm.

Provenance: – Commissioned by Charles Henry Malon de Bercy (1678-1742) for the Parisian palace.
– Family Malon de Bercy or family de Nicolay in the 18th century.
– Léon, Marquis de Nicolay (1801-1873 ).
-. Due to inheritance in the same family ownership and today in western Switzerland Castle property .

Notes: Includes a detailed report from JD Augarde, SCP Jean Ronfort, Paris, 25 July 2014 « annoncer of ouvrages de Boule, c’est les citer Meubles the plus belles formes & de la plus grande richesse, par les matières précieuses qui les composent, par la perfection of modèles de bronze et la beauté de la dorure; jusqu’à présent n’a rien ce genre de meubles REMPLACE, ce n’est & qu’en rapprochant que l’on s’en obtiendra les suffrages du temps & de la postérité. L’le caractere de magnificence on connait qu’il donne aux cabinets de curiosités où il toujours les premières occupe places.  » Jean-Baptiste-Pierre Lebrun, 1809th The above quote is valid until today. Furniture and works of AC Boulle belong to the « histoire universal », and all museums, from Russia to the United States of America, these masterpieces with the greatest pride. When the Prince of Lichtenstein opened his museum in Vienna, he noticed – despite stupendous collection – that essential « pearls » were missing; he acquired in the Wildenstein auction of 2005 half cabinet of AC Boulle and later a Bureau-Plat « aux têtes de femme » of the master from the collections of the Earl of Grey. Of all the furniture of AC Boulle the Bureau Plats are those which were subjected to the least change and destruction. The master’s works were collected very early – shortly after his death they were among the most sought-after « rarities » the great collectors. The works were often handed down from generation to generation as a valuable asset. Although the works were perceived as typical work in the aesthetics of Louis XIV, they were at the same time as timeless masterpieces and symbol of taste and wealth. . The Bureau Plats were unique in this respect, because they were always in use and are still Enumerating owners of Bureau Plats from the workshop of AC Boulle proves to be very fruitful exercise; first, the family members of King Louis XIV, King Philip V of Spain, the Prince de Condé, members of the Haute Noblesse of the French capital, Cardinal Prince de Rohan, the Count of Hoym, Minister of Augustus the Strong, the rich financiers S . Bernard, the « fermiers général » E. Perrinet, the minister of Louis XV, the Duc de Praslin, the abbot and « contrôleur Général des Finances » Terray, the Duc de la Vrillère, Secretary of the King. At the same time, numerous pictorial representations of the 18th century found with Bureau Plats of AC Boulle; as introduced already in 1702 H. Rigaud P. Bossuet alongside a writing furniture with « têtes de satyre ». Even in the 19th century there is a manufactured by F. Winterhalter Portrait of Albert of Saxe-Coburg-Gotha, the him with . represents such a panel (now part of the royal collections at Windsor) The Bureau-Plat, a work table, which can be placed in the middle of the room and rests on four legs, belongs in this form to the innovative inventions of AC Boulle; this form shaped the production of such furniture throughout the 18th and 19th centuries. You must be dated in the last decades of the 17th century, as the above-mentioned Portrait of Bossuet from 1702 occupied. , the furniture offered here was not only an innovation in its function, but also in its aesthetics. Note the distinctive and exceptionally strong curved legs – called by his contemporaries as « jambes de biches » – that give the furniture imposing a hitherto unheard « lightness ». For many years AC Boulle was the only one who made ​​this type desks that were already at that time the most expensive and most popular furniture. The source location allows no precise indication of the volume of production, but information can be found in some inventories purpose. In 1720, after a fire destroyed a large part of his workshop and the contents are in a « Mémoire » five processed in order Bureau Plats « de cinq à six pieds de long en marqueterie d’écaille de tortue … très Avances » mentioned and 12 more that were far different still manufactured without specific order. All this furniture was destroyed by fire said. These figures provide important information about the working method of AC Boulle and his workshop. Firstly, it is noticeable that he let run a model at the same time several times -. Proof of the immense success of his works AC Boulle led a thriving studio. It is therefore inconceivable that he, himself at the same time worked in 1720 with 78 years to 17 Bureau Plats. This reveals how Jean Nérée could prove Ronfort, the concept and operation of the master; he designed the innovative furniture, searching for new materials and had the greatest craftsmen and artists of his era for the implementation work on it. At the same time he had complete control over the production and guaranteed as a « unité de production ». The fact of simultaneous production of several, partly identical furniture is important in this respect, however, must be made ​​between the official contract work and such, it (yet) were. The preparation of such luxury furniture required a lot of time; There were striking delays – which sometimes led to the cancellation of certain orders. So there was great conflict with Hébert, the 1723 several dressers were in order, but this does not timely received, because AC:. Boulle worked at a highly significant chandeliers for Prince Eugene of Savoy, who was later acquired by the Comte de Hoym This situation led AC Boulle to « streamline » its production. The furniture, especially the Bureau Plats, were in an actual « raw state », or as it held the source of 1720 for the 12 writing furniture, « plus ou moins Avances ». This means that the furniture was present in its basic structure, but only partially market benefits and provided without the bronze fittings. So it was AC Boulle possible to match the customer requirements in each case in detail, to bring adaptations and finish the furniture in a relatively short time. In addition, this method allowed him to employ his workshop with durable work. This organization of the work is also found in other masters of the era. The dealer EF Gersaint was this act in regard to an even higher scale, « Le client pouvait entrer dans la boutique de Gersaint et composer lui-même son meuble, par exemple, pour une table, choisir les pieds – Sculptes ou non – un dessus de marbre, et éventuellement of sabots de bronze. pouvait Il ainsi le meuble avec ce qu’il accorder possédait déjà chez lui. Il faut souligner la variété et surtout l’numérique, importance of meubles volontairement inachevés, ce qui offrait à l’une grande liberté acheteur.  » . (Glorieux 2002) The classification of large Bureau Plats 4 legs of AC Boulle can be divided into three categories: those with « têtes de satyre », which he produced in several variations since 1690, those with rolled Eckbronzen as well as those with  » têtes de femme « , which in various, slightly different versions and » are known modelli « . The Bureau Plats with « têtes de satyre » represent the largest group here can, without going into details of the restorations and changes, list the following Bureau Plats:. That of the royal collections at Windsor, the Art Museum of Budapest, in Wallace Collection in London, the J. Paul Getty Museum in Los Angeles, in the Frick Collection, and finally the Bureau-Plat of the Museum of Art in New York. They bear witness to the development of this type of trace chronologically. This contrasts with the two Bureau Plats from the collections of the Musée du Louvre in Paris (Stock No. OA 6166 and OA 6363), which likewise « têtes de satyre » exhibit, but these were later applied to replace the rolled Eckbronzen. The Bureau-Plat of Marquis de Nicolay The offered Bureau-Plat belongs to the last generation of the master and is characterized by the distinctive, powerful legs – in contrast to the simultaneously arising Bureau Plats « à têtes de femmes » from the collection of Prince de Condé (see Exhibition Catalogue Frankfurt, no. 20) or the counterpart in « contre-partie » from the collection of Machault d’Arnouville (see Exhibition Catalogue Frankfurt, no. 21). The identical clogs, as well as the striking grotesque mask, can be found at the Bureau « aux têtes de satyre » the Wallace Collection. The same grotesque mask can also be found at a Bureau-Plat « aux têtes de femme », which sold at Sotheby’s London on 24/06/1988 (catalog no. 74) was sold. The rosettes are found both on the desks of the Wallace Collection and the J. Paul Getty Museum in Los Angeles. The marquetry of the middle drawer is identical to that of the panel of the Prince de Condé. The deposits of the lateral drawer are identical with those of the Bureau Plats of the J. Paul Getty Museum, the royal collections at Windsor, the collection of Machault 1719 (sold at Christie’s New York on 20.5.1994, catalog no. 80), the collection the Counts of Warwick (sold at Christie’s Geneva on 18.11.1974, catalog no. 54). The latter two have furniture fittings « aux têtes de femme » on. The marquetry of the side frame is identical to that of the Wallace Collection, and partly to that of the console from the Machault collection. The marquetry of the legs can be found in an identical manner in all the mentioned furniture « aux têtes de satyre » and in the Bureau-Plat of the Machault collection. The extremely fine foliage marquetry again finds himself in an almost identical manner in all the mentioned furniture. Information Provenance The family of Nicolay comes originally the Vivarais and is bringing in historical connection with the jurisdiction and a line through it as a « Premier Président de la Chambre des Comptes « and in the military as officers of France. In 1502 was a member of Treasurer of the Neapolitan kingdom, another was Lieutenant General « du grand maître de l’artillery » under Louis XIII and also included general officers or colonel of dragoons, others were bishops , such as Avignon, Cahors, Béziers or Verdun, the latter at the same time « premier aumônier » Madame la Dauphine for, mother of Louis XVI. Other members were Knights of Malta and Saint-Louis, President of the Grand Conseil, a member of the Académie Française, Chancellor in the service of Louis XVI and nine Premiers Présidents the Chambre des Comptes in Paris, which since 1509 to 1794 (with the resolution the monarchical structures) followed almost without interruption – a very rare example of a dynastic career in the French political system. It is thus understandable that members of this wealthy and important family gathering furniture of AC Boulle. According to A. Grimod de la Reynière, the famous gourmet and son of the renowned collector Aymar-Claude de Nicolay, Bishop of Bezier lived this surrounded by numerous furniture of the Parisian master. Aymar-Charles de Nicolay (1747-1794), President of the Chambre des Comptes and member of the Académie Française, owned several furniture of AC Boulle; among other things, a ceiling chandelier « à têtes de bélier », a pair of candelabra, a pair of half-cabinets « à trois portes » and the two famous cabinets « de Socrate et Aspasie » (now part of the collections of the Musée du Louvre in Paris, Stock No. OA 9518 -9519, and formerly in the collections of the Prince of Bendern, W. Beckford and the Dukes of Hamilton). The entire ensemble was auctioned on 25 May 1797 and mentioned a Bureau-Plat under catalog number 31: « Un très beau bureau de 6 pieds de long avec son serre-papiers en deux parties, surmonté d’une pendule garnie d’une figure d ‘homme et de femme d’après Michel-Ange de couleur antique, le reste du bureau de marqueterie en bronze doré d’or moulu.  » Aymar-François de Nicolay (1777-1839), eldest son of the above, Marquis de was Bercy, Comte de l’Empire, chamberlain of Emperor Napoleon, Pair de France during his 100-day rule and later under King Louis-Philippe. He married Alexandrine Charlotte Malon de Bercy (died. 1808), whose ancestors already furniture of AC Boulle possessed, above all a great Bureau Plat « s marqueterie de cuivre et d’écaille ». After the death of the last member of the Malon in 1809, the Château de Bercy came with the inventory owned by Gabriel de Nicolay under the condition that this assumed the title and arms of the Marquis de Bercy. In its heritage and the Château de Blet was, which he handed over to his brother Léon de Nicolay (1801-1873). In this castle the here offered Bureau-Plat remained for nearly two centuries. ‘s not inconceivable the possibility that Aymar-François de Nicolay the here offered Bureau-Plat reacquired at the above mentioned auction, as the third Duc de Praslin for the Boulle furniture of his father in 1793, or the Duc d’Harcourt for two « cabinets à figures en pied de Louis XIV », now part of the collections of the Musée du Louvre (Stock No. OA 5468-5469), at the auction of the collection his uncle, the Marquis de Lambert, in 1754 did. inclusion in the Catalogue Raisonné The offered Bureau-Plat of Marquis de Nicolay is in the Catalogue Raisonné, begun by Jean Nérée Ronfort and continued by Boulle The Project was added. It is under the number 4 20140721 CR configure. André-Charles Boulle was born on November 10, 1642 in Paris, where he died on Saturday, March 1, 1732. His long and successful career makes him one of the most important figures in the history of art during the reign of King Louis XIV and the Regency era. Boulle took over his father, who had founded this in 1653 in the Rue de Reims « Sur la Montagne Sainte Geneviève » the studio. By decree of Queen Maria Theresa of Austria, acting on the instructions of King Louis XIV Boulle received on 20 May 1672 so-called « logement » under the gallery of the Louvre, where once the Ebenist Jean Macé had worked. In October 1679 this studio was greatly enlarged and extended with facilities that were located near Queen Anne Louvre wing, opposite the Place du Vieux Louvre. This influenced the production greatly, now that we manufacture in those areas, both the furniture and marquetry design as well as the bronzes, pour and could zieselieren, which was a unique circumstance in the late 17th century. 1720 a fire destroyed the workshop in the Vieux Louvre – and with it Boulle’s immense collection of design drawings and prints, which had a marked decline in production resulted. Although Boulle was already at an advanced age, he retained both the apartment as well as his « boutique » of the Grande Galerie du Louvre. André-Charles Boulle maintained contacts to the « Direction Générale des Bâtiments du Roi », the actual Ministry of Fine Arts, the employees paid him for his important and diverse commissions for the king and his family. In addition to Boulle’s clientele included all members of high finance, who owned residences on the Place de Vendôme at that time. Boulle work as Ebenist, designer and manufacturer of bronzes was already regarded by his contemporaries for once in the « Decorative Arts ». As a designer Boulle was both « architect » and finally Ebenist of the highest quality, which earned the only « la notion de tri-dimensionalité » in his work. The huge success of its high-quality furniture, bronzes, clocks, candlesticks, pedestals and furnishings led to a plethora of orders from the French court, but also of the entire leading nobility of France, such as the Duc d’Orléans and de Bourbon, the Prince de Condé, the Duchesse du Barry, the Cardinal of Rohan, from foreign kings and princes as Philippe V of Spain, the Bishop of Cologne and Prince Maximilian Emanuel of Bavaria. Despite the enormous success Boulle was constantly struggling with financial problems and had to rely on the help of the king, for example, in 1703: « Le Roi a bien cette fois encore à voulu accorder Boulle de un arrest surséance pour six mois à condition que ce sera la dernière grâce que sa majesté luy fera là-dessus « . There were financial difficulties, especially the outstanding wage payments to his workers, and control problems, the Boulle forced in 1715 to override the company to four of his sons – but without giving the reins. To old age he remained active in his workshop and was responsible for the new design language of the Regency. spite of its expansion, the workshop Boulle has a very strong family retain embossing, a fact that was little known until today. From the beginning, Boulle worked with his father until his death in 1680, and with his sister Constanze until her death in 1678 and with his son Philippe Poitou, married the widow of the cabinetmaker Somer and also « du Roi ébéniste » was. Boulle also employed his biological cousin Pierre Boulle, the « ébéniste à la suite du Conseil » was, and later his son, a « ciseleur ». Once the own sons reached the appropriate age, they have been included by the father in the business. The eldest, Jean Philippe (1678-1744), and the Younger, Charles Joseph (1688-1754), had until her death in the Atelier de la Galerie du Louvre under the title « ébénistes du Roi » continue, especially as the first « engraver » and « ciseleur », the second as « ébéniste » and « marqueteur ». The second and the third son, Pierre-Benoît (1680-1741) and André-Charles (II) (1685-1745), her father left for 1725 The first of the two settled in the Faubourg Saint-Antoine, the second, the sculptor was won in 1709 the second prize of the Academy of Rome. He developed a very unique style in his studio in the Rue de Sèvres. Many of the bronze models, which his father processed before 1725 come from him. .: Lit JN Ronfort, A Louis XIV Armoire by André Charles Boulle, New York 2001 (Philips). Ibid., André Charles Boulle 1642-1732, Un nouveau style pour l’Europe, exhibition catalog, Frankfurt 2009 T. Dell, The Frick Collection, An Illustrated Catalogue – French Furniture and Gilt Bronzes, New York 1992 G. Glorieux, A l’Enseigne de Gersaint 1696-1750, Paris 2002 P. Hughes, The Wallace Collection, Catalogue of Furniture, London 1996, Sir H. Roberts, For the King’s Pleasure, The furnishing and decoration of George IV’s apartments at Windsor Castle, London 2001 G. Wilson / C. Bremer-David / J. Weaver, French Furniture and Gilt Bronzes, Catalogue of the J. Paul Getty Museum Collection, Los Angeles 2008th

Other coveted lots of this auction concerned objects of various styles from different time periods. Among the Empire furniture was the important console “aux griffons” by F.H.G Jacob-Desmalter, which found a new owner for CHF 210 000 (lot 1278).

Koller Auctions - Furniture & Decoration

Important console “aux griffons”,  Empire, probably Send by FHG JACOB-Desmalter (François Honoré Georges Jacob-Desmalter, 1770-1841), Paris, about 1810/15. Sold for CHF 210 000. Photo Koller Auctions

Wood, exquisitely carved with seated griffins, palmettes, rosettes, and decorative frieze , and applies. « Portor » top. Mirrored rear wall. 133x56x92 cm.

Provenance: From a French collection.

Notes: A very similar console – made ​​with winged Sphingenfiguren and FHG Jacob Desmalter for the Tuileries – is shown in D. Ledoux-Lebard, Le Mobilier du XIXe siècle, Paris, 1989; S. 333rd As the second son of the famous Georges Jacob (Champion 1765) learned FHG Jacob Desmalter the craftsmanship in the studio of his father. Surname he added « Desmalter » to, a reference to his country of origin « Les Malterres ». As the « association » with his brother George II by the sudden death came to an abrupt end, FHG began Jacob Desmalter a new collaboration with his father and received the title « menuisier-ébéniste fabricant de meubles et bronzes LL.MMII. RR et » . Throughout the Napoleonic rule they supplied as « fournisseurs principals » the imperial palaces. The years around 1800 were marked by the boundless imagination and production as well as of the close relationship to the imperial court, which earned him the most important jobs. The thriving company employed temporarily to 600 workers and produced in these years furniture worth over 10 million francs, which was an enormous sum at that time. However, it was not only the quantity but also the already highly praised by his contemporaries « diversité » their production, which established the fame of the Jacob family. The cooperation with major artists, « bronziers » designers and such. B. with C. Percier, PL Fontaine, T. Brongniart, F. Bélanger, JL David, C. Odiot or PP Thomire, led to the most significant works that era and manifests the great importance of Jacob Dynasty. The artistic brilliance of furniture and furnishings suffered from the economic situation; many clients were due to the chaos of war in those years not being able to pay the bills numerous furniture had to be kept « en stock ».1809 revealed FHG Jacob Desmalter the difficulty of obtaining the compensation of his services at the imperial court, and described the precarious situation as follows: « Je ne pouvais prévoir, que les affaires éprouveraient une stagnation aussi grande; l’étranger ne fait aucune demande et les travaux que j’ai fait depuis sont pour les services de l’Empereur et Roi SM … Les délais sont si longs … Je ne vois par le moment où tout ce que per pourrai toucher j’ai fait pour les palais des Tuileries, Fontainebleau, Compiègne, Rambouillet et autres.  » 1813 received FHG Jacob Desmalter a general debt relief with the non incorrect remark that he was « unique management victime of événements politiques » was. Dependence on imperial orders – at the beginning of a very lucrative and prestigious affair – turned out after 1810 to be fatal. The defeat of Napoleon on the battlefields of Europe followed a financial need of the Treasury, the stopped placing orders for the production of luxury furniture. 1813, the company « faillite » had to explain. The financial disaster despite being FHG Jacob Desmalter the most important Ebenist of the Empire. lit .: P. Kjellberg, Le Mobilier français du XVIIIe siècle, Paris, 1989; S. 434/435 (biogr. Specifications).

Marble and bronze figures were likewise high in demand. The Greek bronze figure of Zeus from the 5th century B.C. was auctioned for CHF 294 000 (lot 1016). The ca. 80 cm tall marble figure of Actaeon with club, skin, horn and dog, which was created by Barthélemy Blaise in 1786, sold for CHF 180 000 (lot 1253).

Koller Auctions - Furniture & Decoration

Bronze figure of Zeus, Greece, 5th century BC. Sold for CHF 294 000. Photo Koller Auctions

Bronze with green patina. Zeus standing with his right arm raised, on a stepped, square wooden base. H 18 cm (without base). H 23.5 cm (with base).

Provenance: – Former private collection, Zurich.
– Auction Sotheby’s New York, 17.12.1998 (Lot No. 113).
– Gallery D. Cahn, Basel.
– Private collection, Switzerland.

Exhibition: André Emmerich Gallery, New York, 7.2.1968-13.3.1968.

Notes: There the bronze was explained as follows: « The smooth green patina is typical for the Dodona bronzes and it is very likely that this Zeus was a votive offering to his famous sanctuary The slender proportions and the highly relaxed poise point to a work under the. influence of the great Lysippus at the ending phase of classical art. For a novel version of this type Zeus in Madrid see R. Thouvenot, Cat. the figurines et objets de bronze (1927) pl.I 10 Cf. so a Jupiter Often Represented on Roman Imperial coins, eg on sestertii of Antoninus Pius, with the inscription IOVI STATORI: Coins of the Roman Empire, British Museum, 4 (1940), pl 28, 3 For the head, the old man on the Ilissus stele. in the National Museum of Athens (H. Diepolder, The Attic grave reliefs (1931), pl.48), Provides a striking parallel.  » Zeus the highest and unbezwingbarste the Greek gods and the god of light, of the sky was known. The name derives from the Indo-European Djeus and is related to the ancient Indian Dyauspita, lat., This Peter / Jupiter, together. As the son of Cronus and Rhea Zeus had brought in a tremendous battle against his father, him and the Titans plunged into Tartarus, to take control over the dark powers of depth. But Zeus had to share the rule with his brothers Poseidon and Hades. When God the height he let his power in heaven, the « Cloud Baller », the lightning lover who Hochdonnernde and Dunkelwolkige, who was responsible for all weather changes. But among the gods he was also the most fertile: Athena, Apollo, Dionysus, Ares, Hermes, Hephaestus, Artemis, Persephone, Euphrosyne, Thalia and Aglaia were all his children. If he was human women approached, he changed his form more than any other Greek god; so also in Europe, the beautiful daughter of Agenor.The legend says that the girl, when she saw the bull was so blinded by his beauty that she stroked him and sat on his back. The bull jumped into the sea and then swam to Crete, where he joined with her. For the love of Zeus for Titaness Themis sprang the three Fates, Clotho, Lachesis and Atropos. But constant consort of Zeus was his sister Hera. Their children were Ares, Hephaestus, Hebe and Eileithya. was Zeus but also as the wisest and weitschauendste of the gods, gave people the « noble mind », which was considered mild and accepted the expiations. To appear comprising the power of Zeus liked, he never ceased to be the God of the bounded domain, ie from their homes and possession. To him they turned the other gods when they had disputes and studied law. His main places of worship were Dodona and Olympia and the largest temple of Zeus, the Temple of Olympian Zeus in Athens, once started Peisistratids, was not completed until the reign of Hadrian.

Koller Auctions - Furniture & Decoration

Barthelemy Blaise (Lyon ca. 1738-1819 Paris), Young Actaeon sitting on a rock. dated 1786, Paris. Sold for CHF 180 000. Photo Koller Auctions

« Carrara » marble. On a round shaped base. Signed as BLAISE FECIT 1786 H 81.5 cm.

Provenance: – Auction Sotheby’s London, 8.7.1998 (Catalog 104.).
– Private collection, Switzerland.

Notes: B. Blaise first attended the Ecole de Dessin in Lyon. Later, he began to build up an excellent reputation as a sculptor and has received several major commissions in Lyon; so he created a life-size figure of St. Stephen, and another by John the Baptist for the cathedral in Lyon. In the years 1770-1772 J. Chinard was his pupil. In 1785 he was admitted to the Académie Royale in Paris and introduced two years later at the Salon figures of a « berger » and Leda from. A year later, he created the monument for the Comte de Vergennes, Charles Gravier for Notre Dame in Versailles. He also produced numerous ornamental work on major buildings of the French capital. The most famous representation of this hero of Greek mythology comes from Ovid. This surprised the roaming through the woods surrounded by Actaeon the nymphs bathing Diana. Deprived of the goddess, her bow, splashed him with water from the source and called to him: « Now tell me, if you can, you had seen me naked » Then Actaeon grew antlers from the center of the forehead, the ears were longer, hands and feet were to split hooves and a fur covered his body. In the shape of a deer he was later not recognized by his friends, but hunted and eventually torn to pieces by his own hounds.

Books & Autographs

“Astronomicum Caesareum” by Peter Apian sold for CHF 660 000

The Book auction featured no less than three bids in the six-digit range. The top lot was the “Astronomicum Caesareum” by Peter Apian from 1540, which sold for CHF 660 000 (lot 402). In addition to being one of the most attractively printed works of the 16th century, this book is considered to be the last important work of Ptolemaic astronomy.

Koller Auctions - Books & Autographs

Peter Apian, Astronomicum Caesareum. Sold for CHF 660 000. Photo Koller Auctions 

Title with colored woodcut border and woodcut big coloroured. Dedication with engraved coat-of-arms of emperor Charles V. and full page-size color woodcut at the end. 36 full page-size colored woodcuts astronomical, thereof 21 with in total 61 (of 83 upon) moving elements (so called « volvelles ») and 27 colored cords. A lot, partly colored woodcuts in text and 93 figural woodcut initials-(thereof 53 on 11.5 lines). Ingolstadt. [Colophon in mirror writing]: In aedibus nostris [George and Peter Apian], folio 1540. [59] leaves. Two mounted bands text on fol. G4 recto, mounted correcting-band over two lines on fol. K1 recto. Red maroquin of the 19th century (signed Belz-Niédrée), applies with spine and covers, and true edges. – First edition, edition B CORRESPONDING Schottenloher: The last page with an older coat-of-arms woodcut: an eagle with one head and signature « Insignia Petri Apiani ». Our copy without the 12 pearls, Which werewolf mounted on the cords. – Inside: Lightly waiterstained on the upper border, in the beginning a little stronger, the first three leaves with smal restorations of the bursting border (outside the text). The last third so a little waterstained on the borders, apart from did just a little browned, all in all in exceptional condition on.

Provenance: Old book seller mark of the Erasmus House Basel.
– Swiss private property.
– One of the most important books of the 16th century and « the most spectacular contribution of the book-maker’s art to sixteenth century science » (Gingerich).

The second highest bid of the auction, namely CHF 408 000, went to Isaac Newton’s “Philosophiae naturalis principia mathematica” from 1687 (lot 353). With this work, Newton laid the cornerstone for the Law of Universal Gravitation and Classical Mechanics.

David Robert’s six-volume work with 238 colored lithographs of historical subjects from Palestine and Egypt, published in London between 1842 and 1849, fetched CHF 220 000 (lot 386).

Koller Auctions - Books & Autographs

David Robert, The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia. From Drawings made on the spot by David Roberts, R.A. With historical Descriptions by the Revd. George Croly. L.L.D. Lithographed by Louis Haghe. 6 volumes. Sold for CHF 220 000. Photo Koller Auctions

With 4 engraved frontispieces (thereunder 1 portrait of the author), 6 engraved titles, 238 coloured originial-lithographies, all mounted on card, as well as 2 engraved maps by L. Haghe after D. Roberts and C. Baugniet. London, F. G. Moon, 1842-1849. 6 monumental Maroquin with gilt spine and covers, coat-of-arms, gilt edges (sign: « Pilkington, Dublin »; borders a little rubbed, some slight spottings, light scratchings) in: Library furniture, late Art Déco. Trope wood. Rectangular corpus with diagonal leaf on the mounted base. Open front with 6 extensible shelf boards. Metal holders. 81x52x106 cm (the leaf with scratchings and missings in the inlay). – First edition, complete with all engravings. – Inside: Titles and text a little moldy and browned. Some plates a little foxing and glue shadily. Some fingerspots. The plate ‘Shrine of the Annunciation’ in vol. I cut on the borders, the plate « Cairo looking West » with some ink dots and/ or colour dabbers. All in all in a very good condition.

Provenance: With the exlibris and coat-of-arms of the Earls of Portarlington on Emo Court (Ireland). – Monunumental travelogue from the Orient in custom-built furniture

Old Masters

Matthias Stomer and Jan Brueghel dominate the Old Masters auction

The ca. 1.1×1.5 m painting of the evangelists Mark and Luke with their attributes, lion and ox, which Matthias Stomer created as the counterpart to “Matthew and John with eagle and angel”, was the top lot at Koller’s Old Masters auction and sold for CHF 432 000 (lot 3029). This work was formerly part of the Trafalgar Galleries and subsequently became part of a European private collection.

Koller Auctions - Old Master Paintings

Matthias Stomer (Amersfoort circa 1600 – after 1650 Sicily), The Evangelists Mark and Luke with their attributes, the lion and the ox. Oil on canvas. 113 x 154 cm. Sold for CHF 432 000. Photo Koller Auctions

Provenance: – Trafalgar Galleries, London, 1976.
– European private collection.

Literature: – Walsh, John: Stomer’s Evangelists, in: Burlington Magazine, July 1976, pp. 504-507, fig. 84.
– Nicolson, Benedict: Stomer brought up to date, in: Burlington Magazine, April 1977, p. 238.
– Nicolson, Benedict: The International Caravaggesque Movement, Oxford 1979, p. 95.
– Nicolson, Benedict.: Caravaggism in Europe, 2. edition, 1990, fig 1512.
– Verdi. R.: Matthias Stom, Exh. Cat. Birmingham 1999, pp. 48-50, No 9, ill p. 49.

Exhibited: – « In the Light of Caravaggio », Trafalgar Galleries, London 1976, No 13.
– « Matthew Stomer », Barber Institute, Birmingham, October 1999 – Jan 2000.

With four works by Jan Brueghel sold at the auction, the Flemish master was without a doubt the star of the auction, both in numbers of lots and in total amount. A 20×26 oil on copper painting depicting the Holy Family resting on the flight into Egypt, from 1594, fetched CHF 396 000, the second highest price obtained at this auction (lot 3040). The tondo “A farmhouse by a stream” from 1610 sold for CHF 300 000 (lot 3049).

Koller Auctions - Old Master Paintings

Jan Brueghel the Elder (Brussels 1568 – 1625 Antwerp), Rest on the Flight into Egypt. Circa 1594. Oil on copper. Signed lower right: BRUE […]. 20 x 26 cm. Sold for CHF 396 000. Photo Koller Auctions

Expertise: – Dr. Klaus Ertz, 14.7.2014 (with dating circa 1595).
– Dr. Jaco Rutgers, 25.2.2014 (dating circa 1594).

Provenance: Swiss private collection.

Koller Auctions - Old Master Paintings

Jan Brueghel the Elder (Brussels 1568 – 1625 Antwerp), A farmhouse by a stream. Circa 1610. Oil on panel. Signed centre bottom: BRVEGHEL. 21 cm diameter (round). Sold for CHF 300 000. Photo Koller Auctions

Expertise: Dr. Klaus Ertz, 10.6.2013.

Provenance: Swiss private collection.

The winged altar (triptych) by the so-called “Swiss Master” brought about a surprise. This masterpiece, depicting the coronation of Mary, Saint Bernhard and Saint Agnes, the Annunciation, and Saint Anne with the Virgin and Child, was estimated at CHF 60 000 to 80 000, and achieved CHF 180 000 (lot 3005).

Koller Auctions - Old Master Paintings

“Swiss Master”, circa 1500, (from the circle of the Master of the Carnations, active between 1479-1510), Altar wing (Triptych): the coronation of Mary (central panel), St Bernhard of Clairvaux and St Agnes (outer wing), the Annunciation and St Anne with the Virgin and Child (central wing). Oil on panel. 46 x 46 cm (Central panel), 47 x 20 cm (Outer panel). Sold for CHF 180 000. Photo Koller Auctions

Expertise: Ludwig Meyer, 20.7.2000 (as Swiss Master of the Carnations, circa 1500).

Provenance: Swiss private collection for several decades.

19th century Paintings

Russian paintings high in demand

Once again, harmoniously composed paintings by the St. Petersburg artist Ivan Fe- dorovic Choultse were among the highlights of the auction for 19th century pain- tings. A winter landscape featuring Lake St. Moritz was sold for CHF 228 000, a sunset over the Adriatic changed hands for CHF 180 000 (lots 3225 and 3222). The “Portrait of a lady with coconut jewellery” by the Russian painter Konstantin Egorovich Makovsky was another top lot at the auction and fetched CHF 126 000 (lot 3202). The highest bid at the auction went to the oil “Les danseurs de Castel- Gandolfo” by Jean-Baptiste Camille Corot, created ca. 1855/60, which achieved CHF 256 000 (lot 3256).

Koller Auctions - Highlights

Jean-Baptiste Camille Corot (1796 Paris 1875), Les danseurs de Castel-Gandolfo. Circa 1855-60. Oil on canvas. Signed lower left: COROT; 39 x 55 cm. Sold for 256 000. Photo Koller Auctions

Provenance: – Hôtel Drouot (vente Marmontel), Paris, 1868, Cat. No. 3.
– Collection of M. Le Mire, Rouen.
– Swiss private collection, Anna Deere Wiman.
– Galerie Koller, Zurich, 29. November 1985, Lot 5194.
– Christie’s, London, 22. May 2013, Lot 8. (label verso).
– Swiss private collection.

Exhibited: Paris 1875, Exposition de l’oevre de Corot. Ecole des Beaux-Arts, No. 104.

Literature: Robaut, Alfred: L’oevre de Corot, Paris 1965, Vol. II, p. 362, No. 1123 (with ill.).

Porcelain, Faience & Glass and Silver

Many bidders from all over the world

The top lot of the Porcelain auction was a Meissen figure of an “Augustus Rex” great crested grebe, manufactured ca. 1734 after a model by J.J. Kändler, and was acquired by an American collector for CHF 144 000 (lot 1800).

Koller Auctions - Porcelain, Faience & Glass

Rare model of an “Augustus Rex” great crested grebe, Meissen, model by Johann Joachim Kändler, ca. 1734. Sold for CHF 144 000. Photo Koller Auctions

Naturalistically modelled. Blue AR monogram on the unglazed base. H 48 cm. Restoration on both feet, beak and reed leaves, small chip on head feathers.

Provenance: – From the Royal Collections, Friedrich August II. Elector of Saxony, King August III. (1696-1763), Dresden.
– Gut Aabach, Risch am Zuger See.

The Silver auction delighted with several Russian objects. A silver-gilt “kovsh”, a tra- ditional Russian drinking vessel, by the Moscow master Alexej Iwanow Wichljajew, changed hands for CHF 60 000 (lot 1758), and a St. Petersburg lidded goblet from 1768 sold for CHF 12 000 (lot 1928).

Koller Auctions - Silver

Silver-gilt “kovsh”, Moscow 1794. Inspector’s mark Alexej Iwanow Wichljajew. Sold for CHF 60 000. Photo Koller Auctions

With maker’s mark. The inside with chased double-eagle and the depiction of a horseman. Cyrillic inscription which can be translated as « For Faith and Loyalty ». Handle with the crowned monogram of Tsarina Catherine II. The opposite side of the handle, with a cast double-eagle. The walls engraved with six cartouches depicting the tsarina and referring to the recipient in 18th century Cyrillic script. Freely translated as: « For Ivan the Small/Boy as a thank you for his long service, 20 May 1794 ». Gilding, rubbed in some areas. L ca. 26.5 cm, 420g.

Provenance: German private collection.

Koller Auctions - Highlights

Copy of a lidded goblet, marked St. Petersburg 1768. Maker’s mark Jean-Pierre Ador. Sold for CHF 12 000. Photo Koller Auctions

Square plinth, the corners each decorated with a ram head and with garlands all around. Round foot with blue enamel, with the engraving « Ador à St. Petersbourg ». Vessel with two enamel plaques in sculptured leaf cartouches. Lion heads with red glass eyes, holding a ring, handles with volutes and leaf festoons. The cover decorated with blue enamel and with a crown set with garnets.
This goblet is in the style of a vase that was produced by Jean-Pierre Ador in 1768 in St. Petersburg and belonged to the Prince Grigory Grigorievich Orlov. H 33 cm, 2235g.

Jewellery & Watches

More and more women bidders

The trend that an increasing number of women are actively bidding at the Jewellery auctions is continuing. The top lot of the Jewellery & Watches auction was the casual- elegant diamond ring with a step-cut diamond weighing 10.5 carat, created by Majo Fruithof, which sold for CHF 108 000 (lot 2177). A solitaire ring with a brilliant-cut diamond weighing 3.2 carat achieved CHF 90 000 (lot 2195).

Koller Auctions - Highlights

10.5 carat step-cut diamond ring, Majo Fruithof. Sold for CHF 108 000. Photo Koller Auctions

White gold 750. Casual-elegant model, the top set with 1 step-cut diamonds weighing 10.05 ct, ca. L/VS2, in a plain chaton with double prongs. Size ca. 53, foldable.

With pouch and copy of invoice for the ring, February 2005, and invoice for the modification, June 2011.

Koller Auctions - Highlights

3.2 carat diamond ring, ca 1960. Sold for CHF 90 000. Photo Koller Auctions

White gold 750. Classic-elegant solitaire ring, the top set with 1 brilliant-cut diamond weighing 3.203 ct, F/VVS1, set in a six-prong chaton. Size ca. 53.

With SSEF Report No. 70006, October 2013.

Old Master Drawings & Prints

Quality sells

The 1903 pencil and charcoal drawing by the Viennese artist Adolph von Menzel, depicting a couple on a bench in a park, was one of the top lots of the Auction for Old Master Drawings & Prints, and sold for CHF 9 600, i.e. above its estimate (lot 3514). Swiss works were also high in demand, in particular those by Alexandre Calame. His chalk on blue paper, depicting a mountain landscape in the vicinity of Bordighera, estimated at CHF 2 500 / 3 500, fetched CHF 9 600 (lot 3483).

Small tankard and cover, Moscow 1757. Maker’s mark Piotr Smenov

01 lundi Sep 2014

Posted by alaintruong2014 in Russian Art, Silver, Gold Boxes & Objects of Vertu

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Étiquettes

Moscow 1757, Piotr Smenov, tankard and cover

Koller Auctions - Highlights

Small tankard and cover, Moscow 1757. Maker’s mark Piotr Smenov. Photo Koller

On three spherical feet. Wall with chased and embossed rocaille decoration all around. The inside gilt. Some repairs. H 11.5 cm, 305g. Estimate CHF 3 000.- / 5 000

Provenance: German private collection.

Koller. Silver, Porcelain, Faience, Glass, 15 September 2014 14:00

Historic and important works by Roy Lichtenstein and Diego Giacometti at Clars September 2014 auction

31 dimanche Août 2014

Posted by alaintruong2014 in 20th Century Design, American Art, American Furniture, Auctions, Chinese Furniture, Decorative Art & Folk Art, Himalayan & Southeast Asian Art, Jewelry, Russian Art

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Étiquettes

18th-19th Century, Altar Table, Art Deco, Bernardus Johnannes Blommers, Frank Lloyd Wright, Himalayan, huanghuali, ink, Jadeite cabochon, Julian Onderdonk, Leonor Fini, Lev Felixovich Lagorio, Moorcroft for Shreve, old European cut diamond, pencil and colored pencil on paper, Roy Lichtenstein, San Francisco, Silas Seandel, star sapphire, tea set, thangka, Tiffany Studios, United States Civil War Presentation sword, Yamantaka Yab Yum

Clars Auction Gallery Fine Art Appraiser Bay Area Upcoming Auctions

Roy Lichtenstein (American, 1923-1997), ‘’Study for Still Life with Dossier,’’ 1976, ink, pencil and colored pencil on paper, 11.8’’ x 8.9’. Estimate $80,000 – $120,000.

OAKLAND, CA.– On September 13, 14, and 15, 2014, Clars Auction Gallery will host what is anticipated to be the largest sale in the firm’s history. In a year where each monthly sale surpassed all previous records for that month, their September event will be an exciting world-class experience for buyers and collectors around the globe. 

THE FINE ART

The importance of the fine art to be offered is remarkable. Roy Lichtenstein’s (American, 1993 – 1997) ‘’Study for Still Life with Dossier,’’ will be the leading offering in this category. This drawing—the only known study for the 1976 ‘’Still Life with Dossier,’’ painting currently in the important post-war collection of Dr. Giuliano Gori—has never been seen outside of private hands. Artistically a strong example of the artist’s work, the drawing engages a significant shift stylistically in Lichtenstein’s practice. In the study, we see the artist’s early use of straight lines, rather than his iconic Ben-Day dots. By 1983 his signature dots had yielded almost entirely to stripes. The fact that the artist created very few drawings and that this work is fresh to the market will make this 11 13/16 x 8 15/16 inch drawing the leading lot in the Fine Art Offering. “The story of how this work was consigned at Clars is one of scholarship and, as far as provenance is concerned, it could not be better,” said Rick Unruh, Vice President and Director of Fine Art. This work will be offered for $80,000 to $120,000. 

The second premier offering will be a work by Leonor Fini (French, 1908-1996). Fini was an artist living in Paris for the majority of her career who counted Pablo Picasso, Rene Magritte, Max Ernst, Jean Cocteau, and Salvador Dali amongst her many friends and peers in the art world. “Dialogue Impossible (1994)” depicts a strong woman clad in a long flowing crimson skirt, looking past the drab man with his eyes closed beneath her. The painting, originally from the Weinstein Gallery of San Francisco, CA (who represents the artist), will certainly achieve its $60,000-$80,000 estimate. 

Clars Auction Gallery Fine Art Appraiser Bay Area Upcoming Auctions

Leonor Fini (French, 1908-1996), “Dialogue Impossible,” 1994, oil on canvas, 32″ x 39.25″. Estimate 60,000-$80,000.

Clars will present a fine sculpture by African American Modernist, Elizabeth Catlett (1915-2012) titled, “Cabeza de Piedra.” This 11 inch high, cast stone piece will be offered at $16,000 to $22,000 and depicts the head of a man and recalls the strength of traditional Aztec and Mayan stone sculpture in Mexican culture which influenced Catlett significantly. The artist makes a powerful statement with this a unique example. Another important sculpture will be a Beaux Arts classic by Louis Ernest Barrias (French, 1841-1905) titled,  »Nature Revealing Herself to Science, » (Estimate: $20,000 to $30,000). 

This summer’s World Cup has come and gone, but the brilliant, Pop Art of Brazilian artist, Romero Britto (b. 1963), will be available at this sale. This vibrantly playful, acrylic on canvas titled, “Brazilia Lady,” exemplifies the effervescent spirit of this talented South American artist. (Estimate: $18,000 to $22,000) 

Two American painters whose works exemplify the magnificence of the flowering field landscapes will also be featured on September 14th. One of which is a spectacular oil on board by the Texas artist, Julian Onderdonk (1882-1922), titled, “Blue Bonnets – Early Morning, » which will be offered for $30,000 to $50,000. Fields of California poppies are the focus of a vibrantly, colorful, oil on canvas by John Marshall Gamble (1863 – 1957), titled, Meadow with Poppies and Purple Mountains, which is estimated at $15,000 to $20,000. 

Onderdonk

Julian Onderdonk (American, 1882-1922), “Blue Bonnets – Early Morning,” oil on board, 11.75″ x 15.75″. Estimate $30,000 – $50,000.

Clars will offer the work titled “A Walk Into Town,” by 19th century Dutch Master Bernardus Johannes Blommers (1845-1914), one of the most collected artists of The Hague School of Painters. This work was originally part of the extraordinary Jacques Goudstikker Gallery Collection which was seized by the Nazi’s during their art confiscation program. This work by Blommers was recently a subject in the travelling exhibit, “Reclaimed, Paintings from the Collection of Jacques Goudstikker.” The provenance of this work combined with the balanced composition and timeless Dutch Master palette, and excellent condition, makes the appearance of this master on the market a most exciting opportunity for collectors. (Estimate: $5,000 to $7,000) 

Lev Felixovich Lagorio (Russian, 1827-1905), Figures Gazing at the Sea, oil on canvas, 17.25″ x 23.25″

Bernardus Johnannes Blommers (Dutch, 1845-1914), A Walk into Town, oil on board, signed lower right, 9.25″ x 13.” Provenance: Acquired in Holland by Sophia and Alexander Hertz circa 1920 from the Dutch Art Dealer Jacques Goudstikker. Descended in the family to present owner, the grandchild of Sophia and Alexander Hertz of San Francisco. Estimate: $5,000 – $7,000.

One region of the globe that is experiencing ‘sky rocketing,’ global art prices is Russia. Clars is pleased to be offering paintings by some of the finest 19th and 20th century, Russian artists on the market. One of these highlights is a dramatic scene by Lev Lagorio (1827-1905) titled, “Figures Gazing at the Sea,” which is conservatively priced to sell at $15,000 to $20,000. 

Himalayan thangka, Yamantaka Yab Yum, 18th/19th century, 22.5″h x 17.25″w (one of several to be offered)

Lev Felixovich Lagorio (Russian, 1827-1905), Figures Gazing at the Sea, oil on canvas, 17.25″ x 23.25″.  Estimate $15,000 – $20,000. 

DECORATIVE ARTS AND FURNISHINGS

Diego Giocometti (Switzerland, 1902-1985) was one of the premier designers of the 20th century. His works are held in the finest museums, private collections and homes worldwide. On Sunday, September 14th, Clars will offer a console rectangulaire created by this renowned artist. This important work of art in design will be offered for $80,000 to $120,000. 

Other top furniture designers of the 20th century will also be represented including a bench by Frank Lloyd Wright (estimate: $5,000 to $7,000) and group of metal tree trunk tables by Silas Seandel (cumulative estimate: $12,000 to $15,000). Also to be offered is a palace-sized Ferahan Sarouk carpet measuring 14’.2” by 25’, that is estimated at $15,000 to $25,000. 

Clars Auction Gallery Fine Art Appraiser Bay Area Upcoming Auctions

Frank Lloyd Wright bench. Estimate: $5,000 – $7,000.

Frank Lloyd Wright bench

Selection of Silas Seandel patinated metal tree trunk tables, including coffee table and occasional tables. Estimate: $15,000 – $25,000.

There will be a large collection of American and European lighting including Tiffany Studios, Pairpoint, Handel, and Art Nouveau examples. Highlighting our lighting collection will be a Tiffany Studios “Venetian” desk lamp, estimated at $50,000-70,000. 

Selection of Silas Seandel patinated metal tree trunk tables, including coffee table and occasional tables

Selection of Tiffany Studios lighting. Estimate $50,000-70,000. 

Another highlight will be a group of wood turned bowls, consisting of an 18th century Koa wood example having indigenous repairs, valued at $3,000 to $5,000; a large Koertge example, as well as a Moulthrop vessel. 

The Continental highlights will include a pair of monumental French marble and ormolu mounted urns attributed to Henry Dasson (1825-1896) which will be offered for $30,000 to $50,000. This offering will be complemented by both monumental Royal Vienna and Sevres urns. An impressive selection of clocks includes a mother of pearl marquetry decorated eight-ball, double fuse bracket clock with automaton, having an estimate of $5,000-7,000. and a clock by Lalique valued at $12000-15000. 

Mother of pearl marquetry decorated eight bell, double fusee bracket clock with automaton, 32”h x 17”w x 9”d

Mother of pearl marquetry decorated eight bell, double fusee bracket clock with automaton, 32”h x 17”w x 9”d. Estimate $5,000-7,000.

Several historic items will be offered including two gold presentation walking sticks conservatively estimated at $4,000 to $6,000 and $5,000 to $7,000. Clars routinely realizes record-breaking prices on similar pieces. Also to be offered is a United States Civil War Presentation sword with scabbard estimated at $5,000 to $7,000. 

United States Civil War Presentation sword with scabbard

United States Civil War Presentation sword with scabbard. Estimate $5,000-7,000.

In sterling the highlight will be a Moorcroft for Shreve, San Francisco, 1912, overlaid tea set executed in the Pomegranate pattern, having an estimate of $4,000 to $6,000. Clars recently set a record for a Moorcroft for Shreve loving cup which sold for $32,000. 

Fine Jadeite, diamond and white gold ring, jadeite measures 16.79 X 10.35 X 6.80 mm, Mason-Kay report stating “A” Jade

Moorcroft for Shreve, San Francisco, silver overlaid tea set, executed in the Pomegranate pattern circa 1920. Estimate $4,000 – $6,000.

THE ASIAN ART

The Asian art department is excited to be offering a Chinese huanghuali table, composed of two floating top panels. This piece was purchased by the current consignor at auction in the mid-1990’s for a bit over $2,000. In today’s market amid the continued strength of Chinese furniture, the pre-auction estimate is $20,000 to $40,000. In the porcelain section, a collection of Chinese enameled porcelain planters from the late Qing and early Republic period will be offered. This collection will include a pair of oval pink sgraffito ground planters painted with various floral scrolls, the bases with Hongxian marks. (Estimate $6,000 to $8,000) In the category of jades, there will be a selection of plaques, toggles and carvings from the Qing and Republic period including jade plaques relief carved with scholars in landscapes, previously mounted as ruyi scepters. In textiles, featured will be a Chinese late 19th century blue gauze jifu dragon robe, gilt couched with nine five claw dragons. This will be offered along with other Chinese embroideries and woven textiles. 

Clars Auction Gallery Fine Art Appraiser Bay Area Upcoming Auctions

Chinese huanghuali altar table, 30.5”h x 42.75”w x 19.5”d. Estimate $20,000 – $40,000.

Also to be featured is a collection of painted Himalayan thangka from the Edward Gerber estate in Reno, (NV). Eight lots ranging from the 18th through early 20th century will be offered with estimates ranging from $1,500 –to $4,000. Images depicted include Yamantaka Yab Yum, Padmasambhava, Skakyamuni Buddha and Mahakala. 

Moorcroft for Shreve, San Francisco, silver overlaid tea set, executed in the Pomegranate pattern circa 1920

Himalayan thangka, Yamantaka Yab Yum, 18th-19th century, 22.5″h x 17.25″w (one of several to be offered). 

THE JEWELRY

Diamonds, rubies, jadeite and sapphires will dazzle collectors and buyers. A cushion cut 3.10 ct. ruby is surrounded by 4.84 cts of diamonds and set in 18k white gold in a stunning ring to be offered for $12,000 to $14,000. Likely surpassing this ring will be a fine jadeite, diamond and white gold ring with the center jadeite measuring 16.79 x 10.35 x 6.80mm which is expected to achieve $25,000 to $45,000. 

Diamond & platinum ring, old European cut diamond weighs approximately 2.40 cts.

Fine Jadeite, diamond and white gold ring, jadeite measures 16.79 X 10.35 X 6.80 mm, Mason-Kay report stating “A” Jade. Estimate $25,000 – $45,000.

Also to be offered will be an Art Deco star sapphire, diamond and platinum ring estimated at $5,000 to $8,000 and a diamond and platinum ring featuring an old European cut diamond, 2.40 cts., is expected to earn $8,000 to $12,000. And for the gentlemen, a circa 1956 Rolex GMT stainless steel wristwatch, Ref. 6542, will be offered for $10,000 to $15,000. 

Clars Auction Gallery Fine Art Appraiser Bay Area Upcoming Auctions

Art Deco star sapphire, diamond and platinum ring, star sapphire weighs approximately 24.80 cts. Estimate $5,000 – $8,000.

Art Deco star sapphire, diamond and platinum ring, star sapphire weighs approximately 24.80 cts

Diamond & platinum ring, old European cut diamond weighs approximately 2.40 cts. Estimate $8,000 – $12,000.

Clars Auction Gallery’s September Fine Art, Jewelry and Decoratives Sale will be held on Saturday, Sunday and Monday, September 13th, 14,th and 15th. . The sales will begin promptly at 9:30am on Saturday and Sunday and at 1:30pm on Monday. Previews for this sale will be held Friday, September 12th from 1pm to 6pm and 9am each auction day and by appointment. A complete catalog will be available online one week prior to the sale. 

Alain R. Truong

Alain R. Truong
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