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Alain.R.Truong

Alain.R.Truong

Archives de Tag: circa 1750

Luis Alegria at TEFAF 2015 Antiques (13-22 March 2015)

23 vendredi Jan 2015

Posted by alaintruong2014 in Chinese Porcelains

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'phoenix tail' vase, circa 1750, Famille-Verte, Figure Group of Dutch Dancers, Kangxi period, Luis Alegria, Qianlong period, TEFAF 2015 Antiques

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Figure Group of Dutch Dancers. Porcelain, Qianlong, circa 1750. Luis Alegria (stand 167). TEFAF 2015 Antiques (13-22 March 2015)

This group shows the couple preparing to dance, with the man’s feet parted and his arms guiding her shoulder; in her other hand she holds a handkerchief. They are standing on a moulded openwork plinth. He is dressed in a pale green coat with red waistcoat, trousers and buckled shoes and a straight brimmed hat. She wears a red jacket with a pale blue skirt and a blue mantel. Height 24.4 cm

Provenance: Rafi Y. Mottaheden collection (label under base )

Literature: David Howard and John Ayers, China for the West, vol. 2, p. 618, fig. 648 (ill.); Other examples see Joseph Butler, ‘Chinese Porcelain figures of Westerners’, in E. Gorden (ed.), Chinese Export Porcelain: An Historical Survey, 1977, p.90; Pamela C. Copeland, ‘Oriental Porcelain Frivolities’, in Antiques, May 1966

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Two famille verte ‘Phoenix Tail’ vases, China, Kangxi Period (1662-1722). Luis Alegria (stand 167). TEFAF 2015 Antiques (13-22 March 2015)

Porcelain, decorated to the baluster body and tall flared neck with large peony blooms borne on leafy stems, amidst clusters of prunus blooms borne on thick gnarled branches, all growing amidst rocks detailed around the foot, with moulded leaf-shaped supports to the base.Height 70 cm

Provenance: James A. Garland (1870-1906), no. 952; John Pierpont Morgan (1837-1913), no. 1204; Nelson A. Rockefeller (1980)

Founded in 1980, Luis Alegria specialises in eighteenth and nineteenth century marine paintings, seventeenth and eighteenth century furniture, seventeenth, eighteenth and nineteenth century Portuguese tiles and Chinese porcelain from the fifteenth to the nineteenth centuries.

Luis Alegria. Av. Dr. Antunes Guimarães,142, Norte 4100-073 Porto, Portugal. T  +351 22 6188086 – M   00351917600126 – F  00351226105446 – luis.alegria@iol.pt

A famille rose ‘Don Quixote’ teabowl and stand, circa 1750

20 mardi Jan 2015

Posted by alaintruong2014 in Chinese Porcelains

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'Don Quixote' teabowl and stand, circa 1750, famille-rose

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A famille rose ‘Don Quixote’ teabowl and stand, circa 1750. Estimate 4,000 – $6,000 USD. Photo Christie’s Image Ltd 2015.

Depicting the knight and his faithful attendant being observed by two maidens; 5 ¼ in. (13.4 cm.) diameter.

Note: This is the second of two rare services made in Chinese porcelain with this scene from the literary classic. The enameling on the present service is clearly an interpretation by the Chinese artist of the earlier service, but he has omitted Sancho Panza’s kneeling donkey, Don Quixote’s hat has been transformed from a barber’s bowl into a black hat, and the landscape is now typically Chinese. Another plate from the present service is illustrated by Howard and Ayers, China for the West, London and New York, 1978, vol.II, no. 344; and by D. Howard, The Choice of the Private Trader, London, 1994, no. 85, pp. 94 and 95.

Christie’s. MANDARIN & MENAGERIE: THE SOWELL COLLECTION AND CHINESE EXPORT ART FROM VARIOUS OWNERS, 26 January 2015, New York, Rockefeller Plaza.

A rare famille rose ‘Don Quixote’ plate, circa 1750

20 mardi Jan 2015

Posted by alaintruong2014 in Chinese Porcelains

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'Don Quixote' plate, circa 1750, famille-rose

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A rare famille rose ‘Don Quixote’ plate, circa 1750. Estimate 12,000 – $18,000 USD.Photo Christie’s Image Ltd 2015.

Depicting the knight and his attendant being observed by two maidens, the rim with landscapes and birds within gilt cartouches; 9 in. (23 cm.) diameter

Provenance: The Espirito Santo Collection, Lisbon.
Acquired from J. Cherny in 1975.

Property from a midwestern private collection

In the 1970s a distinguished Milwaukee physician and his wife became fascinated with Chinese export porcelain, especially with those pieces that reflect an intriguing dialogue between the East and West. Working with major dealers of that era like Elinor Gordon, Rochelle Thomas and Philip Suval, the couple built up a comprehensive collection of high quality European subject pieces, adhering to a strong sense of quality as well as of charm. Christie’s is pleased to bring this collection to market so that other collectors may now treasure these lovely pieces.

Note: This is the second of two rare services made in Chinese porcelain with this scene from the literary classic. The enameling on the present service is clearly an interpretation by the Chinese artist of the earlier service, but he has omitted Sancho Panza’s kneeling donkey, Don Quixote’s hat has been transformed from a barber’s bowl into a black hat, and the landscape is now typically Chinese. Another plate from the present service is illustrated by Howard and Ayers, China for the West, London and New York, 1978, vol.II, no. 344; and by D. Howard, The Choice of the Private Trader, London, 1994, no. 85, pp. 94 and 95.

Christie’s. MANDARIN & MENAGERIE: THE SOWELL COLLECTION AND CHINESE EXPORT ART FROM VARIOUS OWNERS, 26 January 2015, New York, Rockefeller Plaza.

Louis XV ink stand with Chinese lacquer plate and porcelain with a Meissen pagoda, Paris, around 1750

12 lundi Jan 2015

Posted by alaintruong2014 in Chinoiserie, European Sculpture & Works of Art

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Böttger porcelain, Chinese lacquer, circa 1725, circa 1750, ink stand, Louis XV period, Meissen pagoda, Vincennes

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Louis XV ink stand with Chinese lacquer plate and porcelain with a Meissen pagoda, Paris, around 1750. Photo courtesy Röbbig München

The lacquer, China, beginning of the 18th century – The Böttger porcelain pagoda, Meissen, circa 1725 – The ormolu mounts, Paris, Louis XV period, circa 1750 – The softpaste porcelain flowers, Vincennes, circa 1750. H. 25 cm, w. 44 cm, d. 33 cm. Price on request.

Highly representative objects placed on writing desks were often made of precious and rare materials. The blanc de chine porcelain bowls and the Meissen 18th century pagoda mounted between two bronze candlesticks and branches with small french porcelain flowers were assembled in Paris together with a japanned lacquer plate on four feet dating from around 1700.

Röbbig München – Briennerstrasse 9 – 80333 Munich – Germany – T. +49 89 29 97 58 – F. +49 89 22 38 22

Asia Week New York announces 2015 gallery roster for its celebration of Asian art March 13-21, 2015

18 jeudi Déc 2014

Posted by alaintruong2014 in Buddhist Works of Art, Chinese Bronze, Chinese Ceramics, Chinese Furniture, Chinese Jade, Chinese Paintings, Chinese Porcelains, Chinese works of Art, Contemporary Art, Fairs, Himalayan & Southeast Asian Art, Indian Art, Japanese works of Art, Jewelry, Korean Art, Vietnamese Art

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Étiquettes

'Lotus' bowl, 12th century, 13th century, 14th Century, 16-17th century, 16th Century, 1750-1860, 18th century, 2nd century, 8th century, 8th century AD, Acala, Agate, Amida Nyorai, Anyang Culture, archaic bronze vessel, Bhairava, Bijapur, Bronze, Bronze ewer, Buddha, Cakrasamvara, Carved Celadon-Glazed Vase, Carved Emerald Ring, Central Asia, Central Java, China-Tibet, circa 1750, circa 1820, circa 1825, Colombian emerald, Copper repoussé, Dai Mingyue, Deccan, desk screen, Dondrup Sangpo, Drepung Monastery, Duan inkstone, early Qing dynasty, Early Western Zhou Dynasty, Eleven Faced Avalokitesvara, famille-rose, Fangding, Game Box, Gandhara, Garhwal, Gianni Berengo Gardin, Giao Chi Period, gilt-bronze, Glazed stoneware, Gold and ruby ring, Gold animal mask, Gong, Grey schist, gu, Guanyin, gui, Guler, Guru Gobind Singh, Gyalpo Pehar, Hai Tao, Hine Taizan, Hiroyuki Asano, hokai box, hongmu, huanghuali, Ik-Joong Kang, Ikeno Taiga, imperial rectangular white jade seal, Incense burner, Indonesia, inset leg bridle joint table, Jina, Jina Parsvanatha, Kamakura period, Kaneshige Kosuke, Kangra, Kasuga Deer Mandala, Katsudô Eiryrû, Kei School, khanjar, Kikugawa Eizan, kirin, Kishangarh, Krishna, Lanna, Late Ming, Lingbi Scholar Rock, Longquan celadon, Maeda Hideo, Maruyama Okyo, Meiji era, meiping, Ming Dynasty, Miyagawa Choshun, Miyanaga Tozan III, Mola Bagas, Momoyama Period, Mongolia, Mughal India, Muromachi period, Nabeshima kiln, Nanbokuchō period, nanmu box, Nepal, Nikko Bosatsu, Northern black glazed russet splashed, Northern Qi dynasty, Northern Song-Jin Dynasty, okimono, Otagaki Rengetsu, Otto Akob, Padmapani, Pakistan, Pala period, pear-shaped vase, Perfume container, Punjab Hills, Qianlong Mark And Period, Qianlong six-character seal mark in underglaze blue and of the period, Qianlong-Jiaqing period, Rajasthan, Rinpa School, Rukhnuddin, Sakya Lama, Salabanjika, Sandstone, Shang Dynasty, Silver gilt vase, snuff bottle, Song dynasty, Southern Song dynasty, Southern Song-Yuan dynasty, Suzuki Harunobu, Suzuki Shōnen, Tai Xiangzhou, Tang dynasty, Tangka, Tara, Thailand, Tibet, Tokuda Yasokichi III, Twin Fish Bowl, Vairocana, Vasudhara, Vietnam, Vijayanagar Period, Vishnu, Warring States period, Western Jin Dynasty, Wine-Drinking Game Set, Xie Zhiguang, Yagi Kazuo, Yama Dharmaraja, Yaozhou celadon, Yashima Gakutei, yoke back armchair, Yuan dynasty, yueyao, Zain al-Din, Zhang Ling

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An Exquisite and Very Rare Carved Celadon-Glazed Vase. Qianlong six-character seal mark in underglaze blue and of the period (1736-1795). Height: 8 1/4 inches (22.2 cm). Photo Christie’s Image Ltd 2014

NEW YORK, NY.– The Asia Week New York Association announces that 42 international galleries will participate in Asia Week New York 2015, the nine-day celebration of Asian art and culture that spans the metropolitan region from March 13 through 21, 2015.

Says Carol Conover, Chairman of Asia Week New York: “We look forward to another successful edition of Asia Week New York especially during The Metropolitan Museum of Art’s banner year when it is celebrating the 100th anniversary of its renowned Asian Art Department.”

Joining Asia Week New York for the first time is Shalini Ganendra Fine Art from Malaysia and Navin Kumar Gallery from New York. After a brief hiatus, Dr. Robert Bigler from Zurich and Wei Asian Arts from Brussels return to the fold.

The dealers returning to Asia Week New York with museum-quality works of art from across the Asian continent include:

Indian, Himalayan, and Southeast Asian Art

Art Passages (United States), « Paintings from the Courts of India & Persia« . info@artpassages.com – www.artpassages.com

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Dignitaries Visit a Yogini. Kishangarh, India, circa 1750. Asia Week New York | Art Passages

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Krishna Gazes at Radha from a Balcony. Kangra, India, circa 1820. 8 1/4 x 5 7/8 inches (20.9 x 14.9 cm. Asia Week New York | Art Passages

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Lovelorn Lady Consoled by her Confidant. Garhwal, India, circa 1825. 7 7/8 x 5 5/8 inches (20 x 14.4 cm). Asia Week New York | Art Passages

Buddhist Art (Germany), « From Angkor Wat to the Himalaya« . buddhist.art@hotmail.com – www.buddhist-art.info

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Seated Figure of Vishnu. Nepal, 16-17th century. Copper repoussé. 15.3 inches (39 cm). Asia Week New York | Buddhist Art

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Head of Buddha. Thailand, Lanna, 14th century. Bronze. 12.6 inches (32 cm). Asia Week New York | Buddhist Art

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Portrait of Dondrup Sangpo, Abbott of Drepung Monastery. Tibet, 16th century. Bronze, silver inlay. 8.3 inches (21 cm). Asia Week New York | Buddhist Art

Galerie Hioco (France), « Arts of India, Nepal and Vietnam« . info@galeriehioco.com – www.galeriehioco.com

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Bhairava. India, Rajasthan or Uttar Pradesh, 12th century. Sandstone. Height: 32 inches (81 cm). Asia Week New York | Christophe Hioco

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Stele of Vishnu. India, Pala period. Grey schist. Height: 37 inches (94 cm). Asia Week New York | Christophe Hioco

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Bronze ewer, ornamented at its base by the head of a makara. Vietnam, Giao Chi Period, 2nd-3rd century. 12.7 x 11 inches (32.5 x 28 cm). Asia Week New York | Christophe Hioco

Nayef Homsi (United States), « Recent Acquisitions ». nayef@nayefhomsi.com – www.nayefhomsi.com

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Standing Buddha. India, Gandhara, 2nd century. Grey schist. Height: 30 inches (76.2 cm). Asia Week New York | Nayef Homsi

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Jina Parsvanatha. India, Tamil Nadu, Vijayanagar Period, 14th century. Bronze. 14.5 inches (36.8 cm). Asia Week New York | Nayef Homsi

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Envoys Pay Homage to King Dasaratha. India, Pahari Region, Garhwal, circa 1800. Opaque watercolor heightened with gold and silver on paper. 16.4 x 21.5 inches (41.5 x 54.7 cm). Asia Week New York | Nayef Homsi

Prahlad Bubbar Ltd. (England), « Indian Court Paintings: Recent Acquisitions, with a Preview of Gianni Berengo Gardin in India« . info@prahladbubbar.com – www.prahladbubbar.com

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Guru Gobind Singh (detail). Guler, Punjab Hills, India, circa 1780-90. Opaque watercolor, gold and silver on paper. 8 x 5.6 inches (20.4 x 14.3 cm). Asia Week New York | Prahlad Bubbar

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A Spirited Arabesque (detail). Bijapur, Deccan, India, circa 1650. Brush drawing on paper. 8 x 3.7 inches (20.4 x 9.5 cm). Asia Week New York | Prahlad Bubbar

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Gianni Berengo Gardin. A Temple Gymnast. Central India, 1977. Gelatin silver archive print. 13 x 9.2 inches (33 x 23.3 cm). Asia Week New York | Prahlad Bubbar

Walter Arader Himalayan Art (United States), « Fine Himalayan Art« . walter.arader@gmail.com – www.himalayanart.com

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Tara. China-Tibet, 16th century. Gilt Bronze. 10.5 inches (26.7 cm). Asia Week New York | Walter Arader Himalayan Art

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Eleven Faced Avalokitesvara. Tibet, 15th century. Bronze. 12 inches (30.5 cm). Asia Week New York | Walter Arader Himalayan Art

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Yama Dharmaraja. China, 18th century. Gilt Bronze. 6.5 inches (16.5 cm). Asia Week New York | Walter Arader Himalayan Art

Carlo Cristi (Italy), « Latest Acquisitions and Central Asian Textiles« . carlocristi@tin.it – www.asianart.com/carlocristi

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Silver gilt vase (detail). Tibet, 8th century AD. Silver, gilding. Height: 8.5 inches (21.5 cm). Asia Week New York | Carlo Cristi

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Tangka of Vairocana. Tibet, 13th century. Distemper on cotton. 24.25 x 32.25 inches (62.5 x 82 cm). Asia Week New York | Carlo Cristi

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Confronted birds in kufic roundels. Central Asia, 10th-12th century. Polychrome silk. Length: 49.25 inches (125 cm). Asia Week New York | Carlo Cristi

Francesca Galloway (England), « Indian Paintings & Courtly Objects: Recent Acquisitions« . christine@francescagalloway.com – www.francescagalloway.com

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By the artist Mola Bagas (or Muhammad Bakhsh). Ladies with Fireworks on a Terrace. Rajasthan, Bikaner, late 18th century. Opaque pigments and gold on paper. 9.5 x 6.4 inches (24.1 x 16.2 cm). Asia Week New York | Francesca Galloway

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Khanjar (Dagger). Mughal India, 18th century. White nephrite hilt with inlaid with gold, lasque diamonds and other precious gems. Overall length: 12.6 inches (32 cm). Asia Week New York | Francesca Galloway

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A Maharaja with his Two Children. India, Rajasthan, circa 1870-80. Opaque pigments heightened with gold and silver. 22.1 x 16.2 inches (56 x 41.2 cm). Asia Week New York | Francesca Galloway

Oliver Forge and Brendan Lynch Ltd (England), « Indian Painting 1590–1840« . brendan@forgelynch.com – www.forgelynch.com

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Zain al-Din. The “Various Coloured » Parrot, folio from the Impey Album. Calcutta, India, 1777 A.D. Watercolor and gum arabic on paper. 18.5 x 23.25 inches (47 x 59 cm). Asia Week New York | Oliver Forge & Brendan Lynch Ltd.

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A prince seated on a palace terrace. Mughal India, circa 1750-1800. Reverse-painted on mirrored glass. 31 x 19.1 inches (79 x 48.5 cm). Asia Week New York | Oliver Forge & Brendan Lynch Ltd.

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Rukhnuddin. A lady playing a vina in a lush garden with peacocks. Bikaner, India, cirac 1680. Opaque watercolor with gold on paper. 6 x 4.6 inches (15.2 x 11.8 cm). Asia Week New York | Oliver Forge & Brendan Lynch Ltd.

Kapoor Galleries (United States), « Wrathful Compassion« . info@kapoorgalleries.com – www.kapoorgalleries.com

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Acala. Tibet, 18th century. Parcel Gilt Copper with semi-precious stone inlay. Height: 8.75 inches (22.2 cm). Asia Week New York | Kapoor Galleries

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Vasudhara. Nepal, 13th/14th century. Gilt Copper. Height: 7.5 inches (19 cm). Asia Week New York | Kapoor Galleries

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Cakrasamvara. Tibet. Mineral pigments and gold on cloth. 25.2 x 33.9 inches (64 x 86 cm). Asia Week New York | Kapoor Galleries

Susan Ollemans (England), « Modern Design in the Ancient World« . ollemans178@btinternet.com – www.ollemans.com

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Carved Emerald Ring. India, 17th century. Colombian Emerald. 1.75 x 1 inches (4.5 x 2.5 cm). Asia Week New York | Susan Ollemans

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Gold and ruby ring. Central Java, Indonesia, 8th-10th century. Gold and ruby. Length: 1.56 inches (4 cm); Width: .81 inch (2 cm). Asia Week New York | Susan Ollemans

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Perfume container. China, Song Dynasty, 960-1279 AD. Gold. Length: 3.75 inches (9.5 cm). Asia Week New York | Susan Ollemans

Carlton Rochell Asian Art (United States), « Indian, Himalayan and Southeast Asian Art« . info@carltonrochell.com – www.carltonrochell.com

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Gyalpo Pehar. Mongolia, 17th/18th century. Silver with remains of cold-gilding and polychrome. Height: 6.25 inches (15.9 cm). Asia Week New York | Carlton Rochell Asian Art

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Vishnu and His Consorts. Eastern India, West Bengal/Bangladesh Pala period, 11th century. Copper alloy. Height: 16.25 inches (41.2 cm). Asia Week New York | Carlton Rochell Asian Art

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Torso of a Jina. North India, 11th/12th century. Burnished sandstone. Height: 33 inches (83.8 cm). Asia Week New York | Carlton Rochell Asian Art

Dalton Somaré (Italy), « New Acquisitions« . info@daltonsomare.com – www.daltonsomare.com

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Head of the Buddha. Greater Gandhara, 3rd century. Schist. 14.1 inches (35.8 cm). Asia Week New York | Dalton Somaré

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Padmapani. Swat Valley, Pakistan, circa 7th century. Bronze. Height: 10.1 inches (26 cm). Asia Week New York | Dalton Somaré

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Head of the Buddha. Greater Gandhara, circa 7th century. White marble. 15.7 inches (40 cm). Asia Week New York | Dalton Somaré

Jonathan Tucker Antonia Tozer (England), « An Important Group of Sculptures from India and Southeast Asia« . jonathantucker1@aol.com – www.asianartresource.com

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Standing Schist Bodhisattva. Northwest Pakistan, Gandhara, 2nd-3rd century A.D. Grey schist. Height: 28 inches (71 cm). Asia Week New York | Jonathan Tucker Antonia Tozer

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Sandstone Salabanjika. Central India, probably Madhya Pradesh, 10th-11th century. Red sandstone. 43 inches (109 cm). Asia Week New York | Jonathan Tucker Antonia Tozer

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Stucco Seated Buddha. Northwest Pakistan, Gandhara, 4th-5th century. Stucco. Height: 20.5 inches (52 cm). Asia Week New York | Jonathan Tucker Antonia Tozer

Nancy Wiener Gallery (United States), « Recent Acquisitions« . nancywienergallery@mac.com – www.nancywiener.com

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Attributed to Manaku or Fattu. A Folio from the “Large Bhagavata Purana.” India, Guler, circa 1760-65. Gouache and gold on paper. Painting 9.75 x 13 inches (23.5 x 33.2 cm); Folio 11.6 x 16 inches (29.5 x 40.2 cm). Asia Week New York | Nancy Wiener Gallery

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Head of Avalokiteshvara. India, 11th century, Pala period. Black Stone. 9.5 inches (24 cm). Asia Week New York | Nancy Wiener Gallery

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Portrait of a Sakya Lama (Detail). Tibet, 18th century. Mineral pigment and gold on cloth. 77 x 63 inches (195 x 160 cm). Asia Week New York | Nancy Wiener Gallery

Ancient and/or Contemporary Chinese Art

U.S. galleries include:

Andrew Kahane, Ltd., « Chinese Ceramics and Works of Art« . kahaneasia@aol.com – www.artasianappraisers.com

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Meiping. China, 13th century. Glazed stoneware. Height: 12.5 inches (30 cm). Asia Week New York | Andrew Kahane, Ltd.

Longquan celadon lotus bowl. China, Southern Song Dynasty, late 12th-13th century. Diameter 6.5 inches (16.5 cm). Asia Week New York  Andrew Kahane, Ltd.

Longquan celadon lotus bowl. China, Southern Song Dynasty, late 12th-13th century. Diameter: 6.5 inches (16.5 cm). Asia Week New York | Andrew Kahane, Ltd.

Northern black glazed russet splashed pear shaped vase. China, Northern Song-Jin Dynasty

Northern black glazed russet splashed pear shaped vase. China, Northern Song-Jin Dynasty, 12th-early 13th century. Height: 13 inches (32.8 cm). Asia Week New York | Andrew Kahane, Ltd.

Asian Art Studio, « Noble Treasures« . asianartstudio@msn.com – www.asianartstudio.com

Rare imperial rectangular white jade seal carved with crouching dragon. China, Yuan Dynasty. Jade.

Rare imperial rectangular white jade seal carved with crouching dragon. China, Yuan Dynasty. Jade. Length: 2.25 inches (5.5 cm); Width: 1.8 inches (4.7 cm). Asia Week New York | Asian Art Studio

A hardstone and hongmu desk screen painted with figures in a mountainous landscape. China, late 19th century.

A hardstone and hongmu desk screen painted with figures in a mountainous landscape. China, late 19th century. 15 x 10.5 inches (38 cm). Asia Week New York | Asian Art Studio

A well hollowed agate snuff bottle, carved with flowers and trees by rockwork. China, 1750-1860

A well hollowed agate snuff bottle, carved with flowers and trees by rockwork. China, 1750-1860. Height: 2.25 inches (5.8 cm).

Ralph M. Chait Galleries, Inc., « Spring Exhibition of Chinese Porcelain and Works of Art« . info@rmchaitgal.net – www.rmchait.com

Bronze Figure of a Seated Buddha. China, Ming dynasty

Bronze Figure of a Seated Buddha. China, Ming dynasty, circa 15th/16th century. Bronze. Height: 19.25 inches (48.9 cm). Asia Week New York | Ralph M. Chait Galleries, Inc.

Underglaze red and blue baluster vase, decorated with the Eight Horses of Mu Wang. China, early Kangxi period, circa late 17th century

Underglaze red and blue baluster vase, decorated with the Eight Horses of Mu Wang. China, early Kangxi period, circa late 17th century. Porcelain. Height: 16.25 inches (48.3 cm). Asia Week New York | Ralph M. Chait Galleries, Inc.

Large red glazed vase, of rounded form and sang de boeuf color glaze with fine crackle

Large red glazed vase, of rounded form and sang de boeuf color glaze with fine crackle. China, 18th/early 19th century. Porcelain. Height: 14 inches (35.6 cm). Asia Week New York | Ralph M. Chait Galleries, Inc.

China 2000 Fine Art, « To See a World in a Grain of Sand« . c2000fa@aol.com – www.china2000fineart.com

Lingbi Scholar Rock with Carved Marble Base. China, Ming dynasty

Lingbi Scholar Rock with Carved Marble Base. China, Ming dynasty. Lingbi stone and marble. Rock: 22.75 (Height) x 14.75 (Width) x 4.75 (Depth) inches (57.8 x 37.4 x 12 cm). Asia Week New York | China 2000 Fine Art

Zhang Ling

Zhang Ling. Exchanging the White Goose for the Classic Text. China, late 15th/early 16th century, Ming dynasty. Ink and color on paper. 27 x 1.5 inches (68 x 26.8 cm). Asia Week New York | China 2000 Fine Art

Xie Zhiguang

Xie Zhiguang (1899-1976). Appreciating the Plum Blossom. China, 20th century. Ink and color on paper, hanging scroll. 53.5 x 11.75 inches (136 × 30 cm). Asia Week New York | China 2000 Fine Art

The Chinese Porcelain Company, « Chinese Contemporary Ink Painting« . cplumhoff@chineseporcelainco.com – steo@chineseporcelainco.com – www.chineseporcelainco.com

Tai Xiangzhou

Tai Xiangzhou. Paradise Mountain. China, 2012. Ink on silk. 23.9 x 126.25  inches (60.6 x 320.7 cm). Asia Week New York | The Chinese Porcelain Company

A Yueyao Glazed Funerary Jar. Western Jin Dynasty, 265 – 316 AD

A Yueyao Glazed Funerary Jar. Western Jin Dynasty, 265 – 316 AD. Height: 17 1/2 inches (44.45 cm); Diameter: 9 3/4 inches (24.77 cm). Asia Week New York | The Chinese Porcelain Company

Gisèle Croës (Belgium), « Matter and Memory« . art@giselecroes.com

Bodhisattva Head. China, Northern Qi Dynasty (550-577)

Bodhisattva Head. China, Northern Qi Dynasty (550-577). Limestone. Height: 10.5 inches (29 cm). Asia Week New York | Gisèle Croës s.a.

Archaic bronze vessel, Gu. China, Shang Dynasty

Archaic bronze vessel, Gu. China, Shang Dynasty (1600-1050 BC), Anyang Culture (1300-1050 BC), 12th century BC. Bronze with green, blue and brown patina; malachite and cuprite crystallisation; traces of textile. Height: 12.4 inches (31.5 cm). Asia Week New York | Gisèle Croës s.a.

Gold animal mask. China, Warring States period

Gold animal mask. China, Warring States period (481 – 221 BC). Width: 4.25 inches (11 cm). Asia Week New York | Gisèle Croës s.a.

Michael C. Hughes LLC, « Recent Acquisitions – Chinese Works of Art« . mhughesllc@earthlink.net

An Eastern Zhou Dynasty style vessel, gui. Probably Ming Dynasty

An Eastern Zhou Dynasty style vessel, gui. Probably Ming Dynasty. 5.3 inches across (13.5 cm). Asia Week New York | Michael C. Hughes LLC

A Nephrite jade snuff bottle. Master of the Rocks school, 1760-1850

A Nephrite jade snuff bottle. Master of the Rocks school, 1760-1850. Height without stopper: 2.7 inches (7 cm). Asia Week New York | Michael C. Hughes LLC

Jadestone, « Diminutive and Dynamic: Miniature Chinese Snuff Bottles and Works of Art« . info@jadestonegallery.com – www.jadestonegallery.com

Famille Rose Snuff Bottle. China, Qianlong Mark and Period

Famille Rose Snuff Bottle. China, Qianlong Mark and Period. Enameled porcelain. Height: 1.4 inches (3.6 cm). Asia Week New York | Jadestone

Miniature Famille Rose Incense Burner. China, Qianlong-Jiaqing Period

Miniature Famille Rose Incense Burner. China, Qianlong-Jiaqing Period. Enameled porcelain. 2 x 2 inches (5.2 x 5.2 cm). Asia Week New York | Jadestone

Openwork-Carved Jade Toggle with Russet Skin. China, Qing Dynasty

Openwork-Carved Jade Toggle with Russet Skin. China, Qing Dynasty. 1.7 x 1.4 x 0.8 inches (4.5 x 3.6 x 2 cm). Asia Week New York | Jadestone

Kaikodo LLC, « The Immortal Past« . asianart@kaikodo.com – www.kaikodo.com

Gilt-Lacquered Wood Figure of a Seated Boy. China, Song-Yuan Dynasty

Gilt-Lacquered Wood Figure of a Seated Boy. China, Song-Yuan Dynasty, 13th-14th century. Height: 15 inches (38 cm). Asia Week New York | Kaikodo LLC

Gilt-Silver Wine-Drinking Game Set. “The Analects Jade Candle” with inscribed “drinking strips.” China, Tang Dynasty

Gilt-Silver Wine-Drinking Game Set. “The Analects Jade Candle” with inscribed “drinking strips.” China, Tang Dynasty, 8th century. Height: 10 inches (25.4 cm). Asia Week New York | Kaikodo LLC

Dai Mingyue

Dai Mingyue (1625-1670). Bamboo and Rock. Hanging scroll, ink on satin. 31.5 x 18.5 inches (80 x 47 cm). Asia Week New York | Kaikodo LLC

J.J. Lally & Co., « Chinese Archaic Bronzes: The Collection of Daniel Shapiro and Ancient Chinese Sculpture: Recent Acquisitions ». staff@jjlally.com – www.jjlally.com

Bronze Ritual Vessel (Gong). China, Shang Dynasty

Bronze Ritual Vessel (Gong). China, Shang Dynasty, circa 1200 B.C. Height: 10 5/8 inches (27 cm); Length: 11 3/4 inches (30.1 cm). Asia Week New York | J. J. Lally & Co.

Bronze Ritual Vessel (Fangding). China, Early Western Zhou Dynasty

Bronze Ritual Vessel (Fangding). China, Early Western Zhou Dynasty, 11th century B.C. Height: 10 3/4 inches (27.3 cm). Asia Week New York | J. J. Lally & Co.

Gilt Bronze Figure of the Bodhisattva Guanyin. China, Tang Dynasty

Gilt Bronze Figure of the Bodhisattva Guanyin. China, Tang Dynasty, 8th century. Height: 10 inches (25.5 cm). Asia Week New York | J. J. Lally & Co.

M. Sutherland Fine Arts, Ltd., « Chinese Contemporary Painting: New Works by Hai Tao« . info@msutherland.com – www.msutherland.com

Hai Tao. Landscape Number 1. China, 2012

Hai Tao. Landscape Number 1. China, 2012. Ink on paper. Asia Week New York | M. Sutherland Fine Arts, Ltd.

Hai Tao. Melodious Apparition. Nanjing, China, 2010

Hai Tao. Melodious Apparition. Nanjing, China, 2010. Ink on rice paper. 12.75 x 10.1 inches (32.4 x 25.7 cm). Asia Week New York | M. Sutherland Fine Arts, Ltd.

Hai Tao. Rising Tide. Nanjing, China, 2010

Hai Tao. Rising Tide. Nanjing, China, 2010. Ink on rice paper. 12.75 x 10.25 inches (32.4 x 26 cm). Asia Week New York | M. Sutherland Fine Arts, Ltd.

Nicholas Grindley Works of Art Ltd, « Chinese Furniture and Scholars’ Objects« . nick@nicholasgrindley.com – rebecca@nicholasgrindley.com – www.nicholasgrindley.com

Huanghuali yoke back armchair with a backward sloping yoke. China, Late Ming dynasty

Huanghuali yoke back armchair with a backward sloping yoke. China, Late Ming dynasty, 16th century. Huanghuali wood. Height 42.5 x Width 23.5 x Depth 24 inches (107.9 x 59.7 x 61 cm). Asia Week New York | Nicholas Grindley Works of Art Ltd

Huanghuali inset leg bridle joint table. China, Late Ming, early Qing dynasty

Huanghuali inset leg bridle joint table. China, Late Ming, early Qing dynasty, 17th century. Huanghuali wood. Height 31.75 x Width 95.25 x Depth 21.25 inches (80.6 x 242 x 54 cm). Asia Week New York | Nicholas Grindley Works of Art Ltd

Duan inkstone contained within a nanmu box. China, Qing dynasty

Duan inkstone contained within a nanmu box. China, Qing dynasty, 17th/18th century. Length 3.5 x Width 3 x Depth .5 inches(8.9 x 7.6 x 1.3 cm). Asia Week New York | Nicholas Grindley Works of Art Ltd

Zetterquist Galleries, « Early Chinese Ceramics: Monochromes« . inquiries@zetterquist.com – www.zetterquist.com

Large and Important Carved Mei-ping. China, Northern Song Dynasty

Large and Important Carved Mei-ping. China, Northern Song Dynasty (960–1127 A.D.). Porcelaineous Stoneware. Height: 15.3 inches (39cm). Asia Week New York | Zetterquist Galleries

Large Yaozhou Game Box. China, Northern Song Dynasty

Large Yaozhou Game Box. China, Northern Song Dynasty (960–1127 A.D.). Ceramic. Diameter: 4.9 inches (12.5cm). Asia Week New York | Zetterquist Galleries

Large Longquan Celadon Twin Fish Bowl. China, Southern Song–Yuan Dynasty

Large Longquan Celadon Twin Fish Bowl. China, Southern Song–Yuan Dynasty (13th–14th century A.D.). Ceramic. Diameter: 7.9 inches (20cm). Asia Week New York | Zetterquist Galleries

Ancient and/or Contemporary Japanese Art

Carole Davenport (United States), « BCE TO NOW – Masterworks from Japan and China« . carole@caroledavenport.com – www.caroledavenport.com

Kasuga Deer Mandala. Japan, Muromachi Period

Kasuga Deer Mandala. Japan, Muromachi Period, circa 1500. Silk. 35 x 14.5 inches (89 x 36.8 cm). Asia Week New York | Carole Davenport

Hiroyuki Asano. Sunset Mt. Fuji. Japan, 2013

Hiroyuki Asano. Sunset Mt. Fuji. Japan, 2013. Black impala granite from South Africa. Height: 14.6 inches (37 cm). Asia Week New York | Carole Davenport

Okimono of a kirin. 18th century

Okimono of a kirin. 18th century. Porcelain with celadon glaze, Nabeshima kiln. 11.5 inches high. Asia Week New York | Carole Davenport

Dai Ichi Arts, Ltd. (United States), « Jewels for Homes« . info@daiichiarts.com – www.daiichiarts.com

Miyanaga Tozan III. On the Way. Japan, circa 2004

Miyanaga Tozan III. On the Way. Japan, circa 2004. Cobalt glazed porcelain. 20 x 17.3 x 7.4 inches (50.8 x 43.9 x 18.8 cm). Asia Week New York | Dai Ichi Arts, Ltd.

Kaneshige Kosuke. Saint's Garment No.5. Japan, 2004

Kaneshige Kosuke. Saint’s Garment No.5. Japan, 2004. Wood-fired bizen stoneware. 16 x 19 x 13 inches (40.6 x 48.3 x 33 cm). Asia Week New York | Dai Ichi Arts, Ltd.

Otto Akob. Gold Coral and Pearl Earrings Shells

Otto Akob. Gold Coral and Pearl Earrings: Shells. Germany, 1986. 18kt gold, orient pearls, coral enamel. 1.25 x 0.8 inches (3.1 x 2 cm). Asia Week New York | Dai Ichi Arts, Ltd.

Joan B. Mirviss, Ltd. (United States), « Japan in Black and White: Ink and Clay« . info@mirviss.com – www.mirviss.com

Yashima Gakutei. Surimono woodblock print. Japan, 1830

Yashima Gakutei. Surimono woodblock print. Japan, 1830. 8 x 7 inches (20.3 x 17.8 cm). Asia Week New York | Joan B. Mirviss, Ltd

Yagi Kazuo. Asymmetrical sculpted vessel. Japan, circa 1970

Yagi Kazuo. Asymmetrical sculpted vessel. Japan, circa 1970. Glazed stoneware. 8.75 x 8.25 x 7.88 inches (22.2 x 21 x 20 cm). Asia Week New York | Joan B. Mirviss, Ltd

Maruyama Ôkyo. Moon Over Waves. Japan, 1777

Maruyama Ôkyo. Moon Over Waves. Japan, 1777. Ink on silk. 39.25 x 12.6 inches (99.7 x 32.1 cm). Asia Week New York | Joan B. Mirviss, Ltd

Onishi Gallery (United States), « Heritage: Contemporary Japanese Ceramics and Other Interior Objects« . nana@onishigallery.com – www.onishigallery.com

Tokuda Yasokichi III. Plate Kamon (Floral). Japan, 2000

Tokuda Yasokichi III. Plate Kamon (Floral). Japan, 2000. Porcelain with vivid colored glaze (yôsai). 3.9 x 21.9 inches (10 x 55.5 cm). Asia Week New York | Onishi Gallery

Tokuda Yasokichi III. Plate Shin-en (Calm). Japan, 1992

Tokuda Yasokichi III. Plate Shin-en (Calm). Japan, 1992. Porcelain with vivid colored glaze (yôsai). 3.3 x 21.5 inches (8.5 x 54.5 cm). Asia Week New York | Onishi Gallery

Maeda Hideo. Flower vessel with geometric pattern. Japan, 2013

Maeda Hideo. Flower vessel with geometric pattern. Japan, 2013. Stoneware with inlay. 16.7 x 12.4 inches (42.5 x 31.5 cm). Asia Week New York | Onishi Gallery

Scholten Japanese Art (United States), « Erotic Art of Japan: Everybody’s Doing It« . info@scholten-japanese-art.com – www.scholten-japanese-art.com

Suzuki Harunobu (circa 1725-70). Teahouse waitress and a lover in an intimate embrace. Japan, circa 1768

Suzuki Harunobu (circa 1725-70). Teahouse waitress and a lover in an intimate embrace. Japan, circa 1768. Woodblock print. 8 1/8 x 11 1/8 inches (20.5 by 28.2 cm). Asia Week New York | Scholten Japanese Art

Suzuki Harunobu (ca. 1724-70). A beauty watching a couple drinking sake, from the The Spell of Amorous Love (Enshoku koi no urakata). Japan, circa 1766-70

Suzuki Harunobu (ca. 1724-70). A beauty watching a couple drinking sake, from the The Spell of Amorous Love (Enshoku koi no urakata). Japan, circa 1766-70. Woodblock printed chuban orihon (folded illustrated book). 7.5 x 5.125 inches (19.2 x 13 cm). Asia Week New York | Scholten Japanese Art

Kikugawa Eizan (1787-1867). Young Lovers at the New Year, from the series Selections from the Brocade Quarters (E-awase Kinkaisho). Japan, circa 1815

Kikugawa Eizan (1787-1867). Young Lovers at the New Year, from the series Selections from the Brocade Quarters (E-awase Kinkaisho). Japan, circa 1815. Woodblock print. 10.125 x 14.625 inches (25.7 x 37.2 cm). Asia Week New York | Scholten Japanese Art

Erik Thomsen (United States), « Japanese Paintings and Works of Art« . info@erikthomsen.com – www.erikthomsen.com

Suzuki Shônen (1849-1918). Pines (detail). Japan, Meiji era (1868-1912), circa 1910

Suzuki Shônen (1849-1918). Pines (detail). Japan, Meiji era (1868-1912), circa 1910. Ink on gold leaf. 67.5 x 147.5 inches (171.5 x 374.5 cm) each. Asia Week New York | Erik Thomsen

Katsudô Eiryrû (act. 1790s). Ensô Bijin. Japan, Edo Period (1615-1868), 1790s

Katsudô Eiryrû (act. 1790s). Ensô Bijin. Japan, Edo Period (1615-1868), 1790s. Ink and mineral colors on silk. 55 x 22.5 inches (139.3 x 56.8). Asia Week New York | Erik Thomsen

Rinpa School. Flowers of the Season by Meandering Stream. Japan, Meiji era

Rinpa School. Flowers of the Season by Meandering Stream. Japan, Meiji era (1868-1912). Ink, mineral colors, gofun and gold on paper with gold leaf. 66.25 x 74 inches (169.5 x 188 cm). Asia Week New York | Erik Thomsen

Hiroshi Yanagi Oriental Art (Japan), « Japanese Art Highlights« . h-yanagi@art.plala.or.jp – www.h-yanagi.com

Standing Amida Nyorai. Japan, Kamakura Period, 13th century

Standing Amida Nyorai. Japan, Kamakura Period, 13th century. Cypress wood. Height: 9 inches (23 cm). Asia Week New York | Hiroshi Yanagi Oriental Art

Maruyama Okyo. Turtles. Japan, Edo Period, 1785

Maruyama Okyo. Turtles. Japan, Edo Period, 1785. Hanging scroll, ink and color on silk. 35.4 x 15.75 inches (90 x 40 cm). Asia Week New York | Hiroshi Yanagi Oriental Art

Miyagawa Choshun

Miyagawa Choshun. Nikuhitsu Ukiyo-e: Figures. Japan, Edo Period, 18th century. Six-fold screen, ink and color on silk. Each painting 30.9 x 13.2 inches (78.4 x 33.6 cm). Asia Week New York | Hiroshi Yanagi Oriental Art

BachmannEckenstein (Switzerland). « Japanese Art | Pre-Modern and Beyond« . email@bachmanneckenstein.com – www.bachmanneckenstein.com

Otagaki Rengetsu (1791-1875). Dish. Japan, 19th century

Otagaki Rengetsu (1791-1875). Dish. Japan, 19th century. Glazed ceramic. 6.2 x 4 inches (15.7 x 10 cm). Asia Week New York | BachmannEckenstein JapaneseArt

Ikeno Taiga (1723-1776). Landscape – Hanging Scroll. Japan, Edo Period, 18th century

Ikeno Taiga (1723-1776). Landscape – Hanging Scroll. Japan, Edo Period, 18th century. Ink and color on paper. 49 x 10.9 inches (124.5 x 27.6 cm); Scroll: 80.3 x 16.5 inches (204 x 42 cm). Asia Week New York | BachmannEckenstein JapaneseArt

Hine Taizan (1813-1869). Landscape – Hanging Scroll. Japan, Meiji Period, dated 1868

Hine Taizan (1813-1869). Landscape – Hanging Scroll. Japan, Meiji Period, dated 1868. Ink on paper. 44.5 x 12.3 inches (113.1 x 31.2 cm); Scroll: 76.8 x 17.1 inches (195 x 43.5 cm). Asia Week New York | BachmannEckenstein JapaneseArt

Giuseppe Piva Japanese Art (Italy). « Yūgen: The Subtle Profundity of Japanese Art« . info@giuseppepiva.com – www.giuseppepiva.com

Otagaki Rengetsu (1791-1875). Hare

Otagaki Rengetsu (1791-1875). Hare. Signed Rengetsu. Ceramic okimono with calligraphic inscription. Height: 7.9 inches (20 cm). Asia Week New York | Giuseppe Piva Japanese Art

A small hokai box with Kodai-ji Maki-e Design with Autumn Plants. Japan, Momoyama Period, late 16th century

A small hokai box with Kodai-ji Maki-e Design with Autumn Plants. Japan, Momoyama Period, late 16th century. 7.7 x 8.3 x 8.3 inches (19.5 x 21 x 21 cm). Asia Week New York | Giuseppe Piva Japanese Art

Kei School. Nikko Bosatsu. Japan, Nanbokucho Period (1336-1392

Kei School. Nikko Bosatsu. Japan, Nanbokucho Period (1336-1392). Wood sculpture with colored pigments and gold-leaf decoration. Height: 19.7 inches (50 cm). Asia Week New York | Giuseppe Piva Japanese Art

Ancient and contemporary Korean

Kang Collection Korean Art and Koo New York, both from the United States, round out the contributors presenting the extraordinary array of Asian art treasures on view.

Kang Collection Korean Art (United States). « Ik-Joong Kang: Bamboo/Wind« . info@kangcollection.com – www.kangcollection.com

Ik-Joong Kang. White Moon Jar. Korea, 2011

Ik-Joong Kang. White Moon Jar. Korea, 2011. Mixed media on wood. 37.75 x 37.75 inches (96 x 96 cm). Asia Week New York | Kang Collection Korean Art

Ik-Joong Kang. Samramansang Moon Jar. Korea, 2010-2013

Ik-Joong Kang. Samramansang Moon Jar. Korea, 2010-2013. Mixed Media on Wood. 47 x 47 inches (119.4 x 119.4 cm). Asia Week New York | Kang Collection Korean Art

Ik-Joong Kang. Blue Chrysanthemum Moon Jar. Korea, 2011

Ik-Joong Kang. Blue Chrysanthemum Moon Jar. Korea, 2011. Mixed Media on Wood. 47 x 47 inches (119.4 x 119.4 cm). Asia Week New York | Kang Collection Korean Art

Koo New York (United States). « Korean Traditions: Arts of the Interior« . info@koonewyork.com – www.koonewyork.com

Anonymous. Cranes Gathering in Daoist Western Paradise. Korea, Annexation Period (1910-45)

Anonymous. Cranes Gathering in Daoist Western Paradise. Korea, Annexation Period (1910-45). Eight-Panel Screen; colors on silk, mounted on brocade. Overall: 74.5 x 127.25 inches (153 x 323.4 cm). Asia Week New York | KooNewYork

To celebrate the 2015 edition of Asia Week New York, which offers a non-stop schedule of gallery open houses, auctions, exhibitions, lectures, symposia and special events, a private, invitation-only reception will once again take place at The Metropolitan Museum of Art on March 16.

A comprehensive guide with maps will be available at participating galleries, auction houses and cultural institutions, starting February 2015 and online at asiaweekny.com. Emphasizing the strength of interest from Chinese-speaking buyers, a Chinese version of the website is available at cn.asiaweekny.com.

Christie’s to offer a varied array of rare and beautiful masterpieces from across the ages

13 jeudi Nov 2014

Posted by alaintruong2014 in Chinoiserie, European Ceramics, Old Master Paintings, Silver, Gold Boxes & Objects of Vertu

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Étiquettes

1713-1717, 1776-1777, Apostle Spoon, Augsburg, Charles II, Charles Louis Fouché, circa 1686-1690, circa 1750, circa 1790, Dresden, Emperor Napoleon I, English Delft, Etruscan -style, Frédéric Dubois, German silver, Henry VII Parcel-Gilt Silver, Jean-Laurent Mosnier, Johann-Christian Neuber, John Smart, Joseph-Etienne Blerzy, Lisbonne, Lord Rothschild Collection, Louis XVI, Mayer Carl von Rothschild, Meissen, Paul Gerhard Zachoun, Peter Rahm, Pierre-Nolasque Bergeret, Portuguese faience, Richard Edgcumbe, Robert Garrard, Robert King, Romsey/Ashburnham gold spoon, Rundell Bridge and Rundell, Saxon Snuff Box, Sèvres, snuff box, St. John, Swedish enamelled gold, temple table centerpiece, wall-sconce, William and Mary silver

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Saxon Snuff Box, Johann-Christian Neuber. Photo: Christie’s Images Ltd 2014.

LONDON.- Christie’s Centuries of Style sale on 25 – 26 November 2014 will offer collectors a varied array of rare and beautiful masterpieces from across the ages. Comprising 497 lots, including Silver, European Ceramics, Portrait Miniatures and Gold Boxes, the sale is expected to realise in excess of £3 million.

GOLD BOXES

The auction showcases a fine selection of gold boxes from the 18th and 19th centuries, each displaying outstanding craftsmanship from celebrated European goldsmiths. Of particular note is an important Saxon gold-mounted stein-cabinet snuff-box by Johann-Christian Neuber circa 1790 (estimate: £150,000-200,000). This exquisite lot demonstrates the skill and imagination with which Neuber employed the technique of zellen mosaic lapidary, utilising hardstones that were mined in Saxony, to international acclaim.

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An important Saxon gold-mounted stein-cabinet snuff-box by Johann-Christian Neuber (1736-1808), Dresden, circa 1790, struck with a later French guarantee mark for small items. Estimate: £150,000-200,000 ($238,800 – $318,400). Photo: Christie’s Images Ltd 2014.

rectangular box with rounded corners, the cover, sides and base inlaid with 48 numbered rectangular specimens of semi-translucent and opaque Saxon hardstones, including a variety of agates, carnelian, jasper and amethyst mountedà jour within narrow peaked gold bands, the cover numbered 1 to 9, the sides numbered 10 to 39 and the base numbered 40 to 48, within chased gold borders;3 5/8 in. (90 mm.) wide

Notes: Johann-Christian Neuber (1736-1808) and his father-in-law, Heinrich Taddel are credited with the development of the technique Zellen mosaik lapidary, in which hardstone panels are suspended à jour within a fine geometric cagework of gold. This technique, which is similar to creating cloisonné enamel, is highlighted by the juxtaposition of opaque and translucent panels in the present box.

Born in Neuwunsdorf on 7 April 1736, Johann-Christian Neuber was apprenticed at the age of seventeen to Johann Friedrich Trechaon. On 13 July 1762 he became a master of the goldsmith’s guild in Dresden, and in 1769 he succeeded his father-in-law Heinrich Tadell as director of the Green Vaults. By 1775 he had been appointed Hofjuwelier to the court of Friedrich Augustus III.
In an advertisement in the Journal der Moden of April 1786, Neuber praised his stock-in-trade which sold ‘at the cheapest prices’, and the present box must have been in the category of ‘boxes for gentlemen and ladies, as stone-cabinets, mounted in gold and lined with gold, of all Saxon country-stones, such as carnelians, chalcedonies, amethysts, jaspers, agates and petrified wood, numbered, together with an inventory of names, and where they can be found; a box for gentlemen (Manndose) costs 150-300 Reichsthaler, a box for ladies (Damesdose) 90-150 Reichsthaler’, W. Holzhausen, Johann Christian Neuber, ein sächsischer Meister des 18. Jahrhunderts, Dresden, 1935, p. 12.

Neuber sometimes provided an accompanying handwritten specification booklet with his boxes which would list the stones used in the construction of the box and the geographical areas from where the stones were collected or could be found. The engraved number above each panel would correspond to the number in the booklet. The stones used in the present example are identified below:
The cover; 1 Jasper, 2 Psaronius, 3 Banded agate, 4 Quartz agate, 5 Agate, 6 Agate, 7 Jaspilite, 8 Jasper, 9 Petrified wood
The sides; 10 Agate, 11 Petrified wood, 12 Agate, 13 Psaronius, 14 Banded agate, 15 Agate, 16 Jasper, 17 Agate, 18 Agate breccia,
19 Gand stone, 20 Amethyst, 21 Agate, 22 Jasper, 23 Jasper, 24 Agate, 25 Jasper, 26 Agate, 27 Agate, 28 Jasper, 29 Jasper,
30 Agate, 31 Jasper, 32 Agate, 33 Petrified wood, 34 Amethyst, 35 Banded agate, 36 Petrified wood, 37 Petrified wood,
38 Jasper, 39 Agate
The base; 40 Jasper, 41 Quartz, 42 Jasper, 43 Petrified wood, 44 Jasper, 45 Moss agate, 46 Agate, 47 Hornstone, 48 Jasper

Of distinguished provenance is a beautifully decorated Louis XVI snuff-box by renowned Parisian goldsmith Joseph-Etienne Blerzy, previously in the collection of Mayer Carl von Rothschild (estimate: £80,000-120,000).

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A Louis XVI enamelled gold snuff-box by Joseph-Etienne Blerzy, Paris, 1776-1777, previously in the collection of Mayer Carl von Rothschild. Estimate: £80,000 – £120,000 ($127,360 – $191,040). Photo: Christie’s Images Ltd 2014.

oval box, the cover, sides and base with panels of guilloché enamel painted to simulate ocelot fur within opaque white enamel frames and beading, with translucent red and green enamel berried foliage outer borders and similarly decorated pilasters, the cover centred with an oval enamel plaque depicting Jason taking leave of King Pelias, after Le Brun; 3¼ in. (83 mm.) wide

Provenance: Mayer Carl von Rothschild (1820-86), Frankfurt to his daughter Emma Louise (1844-1935) who married her cousin, Nathaniel Mayer of the London branch, the first Lord Rothschild and then by descent to Victor, 3rd Lord Rothschild by whom sold
The Lord Rothschild Collection, Christie’s, London, 30 June 1982, lot 32.

Literature: Included in an inventory of the collection of Freiherrlich Carl von Rothschild at his house at No. 15 Untermainkai, Frankfurt.
In translation the description reads:
127 Ditto (i.e. an oval gold and enamel box), ground in speckled tiger skin colour. Edges in polychrome enamel, the centre an enamel, suspended from a green ribbon, depicting ‘farewell scene of a Turk’. 8 cm long, 6 cm wide.

Notes: Lord Rothschild’s collection of gold boxes was inherited principally from Baron Carl von Rothschild of Frankfurt. On Baron Carl’s death in 1886 his remarkable collection, housed in his mansion at Untermainkai in Frankfurt, was divided amongst his five daughters, the second of whom, Emma Louise, married Nathan Mayer, 1st Lord Rothschild. The boxes and other works of art, augmented by the inheritance of Lady Rothschild’s father-in-law, Baron Lionel de Rothschild, were housed at 148 Piccadilly. The contents of 148 Piccadilly were sold in 1937, but the boxes were retained by Lord Rothschild and subsequently sold in these rooms 30 June 1982. They formed an important group of the finest examples of the works of the great Paris goldsmiths of the 18th century and also exceptional boxes from Germany, Austria and Switzerland, and reflected both the range and quality of the taste for so long associated with the Rothschild family. See the essay by P. Shirley , ‘The Rothschilds as Collectors of Gold Boxes‘ in ed. T. Murdoch and H. Zech, Going for Gold , London, 2014, pp. 236-7. We are grateful to the Rothschild Archive for allowing access to the Untermainkai inventory.

The auction also features a spectacular Swedish enamelled gold snuff-box by Paul Gerhard Zachoun (estimate: £100,000-120,000) offered directly from a descendent of Charles Louis Fouché, 6th Duc d’Ortrante. Swedish gold boxes displaying this standard of quality rarely come to market and this is an exceptional example of the craft that existed among the very few goldsmiths that were working in Stockholm during this period.

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A spectacular Swedish enamelled gold snuff-box by Paul Gerhard Zachoun (Fl. 1753-1784), marked, Stockholm, 1764, from a descendent of Charles Louis Fouché, 6th Duc d’Ortrante. Estimate: £100,000-120,000 ($159,200 – $191,040). Photo: Christie’s Images Ltd 2014.

rectangular box, the cover, sides and base each decorated en plein with putti playing musical instruments amidst floral sprays and garlands in translucent blue basse taille enamel against an engine-turned gold ground, the borders chased with scrolls, with slightly raised integral thumbpiece, in original tooled red leather case;2¾ in. (70 mm.) wide

Provenance: Charles Louis Fouché d’Otrante, 6th Duc d’Otrante (1877-1950).
Thence by family descent to the present owner.

Notes: Another Swedish snuff-box by Andreas Almgren, Stockholm, 1759, with very similar chasing and basse taille enamel decoration is in the Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, LOAN:GILBERT.329-2008. The use of basse taille enamels appears to have been popular in Stockholm during this period. Other examples of gold boxes which utilise the technique include boxes by Frantz Bergs, goldsmith to the King, Frederick Fabritius and Anders Zachoun. The process involves chasing or engraving metal in low relief and then applying translucent enamels to the design to produce a richness and subtlety of tones. Gold boxes made in Stockholm in the eighteenth century were particularly susceptible to the strong influence emanating from the goldsmiths of Paris. The high quality of their execution, the equal of many French boxes, show that the goldsmiths working in Sweden were clearly outstandingly skilled craftsmen.

EUROPEAN CERAMICS

The European ceramics section offers a range of English and European pottery and porcelain including a Portuguese faience bottle dated 1635 (estimate: £4,000-6,000) and an unusual group of English delft drug-jars (estimate: £2,000-3,000).

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A Portuguese faience polychromed dated bottle, 1635, Lisbonne. Estimate: £4,000-6,000 ($6,368 – $9,552). Photo: Christie’s Images Ltd 2014.

The oviform body painted in blue and enriched in yellow with a crowned lion passant to the right holding a key, within a wreath above the date 1635, the reverse with stylised Oriental flower-sprays and foliage, the loop handle with a band of stylised leaves, on a short spreading foot (replacement handle, restoration to neck and footrim, glaze crazing and hairline crack to body); 11 in. (28 cm.) high

Notes: The present lot is an important addition to a small group of early 17th century Portuguese faience and appears to be the earliest dated piece of polychrome decorated Portuguese faience that we know of. Portugal became one of the leading trading centres through which Chinese porcelain was disseminated in Europe from the late 15th and 16th centuries. Some of the earliest porcelain commissioned by Europeans in China include pieces decorated with the coat-of-arms of King Manuel I and the Portuguese royal coat-of-arms. Portuguese naval and trading dominance was not to last however, following the rise of the Dutch East Indies Company (the V.O.C.) in the early 17th century. The V.O.C. transported large quantities of Chinese blue and white porcelain to Europe, dominating trade in the East. Portuguese potters took this as an opportunity to produce their own unique interpretations in faience using traditional motifs from Chinese Wanli and Transitional period blue and white porcelain. Motifs such as Buddhist emblems, ‘precious objects’ and stylised flowers and foliage were used by Portuguese potters in combination with exotic animals and coats-of-arms intended for a European market.

The earliest recorded piece of Portuguese faience is a bowl, dated 1621 in the collection of the Museu Nacional de Soares dos Reis, Porto which is decorated in blue with panels of flowers and Chinese scrolls, see João Pedro Monteiroet. al., Oriental Influence on 17th Century Portuguese Ceramics, Exhibition Catalogue, Museu Nacional do Azulejo, Lisbon, 20 July – 16 October 1994, p. 60, Cat. No. 6. The present lot predates the earliest recorded piece of Portuguese polychrome faience, a ewer dated 1638, see João Pedro Monteiro et. al., Ibid., 1994, p. 102, Cat. No. 55. A pewter-mounted armorial bottle of similar form is illustrated by Annika Martens, Porzellan, Fayence, Majolika, Berlin, 2012, p. 391, table XXXI. The crowned lion passant holding a key appears to be unrecorded. The lion motif is used as both a decorative and armorial device on Portuguese faience and can be seen on faience decorated with the arms of the Da Silva family and other noble Portuguese families.

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Three English Delft blue and white drug-jars, circa 1760, probably London. Estimate: £2,000-3,000 ($3,184 – $4,776).  Photo: Christie’s Images Ltd 2014.

The sale also includes a collection of colourful trompe l’oeil English porcelain boxes (estimates ranging from £1,000-1,500 to £5,000-8,000) and a group of boldly decorated botanical wares (estimates ranging from £2,500-4,000 to £3,000-5,000).

Exemplifying the quality and breadth of extraordinary ceramics in the sale is a spectacular Meissen temple table centerpiece, circa 1750 (estimate £30,000-50,000), which is a very rare survival. This classical temple made from porcelain is decorated with military trophies which likely allude to the original owner’s military success. By the second quarter of the 18th century porcelain had replaced sugar as the material of choice for table decorations as it was suitably expensive but more durable. Previously sugar-paste was moulded to create all manner of table decorations including figures, temples and even gardens and carriages. Centerpieces were usually designed to mark important state or ceremonial occasions, and they frequently depicted mythological or military themes.

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A Meissen temple table centerpiece, circa 1750 and later, blue crossed swords marks, one section with blue crossed swords, star and ii mark, three balustrades with incised letters, the wooden base perhaps 19th century. Estimate: £30,000-50,000 ($47,760 – $79,600).  Photo: Christie’s Images Ltd 2014.

Of arched rectangular form, with four arches surmounted by tied palm branches, resting on rectangular supports each formed as two corinthian columns and pedestal bases marbled in puce surmounted with military trophies on scroll supports, linked by a pierced balustrade, the centre with a silvered military trophy, enriched in gilding, on a stepped giltwood and ebonised base (areas of restoration and replacement, some retouching and in-filling to wooden base);29 in. (73.7 cm.) high

Notes: The role of the porcelain centrepiece in 18th century Germany was to impress and it would have formed the central part of the table decoration for a grand dinner or celebration, particularly for the dessert. The centrepiece would have been flanked by a series of figures, groups, flowers, fruit and architectural features made from an endless variety of materials and forming an elaborate display down the centre of the table. See Ulrich Pietsch and Claudia Banz (ed.)Triumph of the Blue Swords Meissen Porcelain for Aristocracy and Bourgeoisie 1710-1815, Dresden, 2010, p. 127, for a drawing of the ‘Confect Aufsaz zur Mittags Taffel’ showing the design for the dessert mounted in Warsaw on 8th February 1736 for the celebration of Empress Anna Ivanova’s birthday (this and further drawings are held in the Sachsisches Hauptstaatarchiv, Dresden).

The Hof-Conditorey or Court pantry was responsible for the table decorations at the Saxon Court and they specialised in both designing and producing the ceremonial dessert. Alongside a skilled team of chefs they produced spectacular pastillage table decorations, see Maureen Cassidy-Geiger, ‘Hof Conditorei and Court Celebrations in 18th century Dresden‘, International Ceramics Fair Catalogue, London 2002, pp. 20-35 for a full discussion. Originally central table decorations had been produced in sugar or a sugar based dough and the skill of the chefs was a long standing tradition in the European courts but it was not until 1744-48 that Meissen figures were used on the table and these proved more durable than their sugar counterparts.

The earliest porcelain temples were commissioned around 1727-1728 as decoration for the interior of the Japanese Palace. They were almost certainly inspired by the Temple of Venus erected in the Grosser Garten in Dresden in 1719 during the Venus festival for the wedding of the son of Augustus the Strong, the Crown Prince Augustus to the Hapsburg Princess Maria Josepha, daughter of Joseph I of Austria, held on 23 September 1719. These wedding celebrations were very influential across Europe and formed the basis for celebrations twenty years later for their own children. For a full discussion of porcelain temples and their uses see Patricia F. Ferguson, ‘Felbrigg’s folly: the Meissen ‘Temple of Honour’ in Dresden,’ Apollo supplement, Historic Houses and Collections Annual, 2010, pp. 12-17. Porcelain temples were first documented for use as Tafel-Aufsatz in 1747 for the wedding celebrations of Augustus III’s children. The first example mentioned is in an account of the state dinner held to mark the marriage of Princess Maria Josepha of Saxony to the Dauphin of France in early 1747. The temple was dedicated to Apollo and set in a classical landscape with allegorical figures and the temple’s porcelain columns alluded to Versailles and the French royal court. Two more of Augustus III’s children were married the same year and both celebrations involved temples: for Maria Anna Sophia and Elector Maximillian III Joseph, Duke of Bavaria a temple dedicated to Diana which included trophies of arms and quivers, and for the third wedding of the Crown Prince, Friedrich Christian to Maria Antonia of Bavaria a pagan temple was created.

Patricia Ferguson ibid., 2010, pp. 12-17 discusses the centrepiece formerly at Felbrigg Hall, Norfolk and now in the Porzellansammlung, Staatliche Kunstsammlungen, Dresden, which is related to the present example by the similarity in construction of the columns and bases and with the military torsos on the pedestals before the columns. These torsos of ‘Armaturen’, perhaps resembling the military trophies on the present lot, are mentioned in the 1748 inventory of the contents of the Konigliche Hof-Conditorei. Few other porcelain temples are known. There is a spectacular example in the Museum fur Kunsthandwerk in Frankfurt, see Hermann Jedding, Meissener Porzellan des 18 Jahrhunderts, Munich 1979, p. 69, no. 132, modelled by Kändler in about 1750 and another in the collection of the Marquis of Bath, at Longleat, see Patricia Ferguson, ibid., 2010, p. 13.

Elements of a temple closely related to the present lot formed part of the Gustav and Charlotte von Klemperer Collection and were sold by Bonham’s in London on 8 December 2010, lot 65; see also Schnorr von Carolsfeld, Gustav Klemperer Collection, Dresden, 1928, no. 498.

Additional star lots from this category include an important and exceptionally rare Sèvres Etruscan style vase from 1807 (estimate: £60,000-80,000), which was given by Emperor Napoleon I to Prince Wilhelm of Prussia in 1808. Napoleon sent the vase as an act of diplomacy after the signing of the Treaty of Paris following Prussia’s defeat. It was painted by Pierre-Nolasque Bergeret and his Etruscan style decoration refers to Napoleon’s military success in Egypt and Syria between 1798 and 1801. An important piece of Imperial propaganda, the vase portrays in Napoleon in the guise of Asclepius, the Greek God of medicine, endowing himself with the power to heal the people of the city of Jaffa.

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A Sèvres two-handled Etruscan -style vase (Vase Etrusque ‘à Larmier’), 1807, printed red M. Imple/de /Sèvres twice to underside of foot, neck incised No. 15. Estimate £60,000 – £80,000 ($95,520 – $127,360). Photo: Christie’s Images Ltd 2014.

With upright handles, painted in the Attic-style in red and black by Pierre-Nolasque Bergeret, each side with a scene from Napoleon’s Egyptian campaign, one side with Les pestiférés de Jaffa, showing Napoleon standing before Egyptian figures in an arcaded interior, within panels of Vitruvian scrolls and palmettes, the reverse with Bonaparte remet un blessé aux Soins d’Esculape, showing Napoleon in the act of healing a man standing before him with a crutch and Asclepius at his side (foot cracked and with later metal repair, minor chipping to handles and slight surface scratching;20 ¼ in. (51.2 cm.) high

Provenance: Given by Emperor Napoleon I to Prince Wilhelm of Prussia on 15 September 1808.
Probably acquired by Prince Frederick Emil August of Schleswig-Holstein-Sonderburg-Augustenburg, Prince of Noër (1800-1865) or by his son Prince Frederick Christian Charles August, Count of Noër (1848-1912), Schloss Noër, Eckernförde, Germany.
Thence by descent to the present owner.

Notes: This vase was part of an important Imperial commission by Emperor Napoleon I and was intended as a gift for Prince Wilhelm of Prussia (1783-1851), the fourth son of King Friedrich Wilhelm II of Prussia and Princess Frederika Louisa of Hesse-Darmstadt. The vase is recorded as one of a pair in the Sèvres sales registers on 15 September 1808: ‘2 vases forme étrusque sujets tivrés de la campagne d’Egypte, les sujets et le decor traités dans le genre étrusque en rouge et noir’ listed under the heading ‘Livré par ordre de l’Empereur a S A M. Le Prince Guillaume de Prusse’. The pair cost of 3,200 livres. 1

Pierre-Nolasque Bergeret (1782-1863) was the artist responsible for the design and decoration on this vase and the original pen and ink drawings by him from the series ‘Bonaparte et la campagne d’ Egypte’ are in the Sèvres archives. Both drawings are signed; ‘Les pestiférés de Jaffa’ is dated 1805 while ‘Bonaparte remet un blessé aux Soins d’Esculape’ is dated 1804. The painters’ work records of 1807 under ‘Mr. Bergeret Peintre’ record two separate entries for the vase. The first in February: ‘1 Vase Etrusque Denon porcelaine peinte des sujets Egyptiens’, for which he received 200 livres, and the second recorded in September of the same year ‘1 Vase étrusque…Denon pour deux sujets de figure au traits noir représentant un sujet de la campagne d’Égypte et un alégorie, Vu et mémoire livré fin de septembre 1807.‘, for which he was paid 350 livres which included payment for the decoration of eleven plates in the same month (Vj’14, under the year 1807, p. 116).

Bergeret was a painter, pioneer lithographer and designer who studied with Jacques-Louis David. He was born in Bordeaux but moved to Paris where he worked in the atelier of François-André Vincent and met Ingres. He is recorded as working at Sèvres in 1806, 1807 and 1811. A large closely related Sèvres vase ‘à Bandeau’ also painted by Bergeret in the Attic style entered the sales registers on 21 April 1806 and was delivered to Château de Saint-Cloud for the Emperor on 4 May of that year. It is decorated with similar Etruscan-style scenes depicting Napoleon in an Etruscan guise leading the Battle of Austerlitz in a chariot. Bergeret received 300 francs for his ‘Etruscan drawings of the conquest of Germany’ and a further modest payment for the decoration of the vase itself. By 30 April 1805 Bergeret had produced three ‘Egyptian’ designs for the Sèvres manufactory, two of which are likely to be the design source for the present vase, and he continued to work sporadically for Sèvres until 1814 when he stopped decorating porcelain. For the ink and watercolour drawing of the Allegory of the Battle of Austerlitz by Bergeret, 1806, see Tamara Préaud, The Sèvres Porcelain Manufactory, Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847, Bard Graduate Centre, New York, 1997, p. 180, fig. 14 and p. 84, figs. 6-10 for the Sèvres vase ‘à Bandeau‘, now in the Musée de Malmaison.

The fashion for Etruscan-inspired decoration was first seen at the Sèvres manufactory in 1785 but it was so successful that it continued to be adapted for Imperial propaganda purposes during the Empire period. Napoleon’s military successes in Egypt and Syria (1798-1801) which are referenced on this vase were used to propagate Napoleon’s Imperial powers and in combination with a classical form lend an antique ‘authenticity’. Very few pieces of Sèvres porcelain in this Attic-style exist and it is also exceptionally rare to see depictions of Napoleon in the guise of Greek God. In this case in the scene ‘Bonaparte remet un blessé aux Soins d’Esculape’ he associates himself with Asclepius, the Greek god of medicine, endowing himself with the power to heal. Tamara Préaud records Alexandre Brongniart’s comment that ‘this sort of painting is not rich, but it is severe, monumental, and the only kind that can be executed quickly,’ see Tamara Préaud, ibid., 1997, p. 84, note 52. The scene depicting Napoleon visiting the plague stricken city of Jaffa is probably inspired by a painting of the same subject in the Louvre which was commissioned in 1804 by Napoleon from Antoine-Jean Gros and shows Napoleon in Jaffa on 11 March 1799, when the General Bonaparte made a daring and spectacular visit to his sick soldiers.

Prince Wilhelm of Prussia (3 July 1783 – 28 September 1851) had a distinguished military and diplomatic career. He served in the Guards from 1799 and was present at the battle of Auerstädt on 14 October 1806. After the Prussian defeat by the Napoleonic armies and a demand by France for full payment of war reparations a desperate King Frederick Wilhelm III of Prussia sent his brother Prince Wilhelm to Paris to plead his case for him with Napoleon in a bid to reduce the war burdens imposed upon his country. The Prince had his first audience with the Emperor on 8 January 1808 and is said to have offered himself and his wife as hostages for the payment of the debt. An astonished Napoleon is believed to have replied ‘That is very noble but I cannot accept, never, never’. On 23 February they met again, Napoleon having employed delaying tactics to put off the meeting. Prince Wilhelm used his time to study the French army and wrote some valuable reports on the topics of education and training. On 8 September 1808 the Treaty of Paris was signed; it marked the most humiliating point of Prussia’s history. On 7 October Prince Wilhelm shared a coach with Napoleon as they travelled to Erfurt, Weimar and Jena. This gift from the Emperor Napoleon to the Prince seems unusual given the circumstances but perhaps was intended to mark a mutual respect and admiration as the two men sought to maintain a relationship, one as the victor, the other representing a nation defeated.

The Sèvres archives first records the vase Etrusque ‘a larmier’ in 1804 though the designer is unknown.

1. See Vbb: Présents et ventes à crédit, mentioned in the register Vbb 2: crédit au gouvernement, an 8-1810, p. 87. Other than the two vases Etrusque the delivery to the Prince comprised: ‘2 Vase Clodian…1 cabaret de 16 piecès fables de la Fontaine…1 cabaret a ‘café’ de 15 piecès vert et chrome…I Buste de l’Empereur Napoleon, couranne en bronze’ at a total cost of 19,270 livres, see sales register, Vbb: Présents et ventes à crédit’, Vbb 2: crédit au gouvernement, an 8-1810, p. 89.

PORTRAIT MINATURES

Presenting 134 portrait miniatures including royal sitters such as King Louis XIV, Napoleon II, King Charles X and King Louis XVIII of France, this remarkable offering displays the artistry of some of the most prominent names in portraiture including Jean-Laurent Mosnier, Ferdinando Quaglia, François Dumont, John Smart, George Engleheart and Richard Cosway, R.A. Of exceptional interest is a charming array of English miniatures, last seen on the market in the 1940s. The collection is led by John Smart’s portrayal of Richard Edgcumbe, 2nd Earl of Mount Edgcumbe (estimate: £12,000-18,000). Edgcumbe was a member of the society Antiquaries and a keen performer, best known for his involvement in theatre and opera, and as a result inspired one of the characters depicted in Zoffany’s Tribuna of the Uffizi. Additional outstanding examples include a portrait miniature of a young lady by the French artist Frédéric Dubois (estimate: £15,000-25,000), painted during the artist’s sojourn in Russia between 1804 to 1818 and a lady writing a letter by French artist Jean-Laurent Mosnier (estimate: £15,000-25,000), from the celebrated collection of Félix Panhard.

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John Smart  (British, 1741-1811), Richard Edgcumbe, 2nd Earl of Mount Edgcumbe (1764-1839), in blue coat with brass buttons, white cravat. Estimate: £12,000 – £18,000 ($23,880 – $39,800). Photo: Christie’s Images Ltd 2014.

Signed with initials and dated ‘J.S. / 1808.’ (lower left). On ivory. Oval, 82 mm. high, gilt-metal frame, the reverse engraved ‘Earl / Mount Edgcumbe. / Painted / by John Smart. / June / 1808.’

Provenance: Thomas Hugh Cobb; (\+) Sotheby’s, London, 12 October 1944, lot 33 (£72 to Papier).
Mikel Papier (1889-1948) Collection, and by descent.

Literature: D. Foskett, John Smart. The Man and his Miniatures, London, 1964, p. 71.

Notes: The sitter was the son of George Edgcumbe, 1st Earl of Mount Edgcumbe and Emma, daughter of John Gilbert, Archbishop of York. He was a member of the Society of Antiquaries and a keen actor. By the time this miniature was painted Edgcumbe’s opera, Zenobia, had been produced at the King’s Theatre, London (1800). He was also author of the popular text Musical Reminiscences of an Old Amateur chiefly respecting Italian Opera in England 1773 to 1823(1825). In the year the present portrait was painted he served as Captain of the Honourable Band of Gentlemen Pensioners, a position he held until 1812. Also in 1808 he became a member of the Privy Council and was elected a Fellow of the Royal Society. He is depicted in Zoffany’s ‘Tribuna of the Uffizi’. Edgcumbe’s family seat was Cotehele in Cornwall, now a National Trust Property.

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Frédéric Dubois (French, FL. C. 1780-1819), A young lady, in décolleté white dress, red Cashmere shawl draped around her shoulders, curling dark hair. Estimate: £15,000-25,000 ($23,880 – $39,800). Photo: Christie’s Images Ltd 2014.

Signed ‘Dubois’ (lower left). On ivory; 71 mm. diam., octagonal gold mount.

Provenance: Paul A. Scholz Collection, Berlin; Lempertz, Cologne, 24 November 1976, lot 28.
Christie’s, London, 22 November 1999, lot 194.

Notes: The present miniature is a superlative example of the artist’s period in Russia from 1804 to 1818.

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Jean-Laurent Mosnier (French, 1743/1744 – 1808), A young lady, seated on a red upholstered chair writing a letter, in pale lilac dress with frilled sleeves, peppermint green bow at corsage, ostrich plumes and foliage in her powdered upswept hair, a quill in her right hand and a letter inscribed ‘n’écrivez / plus et / venez’, a quill and inkstand on the table to her right. Estimate: £15,000-25,000 ($23,880 – $39,800). Photo: Christie’s Images Ltd 2014.

Signed and dated ‘mosnier / 1778’ (mid-left). On ivory; 68 mm. diam., in silver-gilt réverbère frame with white enamel border, burgundy moiré silk reverse stamped in gold ‘MOSNIER / 1778’. One of the backing cards with the collection label of Alphonse Maze-Sencier (1831-1892).

Provenance: Alphonse Maze-Sencier (1831-1892) Collection, in 1885.
His sale, Paris, Hôtel Drouot,19-20 March 1886 (then on a box, sold 2,900 Gold Francs).
Leboeuf de Montgermont Collection, sold Paris, Galerie Georges Petit, 25 May 1891, lot 103 (4,500 Gold Francs).
Félix Panhard (1842-1891) Collection, Paris.
His nephew Hippolyte Panhard.
Thence by family descent until sale of the Panhard Collection, part I, Palais Galliéra, Paris, 5 December 1975, lot 135 (17,000 FF).

Literature: A. Maze-Sencier, Le Livre des collectionneurs, Paris, 1885, p. 543 (praised as ‘délicieux portrait‘ and ‘portrait séduisant‘).
L. R. Schidlof, Die Bildnisminiatur in Frankreich im XVII., XVIII. und XIX. Jahrhundert, Vienna and Leipzig, 1911, pp. 37-38.
J.-E. Darmon, Dictionnaire des peintres miniaturistes sur vélin, parchemin, ivoire et écaille, Paris, n.d. [ca. 1925], p. 89.
E. Bénézit, Dictionnaire critique et documentaire des peintres […], Paris, 1976, p. 565 (mentioned twice).
N. Lemoine-Bouchard, Les Peintres en miniature actifs en France 1650–1850, Paris, 2008, p. 393.

Exhibited: Paris, Bibliothèque nationale, Oeuvres d’art du XVIIIe siècle, 1906, no. 367 (lent by Hippolyte Panhard).

SILVER

A spectacular assembly of over 180 pieces of silver is led by two important collections. The first presents an enduring tale of friendship marrying together two inspiring collections, whereby the silver collected by Gregory de Ligne Gregory (d.1854), a wealthy Lincolnshire landowner, was bequeathed to his friend Sir Glynne Earle Welby 3rd Bt. Gregory’s passion for the Baroque style and his search for the historic resonate throughout the collection. Seeking works with superior provenance, the lots offered include a pair of silver sconces by the Augsburg silversmith Peter Rahm (estimate: £30,000–50,000) along with two sets of four wall sconces originally from the Royal Collection (estimates: £50,000–80,000).

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A pair of German silver wall-sconces, Mark of Peter Rahm, Augsburg, 1713-1717. Estimate: £30,000 – £50,000 ($47,760 – $79,600). Photo: Christie’s Images Ltd 2014.

 Each of cartouche form, the borders chased with floral diaperwork within scroll borders and pendant swags of flowers, the centre chased with a scene of Venus and Cupid, the leaf-capped scroll branch with fluted circular drip-pan and similarly decorated nozzle, all below a cresting chased with a basket of flowers on a matted ground, each marked near branch and on drip pan, numbered 5 and 6; 23 3/8 in. (59.3 cm.) high; 77 oz. 8 dwt. (2,408 gr.)

Provenance: Possibly Gregory de Ligne Gregory (1786-1854) of Harlaxton Manor, Lincolnshire, by bequest to,
Sir Glynne Earle Welby-Gregory 3rd Bt. (1806-1875) and then by descent.

Literature: Inventory of articles (heirlooms, including library and works of art) at Harlaxton New Manor House, 1864-66, National Archives, Kew, Ms. J 90/1217, possibly p. 58, nos. 44-45, ‘Plate and Silver Gilt’:
Possibly no. 44, ‘An Antique Sconce Slightly damaged – 39 oz. 12 dwt.’
Possibly no. 45, ‘An Antique Sconce Slightly damaged – 41 oz. 2 dwt.’

Notes: Born in Hamburg in 1661, Peter Rahm became a master in 1694 and married Susanna Pepfenhauser in the same year. Rham’s recorded works are nearly all sconces. Lorenz Seling records an early set of six made between 1692 and 1697, now in the Schatzkammer der Hohen Domkirche, Cologne. A silver gilt sconce of 1717-1721 and a set of four of 1729-1733 at Schloss Pillnitz (inv. nos. 46 776 and 36 430- 36 433). A pair of 1729-1733 are in the collection of the Kunstgewerbemuseum, Dresden (Inv. No. 36 434 and 42 222). Two pairs of sconces by Rahm sold, The Moritzburg Treasure: Silver and Works of Art from the Royal House of Saxony, Sotheby’s, London, 17 December 1999, lots 64 and 65.

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 A Set of four William and Mary silver wall-sconces, apparently unmarked, circa 1686-1690, perhaps adapted by Rundell Bridge and Rundell after 1823, the branches with mark of Robert Garrard, London, 1850. Estimate: £50,000 – £80,000 ($79,600 – $127,360). Photo: Christie’s Images Ltd 2014.

Provenance: Ordered for Queen Mary (1662-94) by Royal Warrant either 12 March 1686 as part of ‘seaven new silver sconces with two socketts’ or 5 September 1686 as part of ‘three new silver sconces of the same manner and largesse as the other seven’ or for King William III and Queen Mary 20 September 1689 as part of ‘five acorn sconces of the fashion as those that were made therefore’ or a final pair delivered the following September.
Used to furnish the Queen’s Drawing room at Whitehall Palace and later the velvet draped bedchamber at Whitehall Palace where the Queen lay in state in 1694 (PRO LC9/46 11 February 1694/5).
In the Jewel House of the Royal collection until 1812 when they were ‘taken to Carlton House… for the Prince Regent to see’ (PRO LC9/351, f.1).
Presumably among those sold to Rundell, Bridge and Rundell 1816-17 along with at least eight other sconces from the set and other plate totalling 4,286 oz. as part payment for a service of plate for Princess Charlotte of Wales (1796-1817) (PRO LC9/351, f.91).
Gregory de Ligne Gregory (1786-1854) of Harlaxton Manor, Lincolnshire, by bequest to
Sir Glynne Earle Welby-Gregory 3rd Bt. (1806-1875) and then by descent.

Literature: Inventory of articles (heirlooms, including library and works of art) at Harlaxton New Manor House, 1864-66, National Archives, Kew, Ms. J 90/1217, p. 58, nos. 40-43, ‘Plate’:
No. 40, ‘A Richly Chased Sconce Surmounted by A Crown and two Boys – 81 oz. 5 dwt.’
No. 41, ‘A Richly Chased Sconce Surmounted by A Crown and two Boys – 96 oz. 17 dwt.’
No. 42, ‘A Richly Chased Sconce Surmounted by A Crown and two Boys – 93 oz. 7 dwt.’
No. 43, ‘A Richly Chased Sconce Surmounted by A Crown and two Boys – 104 oz. 2 dwt.’

Notes: This set of four sconces, known as the ‘Oken‘ or Acorn sconces after the distinctive outer border which the present pair, and others from the series now lack, are from a set of similar examples ordered between 1686 and 1689 by William and Mary. They are discussed by Matthew Winterbottom in Royal Treasures A Golden Jubilee Celebration, London, 2002, p.255-256, no.175.

Other known examples include a set of four in the Royal Collection, which are each capped with a Royal crown and applied with the cypher of William and Mary. They were gilt and improved by Rundell, Bridge and Rundell in 1816 at the request of the Prince Regent, later King George IV. A set of eight, which like the present examples are missing their oak leaf and acorn festoons, and each with an added second branch by Robert Garrard, 1856, that formed part of the Sneyd Heirlooms which were sold in 1924, passed through the collection of William Randolph Hearst and are now in the Collection of Colonial Williamsburg (J. Davis, English Silver at Williamsburg, Virginia, 1976, pp. 15-17, cat. no. 2) and a pair sold Christie’s, London, 10 June 2008, lot 253.

The sale will also feature a selection of extraordinary spoons as part of The Runnymede Collection. Many of the lots have notable provenances such as the 2nd Earl of Warrington along with the Ellis, Biggs and Patterson collections and have been sourced from across the globe through auctions and specialist silver dealers including the legendary spoon dealer and collector Mrs. How of How of Edinburgh. The wonderfully broad chronological range of spoons, dating from the 14th to 18th centuries, include all of the main types. Of special interest is the Romsey/ Ashburnham spoon, considered to be of the very few gold spoons to have survived, it is thought to be the earliest hallmarked example (estimate: £30,000-50,000). An additional highlight of the sale includes a Henry VII Parcel-Gilt Silver Apostle Spoon featuring St. John, 1498, (estimate: £30,000-50,000). Apostle spoons traditionally would have been made in groups of twelve, one to represent each apostle, to which the Master was added to make a set of thirteen. However, given the relatively small number of complete sets to have survived, it is likely that they were intended to be given as gifts, either individually or in pairs.

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The Romsey/Ashburnham gold spoon, a Charles II gold trefid spoon, Mark of Robert King, London, 1681. Estimate: £30,000-50,000 ($47,760 – $79,600). Photo: Christie’s Images Ltd 2014.

With trefid end, the back of the bowl engraved with a coat-of-arms within foliage mantling, fully marked on stem; 5 ¾ in. (14.5 cm.) long:1 oz. 5 dwt. (39 gr.)
The arms are those of Romsey impaling Ashburnham for Colonel John Romsey (d.1689) and his wife Elizabeth (1641-1697), daughter of John Ashburnham (1656-1710), Groom of the Bedchamber of King Charles I. Elizabeth was the widow of Sir Hugh Smith, 1st Bt. (1632-1680), of Long Ashton, co. Somerset. She was married to Colonel Romsey on 3 August 1681.

Provenance: Colonel John Romsey (d.1689) and his wife Elizabeth (1641-1697), widow of Sir Hugh Smith, 1st Bt. (1632-1680) and then by descent to her son by her first marriage
Sir John Smith, 2nd Bt. (1659-1726) and then by descent to his son
Sir John Smith, 3rd and last Bt. (1699-1741) and then by descent to his sister and co-heir
Florence (1701-1767) and her 2nd husband Jarrit Smith (d.1783), later 1st Bt. of Long Ashton of the 2nd creation, and then by descent to
A Lady; Sotheby’s London, 25 July 1935, lot 38 (£245).
Sir Andrew Noble, Bt., K.C.M.G., John Noble Esq. and Michael Noble; Christie’s London, 28 March 1962, lot 71 (£1,450 to Lumley).
Nathaniel Mayer Victor, 3rd Baron Rothschild (1910-1990).
A Gentleman; Christie’s, London, 20 November 2001, lot 17.
with J. H. Bourdon-Smith, December 2001.

Literature: A. Grimwade, ‘A New List of Old English Gold Plate’, The Connoisseur, 1951, part I, p. 81, p. 79.
Christie’s Review of the Season, London, 1961-62, p. 32.
T. Schroder, ‘English Gold’, The Handbook of the Grosvenor House Antiques Fair, 1985, p. 9, fig. 1.
M. Clayton, The Collector’s Dictionary of the Silver and Gold of Great Britain and North America, Woodbridge, 1985, p. 382, fig. 558a.
T. Kent, ‘Gold’, The Finial, June/July 2002, p. 198.

Exhibited: London, Victoria and Albert Museum, 1997-2000.

Notes: Colonel John Romsey (d.1689) had been a colonel in Cromwell’s army but is chiefly remembered for being one of the Rye House Plot conspirators. In the Spring of 1683 it was alleged that William, Baron Howard, Arthur, Earl of Essex, Algernon Sidney, Lord William Russell, Sir Thomas Armstrong, Robert Ferguson and others planned to murder King Charles II and the Duke of York, later King James II, on their was back to London from Newmarket. Another of the group, Richard Rumbold (d.1685), who had also fought with Cromwell, had married the widow of a maltster and it was at their place of business, The Rye House, near Hoddesdon, Hertfordshire that they planned to attack the Royal party with forty men. It was through Rumbold that Romsey became involved with the group. The conspirators were betrayed by Howard. Russell, Sidney and Armstrong were each tried, convicted and beheaded. Essex is thought to have committed suicide while imprisoned in the Tower. Romsey together with Howard gave evidence against their fellow plotters and escaped prosecution. He later gave evidence against the London Alderman, Henry Cornish (d.1685), and it was his testimony, together with that of Richard Goodenough, that led to Cornish’s trial and subsequent execution in 1685.

13

St. John, a Henry VII Parcel-Gilt Silver Apostle Spoon, London, 1498, maker’s mark a cypher. Estimate: £30,000-50,000 ($47,760 – $79,600). Photo: Christie’s Images Ltd 2014.

The gilt finial cast as St. John standing on a baluster and stepped plinth, with his right hand held up in blessing and holding the cup of sorrow in his left hand, the bowl later prick engraved ‘IW to WW’ and dated ‘1652’, marked in bowl with leopard’s head and on stem with maker’s mark and date letter; 7 ¼ in. (18.5 cm.) long;  1 oz. 19 dwt. (60 gr.)

Provenance: with Spink and Son, London, by 1976.
Anonymous sale; Sotheby’s, London, 5 June 1997, lot 36.

Literature: M. Snodin, English Silver Spoons, London, 1976, p. 19, pl. 3.
H. Mallalieu, ‘Around the Salerooms’, Country Life, 31 July 1997, pp. 62-63, pl. 1.

Apostle Spoons

The apostle spoon is an example of the next development in pre-Restoration spoons with the appearance of a finial cast as a full figure. The earliest examples of this form are the Wodewose spoons, with finials cast with a wild man figure, which appear in the 13th and 14th centuries (The Benson Collection, Christie’s, London, 4 June 2013, lot 320, £85,875).

Spoons with cast apostle finials were probably made as early as the 14th century, though the earliest examples which can be definitely dated are a number of examples, presumably once part of a set, which have London hallmarks for 1490 (The Benson Collection, op. cit., lot 329, £59,475). Traditionally they would have been made in groups of twelve, one to represent each apostle, to which the Master was added to make a set of thirteen, however, given the relatively small number of complete sets to have survived it is perhaps as likely that they were intended to be given as gifts, either individually or in pairs.

Comparisons have been drawn between the finial on the present spoon, representing St. John, and the cast figure of St. John on a ceremonial instrument case, dated circa 1500, in the collection of the Worshipful Company of Barber Surgeons. Commander and Mrs How note that the cast figures on the case could easily be used as the finials on spoons (Commander G. E. P. How and J. P. How, English and Scottish Silver Spoons, Mediaeval to Late Stuart and Pre-Elizabethan Hallmarks on English Plate, London, 1953, vol. II, p. 36).

A Louis XV ormolu-mounted Chinese celadon glazed porcelain vase, the mounts circa 1750, the porcelain 17th/18th century

18 samedi Oct 2014

Posted by alaintruong2014 in Chinese Porcelains, Chinoiserie, European Sculpture & Works of Art

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Étiquettes

17th-18th century, Chinese celadon glazed porcelain vase, circa 1750, Louis XV ormolu-mounted

9009b8f8a7d9e9931d94b8fc5460184c

A Louis XV ormolu-mounted Chinese celadon glazed porcelain vase, the mounts circa 1750, the porcelain 17th-18th century. Estimate 20,000 — 30,000 USD. Photo Sotheby’s.

height 13 1/2 in. 34.5 cm

PROVENANCE: The Keck Collection, sold Sotheby’s New York, December 5-6, 1991, lot 18
PROPERTY OF A NEW YORK PRIVATE COLLECTOR

Sotheby’s. Important English and European Decorative Arts, New York | 22 oct. 2014, 10:00 AM

Ronald Phillips reveals highlights to be presented at the International Fine Art and Antique Dealers Show

18 lundi Août 2014

Posted by alaintruong2014 in English Furniture

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Étiquettes

Chinese export, Chinese lacquer, circa 1750, circa 1765, circa 1775, desk armchair, English, Gainsborough armchair, George II, George III, Gillows of Lancaster, giltwood mirror, Glemhall Hall, mahogany, Matthias Lock, Ormolu mounted, Qianlong, Robert Adam, St. Giles House, Thomas Chippendale, three-light candelabra, wine cooler

A George III Ormolu mounted white painted oval wine cooler. English, circa 1775, Price: £100,000+. 

LONDON.- Ronald Phillips Ltd, one of the world’s leading antique galleries handling some of the most important pieces of English Antique Furniture and Works of Art has released some of the finest examples of craftsmanship and design that will be displayed on the company’s stand at the International Fine Art and Antique Dealers Show. 

Prices will range between £38,500 and over £2,000,000, many of which have notable provenance, with some offered for public sale for the first time. The collection for the exhibition promises to be a magical history of narcissism and decoration- and a celebration of England craftsmanship which are a testament to Simon Phillips’ exceptional eye and expertise. Simon’s interest in and knowledge of English decorative arts is wide-ranging enabling him to successfully source the very finest furniture and works of art, which are invariably united by his unerring and intuitive sense of what makes them special. The booth of over 40 lots presents a wealth of opportunities for international collectors and interior designers and the rich and varied array of items will suit many tastes; tailored to meet the sustained and growing interests of collectors intent on acquiring works of the highest calibre. 

Highlights of the exhibition include a pair of George III three light ormolu candelabra designed by the Scottish neoclassical architect, interior designer and furniture designer Robert Adam, English circa 1775; the drawing by Robert Adam for the design of the candelabra is now preserved in the Sir John Soane Museum in London.

A pair of George III three light ormolu candelabra designed by Robert Adam. English, circa 1775, Price: £100,000+.

Ronald Phillips has long championed mirrors, whilst pairs of mirrors are the ultimate finds. This exhibition boasts several pairs of mirrors including a pair of George II giltwood mirrors, English circa 1750. Retaining most of their original gilding with a distinctive Rococo design following a drawing published by Matthias Lock in his book ‘Six Sconces.’ Having recently come out of a private collection in Florida, the mirrors once belonged to Walter P. Chrysler in New York. Mr. Chrysler, whose father, Walter Sr., founded the Chrysler Corporation, devoted much of his life to building a multimillion-dollar collection of art works that was housed at the Norfolk Museum of Arts and Sciences in Norfolk, which was later renamed the Chrysler Museum. 

The Walter P. Chrysler Jr. mirrors. A pair of George II giltwood mirrors, English circa 1750, attributed to Matthias Lock, Price: £100,000+.

Ronald Phillips also hold a number of the finest Chinese reverse painted glasses, painted in China and sent to England to be sold. The earliest was from 1760 and in New York there will be a stunning pair from 1765. This pair of mirrors formed part of the collection assembled by H.J. (Jim) Joel. Like many other collectors of the middle years of the 20th century, Joel was advised by R.W. Symonds, the collection bearing his distinctive imprint. Unlike some of his contemporaries, Jim Joel’s collection encompassed a wide variety of genres that was sold in a monumental two-part Christie’s house sale, at Childwick Bury, St. Albans on 15-17 May 1978.

Photo

A  George III period Chinese export  mirror painting in original lacquer frame, Chinese, Qianlong, circa 1770. Price range: £10,000-£50,000.

Other highlights include, a George II walnut card table, English circa 1735, with concertina action, its notable provenance includes Percival D Griffiths who purchased the table in 1908. Under the wise counsel of R. W. Symonds, Percival D. Griffiths, amassed arguably the greatest collection of English Furniture formed in the 20th century, a collection which is unlikely to bettered any time soon. The table reached over $700,000 at Sotheby’s in 2004, after leaving another significant collection of Theodore and Ruth Baum. 

The most expensive pieces documented are a stunning pair of Chinese lacquer commodes commissioned for the Earl of Shaftesbury of St Giles House Dorset, English circa 1765, estimated over £2,000,000; whilst some of the most exciting finds revealed are the seat furniture which includes a mid 18th century desk armchair, almost certainly made by Thomas Chippendale, priced at £235,000 and The Glemhall Hall Gainsborough armchairs, English circa 1755. Commissioned under Dudley North of Glemhall Hall, Suffolk, the chairs were originally part of a larger suite of which nine armchairs can be traced. Each chair depicts a different bird made by Lady Barbara, the wife of Dudley North. A pair of chairs is in the collection of Colonial Williamsburg. Two further chairs formerly in the Colonial Williamsburg Collection are now in a private collection in New York, a single is recorded in the Gerstenfeld collection in Washington, whilst another single chair was sold at auction in 1954 with current whereabouts unknown. Also on display will be a set of twelve George III mahogany armchairs by Gillows of Lancaster, English, circa 1795. Some of the original webbing, significantly stamped ‘Gillows Lancaster’ has been preserved with the chairs. 

The St. Giles House commodes, a pair of Chippendale period Chinese lacquer commodes, English, circa 1765. Price range: £100,000 +.

A George III mahogany desk armchair almost certainly by Thomas Chippendale, mid 18th century. Price range: £100,000 +.

The Glemhall Hall Gainsborough armchairs. Price range: £100,000 +.

A set of twelve George III mahogany armchairs by Gillows of Lancaster. Price range: £100,000 +.

Simon Phillips, who took over the Mayfair firm from his father Ronald over fifteen years ago says: “It has become increasingly difficult in recent years to find great pieces of English furniture, but within this exhibition there is a wonderful cross-section of important and rare English furniture and objects. United by the common themes of rarity, provenance, craftsmanship and beauty, I have invested in each of these items because they had the attributes I look for in fine English Antique Furniture, but the time has come for them to find new homes and enjoy the next chapter in their histories; whilst providing collectors with an opportunity to acquire the very best.” 

Alain R. Truong

Alain R. Truong
janvier 2021
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