08 dimanche Fév 2015
Posted in Chinese Porcelains
Étiquettes
A ‘tobacco leaf’ tankard, circa 1775. Estimate £2,000 – 3,000 (€2,700 – 4,000). Photo Bonhams.
The cylindrical body finely enamelled in the famille rose palette highlighted with gilt, and painted in underglaze blue with passion-flowers and smaller flower heads, with foliated rim and bamboo-shaped handle. 13cm (5 1/8in) high
Note: For a comparable tankard see Christie’s London 11/11/03 lot 103.
Bonhams. ASIAN ART, 25 Feb 2015 10:30 GMT – LONDON, KNIGHTSBRIDGE
08 dimanche Fév 2015
Posted in Chinese Porcelains
Étiquettes
A ‘tobacco leaf’ famille rose teapot and cover, circa 1775. Estimate £4,000 – 5,000 (€5,400 – 6,700). Photo Bonhams.
Finely enamelled and painted in underglaze blue with passion-flowers and smaller flower heads, some details highlighted in gilt, the handle and spout shaped as bamboo trunks, the cover en-suite. 19.5cm (7 5/8in) wide (3).
Bonhams. ASIAN ART, 25 Feb 2015 10:30 GMT – LONDON, KNIGHTSBRIDGE
29 jeudi Jan 2015
Posted in Non classé
Étiquettes
Carlton Rochell, circa 1690, circa 1775, Gita Govinda, India, Nurpur, Radha and Krishna in a Bower, Rag Vinod Hindol Sut, Ragamala Series
Illustration to the Gita Govinda- Radha and Krishna in a Bower, circa 1775. Photo: Carlton Rochell Asian Art.
NEW YORK, NY.- Carlton Rochell will present a special exhibition devoted to thirty-seven important classical Indian paintings from an American Private Collection. The exhibition will be open to the public from Friday, March 13 through Friday, March 20, from 10 a.m. to 6 p.m.
Classical Indian paintings, aptly referred to as Indian miniatures because of their small scale and fine, jewel-like quality, were painted for royal patrons. Either to glorify the reign of a particular ruler, or more typically, to illustrate one of the ancient Hindu texts, these paintings were a significant aspect of Indian culture, both from an artistic and devotional point of view. Unlike other parts of the world, where painters’ principal commissions were large in format, the most talented and iconic Indian artists focused their efforts on these diminutive images. Given the numerous Indian courts at any given moment, the style and subject matter of the paintings differs regionally, as does the quality. Originally compiled in albums, which have long since been dispersed, single folios from known sets are now found in various collections around the world. Carlton Rochell’s exhibition features masterwork examples from some of the most desirable and rare albums of Rajasthani and Pahari painting, making it a prime opportunity for museums and collectors to acquire important examples of the genre. A show of this caliber, in this collecting category, has not been assembled for New York Asia Week in years; it will be a unique and special event.
Highlights include a page from one of the most prized sets of Indian painting, a Gita Govinda series dating to circa 1775 from the Punjab Hills region of Guler. The Gita Govinda tells the tale of Krishna and Radha’s volatile romance, paralleling the universal experience of love; the main characters face desire, hope, pride, disappointment, anger and reconciliation. This particular version of the epic is of the highest quality, having been commissioned for the wedding of Sansar Chand to the daughter of Kishan Singh of Suket in 1781, and attributable to the workshop-lineage of the great masters Pandit Seu, Nainsukh, and Manaka. Its lush landscapes, idealized figures and delicate brushwork are beautifully displayed in the exhibited image of Krishna and Radha in a Bower, making love. From a set known to have over 150 pages, over 35 of which have been published, this stands out as one of the most desirable given its joyful subject matter, which is reflected in the composition’s lush foliage and rich palette.
Also from the highly sought-after school of painting in Guler, is an image depicting Krishna lifting the Mountain Govardhana. The page belonged to a now dispersed 1740 Bhagavata Purana series, a manuscript that celebrates the life and deeds of Krishna, and would have been one of the highlights in the album. A beloved subject, particularly in areas populated with ardent Krishna devotees, the myth tells of the blue-skinned deity raising a mountain to shield the locals from a fierce storm sent by the god, Indra, whose wrath they had incurred. All were left in awe of Krishna’s celebrated miracle. Works from this set are not often available, making this an exceptional acquisition opportunity for collectors of Indian painting.
Showcasing a different style of Punjab Hills painting, this time from Chamba, circa 1790, is an image of Rama and Sita enthroned. This final scene from the Ramayana, an epic telling the tale of Rama’s arduous journey, is jubilant; he is reunited with his wife and crowed King. The couple’s loyal companion, the monkey Hanuman, and Rama’s brother, Laksmana, both of whom helped Rama in his quest to recover his kidnapped bride, are depicted alongside them. The complete version of the event is filled with the multitudes of cohorts who had aided Rama along the way, however that rendition requires a much larger format. Given the subject’s popularity, smaller versions populated only by the main characters, such as this, became common as icons for individual worship. Here, the figures stand out against a vivid orange background, creating a particularly striking and aesthetically pleasing composition.
From Rajasthan, a circa 1770 Bundi painting depicts Krishna watching Radha take her evening bath. It is an exceptional example of the regional style of the period, which has been described as a hedonistic art and is notable for its arresting white architecture, brilliant use of shading and figural modeling, the depiction of women from a three-quarter angle, and controlled use of space. In this scene, Radha stands unclothed under lush foliage, waiting for her maid to return with water, while her lover climbs the exterior stairs, flower in hand, in hopes of gaining entry. Although a wall separates them, they appear to meet one another’s gaze through the divide; their attraction is palpable. A soft glow has been cast over the entire scene by the setting sun on the horizon. Stylistically, a comparison can be made between this page and others from the famous “Boston Ragamala” series, suggesting that they may be attributable to the same hand, an unnamed artist of great repute.
Another standout Rajasthani painting, signed by the renowned Mewar artist, Tara, and dated to circa 1844-5, portrays Maharana Sarup Singh (1842-61) throwing a spear into the trunk of a papaya tree on Jagmandir Island. The Maharana, a passionate patron of the arts, holds his spear high, and his body is twisted to highlight the throwing motion. Behind him, the court, all specifically named in an inscription, are neatly arranged in rows to watch the acumen of their leader who throws his spear perfectly into the trunk of a papaya tree. The larger format is a distinctive feature of Tara’s work, as are the crisp lines, and brilliant use of color and space. Considered to be the final great chapter of Mewar art, his paintings are especially esteemed.
Carlton Rochell opened his gallery in October of 2002 and has handled important works of art from renowned collections including Mr. and Mrs. Jack Zimmerman, Dr. David R. Nalin, Mr. Willard Clark, and Mr. Robert H. Ellsworth. Holland Cotter of the New York Times in his review of the inaugural exhibition in 2002 wrote “The arrival of a new, open-to-the public gallery devoted to Indian and Southeast Asian art is an event for the city; such showcases are few and far between…although Himalayan and Cambodian bronzes are among the most exquisite items, the gallery is dominated by several large-scale sculptures of a kind we rarely see outside museums.”
Illustration to a Ragamala Series: Rag Vinod Hindol Sut. India, Nurpur, circa 1690. Opaque watercolor on paper. Height: 8 1/4 x 8 1/4 inches (21 x 21 cm). Photo: Carlton Rochell Asian Art.
22 jeudi Jan 2015
Posted in Chinese Porcelains
Étiquettes
A rare Portuguese market tea caddy and cover, circa 1775. Estimate 4,000 – $6,000 USD. Photo Christie’s Image Ltd 2015.
Depicting the equestrian statue of King Jose I in the Praça do Comércio in Lisbon, beneath flower garlands; 5 ½ in. (14 cm.) high
Provenance: Acquired from J. Cherny in 1976.
Christie’s. MANDARIN & MENAGERIE: THE SOWELL COLLECTION AND CHINESE EXPORT ART FROM VARIOUS OWNERS, 26 January 2015, New York, Rockefeller Plaza.
21 mercredi Jan 2015
Posted in Chinoiserie, European Ceramics
Étiquettes
'Hollow Rock Lily' pattern, 'Warbler' pattern, circa 1758, circa 1775, coffee cup, faceted cream jug, Worcester
A Worcester faceted cream jug and a coffee cup, circa 1775 and 1758. Estimate £500 – 800 (€650 – 1,000). Photo Bonhams.
The jug baluster with a scroll handle, painted in blue with the ‘Hollow Rock Lily’ pattern, 9cm high, crescent mark, the cup with grooved loop handle, painted in blue with the ‘Warbler’ pattern, 6.2cm, workman’s mark (2)
BONHAMS. BRITISH & EUROPEAN CERAMICS, GLASS & ASIAN ART, 3 Feb 2015 11:00 GMT. OXFORD
19 lundi Jan 2015
Posted in Chinese Porcelains
Étiquettes
A very large ‘Tobacco Leaf’ platter, circa 1775. Estimate 8,000 – $12,000 USD. Photo Christie’s Image Ltd 2015.
With scalloped rim, enameled in the classic pattern with vivid famille rose colors, underglaze blue and gilt; 18 ½ in. (47 cm.) long
Christie’s. MANDARIN & MENAGERIE: THE SOWELL COLLECTION AND CHINESE EXPORT ART FROM VARIOUS OWNERS, 26 January 2015, New York, Rockefeller Plaza.
19 lundi Jan 2015
Posted in Chinese Porcelains
Étiquettes
A ‘Tobacco Leaf’ sauceboat and stand, circa 1775. Estimate 5,000 – $7,000 USD. Photo Christie’s Image Ltd 2015.
In the classic pattern, the stand of leaf form; 8 ¼ in. (20.9 cm.) long
Christie’s. MANDARIN & MENAGERIE: THE SOWELL COLLECTION AND CHINESE EXPORT ART FROM VARIOUS OWNERS, 26 January 2015, New York, Rockefeller Plaza.
19 lundi Jan 2015
Posted in Chinese Porcelains
Étiquettes
A ‘Tobacco Leaf’ five-piece garniture, circa 1775. Estimate 5,000 – $7,000 USD. Photo Christie’s Image Ltd 2015.
In the classic pattern with vivid famille rose colors, underglaze blue and gilt, comprising three baluster vases and two beaker vases; 7 ¼ in. (18.4 cm.) high, the baluster vases
Christie’s. MANDARIN & MENAGERIE: THE SOWELL COLLECTION AND CHINESE EXPORT ART FROM VARIOUS OWNERS, 26 January 2015, New York, Rockefeller Plaza.
18 mardi Nov 2014
Posted in Chinese Porcelains
Étiquettes
Chinese Export Armorial, circa 1775, dinner service, Earl of Stirling, Qing dynasty, William Alexander
The dinner service bears the arms of William Alexander, Earl of Stirling, New York City (1726-1783), Qing dynasty, circa 1775. Estimate £ 5,000-8,000. Photo Lyon & Turnbull
LONDON.- Scotland’s oldest auction house Lyon & Turnbull are to sell a very important part dinner service dated circa 1775 belonging to the renowned William Alexander, Earl of Stirling. The service will be a highlight lot in their upcoming sale for Fine Asian Works of Art taking place close to London as part of the prestigious inaugural Asian Art in London.
Bearing the coat-of-arms of Alexander quartering MacDonald, the motto « Per Mare Per Terras » is surmounted by a semi-nude man holding a club on one side of the shield and a mermaid on the other. The set for sale comprises 6 side plates, 10 soup plates and 13 dinner plates, totalling 29 pieces in all. The grouped lot is modestly estimated at £5000-8000, however, as single plates from the service have previously achieved prices into the thousands, it is likely the part set will achieve far beyond its estimate. Market research suggests that multiple pieces of the service have never been sold as a group on the open market, particularly of this size. In addition to this, the collection has excellent provenance coming directly from descendants of William Alexander who have lived for many years near the family seat in Stirling, Scotland.
William Alexander, born in New York 1726, had an impressive military career as Major General in the American revolutionary war, later claiming the title Earl of Stirling. Because of his actions on the battlefield against the English, a newspaper named him « the bravest man in America » and he was said to be directly praised by both George Washington and the British for his bravery.
Off the battlefield, Alexander married Sarah Livingston, the daughter of statesman Philip Livingston and sister of the governor William Livingston, and was a socially prominent gentleman having inherited a large fortune from his father. He began building his grand estate in the Basking Ridge section of Bernards Township, New Jersey. President Washington was a guest there on several occasions during the revolution and gave away Stirling’s daughter at her wedding. In 1767, the Royal Society of Arts awarded Lord Stirling a gold medal for accepting the society’s challenge to establish viticulture and winemaking in the North American colonies by cultivating 2,100 grape vines on his New Jersey estate.
In 1757 William Alexander travelled to England to claim the disputed title Earl of Stirling and despite contest by the House of Lords, Alexander used the title until his death in 1783. Shortly after 1770, it is believed Lord Stirling must have ordered a dinner service in anticipation of his claim to the Earldom of Stirling. When it arrived in London on its way to New York, the War of Independence had commenced and all trade had ceased. It is almost certain he never saw the service, and it is believed the set was sold in England because many pieces have been found there in unused condition.
The set will be hotly anticipated at auction this December, particularly appealing to collectors of important Chinese export and those interested in notable historical American figures.
Important Chinese Export Armorial part dinner service from the service of William Alexander of New York (1726-1783), Qing dynasty, circa 1775. Estimate £ 5,000-8,000. Photo Lyon & Turnbull
18 lundi Août 2014
Posted in English Furniture
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.
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.”
