07 novembre 2009
Rare cloisonné enamels sold @ Bonhams
A rare cloisonné and champlevé enamel figure of Guanyin, 18th century. © 2002-2009 Bonhams 1793 Ltd
The tall and graceful figure dynamically posed slightly turned to the left, with the hands held in front, the left hand held in harina mudra and the right holding onto to the left hand, the gilt face with a serene expression below the high chignon covered with a cowl, the robes falling in folds around the body and swaying in the wind, tied at the waist with a ribbon, enamelled with archistic dragons, the hems variously enamelled with foliate scrolls, geometric designs and demi-flowerheads, adorned with beaded necklaces on the chest and bracelets on the arms, wood stand. 43.8cm (17¼in) high. (2). Sold for £305,600
Provenance: an English private collection; according to the family probably, acquired in the late 19th/ early 20th century, and thence by descent.
Early examples of cloisonné enamel figures seem to date from the 17th century and are particularly rare. The heavy gilt wiring, the demi-flowerheads and chilong dragon decoration on the robes, all point in dating to the Kangxi period. Such early examples are rare as is the particular modelling of the present lot as Guanyin. This particular figure of Guanyin has been exquisitely modelled, the face with a graceful serene expression, the robes naturally cast swaying in the wind.
Compare a cloisonné and champlevé enamel figure of a European, attributed to the 17th century, illustrated by G.G.Avitable, Die Ware aus dem Teufelsland: Chinesische und japanische Cloisonné-und Champlevé-Arbeiten von 1400 bis 1900, Frankfurt am Main, 1981, Catalogue no.98. See also a pair of cloisonné enamel kneeling boys, attributed to the Kangxi period, similarly enamelled with archaistic dragons on their robes, sold at Sotheby's New York, 18 September 2007, lot 156.
A rare cloisonné enamel and gilt-bronze seal, Qianlong. © 2002-2009 Bonhams 1793 Ltd
The rectangular seal with a a loop handle terminating in ruyi-heads, decorated with various floral sprays including lotus, orchid and peony, the handle with an S-scroll, all reserved on a turquoise ground, the seal face reads: Mo yan jing yi ren sheng yi le, which may be translated as 'The Spirit of the Inkstone is One of Life's Pleasures'. 5cm (2in) long. Sold for £21,600
Provenance: Emile Guimet, Paris, inventory no. E.G.1403. The seal has been confirmed as part of the Emile Guimet Collection by his descendant.
As illustrated, one of the handle sides was formerly painted with the inventory mark for the Emile Guimet collection - E G 1403. The mark was unfortunately rubbed off when the seal was cleaned by a previous owner.
A rare pair of cloisonné enamel 'bird and tortoise' candlesticks, Qianlong. © 2002-2009 Bonhams 1793 Ltd Each bird modelled with outstretched white enamel wings, the feathers well detailed in gilt wire, the head lowered supporting the drip pans, standing with gilt clawed feet atop the green, turqouise and blue enamelled tortoise embracing paired red enamelled serpents, all within a saucer raised on gilt ruyi-head supports, the centre decorated with waves encircled by waves crashing against islands, the rim and base with lotus scrolls, the exterior walls with upright petals. 24.4cm (9⅝in) high. (2). Sold for £20,400 Notes: Similar cloisonné enamel bird and tortoise candlesticks are in important public and private collections. For a single example from the Qing Court Collection at the Palace Museum, Beijing, see The Complete Collection of Treasures of the Palace Museum: Metal-bodied Enamel Ware, Hong Kong, 2002, pl.151; for a pair from the National Palace Museum, Taipei, see Chen Hsia-Sheng, Enamel Ware in the Ming and Ch'ing Dynasties, Taipei, 1999, pl.55. For a similar example from a private collection, see Zhang Xin, ed., Colorful, Elegant, and Exquisite: A Special Exhibition of Imperial Enamel Ware from Mr. Robert Chang's Collection, Suzhou, 2007, p.72; and another, formerly in the Kitson Collection, is illustrated by Sir Harry Garner, Chinese and Japanese Cloisonné Enamels, London, 1970, pl.74B. See also a similar pair sold at William Doyle, New York, on 17 March 2009, lot 287. A large cloisonné enamel and gilt-bronze rectangular censer and a cover, 16th/17th century. © 2002-2009 Bonhams 1793 Ltd Cast in the manner of an archaic vessel, the sides decorated in early style on each face with yellow, green and dark blue taotie on a turquoise ground divided by vertical flanges, the tall curling legs with daisy meander, the domed repoussé cover with two dragons pierced through the sheet metal dividing open-winged phoenix beside the high loop handles. Overall 38.5cm (15in) high. (2). Sold for £14,400 Bonhams. Fine Chinese Art, 5 Nov 2009. New Bond Street www.bonhams.com
All examples, though illustrating an identical concept of design, conveying the wish for 'peace under heaven', show certain variations in their modelling and detail of decoration. Compare the variations in the shape of the saucers, drip pans and tortoises and the enamelled detailing of the waves, lotus scrolls, lappets and feathers. The present lot, though sharing all characteristics with the noted examples, is particularly rare for its variation of form of the bird with its closed pointed beak and upright spread wings.
The creative playfulness and fascination during the Qianlong period with imitating forms of materials extended to the creation of similar objects in different materials. The present lot is an example of this, with similar candlesticks also found carved from jade such as lot 260, carved from spinach green jade and a pair from the Lady Lever Art Gallery Collection, illustrated in S.C.Nott, Chinese Jade Throughout the Ages, Vermont, 1973, pl.XCI.
The tortoise (gui), one of the four revered ancient animals, symbolises the North and is often depicted with a snake, as in the present example. Tortoises represent the creation of all beings and also symbolise longevity, since they were believed to live for ten thousand years. A bird standing at the head of a tortoise relates to the wish for success in the Imperial Jinshi examinations and by implication, a successful career leading to status, wealth and power; see P.B.Welch, Chinese Art: A Guide to Motifs and Visual Imagery, Vermont, 2008, p.106.
Underglaze blue and yellow, blue and green, coral-ground and iron-red porcelains sold @ Sotheby's London
An underglaze blue and yellow enamel dragon dish. Kangxi mark and period. photo courtesy Sotheby's
the central medallion painted with a lively five-claw dragon chasing a flaming pearl amongst cloud scrolls and flames, with two further dragons striding around the cavetto, the exterior with two further similarly painted dragons - 32cm., 12 5/8 in. Est. 30,000—50,000 GBP - Sold 68,450 GBP
PROVENANCE: Collection of F.C. Harrison, 1907 (according to label).
Collection of Dr. Emil Hultmark, Stockholm (c. 1930). Emil Hultmark was a renowned Swedish collector and member of the small and exclusive group 'Kina Klubben', which was formed in Stockholm in the late 1920s. It was made up of dozens of serious collectors of Chinese porcelain, including the Crown Prince Gustav Adolf, later King Gustav VI Adolf of Sweden, and Carl Kempe.
EXHIBITED: Ashmolean Museum, Oxford, 1907, cat. no. 127.
NOTE: The present dish is rare for its impressive size; see a closely related example, from the Lieutenant-General Sir John Thomas Brownrigg-Bookey Collection, sold at Christie's London, 15th December 1980, lot 100; and another sold at Christie's London, 12th December 1988. For a dish of this size and design, but with yellow dragons amongst cloud and fire scrolls on a bluish-green ground, see one in the Nanjing Museum, illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 75; and another enamelled with green dragons outlined in black enamel on an underglaze blue ground, in the Baur Collection, published in John Ayers, Chinese Ceramics in the Baur Collection, vol. 2, Geneva, 1999, pl. 161.
Dishes similarly decorated with this design in underglaze blue and yellow are more commonly found in smaller sizes; for example see a pair included in the Illustrated Catalogue of Tokyo National Museum. Chinese Ceramics, vol. II, Tokyo, 1990, pl. 579; another, in the Palace Museum, Beijing, included in Qingdai yuyao ciqi, vol. 1, bk. 1, Beijing, 2005, pl. 36; and a third example sold in our Hong Kong rooms, 30th October 2000, lot 237.
A large underglaze blue and green enamel dragon dish. Kangxi mark and period. photo courtesy Sotheby's
painted to the central roundel with two writhing five-claw dragons chasing flaming pearls amongst flames and cloud scrolls, the well and exterior similarly decorated - 36.4cm., 14 3/8 in. Est. 30,000—40,000 GBP - Sold 37,250 GBP
PROVENANCE: Christie's London, 21st January 1999, lot 402 (illustrated on the front cover of the catalogue).
A coral-ground 'lotus' bowl. Qianlong seal mark and period. photo courtesy Sotheby's
the deep rounded sides rising from a short slightly spreading foot to an everted rim, finely reverse decorated around the exterior with leafy lotus strapwork reserved on a rich coral ground, the interior glazed white - 12.8cm., 5in. Est. 6,000—8,000 GBP - Sold 31,250 GBP
NOTE: A closely related example in the Percival David Foundation is illustrated in Oriental Ceramics. The World's Great Collections, vol. 6, Tokyo, 1982, col pl. 92; another is published in Geng Baochang, Ming qing ciqi jianding, Hong Kong, 1993, pl. 483; and a third in the Baerwald collection was included in the exhibition Ausstellung Chinesischer Kunst, Gesellschaft fur Ostasiatische Kunst, Berlin, 1929, cat. no. 1034. See also three bowls in the Ohlmer collection in the Roemer Museum, Hildesheim, illustrated in Ulrich Wiesner, Chinesisches Porzellan, Cologne, 1981, pls 30-32; two bowls sold in our Hong Kong rooms, 5th November 1996, lot 787, and 31st October 1995, lot 479; and a pair sold at Christie's London, 18th June 2002, lot 245.
An iron-red archaistic dragon saucer dish. Yongzheng mark and period. photo courtesy Sotheby's
delicately potted with the rounded sides of the exterior finely painted with a pair of iron-red archaistic dragons with undulating bodies transforming into lingzhi, separated by further lingzhi sprigs, above a short foot encircled by an underglaze-blue key-fret band, the interior similarly painted with a pair of zoomorphic dragons with stylized lingzhi bodies framed by a double-circle medallion, the base with a six-character reign mark enclosed within double-circles - 11.3cm., 4 1/2 in. Est. 3,000—5,000 GBP - Sold 8,750 GBP
Sotheby's. Fine Chinese Ceramics and Works of Art. 04 Nov 09. London www.sothebys.com
David Webb jewelry sold @ Christie's Amsterdam, 3 november 2009
An emerald and diamond ring, by David Webb. photo Image 2009 Christie's Ltd
Set with a large cabochon emerald to baguette diamond set claws and a brilliant-cut diamond set mount. Signed Webb - Est. €3,000 - €5,000 ($4,434 - $7,390) - Sold €8,125 ($12,004)
A gold necklace and pendant, by David Webb. photo Image 2009 Christie's Ltd
The pendant designed as an agitated Sagittarius threatening to shoot, partly pavé-set with brilliant-cut diamonds, to a chain necklace composed of wiretwist loops, 60.0 cm long. Signed Webb (2) - Est. €1,000 - €2,000 ($1,478 - $2,956) - Sold €6,250 ($9,233)
A jade necklace, by David Webb. photo Image 2009 Christie's Ltd
Composed of four rows of light mint green coloured jade beads, to a fantasy shaped carved jade pendant with textured gold mountings, on a gold bar clasp, 54.5 cm long. Signed David Webb - Est. €2,400 - €3,400 ($3,547 - $5,025) - Sold €5,000 ($7,387)
A pair of diamond earclips, by David Webb. photo Image 2009 Christie's Ltd
Each of paisley design, set with brilliant-cut diamonds. Signed David Webb (2) - Est. €2,000 - €4,000 ($2,956 - $5,912) - Sold €4,000 ($5,909)
Christie's. Jewels and Watches. 3 November 2009. Amsterdam www.christies.com
Chinese ceramics sold @ Bonhams, 5 november 2009
A rare brown-glazed shallow circular flask, Xixia Dynasty
Of compressed globular shape, the top all under a thick lustrous dark brown glaze pooling around four short loop handles set at the compass points at the outside edge, a flanged short neck aperture at one side, the centre incised through the glaze to the oatmeal biscuit with a single large calligraphic spray of leafy lotus, the underside partially under a thinner paler brown glaze wash. 27.5cm (10¾in) wide. - Sold for £8,400
Note: The dating of this lot is consistent with the result of a thermoluminescence test, Oxford Authentication Ltd, no P109m71.
Compare a similar brown-glazed tortoise-shaped flask with incised lotus peony blossom encircled by concentric lines floral scrolls, attributed to the Xixia Dynasty and Lingwu kilns, illustrated in Jiurutang Collection, Hong Kong, 2003, fig.232, where it is noted that the flask was meant to be carried on the body during excursions and was amongst the daily utensils of the Xixia people around Gansu, Ningxia and West Shaanxi.
A black-glazed foliate-rimmed bowl, Northern Song Dynasty
Rising from a short circular foot to a compressed globular body with flaring six-lobed rim, the interior and exterior covered with a lustruous black glaze, thinning at the rims and edges to a speckled russet and hazy green tone, the glaze stopping irregularly above the foot and the central well. 15.1cm (6in) wide.- Sold for £5,400
Provenance: a Danish private collection
The dating of this lot is consistent with the result of a thermoluminescence test, Oxford Authentication Ltd., P109m69.
Compare an example from the Falk collection, sold at Christie's New York, 16 October 2001, lot 77, and more recently in the same rooms, 19 March 2008, lot 528.
Two unusual early creamy-white saucer dishes, Song and Jin Dynasty
A relief-moulded small Dingyao-type dish, crisply moulded with a single branch issuing two melons beneath a band of overlapping petals, Song Dynasty, 10cm (4in) diam.; and a six-lobed shallow dish of Huozhou type moulded with a central floral medallion below birds around the well, the edge with a copper band, Jin Dynasty, 12.3cm (4⅞in) diam. (2). Sold for £2,520
Provenance: Dr Carl Kempe, Stockholm nos.462 and 637
An English private collection
Illustrated: Bo Gyllensvard, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pls.462 and 435.
A Dingyao carved dish, Northern Song Dynasty
Rising from a short circular foot ring, the interior freely carved with a single fish swimming amidst lotus flowers, all beneath a thin pale ivory glaze pooling to a pale green tinge in characteristic 'teardrops' on the exterior. 8.6cm (3¼in) diam. Sold for £1,800
A Zhejiang green-glazed dish, 14th/15th century
Crisply moulded at the centre of the interior with a large roundel of trellis pattern, the border incised with scattered clouds and leafy sprays. 36cm (14¼in) diam .- Sold for £1,920
Provenance: S. Marchant & Son, London, label
An English private collection, London, purchased by the late father of the present owner
Bonhams. Fine Chinese Art, 5 Nov 2009. New Bond Street www.bonhams.com © 2002-2009 Bonhams 1793 Ltd.
Important European Silver @ Sotheby's Paris
Rare aiguière couverte en argent et vermeil, Paris, vers 1480 (avant 1507), poinçon d'orfèvre uniquement. Trésor National.
[a rare French parcel-gilt silver covered ewer, Paris, circa 1480 (before 1507), maker's mark only partly legible] Estimate upon request. photo courtesy Sotheby's
Close to the border with Belgium in the Meuse in eastern France, three years ago, a man made an incredible discovery. As he was digging in his garden, he uncovered a hiding place behind some large stones and retrieved some 32 pieces of French Renaissance silver, made in Paris, Reims, Châlons en Champagne and Strasburg between 1480 and 1570. Consisting of ewer, cups, beakers, spoons and salt-cellars, in extraordinary condition, this amazing discovery, now classified as a French National Treasure, greatly increases our knowledge of French Renaissance silver. For instance, the set of twelve parcelgilt silver spoons discovered means the earliest known date for such pieces can be revised by almost 200 years to 1520.
This exceptional treasure will be joined be pieces from across Europe, including a Madrid tureen attributed to Pedro Luesma, from the Duke of Talleyrand collection; a magnificent Portuguese silver-gilt dish circa 1500; and a rare set of four Parisian candlesticks made by Joseph Duguay between 1756 and 1759. The vertu section of the sale will offer many attractive boxes such as the natural specimen box with enamelled gold mounts by Adrien Vachette, Paris, 1784. The wax panels enclosing real insects are reminiscent of the Louis XVI medal-cabinet made by Guillaume Benneman with wax panels enclosing bird feathers, insects and butterfly wings, now in the Palace of Versailles.
Terrine couverte et sa doublure en argent attribuée à Pedro Luesma, Madrid, 1774
[A spanish silver oval tureen, cover and liner, attributed to Pedro Luesma, Madrid, 1774] photo courtesy Sotheby's
reposant sur quatre pieds appliqués de feuillages de céleri, les anses se terminant en feuillages de céleri, le bord du corps mouluré d'une frise de filets rubans croisés, le couvercle à prise en anneau godronné reposant sur une terrasse de feuilles de céleri, chaque pièce estampée du n° 4 et de la lettre N. Est. 10.000 - 15.000 €
Cette terrine est identique à un ensemble de trois, avec leurs présentoirs, numérotées 1, 2 et 3, par Pedro Luesma, Madrid, 1774, provenant de la collection du duc de Talleyrand au château de Valençay ; voir Sotheby's Genève, 12 novembre 1985, n° 61. Le fait que la terrine ici présentée soit numérotée 4 prouve qu'elle complète cette série.
Celery leaves modelled at the body and cover Long. 37 cm, 4.994 gr. ; 14 1/2 in, 160oz 11dwt
This model, numbered 4, is identical to a set of three tureens and stands, numbered 1, 2 and 3, made by Pedro Luesma, Madrid, 1774, from the collection of the Duke of Talleyrand at the Château de Valençay, see Sotheby's Geneva, 12 November 1985, lot 61.
PROVENANCE: Très probablement duc de Talleyrand, château de Valençay.
Plat de présentation sur pied en vermeil, Portugal, non poinçonné, vers 1500
[A Portuguese silver-gilt salver on foot, unmarked, circa 1500] photo courtesy Sotheby's
reposant sur un pied circulaire à large frise cordée, repoussé et ciselé de motifs en pointe de diamants de taille décroissante convergeant vers le centre, encerclés de frises feuillagées, le dôme central composé de couples de chérubins soutenant des médaillons incarnant probablement les continents, sommé d'armoiries, Les armes sont celles des Oliveira.Parmi le petit nombre de présentoirs portugais répertoriés à motif de pointes de diamants, un modèle auparavant dans la collection du vicomte Lee of Fareham, Toronto1 et un autre appartenant à la Fondation Ricardo Espirito Santo Silva foundation2. Estimate upon request
The arms are those of Oliveira
Within the small surviving group of diamond-embossed Portuguese salvers, an example formerly
in the collection of Viscount Lee of Fareham, Toronto1 and another in the Ricardo Espirito Santo Silva foundation, Lisbon2, bear closest comparison having the diamond shapes enclosed by curved foliate bands of identical decoration to the present example. Both are dated to the latter half of the 15th century, the dating of the Espirto Santo Silva example being substantiated by 15th century Lisbon hallmarks. The diamond pattern motif is used on a number of other Portuguese salvers in public collections, notably a late 15th century example with Oporto marks in the Victoria and Albert Museum London3, one with Lisbon marks, circa 1500 in the Art Institute of Chicago (Gift of Mrs Chauncey Mccormick ref. 1962.97) and an unmarked example in the British Museum (Franks bequest 1897, ref. AF 3062).
The Portuguese were heavily involved with the diamond trade from the 15th century, at which time
most diamonds were coming from alluvial deposits in India. After the Portuguese explorer Vasco da Gama discovered a sea route west from India around Africa's Cape of Good Hope in 1488 a direct diamond trading link was established between Portuguese Goa on the west coast of India and Portugal itself.
Real diamonds at this early period would often have been in the form they appear on the salvers.
This pyramidal shape with four facets (`fower facet dyamonnades') was a natural form of the stone which has a cubic structure, and also reflects the contemporary aversion to cutting stones, believed to be imbued with special powers, and which` above all other Creatures excel so much in sinceritie, in puritie in cleernes and Bewtie as they are not only compared to ye firmament of ye Starres, but also doe take from them their infinit vertues'4. The mystical power of diamonds has been discussed by Eleonor D'Orey in her work on the Sprito Santo example mentioned above.
She sees the stones themselves and the ornament of these salvers which reflects them as being an attribute of princes, to whom by association were lent their mystical and special powers. Such princes were the Medici who saw their permanence reflected in the diamond and who took as their emblem three entwined diamond rings below the word Semper, or Duke Ercole I, whose emblem, a diamond, is reflected in the architecture of his Palazzo de Diamante in Ferarra. The diamond shapes on the silver salvers anticipated the motif's application into plateresco (from the silver) architecture such as the Casa de Bicos in Lisbon whose façade is covered in diamond shapes. The builder of this house was Brás de Albuquerque (1501-1581), whose father Afonso was the governor and first Duke of Goa, where most of the western world's diamonds came from at that time.
PROVENANCE: Jacques Kugel
LITERATURE: 1 Reynoldo dos Santos e Irene Quilhó, Ourivesaria Portuguesa nas colecçôes particulares,
Lisbon, 1960, vol II, p. 129
2 Leonor D'Orey, Ourivesaria, Fundaçáo Ricardo do Espirito Santo Silva, Lisbon,, 1988, p.21
3 Charles Oman, The Golden age of Hispanic silver 1400-1665, London, 1968, fig. 98
4 Helen Clifford, The inventory of Nicholas Herrick, Goldsmith; Life and Trade in 16th century, London, Apollo, 147:431 (1998)
Ensemble de quatre flambeaux et leurs bobèches en argent par Joseph Duguay, Paris, une paire 1756-1757, l'autre 1758-1759
[A set of four french silver table candlesticks, Joseph Duguay, Paris, one pair 1756-1757, the other 1758-1759] photo courtesy Sotheby's
chacun reposant sur une base chantournée agrafée de coquilles et rinceaux, l'ombilic gravé et ciselé de palmettes stylisées et d'armoiries, le fût de section triangulaire agrafé de coquilles, le binet hexagonal gravé de fleurettes et cartouches, la bobèche ciselée de motifs de vagues, le bord mouluré de filets agrafé de trois médaillons.
Joseph-Pierre-Jacques Duguay est le fils de l'orfèvre Jacques Duguay et de Marie-Catherine Moillet. Il est reçu maître le 29 mai 1756.
Il est surtout connu pour ses terrines (une datant de 1771 figure dans les collections du Metropolitan museum de New York) et pour les pièces du service du comte Branicki.
Joseph-Pierre-Jacques Duguay's parents were Marie-Catherine Mollet and Jacques Duguay, himself a silversmith. He became a master on 29 May 1756. His work is best known for soup tureens, one of which, dated 1771, is in the Metroplitan Museum, New York, and for supplies to the service for Count Branicki.
PROVENANCE: Ancienne collection duchesse d'Uzès.
Christie's Genève, 18 novembre 1981, n° 132.
Collection Ludmilla Pioget, duchesse de Caylus.
Rare boîte 'aux papillons' à montures en or et émail par A.J.M Vachette, Paris, 1784
[An unusual 'specimen' box with enamelled gold mounts, A.J.M. Vachette, Paris, 1784] photo courtesy Sotheby's
la monture à cage émaillée de bleu et encadrant d'extraordinaires panneaux de cire contenant de vrais insectes sous cristal, le couvercle des papillons de nuit, le dessous une libellule et des fourmis, poinçons de charge et décharge d'Henri Clavel, la bordure gravée de l'inscription: Vachette Bijoutier à Paris - Est. 8 000-12 000 €
the cagework mounts enamelled in blue and enclosing wax panels containing preserved insects, the lid with moths, the base with a dragonfly and ants, under crystal, charge and discharge of Henri Clavel, the rim engraved: Vachette Bijoutier à Paris.
NOTE: Les panneaux en cire rappellent de toute évidence ceux visibles sur le fameux médailler par Guillaume Benneman à Versailles. Ce travail rarissime est traditionnellement attribué à la mère du peintre animalier Constant Troyon. On a récemment découvert que Jean-Jacques Hettlinger, co-directeur de la manufacture de la porcelaine de Sèvres où a travaillé Madame Troyon a présenté au roi Louis XVI des panneaux similaires en 1779 ( (Daniel Meyer, Furniture of the royal palaces, Dijon, 2002, pp. 236/7).
The wax panels on this box evidently come from the same hand as those on Louis XVI's celebrated medal-cabinet, by Guillaume Benneman, at Versailles, decorated with ten wax panels enclosing birds made of feathers, butterfly wings and plants in imitation of moss agate.
Traditionally attributed to the mother of the animal painter, Constant Troyon, it was recently discovered that Jean-Jacques Hettlinger, co-director of the Sèvres porcelain manufactury where madame Troyon worked, had presented similar panels to the King in 1789 (Daniel Meyer, Furniture of the royal palaces, Dijon, 2002, pp. 236/7).
Adrien-Jean-Maximilien Vachette, a prolific and inimitably varied gold box maker seems to have combined the excellence of quality and inventive creativity of a Carl Fabergé whilst always remaining within his strictly defined area of boxes. Born at Cauffrey in the Oise in 1753, he was the 15th and last child of Pierre Vachette, a tax collector, and his wife Marie-Ann Pillon. After 8 years of apprentissage, he became master under the auspices of Pierre-François Drais (see lots 32 & 33) whose influence can be seen, particularly in the pre-revolutionary period, in Vachette's clean lines emphasised often by pilasters. He remained for some years in the vicinity of Drais's former workshops taken over by Ouizille, in the place Dauphine. Not surprisingly for a purveyor of luxury goods, he disappeared during the confused years of he Terror and Consulate re-emerging in the records in 1805 at 3 quai de l'Horloge and 45 quai du Nord in 1806. He continued to produce a large number of boxes, many in association with Charles Ouizille, Nitot and Montauban. He died in 1839, leaving a widow and daughter. The line of masters did not die, however, but was continued by Jean-Valentin Morel who had been apprenticed to Vachette and applied his creative ideas both in Paris and London. The variety of Vachette's work can be best seen in the collections of the Louvre (see Grandjean, 200-216 and 352-367). The present box is exemplary: using the simplest of mounts and a slightly taller form than was usual at that date, Vachette thus ensured that all attention was drawn to the airy insect specimens trapped forever in the wax panels.
Important European Silver. Paris, Mon, 9 Nov 09, 11:00 AM & 2:30 PM www.sothebys.com
Decorative Art Treasures at Christie's New York in November
A pair of Louis XVI ormolu and patinated-bronze three-branch candelabra , circa 1780, attributed to François Rémond, almost certainly supplied by Dominique Daguerre, , the bronzes after the model by Etienne Maurice Falconet. Estimate $80,000 - $120,000. photo Image 2009 Christie's Ltd
NEW YORK, NY.- Christie’s announced the sale of 500 Years: Decorative Arts Europe on November 24, which will include over 450 treasures from the 16th to the 19th centuries. With a range of estimates, the sale offers superb private and institutional collections such as carpets from the Corcoran Gallery of Art and one-of-a-kind examples of European and English furniture, ceramics, and decorative works of art showcasing the variety and the range of styles from the scholarly to the exotic.
Carpets from the Corcoran Gallery of Art
Prominently featured in the sale is the largest group of classical Isfahan carpets to emerge on the auction market in recent history. An outstanding collection of 15 carpets from the Corcoran Gallery of Art, as bequeathed by Senator William Andrews Clark of Montana (1839-1925) includes some of the most intricate and luxurious pieces that fully encompass the highest quality of Persian carpet weaving. Throughout the late 19th and early 20th centuries, Senator Clark assembled a great collection of oriental rugs of Safavid weaving. These finely crafted and well-preserved carpets adorned his legendary 5th Avenue mansion, and are widely published and exhibited for their historical importance. The collection includes a group that illustrates the pinnacle of Safavid carpet weaving during the reign of Shah Abbas from 1587-1629, such as a 17th century Isfahan carpet from Central Persia (estimate: $80,000-120,000) as well as ornate carpets, including one rare Polonaise rug, circa 1600 (estimate: $15,000-25,000).
An Isfahan carpet, Central Persia, 17th Century. photo Image 2009 Christie's Ltd
Approximately 22 ft. 5 in. (683 cm.) x 9 ft. 8 in. (295 cm.) Est. $80,000 - $120,000
Property from the Corcoran Gallery of Art to Benefit the Acquisition Fund
Provenance: William A. Clark, New York.
Literature: Illustrated Handbook of The W.A. Clark Collection, Washington, D.C., 1928, p. 77.
'Carpets for the Great Shah', The Corcoran Gallery of Art Bulletin, Vol 2, No. 1, October 1948, p. 15, no. P14., ill. V.
Notes: The bracket leaf border of this lot is beautifully executed on a deep emerald ground. The large scale and spaciousness of the border seems to contain the energy exerted by the intricate field. The colors and field here are closely related to those of lots 129 and 205 all having similar formats and design elements such as the multitude of blossoms, dual colored arched leaves, dark vinery, and occasional cloud band. Given their similar fields and that they all employ variations of bracket leaf borders it is likely that they were produced in the same workshop.
This carpet occupied the Long Gallery on the first floor of the Clark residence in New York City.
A silk polonaise rug, Isfahan, Central Persia, Circa 1600. photo Image 2009 Christie's Ltd
Approximately 6 ft. 7 in. (201 cm.) x 4 ft. 9 in. (145 cm.) Est. $15,000 - $25,000
Property from the Corcoran Gallery of Art to Benefit the Acquisition Fund
Provenance: Madame L. Camille Delong, Paris.
Brayton C. Ives, New York.
William A. Clark, New York.
Literature: W.R. Valentiner, Exhibition catalogue, Loan Exhibition of Early Oriental Rugs, New York, The Metropolitan Museum of Art, 1910, p. 43, no. 34.
Illustrated Handbook of The W.A. Clark Collection, Washington, D.C., 1928, p. 77.
'Carpets for the Great Shah', The Corcoran Gallery of Art Bulletin, Vol 2, No. 1, October 1948, p. 23, no. P34.
F.K. Spuhler, Seidene Repräsentationsteppiche der Mittleren bis Späten Safawidenzeit, Berlin, 1968, p. 200, no. 102.
R. Ettinghausen, 'Oriental Carpets in the Clark Collection', The William A. Clark Collection, Washington, D.C., 1978, p. 85.
Exhibited: New York, The Metropolitan Museum of Art, Loan Exhibition of Early Oriental Rugs, November 1910-January 1911, no. 34.
Washington D.C., The Corcoran Gallery of Art, Carpets for the Great Shah, 3 October-16 November, 1948, no. P34.
Notes: Carpets belonging to the 'Polonaise' group generally exhibit light and soft field colors woven in silk and sometimes with gold and silver metal thread highlights. They acquired the name 'Polonaise' as the first identified group were found in the collection of Count Czartoryski of Poland and their prevalence in his collection, as well as the presence of his family's coat of arms on the rugs, led some scholars to believe they were Polish, rather than Persian. In fact, Polonaise rugs are found throughout Europe not because they were woven there, but because they were presented by Shah Abbas and his court to foreign nobility as diplomatic gifts. Although it is now accepted as fact that these rugs were woven in Persia, the term 'Polonaise' is still used. This example demonstrates an intricacy in design and color that can only be achieved through the use of silk threads.
Further highlights from other collections include a Mohtasham Kashan carpet, Central Persia, late 19th century (estimate: $80,000-120,000), an excellent example of design and color from the Mohtasham family workshops; a Kazak rug, South Caucasus, dated 1833 (estimate: $30,000-50,000), with a rare border example of a part panel format enclosing a beetle or shield device; and a Kurdish rug, Northwest Persia, 18th century (estimate: $3,000-5,000), having a unique variation of floral elements including beautifully executed multicolored pin-wheel rosettes and split-leaves.
A Mohtasham Kashan carpet, Central Persia, late 19th century. photo Image 2009 Christie's Ltd
Approximately 15 ft. 9 in. (480 cm.) x 10 ft. 3 in. (312 cm.) Est. $80,000 - $120,000
Notes: The city of Kashan in central Persia has been an important and prolific artistic center for over 400 years. According to carpet lore, the Mohtasham family workshops produced the finest carpets in the city of Kashan during the late 19th and early 20th centuries. The excellent condition of this lot with its full pile enhances the balance of design and color, lustrous wool and finesse of weave that epitomize the high quality of Mohtasham Kashan carpets.
A kazak rug, South Caucasus, Probably dated 1833. photo Image 2009 Christie's Ltd
Approximately 9 ft. 1 in. (277 cm.) x 4 ft. 11 in. (150 cm.) Est. $30,000 - $50,000
Property From a Private West Coast Collection
Provenance: Collection of Rosalie and Mitchell Rudnick.
Literature: J. Bailey and M. Hopkins, Through the Collector's Eye: Oriental Carpets from New England Private Collections, Providence, 1991, p. 66, no. 20.
Notes: The few rugs that encompass this rare group of Kazaks all feature Memling guls flanking a Fachralo-style medallion. They all employ rich, saturated colors such as the aubergine, peacock green and canary yellow of the present lot. However, the major border differs from most other known examples. Rather than displaying a crab or S-hook device motif, this border maintains a part panel format enclosing a beetle or shield-type device. For further examples from this group of Kazak rugs, please see:
Anonymous sale; Sotheby's New York, 1 October 1998, lot 177
Anonymous sale; Sotheby's New York, 22 September 1993, lot 87
Anonymous sale; Christie's London, 29 April 1993, lot 357
E. Herrmann, Seltene Orientteppiche IV, Munich, 1982, p. 152, no. 46.
I. Bennett, Oriental Rugs: Volume 1, Caucasian. London, 1981, p. 79, no. 66.
European Furniture
The European furniture section of the sale includes examples of French, German and Italian craftsmanship of exceptional quality, and is led by a bronze group of Saturn devouring a male child, after Pietro Francavilla, French, circa 1680-1700, previously in the collection of Queen Marie of Romania (estimate: $250,000-350,000). Equally gorgeous and menacing, the figure is a magnificent example of late-Baroque sculpture. Particularly fascinating is a Chinese export black and gilt lacquer bureau-cabinet, circa 1730-1740 (estimate: $150,000-250,000). This superb bureau cabinet is an excellent example of the Chinese export trade creating a piece of furniture for a specific Western market, in this case Denmark. The decoration combines elaborate rococo motifs that are Chinese-inspired with an unusual scene depicted on the fall-front of hunting figures in European costume. Also, a stunning Empire ormolu-mounted mahogany and specimen marble gueridon, circa 1810 (estimate: $70,000-100,000) is an example of the Grand Tour taste, with its specimen marble top bought abroad and fashioned into a table by Parisian cabinetmakers. Recently, it was in the collection of the legendary fashion designer Gianni Versace.
A bronze group of Saturn devouring a male child, after Pietro Francavilla (1546/47-1615), French, circa 1680-1700. photo Image 2009 Christie's Ltd
Depicted standing, his right leg raised and holding the child in his left arm, standing alongside a vine-covered tree-trunk, a goat at his feet, on a later mahogany stand - 18¾ in. (48 cm.) high; 21½ in. (54.5 cm.) high (overall) Est. $250,000 - $350,000
Provenance: Queen Marie of Romania.
Prince Nicholas of Romania.
with Cyril Humphris, London, 24 November 1965.
Literature: C. Humphris, Renaissance Sculpture from the Collection of Prince Nicholas of Rumania, exhibition catalogue, London, no. 2.
J. Montague, 'Renaissance Sculpture form the Collection of Prince Nicholas of Romania', The Connoisseur, April 1965, p. 264.
A. Radcliffe and N. Penny, The Robert H. Smith Collection: The Art of the Renaissance Bronze, 1500-1650, exhibition catalogue, The National Gallery of Art, Washington, D.C., 2004, p. 152.
COMPARATIVE LITERATURE
J. Pope-Hennessy, 'Italian Bronze Statuettes: II', The Burlington Magazine, February 1963, p. 62, no. 29.
R. de Francqueville, Pierre de Francqueville: sculpteur de Medicis et du roi Henri IV, Paris, 1968.
Giambologna 1529-1628: Sculptor to the Medici, exhiibition catalogue, Royal Scottish Museum, Edinburgh, 1978, no. 37.
M. Leithe-Jasper, Renaissance Master Bronzes from the Kunsthistorisches Museum, Vienna, exhibition catalogue, The National Gallery of Art, Washington, D.C., et al., 1986, pp. 232-33, no. 60.
C. Avery, Giambologna: The Complete Sculpture, Oxford, 1987, pp. 225-27.
Les bronzes de la couronne, exhibition catalogue, Musée du Louvre, Paris, 1999, p. 163, no. 284.
R. Wenley, 'French Royal Bronzes in Great Britain', Apollo, September 1999, p. 8, no. 13.
Notes
Saturn Devouring One of His Sons is a magnificent example of late-Baroque sculpture -- in all its gorgeous and terrible glory. The eye is immediately engaged today, as it would have been by connoisseurs in the seventeenth and eighteenth century, by the contrapposto stance and the juxtapositioning of multiple limbs and profiles, presenting many possible viewing angles, each as dazzling as the others. The sophisticated and seductive modeling of the musculature and hair further charms the viewer and, combined with the emotionally-charged subject matter of a family drama, provoke rich and complex reactions to this bronze. However, despite its alarming subject -- invoking both cannibalism and infanticide -- as Penny notes, it is not intended as a narrative but rather as an embodiment of winter, the season of destruction and renewal, and the inclusion of the goat and urn at the feet of Saturn further allude to the zodiacal signs of the winter months, Capricorn and Aquarius (A. Radcliffe and N. Penny, op. cit., p. 148). And, as was so often the case with sculptural representations of the seasons, it would most likely have formed part of an original group of four -- which would have made for a more complete and, perhaps less alarming, viewing.
THE SATURN MODELS
Besides the Truesdell Saturn, there are three other known versions of this rare composition:
-- one in the Robert H. Smith Collection, Washington, D.C., which was originally in André Le Nôtre's collection, and by whom given in May 1693 to King Louis XIV of France, subsequently bought by Sir Julius Wernher, 1st Bt. and eventually sold from Luton Hoo by order of the Wernher Trustees, Christie's, London, 5 July, 2000, lot 63.
-- one in the Victorian and Albert Museum, London, where it is described as a French bronze of the late seventeenth century which may record a lost marble by Francavilla and which was given by Dr. Walter L. Hildburgh, the American benefactor who settled in London in 1912 (R. Wenley, op. cit., p. 8 and p. 12 note 88 citing A. Radcliffe)
-- one now in a private collection, formerly in the collection of Russell B. Aitken at Champ Soleil, Newport, Rhode Island, was sold Christie's New York, 25 November, 2003, lot 79.
And while these are nearly identical versions, the Truesdell Saturn, having been out of the public eye since the mid-1960's, has rarely been compared directly with any of them. Only J. Montague remarked on some of the differences when the present model was first introduced to the public at Cyril Humphris' exhibition in 1965. There are clear differences between the other three and the Truesdell Saturn. The Truesdell Saturn has a much more frontal gaze, engaging the viewer directly, rather than turning away and showing his head in profile, as he does in the other versions. The body of his son is also angled slightly differently, and consequently, the son's left leg is being consumed straight into Saturn's mouth while the right leg remains completely free from Saturn's beard. The effect is still incredibly discreet given the emotional and physical violence of this act, however, here with nearly half the left leg down Saturn's throat and the right leg dramatically free and lightly resting on Saturn's shoulder -- there can be no question as to what Saturn is doing to his son.
As J. Montague notes of the Truesdell Saturn: 'It is a more pleasing cast than that in the Victoria and Albert Museum, which differs markedly in the pose of the figures and the modeling of the anatomy, as well as the over-all punching of the flesh and cannot have been made by the same hand.' Additionally, the Victoria and Albert version has a far darker, matt finish, probably made inevitable by the more pitted surface. Both the Smith Saturn and Truesdell Saturn, with their highly polished surfaces and attention to the detailed chasing, are very different. In the Humphris exhibition the Truesdell Saturn was described as Roman and late sixteenth century and attributed to Camillo Mariani by J. Pope-Hennessy (J. Pope-Hennessy, op. cit. and C. Humphris, op. cit.) and Montague notes that neither this Pope-Hennessy attribution was 'convincing', nor was the previous attribution to Gerhard (J. Montague, op. cit., p. 264). And while the Smith Saturn with its more highly chiseled surface detail and royal French provenance could be considered the benchmark version, the Truesdell Saturn compares extremely well.
PIETRO FRANCAVILLA AND THE SATURN MODELS
Born at Cambrai of a noble family in the year 1546, Pierre Francqueville (or Pietro Francavilla, as he was later to be known) was discouraged from becoming a sculptor by his father, who considered it to be an inappropriate career for his son. Eventually overcoming his father's objections, Francavilla travelled to Paris and then Innsbruck, where he is thought to have worked on the tomb of the Holy Roman Emperor Maximilian I in the Hofkirche. The path of Francavilla's career was really determined, however, when he was given a letter of introduction to the Florentine sculptor Giambologna by Archduke Ferdinand of Austria. Francavilla travelled to Italy around the year 1572, and would eventually become one of Giambologna's most important assistants, as well as a successful independent sculptor.
The present bronze group is characteristic of a number of documented works from Francavilla's oeuvre, although there are no contemporary references to confirm the attribution. The pose is ultimately derived from a composition attributed to Francavilla's master, Giambologna, the so-called Apollino. That bronze, an example of which is in the Bargello, has long been considered to be a pre-cursor for the much larger Apollo which was designed for the studiolo of Francesco I de' Medici, and installed in 1576 (Edinburgh, loc. cit.). That the pose of the Saturn relates so closely to Giambologna's bronze is not surprising; as Charles Avery notes, the entire Renaissance workshop system was based upon the premise that one imitated the style of one's master as closely as possible (Avery, op. cit., p. 225). In its proportions and facture, however, the bronze group of Saturn is far removed from the Apollino, which has all the hallmarks of a bozzetto cast into bronze. A more relevant comparison is with Francavilla's Four Slaves, executed to go around the base of the equestrian statue of King Henri IV.
The monument to Henri IV, destined to adorn the Pont Neuf in Paris, was an ambitious project that appears to have been instigated by the Queen, Marie de' Medici. In 1604, Francavilla left Italy for France to oversee the installation of the statue, and he was himself responsible for modeling four figures of slaves to be placed at the four corners of the pedestal. Ultimately, the bronze figures were cast from Francavilla's models by his son-in-law, Francesco Bordoni, and installed in 1618, after Francavilla's death in 1615. The parallels between these slaves and the present figure of Saturn are compelling. Both exhibit the same exaggerated contrapposto poses, the luxuriantly rendered hair and the somewhat stylised muscularity. Significantly, when the Smith Saturn was listed in the French Royal Inventory of 1707, it was one of the few entries that actually gave the name of the artist, where it was described as 'une figure de Saturne de Francville'. The attribution of the Smith version to Francavilla is further strengthened by comparison with a signed and dated marble of Janus, executed in 1585 for Luca Grimaldi at Genoa (illustrated in Francqueville, op. cit., pl. VIII), which employs the identical motif of the capricorn figure and overturned urn.
A precise dating for the present bronze is still difficult to determine, despite the recent research on this group. Stylistically, the original model must have been executed close to the time that Francavilla was creating the Four Slaves, that is, around 1610-15. And indeed the Smith Saturn has now been firmly attributed to Francavilla and the cast dated to circa 1615 in Paris from a model made in Florence or Genoa of circa 1585 (A. Radcliffe and N. Penny, op. cit., p. 148). It has been suggested (Wenley, op. cit., pp. 8 and 12, note 88) that neither the Smith Saturn nor the example in the Victoria and Albert Museum exhibit a typical Florentine facture, and that they may be French bronzes of the later seventeenth century. A French origin is, of course, entirely consistent if one agrees that the model dates from the latter part of Francavilla's life, when he was living and working in Paris. Like the Slaves, it is possible that the Smith Saturn was cast after Francavilla's death. Indeed, it is known that Bordoni, who cast the Slaves in 1618, succeeded to Francavilla's lodgings in the Tuileries. If the model remained in these lodgings, it could easily have been cast by Bordoni at any time up to his own death in 1654.
The Truesdell Saturn most likely falls into this same, slightly later, category. Especially since the composition is different from the Smith and Victoria and Albert casts. The original model may simply have been adapted slightly to form the present version. However, another possibility is that the Smith Saturn inspired the Truesdell version in the later seventeenth century. The first recorded appearance of the Smith Saturn is when it was listed among the bronzes given by the garden designer, André Le Nôtre, to King Louis XIV in May 1693, at the time of Le Nôtre's retirement from court life. And this ensuing publicity, as the King was extremely proud of his new acquisitions, might have inspired another version - and maybe the only one - the Truesdell Saturn.
A Chinese export black and gilt lacquer bureau-cabinet, circa 1730-1740, made for the danish market. photo Image 2009 Christie's Ltd
The interior of the upper section with a drawer and three shelves, the fall front enclosing a fitted interior with drawers, compartments and central verre eglomisé prospect door, decorated overall with scenes of European courtly life with embossed metal escutcheons, mirror plate to central door replaced, some limited areas of refreshment to decoration - 96 in. (244 cm.) high, 38 in. (96.5 cm.) wide, 20½ in. (52 cm.) deep - Est. $150,000 - $250,000
Notes: This superb bureau cabinet is a fascinating example of the Chinese export trade creating a piece of furniture for a specific Western market, in this case Denmark. Its distinctive form, with a single mirrored door to the upper section with elaborately shaped cornice, and base with two drawers on a carved base with short cabriole legs, closely relates it to the work of the Danish cabinet-maker Mathias Ortmann. A bureau cabinet signed by Ortmann of closely related overall form is in the Royal Castle of Hirscholm (illustrated in M. Gelfer-Jorgensen, Dansk Kunsthandwerk 1730-1850, Copenhagen, 1973, p. 33). Records of Ortmann's stock in 1751 and 1752 reveal a number of pieces imported from China, suggesting that Ortmann himself may have commissioned this cabinet in China for export to Denmark.
The decoration is particularly fascinating, as it combines elaborate rococo cartouches enclosing dream-like visions of exotic potentates, while the scene depicted on the fall-front of hunting figures in European costume, is clearly inspired by Western print sources, such as the 16th centry German engraver Virgil Solis, many of whose prints depicted hunt scenes strikingly similar to those on this cabinet.
An important trade existed between Denmark and the Far East, beginning with the establishment of the Danish East India Company in 1616 by King Christian IV. King Christian VI subsequently revived this lucrative trade, establishing in 1732 the Royal Danish Asiatic Company. A number of pieces of Chinese lacquer furniture were brought back by the captains of the Asiatic Company in the 1730's and sold to King Christian VI, including a pair of lacquer bureau cabinets, originally supplied to the Royal Palace in Copenhagen in 1738 and now in Fredensborg Castle (see T. Clemmenson, 'Some Furniture Made in China in the English Style, Exported from Canton to Denmark 1735, 1737 and 1738', Furniture History, 1985, pp. 174-177).
Related Chinese export lacquer bureau cabinets were sold in Le Goût Steinitz I, Christie's, New York, 19 October 2007, lot 30 ($250,000 excluding premium); from the Thyssen-Bornemisza Collection, sold Christie's, London, 14 December 2000, lot 340 (£ 120,000 exc. premium); and another formerly in the collection of Lord Plender, sold Sotheby's, London, 7 November 1997, lot 22 (£100,500 inc. premium).
A stunning Empire ormolu-mounted mahogany and specimen marble gueridon, circa 1810 photo Image 2009 Christie's Ltd
The top inlaid with radiating panels of volcanic marbles, the ormolu sphinx mounts added later in the 19th century, the wooden feet consequentially altered, one wing with cast-in number to reverse '1850', marked '872' in pencil to interior of table stem - 29¼ in. (74.5 cm.) high, 32 in. (81.5 cm.) diameter - Est. $70,000 - $100,000
Provenance: Gianni Versace; Sotheby's New York, 5-7 April 2001, lot 225.
Acquired from Kugel, Paris.
Notes: This table top is a dazzling example of hardstone inlay. Made in Italy, usually of stones that were more varied and colorful than most of the stones found in Northern Europe -- these table tops were bought by Grand Tourists, shipped home and then provided with bases made by local craftsmen, such as is the case with this French Empire-period support.
The first great pietre dure table tops made by Roman and then Florentine craftsmen of the late 16th and early 17th century were of strong geometric design -- in contrast to the representational inlay that was fully developed in the high Baroque and 18th century--but, as the present table illustrates, there was a continuous tradition of geometric design. Besides their aesthetic merits, these tables had an almost didactic function, and often served as visual dictionaries of stones -- illustrating as many varieties as possible. Another 19th century Italian table top, of similar date and concept, is illustrated in I marmi colorati della Roma imperiale, M. De Nuccio, ed., Naples, 2002, no. 348.
Many of the specimens of the present table are apparently of volcanic origin. These unusual stones have long been of interest to collectors and were often to be found in the areas surrounding Naples and the island of Sicily. An intriguing example of these volcanic stones was a panel presented to Sir William Hamilton, the English envoy to Naples and celebrated collector of Antiquities, in 1781, and sold Christie's, New York, 20 October 2004, lot 516. It was a gift from the Sicilian Count Joseph Giveni of Catania, who Hamilton had hired to prepare studies of Mount Etna. Additionally, some objects from Hamilton's collection were sold at Christie's, London, 8 June 1809. They included, as lot 103, a larger slab of volcanic specimens described as 'A fine slab, composed of various specimens of lava, inlaid, on a stand' (J. Thackaray et al., exh. cat., Vases & Volcanoes, London, 1996).
Property of the Fine Arts Museums of San Francisco, sold to benefit the acquisitions fund, consists of 19 works of furniture and works of art. This group is led by a set of 4 exquisite French ormolu five-branch wall-lights, 19th century (sold as two pairs: $12,000-18,000 and $6,000-$10,000), which are based on models circa 1785 attributed to Pierre-François Feuchère, a pair of Régence oak boiserie panels incorporating 19th century marble plaques (estimate: $10,000-15,000), and also includes a Spanish Iron-Mounted Walnut Vargueño from the collection of William Randolph Hearst (estimate: $5,000 – 7,000).
A pair of French ormolu five-branch wall-lights, 19th century. photo Image 2009 Christie's Ltd
With mask and lyre-form backplate, five scrolling foliate candle arms, wired for electricity, the backs with black-painted French & Company inventory number '50379', lacking one foliate drip pan - 37 in. (94 cm.) high (2) Est. $12,000 - $18,000
Provenance: Possibly the Collection of Thomas P. Thorne, New York (one pair)
Possibly the Collection of the late Mrs. F. Gray Griswold, Parke Bernet, New York, 15 February 1941, lot 34 (one pair)
Mrs. I. Dee Kelley (the set of four)
with French and Company, New York, from whom they were purchased by the Museum of Fine Arts, San Francisco.
Notes: These wall-lights, and the following lot, are after a group of well known wall-lights attributed to Pierre-François Feuchère of circa 1785. These, in turn, are similar to, and probably inspired by, the designs for a group of wall-lights sketched by Jean-Demosthène Dugourc, also of circa 1785, and now in the Cooper-Hewitt Museum, New York (H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Munich, 1986, p. 289). And although the San Fransisco wall-lights are cited in Ottomeyer and Pröschel, they were possibly only catalogued from photographs and never examined in person before their publication.
THE PROVENANCE
The French & Company inventory records list a set of four wall lights purchased from Mrs. I. Dee Kelley in 1949 with the additional provenance that one pair was purchased in the Parke Bernet sale of 1941.
A pair of Régence oak boiserie panels circa 1720 xith later additions. photo Image 2009 Christie's Ltd
Each with an ormolu portrait medallion within rouge griotte and ver de mer marble veneered ground and surrounded by shells, strapwork and scrolling foliage above a mirror plate, the marble and ormolu roundels outerframes and lower section added, probably circa 1900 - 91½ in. (232.5 cm.) high, 37 in. (94 cm.) wide (2 - Est. $10,000 - $15,000
Notes: The upper sections of these carved oak wall panels are reminiscent of the most refined and inventive boiserie carved panels of the 1720's. All of the carved elements, including the arabesque framing elements, trailing vegetation and carved shell motives are close to many hôtel particuliers of the early 1720's -- but the carved dragon heads on the trellis background are nearly identical to the trumeau de glace of the cabinet of the hôtel Peyrenc de Moras, originally 23 Place Vendôme and now in the Metropolitan Museum of Art, New York, and which was built between 1720 and 1725 (B. Pons, De Paris A Versailles: 1699-1736: Les sculpteurs ornemanistes parisiens et l'art décoratif des Bâtiments du roi, Strasbourg, 1986, p. 230.
The sale also includes a spectacular pair of empire ormolu-mounted patinated bronze ewers, attributed to Claude Galle, circa 1805 (estimate: $80,000-120,000). Galle was the foremost bronzier of the empire period and the ewers are a richly example of early Empire taste decorated with animals, flaming torcheres, and foliate motifs; a late Louis XV parquetry table à écrire, stamped ‘RVLC’, circa 1770 (estimate: $60,000-90,000) by Roger Vandercruse, one of the most celebrated furniture makers of the mid-18th century; an impressive set of four late Louis XV ormolu three-branch wall-lights, circa 1765, ornamented with lion masks and attributed to Jean-Joseph Saint Germain (estimate: $60,000-90,000); and two charming German beadwork, ebonized and parcel-gilt tables, circa 1760 (each estimate: $4,000-6,000).
A pair of empire ormolu-mounted patinated bronze ewers, attributed to Claude Galle, circa 1805. photo Image 2009 Christie's Ltd
Each with a blind spout with a central mask and scrolled handle above a upper frieze of dragons and a lower frieze of garland-draped torcheres and butterflies on a plinth base - 23¾ in. (60.5 cm.) high, 6 in. (15 cm.) width and depth of base (2) Est. $80,000 - $120,000
Provenance: Acquired from Arianne Dandois, Paris.
Literature: Ariane Dandois: 25 Ans, Paris, 1998, no. 52.
J. Thurman, 'Chicago Symphony,' Architectural Digest, November, 2009, p. 135.
Notes: These spectacular ewers have all the hallmarks of the celebrated bronzier Claude Galle (1759-1815). Their severe forms conform to the early Empire taste for Antique vessels and their restrained coloration of only the dark patination with gilt-bronze highlights further emphasizes this sobriety. However, with the gilt-bronze mounts, all pretense of restraint are abandoned. And it is both their dazzling quality and extreme originality link these pieces so closely to the oeuvre of Galle.
There is such a rich profusion of Empire ornament, ranging from the flaming torcheres, harps and other vegetal motifs to the bestiary of animal ornament including dragons, lions, butterflies and the grotesque masks on the spouts. Some of these elements show up on the group of ewers and vases, all attributed to Galle, illustrated in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen: Die Bronzearbeiten des Spätbarock und Klassizismus, Munich, 1986, pp. 363-365.
Galle's pieces were bought in great number by the Russian Imperial family and aristocratic followers while on visits to Paris, and this accounts for the large group still in the many state palace museums of St. Petersburg. And his designs also influenced a generation of Russian craftsman who, while taking their cues from Galle's prototypes, created their own, and uniquely Russian, works of art. An important pair of candelabra that would have appealed to both French and Russian buyers, with Galle's trademark diverse decorative elements, is in a private collection and illustrated in A. Gaydamak, Russian Empire: Architecture, Decorative and Applied Arts, Interior Decoration 1800-1830, Moscow, 2000, p. 177.
Another pair of ewers, in the manner of Galle and made for the Russian market, were sold Christie's, New York, 20 May 2008, lot 345 ($145,000 incl. premium).
A late Louis XV ormolu-mounted tulipwood, amaranth, sycamore and parquetry table à écrire, stamped ‘RVLC’, circa 1770. photo Image 2009 Christie's Ltd
The pierced three-quarter gallery above a tooled writing surface inscribed 'BERTHOUT' and a fitted drawer on slight cabriole legs joined by a shelf-stretcher, inscribed in red paint 'H-7', stamped to underside of top at back, the pierced galleries and sabots probably replaced - 29½ in. (75 cm.) high, 17¼ in. (44 cm.) wide, 12¾ in. (32.5 cm.) Est. $60,000 - $90,000
Literature: P. Kjellberg, Le Mobilier Français du XVIIIe Siècle, Paris, 1989, p. 753, ill. D.
Notes: Although achieving his maîtrise at a relatively early date, RVLC, who was related by marriage both to Jean-Franois Oeben and to Jean-Henri Riesener, is best known for his elegant products in the Transitional style of the 1760's and 1770's.
He worked in the early years of his career both with Oeben and with Gilles Joubert, often on commissions for the Garde Meuble Royal, and also worked extensively with the marchand-mercier Simon-Philippe Poirier.
He perfected the type of useful elegant occasional table typified by the example offered here (perhaps as a result of his frequent collaborations with Poirier), and the distinctive parquetry on this table, with a trellis of contrasting woods enclosing flowerheads, was a particular leitmotif. The oval shape, double-curved cabriole legs, spiral acanthus reserves, and the angle mounts, are also recurring motifs on small tables by RVLC.
A number of examples of this model are known, with minor variants, including:
-one in the British Royal Collection at Windsor Castle, purchased by George IV in 1829
-one at Waddesdon Manor, ilustrated in G. de Bellaigue, The James A. de Rothschild Collection at Waddesdon Manor: Furniture, Clocks and Gilt Bronzes, London, 1974, vol. II, cat. 98
-one formerly in the collection of Mrs. Henry Walters, illustrated in C. Packer, Paris Furniture by the Master Ebénistes, Newport, 1956, fig. 120
-two in the collection of Djahanguir Riahi (one formerly in the collection of Mr. and Mrs. Deane Johnson, sold Sotheby's, New York, 9 December 1972, lot 112, one formerly in the collection Mme Henry Farman, sold Palais Galliéra, Paris, 15 March 1973, lot 117)
-one with the unusual feature of spring-loaded drawers to the side, sold from the collection of André Meyer, Christie's, New York, 26 October 2001, lot 40
-one from the Keck collection, La Lanterne, Bel Air, sold Sotheby's, New York, 5-6 December 1991 lot 258
-one from the collection of Franco Cesari, sold Sotheby's Paris, 29 June 2004, lot 81
-one sold from a European collection, Sotheby's, Paris, 14 June 2006, lot 138.
A set of four late Louis xv ormolu three-branch wall-lights, circa 1765, possibly by Jean-Joseph Saint Germain, minor variations to chasing and casting, indicating that they were probably originally two separate pairs, but from the same workshop. photo Image 2009 Christie's Ltd
Each with fluted tapering backplate with central lion's mask surmounted by flaming urn hung with laurel swags issuing acanthus-wrapped scrolling arms, with leaf-cast drip pans and nozzles, one stamped '1', one stamped '2' and a third stamped '3'. 19 in. (48 cm.) high, 50 in. (127 cm.) wide (4) Est. $60,000 - $90,000
Notes: These impressive wall lights, with their central à l'antique lion masks, laurel-draped arms and flaming urn finials, display the sober neo-classical vocabulary of the 'goût grec' style of the 1760's.
They are closely related to a pair of wall lights with lion masks attributed to Jean-Joseph de Saint Germain, illustrated in J-D. Augarde, 'Jean-Joseph de Saint-Germain Bronzier (1719-1791)', L'Estampille/L'Objet d'Art, December, 1996, p. 78, fig. 23. Jean-Joseph de Saint-Germain, elected maître fondeur en terre et en sable in 1748, is perhaps best known for his clock cases, particularly the bases for clocks supported by exotic animals such as elephants and rhinoceroses.
However, later in his career he discovered the new neo-classical style of the goût grec. This was perhaps as a result of a collaboration with his cousin Jean-Louis Prieur (c.1725- c.1785), whose boldly neo-classical designs for bronzes d'ameublement for King Stanislaus II August of Poland for the royal palace in Warsaw were enormously influential in promoting the new taste for antiquity.
Many of the same features, but without the lion masks, appear on two pairs of wall lights at the Palace of Pavlovsk, St. Petersburg, one in the library of Grand Duke Pavel Petrovovich, which have been linked to the designs of the equally influential ornemaniste Jean-Charles Delafosse (1734-1791), illustrated in E. Ducamp, ed., Pavlovsk The Collections, Paris, 1993, p. 178 and p. 194, figs. 51 and 53.
English Furniture
This auction will offer approximately 75 lots of furniture and works of art presenting the finest examples of British technique and design. Furniture produced by the pre-eminent cabinetmakers Gillows of Lancaster and London lead the sale. Prized for their well chosen timbers and fine quality of craftsmanship, highlights by the firm include a Regency mahogany ‘Imperial’ extending dining table, circa 1815 (estimate: $40,000-60,000); a signed Regency mahogany reading library armchair, circa 1815 (estimate: $10,000-15,000); and a variety of tables and cabinets.
A Regency mahogany ‘Imperial’ extending dining table by Gillows, circa 1815. photo Image 2009 Christie's Ltd
Extends with telescopic action, with five leaves, the caps stamped 'B S & P PATENT', the clips stamped 'COPE' or 'COPE & COLLINSON'; together with a pine storage box for leaves - 29 in. (73.6 cm.) high, 162 in. (411.5 cm.) long, fully extended, 54 in. (137 cm.) deep - Est. $40,000 - $60,000
Provenance: The Mumford family, Sugwas Court, Herefordshire.
The Contents of Sugwas Court, Herefordshire; Mellors & Kirk, Nottingham, 28-29 February 2008, lot 899.
Notes: In 1813, Gillows supplied a similar table for Stephen Tempest of Broughton Hall, Yorkshire described as 'an excellent set of mahogany Imperial dining tables on stout twined reeded legs and brass socket castors - 50 gns' (see S.E. Stuart, Gillows of Lancaster and London 1730-1840, 2008, vol. II, p. 243, pl. 241). The first drawing of a Gillow patent extending table, with telescopic action, reeded legs (or as Gillows called 'cabling') and a box to hold the leaves dates to 1801 (op. cit., p. 240, pl. 234). The 'imperial' table (invented in 1804) was a refinement to the patent table, without revolving tops. In all related designs, the legs are set back to accommodate the sitters' knees. The imperial table was so popular it was almost exclusively the only dining table the firm sold through the 1820's and onward.
Other comparable tables include one supplied by Gillows to 2nd Baron Bolton for the Breakfast Room at Hackwood Park in 1813 ('a breakfast table 4 ft. wide to accommodate 14 persons') and by descent at the house until sold Hackwood, Christie's House Sale, 20-22 April 1998, lot 161.
THE PROVENANCE
The house at Sugwas Court was built in 1792 incorporating elements from the original manor house. In 1813, the Bishop of Hereford sold the house to Philip Jones, who embarked on a renovation. It was later sold by his heirs to James Taylor Ingham in 1860. Sugwas Court was leased in 1929 by Captain Walter Mumford, a member of the Irish Guards, and his wife Sibell (of the Morgan family), and descended to their daughters, one of whom conducted the sale. The table may have descended in the Morgan, Bevan or Mumford families as property from all three came together at Sugwas. Equally, it is possible that Philip Jones may have turned to Gillows as part of his renovation in 1813 and the contents of the house passed along with the sale of the estate. Other items at Sugwas feature a level of design and craftsmanship that may indicate a possible Gillow commission for one of the families.
A Regency mahogany reading library armchair by Gillows, circa 1815. photo Image 2009 Christie's Ltd
The hinged bookrest on swinging brass handle, with red leather squab cushions, stamped 'GILLOWS.LANCASTER' to top of front rail, the hinges to bookrests stamped '2891', the caps stamped 'COPE & COLLINSON PATENT STRONG' - Est. $10,000 - $15,000
Provenance: By repute, the Price family, Tibberton Court, Gloucestershire.
Notes: Messrs. Gillow, in their Estimate Sketch Books for 1803 and 1807, variously refer to this form of bergere as 'Ashburnham' and 'Uxbridge', after one supplied to Henry Bayly, 1st Earl of Uxbridge. This bergere is unique in that it retains its reading arm. A pair, virtually identical, bearing the same stamp, was supplied to Jonas Langford-Brooke for Mere Hall, Cheshire in around 1815 (property of a Gentleman, Christie's, London, 4 July 2002, lot 153) while others similar at Broughton Hall were invoiced by Gillows in 1811-13 (see C. Hussey, English Country Houses: Late Georgian, Glasgow, 1958, p. 95, fig. 166). The Broughton examples have reading arms although the arms are not specified in the original invoices.
THE PROVENANCE
The manor of Tibberton passed through many owners through the 18th and 19th centuries. The bergere may have been commissioned by Richard Donovan who purchased the manor and estate in 1808, or his daughter Caroline Ann and her husband Captain (later Admiral) James Scott, who inherited the estate in 1816. The estate then passed on to Thomas Wallis (1822) and the merchant William Price (1837), of the Gloucestershire Banking Company, at which time the chair could have been acquired with the estate. Another possibility is that the chair may have entered the Price family through John Chadborn, the father-in-law to William Philip Price (d. 1891), and a wealthy Gloucester solicitor who commissioned a handsome neoclassical villa, Sherborne House, in 1825. Neither Chadborn nor any of Tibberton's owners are known to have patronized Gillows making it difficult to trace a potential commission. However, Gillows did supply for Stoneleigh, another Gloucestershire house.
Other English furniture highlights from various private collections include a George III satinwood, marquetry, cream-painted and parcel-gilt side table, circa 1775 (estimate: $30,000-50,000), a pair of George II giltwood console tables, circa 1740 (estimate: $40,000-60,000); a magnificent pair of George I gilt-gesso two-light girandole mirrors, circa 1725 (estimate: $50,000-80,000); and a set of ten George III mahogany dining-chairs with finely-carved shield-form backs, circa 1785 (estimate: $25,000-40,000). An amusing George II tea caddy features a bust of Shakespeare and was reputed to have been carved from the mulberry tree in Shakespeare’s own garden in Stratfordon-Avon. The caddy is signed by the local maker George Cooper and dated 1759 (estimate: $6,000 – 8,000).
A George III satinwood, marquetry, cream-painted and parcel-gilt side table, circa 1775. photo Image 2009 Christie's Ltd
The top with inlaid bellflower and acanthus leaves above an anthemion-carved frieze with griffon-carved tablet on leaf-carved tapering reeded legs, inscribed in paint 'A9430', the frieze previously gilt - 33 in. (84 cm.) high, 59½ in. (151 cm.) wide, 29¾ in. (73 cm.) deep - Est. $30,000 - $50,000
Notes: The table, intended as a window-pier companion for a candelabra-reflecting mirror, is designed in the Roman fashion popularized by George III's Rome-trained court architect Robert Adam; and serves to evoke the Mount Parnassus poetic triumph of the light-deity Apollo. Grecian palms crown its elliptic and Etruscan pearl-wreathed frieze and ribbon-tie its bas-relief tablet, which is labelled by a sacred urn guarded by the deitys chimerical griffin as featured in The Works in Architecture of Robert and James Adam (2nd ed., 1779). Its golden satinwood top is inlaid with an altar issuing from poetic laurel-festooned scrolls of Roman acanthus in the fashion popularized by fashionable cabinet-makers such as Messrs Mayhew and Ince.
A pair of George II giltwood console tables, circa 1740. photo Image 2009 Christie's Ltd
Each with serpentine Portor marble top above incurved legs carved with foliate and C-scroll decoration on paw feet, with later ebonized plinths one inscribed in black pencil 'L Side', the other 'R. Hand' to top of frieze under marble, slight variations to carving, regilt possibly in the 19th century and with evidence of an 18th century gilding scheme, the central foliate spray to apron apparently re-shaped - 31¼in. (79.5cm.) high, 36½in. (93cm.) wide, 18 7/8in. (48cm.) deep (2) - Est. $40,000 - $60,000
Provenance: Acquired from D.M. Collins, London, 1971.
Notes: The pier-tables are conceived in George II Roman fashion as sideboard-tables with Portor black marble slabs flecked in gold, and this is echoed by their plinths' bronze-black japanning. Roman-truss brackets support the golden frames which, like the slabs, are scalloped in cupid-bows with columnar corners. Beneath a foliated cornice, their friezes are wreathed by bas-relief ribbons bearing pelta tablets formed of confronted Vitruvian or Ionic wave-scrolls; while reed borders, enriched by flowered ribbon-guilloches, tie their water-bubbled lambrequins. The frames are supported by Roman foliage issuing from the bifurcating volutes of the Pan-reeded trusses, and these are raised by garlanded and hollow-scrolled pilasters that are wrapped by water-leaves and terminate in inward scrolled volutes. Their plinths of addorsed reed-scrolls terminate in bacchic lion-feet.
The tables' design evolved from Marble Table patterns issued in B. Langley's, City and Country Builders and Workmans Treasury of Designs, 1740; but their elegant picturesque form relates to patterns issued in Gaetano Brunetti's, Sixty Different Sorts of ornaments very useful to painters, sculptors, stone-carvers, wood-carvers, silversmiths etc., 1736-7. The latter inspired a related marble-topped table designed for Cusworth Hall, Yorkshire by the celebrated mid-18th century architect James Paine (d.1784), author of Plans, Elevations and Sections of the Mansion House of Doncaster (1751) and close collaborator with the St. Martins Lane cabinet-maker Thomas Chippendale (d.1779) (see G. Smith, Cusworth Hall, 1990, fig. 20).
A magnificent pair of George I gilt-gesso two-light girandole mirrors, circa 1725. photo Image 2009 Christie's Ltd
Each earred frame around later rectangular mirror plate, flanked by pendant acorn and oak-leaf garlands, the two later brass candlearms with turned nozzles and drip pans, the apron centered by scrolled acanthus, regilt, one overgilt with 18th century water gilding - 67 in. (170 cm.) high, 38 in. (96.5cm.) wide (2) Est. $50,000 - $80,000
Notes: These magnificent mirrors, which would have been designed to accompany matching pier-tables, exhibit a bold design and decorative details that recall the work of cabinet-maker James Moore the Elder (d. 1726) and his pupil Benjamin Goodison (d. 1767), who succeeded him at the Royal court. Moore supplied 'glass piers & sconces' as early as 1710 for the Earl of Bristol and later, 'Glass frame(s)...finely done with carved and gilt work' to Hampton Court in 1714-1715 in partnership with the glass-manufacturer John Gumley. The floral and strapwork pattern to the frame appears in nearly identical form on a chest supplied by Moore to the 1st Duke of Montagu and now at Boughton House (see R. Edwards and M. Jourdain, Georgian Cabinet-makers, London, 1955, pl. 23) while berried jasmine tendrils feature on the stands (signed 'Moore') at Hampton Court Palace (op. cit., pl. 26); similar berried branches are on the side tables now at Buckingham Palace (T. Murdoch, 'The king's cabinet-maker: the giltwood furniture of James Moore the Elder', The Burlington Magazine, June 2003, p. 409, fig. 5). The impressive acanthus base similarly features on tables that form part of the celebrated suite supplied for Stowe, Buckinghamshire and attributed to Benjamin Goodison. The tables were sold by a descendent of the 2nd Viscount Bearsted, M.C., Christie's, London, 9 July 2008, lot 100.
A set of ten George III mahogany dining-chairs with finely-carved shield-form backs, circa 1785. photo Image 2009 Christie's Ltd
Comprising two open armchairs and eight side chairs, each shield-form back carved with tendrils and foliage, the serpentine padded seat on straight legs, some sun-fading (10) Est. $25,000 - $40,000
Provenance: The Estate of Frederick McLean Bugher; Christie's, New York, 24 October 1984, lot 203.
Notes: A related design in the Gillows Journeyman's Price Agreement of 1785 is described as 'Camel Back Stay Rail, 5 splat escutcheon or shield', reproduced in S. Stuart, Gillows of London and Lancaster 1730-1840, Woodbridge, 2008, vol. I, pl. 123, p. 165. A similar example with finely carved details and radiating sunflower is illustrated as op.cit. pl. 124, p. 165.
Palissy Ware
Proudly featured in the sale are intricate 19th century French ceramics of in the style of Bernard Palissy. These ornamental wares by workshops centered in Paris, Tours, and deeper in southern France and into Portugal are inspired by the work of one of the finest ceramists of the French Renaissance. Palissy and the 19th century Palissy ware workshops whimsically bring to life fish, reptiles, insects, and other aquatic life in his colorful tabletop grottoes. One of the most intricate pieces of the collection is a French Palissy style faience wall cistern, cover and basin (estimate: $4,000–6,000) by Félix Tardieu, a celebrated Menton atelier. Fashioned circa 1880, it features a milieu of snails, snakes and frogs on a mossy frit background above a white-metal bird head spigot with a shell-molded valve. Equally elaborate is a large French Palissy style faience trompe l’oeil oval dish (estimate: $5,000–7,000). Molded in 1880, it is applied with a central alligator flanked with small fish and the rim is enclosed with high reliefs of a frogs, snakes and life-sized beetles.
A French Palissy style faience wall cistern, cover and basin, circa 1880-90, the basin impressed Tardieu Felix Menton. photo Image 2009 Christie's Ltd
Applied allover with snails, snakes and frogs on a mossy frit ground, the cistern with a fruiting branch of cassis, above a white-metal gaping bird head spigot and shell-molded valve - 13 in. (33 cm.) high, the cistern; 10½ in. (26.5 cm.) diameter, the basin (3) Est. $4,000 - $6,000
Notes: For a similar example see Katz, op. cit, cover illustration; and Katz & Lehr, op. cit., p. 145, fig. 189.
A French Palissy style faience trompe l’oeil oval dish, circa 1880, School of Paris. photo Image 2009 Christie's Ltd
Molded and applied with a central alligator flanked by small fish, the rim with a large snake, a frog, a beetle and a lizard above a mossy frit band, among shells and leafy fronds in high relief - 17 in. (43.2 cm.) wide. Est. $5,000 - $7,000
Notes: See the note to the preceding lot. Inspired by nature and products of his region, Félix Tardieu is a celebrated artisan of the French Riviera.
19th Century Furniture, Sculpture, Works of Art and Ceramics
Highlighting the 19th century furniture and sculpture section is a pair of large Italian gilt and patinated bronze and verde antico marble jardinières, second half of 19th century (estimate: $50,000-80,000). Impressive in both their scale and execution, the decorative jardinières are deeply rooted in Baroque furnishings of the 17th and 18th centuries.
A pair of large Italian gilt and patinated bronze and verde antico marble jardinières, second half of 19th century. photo Image 2009 Christie's Ltd
Each gadrooned basin with overflowing water-cast rim and mounted with trailing foliage, supported by three Herculean figures draped in lion pelts, on a tripartite base with paw feet - 52¾ in. (134 cm.) high; 36 in. (91.5 cm.) diameter, the basins (2) Est. $50,000 - $80,000
Notes: While characteristic in scale and execution of decorations in the 19th century, the decorative vocabulary on this pair of impressive jardinières is deeply rooted in Baroque furnishings of the 17th and 18th centuries. Of particular note are the figural bronze bases, which incorporate profuse C-scrolls and hairy-paw feet prevalent on bronze and giltwood stands preserved in both Italian private collections and the Capitoline Museum, Rome (see Il Mobile Barocco In Italia, Milan, 2000, pp 108-109).
Upon closer inspection of the bases, traces of gilding are immediately apparent on both the bases and trailing foliage of the basins, speculating that the pair were perhaps intended for interior use within a palazzo style setting. Though now attractively oxidized from outdoor exposure, it is very likely the Herculean figures were originally patinated, whilst the scrolling decoration and paw feet were brightly gilt.
Among the important examples of porcelain are pieces from the Chateaubriand Service, a Sèvres porcelain part dessert service, of 1820-1823 (estimate: $70,000-90,000). Given by order of King Louis XVIII to Vicomte de Chateaubriand, each plate and bowl is finely painted with beautiful garden flowers and was fully documented in the manufactory’s archive. The sale also features an exotic pair of ormolu-mounted Paris porcelain slateblue ground dragon-handled vases and fixed covers, mid 19th century, (estimate: $50,000-80,000) a superb pair of Paris goldground porcelain vases, circa 1820 (estimate: $30,000-50,000), once owned by Joseph Bonaparte, brother of Napoleon I, who lived in Bordentown, NJ from 1815 to 1832; and a selection of porcelain snuff-boxes with estimates ranging from $3,000 to $12,000.
A Sèvres porcelain part dessert service from the 'Chateaubriand Service' (Service fond bleu lapis corbeille de fleurs). photo Image 2009 Christie's Ltd
1820-1823, various factory and decoration marks, including painter's mark for Weydinger and gilder's mark for Ganeau fils. Each finely painted with luxuriant garden flowers including roses, tulips, narcissi, lilac and hibiscus, on brown and gilt striped grounds simulating baskets, the 'lapis' blue borders with gilt striations within gilt rims, comprising: Two footed circular bowls (jatte à fruits 'Hémisphérique')
An oval sugar-bowl and cover on fixed stand (sucrier 'Coupe') Fourteen plates (assiete uni) 8½ in. (21.5 cm.) diameter, the footed bowls (18) Est. $70,000 - $90,000
Property from The Jean And Graham Williford Charitable Trust
THE CHATEAUBRIAND SERVICE
The present part service and the following lot of twelve plates are from a full service given by order of The Minister of the King's Household on behalf of King Louis XVIII to the Vicomte de Chateaubriand, then France's Minister for Foreign Affairs. Common with large services, it was delivered piecemeal in four installments - 15 April 1822, 2 May 1822, December 1822 and 21 August 1823.
The Chateaubriand Service is fully documented in the manufactory's archive. Indeed, few services can be more completely documented, the Archives recording every stage of the decoration of each piece. Records are so detailed that ledgers show which pieces of the service were packed in which box for shipment. The painter's register documents which pieces were painted by which artist.
FRANÇOIS DE CHATEAUBRIAND (1768-1848)
François de Chateaubriand, 1768-1848, was a distinguished man of letters and diplomacy. Born in Brittany, he began his career in 1791 with a visit to America, subsequently traveling widely to Berlin, Prague, Vienna and Jerusalem. He was in London from 1792 to 1800 and again as Ambassador to the Court of St. James in 1822. He also held ambassadorial posts in Berlin and Rome.
Chateaubriand was extravagant by nature as well as an acute observer of the people and events of his day and included Madame de Récamier among his mistresses. His name is perhaps most widely known for the special filet-steak cut invented by his chef Montmiriel.
PAINTERS AND GILDERS
SS. in red is the mark of Jacques Nicolas Sinsson père, recorded at Sèvres as having been paid several times in 1823 for the "painting and retouching" of plates in this pattern, 7 francs per plate.
W. in red is the mark of Joseph-Léopold Weydinger, younger son of Léopold Weydinger, patriarch of a family of gilders and painters active at Sèvres from 1757 through 1829. Joseph-Léopold worked intermittently between 1775 and 1829, primarily as a gilder. However, he is recorded as having been paid for flower painting on plates from this service.
gn is the mark of Jean Baptiste Pierre Louis Ganeau fils. He is recorded throughout 1823 as being paid 60 centimes per plate for touching in the gilding on the faux-lapis borders and 7 francs per plate for gilding the basket staves.
Vd. is the mark of Charles Vandé, noted in the payment records as having been paid to add the gilt bands to plates in this pattern.
ROVENANCE S.E.M. le Vicomte de Chateaubriand, delivered 1822-1823.
With Nicolier, Paris.
Anonymous sale; Christie's, London, 1 July 1985, lot 1 (part).
EXHIBITED: New York, The Bard Graduate Center for Studies in the Decorative Arts, The Sèvres Porcelain Manufactory: Alexandre Brogniart and the Triumph of Art and Industry, 1800-1847, 17 October 1997-1 February 1998.
LITERATURE: Tamara Préaud, et al., The Sèvres Porcelain Manufactory: Alexandre Brogniart and the Triumph of Art and Industry, 1800-1847, New Haven, 1997, pp. 363-366, cat nos. 146 a-h.
A pair of ormolu-mounted Paris porcelain slateblue ground dragon-handled vases and fixed covers, mid 19th century, iron-red script M.Raingo/M. Mafelotte ^0372 marks. photo Image 2009 Christie's Ltd
Each of shield shape with flattened domed cover and knop finial centering a rosette, the spiral-fluted neck rising from a shoulder band of stylized confronting scrolls, the handles as winged dragons, the lower body as acanthus, on fluted socle and further square base, the porcelain body finely painted in colors with a terrace of wildflowers and butterflies - 29 in. (73.6 cm.) high (4) Est. $50,000 - $80,000
Provenance: Princess Windischgrätz, Vienna, circa 1915.
Private Collection, Vienna.
By direct descent to a private collector, California.
Private Collection; Christie's East, 28-29 April 1999, lot 11.
A pair of Paris goldground porcelain vases, circa 1820. photo Image 2009 Christie's Ltd
Each oviform with everted mouth, the handles as winged herms issuing from a ribbon-laced quiver, the front painted in colors with scenes of the aftermath of battle named below, one titled LA CHARITE of a nun washing the feet of a soldier, the other titled L'AUMONE of a young mother giving alms to a beggar as her young son looks on, the reverse gilt with a Napoleonic eagle amidst soft clouds - 16 3/8 in. (41.6 cm.) high (2) Est. $30,000 - $50,000
Provenance: Joseph Bonaparte, comte de Survilliers (1768-1844), 'Point Breeze', Bordentown, NJ; Thomas Birch Jr. auction, 17-18 September 1845, lot 84 ($50 to Parker).
Acquired by Elizabeth Harrington, documented as in her possession by 30 November 1936 as per a notarized letter of that date.
By descent to her son, Willis F. Harrington Jr.
By descent to his wife, Janet Harrington (1916-2008).
Notes: Lawyer, soldier, politician, diplomat and older brother of Napoleon Bonaparte, Joseph Bonaparte served France in a variety of diplomatic and political posts. His first major political posting was to the Kingdom of Naples and the two Sicilies where he served as military commander and then king for two years from 1806-1808. From there, his brother moved him to Spain, replacing him in Naples with his brother-in-law, Joachim Murat. As the King of Spain from 1808-1813, Joseph Bonaparte never gained the full support of the population. On his watch, the English won the Peninsular Wars and Bonaparte abdicated the throne.
In 1815, after his Napoleon's defeat at Waterloo and exile to St Helena, Joseph Bonaparte moved to America, building an estate called Point Breeze in Bordentown, NJ. He lived there until 1832, his home the focal point of emigré society. Above the front door was carved his motto - Non ignara mali, miseris succurere which translates from the Latin as Not unaware of misfortune, I know to help the unfortunate. The decoration on the present vases - poignant scenes relating to War and to charitable works on one side and a gilt Napoleonic eagle on the other, its wings outspread in a manner associated more with an American eagle than with a French Imperial eagle, have a direct relation to Joseph Bonaparte's own life that supports the history of their ownership.
The last eight years of his life were lived in Europe, and he died in Florence in 1844. After his death, the New Jersey estate was sold off and the contents of the home dispersed at auction held on the grounds of the mansion by a Mr. Thomas Birch Jr. An annotated copy of the auction catalogue notes the sale of lot 84, pair China Vases, to someone called Parker for $50 - a considerable sum at the time. This is the only reference to porcelain in the catalogue. In a sworn statement dated 30 November 1936, Elizabeth Harrington certifies that "One pair of Sevres urns (sic) purchased by Elizabeth L. Harrington were formerly owned by Joseph Napoleon Bonaparte (Ex-King of Spain) and bear his crest, purchased in 1845 at Bordentown, New Jersey". As only 61 years had elapsed since the estate sale, it is very possible that she purchased the vases either from Parker or from someone who had acquired them from Parker. They descended through her family until their acquisition by the present owners.
06 novembre 2009
Bronze Turns To Gold As Bonhams Sells Lord Cunliffe's Chinese Collection In £5M Sale
An archaic bronze inscribed ritual food vessel, gui. Early Western Zhou Dynasty
Chinese Dragon Makes Recession Defying Roar
Bronze Age Chinese vessels from one of the finest old English collections, formed by the 2nd Lord Cunliffe between the darkest war years of the early 1940s, and his death in 1963, achieved astonishing prices at Bonhams sale of Chinese Art today, November 5, in London.
The most important group of early Chinese bronzes ever offered at Bonhams, the Collection mainly comprised classic funerary vessel dating from the 12th to 2nd century BC. The auction achieved a total of £4.936,300 and the Cunliffe items in the sale went like fireworks, appropriately enough given the date – November 5.
In a packed saleroom bronze and other objects achieved more than 10 times their pre-sale estimates. Lot 8 – the luckiest number in Chinese numerology – an archaic bronze inscribed ritual food vessel - went for no less than £490,400 against a pre-sale estimate of £40,000 to £60,000. Lot 3, an archaic bronze ritual wine vessel estimated at £20,000 to £30,000 sold for £378,400. And an Imperial white jade'double dragon' seal sold for £305,600 against an estimate of £20,000 to £30,000.
An archaic bronze inscribed ritual food vessel, gui. Early Western Zhou Dynasty
The bombé sides rising from a high stepped foot to a flared rim, cast on each side with loop handles emerging from mythical-beast heads with upright horns, with heavy rectangular pendants below, each side of the body cast with bold taotie masks reserved on intaglio scrolls, cast with a border of eight small S-shaped snakes at the foot. 26.7cm (10½in) wide. Sold for £490,400
Provenance: purchased from John Sparks Ltd., London on 12 November 1953 for £300
Wing Commander Lord Cunliffe, collection no.A96
Compare a very similar gui, dated to the late Shang/early Western Zhou Dynasty in the Musée Guimet, illustrated by M. Girard-Geslan, Bronzes Archaïques de Chine, Paris, 1995, pp.35-7. The same border of eight scrolling snakes can be seen on a similar early Western Zhou gui in the Sackler collection, illustrated by J.Rawson, Western Zhou Ritual Bronzes from the Arthur M.Sackler Collections, Vol.IIB, Massachusetts, 1990, no.36. Another gui vessel of this form is illustrated in Masterworks of Chinese Bronze in the National Palace Museum, 1969, fig.16. A comparable gui was sold at Christie's New York, 19 September 2007, lot 204, and another from the Concordia House Collection was sold at Sotheby's New York, 19 March 2007, lot 75.
An archaic bronze ritual wine vessel, gu. Shang Dynasty, 12th/11th century BC
Of slender form rising from a hollow base to a trumpet mouth, crisply cast with four tapering blades cast with raised bosses and swirls against a leiwen ground, emerging from a band of snake motifs, the foot and middle section separated by two raised concentric bands, divided by segmented flanges and similarly depicting taotie masks reserved on a leiwen ground, the interior of the foot cast with three pictograms, reading Yang Ze Che. 32.5cm (12¾in) high. - Sold for £378,400
Provenance: Purchased from John Sparks Ltd., London on 19 November 1946 for £250
Wing Commander Lord Cunliffe, collection no.A26
Exhibited: Oriental Ceramic Society, Exhibition of Early Chinese Bronzes, 7 November-15 December 1951, Catalogue no.41
Illustrated: E.E.Bluett, Chinese Works of Art in English Collections. I - Early Jades and Metal-work in the Collection of the Rt.Hon.Lord Cunliffe, Apollo, March 1957, p.84, fig.IX.
This lot will be sold with a copy of the original report on the inscription by W.Perceval Yetts, dated April 1939 which suggests that the inscription may refer to a personal name.
The decorative elements on the current gu vessel indicate a 12th century BC dating as consistent with the Style V period of Shang bronze production. The high-relief casting bears closest resemblance to an example of similar size, illustrated by R.W.Bagley, Shang Ritual Bronzes in the Arthur M.Sackler Collections, Washington D.C., 1987, no.36. Compare also a related example dated to the late Shang Period, excavated in Henan Province in 1978 and currently in the CASS Institute of Archaeology, which is published in Zhongguo qingtong qitu ji, Beijing, 2005, p.118.
Colin Sheaf, Head of Asian Art at Bonhams, and the company's Deputy Chairman, said after the sale: "The message we heard today from Asian Art collectors is that the recession is officially over as far as Chinese art collectors are concerned. The sale proves one of the great truths of auctioneering, that the best and rarest items hold and exceed their value even in bad times. It has been a great pleasure to take a sale that so rousingly endorses the strength of the Asian Art market."
English collectors were among the most prominent Western collectors of Chinese art in the mid 20th century, but very few collections formed at that time remain in private hands, as did the Cunliffe Collection.
Wing Commander Lord Cunliffe's son, Roger, the 3rd Lord Cunliffe, says of his father's collecting during the war: "There weren't many people buying fragile porcelain as the flying bombs rained down. What makes this even more extraordinary is the fact that he lived in a top floor flat in London's West End. A countryman at heart my father always had his city suits made with a poacher's pocket. How better to discreetly bring home a Palace bowl?"
The Bonhams sale of the Cunliffe will draw international interest from private and museum buyers, attracted to exhibited and published bronzes which have remained unseen in private hands for over fifty years. Given the international restrictions of selling archaeological treasures (like outstanding bronzes) whose origins are undocumented, the excellent old pedigree of this famous English collection will encourage public bodies to bid and buy, confident that the date of original acquisition in London falls well outside the restricted decades.
The 2nd Baron Cunliffe (1899 1963) was fortunate to be buying in London when fine Chinese material was being offered for sale week after week at auction and by dealers, and Asian buyers were not yet the purchasing force that they have now become. Great fellow collectors had included George Eumorfopoulos, Sir Percival David, Mrs Sedgwick and Oscar Raphael, many of whose collections subsequently entered national museums.
During his lifetime, Lord Cunliffe's acquisitions were available for enthusiasts to study in his spacious flat across Carlos Place from the Connaught Hotel, conveniently placed for buying trips at London's major Chinese ceramics dealers, Bluetts, Sparks, Spinks and Peter Boode. In 1923, the foundation of the Oriental Ceramic Society had given English collectors a unique forum in which information could be disseminated, opinions canvasses and exhibitions held. Many Cunliffe items, including selections from the bronzes, were generously loaned to the Society's ground-breaking exhibitions during the 1940s and 50s. The Collection to be offered in November is particularly striking because of the rarity and outstanding condition of the bronzes to be offered.
Imperial white jade 'double-dragon' seal sells for £305,600.
The wise words – 'Love your people as you would your own children' - on the seal of a Chinese Emperor who ruled a century ago were not enough to save his reign during the Boxer Rebellion around 1900.
The Imperial white jade double-dragon seal was estimated to sell for £100,000 to £150,000 at Bonhams sale of Fine Chinese Art in New Bond Street on 5th November during Asian Art week in London bit In the event it went for a massive £305,600.
Asaph Hyman, Senior Specialist in Chinese Art at Bonhams, comments: "Once in a while an object of unique Imperial Chinese importance emerges which causes one to catch one's breath, holding in one's hands a personal object used by an Emperor that exceptionally captures his love for his people as shown in his attempt at reform. It is a great privilege to be selling such an extraordinary, fine and rare seal."
The use of such a benevolent message on his seal seems appropriate for the young ruler of a country determined to introduce reform presented by Imperial initiative. But such benevolence was in vain.
The short reign of the Guangxu Emperor was witness to one of the most disruptive periods in the dynasty. Increased and intensified imperialist expansion led to the growth of the nationalist group, Boxers United in Righteousness, who by 1900 were openly attacking, and sometimes killing, Chinese converts and those who possessed foreign objects, as well as foreigners themselves. This attack came to a climax at the siege of the Legations.
An Imperial white jade 'double-dragon' seal, Guangxu
The rectangular seal surmounted with a pair of addorsed dragons, each recumbent with bulging eyes and a scaly conjoined body arching over swirling clouds pierced with an aperture for attachment, the base carved with four characters reading 'Airen Ruzi' within a border of scrolling tendrils, the stone of a pale white tone with small areas of opaque inclusions. 11.2cm (4¼in) long. Sold for £322,400
Provenance: a European private collection, purchased before 1966, and thence by descent.
The current seal has been identified as being in the personal use of the Guangxu Emperor. The four-character 'Ai Min Ru Zi' inscription can be translated as 'Love your people as you would your own children'. These four characters have been identified by Guo Fuxiang, Researcher at the Department of the Palace History, The Palace Museum, Beijing, as one of the personal impressions used by the Guangxu Emperor. See his article 'Qingdao Huanghou Xiyin de Zhizuo' (The Manufacture of Imperial seals for the Empresses of the Qing Dynasty), p.26, where this impression is listed among the twenty-eight Guangxu Imperial seals held in the Imperial collection in the Forbidden City. The use of such a benevolent message also seems appropriate for the young ruler of a country determined to introduce reform presented by Imperial initiative. It is interesting to compare a wood Guangxu Imperial seal illustrated in the article (fig.1) which bears relation to the present seal in its long rectangular form surmounted by double-dragons.
Imperial seals belonging to the Guangxu Emperor are rare, with the majority of published examples being of relatively lesser material, reflecting the financial constraints of the period. Two Imperial green jade 'double-dragon' seals in the Fitzwilliam Museum in Cambridge have been identified as having belonged to the Emperor Guangxu and the Dowager Cixi, and are believed to have been looted in 1900 during the Boxer Rebellion, see J.P.Palmer, Jade, London, 1967, Catalogue no.36, and illustrated again by J.C.S.Lin, The Immortal Stone. Chinese Jades from the Neolithic period to the twentieth century, London, 2009, Catalogue no. 82 and 84, as well as no. 83. A gold single-headed dragon seal in the Palace Museum, Beijing is identified as having been given to the Guangxu Emperor on his 13th birthday in 1889, illustrated in Gugong Zhenbao, Beijing, 2006, p.26. The limited availability of good-quality jade stone during the period is demonstrated by the use of serpentine and wood in the production of Imperial seals. Several 'double-dragon' seals belonging to the Dowager Cixi in serpentine are known, see an example sold at Christie's Paris, 14 June 2006, lot 139. Apart from the published example in the Palace Museum, another wood 'double-dragon' seal belonging to the Guangxu Emperor was sold at Sotheby's Paris, 11 June 2009, lot 223.
The short reign of the Guangxu Emperor was witness to one of the most disruptive periods in the dynasty. Increased and intensified imperialist expansion led to the growth of the nationalist group, Boxers United in Righteousness, who by 1900 were openly attacking, and sometimes killing, Chinese converts and those who possessed foreign objects, as well as foreigners themselves. In retaliation, on August 4 1900, 20,000 foreign troops marched on Beijing, leading the Guangxu Emperor and the Dowager Cixi to flee to Xi'an, where they would stay until 1902. The era of disruption continuted onto the short reign period of the Xuantong Emperor, more commonly known as Pu Yi, a time in which Imperial treasures were sold to finance the expenses of the Court or stolen by Eunuchs working in the Forbidden City.
The current jade seal illustrates the mastery of late Imperial jade craftsmanship during the decline of the Qing Dynasty and appears to be one of the best preserved examples of Imperial lapidary work of the period.
Magnificent 'famille rose' porcelains sold @ Sotheby's London
A pair of 'famille rose' 'soldier' vases and covers. Qing dynasty, Qianlong period. photo courtesy Sotheby's
each body of baluster form with waisted neck, brightly enamelled around the exterior with a pair of phoenix in a garden enclosing peony blooms issuing from rockwork, all within diaper bands, the domed cover with an elaborate floral band and surmounted by a lion dog finial, with two black and gilt lacquer hexagonal stands, painted with figure panels. 134.7cm., 53in.. Est. 80,000—120,000 GBP - Sold 97,250 GBP
PROVENANCE: Sir John Hussey-Delaval, Lord Delaval (1728-1808), thence by descent.
NOTE: Magnificent soldier vases of this elegant form and finely enamelled decoration display the technical virtuosity of potters and painters of the Qianlong period. The present pair of vases is an impressive example of the expensive, extravagant garnitures that were fashionable and in high demand at the time.
The ruyi-shaped collar surrounding the rims of the present pieces is unusual, however a pair of vases similarly decorated with a phoenix amongst trees of blossoming peonies and band of vertical panels at the foot, but with an elaborate scroll on the shoulders and shaped landscape panels to the neck, in the Rijksmuseum, Amsterdam, is illustrated in Christian J.A. Jorg, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, Amsterdam, 1997, pl. 255; and a single vase from the Greville Collection, is published in George C. Williamson, The Book of Famille-Rose, London, 1927, pl. LV11 (left).
Compare vases of this form and size enamelled with a more stylised variation of the phoenix and peony motif between diaper bands, such as a pair from the Keck Collection, sold in our Monte Carlo rooms, 13th February 1983, lot 329, and again in our New York rooms, 5-6th December 1991, lot 29; and two pairs sold at Christie's London, 27th June 1977, lot 85, and 14th May 1977, lot 55.
The popularity of traditional Chinese motifs in Europe is evident on these vases, which depict the highly auspicious motif of a phoenix and peonies to represent the wish for wealth, rank and good fortune.
Lord Delaval's house in Hanover Square, which was remodelled for him by the Scottish Neo-Classical architect Robert Adam (1728-92) between 1781 and 1783, contained a number of pieces of Chinese porcelain. These exceptional vases appear to have been the centrepieces in the ante-chamber which led from the hall to the large drawing room, where further Chinese jars were displayed. Additionally, an arrangement of Chinese blue and white vases adorned the adjacent breakfast room, along with a bookcase of Chinese form. This pair may represent the vases bought by Lord Delaval from the collection of a Mr Lever through the auspices of Thomas Waring on 2nd May 1778, those referred to as 'remarkable for their size and beauty', at the considerable cost of 30 guineas (The Seaton Delaval Papers, Northumberland Collection Services DE.31-2).
A fine pair of 'famille-rose' 'one hundred boys' bowls. Jiaqing seal marks and probably of the period. photo courtesy Sotheby's
each rounded body rising from a short straight foot to an everted rim, finely and brightly enamelled around the exterior with boys at play in a garden. 11.7cm., 4 5/8 in., diam. Est. 10,000—15,000 GBP - Sold 79,250 GBP
A pair of 'famille-rose' black-ground vases and covers. Qing dynasty, 18th century. photo courtesy Sotheby's
each broad round-shouldered body brightly enamelled with panels alternately enclosing pairs of cockerel and flowers, all reserved on a dense leafy chrysanthemum-scroll ground and within pink cash-diaper bands, the domed covers similarly decorated and surmounted by a biscuit lion finial. 61cm., 24in. Est. 20,000—30,000 GBP - Sold 25,000 GBP
A large 'famille-rose' 'nine peach' vase. Qing dynasty. photo courtesy Sotheby's
the robustly-potted rounded body rising from a recessed base to a tall slightly flaring cylindrical neck, brightly enamelled around the exterior with a large fruiting peach boughs, the base with an apocryphal Qianlong mark. 54cm., 21 1/4 in. Est. 4,000—6,000 GBP - Sold 25,000 GBP
A pair of 'famille-rose' dishes. Qing dynasty, Yongzheng period. photo courtesy Sotheby's
each painted with an Immortal seated beside a rocky outcrop beneath a pine tree, wearing a loose-fitting blue, pale green and aubergine robe and holding a lingzhi fungus, two bats fly overhead. 20.7cm., 8 1/8 in. Est. 4,000—6,000 GBP - Sold 15,000 GBP
PROVENANCE: From a Private Collection, Belgium.
Sotheby's. Fine Chinese Ceramics and Works of Art. 04 Nov 09. London www.sothebys.com
Sujet en bronze de patine brune représentant un tigre marchant, rugissant. Période Meiji.
Sujet en bronze de patine brune représentant un tigre marchant, rugissant. Période Meiji.
Signé dans un cartouche, sous le ventre. LONG. 49 CM - Estimation : € 900-1,200
Tajan. ARTS DU JAPON, 16 nov. 2009 14:15, Drouot - salle 15 www.tajan.com
A perfect 62.30 carat D colour, flawless, pear-shaped diamond, superb stones and important jewels @ Christie's Geneva
The unmounted pear-shaped diamond weighing 62.30 carats. photo Image 2009 Christie's Ltd
Christie’s is honoured to announce the sale of a perfect 62.30 carat D colour, Flawless, pear-shaped diamond which will lead the auction of magnificent jewels in Geneva on November 18. An extraordinary gem of excellent polish and symmetry, this diamond exemplifies the best criteria of the 4 C’s: Colour, Clarity, Cut and Carat. It is one of the most important D colour Flawless diamonds to be offered at auction in many years (estimate on request). It's accompanied by report no. 2105486895 dated 19 December 2008 from the GIA Gemological Institute of America stating that the diamond is D colour, Flawless clarity, Excellent Polish, Excellent Symmetry, with an appendix stating that the diamond 'has been determined to be a Type IIa diamond, the most chemically pure type of diamond'.
Jean-Marc Lunel, Head of the Sale : “With a beautiful selection of 215 carefully chosen lots, Christie’s fall auction of magnificent jewels in Geneva reflects the current demand for fine quality gemstones and signed vintage jewellery, presented with attractive estimates. An emphasis has been placed on items with a private provenance, which are fresh to the market and traditionally appeal to both professionals and international private collectors. Highlighting the sale is a perfect 62.30 carat pearshaped diamond. It is one of the most important D colour, Flawless diamonds to be offered at auction in many years."
Among the most sought after coloured diamonds in this sale are a magnificent 65.20 carat fancy intense yellow cushion-shaped diamond pendant (estimate: SFr.850,000-1,250,000) and a rare 4.42 carat fancy intense green square-cut diamond (estimate: SFr.680,000-900,000), each of which is a collectors’ gem.
A magnificent coloured diamond pendant. photo Image 2009 Christie's Ltd
Suspending a cushion-shaped fancy intense yellow diamond weighing 65.20 carats within a micro pavé-set sapphire border and hoop, to the blue silk cord, mounted in 18k white and blackened gold, pendant 3.8 cm long - Estimate CHF850,000 - CHF1,250,000 ($837,313 - $1,231,343)
Accompanied by report no. 14853756 dated 30 January 2006 from the GIA Gemogical Institute of America stating that the diamond is Fancy Intense Yellow colour, VS2 clarity
A very rare coloured diamond ring. photo Image 2009 Christie's Ltd
Set with a square-cut fancy intense green diamond weighing 4.42 carats to the baguette-cut diamond shoulders and 18k white gold hoop with diamond detail, ring size 6 - Estimate CHF650,000 - CHF850,000 ($640,298 - $837,313)
Accompanied by report no. 1102900161 dated 22 July 2009 from the GIA Gemological Institute of America stating that the diamond is Fancy Intense Green colour, VS2 clarity
Notes: A naturally coloured green diamond is a true rarity of nature. Following red, and ahead of even blue and orange, green is one of the rarest colours in which to find naturally occurring diamonds, and any gem over three or four carats in this hue is an exciting find. Unlike other colours, green is caused by natural irradiation in the earth, probably after the stone's formation. According to Ian Balfour in his book 'Famous Diamonds':
'The green colour is usually caused by the crystal's coming in contact with a radioactive source at some moment during its lifetime and in geological terms, this is measured in millions of years. The most common form of irradiation encountered by diamonds is by the alpha particles which are present in the magma or kimberlite in minute quantities.' Furthermore, the 'intense green' grade given to this diamond is an extremely sought-after title, as is the extraordinary evenness of colour saturation throughout the diamond. More often that not, any hint of green in a diamond is affected by an outer green 'skin' on the stone, which rarely permeates the full crystal, giving such a beautifully even and true colour, as is the case here.
Completely fresh to the market are also a superb 3.30 carat fancy intense blue diamond of potentially Flawless clarity, set in a twin stone ring together with an important E colour diamond of 3.90 carats (estimate: SFr.500,000-650,000) and a fancy vivid, fancy intense and fancy blue diamond clasp (estimate: SFr.380,000-480,000), both with a private provenance. Also featured is the largest recorded 19.13 carat fancy greyish yellowish green “chameleon” briolette-cut diamond in the world, mounted as a pendant (estimate: SFr.420,000-630,000).
An important twostone coloured diamond ans diamond ring, by Wolfers. photo Image 2009 Christie's Ltd
Set with a rectangular-cut fancy intense blue diamond weighing 3.30 carats and a rectangular-cut diamond weighing 3.90 carats to the tapered baguette shoulders, mounted in platinum, ring size 5. Signed Wolfers, no. 0/7788 - Estimate CHF500,000 - CHF650,000 ($492,537 - $640,298)
Accompanied by report no. 2105997532 dated 10 August 2009 from the GIA Gemological Institute of America stating that the diamond weighing 3.30 carats is Fancy Intense Blue colour, VVS2 clarity
With a working diagram stating that the diamond is Potentially Internally Flawless
Accompanied by report no. 5101999840 dated 12 August 2009 from the GIA Gemological Institute of America stating that the diamond weighing 3.90 carats is E colour, VS2 clarity
Notes: The current owner's great grandfather was the President of Union Minière (formerly Belgium Congo). The diamonds have been in the family since they were found circa 1930 and were subsequently mounted by Wolfers.
A coloured diamond pendant necklace. photo Image 2009 Christie's Ltd
The fancy greyish yellowish green "chameleon" briolette-cut diamond weighing 19.13 carats suspending from a purple-pink briolette-cut diamond weighing 1.63 carats and a briolette-cut diamond weighing 5.08 carats, with triple micro pavé diamond rondelles, to the fine link chain, mounted in platinum and 18k rose gold, pendant 7.1 cm long - Estimate CHF420,000 - CHF630,000 ($413,731 - $620,597)
Accompanied by report no. 16796492 dated 11 January 2008 from the GIA Gemological Institute of America stating that the diamond is Fancy Grayish Yellowish Green colour, natural color, VS1 clarity
The color of this diamond changes temporarily when gently heated, or when left in darkness for a period of time and is known in the trade as "CHAMELEON"
Accompanied by a letter dated 13 March 2009 stating that it is the largest chameleon diamond with briolette-cut ever graded at the GIA to date
Accompanied by report no. 17189123 dated 4 June 2008 from the GIA Gemological Institute of America stating that the diamond is Fancy Intense Purple-Pink colour, natural color, VS1 clarity
Accompanied by report no. 15678161 dated 24 January 2007 from the GIA Gemological Institute of America stating that the diamond is E color, VS2 clarity
Coloured gemstones are well represented by a sensational 7.03 carat oval-shaped Burmese ruby of vibrant red colour set in a diamond cluster ring by Laurence Graff (estimate: SFr.750,000-1,100,000), and an impressive 12.79 carat Colombian emerald and diamond ring (estimate: SFr.400,000-500,000).
A ruby and diamond ring, by Graff. photo Image 2009 Christie's Ltd
Set with an oval-shaped ruby weighing 7.03 carats within a brilliant-cut diamond cluster surround to the heart-shaped diamond shoulders, mounted in platinum and gold, ring size 5¾, in a Graff dark blue leather case. Signed Graff - Estimate CHF750,000 - CHF1,100,000 ($738,806 - $1,083,582)
Accompanied by report and special note no. 0909101 dated 22 September 2009 from the Gübelin Gem Lab stating that the ruby is of Burmese origin with no indications of heating
Accompanied by report and special note no. 54632 dated 2 October 2009 from the SSEF Swiss Gemmological Institute stating that the ruby is of Burmese origin, with no indications of thermal enhancement, and that this gemstone was already described on Gemstone report no. 32585 dated 26 August 1998
Notes: The special notes from the laboratories highlight the quality and rarity of this gem.
'Large rubies of top gem-quality are true rarities of nature... During the last couple of years, the supply of gem-quality rubies decreased... As a result, large, natural, untreated rubies of almost any geographic origin have become even more difficult to find on the market today'.
Gübelin Gem Lab, 22 September 2009
'The natural ruby described...possesses extraordinary characteristics and merits a special mention and appreciation. The described gemstone of 7.035 ct exhibits a well-saturated colour combined with a pleasant clarity. The stone has been spared to exposure of thermal treatment and its clarity and colour are natural'.
SSEF Swiss Gemmological Institute, 2 October 2009
A magnificent emerald and diamond ring. photo Image 2009 Christie's Ltd
Set with an octagonal-shaped emerald weighing 12.79 carats to the heart-shaped diamond shoulders, mounted in 18k gold, ring size 6 - Estimate CHF400,000 - CHF500,000 ($394,030 - $492,537)
Accompanied by report no. 0903114 dated 8 April 2009 from the Gübelin Gem Lab stating that the emerald is of Colombian origin, with indications of minor clarity enhancement.
In the unusual shape of a flower vase, a sophisticated onyx and diamond pendant necklace made by Cartier in 1914 is a superb example of the black and white geometric style of early Art Deco creations (estimate: SFr.50,000-65,000). Purchased at Cartier by the famous art collector Calouste Gulbenkian, who had a passion for jewellery, this pendant (transformed from the original brooch in the 1920s) was owned by another great philanthropist: the English racehorse owner Washington Singer. Among other jewels dated from the same decade is an exceptional Art Deco diamond sautoir by famous American jeweller J.E. Caldwell, which is featured with an estimate of SFr.480,000-580,000.
An exquisite Art Deco onyx and diamond pendant necklace by Cartier. photo Image 2009 Christie's Ltd
The pendant designed as a pavé-set diamond amphora decorated with onyx foliate motifs and panels containing floral sprays to the twin leaf surmount and backchain, 1914, originally made as a corsage brooch, pendant and surmount 9.8 cm long, with French assay mark for platinum, in pink leather fitted case from the 1920s. Signed Cartier Paris, with maker's mark H P for Henri Picq - Estimate CHF50,000 - CHF65,000 ($49,254 - $64,030).
Accompanied by certificate of authenticity no. GE2009-115 dated 8 September 2009 from Cartier stating that the pendant with necklet is a genuine Cartier item, Cartier Paris, 1914
Provenance: Bought from Cartier by Calouste Gulbenkian (1869-1955)
Subsequently acquired by Washington Singer (1866-1934)
Literature: Cartier 1899-1949, The Journey of a Style, page 19, Gulbenkian Foundation exhibition catalogue, 2007
Notes: Cf. Judy Rudoe, Cartier 1900-1939, The British Museum Press 1997, page 300, plate 243, for an original drawing, and page 98, plate 32, for a similar piece in coral; mention is also made of two other examples in black and white
Cf. Hans Nadelhoffer, Cartier, Jewelers Extraordinary, Harry N. Abrams, 1984, page 211, plate 51
Calouste Gulbenkian was an Armenian businessman, philanthropist and one of the world's greatest art collectors. His financial success in the oil industry, including arranging the 1907 Royal Dutch/Shell merger and creating the Turkish Petroleum Company, gave him the means to amass a world renowned art collection which he kept in a private museum in Paris. Amongst his greatest passions were Renaissance paintings and Egyptian sculpture, fine examples of which he lent both to the National Gallery in London and the British Museum during his lifetime, and, of course, jewellery. His famed collection of Lalique, together with the rest of his art, was bequeathed to the Calouste Gulbenkian Foundation in 1955, and is probably the most important of its type worldwide. However, his relationship with other French jewellers, specifically Cartier, has been less well referenced yet was extremely strong. In the 1910s and 1920s Gulbenkian acquired a significant number of jewels produced by arguably the greatest jeweller of the 20th century at the most innovative period in jewellery design.
After Gulbenkian, the Cartier pendant belonged to another great philanthropist, the English racehorse owner, Washington Singer. His father was the great American sewing machine magnate, Isaac Singer, who moved his family to England while the children were still young. Washington grew up in Devon, becoming a great benefactor to a variety of charitable causes, including the (later known as) University of Exeter.
A magnificent Art Deco diamond sautoir by J.E. Caldwell. photo Image 2009 Christie's Ltd
Designed as a highly flexible openwork tie, millegrain-set with old-cut diamond collets to the diamond line edges, mounted in platinum, 1920s, 52.3 cm long. Signed J.E.C. & Co for J.E. Caldwell, no. G6990 - Estimate CHF480,000 - CHF580,000 ($472,836 - $571,343)
Notes: James Emmett Caldwell (1813-1881) began his career as an apprentice to a silversmith in Philadelphia. In the early 1830s, he opened his own watch and jewellery shop which became known as J.E. Caldwell & Company in 1848. The name is most closely associated with chic and elegant jewels from the Art Deco period of which this extraordinary sautoir must have counted as a masterpiece. The delicate millegrain setting, strong Art Deco line and technical flexibility-mimicking the flowing movement of a genuine cravate- have together created a rare, yet timeless jewel.
JEWELS: THE GENEVA SALE, Wednesday 18 November - 4pm & 6.30pm. Four Seasons Hotel des Bergues
VIEWINGS: Saturday 14 & Sunday 15 10am-7pm
Monday 16 & Tuesday 17 10am-6pm
Wednesday 18 10am-2pm