Diamants de couleur chez Artcurial Monte Carlo
Importante parure feuillages en or gris et or jaune sertie de diamants, comprenant un collier et une paire de pendants d'oreilles.
Le collier, transformable en diadème, retient en pendentif quatre diamants plus importants taillés en coeurs. Poids brut : 181,60 g. Le diamant en coeur pesant 10.31 cts, accompagné d'un certificat du laboratoire GIA (2006) indiquant : couleur Fancy brownish yellow, pureté SI1. Poids des pierres sur le collier : environ 15 cts, accompagnées d'un certificat du laboratoire IGI indiquant : couleur G-H, pureté VVS-VS. Poids des 2 diamants plus important des pendants d'oreilles: 4,10 cts, accompagnés d'un certificat du laboratoire IGI indiquant que : slightyly tinted to very light yellow, pureté si. - Estimation 200 000 - 250 000 €
Bague en or gris ornée en serti clos d'un diamant à pans taillé en cœur de couleur brun orangé cerné de diamants taillés en baguette et en tapers, le panier serti de diamants taillés en brillant.
Poids de la pierre : 7,01 cts, accompagnée d'un certificat du laboratoire GIA indiquant : couleur fancy deep orange-brown, pureté si2. Poids brut : 12,6 g - Estimation 38 000 - 40 000 €
Bague en or gris ornée d'un diamant taillé en brillant de couleur jaune-brun-vert dans un encadrement souple, polylobé, serti de diamants taillés en brillant.
Poids du diamant : env. 2,10 cts. Poids brut : 14,4 g - Estimation 8 000 - 10 000 €
Bague en or gris, sertie d'un diamant taillé en brillant de couleur brun-cognac épaulé de six diamants taillés en brillant.
Accompagnée d'un certificat HRD précisant que le diamant de 2,02 carats est natural fancy intense brown. Poids brut : 6,7 g - Estimation 6 000 - 8 000 €
Bague en platine sertie dans le sens du doigt de deux diamants bruns taillés en poire épaulés de diamants taillés en brillant.
Poids de chaque diamant : env. 1,30 et 1,40 ct. Poids brut : 4,7 g - Estimation 6 000 - 8 000 €
Paire de dormeuses en platine et or jaune, serties de diamants de couleur Fancy yellow de taille pesant chacun 6.28 cts et 6.74 cts, la monture soulignée de diamants blancs.
Les diamants accompagnés de certificats du laboratoire GIA attestant : couleur naturelle Fancy Yellow, pureté vs1. Poids brut : 13 g - Estimation 125 000 - 126 000 €
Ce lot est en importation temporaire, son prix sera majoré de la TVA de 19.6% récupérable en cas de réexportation, sur présentation des justificatifs d'exportation hors CEE.
Boucheron. Deux bagues jonc en or gris soulignées de diamants baguettes, l'une pavée de diamants blancs sur or gris, l'autre de diamants jaunes sur or jaune.
Signées et numérotées. Poids brut : 15 g - Estimation 8 000 - 10 000 €
Bague en or gris, sertie d'un diamant de taille rectangulaire modifiée à pans de couleur jaune, pesant 3,79 carats, l'épaulement serti de dix diamants taillés en brillant.
Accompagnée d'un certificat IGI precisant : couleur naturelle natural fancy greenish yellow, pureté SI 1. Tour de doigt : 53 - Poids brut : 6 g - Estimation 20 000 - 25 000 €
Van Cleef & Arpels. Bracelet rigide ouvrant en or jaune formé d'un bandeau légèrement bombé, entièrement serti de diamants jonquille taillés en brillant.
Signé Van Cleef & Arpels 132746. Tour de poignet: 16,3 cm - Poids brut: 25,3 g. Estimation 10 000 - 12 000 €
Paire de pendants d'oreilles en or jaune sertis de diamants de couleur blanc, jaune et cognac, à l'imitation de rubans.
Long. : 7,5 cm - Poids brut : 17 g - Estimation 2 000 - 3 000 €
Bague en or gris et or jaune sertie d'un diamant rose taillé en poire cerné et épaulé de diamants taillés en brillant.
Poids de la pierre. 2,02 ct. Poids brut : 4,4 g. Couleur fancy light pink, natural colour, par le laboratoire H.R.D d'Anvers. Estimation 33 000 - 34 000 €
Ce lot est en importation temporaire, son prix sera majoré de la TVA de 19.6% récupérable en cas de réexportation,sur présentation des justificatifs d'exportation hors CEE.
Croix pendentif en or jaune et or gris sertie de six diamants roses taillés en coussin ou ovales cernés d'un fin bandeau serti de diamants taillés en brillant.
Poids des diamants env. 1,50 ct accompagné d'un certificat du laboratoire GIA de New York indiquant couleur naturelle. Haut. : 2,3 cm - Poids brut : 3,3 g - Estimation 16 000 - 17 000 €
Ce lot est en importation temporaire, son prix sera majoré de la TVA de 19.6% récupérable en cas de réexportation,sur présentation des justificatifs d'exportation hors CEE.
ARTCURIAL. Hôtel Hermitage, Monte-Carlo. 27 juil. 2009 15:00. Me François Tajan. www.artcurial.com
'Corot to Monet, A Fresh Look at Landscape from the Collection' @ The National Gallery London
Attributed to Jean-Antoine Constantin, Bridge at Subiaco, about 1777. © The Gere Collection, on long-term loan to the National Gallery
LONDON.- Where did these Impressionist ideas come from? In seeking to capture the transient effects of nature, the French Impressionists were indebted to a tradition of painting in the open-air which had thrived in Western Europe for almost a century.
Drawing on the National Gallery’s extraordinary collection of 19th-century French landscapes, 'Corot to Monet' charts the development of landscape painting from the late 18th century to the year of the first Impressionist exhibition, 1874.
The exhibition features some 90 small-scale paintings by the major artists of this genre. Fresh perspectives on familiar National Gallery works and new juxtapositions reveal the extraordinary achievements of these early plein-air painters and their far-reaching influence on the Impressionists.
At the end of the 18th century, artists from all over Europe were congregating in Rome, before setting out to paint in the Campagna and other picturesque locations, including the magnificent cascades at Tivoli.
The exhibition opens with some of the finest works of these pioneers of plein-air painting, including Jean-Baptiste-Camille Corot, Pierre-Henri de Valenciennes and Simon Denis.
Many of these works are drawn from the renowned Gere Collection, entrusted to the National Gallery on long-term loan in 1999. Highlights include Corot, 'The Roman Campagna, with the Claudian Aqueduct', probably 1826, which, in a single layer of paint, perfectly captures a broad, sunlit landscape hung with majestic clouds.
By the first half of the 19th century, artists in France, including Corot and Théodore Rousseau, were also sketching their native scenery to great effect. Rousseau’s 'The Valley of Saint-Vincent', 1830 – purchased from the Paris sale of Degas’s private collection in 1918 – captures the wild, unspoilt nature of the Auvergne with long, fluid brushstrokes.
In the western suburbs of Paris about 1820, Paul Huet was inspired by the grandeur of the 'Trees in the Park at Saint-Cloud', which he described as an ‘enchanted site…whose every bush I knew’.
This section of the exhibition features a jewel-like masterpiece by the English-born artist, Richard Parkes Bonington, who spent most of his short life in France. During a tour to the Picardy coastline around 1825, the young artist completed this remarkable coastal scene of 'La Ferté', confidently realising sand, sea and sky with broad sweeps of his brush (Accepted by HM Government in lieu of Inheritance Tax and allocated to the National Gallery pending a decision on permanent allocation, 2007).
Special attention is paid to the so-called Barbizon School, named after a small French town in the Forest of Fontainebleau where landscape artists including Rousseau, Jean-François Millet and Narcisse-Virgilio Diaz de la Peña gathered to work in the huge expanse of woodland, meadows, marshes and gorges. These pictures evoke Victor Hugo’s conviction that ‘A tree is an edifice, a forest a city, and among all the forests, the Forest of Fontainebleau is a monument.’
Diaz de la Peña’s 'Sunny Days in the Forest', 1850–60, offers a lively celebration of spring skies and rich foliage, completed with an extraordinary eye for detail. A major highlight here is Corot’s 'The Four Times of the Day', about 1858 (on loan from the Loyd collection since 1997), completed for the studio of fellow Barbizon artist, Alexandre-Gabriel Decamps. Corot completed all four panels in just a week, imbuing these imaginary compositions with personal reminiscences of Italy.
Late works by Corot and a selection of beach scenes by Eugène Boudin reveal the very tangible influence these artists had on the nascent Impressionists. Indeed, they hang alongside and in constant dialogue with Monet’s 'The Beach at Trouville', 1870, and other early works. The captivating 'Beach at Trouville' focuses on his new wife and a friend, possibly Boudin’s wife, sat beneath their umbrellas on the beach. The speed and bravura of his handling of paint make this a seminal work of its genre. The sea breeze which agitates the distant flag in the picture left a still more physical presence on the canvas – grains of sand lodged in the artist’s wet paint.
Not long after, Monet made his first visit to London, fleeing from the Franco-Prussian War. In the bustling Victorian metropolis, he found inspiration in its parks and the river Thames. The final section of the exhibition examines two iconic views of London by Monet and fellow refugee, Charles-Francois Daubigny. Monet’s 'The Thames below Westminster', 1871, captures a sense of sublime stillness looking towards the recently completed Houses of Parliament and newly built iron Westminster Bridge. In 'St Paul’s from the Surrey Side', 1871–3, Daubigny peers through the leaden sky of a modern industrial city, delicately capturing the plume of smoke from a train over Blackfriars Bridge.
Painted on small-scale wooden panels or paper, the landscape oil sketches of the late 18th and early 19th centuries were often piled in the corner of the artist’s studio, little valued and largely ignored until generations later. Drawing on one of the finest collections of its kind in the world, Corot to Monet celebrates the rediscovery and re-evaluation of these remarkable works of art.
A study room is set aside in the exhibition space where visitors can further investigate 19th century landscape paintings online and in relevant publications. Of special interest online are seven comprehensive catalogue entries on paintings by Corot from the forthcoming catalogue of the National Gallery’s 19th-century paintings, previewed here for the first time.
Pierre-Henri de Valenciennes, Cow-Shed and Houses on the Palatine Hill, 1782-1784. © The Gere Collection, on long-term loan to the National Gallery
Jean-Baptiste-Camille Corot, ‘Self Portrait’, Galleria degli Uffizi, Florence © The Art Archive / Galleria degli Uffizi, Florence / Gianni Dagli Orti
Born in Paris on 17 July 1796, Corot was the son of a cloth merchant and a milliner. After an education at the Collège de Rouen and two abortive apprenticeships with drapers, he was given the financial freedom at the age of 26 to devote himself to painting. Read more http://www.nationalgallery.org.uk/artists/jean-baptiste-camille-corot
National Gallery's curators and scientists have made stunning new discoveries about seven paintings by Jean-Baptiste-Camille Corot, a 19th-century artist who was a huge influence on the Impressionists, particularly through his use of light on landscape. Read latest research http://www.nationalgallery.org.uk/paintings/research/corot-to-monet-new-research/.
Jean-Baptiste-Camille Corot, 'The Leaning Tree Trunk', about 1855-60. Oil on canvas, lined, 49.7 x 60.7 cm. Signed bottom right in brown paint: COROT © The National Gallery
Jean-Baptiste-Camille Corot, 'Avignon from the West', probably 1836. Oil on canvas, lined, 34.0 x 73.2 cm, visible surface (edges are covered by brown paper). Signed bottom right in brown paint: COROT © The National Gallery
Jean-Baptiste-Camille Corot, 'The Roman Campagna, with the Claudian Aqueduct', probably 1826. Oil on paper, laid down on canvas, 22.3 -22.8 x 34.0 cm (visible surface). Signed lower left: COROT © The National Gallery
Jean-Baptiste-Camille Corot, 'Monsieur Pivot on Horseback', about 1853. Oil on canvas, wax-lined, 39.2 x 30.3 cm. Signed bottom left in red: COROT © The National Gallery
Jean-Baptiste-Camille Corot, 'Peasants under the Trees at Dawn', about 1840-5. Oil on canvas, lined, 27.3 x 38.8 cm (visible surface; brown paper covers the turnover edge and obscures up to 0.5 cm of the front of the canvas). Signed bottom right: COROT (slightly worn). © The National Gallery
Jean-Baptiste-Camille Corot, 'The Oak in the Valley', 1871. Oil on canvas, lined, 39.8 x 52.8 cm. Signed bottom left in white paint: COROT (followed by a dash in white paint which could possibly be a full stop). © The National Gallery
Jean-Baptiste-Camille Corot, 'Landscape at Arleux-du-Nord', 1871-4. Oil on canvas, lined, 48.2 x 58.1 cm (visible surface; up to 0.5 cm of the canvas edges are concealed by brown paper tape). Signed bottom right: COROT (the T slightly damaged) © The National Gallery
Perles fines chez Artcurial Monte Carlo 27 juillet 2009
Paire de pendants d'oeilles en platine et or gris formés chacun d'une et trois fines chaînettes et d'une barrette trapézoïdale serties de diamants taillés en brillant coupés de perles fines bouton, l'une grise.
Haut. : 7 cm - Poids brut : 11,6 g - Estimation 5 000 - 6 000 €
Tiffany. Broche en or jaune et or gris stylisée d'une fleur de lys sertie de diamants taillés à l'ancienne retenant en pampille une perle fine baroque, le culot serti de brillants.
Signée Tiffany. Diam. de la perle : env.11,5 mm . Haut. : 4,3 cm - Poids brut - 7,8 g - Estimation 3 000 - 5 000 €
Bague en platine ornée d'une importante perle fine ovale de couleur mauve légèrement gris épaulée de six bandeaux en gradin, sertis de diamants taillés à l'ancienne.
Dim 14,18-16,20 x 12,56 mm. Poids : 22,30 cts (89,2 grains) accompagné d'un certificat du laboratoire GPL de Londres (2009) indiquant : pas de traces de traitement observée. Poids brut 9,6 g - Estimation 9 000 - 12 000 €
Paire de pendants d'oeilles en platine et or ornés chacun d'une chute de trois perles fines cernées chacune d'un fin bandeau serti de diamants taillés en brillant.
Systèmes pour oreilles percées . Accompagné d'un certificat. Haut. : 4 cm - Poids brut 6,5 g. Diam. : 5/7,3 mm -Estimation 4 500 - 5 000 €
Long collier ruban de perles fines retenant une broche adaptable articulée de motifs rectangulaires à pans sertis de diamants ronds, carrés ou taillés en baguette retenant en pampille une perle fine poire. Epoque 1930
Les attaches en or gris soulignées de diamants.(acc) . Long.: 54 cm - Poids brut: 52,9 g - Estimation 4 000 - 6 000 €
Double clip de revers en platine et or gris formés chacun d'un arceau orné d'une ligne de diamants taillés en brillant soulignée de perles fines bouton. Epoque 1925
(Accident au système) Long. : 7 cm - Poids brut : 29,8 g - Estimation 2 500 - 3 000 €
Paire de pendants d'oeilles en platine et or gris formés chacun d'une ligne souple de diamants taillés en brillant retenant une perle fine poire. Epoque 1925.
Diam. : 8,6/8,8 mm - Haut. : 3,5 cm - Poids brut : 7,3 g - Estimation 2 500 - 3 000 €
Collier formé de deux et trois rangs de perles fines en chute coupés de deux motifs triangulaires en platine sertis de diamants taillés en brillant et d'une perle fine bouton, le fermoir oblong en platine serti d'un diamant taillé en navette et de diamants taillés en brillant.
Diam. des perles 4,2 à 7 mm - Poids : 715,16 grains. Long. : 45 cm - Poids brut 50,2 g. Accompagné d'un certificat - Estimation 17 000 - 18 000 €
Bague en platine et or gris, ornée d'une perle fine bouton épaulée de deux diamants taillés en baguette.
Diam. : env. 11 mm - Poids brut 6 g - Estimation 3 500 - 4 000 €
Barrette en platine et or gris, fil de couteau ornée en serti clos d'un diamant demi taille, à chaque extrémité, d'une perle fine.
Poids de la pierre : env. 2,70 cts. Long. : 5,6 cm - Poids brut : 8,1 g - Estimation 3 000 - 3 500 €
Epingle de cravate en or jaune et platine ornée d'un culot et d'un panache sertis d'émeraudes et de diamants taillés en brillant surmontés d'une perle fine. Fin du XIX siècle, vers 1890
Diam. de la perle : 7,9 mm - Poids brut : 5,8 g - Estimation 1 700 - 2 000 €
ARTCURIAL. Hôtel Hermitage, Monte-Carlo. 27 juil. 2009 15:00. Me François Tajan. www.artcurial.com
'Andy Warhol: The Last Decade' @ the Milwaukee Art Museum
Andy Warhol, Jean-Michel Basquiat, and Francesco Clemente, Alba’s Breakfast, 1984. Mixed media on paper mounted on canvas, 46 × 59 in. Bischofberger Collection, Switzerland
MILWAUKEE, WI.- The first U.S. museum survey exhibition to explore the work that Andy Warhol produced during his final years begins its national tour at the Milwaukee Art Museum September 26, 2009–January 3, 2010. Andy Warhol: The Last Decade reveals a mature artist in full command of his complex repertoire, mixing forms and media with audacious fluency. Created amidst the bustle of Warhol's Pop celebrity, the works on view illustrate as never before the artist's vitality, energy, and renewed spirit of experimentation.
Warhol created more new series of paintings in the last decade of his life, in larger numbers and on a vastly larger scale, than during any other phase of his 40-year career. But far from a period of "Factory" production, it was a time of extraordinary artistic development for Warhol, during which a dramatic transformation of his style took place alongside the introduction of new techniques. The artist confidently utilized and combined hand painting, mechanical reproduction, representation, and abstraction. Collaborations with Jean-Michel Basquiat, Francesco Clemente, and Keith Haring were central to his pursuit of new ideas, and stimulated the artist to return to painting by hand.
The exhibition includes nearly 50 works lent by private collectors and institutions such as the Museum of Modern Art, New York; Baltimore Museum of Art; and Andy Warhol Museum, Pittsburgh. Along with an introduction to Warhol's oeuvre, it is divided into thematic sections based on significant Warhol series: abstract works, collaborations (featuring Jean-Michel Basquiat and Francesco Clemente), black-and-white ads, works surrounding death and religion, self-portraits, camouflage patterns, and a concluding section of the artist's Last Supper series—the largest series that he produced in his entire career. Several large-scale works 25 to 35 feet in width punctuate the exhibition. In 1984, Warhol purchased a new studio building where he had the luxury of an expansive space in which to work. The paintings created there mushroomed in size to monumental proportions.
Top des enchères : Commode en acajou à léger ressaut Style Louis XVI, 7 juin 2009
Commode en acajou à léger ressaut Style Louis XVI ancien, XIXème siècle.
Adjugé 150 000 €. Elle présente en façade quatre colonnes détachées à renflement aux cannelures foncées de cuivre, encadrant deux paires de panneaux. Elle ouvre à deux vantaux en façade ornée de laques anciens du Japon, et deux porte s sur les côtés. Les portes latérales et les deux panneaux qui encadrent les portes en façade sont en vernis genre Martin à l'imitation du Japon. Piètement toupie. Dessus marbre blanc veiné à ressaut, foncé d'une galerie ajourée. Travail de qualité, inspiré des productions de Weisweiler. Haut. 88, Long. 181, Prof. 51 cm.
Provenance : grande collection parisienne.
Dimanche 7 juin – Rouillac, Cheverny
'Best of British', The Story of the British Collection @ Dulwich Picture Gallery
Thomas Gainsborourgh, The Linley Sisters, © Trustees of Dulwich Picture Gallery
LONDON.- To complement its recently published catalogue of British pictures, Dulwich Picture Gallery will be exhibiting the best of its British paintings this summer in an unusual exhibition. Masterpieces from the original collection will be displayed alongside lesser-known paintings bequeathed by other collectors, including a significant group of actors’ portraits from Shakespeare’s time. Each room will show works left by individual collectors, starting with the actors’ portraits collected by Edward Alleyn, the actor, theatre owner and the man who was the founder of Allyen’s College of God’s Gift in Dulwich. The second room will be the Cartwright Bequest of 1686 – he was also an actor; the third room will be the collection left by Desenfans and Bourgeois, the Gallery’s founders; then the Linley Bequest of 1835 (many paintings by Gainsborough including the famous Linley Sisters) followed by the Fairfax Murray gift on 1911 which includes Hogarths, more Gainsboroughs and paintintgs by Sir Peter Lely. The last room will be acquisitions since 1831 and include Queen Victoria aged 4, painted by the Gallery’s first curator, Stephen Poyntz Denning.
The publication of John Ingamells’ catalogue, which accompanies the show, represents the last word in terms of research on those highlighted in the show as well as the other two hundred paintings in the permanent collection. Like the show it is arranged according to the bequests to the Gallery, with all the information there is about the British collection, and illustrates every painting in colour.
Best of British is two-fold in its objectives: it offers a fascinating insight into English notions of taste and the fashion to collect during the period, and also launches the catalogue as an important publication in its own right.
Issac Fuller, Portrait of a Man, © Trustees of Dulwich Picture Gallery
Sir Joshua Reynolds, Girl with a Baby, © Trustees of Dulwich Picture Gallery
Unknown Artist, called Nathan Field, © Trustees of Dulwich Picture Gallery
Véronique Ellena @ Rencontre d'Arles, Prix de la Découverte
Véronique Ellena, le poulpe, de la série Natures Mortes, 2008, Galerie Alain Gutharc et Villa Medicis
"J’ai rencontré et découvert Véronique Éllena il y a une dizaine d’années. Non pas une petite musique mais un beau silence très dense, celui de l’ordinaire et du « trois fois rien » humble et intimiste élevé au grade de « grands moments de la vie » , le titre de la série montrée chez alain gutharc à ce moment-là.
En ce qui concerne la série « Dernière-née » que j’ai souhaitée proposer cet été dans le cadre du « prix Découverte », par leurs lignes hypersimples, leurs compositions frontales, ces « Natures Mortes » composées ces deux dernières années à la villa medicis, s’imposent par un dépouillement si sobre et si intriguant q’il en deviendrait presqe baroque. Impossible de passer son chemin comme si de rien n’était, on reste rivé à l’image, on scrute, on renifle, on goûte presque, on touche, la pierre, le bois ou le métal des « socles », si palpables. fourrure, duvet, écorce, écailles, pâte, tentacules, appétissants ou répulsifs, on les « éprouve » de l’œil, ainsi que leurs mystères: la brioche "minérale" par exemple, dont véroni que m'avait fait partager la genèse et qui n'a pas quitté mon chevet depuis, ou encore le bar emmailloté d'un torchon.
Poussins trépassés raidis par le froid du congélateur, poulpe que l’on devine amolli par la violence de coups répétés, grenade éclatée, ces natures mortes-là sont « belles » et bien mortes. mais, comme tout le travail de Véroniqe Ellena, leur simplicité radicale, comme celle d’un rituel, nous tend le miroir de nos propres existences. Le dénuement de leur mise en scène minimale, pathétique, reflète en abyme infini les questionnements insondables de notre propre dénuement devant les abysses incommensurables de la condition qui est la notre. Avec l’élégance qui sied à ce genre d’interrogations, silencieuses, réservées au recueillement, à la solitude." Christian Lacroix
Véronique Ellena est née en 1966, vit et travaille en France. Elle poursuit ses études à l’Ecole Nationale Supérieure des Arts Visuels de La Cambre à Bruxelles où elle obtient le Prix Jules et Marie Destrée et expose au Musée de la Photographie de Charleroi (1993). Exposition réalisée d’un séjour à la Villa Médicis en 2007-2008. veronique.ellena.free.fr Exposition présentée à la Grande Halle. 7 juillet > 13 septembre www.rencontres-arles.com
Au terme de ses études, elle expose au Palais des Beaux-Arts de Bruxelles (1996).
Ses images sont représentées dans de nombreuses collections privées ainsi que dans de prestigieuses collections publiques (Musée National d’Art Moderne Centre Georges Pompidou, Fond National d’Art Contemporain, Frac Ile-de-France).
Elle a obtenu de nombreux prix et bourses: Villa Médicis (2008), Bourse de la Ville de Paris (2004), Villa Médicis hors les murs (1998), etc
Elle rejoint en 1996 la Galerie Alain Gutharc à Paris où se tiennent plusieurs de ses expositions.
Elle a bénéficié de nombreuses commandes : Centre National des Arts Plastiques, Christian Lacroix, «Bruxelles 2000, ville européenne de la culture».
Son travail a fait l’objet de nombreuses expositions dans des lieux importants en France et en Europe.
'The Complete Rembrandt, Life Size' @ the Beurs van Berlage (Berlage Exhibition Centre) Amsterdam
AMSTERDAM.- For the first time ever, Rembrandt’s complete oeuvre will be on show in the special exhibition hall in the Beurs van Berlage (Berlage Exhibition Centre) over the coming summer. The exhibition, titled The Complete Rembrandt, Life-Size, will show all 317 paintings, 285 etchings and the relevant sketches and drawings in near-perfect reproductions. A number of Rembrandt’s damaged and mutilated paintings will also be reconstructed for the exhibition. This unique overview was compiled by Rembrandt specialists led by Professor Ernst van de Wetering, head of the Rembrandt Research Project.
The Complete Rembrandt was made possible by the latest digital techniques which enable Rembrandt’s works to be printed photographically in near-perfect quality and full-size.
The exhibition will be held in the Beurs van Berlage in Amsterdam through September 7th.
The Complete Rembrandt is a revolutionary and unique exhibition. Never before has the complete body of works by an artist of Rembrandt’s stature been exhibited together. Nor have reproductions been taken so seriously. The importance of this collection of Rembrandt’s entire oeuvre in reproduction form lies in the fact that each of his works is a significantly unique creation. In the case of Rembrandt, therefore, there can be no such thing as a representative selection.
Why reproductions? It would be absolutely impossible to realize an exhibition of all the original works. An exhibition of original paintings by Rembrandt could amount to 50 works at most, for Rembrandts are now lent out only in exceptional circumstances. This exhibition shows more than 700 works accompanied by texts that provide an overview of his life’s work and allow visitors to get the most out of the exhibition. A walk through this exhibition is a fascinating passage through Rembrandt’s artistic mind.
In several thematic presentations, Professor Van de Wetering explains the research undertaken to establish the authenticity of Rembrandt’s works of art. Rembrandt look-alikes still crop up that are certainly not originals. Even in his own lifetime Rembrandt was so famous that many young artists wanted to be taught the techniques and styles by the master himself. The result was the creation of many works of art that were for a long time wrongly considered to be ‘Rembrandts’. The Complete Rembrandt, Life Size exhibition shows how the more accurate collection of Rembrandts’ own works has been reduced to its current size. In another part of the exhibition, Ernst van de Wetering has reconstructed a number of works that were severely damaged in the course of the years, and even some works that have been lost. For example, two versions of the Night Watch are exhibited; a reconstruction of the original painting stands alongside the version that now hangs in the Rijksmuseum. Reproductions from contemporary engravings and other copies after lost Rembrandts will also be shown.
"Chambres d’écho" @ Arles. Musée Reattu
Détail de l'affiche de l'exposition, Musée Réattu, Chambres d'écho. Photographie de Thierry Nava Coco-fesse. © Thierry Nava
Après six mois de fermeture pour travaux à tous les étages, et l’événement de portée internationale qu’a constitué l’exposition Musée Réattu/Christian Lacroix en 2008, le musée Réattu rouvre le 8 juillet avec une nouvelle exposition conçue à l’échelle de l’ancien Grand-Prieuré de Malte.
Musée Réattu, Chambres d’écho est dédié à l’ensemble de la collection photographique du musée, à travers un dispositif de «mise en effervescence» qui se déploie de façon transversale et pluridisciplinaire dans tout le bâtiment.
L'exposition se fait ainsi à travers une succession de “chambres” comme autant d’univers, où des oeuvres invitées (sculptures, installations, objets, souvent entre nature et culture), résonantes ou dissonantes, qui viennent aimanter la lecture des images issues des collections du musée.
Au total, quelques 25 chambres, tantôt monographiques (Dieter Appelt, Jocelyne Alloucherie, Edward Weston, Jacqueline Salmon, Georges Rousse…), tantôt thématiques : le voyage intérieur, le laboratoire, les Vanités, l’apparition, l’énigme…où figurent près d’une centaine d’artistes et plus de 400 oeuvres.
Le tout nouveau Département d’art sonore du musée contribue à ce dispositif par la présence d’un artiste rare, Knud Viktor, dont les paysages sonores investissent passages, escaliers et espaces secrets.
Exposition dans l’exposition, le centre du parcours est occupé par le tête-à- tête entre deux artistes phares du XXe siècle : les «conversations» de Brassaï avec Picasso.
Deux artistes magnifiquement présents dans les collections et l’histoire du musée, Picasso par la donation de 1971 et Brassaï par l’exposition mémorable qu’il fit au musée Réattu en 1974, lorsqu’il fut invité d’honneur des Rencontres.
Un ensemble de 110 photographies, dessins, objets, et sculptures, pour entrer dans le laboratoire foisonnant de leur complicité, initiée en 1932.
Du capharnaüm de la rue de la Boétie et des Grands Augustins à l’atelier phosphorescent de Boisgeloup, la sélection des images de Brassaï – qui pour Picasso avaient la véracité et l’acuité d’une véritable «prise de sang» – suit le texte des Conversations, en séquences centrées sur une série de thèmes : le Cirque, l’Atelier, les Transmutations, les Graffiti…
Une trame dans laquelle s’insèrent les dessins du musée, et un objet fétiche, le fameux coco-fesse des Seychelles, source chez l’un et l’autre de multiples échos.
08 juil. - 29 nov. 2009 Arles. Musée Reattu 10, rue du Grand Prieuré 13200 Arles - T. 33 04 90 49 37 58 - musee.reattu@ville-arles.fr
Sotheby's in London to Sell a Lost Inheritance of the Romanovs
A magnificent Fabergé jewelled gold and enamel cigarette case, Workmaster Michael Perchin, St Petersburg, 1899-1903. Estimate: £60,000-80,000. Photo: Sotheby's.
LONDON.- Sotheby’s announced that in November this year it will bring to the market, for the first time ever, the extraordinary and rediscovered collection of personal and rare objects, including many exquisite pieces of Fabergé, which belonged to Her Imperial Highness Maria Pavlovna, Grand Duchess Vladimir (1854-1920) and her late husband, His Imperial Highness Grand Duke Vladimir Alexandrovich (1847-1909) - son of Emperor Alexander II and brother of Emperor Alexander III.
Deposited at the Swedish Legation in November 1918, the month Sweden broke off diplomatic relations with the Russian revolutionary government, the existence of the trove was unknown for ninety one years and recently surfaced among diplomatic holdings in Stockholm. Sotheby’s has now been asked to sell this collection, which represents one of the most important groups of objects with Romanov provenance to be offered at auction in recent times. It is expected to realise in the region of £1 million.
The sale of this previously unknown and private collection will comprise around 100 lots of cigarette boxes and an extraordinary array of cufflinks, including many fine pieces of Fabergé, that bear ciphers, Imperial inscriptions and coats of arms and even photographs of the Vladimirs and their immediate family. Estimates for the objects in the auction – several of which are in immaculate condition – range from £80-120 up to £4,000-6,000 for a set of cufflinks, and for a cigarette box from £700-900 up to £70,000-90,000.
Discussing this cache, which had been lost to posterity, Marcus Linell, Senior Director at Sotheby’s and Olga Vaigatcheva, Specialist in Russian Works of Art and Fabergé at Sotheby’s, commented: “We are absolutely thrilled to be offering for sale one of the most remarkable collections relating to the Romanovs to be offered at auction. Unknown for generations until their recent rediscovery, the objects, some of which still contain evidence of use by the Romanovs – remnants of tobacco and period Bogdanov cigarettes – truly evoke the grandeur and sublime taste of their original owners. We fully expect that the allure of this intimate and precious group, with its links to the historical events connected with one of the world’s most fabled dynasties, will hold the highest appeal for discerning collectors.”
