Bulgari, une parure et deux demi-parures chez Tajan Monaco
Bulgari. Parure comprenant un collier résille en or jaune articulé.
Les maillons pavés de diamants et ponctués de diamants plus importants. Signé. Dans son écrin. Long. 38 cm (avec la chaine) Poids des 36 diamants du collier : 16,51 cts. Poids : 138,2 g. Un bracelet assorti. Long. 21 cm (avec la chaine). Poids des 19 diamants du bracelet : 7,14 cts. Poids : 73,5 g. Une paire de clips d'oreilles assortis. Poids : 18 g. Les clips dans une pochette de daim jaune. Estimation : € 55,000-70,000
Bulgari. Demi-parure 'Campanella' comprenant un collier en or jaune en maillons d'or lisse alternés de maillons
pavés de diamants et terminés de demi-boules pavées de diamants.
Signé. Long. 38 cm. Poids : 306,1 g. Une paire de clips d'oreilles assortis. Signés. Vers 1995. Poids : 28,5 g. Dans un écrin Bulgari. Estimation : € 35,000-45,000
Bibliographie : Bulgari, par Daniela Masatti et Amanda Triossi, ed. Leonardo, p. 161.
Bulgari. Demi-parure comprenant un collier en or jaune, en draperie à décor de fleurs d'émail noir et de nacre sur un fond d'émail orange agrémenté de feuilles pavées de diamants.
Un bracelet assorti orné d'un même décor. Le fermoir serti d'un diamant. Le collier signé. Poids total : 220,5 g. Estimation : € 38,000-40,000
Tajan. BIJOUX, 28 juil. 2009 17:00, Monaco www.tajan.com
Jan Breughel the Younger (Antwerp 1601 - 1678), Still life with tulips, roses, lilies, irises, poppies, hyacinths, ...
Jan Breughel the Younger (Antwerp 1601 - 1678), Still life with tulips, roses, lilies, irises, poppies, hyacinths and other flowers in a blue and white delft porcelain vase
oil on oak panel, 70.4 by 48.2 cm.; 27 3/4 by 19 in. Estimate 600,000—800,000 GBP. Sold 713,250 GBP
PROVENANCE: With J.O. Leegenhoek, Paris, by 1979;
From whom bought by the present owner in 1980.
EXHIBITED: Maastricht, Pictura, 1979, no. 41;
Paris, Grand Palais, Xe Biennale Internationale des Antiquaires, 1980.
NOTE: Jan Brueghel the Younger was born in Antwerp in 1601 and trained in the studio of his father Jan Brueghel the Elder until his departure for Italy in 1622. After the unexpected death of his father in a cholera epidemic of 1625 he returned to Antwerp and took over his father's studio.
Many of Jan Brueghel the Younger's flower pieces are based on his father's prototypes and the present painting is no exception. The composition is largely derived from a still life by Jan Brueghel the Elder in the Kunsthistorische Museum, Vienna, dated by Klaus Ertz to 1608.1 Brueghel the Younger's style in this period, before his departure to Italy, was heavily influenced by his father. So close was the relationship between father and son that a number of these flower still lives have been identified as collaborative pieces with the hand of both master and pupil detectable.2
Although it is possible that the present picture was painted after the Younger's return from Italy, Ertz has convincingly argued that not only the collaborative pieces, but also the modified copies after his father's works, such as the present painting, were painted during the later 1610s and early 1620s.3 Jan Brueghel the Elder painted a number of large flower still lives in wooden tubs and his son did a series of versions after these. Ertz believes that Brueghel the Younger's versions cannot have been painted in the late 1620s as there is no mention of wooden tubs in the studio diaries from this period. It therefore follows that if a large proportion of these modified copies were produced by the Younger before his trip to Italy it seems probable that others, such as the present painting, were also produced at this time. Stylistically this early date would fit with the tighter way the flowers have been painted here. There is a looser, more fluid feel to Brueghel the Younger's brush strokes after his return from Italy.
Despite being based on a prototype designed by his father the present painting has some significant differences in both composition and style which makes it very much the Younger's own work. He has replaced the large iris in the centre with two tulips and changed the arrangement of the acorns on the ledge. The acorns have been moved to the far right and the space they occupied in the Elder's composition is taken by a branch from a crab apple tree. The bottom lip of the Delft vase is gilded in the Elder's composition and not in the Younger's. Stylistically, although still heavily influenced by his father's way of painting, the looser brush strokes in the vase and flower details visible under close examination are much more characteristic of the Younger and a precursor to the further loosening up of his style that was to come.
Sold with photostat certificates of Laurens Bol, dated Dordrecht 20th May 1979 & Marie-Louise Hairs, dated Liège 26th April 1979.
1. See K. Ertz, Jan Brueghel der Ältere (1568-1625), Cologne 1979, pp. 265, 587-8, no. 179.
2. See for example the still life offered London, Sotheby's, 12 December 2002, lot 12.
3. For a discussion of this see K. Ertz. Jan Brueghel der Jungere, Freren 1984, p. 428.
Sotheby's. Old Master Paintings Evening Sale.| 08 Jul 09. London www.sothebys.com
I find another still life of flowerqs from Jan Brughel the Younger :
Jan Brughel the Younger, Still life of tulips, roses, narcissus, forget-me-nots, a carnation and other flowers in a glass vase, resting on a table with a sprig of rosemary and an insect. Oil on copper, 12 x 8 ¼ in. (30.5 x 20.7 cm.) www.colnaghi.co.uk
Others still ilfe by his father in museums. His son is more fluid, in a looser style.
Jan Brueghel the Elder. Bouquet in a Clay Vase. c. 1599-1607. Oil on wood. Kunsthistorisches Museum, Vienna, Austria
Jan Brueghel the Elder. Bouquet. 1606. Oil on copper. Pinacoteca Ambrosiana, Milan, Italy.
Jan Brueghel the Elder. Bouquet. 1606. Oil on wood. Alte Pinakothek, Munich, Germany.
Jan Brueghel the Elder. Bouquet of Flowers. c. 1609-15. Oil on oak. Gemäldegalerie, Berlin, Germany.
Jan Brueghel the Elder. Vase of Flowers with Irises. Oil on panel. Palazzo Pitti, Galleria Palatina, Florence, Italy.
Jan Brueghel the Elder. Vase with Flowers. Oil on wood. Art Museum, Bucharest, Romania
"Madeleine Vionnet, puriste de la mode" @ Musée des Arts Décoratifs, Paris
Ensemble du soir, été 1935, modèle n°4868 © Patrick Gries
Les Arts Décoratifs présentent Madeleine Vionnet, puriste de la Mode, première rétrospective parisienne rendant hommage à l’une des plus grandes couturières françaises du XXe siècle à travers cent trente modèles de 1912 à 1939 conservés aux Arts Décoratifs. Pionnière dans la maîtrise de la coupe en biais et de l’art du drapé, elle a su mettre son génie au service des femmes et de leur bien-être. Madeleine Vionnet a permis une véritable transformation de la silhouette et de l’esthétique, marquant ainsi l’évolution de l’émancipation du corps féminin. Figure phare de la haute-couture de l’entre-deux guerres, Madeleine Vionnet est considérée comme « le couturier des couturiers ».
Madeleine Vionnet dans son studio avenue Montaigne, vers 1930 © DR
Née dans le Loiret en 1876, d’une famille modeste, elle s’installe avec son père nommé receveur d’octroi à Aubervilliers, en région parisienne, à l’âge de cinq ans. Bien que brillante élève, elle quitte l’école à 12 ans pour travailler et apprendre la couture chez la femme du garde champêtre. A 18 ans, elle décide d’apprendre l’anglais et se rend outre Manche où elle est employée comme lingère. En 1896, elle est engagée chez Kate Reily, maison de couture londonienne, où elle débute véritablement son apprentissage de la couture. De retour à Paris, cinq ans plus tard, elle entre chez les sœurs Callot, une des maisons de couture les plus prestigieuses où elle fait ses armes. En 1906, Jacques Doucet fait appel à elle et lui confie le soin de « rajeunir » sa maison. Mais en proposant aux mannequins de marcher pieds-nus, vêtues de robes souples qu’elles portent à même le corps sans s’appuyer sur l’incontournable carcan de rigueur à l’époque qu’est le corset, elle se heurte aux réticences de la maison et décide alors de voler de ses propres ailes.
Robe du soir à traîne, été 1924. Les Arts Décoratifs, UFAC © Patrick Gries
C’est en 1912 qu’elle ouvre sa propre maison de couture, au 222 rue de Rivoli, mais la Grande guerre la contraint de la fermer en 1914. Dès sa réouverture en 1918, elle impose sa modernité et connaît le succès. En 1923, sa maison de couture se trouvant à l’étroit, elle aménage un hôtel particulier, situé au 50 Avenue Montaigne. Elle confie au décorateur Georges de Feure l’aménagement de ses salons dans le style Art déco, faisant de ce lieu un véritable temple de la mode à la conquête d’une clientèle internationale des plus raffinées. L’organisation de la maison de couture fait preuve d’un réel esprit d’avant-garde. En femme engagée, Madeleine Vionnet dirige sa maison de couture comme une entreprise moderne emprunte d’un esprit social peu courant pour l’époque. Soucieuse du bien-être de ses employées, la nouvelle installation offre différents services sanitaires et sociaux : une cantine, un cabinet médical et dentaire gratuits pour le personnel et leur famille ainsi qu’une crèche. Enfin, elle accorde des congés payés et des congés de maternité plus avantageux que ne l’imposent les lois sociales de l’époque.
Robe, été 1921, Les Arts Décoratifs, UFAC © Patrick Gries
En visionnaire éclairée, elle soutient « l’Association pour la défense des Arts Plastiques et Appliqués » dont l’objectif principal est de protéger les intérêts de l’industrie de la Haute Couture en s’opposant à la contre-façon. Elle ferme sa maison de couture en 1939 lorsque la guerre éclate, elle est alors âgée de 63 ans.
Robe du soir, été 1931. Les Arts Décoratifs, UFAC © Patrick Gries
En 1952, Madeleine Vionnet fait une donation exceptionnelle à l’Union Française des Arts du Costume qui rassemble 122 robes, 750 toiles patrons, 75 albums photographiques de copyrights, des livres de comptes et des ouvrages issus de sa bibliothèque personnelle. Par cette démarche, elle fut la première couturière à avoir conscience de la nécessité de conservation de son patrimoine relevant de l’intérêt collectif, ce fonds est désormais conservé par Les Arts Décoratifs.
Robe du soir, été 1937. Les Arts Décoratifs, UFAC © Patrick Gries
L’exposition retrace de façon chronologique, la carrière exceptionnelle de Madeleine Vionnet de 1912 à 1939. Le premier étage, dont les modèles datent des années 1910 aux années 1920, met l’accent sur les caractéristiques propres aux créations de la couturière que sont : la structure et le décor du vêtement. Technicienne hors pair, elle pousse le raffinement à l’extrême pour atteindre une pureté absolue des lignes, grâce à une parfaite maîtrise des propriétés intrinsèques du textile, de la coupe du vêtement et de son placement sur le corps. Elle puise son inspiration à la source des civilisations. Fascinée par la Grèce antique, elle tente de réinventer le drapé libre en réduisant les coutures et les attaches. Avec le biais, qu’elle systématise et généralise à l’ensemble de la robe, le tissu s’échappe et flotte, moulant ainsi souplement le corps des femmes sans le contraindre ou s’enroule en drapé.
Robe du soir, été 1938. Les Arts Décoratifs, UFAC © Patrick Gries
C’est à cette époque aussi qu’elle oriente ses recherches autour des formes géométriques que sont le carré et le rectangle, qu’elle expérimente sur une poupée de bois de taille réduite qui lui permet d’agencer plus aisément ces formes avant de faire confectionner le modèle en grandeur nature. Perméable aux idées modernistes de son époque, Madeleine Vionnet modifie ainsi la conception traditionnelle du vêtement. Ses préoccupations intellectuelles l’apparentent à celles des peintres puristes, Amédée Ozenfant ou Le Corbusier qui refusent toute anecdote pour ne garder que l’essence des formes géométriques aux vertus plus architecturales que picturales.
Robe du soir, hiver 1921. Les Arts Décoratifs, UFAC © Patrick Gries
Le décor vient agrémenter la structure des pièces avec des motifs floraux – telle la rose qu’elle affectionne tout particulièrement - brodés, coupés, tressés ou incisés sur des matières comme le tulle, la laine mais aussi la fourrure. Elle utilise une gamme de couleurs réduites : le rouge, le jaune et chaque collection comporte systématiquement des modèles en blanc et en noir. En 1929, maniant à la perfection le carré et le rectangle, Madeleine Vionnet introduit le cercle permettant à la robe d’être plus près du corps.
Robe du soir, hiver 1935. Les Arts Décoratifs, UFAC © Patrick Gries
Au second étage, le visiteur découvre les créations des années 30, présentées année par année. Au centre de l’ensemble du parcours, des vitrines thématiques explorent le travail de la couturière en soulignant certaines particularités telles les franges, l’introduction du cercle, l’étiquette comportant sa griffe.
Robe du soir, hiver 1936. Les Arts Décoratifs, UFAC © Patrick Gries
Le catalogue de l’exposition met en parallèle les chefs-d’œuvre de la collection des Arts Décoratifs, photographiés par Patrick Gries, avec le regard des plus grands photographes de mode des années 1920-1930 et de précieux documents d’archive. Les textes retracent le parcours de Madeleine Vionnet, analysent la spécificité de ses créations et étudient sa relation avec les artistes décorateurs de l’époque.
Robe et cape du soir, hiver 1937. Les Arts Décoratifs, UFAC © Patrick Gries
Visitez le site de l'exposition, très instructif et beaucoup d'autres magnifiques images www.lesartsdecoratifs.fr
Et parce que le travail de Madeleine Vionnet se trouve dans les détails de coupe, entre autres, quelques photos :
Robe du soir, été 1924 (détail). Les Arts Décoratifs, UFAC © Patrick Gries
Robe du soir, été 1931 (détail). Les Arts Décoratifs, UFAC © Patrick Gries
Robe du soir, hiver 1936. Les Arts Décoratifs, UFAC © Patrick Gries
Robe et cape du soir, été 1935. Les Arts Décoratifs, UFAC © Patrick Gries
Jacob van Hulsdonck (Antwerpt 1582 - 1647), a still life of wild strawberries and a carnation in a ming bowl, with cherries ...
Jacob van Hulsdonck (Antwerpt 1582 - 1647), a still life of wild strawberries and a carnation in a ming bowl, with cherries and redcurrants on a wooden ledge
signed lower left: IVHVLSDONCK. FE (IVH in ligature); oil on copper (affixed to a panel); 28.4 by 36 cm.; 11 1/4 by 14 1/4 in. Estimate 300,000—500,000 GBP. Sold 361,250 GBP
PROVENANCE: Anonymous sale ('The Property of a Lady'), London, Christie's, 25 November 1966, lot 44, for 4000 Guineas to Koetser;
With Leonard Koetser, London, 1967;
With Julia Kraus, Paris;
Private collection, Germany, 1983;
Robert H. Smith, Washington;
With Bob Haboldt, New York, 1995;
Private collection;
Anonymous sale ('The Property of a Private Collector'), London, Sotheby's, 14 December 2000, lot 15, where bought by the present owner.
EXHIBITED: London, Leonard Koetser, Spring 1967, no. 3, reproduced;
Amsterdam, P. de Boer, 22 April - 31 May 1983;
Braunschweig, Herzog Anton-Ulrich-Museum, A Fruitful Past, 15 June - 31 July 1983, no. 27;
New York, Bob P. Haboldt, Fifty Paintings by Old Masters, 1995, no. 28.
LITERATURE AND REFERENCES: T.H. Crombie, 'Autumn Offerings', in Apollo, vol. lxxviii, no. 20, October 1963, p. 305, reproduced;
Christie's Review of the Season, 1966-7, p. 30, reproduced;
'The Leonard Koetser Spring Exhibition', in The Connoisseur, no. 164, 1967, p. 253, reproduced fig. 3;
S. Segal, in A Fruitful Past, exhibition catalogue, Amsterdam 1983, pp. 65, 115, cat. no. 27;
S. Segal, Flowers and Nature, The Hague 1990, p. 84, cat. no. 31, reproduced.
NOTE: Though born in Antwerp, Hulsdonck seems to have spent his youth in Middelburg, where the exiled Flemish Protestants fleeing the Spanish Terror after 1585 included many artists as well as patrons. This, and the close trading links with Dutch cities upstream such as Dordrecht, provided there a fertile breeding ground for artistic talent. Hulsdonck certainly knew Ambrosius Bosschaert the Elder. The two artists' work show great affinity, but Bosschaert, who was nearly ten years older than Hulsdonck, probably influenced the younger artist. Both were influenced by Jan Brueghel the Elder, but after Hulsdonck's return to Antwerp in 1608, his work shows more affinity with Osias Beert, who had been enrolled in the Guild in 1602 (but who never dated a picture), and who therefore probably influenced Hulsdonck, rather than vice versa.
This understated picture is one of Hulsdonck's most elegant compositions. His simplest compositions tend to be his most successful - the same is true of his still lifes of flowers in vases.
Sotheby's. Old Master Paintings Evening Sale.| 08 Jul 09. London www.sothebys.com
Some others still life from Jacob van Hulsdonck in a Ming bowl
Jacob van Hulsdonck, Still Life with Fruit, oil on panel, 20 by 31.4 cm. Estimate 100,000—150,000 USD. Sold 122,500 USD Sotheby's New York, Important Old Master Paintings, Including European Works of Art, 29 Jan 09 photo courtesy Sotheby"s
Jacob van Hulsdonck, Still Life with Lemons, Oranges and a Pomegranate, 1640. Oil on panel, 16 1/2 x 19 1/2 in. 86.PB.538. The Getty Center Los Angeles
Jacob van Hulsdonck, Still Life with Oranges and Lemons in a Wan-Li Porcelain Dish © Bridgeman Art Library / Private Collection / Johnny Van Haeften Ltd., London
Une robe en mousseline d'été , griffée Callot Sœurs Paris. 1909
Une robe en mousseline d'été , griffée Callot Sœurs Paris. 1909
Estimation : 1000/1500€
Vente aux enchères le samedi 11 juillet à Moulins par Sarl Enchères Sadde Me.Sadde-Collette. Email : sadde-collette@interencheres.com
Commentaire : En 1895, les quatre soeurs Callot, Marie [la plus célbre;Mme Gerber], Marthe, Regina et Joséphine, ont créé un salon, rue Taitbout à Paris.Et en 1900 la couturiere Madelaine Vionnet travaillera avec elles jusqu'en 1912. elles aquérirons une certaine notoriété dans un premeier temps car elles furent parmis les premières couturieres a utilisr l'argent et le lamé d'or pour leurs robes ainsi que des tissus rares. Dans un second temps elles compterons des clientes américaines et se spécialiseront dans une lingerie extraordinairement féminine.
" Grâce aux sœurs Callot, dira-t-elle, j'ai pu faire des Rolls-Royce. Sans elles j'aurai fait des Ford ". Madeleine Vionet
Quelques autres modèles pour le plaisir :
Callot Soeurs linen jacket with inserts of handmade filet lace, c.1910. Label: "Callot Soeurs/Marque & Modèle/Déposés, Paris."
Callot Soeurs, evening gown, 1921, France, gift of the Estate of Mrs. Potter Palmer II, née Pauline Kohlsaat, photograph by Irving Solero
Callot Soeurs (French, active 1895–1937), Day dress, ca. 1924. Woven cashmere embroidered with gold thread. Gift of Julia B. Henry, 1978 (1978.288.7a,b) In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 (www.metmuseum.org)
Callot Soeurs couture dress of black silk with bands of gold lamé, c.1924, sold by Vintage Textile. The design of the dress was inspired by the craze for Orientalism in all the decorative arts. www.vintagetextile.com
Callot Soeurs, Evening gown, c. 1928. Silk charmeuse, pearl, metallic thread © Chicago History Museum (www.metmuseum.org)
A dress by the Callot Soeurs fashion house, ca 1912 (source La Gazette du bon ton)
Important Dyce Discovery to be Offered For Sale at Sotheby's Next Week
William Dyce, The Meeting of Jacob and Rachel, Est. £100,000 – 150,000. Photo: Sotheby's.
LONDON.- A stunning William Dyce painting that has been lost for over a century is to be offered for sale at Sotheby’s next week. The Meeting of Jacob and Rachel is expected to fetch between £100,000 – 150,000 when it is offered for sale in Sotheby’s Victorian and Edwardian Art sale on Wednesday 15 July 2009. The painting illustrates the Biblical text ‘Jacob kissed Rachel and lifted up his voice, and wept’ - Rachel’s father had tricked Jacob into working for him without payment on the understanding that he could marry Rachel. The work has been untraced since it was exhibited in the 1850s – first at the Royal Academy in 1850 and later at the Manchester Art Treasures exhibition in 1857. The discovery was made when an image of the work was sent to Sotheby’s specialists who were later able to identify it as the original by a small part of torn label on the reverse that identified it as having been in the Manchester exhibition.
Discussing the work Grant Ford, Senior Director and Head of Victorian Paintings at Sotheby’s said: “This is one of the most important pre-Raphaelite paintings to appear on the market for some time. It is thrilling to have uncovered the whereabouts of this striking Dyce work, especially as it was just last autumn that we set a record William Dyce, The Meeting of Jacob and Rachel, Est. £100,000 – 150,000 for a work by the artist at auction with Welsh landscape of two women knitting which was included in the sale of the Scott Collection at Sotheby’s London.”
The painting illustrates the Biblical text ‘Jacob kissed Rachel and lifted up his voice, and wept.’ Rachel’s father had tricked Jacob into working for him without payment on the understanding that he could marry Rachel. However, after fourteen years he insisted that Jacob should first marry his elder daughter Leah before eventually allowing him to marry Rachel. This theme must have been particularly meaningful to the artist as he had been forced to delay his own marriage until January 1890 – maybe on account of the 27 year age difference between him and his 19 year old bride.
Other highlights of the Victorian and Edwardian Art auction include Liverpool Docks, by John Atkinson Grimshaw, an atmospheric night-time depiction of 19th century Liverpool estimated at £250,000-350,000 and Wind and Sun by Dame Laura Knight – a light-filled costal scene painted in Cornwall expected to fetch £200,000-300,000.
Fred Goudon (1965). South Africa
Fred Goudon (1965). South Africa
Tirage argentique en noir et blanc N° 1/8. 30 x 40 cm. Certificat de l'artiste. Estimation : 400 / 500 €
Vente du Samedi 25 juillet 2009. Estampes, Tableaux XIX et XXe, Russes et Orientalistes, Hommage à P. Ambrogiani. Boisgirard Provence-Côte d'Azur - 06000 Nice. Pour tout renseignement, veuillez contacter Patricia Perrier à la maison de ventes au 04 93 80 04 03.
'JJ/RR Jasper Johns/Robert Rauschenberg: 20th Century Masters in the Collection' @ the Columbia Museum of Art
The exhibition includes 10 works on paper by the iconic artists.
COLUMBIA, SC.- An installation of the work of pioneering Pop artists Jasper Johns and Robert Rauschenberg opens at the Columbia Museum of Art on July 18 and runs through October 4. JJ/RR Jasper Johns and Robert Rauschenberg: 20th Century Masters in the Collection, on view in the Museum's Gallery 15, includes 10 works on paper by the iconic artists. This installation, drawn from the work in the Columbia Museum of Art's collection, explores the visual relationship between these two artists and friends.
Johns and Rauschenberg are considered two of the pioneering artists of the mid-20th century in America. They forged a new direction and paved the way for the Pop art movement with its attention to popular imagery. Lifelong friends with much in common, Johns and Rauschenberg met in New York and grew up in the South in the 1930s and 1940s (Johns in South Carolina and Rauschenberg in Texas), and both served in the military - Johns in the Army and Rauschenberg in the Marines.
In New York they shared studio space and were both represented by well-known gallery owner Leo Castelli. With the Vietnam War, feminism and the civil rights movement center stage, the cultural mood of the 1950s and 1960s in America was one of questioning, and occasionally open defiance, of traditional messages and meanings. Translated to the world of art, Johns and Rauschenberg questioned the authority of an artist or the art establishment to dictate meaning. By selecting common images from popular culture, they challenged the fixed attitudes toward what could be considered art and allowed individual viewer experiences to create an infinite variety of meanings inspired by the Dada artist Marcel Duchamp (1887-1968) who revolutionized the art world with his "ready-mades" - a series of found objects presented as finished works of art.
Top des enchères : Manuscrit de Marguerite de Bretagne, dame de Goulaine (1563 - 1599), 7 juin 2009
Marguerite de Bretagne, dame de Goulaine (1563 - 1599) : Manuscrit en partie autographe, milieu du XVIe-milieu du XVIIe siècle.
Bel exemple de l'art de la reliure à Nantes à la fin du XVIe siècle. Adjugé 242 000 €
On joint la brochure consacrée à ce manuscrit : Le Livre de Marguerite de Bretagne dame de Goulaine par Arthur de La Borderie (Nantes, Société des bibliophiles bretons, 1878).
Provenance : conservé dans la famille depuis l'origine. Marquis de Goulaine, château de Goulaine.
Dimanche 7 juin – Rouillac, Cheverny
Royal Academy Announces 'The Real Van Gogh: The Artist and His Letters' in Early 2010
Vincent Van Gogh, Still Life with a Plate of Onions, 1889. Oil on canvas, 49.6 x 64.4 cm
LONDON.- In January 2010, the Royal Academy of Arts will stage a landmark exhibition of the work of Vincent van Gogh (1853–1890). The focus of the exhibition will be the artist’s remarkable correspondence. Over 35 original letters, rarely exhibited to the public due to their fragility, will be on display in the main galleries of Burlington House, together with around 65 paintings and 30 drawings that express the principal themes to be found within the correspondence. Thus the exhibition will offer a unique opportunity to gain an insight into the complex mind of Vincent van Gogh. This will be the first major Van Gogh exhibition in London for over forty years.
In addition to lending almost all the letters in the exhibition, the Van Gogh Museum, Amsterdam, has made available twelve important paintings. Other major lenders include the Kröller-Müller Museum, Otterlo, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Boston, and The J. Paul Getty Museum, Los Angeles, together with other museums and private collections worldwide.
Born in Zundert in the southern Netherlands in 1853, Van Gogh was the second of six children of a Protestant pastor. In his early adult life, he worked for a firm of art-dealers in The Hague and London, before becoming a missionary worker. His career as an artist began only in 1880, when he was 27. During his ten-year artistic career, which his suicide cut tragically short in 1890, Van Gogh’s output was prodigious: largely self-taught, he produced over 800 paintings and 1,200 drawings.
Van Gogh was a compulsive and eloquent correspondent. The majority of his letters were written to his brother Theo, an art-dealer who supported Vincent throughout his difficult artistic career. Vincent also wrote to other family members, including his sister Wilhelmina. Other artists, notably Anton van Rappard, Emile Bernard and Paul Gauguin, were also, at different phases of Vincent’s life, recipients of his letters. The originality of his ideas about art, nature and literature, combined with his deep understanding of these subjects, make Van Gogh’s letters much more than a personal expression of feelings: they attain the status of great literature. In reading the letters one encounters not only a sensitive, determined and exceptionally hardworking man, but also someone possessed of a powerful intellect; this exhibition will challenge the view that Van Gogh was an erratic genius by allowing the viewer a rare insight into his artistic process through the intimate medium of his correspondence. Together the letters create a ‘self portrait’, and reveal the ways in which Van Gogh defined himself as an artist and as a human being.
Taking the letters as its starting point, The Real Van Gogh: The Artist and His Letters will view the paintings and drawings from the perspective of the correspondence. The letter sketches that Van Gogh frequently used to show a work in progress or a completed work are a fascinating part of the correspondence, and many will be shown alongside the paintings or drawings on which they are based.
Highlights of the exhibition will include Self-portrait as an Artist (1888) and The Yellow House (1888) from the Van Gogh Museum, Amsterdam; Still-life: Drawing Board with Onions (1889) from the Kröller-Müller Museum, Otterlo; Vincent’s Chair with His Pipe (1888) from the National Gallery, London; and Entrance to the Public Park in Arles (1888) from the Phillips Collection, Washington DC.
Examining such themes as the role of colour in painting, the cycles of nature, friendship, religion and literature, the exhibition will celebrate the new edition of the artist’s correspondence Vincent van Gogh – The Letters: The Complete Illustrated and Annotated Edition, that will be published by Thames & Hudson in October 2009. The result of fifteen years of scholarship by Leo Jansen, Hans Luijten and Nienke Bakker of the Van Gogh Museum, the complete correspondence of Vincent van Gogh will be published as a printed edition in three languages and as an integral web-edition, thereby providing the worldwide public with a wealth of new information. The exhibition is based on many insights that the new and extensive research into the letters has produced.
Vincent Van Gogh, Letter from Vincent to his brother Theo van Gogh, sketch in letter 253[221]:p8, Pollard willow, Aug 1882. Pen and ink. Van Gogh Museum, Amsterdam
