A collection of chinese monochromes @ Bonhams San Francisco
A powder blue glazed yenyen vase with gilt decoration. Kangxi
The stippled cobalt ground painted in gilt with phoenix panels to the exterior neck and the lower body with opposing dragons chasing a flaming pearl separated by smaller reserves of fish and crabs, the interior of the neck and the recessed base displaying the white ground of the fabric beneath a colorless glaze. 17 7/8in (45.5cm) high - Estimate: $5,000 - 6,000
A monochrome glazed porcelain stem cup with anhua decoration. Yongzheng Mark, 19th Century
The fabric line-incised with a lishui border around the foot, and dragons chasing flaming pearls to both sides of the walls and the floor bearing the incised six-character mark, all beneath a pale celadon glaze. 5 3/8in (13.5cm) diameter - Estimate: $2,000 - 3,000
A pair of celadon crackle glazed cong-form vases. Tongzhi Marks, Republic Period
Each of square section and molded in high relief with eight trigrams to each rectangular side, the base bearing a six-character mark in underglaze blue regular script and the glaze layer displaying long, russet-stained craze lines. 11 1/4in (28.5cm) high - Estimate: $2,000 - 3,000
A flambé red glazed porcelain stick neck vase. 19th Century
The elegant form covered with a red glaze that thins slightly around the upper neck and increases in intensity of hue toward the foot, the recessed base covered with a celadon-tinged glaze. 15 3/4in (40cm) high - Estimate: $1,300 - 1,500
A robin's egg blue glazed porcelain vase. 19th Century
Molded with horizontal string bands around the reduced stick neck and three lion heads applied to the shoulder, all visible beneath the mottled turquoise and purple glaze also applied within the recessed base. 13in (33cm) high - Estimate: $1,000 - 1,500
A robin's egg glazed porcelain censer. Yongzheng Mark, 19th Century
Of simple bombé form with animal head and mock ring handles to each side, the base bearing an impressed six-character mark in seal script, the glaze covering all surfaces except the foot pad. 6 1/8in (15.5cm) wide - Estimate: $1,000 - 1,500
A russet glazed porcelain vase. Yongzheng Mark, Late Qing/Republic Period
Of pear form with cupped rim, a pair of strap handles to each side in line with two rectangular openings cut into the tall foot, the recessed base bearing in impressed four-character mark in seal script and the glaze covering all surfaces except the foot pad. 10 1/2in (26.5cm) high - Estimate: $1,000 - 1,500
A pair of small yellow glazed porcelain bowls
Each with a colorless glaze covering the wide, curving well and a layer of bright yellow enamel applied over the glaze on the exterior walls and foot, the recessed base bearing a six-character Yongzheng mark in underglaze blue regular script within a double ring. 3 5/8in (9mm) diameter - Estimate: $1,000 - 1,500
A langyao glazed porcelain vase. Xuande Mark, 19th Century
Its exterior walls covered with a uniform scarlet wash beneath a colorless glaze that continues on the rim, interior and recessed base bearing an incised six-character mark within a double ring. 7 7/8in (20cm) high - Estimate: $1,000 - 1,500
A langyao glazed porcelain bottle vase. 18th/19th Century
Of yuhuchun shape, its exterior walls covered with an uneven wash of scarlet red beneath a colorless glaze that continues on the rim, interior neck and the recessed base. 10 1/2in (26.5cm) high - Estimate: $800 - 1,200
An 'apple green' enameled and crackle-glazed porcelain vase. Late Qing Dynasty
Of elongated ovoid form with a trumpet neck, covered with a densely crackled colorless glaze to most surfaces and a bright green enamel layer to the exterior walls. 22in (56cm) high - Estimate: $800 - 1,200
A Song style Longquan celadon glazed stoneware vase
Of mallet form with extruding fish handles and covered with a crazed gray-green glaze. 9 1/8in (23cm) high - Estimate: $800 - 1,200
A celadon glazed porcelain vase with incised decoration. Republic Period
Of compressed baluster form with stiff leaf and lappet bands above lotus flowers and dense leaf sprays visible beneath the gray-green glaze, the base bearing the four-character mark in underglaze blue partially covered by an old paper label. 13 1/2in (34cm) high - Estimate: $800 - 1,200
A celadon glazed stick neck vase with applied dragon decoration. Qianlong Mark, Republic Period
Its shoulder and lower neck encircled by a crawling chilong, the recessed base bearing the six-character mark in underglaze blue; together with a small crackle-glazed celadon planter of fish bowl shape with unglazed base. [2] 12 1/4 and 7in (31 and 18cm) high - Estimate: $800 - 1,200
Two celadon glazed porcelain hu-form vases. Yongzheng Marks, Republic Period
Each molded with raised string bands around the globular body, mock animal head and ring handles applied to the shoulder and bearing a six-character mark within a double ring in underglaze blue on the base. 7 7/8 and 7in (20 and 18cm) high - Estimate: $700 - 1,000
A cobalt ground glazed porcelain jar with gilt decoration and associated cover. 19th Century
The full-bodied jar showing traces of reserves filled with garden flowers and rocks drawn in gilt enamels; the associated cover without apparent gilt decoration. 16 3/4in (42.5cm) high - Estimate: $700 - 900
A turquoise glazed porcelain stick neck vase. 19th Century
The interior of its cylindrical neck and the exterior walls covered with a richly hued glaze that stops unevenly above the unglazed foot and recessed base. 8 3/4in (22cm) high - Estimate: $700 - 900
A flambé red glazed porcelain double-gourd form vase. 19th Century
Its thick walls tapering gradually to the delicately formed lip, the red glaze layer streaked with brown and the recessed base coated with a crazed celadon glaze that also appears on portions of the interior. 15in (38cm) high - Estimate: $700 - 900
A 'robin-egg' blue glazed porcelain stick neck vase. Late Qing/Republic Period
Molded with a flared lip to the long, waisted neck and a compressed globular body, the mottled blue glaze covering all surfaces except the foot pad. 7in (18cm) high - Estimate: $700 - 900
A purple flambé glazed porcelain censer. 19th Century
Thickly potted with an in-curving lip around the deep well covered with a crazed off-white glaze, the canted exterior walls with three applied bosses displaying the striated flambé glaze that stops in uneven welts along the outer edges of the unglazed base. 10 1/2in (26.5cm) diameter. Estimate: $600 - 800
Two small monochrome glazed porcelain containers
The first a langyao glazed porcelain ovoid jar and and cover, the base bearing a six-character Kangxi mark in underglaze blue regular script; the second a deep cup with flared rim and golden yellow enamel covering its exterior walls over a colorless glaze visible on the interior and the recessed base. 4 and 3in (10 and 7.5cm) high - Estimate: $500 - 700
A Song style green glazed stoneware vase
Of mallet shape with phoenix head handles, covered with a pale leaf green glaze marked with abundant craze lines. 9 7/8in (25cm) high - Estimate: $500 - 700
A flambé glazed stoneware vase. Late Qing/Republic Period
Of pear form with a slightly waisted neck and rolled rim, covered overall with a richly mottled glaze displaying patches of opalescent blue within the deep crimson ground. 8 3/4in(22cm) - Estimate: $300 - 500
Bonhams. Asian Decorative Arts, 28 Jul 2009. 220 San Bruno Avenue, San Francisco www.bonhams.com
Collection de bijoux insectes chez Artcurial Monte-Carlo
Importante broche en or jaune, or gris et or noirci stylisée d'une abeille sertie de diamants taillés en brillant blancs ou madère.
Haut. : 5,8 cm - Poids brut : 48,3 g. (total diamond weight : 17.58cts) Estimation 8 500 - 10 000 €
Yvi Larsen. Bague hanneton en or jaune, le dos serti de rubis et de diamants (manque).
Poids brut : 17 g. Estimation 4 000 - 6 000 €
Grande broche Papillon en or gris pavé de saphirs multicolores, le corps en diamants.
Poids des saphirs : 100 cts environ - Poids brut : 78 g - Htr : 9 cm. Estimation 3 800 - 4 000 €
Fabergé. Clip de corsage en or jaune et platine stylisé d'un insecte, les élytres et les antennes émaillés, le thorax serti de diamants taillés en brillant, les yeux, de turquoise cabochon.
Signé Fabergé Paris. Haut. : 4,4 cm - Poids brut : 24,5 g. Estimation 1 500 - 2 000 €
Broche Hanneton en or jaune émaillé, la tête soulignée de diamants, le corps fait d'une perle de culture.
Poids brut : 15 g. Estimation 900 - 1 000 €
Broche en or jaune et argent stylisée d'un coléoptère, la tête et le thorax ornés de demi perles fines, les élytres faites de cabochons de grenat, les yeux en pâte de verre rouge.. Travail probablement russe du XIX siècle.
Haut. : 2,8 cm - Poids brut : 8,1 g. Estimation 600 - 800 €
Barrette en alliage d'or jaune 14 K sur laquelle est posé un coléoptère, le corps serti de demi perles fines les élytres faites de grenats cabochon. Travail russe de la fin du XIX siècle.
Long. : 4 cm - Poids brut : 2,5 g. Estimation 300 - 400 €
ARTCURIAL. Hôtel Hermitage, Monte-Carlo. 27 juil. 2009 15:00. Me François Tajan. www.artcurial.com
Richard Avedon , Photographs 1946-2004 @ the San Francisco Museum of Modern Art (SFMOMA)
Richard Avedon, Willem de Kooning, painter, Springs, Long Island, New York, August 18, 1969; © 2009 The Richard Avedon Foundation.
SAN FRANCISCO, CA.- As a highlight of its summer exhibitions schedule, the San Francisco Museum of Modern Art (SFMOMA) presents Richard Avedon: Photographs 1946–2004, on view from July 11 through November 29, 2009.
Widely celebrated as one of America's preeminent photographers, Avedon was among the first to challenge the conventional boundaries between studio photography and reportage. Some of his best-known portraits—a young Bob Dylan standing in the rain, Marilyn Monroe caught in a vulnerable moment, Andy Warhol and his Factory cohorts—are the most iconic of the 20th century.
Whether photographing politicians, artists, models, or Hollywood stars, Avedon revolutionized the genre of portraiture. His daring style rejected conventional poses and instead captured both motion and emotion in the faces of his subjects, often encapsulating their intrigue in a single honest moment.
SFMOMA is the only U.S. venue for this exhibition, which is the first major retrospective of the Avedon's work since his death in 2004. A selection of nearly 200 photographs spanning the artist's entire career are presented roughly chronologically, highlighting major themes and benchmarks of Avedon's output: his early, post–World War II street scenes; his breakthrough Paris fashion work in the 1950s; his far-reaching survey of American counterculture in the 1960s and '70s; his Reagan-era series, which focused on ordinary people living in the western United States; and his portraits of the nation's most influential people.
"Avedon is one of our great photographers whose work only increases in influence and resonance," says Phillips. "SFMOMA is thrilled to present this important overview, which offers the first opportunity to examine the whole of Avedon's achievement and his integral place in the history of photography."
Avedon was committed to photography as a social transaction. His subjects—even those who were anonymous—face the camera in implicit awareness of their collaboration in the portrait-making process. Beginning with one of Avedon's early street photographs (taken in Rome in 1946) and ending with his portrait of pop musician Björk (made less than four months before the photographer's sudden death), Richard Avedon: Photographs 1946–2004 reveals the profoundly social dimension of all the artist's work, celebrating his never-ending fascination with people and his persistent desire to absorb and represent cultural change.
Richard Avedon was born in 1923 in New York City to Russian Jewish parents; he died in 2004 of a cerebral hemorrhage in San Antonio, Texas, where he was on assignment for The New Yorker. He first began taking pictures at the age of 19 in the U.S. Merchant Marine, where his role was to take identity photographs of servicemen with the Rolleiflex he had been given by his father when he left home. Upon his return to New York in 1944, he began working as an advertising photographer for a department store, but he was quickly discovered by the legendary Alexey Brodovitch, at that time artistic director of the fashion magazine Harper's Bazaar. Soon he was delivering photographs to Harper's regularly, as well as to Life, and Look. By 1946 he had established his own studio. For the next six decades, Avedon had an enormously successful career, making pictures both for magazines and artistic display, bridging journalism and the art world, insiders and outsiders.
Avedon was also one of the most innovative fashion photographers of our time. A great admirer of Martin Munkácsi—the Hungarian photographer who revolutionized the fashion world with dynamic images of models in motion—Avedon followed in his hero's footsteps by producing inventive scenes of urbane women in scenarios that were groundbreaking for the day. His famous Dovima with elephants, evening dress by Dior, Cirque d'Hiver, Paris, August 1955, for example, does more than capture the glamour of a renowned model in elegant couture. Depicting the subject amid hay and sawdust, and between two elephants, the picture itself becomes a fantasia of desire, pleasure, and display. Avedon's talent as a fashion photographer was so legendary that he became the inspiration for the film Funny Face (1957), with Fred Astaire playing the part of the young New York photographer.
In the 1960s and '70s, Avedon expanded his artistic reach with a series of studio portraits representing charismatic figures of the sexual and intellectual counterculture movements then under way. The Beatles, Twiggy, Allen Ginsberg, César Chávez, Andy Warhol, and Malcolm X all make an appearance. His portrait work during this time ultimately expanded to encompass a cross-section of individuals from an enormous range of social realities: artists (Jasper Johns, Francis Bacon, Willem de Kooning); writers (Truman Capote, William Burroughs, Jean Genet); government and business officials (Ralph Nader, Henry Kissinger, Katharine Graham of The Washington Post); as well as various drifters, aristocrats, and radical political protestors.
Among his most powerful works from this period are the group portraits that assemble members of social microcosms, such as his portraits of The Family, as he called his encyclopedic survey of political figures from America's bicentennial year; civil rights activist Julian Bond and members of the Student Nonviolent Coordinating Committee; and Andy Warhol and members of The Factory, an unforgettable photograph that conveys a sense of improvised mischief (its subjects posing in various stages of undress) though it was actually a staged and highly controlled tableau.
Avedon had his first major museum exhibition in 1962 at the Smithsonian Institute, followed by other shows at important institutions throughout the country—exhibitions that typically centered on the fashion aspect of his work. As late as the mid-1970s, very few museums recognized contemporary photography as a "serious" artistic medium. But eventually photography began to gain foothold in major collections, exploding as a field of interest in the art world, and Avedon was there at just the right moment.
His hallmark series In the American West (1980–85)—a body of portraits devoted to unknown denizens of the rural West—was received quite differently from his earlier work for fashion magazines. Commissioned by The Amon Carter Museum in Fort Worth, Texas, Avedon traveled through 13 states and 189 towns in the western United States from 1979 to 1984, taking nearly 17,000 photographs along the way. These images of farmhands, oil workers, petty criminals, waitresses—many dramatically oversized, and all depicting the subjects against a stark white background, with no shadows or reference to place—present ordinary human frailty rather than the stereotypes of rugged grandeur so often associated with the American West.
During the final two decades of Avedon's career, he continued to create some of the most well-known images of key cultural icons, including Nobel Prize recipient Kofi A. Annan, artist Roy Lichenstein, writer Salman Rushdie, peer photographer Lee Friedlander, and of course several important self-portraits.
Richard Avedon: Photographs 1946–2004 will also present a selection of vintage magazines in which Avedon published—Vogue, Harper's Bazaar, Rolling Stone, and The New Yorker—that show how his eye functioned in a journalistic sense, and how the photographs appeared in their original context.
Richard Avedon, Charles Chaplin leaving America, New York, September 13, 1952 © 2009 The Richard Avedon Foundation
Self-portrait, photographer, Provo, Utah, August 20, 1980; © 2009 The Richard Avedon Foundation Björk, musician, New York, June 2, 2004; © 2009 The Richard Avedon Foundation Janis Joplin, singer, Port Arthur, Texas, August 28. 1969; © 2009 The Richard Avedon Foundation Twiggy, hair by Ara Gallant, Paris studio, 1968; © 2009 The Richard Avedon Foundation Dovima with Elephants, Evening Dress by Dior, Cirque d'Hiver, Paris, 1955; gelatin silver print; courtesy The Richard Avedon Foundation; © 2009 The Richard Avedon Foundation Richard Avedon with Twiggy, Paris studio, April 1967; © 2009 The Richard Avedon Foundation Marilyn Monroe, actor, New York, May 6, 1957; © 2009 The Richard Avedon Foundation Bob Dylan, musician, Central Park, New York, February 10, 1965; © 2009 The Richard Avedon Foundation
Gobelet à thé à anse en argent doré, Saint-Petersbourg, vraisemblablement 1888, poinçon de Karl Fabergé
Gobelet à thé à anse en argent doré, Saint-Petersbourg, vraisemblablement 1888, poinçon de Karl Fabergé
à décor de filigranes et d’émaux cloisonnés polychromes, le corps à motifs d’enroulement et d’arabesques, décoré de 6 médaillons fleuris en relief, anse à volutes découpée. (manque l’intérieur en verre). Pds : 212 g. H. 9,5 cm, Diam int. 7 cm. Estimation : 2000/3000 €
Dimanche 12 juillet – Adjug'art SVV, Brest. Email : cosqueric@numericable.fr
Pierre-Karl Fabergé (30 mai 1846 à Saint-Pétersbourg, Russie - 1920 à Lausanne, Suisse) est un célèbre joaillier russe mieux connu sous le nom de Karl Fabergé. Il est issu d'une famille protestante picarde émigrée en Allemagne, puis en Russie, à la suite de la Révocation de l'Édit de Nantes. De son père, Gustav, il prend en main les destinées de la maison Fabergé en 1870. Alexandre III, tsar de Russie, lui accorde en 1884 le privilège d'être le fournisseur de la cour des Romanov. Il le restera sous Nicolas II. Il fut également reconnu auprès des cours d'Angleterre, de Thaïlande, de Suède et de Norvège. Le comité des employés de la coopérative K. Fabergé prendra la direction de la société à la suite de la Révolution russe 1917.Il meurt trois ans plus tard à Lausanne. Il est connu pour ses créations d'objets décoratifs raffinés : œufs, fleurs, bijoux, figurines, cadres, pendules, boîtes, etc. Ses matériaux favoris étaient les pierres semi-précieuses de l'Oural, dont les plus caractéristiques sont la néphrite (sorte de jade vert), la bowenite (pierre vert clair à blanc), la rhodonite (rouge marbré de noir), mais aussi entre autres le cristal de roche et l'agate ; les émaux souvent guillochés de façon remarquable et les métaux nobles, dont l'or de quatre couleurs (jaune, blanc, rose et vert). Il diversifie ses styles, beaucoup de « néo » : Rococo, Louis XVI, Empire, Renaissance, un peu d'art nouveau (l'œuf au muguet, quelques vases et plats) et dans la succursale de Moscou de style panslave. Certaines pièces préfigurent de façon troublante l'art déco, voire le modernisme. Ses objets évoquent l'art de vivre de la dynastie des Romanov juste avant sa chute. (Wikipedia)
Top des enchères : Robert Mapplethorpe, « X » Portfolio, 8 juin 2009
Robert Mapplethorpe (1946-1989) : « X » Portfolio.
13 tirages argentiques. Consisting of 13 archivally processed silver prints with a text by Edmund White. Published by the Robert Miller Gallery, New York and the Lunn Gallery, Washington D.C., in 1980.
Chaque photographie 19,5 x 19,5 cm est contrecollée sur carton fort, numéroté 14/25 et signé en bas à droite. Emboîtage 37,5 x 35 cm. Adjugé 36 000 €
Provenance : acquis en 1981, près de Robert Miller.
Lundi 8 juin – Rouillac, Cheverny
'A Case for Wine: From King Tut to Today' @ The Art Institute of Chicago
Charles Frederick Kandler (English). Wine Jug (detail), 1739/40. Silver; Height: 34 cm (13 3/8 in.). Gift of the Antiquarian Society.
CHICAGO, IL.- The Art Institute of Chicago presents A Case for Wine: From King Tut to Today, opening on July 11, 2009, in the museum’s Regenstein Hall, marking the first time a fine arts museum has explored art through the vine. On view until September 20, 2009, this major exhibition features more than 400 objects drawn from the Art Institute’s extensive encyclopedic collection, in addition to loans from other cultural institutions and private collections. The Art Institute is the sole venue for A Case for Wine.
Andrea Mantegna. Italian, 1431-1506, Bacchanalian Group with a Wine Press, c. 1470 © 2009 The Art Institute of Chicago
A Case for Wine explores the cultivation of the grape and its transformation into wine, showcasing not only the making of wine but also the ways it has been stored, poured, and shared throughout centuries, from the barrel to the bottle. Artists from across the world and throughout the ages have also used wine as a source of inspiration for their works, and this exhibition features the fruits of their labors with objects ranging from antiquated wine accoutrements to the work of contemporary painters, sculptors, and photographers.
Jan Steen. Dutch, 1626–1679. The Family Concert, 1666 © 2009 The Art Institute of Chicago
A Case for Wine spreads out through 10 galleries and offers several exceptional highlights, tracing this beloved beverage’s surprisingly significant role as a stimulus and source of artistic endeavors from ancient through modern times. One of the Art Institute’s most famous classical pieces, the “Chicago Painter’s Vase”—a Greek stamnos, or wine jar, (c.450 B.C.)—is showcased in the exhibition. This piece was purchased for the museum in 1889 during one of its very first European buying expeditions and named, by archaeological convention, for the city in which it is housed. The museumʼs outstanding collection of 16th- to 19th-century European wine glasses is displayed alongside paintings by Pieter Claesz, Jean Baptiste Siméon Chardin, and Henri Fantin-Latour that incorporate remarkably similar wine glasses.
Roman. Pair of Busts of Silenus, 1st century B.C./1st century A.D. © 2009 The Art Institute of Chicago
The intoxicating exhibition also salutes wine-related works of the Worldʼs Fairs and includes a recent Art Institute acquisition, Victorian architect William Burgesʼs sideboard, whose polychromatic surface tells the apocryphal story of “Saint Bacchus” who dies by drowning in a barrel of wine. Works by Impressionists, Cubists, and Surrealists offer insight into the wineinfused atmosphere of café life. The work of modern and contemporary artists is featured including German painter Brigitte Riesebrodtʼs The Last Supper. This piece was created from recycled wooden wine barrel staves found near the artistʼs home in Tuscany. The stillsaturated wood suffuses the air with the subtle scent of wine, offering wine enthusiasts a chance to put their well-honed noses to work.
Honoré Victorin Daumier, French, 1808-1879, Impressions From the Vintage. “- What! You are treading bare-foot? - So what… you wouldn't want us to do it in our dancing shoes!,” plate 2 from Croquis D'automne, 1856 © 2009 The Art Institute of Chicago
A Case for Wine will be complemented by an array of educational programs. On July 16 at 6:00 pm in Fullerton Hall, Leonard Lesko, chairman emeritus of the department of Egyptology at Brown University, will present Wine of the Pharaoh, a lecture that will review winemaking and tasting in Egypt with a focus on wine jars found in King Tut’s tomb. Visitors are also invited to join Christopher Monkhouse, Eloise W. Martin Curator of European Decorative Arts and curator for A Case for Wine, for an exhibition tour on August 25 at noon. The tour begins in the Modern Wing’s Griffin Court.
England, Birmingham. Designer: Augustus Welby Northmore Pugin (English, 1812-1852), Manufacturer: John Hardman & Co. (English, founded 1838), Model Chalice, c. 1849 © 2009 The Art Institute of Chicago
Made for the Cathedral Seo de Urgel, Lérida, Spain. Altar Frontal Depicting Scenes from the Life of Christ, Late 16th century © 2009 The Art Institute of Chicago
Francesco Durantino, Italian, active 1543-1553. Wine Cistern, 1553 © 2009 The Art Institute of Chicago
Tiffany and Company, American, founded 1837. Covered "Roman" Punch Bowl, 1893 © 2009 The Art Institute of Chicago
Gorham Manufacturing Company, American, founded 1863. Covered Punch Bowl Supported by a Tripod Stand with Gimbals, 1893 © 2009 The Art Institute of Chicago
Thomas Couture (French, 1815-1879), printed and manufactured by Jules Desfossé (French, 1816-1889). The Supper after the Masked Ball, c. 1855 © 2009 The Art Institute of Chicago
André Kertész, American, born Hungary, 1894–1985, Café du Dome, Paris, 1925, printed 1970s © 2009 The Art Institute of Chicago
French. Jean Despres (French, 1889-1980), Centerpiece, c. 1925/30 © 2009 The Art Institute of Chicago
William Glackens, American, 1870-1938, At Mouquin's, 1905 © 2009 The Art Institute of Chicago
Greek, Attica. Attributed to The Painter of Naples 3136. Oinochoe (Pitcher), c. 440 B.C. © 2009 The Art Institute of Chicago
John Sloan, American, 1871-1951, Renganeschi's Saturday Night, 1912 © 2009 The Art Institute of Chicago
William Sidney Mount, American, 1807-1868, Bar-room Scene, 1835 © 2009 The Art Institute of Chicago
Mrs. James Ward Thorne, American, 1882-1966, E-10: English Dining Room of the Georgian Period, 1770-90, c. 1937 © 2009 The Art Institute of Chicago
Jean Baptiste Siméon Chardin, French, 1699–1779, The White Tablecloth, 1731/32 © 2009 The Art Institute of Chicago
Dutch (Delft), The Terrace, c. 1660 © 2009 The Art Institute of Chicago
Vincent van Gogh, Dutch, 1853–1890, The Drinkers, 1890 © 2009 The Art Institute of Chicago
Giuseppe Maria Crespi, Italian, 1665-1747, The Wedding at Cana, c. 1686 © 2009 The Art Institute of Chicago
Aleksei Alekseevich Morgunov, Russian, 1884–1935, Portrait of Nathalija Gontcharova and Mihajl Larionov, 1913 © 2009 The Art Institute of Chicago
Joseph Cornell, American, 1903–1972, Untitled (Yellow Sand Fountain), early 1950s © 2009 The Art Institute of Chicago
Tiffany and Company, American, founded 1837, Punch Bowl, 1873 © 2009 The Art Institute of Chicago
Archibald John Motley, Jr., American, 1891-1981, Nightlife, 1943 © 2009 The Art Institute of Chicago
René Magritte, Belgian, 1898–1967, Untitled (Bottle Nude), c. 1946/49 © 2009 The Art Institute of Chicago
Viktor Schreckengost, American, 1906-2008, Made for Cowan Pottery Studio (1913-1931) Rocky River, Ohio, Jazz Bowl, c. 1931 © 2009 The Art Institute of Chicago
Robert Delpire, Delpire & Cie @ 40èmes Rencontres d'Arles
Robert Delpire, affiches crées pas R.Delpire (détail du visuel de l'exposition des 40ème Rencontres d'Arles) © Robert Delpire
Les 40èmes Rencontres d'Arles offrent l'opportunité à Robert Delpire de remercier les auteurs et acteurs qui ont participé avec lui à, comme il le dit, «l'aventure passionnante qu'est l'édition».
L'exposition présentée à l'espace Van Gogh et l'église des Trinitaires est consacrée à la carrière de Robert Delpire et retrace les multiples facettes de son parcours d’éditeur, de directeur artistique, de commissaire d’expositions et de producteur de films.
Elle témoigne de sa contribution à la mise en valeur et à la reconnaissance de la photographie au cours des dernières décennies.
Delpire & Cie rassemble environ 500 photographies (tirages expo, agrandissements, reproductions, etc.), 150 documents originaux (livres, revues, catalogues, objets, etc.) et de nombreux vintages.
Ce titre a été choisi par Robert Delpire lui même, après avoir pensé à Mille Mercis.
Simple et fédérateur, Delpire & Cie exprime bien le fait que l'éditeur n'est pas le seul concerné par cette rétrospective. Les assistants, graphistes, typographes, spécialistes en fabrication ou en électronique, les photograveurs, les imprimeurs, les relieurs et les accrocheurs sont eux aussi impliqués.
Présentée successivement à Arles et à Paris, l'exposition sera à la Maison Européenne de la Photographie du 28 octobre 2009 au 24 janvier 2010.
Avec des photographes De g. à dr. (assis) Robert Delpire, Sarah Moon, sa compagne, et Martine Franck ; (debout) Jeanloup Sieff, Jacques-Henri Lartigue et Henri Cartier-Bresson, en 1973. Coll. J.-H. lartigue/ministère de la Culture-AAJHL
'The Dutch Italianates: Seventeenth-Century Masterpieces from Dulwich Picture Gallery, London' @ The Frick Art & Historical Cent
Aelbert Cuyp (Dutch, 1620–1691), Herdsman with Cows, mid-1640s. Oil on canvas. Courtesy of the Dulwich Picture Gallery.
PITTSBURGH, PA.- The Frick Art & Historical Center presents The Dutch Italianates: Seventeenth-Century Masterpieces from Dulwich Picture Gallery, London featuring 39 paintings by 17 masters of the Dutch Italianate style from the collection of Dulwich Picture Gallery, London, called the best small museum in all of Europe. The exhibition, which opens on July 11, 2009, will be on view at The Frick Art Museum through September 20, 2009.
Italy has always exerted a powerful influence on artists, and during the seventeenth century many Dutch artists—some who visited Italy and others who did not—infused their landscapes with the feel of the Roman campagna or countryside. The paintings they created exhibit glorious tonal control, magical handling of light, technical brilliance, and humor. The exhibition highlights the famed masters of the Dutch Italianate style, including masterpieces by Aelbert Cuyp (1620–1691), Adam Pynacker (1620/1–1673), Jan Both (c. 1615–1652), Nicolaes Berchem (1620–1683), Karel Du Jardin (1621/2–1678), and Philips Wouwermans (1619–1668). The works—some tiny, some grand—include a variety of styles within the landscape genre: anecdotal scenes, humor and allegory, as well as paintings of hunts and outdoor entertainments that anticipate the light-hearted subjects of the Rococo period.
The Dulwich collection was originally formed for the king of Poland by London art dealers Noel Desenfans and his partner, painter Sir Francis Bourgeois RA. At the time the collection was being formed in the 1790s, the Dutch Italianates and their works were at the height of popularity and value. However, when Catherine the Great and the King of Prussia partitioned Poland in 1795, Desenfans and Bourgeois were left with 180 paintings for which no payments had been made. In spite of this setback, they continued to build the collection, and upon Bourgeois’ death in 1811 it was left to Dulwich College. This extraordinary gift and his wish to make the works available to the public, made the Dulwich Picture Gallery England’s first public art gallery.
During the seventeenth century, artists from all over Europe flocked to Rome to work alongside their Italian colleagues. Perhaps the most remarkable and prolific artistic invasion of Italy in this period was that of the Dutch. Middle-class Protestant Dutch art patrons were more interested in collecting bucolic landscape scenes rather than religious works. To accommodate them, the artists turned to the Italian campagna for their subject matter. Painters such as Jan Both and Nicolaes Berchem brought back seductive visions of mountains and peasants basking under golden skies to a flat and cloudy Holland that could not get enough of them.
The Dutch artists in Rome worked and lived together. Known as a rowdy and fun loving bunch—they could be seen marching together into the countryside to sketch. What made their work different from other landscapists of the time, are the kinds of people who inhabited their luminous paintings. Poor peasants, especially milkmaids and shepherds, and street people, including beggars, prostitutes and traveling musicians, cavorted among classical ruins. The Italians were scandalized, but these subjects were highly marketable back in Holland. The number of Dutch artists who imitated this style and subject matter—but who never visited Italy—bears this out.
Their popular visions of Italy inspired Cuyp, Wijnants, Wouwermans, and Weenix to create their own interpretation of a landscape they may never have seen. Included in the exhibition is one of Aelbert Cuyp’s most accomplished works, Herdsman with Cattle, c. 1645. The painting is one of six by Cuyp in the exhibition. Aelbert Cuyp, one of the most famous of the Italianate artists, never actually visited Italy, and probably learned his own mastery of light effects from Jan Both. Jan Both traveled to Italy in 1637, where he met and worked with the French landscapist Claude Lorrain, from whom he acquired the skill of rendering effects of golden or silvery light. His technique was hugely influential after he returned to Holland in 1642. Cuyp’s paintings can be seen in comparison to Both’s work, whose charming, richly colored Road by the Edge of the Lake is also in the exhibition.
One of the key artists of the first phase of Dutch Italianate painting, Cornelis van Poelenburch (1594/5–1667) produced luminous views of the campagna, often populated by figures from Classical mythology. His Valley with Ruins and Figures, 1627, is a carefully composed work in the classical style.
Probably the most successful and prolific of all the Italianate landscapists was Nicholas Berchem, who combined a fluid technique with a figural style that was very influential. He traveled to Italy in the 1650s, and his popular landscapes presented colorful Italian peasants in landscapes littered with Classical ruins.
Philips Wouwermans’ Halt of the Hunting Party from the early 1660s, is a clear illustration of the connection of fanciful Dutch landscapes to the later French Rococo style. In this canvas, a well-dressed hunting party stops at stream and is theatrically posed along a winding, rugged path, their fancy dress and prancing horses provide a choreographed contrast to a lowly beggar offering his cap for alms in the background. Cuyp and Wouwermans are two of the most important Dutch Italianates who never traveled to Italy, but were influenced by the work of their peers who made the journey.
Although these artists were influential throughout Europe until the end of the 1700s, by the 1830s the tide of pubic taste had turned against the Dutch painters of Italian landscapes. England’s great landscape artist, John Constable, spoke out against the artificiality of the Dutch Italianate style. Trends shifted again, however, by the time Henry Clay Frick formed his collection in New York, and several works by Aelbert Cuyp and Phillip Wouwermans are included in The Frick Collection in New York.
Selected from the collection of The Dulwich Picture Gallery, England’s oldest public art gallery, these paintings are on a limited North American tour while the Dulwich is undergoing renovation.
Adam Pynacker, Landscape with Sportsmen and Game, 1811. Courtesy of the Dulwich Picture Gallery
Philips Wouwerman (Dutch, 1619–1668), Halt of a Hunting Party, early 1660. Oil on canvas. Courtesy of the Dulwich Picture Gallery
Adam Pynacker (Dutch, 1620/1–1673), Bridge in an Italian Landscape, n. d. Oil on canvas. Courtesy of the Dulwich Picture Gallery
Nicolaes P. Bercham (Dutch, c. 1620–1683), Roman Fountain with Cattle and Figures [Le Midi], n. d. Oil on panel. Courtesy of the Dulwich Picture Gallery.
Karel Du Jardin (Dutch, c. 1622–1678), Peasants and a White Horse, n. d. Oil on canvas. Courtesy of the Dulwich Picture Gallery.
Jan Both (Dutch, c. 1615–1652), Road by the Edge of a Lake, c. 1637–1642. Oil on panel. Courtesy of the Dulwich Picture Gallery.
A selection of late 15th/Early 16th Century vietnamese ceramics from Hoi An Hoard @ Bonhams San Francisco
A selection of twenty-two blue and white jars and jarlets. Late 15th/Early 16th Century
Including eight miniature jars painted with leafy sprays below a petal neck band; eight similar small jarlets decorated with bands of song birds amid foliate sprays; four ovoid jars girded by blossoming leafy sprays; and two squared jars with shaped floral reserves below a neck cloud-collar band. 1 1/2 and 2 7/8in (3.1 and 7.3cm) average heights - Estimate: $400 - 600
A selection of eighteen blue and white jars and jarlets. Late 15th/Early 16th Century
Consisting of four ovoid jars, each with a central band of blossoming leafy sprays below a ring of stylized petals at the neck, and twelve similar jarlets decorated with bands of song birds alternating with foliate sprays. 2 and 3in (5 and 7.6cm) average heights - Estimate: $400 - 600
A group of thirty-four blue and white jarlets. Late 15th/Early 16th Century
Consisting of fourteen miniature and twenty small ovoid jarlets, each painted with a wide band of birds amid leafy foliage, most framed by narrow blue rings, the short neck with a collar of stylized petals. 1 3/8-2 1/4in (3.5-5.6cm) high - Estimate: $300 - 500
A group of six blue and white jars. Late 15th/Early 16th Century
Each of globular shape with a wide mouth, one decorated with birds amid leafy bamboo framed by scrolling foliate and lappet bands, the remainder with a central band of stylized blossoms amid leafy tendrils below a diaper-patterned band, one with a lid decorated en suite. [7] 3 ½ (9cm) average diameter - Estimate: $400 - 500
A selection of eleven jars. Late 15th/Early 16th Century
Consisting of two small white vasiform jarlets with three lug handles encircling a flared rim; two jarlets, one with a wide mouth, decorated in cobalt blue with a central foliate band between lappet bands; and seven blue-and-white covered jars, most decorated with a floral band bracketed by petal and lappet bands, one featuring birds in a landscape, the lids with a central knob and painted en suite. 2 1/8-3 3/8in (5.3-8.3cm) high - Estimate: $400 - 600
A selection of nine enamel decorated jars and bowls. Late 15th/Early 16th Century
The first of seven globular jars with a short cylindrical neck and retaining traces of the original enameled foliate patterns; the second a pair of bowls with the interior well painted in green and red enamel with a floral medallion, the exterior with a band of stylized flowers above jeweled lappets, the bases with chocolate brown wash. 2 7/8in (6.8cm) average height; 5 3/8in (13.7cm) diameters - Estimate: $400 - 600
A group of twenty-five blue and white jarlets. Late 15th/Early 16th Century
Consisting of fourteen miniature and twenty small ovoid jarlets, each painted with a wide band of birds amid leafy foliage, most framed by narrow blue rings, the short neck encircled by petals or a jeweled band. 1 7/8-2 1/4in (4.5-5.4cm) high. Estimate: $300 - 500
A group of thirty-two blue and white jarlets. Late 15th/Early 16th Century
Consisting of miniature and small ovoid jarlets, each painted with a band of birds amid leafy foliage, most framed by narrow blue rings, the short neck with a collar of stylized petals. 1 1/2-2 1/8in (3.5-5.4cm) high - Estimate: $300 - 500
A group of twenty-five blue and white jarlets. Late 15th/Early 16th Century
Consisting of fourteen miniature and twenty small ovoid jarlets, each painted with a wide band of birds amid leafy foliage, most framed by narrow blue rings, the short neck encircled by petals or a jeweled band. 1 7/8-2 1/4in (4.5-5.4cm) high - Estimate: $300 - 500
A group of thirty-two blue and white jarlets. Late 15th/Early 16th Century
Consisting of miniature and small ovoid jarlets, each painted with a band of birds amid leafy foliage, most framed by narrow blue rings, the short neck with a collar of stylized petals. 1 1/2-2 1/8in (3.5-5.4cm) high - Estimate: $300 - 500
A selection of twenty-four blue and white jars and jarlets. Late 15th/Early 16th Century
Consisting of six ovoid jars, each with a central band of flowering orchid tendrils below a collar of overlapping petals at the neck; fourteen miniature and four small jarlets, each decorated with birds in a landscape or leafy foliage, all set within blue rings below a neck ring of stylized petals. 1 ¾-3 1/4in (3.6-8.1cm) high - Estimate: $400 - 600
A selection of twelve blue and white jars and jarlets. Late 15th/Early 16th Century
Including six ovoid jarlets painted with birds flying in a landscape, set within blue rings below a neck collar of petals; four larger jars of similar shape, the exterior decorated with leafy orchid tendrils within narrow rings below a ring of petals at the neck; and two jars applied with lug handles and with similar decoration accompanied by a row of lappets at the base. 2 ¼, 3 and 4in (5.8, 7.8 and 10cm) average heights - Estimate: $300 - 500
A selection of twenty-two blue and white jars and jarlets. Late 15th/Early 16th Century
The first of twelve hexagonal jars with rounded edges, each decorated with alternating floral and geometric reserves repeated in the petals encircling the neck; the second of eight small jarlets painted with bands of birds amid foliate sprays below a collar of petals at the neck. 2 3/8 and 1 3/4in (6 and 4.4cm) average heights - Estimate: $400 - 600
A selection of twenty-two blue and white jars and jarlets. Late 15th/Early 16th Century
The first of twelve hexagonal jars with rounded edges, each decorated with alternating floral and geometric reserves repeated in the petals encircling the neck; the second of eight small jarlets painted with bands of birds amid foliate sprays below a collar of petals at the neck. 2 3/8 and 1 3/4in (6 and 4.4cm) average heights - Estimate: $400 - 600
A group of four molded parrot bowls with enamel decoration. Late 15th/Early 16th Century
Each molded as a shallow peach-form bowl with its leafy branch held in the beak of a parrot with its body curling around the right side, the foliate design with traces of the original green and red enamels. 3 1/2in (9cm) average length - Estimate: $500 - 700
A group of six blue and white bowls and ten small cups. Late 15th/Early 16th Century
The bowls of inverted bell form, each interior with a stylized character below a rim band, the exterior with leafy orchid or four-petal flowers above jeweled lappets, the bases with a chocolate brown wash; the cups of similar shape with petal-shaped ribs to the exterior, each decorated with a ruyi-head or jeweled rim band above stiff leaves repeated on the interior centered by a character or blossom. 5 ½ and 2 1/2in (14 and 6.3cm) average diameters - Estimate: $400 - 600
A selection thirteen bowls and cups. Late 15th/Early 16th Century
Each of the blue-and-white bowls decorated with a character or floral spray on the interior, the exterior with leafy orchids or stylized flowers above jeweled lappets; one pair of small molded cups with underglaze blue foliate decoration; one pair of bell-form cups with cobalt floral reserves above lappets; one pair of cream-colored cups of similar shape; and one undecorated small white bowl. 5 ½in (14cm) average diameter of bowls - Estimate: $400 - 600
A group of six blue and white bowls and ten small cups. Late 15th/Early 16th Century
The bowls of inverted bell form, each interior with a stylized characters and rim band of scrolling tendrils, the exterior with leafy orchid or four-petal flowers above jeweled lappets, the bases with a chocolate brown wash; the cups of similar shape with petal-shaped ribs on the exterior, each decorated with a ruyi-head or jeweled rim band above stiff leaves repeated on the interior centered by a character or blossom. 5 ½ and 2 1/2in (14 and 6.3cm) average diameters - Estimate: $400 - 600
A group of six blue and white bowls and twelve small cups. Late 15th/Early 16th Century
Each of the bowls of inverted bell form with a stylized character or floral spray in the interior well, the exterior with leafy orchid or four-petal flowers above jeweled lappets, the bases with a chocolate brown wash; each of the cups molded with petal-shaped exterior, the interior with a character encircled by stiff leaves repeated on the exterior below a ruyi-head or jeweled rim band. 5 1/4 and 2 1/2in (13.4 and 6.3cm) average diameters - Estimate: $400 - 600
A selection thirteen bowls and cups. Late 15th/Early 16th Century
Each of the blue-and-white bowls decorated with a character or floral spray on the interior, the exterior with leafy orchids or stylized flowers above jeweled lappets; one pair of small molded cups with underglaze blue foliate decoration; one pair of bell-form cups with cobalt floral reserves above lappets; one large and three small inverted bell-form cream-colored cups. 5 1/4in (13.4cm) average diameter of bowls - Estimate: $400 - 600
A selection of nine blue and white vessels. Late 15th/Early 16th Century
Consisting of two compressed ovoid pouring vessels decorated with a central band of flowering orchid tendrils below a collar of overlapping petals; three jars of similar shape and decoration; three vasiform jars with lug handles, each painted in a similar manner with petals or lappets encircling the base; and one small jar with shaped floral reserves. 1 5/8-4 1/8in (4.2-10.4cm) high - Estimate: $400 - 600
A selection of twelve blue and white small items. Late 15th/Early 16th Century
Consisting of one compressed ovoid jar with lug handles and two small vases with floriform rims, each painted with flowering orchid tendrils bracketed by a neck collar of overlapping petals and lappets; and nine circular boxes, each with a flat lid centered by a stylized floral medallion with geometric accents and framed by a jeweled band or narrow rings, some with overlapping lappets at the base, one with traces of enamel accents. 2 3/4in (7.3cm) height vases; 2 1/8-2 3/8in (5.3-6cm) diameters - Estimate: $400 - 600
A selection of twenty-three blue and white bottles and jars. Late 15th/Early 16th Century
Including ten miniature pear-shaped bottles decorated with conjoined petals; nine lobed jarlets painted with bands of stylized jewels, some with lappets at the base; and four ovoid jars with a central foliate band and stylized petals encircling the cylindrical neck. 3 1/2in (8.8cm) height of largest - Estimate: $400 - 600
Three decorated yuhuchun bottles. Late 15th/Early 16th Century
Each of pear shape, the first decorated in colored enamels with a central register of small reserves set between lappet bands; the second two painted in cobalt blue with central band of blossoms or birds in a landscape bracketed by jeweled lappet and lotus petal bands; each with a chocolate brown wash to the base. 9 1/8, 11 ¾ and 12in 12in (23.3, 29.7 and 30cm) high - Estimate: $400 - 600
Three decorated yuhuchun bottles. Late 15th/Early 16th Century
Each of pear shape, the first with lobed sides and decorated in underglaze blue and enamels with shaped floral reserves below a cloud collar and stiff leaf bands; the second painted in cobalt blue with birds in a landscape framed by jeweled lappet and conjoined lotus petal bands; the third with two registers of floral reserves above conjoined lotus petals in underglaze blue, each with a chocolate brown wash to the base. 9, 12 1/8 and 11 7/8in (22.8, 30.8 and 30.2cm) high - Estimate: $400 - 600
Three decorated yuhuchun bottles. Late 15th/Early 16th Century
Each of pear shape, the first decorated in underglaze blue and enamels with a central band of geometric and cloud-form reserves set between patterned lappets; the second two painted in cobalt blue with birds alternating with bamboo and bracketed by jeweled lappet and conjoined lotus petal bands, a chocolate brown wash to the base. 9 1/8, 11 ¾ and 12in 12in (23.3, 29.7 and 30cm) high - Estimate: $400 - 600
Two blue and white bottles. Late 15th/Early 16th Century
Each of pear form, decorated with a band of bird amid stalks of leafy bamboo, framed by jeweled lappet and overlapping lotus petal bands, a stiff leaf band below the flaring rim, the base with a chocolate brown wash. 11 ½ and 11 3/4in (29.2 and 29.7cm) high - Estimate: $400 - 600
A selection of twenty blue glazed bottles and boxes. Late 15th/Early 16th Century
Each covered in a muted cobalt blue glaze, including eight pear-shaped bottles, each surmounted by a flared rim and with vertical ribs, with chocolate brown painted bases; six circular boxes with a flat lid applied with a small flower-head; and six molded boxes with lobed sides issuing from a central roundel. 4in (10.2cm) average height; 2-2 3/8in (5-6cm) diameters - Estimate: $300 - 500
A selection fourteen blue and white small bottles. Late 15th/Early 16th Century
Each of pear shape, the first eight of miniature size and painted with vertical petal-like bands bordered by foliate or key fret collars; the remaining four with flaring rim and decorated en suite, the bases with chocolate brown wash. 2 ¾ and 4in (7 and 10.2cm) average height - Estimate: $300 - 500
A group of sixteen blue and white landscape boxes. Late 15th/Early 16th Century
Each circular box with a flat cover painted with a stylized landscape, some including small pavilions or rocky cliffs, all framed by thin blue bands. 2 1/2in (6.6cm) average diameter - Estimate: $300 - 500
A group of sixteen blue and white landscape boxes. Late 15th/Early 16th Century
Each circular box with a flat cover painted with a stylized landscape, some including small pavilions or river scenes, all framed by thin blue bands. 2 3/8-2 1/2in (6-6.5cm) diameters - Estimate: $300 - 500
A group of sixteen blue and white landscape boxes. Late 15th/Early 16th Century
Each flat cover of the circular box painted with a stylized landscape, most with four clusters of foliage and framed by thin blue bands. 2 5/8 (6.6cm) average diameter. Estimate: $300 - 500
A group of sixteen blue and white landscape boxes. Late 15th/Early 16th Century
Each of circular shape and with a flat cover painted with a stylized landscape framed by thin blue bands. 2 5/8 (6.6cm) average diameter - Estimate: $300 - 500
A group of sixteen blue and white boxes. Late 15th/Early 16th Century
Each of circular shape with a flat cover centered by a peony blossom framed by scrolling leaves and jeweled bands, some with lappets encircling the base. 2 1/4in (5.8cm) average diameter - Estimate: $300 - 500
A selection of twenty-five blue and white boxes. Late 15th/Early 16th Century
Including six miniature boxes of octagonal contour and decorated with stylized peony roundels above foliate reserves; six miniature cylindrical works with covers centered by stylized flowers; and thirteen larger boxes of similar design, nine with an additional central knob on the flat lid, all embellished with jeweled bands or foliate scrolls on the sides. 1 3/8- 2in (3.5-5cm) diameters - Estimate: $400 - 600
A selection of twelve blue and white boxes. Late 15th/Early 16th Century
Each of cylindrical shape with mixed decoration, six covers with floral roundels above panels of birds on the sides; five with landscape medallions on the cover and side panels of birds in flight (4); one with a fu-lion medallion within jeweled bands on the cover. 2 ¼-2 1/2in (5.8-6.2cm) diameters - Estimate: $400 - 600
A group of twelve blue and white boxes. Late 15th/Early 16th Century
The first six with additional enamel and occasional gilt accents, each with a molded cover centered by a dragon or foliate medallion, the surrounding band with cobalt blue floral scrolls or reserves above jeweled lappets; the second six each with a flat cover painted with a peony medallion within a jeweled band, one with enamel accents to the side. 3 and 2 5/8 (7.6 and 6.8cm) average diameters - Estimate: $500 - 700
A group of twenty-two small blue and white boxes. Late 15th/Early 16th Century
Each of cylindrical shape, including four miniature boxes with the flat covers decorated as a stylized blossom; the remaining eighteen with covers centered by various types of blossoms encircled by jeweled bands. 1 3/8- 2in (3.6-5cm) diameters - Estimate: $300 - 500
A group of eighteen small blue and white boxes. Late 15th/Early 16th Century
Each of cylindrical form, the slightly convex cover centered by a cash emblem encircled by chrysanthemum or peony petals bordered by a jeweled band repeated on the sides. 1 ¾- 2in (4.5-5cm) diameters - Estimate: $300 - 500
A group of twenty blue and white boxes. Late 15th/Early 16th Century
Each of circular shape and most with a slightly lobed contour, each cover centered by a multi-petal blossom encircled by stylized leaves or patterned lappets, the sides with further lappets of foliate or geometric pattern. 2 3/8in (6cm) average diameter - Estimate: $300 - 500
A selection of sixteen blue and white boxes. Late 15th/Early 16th Century
The first eight of creamy white hue, each molded with a central floret and lobed circular body; the second eight each with a flat cover decorated with a stylized blossom encircled by petals or geometric and foliate-patterned lappets repeated on the rounded sides. 2 1/2in (6.3cm) average diameter - Estimate: $300 - 500
A group of twelve blue and white boxes. Late 15th/Early 16th Century
Each of circular shape, the flat cover centered by a stylized blossom or leafy floral spray encircled by bands with floral reserves on a diaper patterned ground repeated on the sides. 2 ½-3 1/4in (6.4-8.2cm) diameters - Estimate: $400 - 600
A selection of sixteen blue and white boxes. Late 15th/Early 16th Century
Each of circular shape with a flat cover, eight painted with a stylized landscape framed by a jeweled border, a band of small birds amid leafy plants on the sides; eight centered by a stylized blossom encircled by geometric and foliate-patterned lappets repeated on the sides. 2 3/8-2 3/4in (6-7cm) diameters - Estimate: $400 - 600
A selection of sixteen blue and white boxes. Late 15th/Early 16th Century
Each of circular shape with a flat cover, eight centered by a peony or chrysanthemum blossom framed by scrolling leaves and a patterned border; eight painted with a stylized landscape framed by a jeweled border, the sides with small birds amid leafy plants. 2 1/2in (6.4cm) average diameter - Estimate: $400 - 600
A group of sixteen blue and white boxes. Late 15th/Early 16th Century
Each of circular shape and some with a slightly lobed contour, each with the rounded cover centered by a multi-petal blossom encircled by stylized leaves or patterned lappets, the sides with further lappets of foliate or geometric pattern. 1 5/8-2 1/8in (4-5.5cm) diameters - Estimate: $300 - 500
A selection of ten blue and white boxes. Late 15th/Early 16th Century
Each of circular shape with a flat cover, four centered by a peony blossom framed by scrolling leaves and a cloud-collar border; six with a spray of begonia encircled by jeweled bands, the sides painted with birds in a landscape. 2 1/2in (6.4cm) average diameter - Estimate: $400 - 600
A selection of twenty three blue and white boxes. Late 15th/Early 16th Century
Each of circular shape with lobed sides, the first eight with a solitary floral spray centering the flattened lid; the remainder with the molded top centered by a stylized blossom encircled by jeweled leaves or patterned lappets repeated on the sides. 1 7/8-2 3/8in (4.5-6cm) diameters - Estimate: $300 - 500
A selection of sixteen blue and white boxes. Late 15th/Early 16th Century
Each of circular shape with lobed sides, the first eight of creamy white hue and molded with a central floret; the second eight with the molded top centered by a stylized blossom encircled by jeweled leaves, the sides with lappet reserves of foliate or geometric pattern. 2 ½ and 2 3/8in (6.3 and 6cm) average diameters - Estimate: $300 - 500
A selection of twenty-five blue and white boxes. Late 15th/Early 16th Century
Each of circular shape, the first eight with a solitary floral spray centering the flattened lid; nine molded with lobed sides with the top centered by a stylized blossom encircled by jeweled leaves above floral and geometric reserves on the sides; and eight centered by a peony or chrysanthemum blossom framed by scrolling leaves within a jeweled border, some with lappets at the base. 1 3/4-2 1/2in (4.2-6.2cm) diameters - Estimate: $300 - 500
Bonhams. Asian Decorative Arts, 28 Jul 2009. 220 San Bruno Avenue, San Francisco www.bonhams.com
