Après 45 ans de silence, les ' cahiers de Francis Poulenc un ouvrage sur, et autour du compositeur
...Après 45 ans de silence, L’Association Francis Poulenc (sous l’Egide de la Fondation Poulenc) publie aux Editions Michel de Maule les ' cahiers de Francis Poulenc un ouvrage sur, et autour du compositeur.
Le premier volume préfacé par Maitre Georges Prêtre, également Président de l’Association, se veut être une rencontre originale avec le compositeur.
Musicologues, artistes, journalistes, écrivains se sont joints, sous la direction de Simon BASINGER, pour faire vivre sous forme d’écrits, ce 'moine et ce voyou ' !
Francis Poulenc, grand musicien Français se devait d'être conjugué pluriel : Portrait musical, littéraire, chorégraphique, pictural, mode, mais aussi régions et religion chères au compositeur.
Magnifiquement réalisé par Alexandre Rotsztein Directeur Artistique supervisée par un comité scientifique dirigé par Madame Malou Haine (directeur du Musée des instruments de Musique de Bruxelles- Eminent musicologue), cet ouvrage vous fera vivre Poulenc au quotidien dans des articles originaux parsemés de photos inédites émanant de la collection privée du compositeur.
Le second volume (préfacé par Jean Claude Casadesus) est quant à lui disponible dès le 1er septembre prochain avec un panel tout aussi original qu'éclectique !
Une collection de prestige, pour un compositeur de Prestige ! Iconographie et discographie mis à jour, interviews, anecdotes, etc. de quoi vous donner envie d’entrer dans l'univers de Poupoule (1) et de ses nombreux amis (es) et d'aller à sa rencontre sur les chemins de l'amour (2) !
Les cahiers Francis Poulenc. 18 euros- Editions Michel de Maule Paris www.poulenc.fr
Simon Basinger est musicologue et rédacteur en chef des "Cahiers Francis Poulenc"
(1) Surnom donné à Poulenc par Jean Cocteau en 1936 -
(2) Nom d'une mélodie de Poulenc, paroles de Jean Anouilh
Winnaretta Singer, princesse de Polignac avait commandé au printemps 1932 le Concerto pour deux pianos dont je vous propose ci-dessous les liens vers Youtube (malheureusement, je rencontre un problème pour intégrer les vidéos). La première a eu lieu le 5 septembre 1932 à Venise lors du festival de musique de Venise par l'orchestre de la Scala sous la direction de Désiré Defauw et joué au piano avec Jacques Février. Le concert remporta un vif succès. Poulenc passa le reste de l'été au palazzo Polignac afin de profiter de son succès.
Second mouvement : http://www.youtube.com/watch?v=Z2B5xTGInzI
Troisième mouvement : http://www.youtube.com/watch?v=C7j7Vss8BSI
Collection of Chinese Bronze Mirrors from Eastern Zhou dynasty, Warring States period (481-221 BC)
J'ai un faible pour les miroirs de bronze. Est-ce par narcissime ? En tout cas, j'ai commencé une petite collection...
Mirror with Four Dragons Pattern, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) 5th-3rd Century BC. 1995.274. Cleveland Museum of Art © the Cleveland Museum of Art
Mirror with Serpentine Interlaces, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) early 5th-late 3rd century BC. 1995.268. Cleveland Museum of Art © the Cleveland Museum of Art
The mirror was cast in a ceramic mold. The concave concentric circles were polished while the remainder of the cast design received no finishing.
Mirror with Serpentine Interlaces, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) early 5th-late 3rd century BC. 1995.269. Cleveland Museum of Art © the Cleveland Museum of Art
Mirror with Serpentine Interlaces and Angular Meanders, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) early 5th-late 3rd century BC. 1995.271. Cleveland Museum of Art © the Cleveland Museum of Art
Mirror with Serpentine Interlaces and Angular Meanders, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) early 5th-late 3rd century BC. 1995.272. Cleveland Museum of Art © the Cleveland Museum of Art
Mirror with Quatrefoil and Feather Pattern, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) 4th century BC. 1995.267. Cleveland Museum of Art © the Cleveland Museum of Art
Mirror with Four T's, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) 4th century BC .1995.281. Cleveland Museum of Art © the Cleveland Museum of Art
Mirror with Five Blossoms and Overlapping Lozenges, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) 4th century BC1995.282. Cleveland Museum of Art © the Cleveland Museum of Art
Double-tier Mirror, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) 4th century BC
1999.220. Cleveland Museum of Art © the Cleveland Museum of Art
Mirror with Serpentine Interlaces and Angular Meanders, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) late 4th-early 3rd Century BC. 1995.270. Cleveland Museum of Art © the Cleveland Museum of Art
Mirror with Serpentine Interlaces and Angular Meanders, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) 3rd century BC. 1995.277. Cleveland Museum of Art © the Cleveland Museum of Art
Mirror with Continuous Arcs against Whorl Pattern, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) 3rd Century BC. 1995.278. Cleveland Museum of Art © the Cleveland Museum of Art
Mirror with Double Quatrefoils, Dragons, and Phoenixes, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) 3rd century BC. 1995.279. Cleveland Museum of Art © the Cleveland Museum of Art
Mirror with Three Dragons, China, Eastern Zhou dynasty (771-256 BC), Warring States period (481-221 BC) 3rd century BC. 1995.280. Cleveland Museum of Art © the Cleveland Museum of Art www.clevelandart.org
Les Rhinoceros de Salvador Dali
"Le rhinocéros est le coffre-fort de la connaissance au niveau de l'animal, un coffre-fort massif, plus sculpté et travaillé qu'une plaque de bronze". Salvador Dali et Louis Pauwels, Les Passions selon Dali
PHILIPPE HALSMAN (1906-1979) , Dali and Rhinoceros, 1981, gelatin silver print, printed later. copyright credit stamp, titled and annotated in unknown hand in pencil on verso, 10 5/8 x 12½in. (27 x 31.7cm.) Estimate£1,000 - £1,500. Sold £1,500 @ Christies London, Photographs. 26 November 2008. Image Christie's Ltd 2008
Salvador Dali a conçu deux sculptures représetant un rhinocéros. L'une représente l'éléphant du Poliphile, surmonté d'un obélisque et intitulée "l'Eléphant Spatial", l'autre le rhinocéros dürérien portant sur son dos un empilement de tests d'oursins ayant la forme d'un obélisque, et intitulée "le Rhinocéros cosmique". Les deux animaux ont les pattes démesurément allongées comme celles d'un insecte. Dali a déclaré que si la ville de Paris devait un jour lui élever une statue, il souhaitait une version colossale du Rhinocéros cosmique, surmontée de son buste par Arno Breker, et installée dans les jardins du Trocadéro, là même où s'était dressé le rhinocéros de Jacquemart.
Pour son rhinocéros, il s'est inspiré de laa gravure de Durer :
Dürer , Rhinoceros, gravure, 1515
"Rhinoceros habillé en dentelle" - 1956
"Parmi les œuvres sculpturales de Dali, le « Rhinocéros abillé en detelle » - Dali faisait des fautes en écrivant en français - est celle qui représente le mieux pour moi l’idée de la force d’une sculpture. Rendez-vous compte, le Rhinocéros pèse 3,6 tonnes ! Vous dites que cette sculpture n‘est qu’une reproduction d’un dessin. En effet Dali a repris la célèbre gravure de Dürer, dessinée en 1515 ! Mais il y a ajouté sa vision personnelle, ses obsessions, ses fantasmes : la femme, les rapports sexuels, la force. Les deux premiers éléments sont signifiés par l’animal lui-même dont la corne est synonyme de puissance sexuelle parfaite et l’armure de dentelle renvoie à la féminité. Le dernier élément, la force, est exprimé par l’oursin, objet fétiche de Dali, posé sur le dos du Rhinocéros." Beniamino Levi
On peut contempler une colossale sculpture du "Rhinocéros habillé en dentelles" à Marbella :
Salvador Dali, Rinoceronte vestido con puntillas, 1956, 3.600 kilos, Puerto José Banús, Marbella, Spain © Manuel González Olaechea y Franco
Dali avait créé cette sculpture en 1956, suite au tournage de son film surréaliste "L'histoire prodigieuse de la Dentellière et du Rhinocéros" en 1954.
Paris, mai 1955, pendant le tournage du film L'histoire prodigieuse de la Dentellière et du Rhinocéros : Dali au zoo de Vincennes, peignant une version paranoïque-critique du célèbre tableau de Vermeer face au rhinocéros François.
Un court clip des expériences de Salvador Dali avec un rhinocéros et La dentellière de Vermeer, et un diaporama de ses peintures sur le sujet. (source www.neorhino.ca)
Dans un autre geste surréaliste, Dalí se proposait de placer un rhinocéros au rez-de-chaussée du Château de Quermançó. Il affirmait que les touristes paieraient pour le voir. J. PLAYÀ MASET : "Un rinoceront als baixos del castell de Quermançó" (Un rhinocéros au rez-de-chaussée du château de Quermançó), Hora Nova, nº 1.249, p. 55, 26-02-02.
Il avait fait une installation qu'il a surnommé "Rhinocéros ailé" dans sa demeure de Figueras :
Un "Rhinocéros cosmique" et un "Rhinocéros habillé en dentelles" sont proposés dans la même vente, le 16 août prochain:
Salvador Dali, "le Rhinocéros cosmique".
Bronze à patine verte et dorée. Signé et numéroté 236/350 Airaindor, Fondeur. Hauteur : 36 cm. Estimation : 2 800 / 3 000 €
"Dali. Le dur et le mou" par Robert et Nicolas Descharnes (reproduit sous le n° 151 p. 71)
Salvador dalí (1904-1989), Rhinocéros habillé en dentelles, 1981
Sculpture en bronze à patine verte et dorée. Signée et numérotée 266/499 VF. Cachet « C. Valsuani Cire Perdue », 23 x 32,2 x 18,5 cm. Estimation : 3 500 / 4 000 €
Bibliographie : DalÍ, Le dur et le mou, Sortilège et magie des formes, Sculptures et Objets, Robert et Nicolas Descharnes.
Editions ECCART, 2003 : n°145, reproduction de la plus grande version page 69.
Certificat de J.B.F. Éditions d'Art, Paris Certificat d'Artco France Éditeur
Vente du Dimanche 16 août 2009. Estampes - Art Contemporain. Arts Conseils - Granville. Pour tout renseignement, veuillez contacter Aurélie Maurice au 06 87 66 22 93 ou Stéphanie Tessiot au 06 64 97 20 13
Un autre exemplaire du "Rhinocéros cosmique" était à vendre chez Kohn-Cannes, en bronze à double patine, verte et plaquée or sur socle en marbre noir. Signé et numéroté 33/99 VF. Cachet du fondeur Valsuani. H. 56 cm, L. 44 cm, P. 22 cm. Estimation : 20 000 / 25 000 €, mais je n'ai pas encore le prix d'adjudication, cf mon post http://alaintruong.canalblog.com/archives/2008/08/03/10121041.html
D'autres exemplaires en vente :
Salvador Dali RHINOCEROS Silver on Bronze Sculpture
This is a rare Salvador Dali sculpture entitled "Rhinoceros". It is silver on bronze. This is numbered from a limited from an edition of 100. Guaranteed fully authentic and authorized Dali piece! Etched Signature. Absolute Mint Condition! Measures 12cm height, 16cm length, and 9cm width. Weighs about 6 pounds. Published by Demart Pro Arte. This sculpture was cast at the Airaindor Valsuani foundry in Paris, France under the direct license of Robert Descharnes. Since 1950, Robert Descharnes has been documenting and cataloguing Dali's paintings and writings, and is now considered the leading expert on the artist.
Shortly before Dali's death, Descharnes was appointed by Dali to take charge of the rights to his works, within the Societe Demart Pro Arte B.V., of which Descharnes is president. This piece is featured in his newly released Salvador Dali book. Comes with a certificate of authenticity from the foundry. This beautifully detailed piece retails at galleries for well over $4,000. This is by far the best price you will ever find for this piece anywhere!
Price: $2,199.99. Please contact @ forgottentreasurez@roadrunner.com
Salvador Dali, COSMIC RHINOCEROS
Signed sculpture in bronze, green and golden sheen. Basement in marble.
LIMITED EDITION NUMBERED: 150/350.VF
SIZE OF THE SCULPTURE: 36 x 16,5 cm
FOUNDER: Airaindor
PRICE on request @ www.vvdm-gallery.com
Reference Catalogue: "The Hard and The Soft" Robert & Nicolas Descharnes, number 152 page 71.
Salvador Dali, RHINOCEROS WEARING LACES
Signed sculpture in bronze, green and golden sheen. Basement in marble.
LIMITED EDITION NUMBERED: "Airaindor.F.120/.VM.JBF."
SIZE OF THE SCULPTURE: 11 x 16 cm
FOUNDER: Airaindor
PRICE on request @ www.vvdm-gallery.com
Reference Catalogue: "The Hard and The Soft" Robert & Nicolas Descharnes, pages 68-69.
Salvador Dali, LE RHINOCÉROS (PETIT)
Bronze, signature au poinçon, tirage sur 350 eexmplaires, 12 x 18 cm. Fonderie Airaindor-Valsuani. Prix: 1 850,00 € à artdif.com
Salvador Dali, Rhinoceros Dressed in Lace, 1956
Bronze. Edition de 499. Authentication certificate and signature. h: 36 cm / h: 14.2 in. Contact Gallery for Price R&R BOND GALLERIES 941-388-2221
PUBLICATIONS: Robert & Nicholas Descharnes- “Le Dur et le Mou” pg. 69, #141 [illustr.]
Salvador Dali, Cosmic Rhinoceros, 1956
Bronze. Edition de 99. Authentication certificate and signature. : 92 cm / h: 36.2 in. Contact Gallery for Price R&R BOND GALLERIES 941-388-2221
PUBLICATIONS: Robert & Nicholas Descharnes- “Le Dur et le Mou” pg. 71, #152 [illustr.]
Restored Teotihuacan Effigy @ National Museum of Anthropology
MEXICO CITY. - More than 300 greenstone tiles found inside the Moon Pyramid originated a human sculpture that gives testimony of the esthetic cannons of the ancient Teotihuacan culture. The effigy is one of the emblematic pieces of the exhibition “Teotihuacan. Ciudad de los Dioses” (Teotihuacan, City of Gods), open until late August in the National Museum of Anthropology (MNA). Fragments were found in 2004 by archaeologists from the National Institute of Anthropology and History (INAH) associated to the Burial 6 of the pyramid. Specialist thought the pieces were part of a mask.
Dated near 300 AD and made out of serpentine, reconstruction of the “Anthropomorphic Figure” was an arduous work directed by restorer Laura Filloy Nadal, from the MNA Conservation Laboratory.
The figure also has fragments of calcite, dolomite, jade and obsidian that form eyes, lips, and jewelry such as earpieces and necklace.
Restoration of the representation of a high rank character or warrior began with photographic register in situ of the pieces in order to specify the place of each piece. Fragments have different sizes, from a millimeter to 3 centimeters that formed a torso, arms and a pair of earpieces. Carbonized fragments that might have been a support were also found.
“Tiles corresponded to the frontal part of a sculpture” specified Filloy, adding that tiles’ morphology varied from fragments of curved to straight cuts, with convex, concave or flat surfaces. Edges were cut on the bias to be assembled.
Using 3 dimensional images, an preliminary effigy was modeled that later was made out with plasticine; this allowed to determine the place of each piece. A 31 centimeters high full-body human figure resulted, and then a rigid resin cast was created to glue on each fragment with a transparent adhesive.
The final touch consisted in the general polish of the sculpture, mentioned Laura Filloy, after declaring that aluminum tubes were installed inside the structure to give it stability.
Another sculpture restored by INAH to be exhibited at the Teotihuacan show is the “Xalla Captive”, the greatest anthropomorphic representation of the exhibit, was carved in marble and gives account of ritual and intentional destruction performed by ancient Teotihuacan people, since it presents burns and cuts.
The exhibition will be open until the end of August 2009 at the National Museum of Anthropology. The virtual visit is available at www.inah.gob.mx/
ANONYME, Vanité. Circa 2000
ANONYME, Vanité. Circa 2000
Porcelaine émaillée blanche. 16 x 20 x 14 cm. Estimation : 500 / 600 €
Vente du Dimanche 16 août 2009. Estampes - Art Contemporain. Arts Conseils - Granville. Pour tout renseignement, veuillez contacter Aurélie Maurice au 06 87 66 22 93 ou Stéphanie Tessiot au 06 64 97 20 13
Sotheby's Announces 2009 Second Quarter & First Half Results-Profits Down 87%
NEW YORK, NY. - Sotheby’s today announced results for the second quarter and first six months ended June 30, 2009. For the quarter ended June 30, 2009, the Company reported operating revenues of $167.3 million, a $152.8 million, or 48%, decrease from the prior period. This decrease is primarily due to a 66% decline in net auction sales attributable to the downturn in the global economy and international art market. Partially offsetting this decline is a 620 basis point, or 41%, increase in auction commission margin, from 15.1% in the second quarter of 2008 to 21.3% in the current period, as a result of the Company’s revenue enhancement strategies and a change in sales mix. Also positively impacting revenues is a $10.8 million reduction in principal activities losses over the period due to the significant level of auction guarantee losses in the prior period. Sotheby’s has substantially reduced its use of auction guarantees for sales occurring in 2009 and expects to continue to significantly limit its use of auction guarantees for the foreseeable future.
Net income for the second quarter of 2009 is $12.2 million, or $0.18 per share, compared to $95.3 million, or $1.41 per share, for the prior period. This decrease is largely due to the aforementioned revenue decline and is partially offset by a $50.3 million, or 30%, reduction in operating expenses. Excluding restructuring charges in 2009 and a non recurring benefit recorded in 2008, the reduction in operating expenses is $73.5 million*, or 39%*, from the prior second quarter. This expense improvement is attributable to management’s cost reduction initiatives as well as a lower level of net auction sales during the period.
For the first six months of 2009, operating revenues totaled $221.7 million, a $227.7 million, or 51%, decline from the prior period, and net loss was ($22.3) million, or ($0.34) per share, compared to net income of $82.9 million, or $1.23 per share, for the prior period. This decline is primarily due to a 51% decline in first half operating revenues, attributable to a 67% decline in net sales over the period, and is partially offset by a 28% reduction in operating expenses in the first half of 2009 as compared to the same period in the prior year. Excluding restructuring charges in 2009 and a non-recurring benefit recorded in 2008, the reduction in operating expenses is $116.6 million*, or 35%, from the prior year.
“With auction commission margins up 41% and costs down 39%* (excluding restructuring charges in 2009 and a nonrecurring benefit recorded in 2008), Sotheby’s second quarter results demonstrate Management’s response to the global economic turbulence of 2008,” said Bill Ruprecht, President and Chief Executive of Sotheby’s. “The 620 basis point improvement in auction commission margin to 21.3% for the second quarter brought an incremental $39.3 million or 24% of total revenues for the period, a very significant increase. We adjusted quickly to the different and difficult environment that suddenly presented itself and we are very well positioned to capitalize on a market rebound and benefit from our improved margins and lower costs.”
Mr. Ruprecht added: “The steady improvement in sell through rates by lot since November has been another positive indicator. In Impressionist and Modern Art, those rates in our evening sales went from 64% (November) to 81% (May) to 85% (June) and from 68% (November) to 81% (May) to 93% (June) for Contemporary Art. These figures and the 46% increase in second quarter private sales to $134 million show active participation at new price levels and give confidence to consignors and to buyers alike that there is now a more stable marketplace.
“We are on track to achieve the $160 million in cost savings in 2009 as compared to 2008 as announced last quarter. These substantial savings, as well as a new three year $150 million revolving credit facility that we expect to close with GE Capital later this month (subject to the conditions in the GE Capital commitment letter), have us on solid ground for the future.”
Second and Third Quarter Sale
Sotheby’s summer fine arts sales in London in late June brought $132.0 million, near the high end of the pre-sale estimate of $144 million and with a high sell through rate of 86% for the series. The Impressionist and Modern Art sales brought $75.8 million and were highlighted by the sale of Pablo Picasso’s Homme à l’épée for $11.5 million, the highest price of the London summer sales season for any auction house. London’s Contemporary Art sales totaled $56.2 million and were highlighted by the sale of Andy Warhol’s 1963 painting Mrs. McCarthy and Mrs. Brown (Tunafish Disaster) for $6.1 million, above the pre-sale low estimate of $5.8 million.
Sotheby’s July London Old Masters and British sales led the market and brought $72.4 million, well within the pre-sale estimate of $59/$85 million and including the Collection of Barbara Piasecka Johnson which brought $16.9 million. The top lot of the sales was Pieter Brueghel’s The Massacre of the Innocents which sold for $7.4 million, above the pre-sale high estimate of $5.6 million. Auction records were set for nine artists during the week.
Upcoming Sale
Sotheby’s fall Hong Kong sales will be held from October 3rd to 8th and will offer over 2,000 lots with a combined pre-sale estimate of approximately $95 million. A number of private collections with exceptional provenance will be offered, including a single-owner collection consisting of Imperial works of art and objects from the Qianlong Reign. Highlights from this collection will include An Imperial Knife with a Rhinoceros Horn Scabbard, Mark and Period of Qianlong (est. in excess of $1 million) and A Han Dynasty Jade Bi in an Imperial Zitan Mount, Mark and Period of Qianlong (est. $0.8/$1 million).
Other highlights of the series include An Outstanding Imperial Carved Zitan ‘Ten Dragon’ Throne, Qianlong Period (est. $2.6/$3.8 million), A Superb and Rare Large Blue and White ‘Dragon’ Moonflask, Seal Mark and Period of Qianlong (est. $1.9/$2.6 million) and Sanyu’s Lotus et Poissons Rouges (Lotus and Red Fish) (est. $1.9/$3.2 million). Wine from two superb American single-owner collections will include over 6,000 bottles with a combined pre-sale estimate of $4/$6 million.
