Shopping of David Webb jewelry @ Christie's NY

The Anneberg Diamond. Photo: Christie's Images Ltd. 2009

Set with a square emerald-cut diamond, weighing approximately 32.01 carats, flanked on either side by a pear-shaped diamond, weighing approximately 1.61 and 1.51 carats, mounted in platinum. Signed David Webb. Est. $3,000,000 - $5,000,000

With report 15708319 dated 12 April 2007 from the Gemological Institute of America stating that the diamond is D color, flawless clarity, with excellent polish and excellent symmetry

With reports 15681648 and 15680928 dated 9 January 2007 and 16 February 2007 from the Gemological Institute of America stating that the pear-shaped diamonds are D color, internally flawless clarity

Notes: The Annenberg Diamond, a perfect D color flawless gem of 32.01 carats, belonged to the late Leonore "Lee" Annenberg. Mrs. Annenberg was a passionate art collector and philanthropist who, along with her husband, The Honorable Walter H. Annenberg, entrusted billions of dollars to institutions devoted to education and the arts.

Mrs. Annenberg was the former U.S. chief of protocol during the Reagan administration, and served as chairwoman and president of the Annenberg Foundation. The late Ambassador Annenberg was a prominent newspaper publisher, broadcaster, diplomat, and philanthropist. He was a champion of public television and acquired many awards during his professional career, including the Presidential Medal of Freedom from President Ronald Reagan and the Linus Pauling Medal for Humanitarianism. Under President Richard Nixon, he was appointed ambassador to the Court of St. James and was later made an honorary knight of the Order of the British Empire (KBE).

Over the years, the Annenberg Foundation has donated an estimated $4.2 billion to cultural, educational, and medical institutions. During their marriage, Ambassador Annenberg established the Annenberg Schools of Communication at the University of Pennsylvania and the University of Southern California, and gave generously to a number of schools, libraries, theaters, hospitals, and museums across the United States. In 1993, the Foundation donated $500 million to public education through the Annenberg Challenge for School Reform, one of the largest gifts in philanthropic history. In 2002, upon the death of Ambassador Annenberg, the couple's collection of French Impressionist art - valued at approximately $1 billion - was donated to the Metropolitan Museum of Art in New York, where both Mr. and Mrs. Annenberg served as trustees. Beyond their remarkable generosity, the Annenbergs were well-known in social circles for their refined lifestyle and social prominence. Among the many illustrious friends and guests they entertained were former President Jimmy Carter and First Lady Rosalynn Carter, the late President Reagan and First Lady Nancy Reagan, former President George H. W. Bush and First Lady Barbara Bush, former President Bill Clinton and U.S. Secretary of State Hillary Clinton, Queen Elizabeth, Prince Charles, Prime Minister Margaret Thatcher, and entertainers Frank Sinatra, Bob Hope, and Bing Crosby.

Mrs. Annenberg purchased her diamond as a gift to herself for her 90th birthday in 2007. She was very excited to buy a special Asscher-cut diamond and purchased it from David Webb, the renowned American jeweler, at their store in Beverly Hills, California. Due to its magnitude, it was delivered to her home by an entourage accompanied by armed guards. Mrs. Annenberg wore her diamond with great style and as often as she could and took tremendous pleasure when her friends would come by each time to admire this extraordinary gem.

Christie's is honored to present the Annenberg Diamond, a quintessential symbol of esteemed provenance and legendary beauty.

A multi-gem and diamond flower brooch, by David Webb. Photo: Christie's Images Ltd. 2009

Centering upon a circular-cut yellow diamond and diamond cluster pistil, within an oval and circular-cut sapphire surround, extending oval cabochon turquoise petals, accented by circular-cut diamonds, to the baguette-cut yellow diamond stem and maquise-cut yellow diamond leaf, mounted in platinum, with pendant hoop for suspension. Signed David Webb. Est. $20,000 - $30,000

A diamond, multi-gem and enamel brooch, by David Webb. Photo: Christie's Images Ltd. 2009

Designed as a pavé-set diamond carnival horse head, accented by circular-cut ruby, sapphire and emerald detail, with a pear-shaped sapphire eye, and a black enamel and sculpted gold bridal, headpiece and stylized mane, suspending gold openwork and emerald tassels, mounted in 18k gold and platinum. Signed David Webb - Est. $15,000 - $20,000

A diamond and gold necklace, by David Webb. Photo: Christie's Images Ltd. 2009

Designed as a hammered 18k gold tapered band of scroll motif, centering upon a graduated series of circular-cut diamonds, the front set with a circular and marquise-cut diamond foliate cluster, extending circular-cut diamond open links, joined by baguette-cut diamond spacers, mounted in 18k gold and platinum, 15 ins., with pendant hoop for suspension. Signed Webb for David Webb - Est. $15,000 - $20,000

A diamond and gold pendant/brooch, by David Webb. Photo: Christie's Images Ltd. 2009

Of circular openwork outline, centering upon a pavé-set diamond heart, within a circular and baguette-cut diamond surround, accented by hammered 18k gold scroll motifs, to the hammered 18k gold scrolled border, mounted in 18k gold and platinum, with pendant hoop for suspension. Signed Webb for David Webb - Est. $15,000 - $20,000

A diamond and gold pendant necklace, by David Webb. Photo: Christie's Images Ltd. 2009

The detachable pendant, designed as a sculpted 18k gold Maltese Cross, centering upon a circular-cut diamond plaque with a diamond-set star motif, suspended by a graduated sculpted 18k gold open link necklace, mounted in 18k gold and platinum, 29½ ins., pendant may be detached and worn as a brooch, necklace may also be worn as two smaller necklaces, 23½ and 19 ins. Necklace and pendant signed David Webb (3) - Est. $15,000 - $20,000

A diamond, enamel and gold bracelet, by David Webb. Photo: Christie's Images Ltd. 2009

Of crossover design, the twin black and white enamel giraffe heads, each with cabochon ruby eyes, pavé-set diamonds and a fluted gold mane, the black and white enamel body forming the hinged articulated hoop, mounted in 18k gold and platinum, 2¼ ins. diameter. Signed David Webb - Est. $15,000 - $20,000

A pair of enamel, diamond and emerald tiger brooches, by David Webb. Photo: Christie's Images Ltd. 2009

Each designed as either a textured 18k gold or white enamel crouched tiger, with black enamel stripes and pear-shaped emerald eyes, the face and collar decorated with circular-cut diamonds, mounted in 18k gold and platinum. Each signed Webb for David Webb - Est. $8,000 - $12,000

An enamel, diamond and gold brooch, by David Webb. Photo: Christie's Images Ltd. 2009

Designed as a black enamel and sculpted 18k gold elephant head with a cabochon emerald eye and a circular-cut diamond tusk, extending a coiled black enamel and gold trunk, mounted in 18k gold and platinum. Signed Webb for David Webb - Est. $4,000 - $6,000

Christie's. Jewels: The New York Sale and the Annenberg Diamond. 21 October 2009. New York, Rockefeller Plaza www.christies.com

Three Lucio Fontana's "Concetto spaziale" @ Sotheby's

Lucio Fontana (1899 - 1968), Concetto spaziale, Attese. photo courtesy Sotheby's

waterpaint on canvas. signed, titled and inscribed Duecento, trecento, quattrocento - mille on the reverse. 55 by 46.5cm. Executed in 1966. Est. 300,000—400,000 GBP - Sold 457,250 GBP

PROVENANCE: Anna Daelli, Milan
Private Collection, Milan
Sale: Sotheby's, London, Post-War and Contemporary Art, 20 May 1987, Lot 370
Gallery Art Point, Tokyo
Private Collection, Tokyo
Acquired from the above by the present owner

EXHIBITED: Tokyo, Tama Art University Museum, Lucio Fontana. Spatial Conception, 1990, p. 58, no. 54, illustrated in colour

LITERATURE AND REFERENCES: Enrico Crispolti, Lucio Fontana Catalogue Raisonné, Brussels 1974, vol. II, pp. 184-185, no. 66 T 82, illustrated
Enrico Crispolti, Lucio Fontana Catalogo Generale, Milan 1986, vol. II, p. 645, no. 66 T 82, illustrated
Enrico Crispolti, Lucio Fontana Catalogo Ragionato, Milan 2006, vol. II, p. 840, no. 66 T 82, illustrated

NOTE: Produced in 1966, the year in which Fontana was awarded the International Grand Prize for Painting at the XXXIII Venice Biennale, Concetto Spaziale, Attese epitomizes the artist's groundbreaking explorations in Spatialism. This red variation on Fontana's signature Concetto Spaziale fuses together sensual intimations and the artist's research in conceptually translating infinity of space into the canvas. Exquisitely executed, the two lyrical slashes simultaneously evince spontaneity and control. The rich, saturated layer of red waterpaint allows the weave of the canvas to show through, insistently drawing attention to the materiality of the artwork. With a sculptor's sensibility, Fontana discarded conventional reverence for the canvas, and instead treated it as an artistic object in its own right. As an image of spatial reality, Fontana emphasises the canvas's presence with bold, invasive gesture. Fontana, cutting directly into the canvas, creates a beautiful contrast to the delicacy of the waterpaint.

In Concetto Spaziale, Attese Fontana performed surgery on the very concept of painting, committing sacrilege on Clement Greenberg's high altar of Modernism, the flat picture plane. As Fontana declared in his last recorded interview: "I make a hole in a canvas in order to leave behind the old pictorial formulae, the painting and the traditional view of art and I escape, symbolically, but also materially, from the prison of the flat surface" (conversation with Tommaso Trini, July 19, 1968, in Exhibition Catalogue, Amsterdam, Stedelijk Museum; London, Whitechapel Art Gallery, Lucio Fontana, 1988, p. 34). This inquiry into the grey area between painting and sculpture takes a particularly alluring form in the brilliant red of the present Concetto Spaziale, Attese.

In the present work, our eye and our mind are forced by the visual pureness of the cuts opened on a red, fiery background, to meditate upon what lies beyond and behind the canvas surface.

Lucio Fontana (1899 - 1968), Concetto spaziale. photo courtesy Sotheby's

oil on canvas. signed. 80 by 100cm. 80 by 100cm. Est. 350,000—450,000 GBP - Sold 385,250 GBP

PROVENANCE: Galerie Schmela, Düsseldorf
Galerie Gunar, Düsseldorf
Sale: Finarte, Milan, 16 October 1986, Lot 187
Acquired directly from the above by the present owner

EXHIBITED: Milan, Galleria Civica d'Arte Moderna; Rome, Palazzo delle Esposizioni, Mostra della Critica Italiana 1961, 1961-1962, p. 40, no. 44, illustrated
Wuppertal, Kunst-und Museumverein, Hommage à Fontana, 1969, no. 25

LITERATURE AND REFERENCES: Enrico Crispolti, Lucio Fontana Catalogue Raisonné, Brussels 1974, vol. II, p. 112, no. 61 O 65, illustrated
Enrico Crispolti, Lucio Fontana Catalogo Generale, Milan 1986, vol. I, p. 376, no. 61 O 65, illustrated
Enrico Crispolti, Lucio Fontana Catalogo Ragionato, Milan 2006, vol. II, p. 564, n. 61 O 65, illustrated

NOTE: Exhibiting rich painterly virtuosity, Concetto Spaziale delivers a sublime effect of material density, a lyrically asymmetrical composition, and a certain aesthetic pureness that is archetypal of Lucio Fontana's celebrated Olii. Executed in 1961 simultaneously with the Venezia cycle, the present work witnesses the fruitful union of the artist's spatial experiments from the 1950s with his recent ventures in oil paint, whose thicker and heavier form had re-awakened the sculptor in Fontana. In contrast with the Baroque aesthetics of the Venezie, Concetto Spaziale masterfully condenses the pureness of Fontana's gesture with his painterly ability.

The dense surface has been built up with layer upon layer of thick paint, creating a heavy, textured skin onto which Fontana has incised a matrix of fluid sweeping gestures and pierced a sequence of holes. These energised painterly and sculptural marks seem to orbit within a semicircular line which stages the rhythm of the composition and seems to anticipate Fontana's Teatrini series (1964-66). The present work also further consolidates Fontana's ongoing series of Buchi, which are here used in conjunction with and also as a counterfoil to the fluid and dynamic painterly surface. Now able to convey space and movement across the entire picture plane through the thick surface as well as gesture, these delicate holes break through the canvas with a real sense of power and depth, becoming themselves rapid streaks of energy that seem to originate from the inner core of the composition.

In Fontana's oeuvre the space enters the painting as a tangible reality and an aesthetic gesture. First in the Buchi series (1949), in which the canvas is punctured; then in the Pietre series (1952), in which fragments of Murano glass pebbles are added to the canvas; finally in the Tagli series (1958), in which the canvas is slashed. All these different approaches extend the traditional boundaries of painting, by offering lyrical solutions to the desire to penetrate beyond the confines of the surface. The Olii series condenses both the conceptual and material advancements of Fontana's experimental precedent using the highest artistic medium.

Reaching his artistic maturity in the aftermath of World War II, a time of radical social, political and technological change, the artist was profoundly impressed by the restless achievements of science, and in particular by space exploration. Just as the Futurists at the beginning of the century had tried to capture the essence of modern life, Fontana aspired to find a poetic articulation and an aesthetic metaphor for the conquest of space. Fontana investigated new solutions of rendering this sense of 'spatial dynamism', inspired in his pictorial and sculptural innovations by the legacy of Futurism and Baroque, which the artist formalized in his treatise Manifesto Bianco (1946). Concetto Spaziale was painted at the same time as Yuri Gagarin's momentous first manned flight into space and beautifully conveys the artist's fascination with the mysteries of space and matter. This meant for him 'materializing' the space, making visible the invisible, making palpable the impalpable. As he explained "A butterfly in space excites my imagination: having freed myself from rhetoric, I lose myself in time and begin my holes." (the artist cited in: Leonardo Sinisgalli, Pittori che scrivono. Antologia di scritti e disegni, Milan 1954, p. 115).

Concetto Spaziale perfectly represents Fontana's groundbreaking achievement in Spatialism. With its rich surface texture and irregular patterns and apertures Concetto Spaziale mediates between painting and sculpture communicating a great sense of movement and dynamism. The raised rims around the holes indicate how Fontana incised their shape while the paint was still drying. The choice of an absolute white colour translates Fontana's research of dematerialization of the pictorial surface towards pure spatiality in a sort of purification path.

The viewer's eye and mind are forced to meditate upon what lies beyond the canvas surface. The delicate white colour finally appears as a pure cosmos incised by a trascendent vital and phenomenological energy. The result is a surface of sublime rarefied beauty, where there are no boundaries for the artist's expressive freedom.

Lucio Fontana (1899 - 1968), Concetto spaziale. photo courtesy Sotheby's

painted terracotta. signed. 33 by 24 by 24cm. Executed in 1960-1965, this work is registered in the Fondazione Lucio Fontana, Milan under number 1367/19. Est. 45,000—55,000 GBP - Lot sold 145,250 GBP

PROVENANCE: Sale: Finarte, Milan, 17 May 1980, Lot 29
Acquired directly from the above by the present owner

EXHIBITED: Turin, Museo Internazionale delle Arti Applicate Oggi, Astronave Torino, 2007-2008, n.p., tab. X, illustrated

Sotheby"s. 20th Century Italian Art . 16 Oct 09. London  www.sothebys.com

PARIS PHOTO 2009: La scène arabe et iranienne à l’honneur

Diversité géographique et découverte.
La scène arabe et iranienne à l’honneur.
Du 19 au 22 novembre, Paris Photo, le Salon de la photographie 19e, moderne et contemporaine, réunit 101 exposants dont 88 galeries et 13 éditeurs au Carrousel du Louvre. Avec 75% de participation étrangère et 23 pays représentés, la sélection 2009 est remarquable par sa diversité géographique. Cette année l’Allemagne domine la représentation étrangère avec 11 galeries, suivie par les Etats-Unis (10), le Royaume-Uni (7), les Pays Bas (6), le Japon et l’Espagne (5 galeries chacun), l’Italie (3), deux représentations pour l’Afrique du Sud, le Danemark, les Emirats Arabes Unis, la Finlande, l’Iran, la Tunisie et une participation unique pour l’Autriche, la Belgique, la Chine, la Corée du Sud, la Hongrie, le Portugal, la Russie, le Liban et le Maroc. La France est représentée par 20 galeries où s’illustrent de nouveaux entrants comme La B.A.N.K, Patricia Dorfman, Dominique Fiat, Françoise Paviot ou la Galerie RX.

Avec 30 nouveaux participants, la sélection 2009 accorde une place de choix au renouvellement générationnel : on note l’arrivée de jeunes enseignes prometteuses comme Motive d’Amsterdam, les berlinois Kuckei+Kuckei, Nusser & Baumgart de Munich, ou Pente 10 de Lisbonne. Paris Photo accueille en même temps des galeries prestigieuses comme la Goodman Gallery, la galerie historique sud-africaine fondée en 1965, la munichoise Bernheimer Fine Old Masters habituée de TEFAF Maastricht, sans compter le retour de la galerie danoise Bo Bjerggaard, et les participations inédites de la Robert Koch Gallery de San Francisco ou de Toni Tapiès de Barcelone.

Une exploration inédite de la scène arabe et iranienne
En 2009, Paris Photo propose une exploration des pratiques photographiques en terre d’Orient.
Arrivée dès le XIX siècle, la photographie est aujourd’hui le médium dominant d’une scène artistique contemporaine diverse et autonome qui suscite un intérêt international croissant.
Catherine David, directrice de la Documenta X de Kassel en 1997 et auteur de nombreuses expositions et publications sur les représentations arabes contemporaines, introduira les caractéristiques majeures de cette scène émergente et peu documentée via une plate-forme articulée en trois parties. La Fondation arabe pour l’image de Beyrouth présentera un choix de photographies rares, tandis que le Statement offre un aperçu de la création émergente de Téhéran à Damas, de Beyrouth au Caire, de Tanger à Dubaï. Enfin, la Project Room propose une programmation de vidéos, démontrant l’intérêt croissant des artistes de cette région pour la dynamique de ce médium.

Parallèlement un ensemble de galeries occidentales du secteur général mettront en avant les artistes arabes et iraniens établis tels que Abbas Kiarostami chez la londonienne Purdy Hicks et Abbas chez Magnum Gallery pour l’Iran, la marocaine Yto Barrada chez Polaris, l’égyptien Youssef Nabil chez Stevenson, le palestinien Taysir Batniji chez La B.A.N.K, le libanais Fouad El Koury chez Tanit. D’autres galeries ont choisi de rendre hommage au thème arabe et iranien en abordant la question du regard de l’Occident sur l’Orient, avec notamment les premières pièces orientalistes 19e visibles entre autres chez B udoin Lebon, Serge Plantureux et Hershkowitz, ou les regards contemporains de Gabriele Basilico sur Beyrouth, de Philippe Chancel sur Dubaï, de Lars Tunbjörk sur Oman, etc...

Ci-dessous, mes coups de coeur en fonction de ce thème:

Abbas, le réalisateur iranien Abbas KAROSIAMI sur la colline entourant Téhéran où il tourna Taste of Cherry et, qui co-reçut la Palme d'Or en 1997, Iran Téhéran, 1997 © Courtesy Magnum Gallery

Raija Aissa, I & e.y.e 1, 2008. Photograph and fabric © Courtesy Salma Feriani Gallery, London

Reza Aramesh. Action 51. KEREM SHALOM, ISRAEL - FEBRUARY 17, 2008: Palestinian prisoners sit blindfolded on the ground after they were captured by Israeli soldiers, Fevruary 17, 2008 © Courtesy B 21 Gallery and the Artist

Olivia Arthur, The women's hostel, Riyadh, 2009 © Courtesy Magnum Gallery Paris

Lara Baladi, Red City (Cairo), 2009 © Courtesy La B.A.N.K.

Milela Domingo, Cairo Copta Notturno, 2009 © Courtesy Brancolini Grimaldi Arte Contemporanea

Fouad Elkoury, Beyrouth Centre Ville/Place de l'Etoile, 1991 © Courtesy Tank Gallery, Munich

Lalla Esaydi, Les Femmes du Maroc : Harem Beauty n°2, 2008. Chromegenic print mounted to aluminium © Courtesy Edwynn Houk Gallery, New York

William Hammerschmidt, Femme arabe portant un costume d'intérieur, Vers 1860. Tirage sur apapier albuminé © Courtesy Lumière des Roses, Montreuil

Bahman Jalali, Image of Imagination 2, 2003 © Courtesy Silk Road Galry Tehran

Brian McKee, Afghanistan, Kabul, 31, 2002 © Brian McKee. Courtesy Musser & Baumgart, Munich.

Inge Morath, Man with bird, 1956 © courtesy Magnum Gallery, Paris with courtesy of the Inge Morath Foundation

Youssef Nabil, I will go to paradise, self portrait, hand coloured silver gelatin print  © courtesy Michael Stevenson, Capte Town

Lamia Naji, Vertigo Series, I wake up alone, 2008. Colour Print © courtesy Galerie El Marsa, Tunis

Malik Nejmi, Une mère lavant son fils - série Ramadan 2004, Tirage lambda © courtesy Galerie 127 Marrakech

Jalal Sepehr, From the series Water and Persian Rugs, 2004 © courtesy Galerie Esther Woerdehoff

Paul Strand, Saad Ismael, Aswan, Egypt, 1959 © courtesy The Aperture Foundation, New York

Muhamad Youssef, Faiseur de Kounafé, Le Caire-Egypte 1960. Collection Gihane Ahmad / © Fondation Arabe pour l'Image

Le Prix BMW- Paris Photo 2009
Destiné à soutenir la création contemporaine, le Prix BMW - Paris Photo couronne le travail d’un artiste/ photographe sur un thème en relation avec la communication de BMW France.
Pour sa sixième édition, ce Prix, réservé aux artistes présentés par les galeries participantes, dévoile le meilleur de la photographie contemporaine sur le thème : « Quand avez-vous vécu pour la dernière fois une expérience unique ? ». L’artiste lauréat, désigné parmi une sélection de finalistes exposés pendant Paris Photo recevra le mercredi 18 novembre le Prix doté de 12 000 euros.
Jury 2009 : Sous la présidence de Philippe Dehennin Président de BMW France.
Robert Delpire, Photographe et éditeur ,TJ Demos, Critique d’art et écrivain, Matthias Harder, Commissaire d’expositions et Directeur de la Fondation Helmut Newton, Berlin, Manfred Heiting, Collectionneur, Sandra S. Phillips, Conservateur pour la photographie au Musée d’Art Moderne de San Francisco.

A Paris pendant Paris Photo :
En novembre, une riche actualité photographique coïncide avec Paris Photo : « Michael Kenna, rétrospective » à la Bibliothèque nationale de France - « La subversion des images. Surréalisme, photographie, film » au Centre Pompidou - « August Sander, voir, penser, observer » à la Fondation Henri Cartier Bresson - « Delpire & Cie » à la Maison européenne de la photographie - « Federico Fellini, la grande parade » au Jeu de Paume. La scène arabe et iranienne est à l’honneur avec « Palestine, la création dans tous ses états » à l’Institut du Monde Arabe, « Djân, Corps et âme » à la Galerie VU , « 165 ans de photographie iranienne » au Musée du Quai Branly, ou encore « Iran 1979 -2009 : Entre l’espoir et le chaos, 30 ans de photographie documentaire iranienne » à la Monnaie de Paris.

Du 19 au 22 novembre 2009. Carrousel du Louvre, 99 rue de Rivoli, 75001 Paris

Ci-dessous, mes coups de coeur :

Benoit Aquin, Motocyclette et Tempête, from the series The Chinese dust Bowl, 2006/2009. Archival pigment print © Courtesy Robert Koch Gallery

Jessica Blackhaus, Marlon Brandon, 2005. C-print © Courtesy Robert Morat Galerie

Chan-Hyo Bae, Existing in costume 2, 2007. C-print ©  Courtesy Purdy Hicks Londres

Nick Brand, Lion Before Storm II - Sittinf Profile, Massai Mara, 2006 © Nick Brand - Courtesy Gallery Bernheimer

Elina Brotherus, Miror, 2007. C-print. Courtesy Martin Asbaek Gallery, Copenhague

Lottie Davies, Quints, 2008. Lamba print © Courtesy Erc Franck Fine Art

Horst P. Horst, Persepolis Bull, 1949 © Horst P. Horst / Art & Commerce - Courtesy Gallery Bernheimer

Nicolai Howalt, Untitled (Car Crash Studies, 2009), Lambda print.  Courtesy Martin Asbaek Gallery, Copenhague

Rudolph Koppitz, The Brothers, 1928. Vintage pigment print © Estate of Rudolph Koppitz, Courtesy Gallery Johannes Faber

Mary Martingly, In the Navel of the moon, 2008 © Mary Martingly, Courtesy Robert Mann Gallery, New York

Norman Parkinson, The art of travel, vogue, 1951. Modern gelatin silver © courtesy Norman Parkinson Archive and Eric Franck Fine Art

Eva Sussman, Light on her neck, 2004. From 89 seconds at Alcazar Photo: eva sussman and the Rufus Coportation  © courtesy Galleri BO Bjerggaard Cophenhagen

Mayumi Terada, rocking chair and window 0506012h, 2005, gelatin silver print © courtesy Base Gallery, Tokyo

Yao Lu, Yao Lu's new landscape Part 3 - YLO2 Fishing boat berthed by the Mount Yo, 2008, C-print © courtesy 798 Photo Gallery, Beijing

Rarity and Beauty of Asian Art at Christie's London this November

A superbly carved spinach-green jade brushpot, Qianlong Period (1736-95). Estimate: £300,000 - 400,000. Photo: Christie's Images Ltd. 2009

LONDON.- The continuing international appeal of Asian Art was demonstrated in the September sales in New York which realised $36.5 million; confirming Christie’s continued position as market leader for the category. This autumn, Christie’s London Asian Art Week will run from November 3 - 6, 2009, featuring further treasures of rarity, beauty and excellent provenance, with many highlights offered from superb private collections such as The Arthur M. Sackler Collections, The Plesch Collection, The Clive D. Collins Collection, The Lord Blackford Collection and The Edward and Marilyn Flower Collection of Netsuke and Inro, Part I. The sales include: Fine Chinese Ceramics and Works of Art on November 3 at King Street; Japanese Art & Design on 4 November at South Kensington and Chinese Ceramics, Works of Art and Textiles on November 6 at South Kensington.

Fine Chinese Ceramics and Works of Art: November 3 at 10:30 am & 2:00 pm, Christie’s King Street
Christie’s Asian Art Week London commences with the bountiful riches offered in the Fine Chinese Ceramics and Works of Art sale on November 3. Led by four private collections, the auction as a whole comprises over 300 lots and includes superb jades, ceramics and sculptures. Leading the works from various owner collections is a very fine famille rose imperial 'peach' bowl, with Yongzheng underglaze blue six-character mark within double circles and of the period (1723-35) (estimate: £300,000-500,000). Further highlights range from a rare large famille noire 'dragon' dish, with Kangxi underglaze blue six-character mark and of the period (1662-1722) (estimate: £80,000-120,000); the cover lot which is a rare and finely enamelled famille rose pink-ground model of a Buddhist Stupa, Qianlong period (1736-95) (estimate: £60,000-80,000); a fine Ming-style blue and white garlic-head pear-shaped vase, Qianlong seal mark and of the period (1736-95) (estimate: £30,000-50,000) and a very fine 18th century white jade 'camel' seal (estimate: £15,000-20,000).

A very fine famille rose imperial 'peach' bowl, with Yongzheng underglaze blue six character mark within double circles and of the period (1723-35) estimate: £300,000-500,000. Photo: Christie's Images Ltd. 2009.

A rare large famille noire 'dragon' dish, with Kangxi underglaze blue six-character mark and of the period (1662-1722) Estimate: £80,000-120,000. Photo: Christie's Images Ltd. 2009

A rare and finely enamelled famille rose pink-ground model of a Buddhist Stupa, Qianlong period (1736-95) Estimate: £60,000-80,000. Photo: Christie's Images Ltd. 2009

A fine Ming-style blue and white garlic-head pear-shaped vase, Qianlong seal mark and of the period (1736-95) Estimate: £30,000-50,000. Photo: Christie's Images Ltd. 2009

A very fine 18th century white jade 'camel' seal. Estimate: £15,000-20,000. Photo: Christie's Images Ltd. 2009

Following the strength of demand for the Property from the Arthur M. Sackler Collections in September, Christie’s New York, which realised $3.2million, selling 99% by value and 97% sold by lot, Christie’s London are pleased to present 24 beautiful archaic jades from the revered collections. These include a greyish-green and russet jade cong, from Northwest China, 2nd -1st Millennium BC (estimate: £4,000-6,000); a Han Dynasty (206 BC-AD 200) bronze sword with jade pommel and guard (estimate: £5,000-8,000) and two blackish-green jade ceremonial blades, Zhang, late Neolithic period, Northwest China, circa 2000 BC (estimate: £10,000-15,000).

A greyish-green and russet jade cong, from Northwest China, 2nd -1st Millennium BC. Estimate: £4,000-6,000. Photo: Christie's Images Ltd. 2009

A Han Dynasty (206 BC-AD 200) bronze sword with jade pommel and guard. Estimate: £5,000-8,000.  Photo: Christie's Images Ltd. 2009

Two blackish-green jade ceremonial blades, Zhang, late Neolithic period, Northwest China, circa 2000 BC. Estimate: £10,000-15,000.  Photo: Christie's Images Ltd. 2009

Arthur M. Sackler was one of America’s foremost collectors, whose collection encompassed Chinese, Indian, Middle Eastern and Pre-Columbian art as well as European ceramics, sculpture, paintings and drawings from the mediaeval to the modern periods. In 1965 he established The Arthur M. Sackler Foundation to make over a thousand works of art accessible to scholars, students and the general public. His name lives on in many art-related projects including the Sackler Wing, housing the Temple of Dendur, at The Metropolitan Museum of Art, New York; the Arthur M. Sackler Museum at Harvard University, and the Arthur M. Sackler Museum of Art and Archaeology in China, which teaches museology to students in Beijing. An insightful connoisseur, he believed that “Art is a triumphant demonstration of how one people can speak to all people; how artists can speak to everyone across the void of time and the vastness of distance; and how a past civilization can relate to the present.”

Works offered from The Lord Blackford Collection of Chinese Works of Art are led by an Imperial, finely carved spinach-green jade brushpot (estimate: £300,000-400,000) from the Qianlong Period (1736-95). This refined collection also includes three further Qianlong jade artifacts and two cloisonné enamel birds with estimates ranging from £8,000 to £20,000. Offered for the first time in over fifty years, these fascinating examples are a perfect reflection of the taste in collecting Chinese Art amidst the British nobility during the 20th century.

A superbly carved spinach-green jade brushpot, Qianlong Period (1736-95). Estimate: £300,000 - 400,000. Photo: Christie's Images Ltd. 2009

Nineteen lots from The Plesch Collection are featured, ranging from jades and bronzes to sculptures and ceramics. Peter and Traudi Plesch came separately to Britain as refugees from Berlin and Vienna respectively, during World War II. Both from homes where art was appreciated, the collection provides insight into the couple’s shared passion which has deepened and developed during their marriage; showcasing works which they sought out and only purchased after careful consideration and mutual agreement. Key lots include an impressive 18th century large celadon jade 'peach' box and cover (estimate: £50,000-80,000); a finely carved jade finger citron, Qianlong Period (1736-95), which is naturalistically carved to imitate a fruit with curled finger-like tendrils (estimate:£15,000-25,000) and an attractive cloisonné enamel octagonal spittoon, with elaborate lotus flowers, Qianlong Period (1736-95) (estimate: £8,000-12,000), which is similar to an example in the Palace Museum collection, Beijing. Further works range from a finely carved 18th century lacquered-wood figure of Damo (estimate: £6,000-8,000), to a rare small guanyao vase, Song dynasty (960-1279) (estimate: £6,000-8,000).

An impressive 18th century large celadon jade 'peach' box and cover. Estimate: £50,000-80,000. Photo: Christie's Images Ltd. 2009

A finely carved jade finger citron, Qianlong Period (1736-95). Estimate:£15,000-25,000. Photo: Christie's Images Ltd. 2009

An attractive cloisonné enamel octagonal spittoon, with elaborate lotus flowers, Qianlong Period (1736-95) Estimate: £8,000-12,000. Photo: Christie's Images Ltd. 2009

A finely carved 18th century lacquered-wood figure of Damo. Estimate: £6,000-8,000. Photo: Christie's Images Ltd. 2009

A rare small guanyao vase, Song dynasty (960-1279). Estimate: £6,000-8,000. Photo: Christie's Images Ltd. 2009

A dynamic and varied array of 74 works from The Clive D. Collins Collection will also be offered. This collection has been formed over nearly half a century, fuelled by a passion for learning and initially with a purely aesthetic focus. It presents jade, bought from trusted London dealers in the 1970s, as well as beautiful works of art and porcelain, which Collins, now 92, increasingly concentrated on. Leading the collection are a large pale celadon jade ruyi sceptre 18th century (estimate: £30,000-50,000) and a large 18th century spinach-green jade 'immortals' boulder 18thcentury (estimate: £80,000-120,000). The decoration on the two sides of this finely carved jade mountain depicts contrasting landscapes, with the abode of immortals symbolized by pine trees and a peach tree which stand for longevity.

A large pale celadon jade ruyi sceptre 18th century. Estimate: £30,000-50,000. Photo: Christie's Images Ltd. 2009

A large 18th century spinach-green jade 'immortals' boulder 18thcentury. Estimate: £80,000-120,000. Photo: Christie's Images Ltd. 2009

Further notable works include an attractive celadon-glazed double-gourd vase, with Qianlong underglaze blue seal mark and of the period (1736-95) (estimate: £8,000-12,000) and a finely carved cinnabar lacquer panel, Ming dynasty, 16th century (estimate: £15,000-20,000). Such panels were once the lid for large boxes, used to contain marriage documents. Several complete boxes of this type are in the collection of the Palace Museum, Beijing. An iron-red and underglaze blue 'wufu' saucer dish, with Qianlong underglaze blue seal mark and of the period (1736-95) (estimate: £4,000-6,000) will also be offered. The decoration comprises five bats which symbolize good fortune and also represent the Five Blessings: longevity, wealth, health, love of virtue and a peaceful death.

An attractive celadon-glazed double-gourd vase, with Qianlong underglaze blue seal mark and of the period (1736-95) Estimate: £8,000-12,000. Photo: Christie's Images Ltd. 2009

A finely carved cinnabar lacquer panel, Ming dynasty, 16th century. Estimate: £15,000-20,000. Photo: Christie's Images Ltd. 2009

An iron-red and underglaze blue 'wufu' saucer dish, with Qianlong underglaze blue seal mark and of the period (1736-95) Estimate: £4,000-6,000. Photo: Christie's Images Ltd. 2009

Collins increasingly fine tuned his appreciation of the purity of porcelain glazes, the skills of painting and the consistency of repeated patterns. Professing that he has learnt more from his mistakes than from purchases that have become valuable treasures, Collins’s collection reflects a collector who has followed his instincts, and built up his knowledge over decades, without regard to Chinese tastes, or the then value of what he was buying.

Japanese Art & Design: November 4 at 10:30 am and 2 pm at Christie’s South Kensington
The world of Japan is brought to London once again, as part of the Christie's events for Asia Week in London, with estimates ranging from £500 to £50,000. The South Kensington sale on Thursday, November 4 presents a wonderful selection of over 200 lots of netsuke, which features two private collections, including "The Edward and Marilyn Flower Collection Part I" (Part 2 to be offered at Christie’s in May 2010). In addition to forming their netsuke collection, the Flowers are leading collectors of English majolica and American prints. Edward Flower is the general counsel and on the board of directors of the International Netsuke Kenkyukai Society. This superb collection was formed over a period of forty years - beginning in the 1960's. Amongst the treasures offered is an 18th-century wood netsuke of the King of the East wearing an octopus crown, Edo Period (estimate: £4,000-6,000) and a charming wood netsuke of turtles in a bamboo basket, signed Tadakazu, Edo Period (18th - 19th century) (estimate: £4,000-6,000).

an 18th-century wood netsuke of the King of the East wearing an octopus crown, Edo Period. Estimate: £4,000-6,000. Photo: Christie's Images Ltd. 2009

A charming wood netsuke of turtles in a bamboo basket, signed Tadakazu, Edo Period (18th - 19th century) Estimate: £4,000-6,000. Photo: Christie's Images Ltd. 2009

Elsewhere, there is a fine group of inro dating from the 18th to late 19th centuries, with highlights from the Meiji Period (late 19th century), such as an impressive threecase inro decorated in shibayama style (estimate: £7,000-9,000), as well as a fine four-case inro, decorated in various coloured ivory, cowhorn and mother ofpearl inlays, signed Nakayama (estimate: £3,000-5,000). A very interesting group of swords are offered from two private collections, led by a very fine handachi daisho, signed Shinpu Jonan (ni) Oite Shunkosai Yoshitaka, Edo period (19th century) (estimate: £4,000-5,000).

An impressive threecase inro decorated in shibayama style, Meiji Period (late 19th century) Estimate: £7,000-9,000. Photo: Christie's Images Ltd. 2009

A fine four-case inro, decorated in various coloured ivory, cowhorn and mother ofpearl inlays, signed Nakayama. Estimate: £3,000-5,000.  Photo: Christie's Images Ltd. 2009

A very fine handachi daisho, signed Shinpu Jonan (ni) Oite Shunkosai Yoshitaka, Edo period (19th century) Estimate: £4,000-5,000. .  Photo: Christie's Images Ltd. 2009

Amongst the wide array of wonderful prints, books and paintings are works from The Illing Collection , including the dramatic Kuniyoshi (1798-1861) print Soma no furudairi ai Masakado himegimi Takiyasha yojutsu o motte mikata o atsumuru [In the Ruined Palace at Soma…] (estimate: £4,000-6,000) and also an oban tate-e album containing the complete set of the series Ryokujuyoshu meisho zue [Pictures of Famous Places in the Sixty-odd Provinces] by Utagawa Hiroshige (1797-1858) (estimate: £40,000-50,000). Other works of art include a rare Kakiemon figure of a bijin, Edo Period (late 17th century) (estimate: £10,000-15,000) and a magnificent, very rare ivory okimono [sculptural ornament] of a high-ranking samurai wearing an o-yoroi style armour, signed Yoshida Yoshiaki and Kao, Meiji Period (late 19th century).

Utagawa Kuniyoshi (1798-1861) Soma no furudairi ai Masakado himegimi Takiyasha yojutsu o motte mikata o atsumuru [In the Ruined Palace at Soma Masakado's Daughter Takiyasha Uses Sorcery to Gain Allies] Rstimate: £4,000-6,000.  Photo: Christie's Images Ltd. 2009

Utagawa Hiroshige (1797-1858)  An album containing the complete set of sixty-nine prints and the table of contents from the series Rokujuyoshu meisho zue [Pictures of Famous Places in the Sixty-odd Provinces] Estimate: £40,000-50,000. Photo: Christie's Images Ltd. 2009

Chinese Ceramics, Works of Art and Textiles: November 6 at 10.30am and 2.00pm, Christie’s South Kensington
Christie's South Kensington Chinese Ceramics, Works of Art and Textiles Art sale caters for both traditional and new buyers in this vibrant category, with estimates ranging from £500 to £10,000. The sale presents an interesting array of over 400 lots of Chinese ceramics, silver, jade carvings, cloisonné, bronzes, lacquer and textiles. It includes over 40 lots of archaic jades and bronzes from the Arthur M. Sackler Collections and provides a fascinating insight into two entirely different collecting passions, from the early artifacts in The Plesch Collection to the ceramics and works of art in The Clive D. Collins Collection.

Works offered from The Plesch Collection are led by a 17th and 18th century bamboo carving of Luohai, (estimate: £5,000 - 8,000) and a beautiful 18th century double-sided carved Jichimu wood panel, depicting the "Three Friends of Winter: Bamboo, Prunes and Pine" (estimate: £4,000-6,000). Other examples include a yellow glazed dish, Hongzhi mark and of the period (1488-1505) (estimate: £1,500-2,000) and a finely carved celadon and russet jade double gourd vase, with ‘basket work’, Ming Dynasty (1368-1644) (estimate: £3,000-5,000).

A 17th and 18th century bamboo carving of Luohai,. Estimate: £5,000 - 8,000. Photo: Christie's Images Ltd. 2009

A beautiful 18th century double-sided carved Jichimu wood panel, depicting the "Three Friends of Winter: Bamboo, Prunes and Pine". Estimate: £4,000-6,000. Photo: Christie's Images Ltd. 2009

A yellow glazed dish, Hongzhi mark and of the period (1488-1505). Estimate: £1,500-2,000. Photo: Christie's Images Ltd. 2009

A finely carved celadon and russet jade double gourd vase, with ‘basket work’, Ming Dynasty (1368-1644) Estimate: £3,000-5,000. Photo: Christie's Images Ltd. 2009

Further very attractive works are featured in The Clive D. Collins Collection, such as an 18th century cinnabar lacquer box and cover (estimate: £3,000-5,000) and an evocative Wucai dragon dish, Kangxi mark and of the period (1662-1722), which is painted in vibrant enamels depicting alternating scaled dragons and phoenix amidst scrolling stems of peony (estimate: £2,000-3,000). A stunning 18th century deep aubergine glazed Yuhuchunping (estimate: £1,500 - 2,500) and an early 17th century cloisonné enamelled bowl, decorated in vibrant enamels depicting four horses of Muwang galloping above foaming waves (estimate: £2,000-3,000) will also be offered.

An 18th century cinnabar lacquer box and cover. Estimate: £3,000-5,000. Photo: Christie's Images Ltd. 2009

An evocative Wucai dragon dish, Kangxi mark and of the period (1662-1722) Estimate: £2,000-3,000. Photo: Christie's Images Ltd. 2009

A stunning 18th century deep aubergine glazed Yuhuchunping. Estimate: £1,500 - 2,500. Photo: Christie's Images Ltd. 2009

From the sale as a whole, ceramics include a finely painted enamel bowl, Yongzheng/Qianlong period (1723/ 95), painted with dragons chasing around the interior of the bowl amongst scrolling clouds (estimate: £3,000-5,000) and a late 18th - early 19th century underglaze blue and iron-red dragon dish (estimate: £3,000-5,000). Jewellery includes an 18th century celadon and russet jade pendant (estimate: £2,000-3,000), which depicts an elegant deer, carved in high relief to the celadon and russet surface; carved and pierced with a Shuangxi (Double Happiness) character below three ruyi-head motifs. Silver is led by two silver export cups, marked Cumwo, Hong Kong (1851-1900) and Cutshing, Canton (1826-1875) (estimate: £2,000 - 3,000).

A finely painted enamel bowl, Yongzheng/Qianlong period (1723/ 95) Estimate: £3,000-5,000. Photo: Christie's Images Ltd. 2009

A late 18th - early 19th century underglaze blue and iron-red dragon dish. Estimate: £3,000-5,000. Photo: Christie's Images Ltd. 2009

An 18th century celadon and russet jade pendant. Estimate: £2,000-3,000. Photo: Christie's Images Ltd. 2009

Two silver export cups, marked Cumwo, Hong Kong (1851-1900) and Cutshing, Canton (1826-1875) Estimate: £2,000 - 3,000. Photo: Christie's Images Ltd. 2009

Amongst the other works of art presented is an impressive, large spinach jade table screen and wood stand, circa 1800 (estimate: £5,000-8,000) and a large 17th century bronze Gu vase, decorated in relief with many sinuous dragons (estimate: £6,000-8,000). The beauty of the textiles featured are exemplified by a stunning Chinese mid-19th century Manchu lady's robe of turquoise satin (estimate: £3,000 - 5,000). Turquoise is a colour that was reserved in court dress for ladies of the Imperial family. This semi-formal robe would have been worn by a high-ranking lady.

An impressive, large spinach jade table screen and wood stand, circa 1800. Estimate: £5,000-8,000. Photo: Christie's Images Ltd. 2009

A large 17th century bronze Gu vase, decorated in relief with many sinuous dragons. Estimate: £6,000-8,000. Photo: Christie's Images Ltd. 2009

A stunning Chinese mid-19th century Manchu lady's robe of turquoise satin. Estimate: £3,000 - 5,000. Photo: Christie's Images Ltd. 2009

Bouddha « Samadhimudra », Vietnam.

Bouddha « Samadhimudra », Vietnam.

Bronze, cire rouge, belle patine, vers 1900. Il effectue le geste de la méditation. Le dhotî est simple mais est travaillé dans ses plis et recouvre entièrement là aussi son corps. Il n?a pas de protubérance crânienne .Au sommet de son crâne a été apposé un cachet de cire rouge.Haut : 53 cm - Estimation : 1500/1700€

Expert : Mlle Roxane Tartari, Expert en art d?Extrême-Orient

SAMEDI 31 OCTOBRE à 14 h 00. Route de Tours  37500 Chinon- Christophe HERBELIN - Chinon SALLE DES VENTES DE CHINON- Email : herbelin@interencheres.com