Gauguin @ Tate Modern in September 2010
Paul Gauguin (1848-1903), Two Tahitian Women (1899) Photograph: Francis G Mayer/Corbis
Paul Gauguin (1848-1903), Self-Portrait with a Palette (1894) Photograph: Francis G Mayer/Corbis
Paul Gauguin (1848-1903), Woman With a Mango (1892) Photograph: Francis G Mayer/Corbis
Paul Gauguin (1848-1903), Aha Oe Feii / What, Are You Jealous? (1892) Photograph: Francis G Mayer/Corbis
Paul Gauguin (1848-1903), Vision of the Sermon / Jacob Wrestling With the Angel (1888) Photograph: Francis G Mayer/Corbis
Paul Gauguin (1848-1903), The Yellow Christ (1899) Photograph: Francis G Mayer/Corbis
Paul Gauguin (1848-1903), Teha'amana Has Many Parents (1893) Photograph: Francis G Mayer/Corbis
Paul Gauguin (1848-1903), A page from Gauguin's book Noa Noa, Voyage to Tahiti (c1890) Photograph: Francis G Mayer/Corbis
Paul Gauguin (1848-1903), She Thinks on a Ghost (1890) Photograph: Francis G Mayer/Corbis
Paul Gauguin (1848-1903), Manao Tupapau / Spirit of the Dead Watching (1892) Photograph: Francis G Mayer/Corbis
Paul Gauguin (1848-1903), Tahitian Nude With Seated Back (1902) Photograph: Francis G Mayer/Corbis
Gauguin (1848-1903) is one of the most influential and celebrated artists of the late nineteenth century. Remarkably, this is the first major exhibition in London to be devoted to his work in over half a century. Bringing together over one hundred works from public and private collections from around the world, the exhibition will take a fresh and compelling look at this master of modern art.
Challenging commonly held assumptions about the artist and his practice and encompassing paintings, sculptures and drawings, as well as a documentary section, the exhibition will reveal the complexity and richness of his narrative strategies for a twenty-first century audience. Key loans include Self-portrait with Manao tu papau 1893, Teha 'amana has many Parents 1893 and Vision of the Sermon 1888.
30 September 2010 – 16 January 2011
Three Wucai flower form dish, four-character sealmark fu tian xia taiping, Chongzhen, 1628-1644
A wucai flower form dish. Chongzhen, 1628-1644.
with petal shape fluted brown wash rim painted with a flowering branch of peony with buds and leaves beside a music stone or axe head with a three-character mark xi chuang ji ``west window mark``, probably a name of a studio, within double lines of underglaze blue and a single thick line in iron red. 8 3/8 inches, 21.3cm diameter. The underside with a four-character sealmark fu tian xia taiping, ``happiness and universal peace``, within a double square and a single ring. Price on applilcation
Notes: This dish is published by Yamanaka Shokai in Ko-akai Sara Hyaku Sen, Old Coloured Ware Dishes Selected Hundred Pieces, Part One, Yamanaka Shokai, Osaka, 1933, colour plate no.13, and in a hand coloured painting on the front of the folio.
The knife cut brown rim was an innovation that improved the strength of the rim glaze and helped to prevent mushikui (earthworm nibbles) which were more prevalent on Tianqi wares.
Wucai flower form dish. Chongzhen, 1628-1644.
with petal shape fluted brown wash rim painted with a lotus flower head, bud, pod, arrow head and leaves beneath a large circular double seal with the mark so shi ``longevity stone``, within a double ring in underglaze blue and iron red single band. 8 3/16 inches, 20.8cm diameter. The underside with a four-character sealmark fu tian xia taiping ``happiness and universal peace`` within a double square and a single ring. Price on applilcation
Notes: This dish is published by Yamanaka Shokai in Ko-akai Sara Hyaku Sen, Old Coloured Ware Dishes Selected Hundred Pieces, Part One, Yamanaka Shokai, Osaka, 1933, colour plate no.9.
The knife cut brown rim was an innovation that improved the strength of the rim glaze and helped to prevent mushikui (earthworm nibbles) which were more prevalent on Tianqi wares.
A wucai octagonal plate painted with a fisherman with the same four character sealmark was included by S. Marchant & Son in their exhibition of Two Hundred Years of Chinese Porcelain, 1522-1722, June 1998, no.38, p.54.
Wucai flower form dish. Chongzhen, 1628-1644.
with petal shape fluted brown wash rim, painted with a fruiting branch of pomegranate with buds and leaves above a four-character sealmark you zhi qian li ``if you have ambition you can travel thousands of li`s`` within a gourd enclosed in an underglaze blue double line and an iron-red wash. 8 1/8 inches, 20.7cm diameter. The underside with a four-character sealmark fu tian xia taiping, ``happiness and universal peace`` within a double square and a single ring. Price on applilcation
Notes: This dish is published by Yamanaka Shokai in Ko-akai Sara Hyaku Sen, Old Coloured Ware Dishes Selected Hundred Pieces, Part One, Yamanaka Shokai, Osaka, 1933, colour plate no.40.
A similar dish in the Kyoto National Museum is illustrated in colour in the catalogue of Exhibition of Late Ming and Early Qing Wucai Porcelain, Kyoto National Museum, March 1993, no.24, p.30, and also in The Special Exhibition of Chinese Ceramics, The Most Popular Works Among Japanese, Kyoto National Museum, October 1991, no.20.
MARCHANT 120 Kensington Church Street London, United Kingdom W8 4BH - Tel: 44 0207-229-5319 - Fax: 44 0207-792-8979
Commode de style Louis XVI dans le goût de Joseph Stöckel, fin du XIXème-première moitié du XXème siècle
Commode de style Louis XVI dans le goût de Joseph Stöckel, fin du XIXème-première moitié du XXème siècle. Photo: Christie's Images Ltd., 2009
En placage d'amarante, vernis européen, ornementation de bronze ciselé et doré, dessus de marbre blanc veiné gris, à décor de palais animés de personnages, ouvrant par deux vantaux surmontés de trois tiroirs, flanqués de colonnes cannelées et rudentées, reposant sur des pieds fuselés, ceints de feuilles d'acanthe. Hauteur: 95 cm. (37½ in.), Largeur: 183 cm. (72 in.), Profondeur: 69 cm. (27¼ in.) Est. €10,000 - €15,000 - Price Realized €12,500
Notes: Cette commode s'inspire de celle livrée par l'ébéniste Joseph Stöckel pour le salon des jeux de Marie-Antoinette au Palais de Fontainebleau en 1786.
Christie's. 500 ans, Arts Décoratifs Européens. 17 December 2009 . Paris www.christies.com
Paire d'encoignures d'époque Louis XV. Estampille de François Rubestuck, vers 1740
Paire d'encoignures d'époque Louis XV. Estampille de François Rubestuck, vers 1740. Photo: Christie's Images Ltd., 2009
En vernis européen, à l'imitation de la Chine, à décor polychrome et or sur fond noir, ornementation de bronze ciselé et doré, dessus de marbre en brèche d'alep, de forme galbée, ouvrant à une porte, reposant sur des pieds galbés, estampillées à droite F.RUBESTUCK et JME
Hauteur: 92 cm. (36¼ in.), Largeur: 77 cm. (30¼in.), Profondeur: 57 cm. (22½ in.)
Hauteur: 92,5 cm. (36½ in.), Largeur: 78,5 cm. (31 in.), Profondeur: 57,5 cm. (22¾ in.)
François Rubestuck, reçu maître en 1766 (2).
Est. €10,000 - €15,000 - Price Realized €22,500
Provenance: Provenant d'une collection constituée entre 1930 et 1960 pour un hôtel particulier parisien, puis par descendance jusqu'à aujourd'hui.
Notes: Cette élégante paire d'encoignures estampillées de Rübestück en vernis européen à l'imitation des laques de Chine symbolise l'attrait considérable pour les laques précieux et coûteux dont la valeur et la beauté fut mise en valeur par les marchand-merciers du milieu du XVIIIème siècle. Ces encoignures sont à rapprocher d'un groupe de commodes en laque ou vernis européen à décor polychrome et à motif de chinoiseries sur fond noir, exécutées par des ébénistes célèbres tels que Mathieu Criaerd (reçu maître en 1738), Jean-Pierre Latz (vers 1691-1754) qui exécuta une paire d'encoignures extrêmement similaires au lot présent (ill. dans P. Kjellberg, Le Mobilier Français du XVIIIè siècle, Paris, 2002, p.528, fig. a), Jacques et René Dubois (reçus maîtres en 1742 et 1755, respectivement), ou encore Christophe Wolff (reçu maître en 1755), qui lui aussi exécuta de nombreux modèles de commodes, secrétaires et encoignures enrichis de laque ou vernis européen, à marqueterie de paysages exotiques (ill. Ibid, p. 917).
Parmi les meubles présentant des décors comparables en vernis européens ou en laque de Chine et estampillés de Rübestück, citons une commode ornée de chutes d'angles identiques à celles figurant sur le lot présent (ill. Ibid, p. 781, fig. a), une commode passée en vente chez Christie's Paris, le 17 juin 2000, lot 137 (564.000 francs) ou encore une commode à décor similaire vendue chez Christie's Londres, le 5 juillet 2001, lot 120 (GBP 41.125).
Christie's. 500 ans, Arts Décoratifs Européens. 17 December 2009 . Paris www.christies.com
Paire d'encoignures d'époque Régence. Vers 1720
Paire d'encoignures d'époque Régence. Vers 1720. Photo: Christie's Images Ltd., 2009
En laque, bois de violette et bois noirci, ornementation de bronze ciselé et doré, les plateaux en marbre brèche d'Alep restaurés, la façade galbée ouvrant à deux portes décorées chacune d'un panneau représentant des paysages lacustres animés dans des moulures à petites perles longues et de motif rocaille, les montants à ressaut demi-lune à chutes ajourées, prolongés par des petits pieds légèrement galbés; l'intérieur des portes probablement replaqué. Hauteur: 91 cm. (36 in.), Largeur: 72 cm. (28 1/3 in.), Profondeur: 55 cm. (21 2/3 in.) (2). Est. €30,000 - €50,000 - Price Realized 27,400
Provenance: Acquis par le propriétaire actuel auprès de la galerie J. Kugel, Paris.
Notes: La vogue des objets chinois qui atteignit son apogée au XVIIIème siècle connut ses prémices sous Louis XIV. Dès la création de la Compagnie des Indes orientales en 1664 puis celle quelques années plus tard de la Compagnie de Chine, les amateurs purent se procurer ces objets précieux venus d'un autre monde. Les grands personnages de la Cour possédaient meubles et coffrets de laque, porcelaines, étoffes et autres objets directement importés d'Extrême Orient. Dans l'inventaire "de tous les meubles du Cardinal Mazarin dressé en 1653", figurent déjà des meubles en bois de la Chine, des tapis façon de la Chine, des étoffes de brocard de la Chine à fonds d'or. Le Journal du Garde-Meuble de la Couronne rédigé entre 1676 et 1672 fait déjà mention de meubles vernis de la Chine puis l'inventaire des meubles du château de Versailles fait état de paravents de laque.
En 1686, les ambassadeurs de Siam lors de leur visite au roi Louis XIV, arrivèrent les malles chargées de présents. L'abbé de Choisy qui avait participé avant le voyage au choix des cadeaux écrivait dans son Journal "la liste des présents n'en finit pas, on en appporte toujours de nouveaux, pièces d'orfèvrerie, objets d'écaille, étoffes, tapis, porcelaines, meubles en laque."
Plusieurs expéditions permirent ensuite de s'approvisionner à nouveau tant la demande s'étendit. L'Amphitrite en 1700 puis 1703 revint chargée à son bord de quantité d'objets précieux dont des laques.
Les premiers meubles intégrant des panneaux de laque oriental datent de la fin de l'époque Louis XIV. Quelques très rares expériences furent tentées comme par exemple le médaillier créé par André-Charles Boulle (conservé à la Bibliothèque Nationale). Le goût se répandit sous la Régence et l'on vit l'apparition de vernis européen imitant le laque de Chine. Encore rare sous la Régence, ce goût pour l'orientalisme fut ensuite à son apogée sous les règnes de Louis XV et de Louis XVI.
Christie's. 500 ans, Arts Décoratifs Européens. 17 December 2009 . Paris www.christies.com
Vietnam 'War' Series by Olan Montgomery is Dedicated to His Father's Service
Olan Montgomery, It Don't Mean Nothin (Vietnam series) 18x24
The ‘War’ series by Olan Montgomery is that it was inspired by his father’s service in Vietnam at the age of 17.
Artist Olan, also known as Olan Montgomery, is known for his pop art created from his own images of people from various walks of life ranging from celebrity to the homeless. The New York Times in 2003 wrote about how the artist created art of local bank tellers in New York and then hung the works behind his subjects. He is also known if his portraits of such notables as Courtney Love and Alan Cumming among others. He is a second generation artist, son of self taught artist Eslye Moore, living in Manhattan where he continues to photograph and paint his pop art. I create my paintings from my own photographs. They are a combination of my photos hand painted on canvas as well as my own digital art creations. My art is a visual stimulation to remind people to simply look at one another and see through the layers of a complex personality. In our world today fame and pop stardom are sometimes reduced to 5 seconds of fame . This book contains my art of so many aspects of New York City subculture, individuals who are not defined by the "norm" so to speak. They are beautifully aberrant and colorful in themselves. My art is simply their reflection. In some respects we can blame (or thank) the mass media for contributing to a jaded social value of been there, done that . Regardless, my work is an effort to capture an essence within that fleeting context and place it into a perpetual freeze-frame. why can t a nano-second last forever? states Olan. www.saatchi-gallery.co.uk
Olan Montgomery,WAR agent orange don't worry it's harmless to humans, 18x24
Olan Montgomery, WAR playboy, 18x24
Diamond, enamel, moonstone and pearl brooch/hair ornament combination, Carlo and Arthur Giuliano, Circa 1895
Diamond, enamel, moonstone and pearl brooch/hair ornament combination, Carlo and Arthur Giuliano, Circa 1895. Photo Sotheby's
Old mine diamonds weighing approximately 1.20 carats, the pearl measuring approximately 13.9 by 12.8 mm., mounted in gold, signed C& AG, brooch pin detachable, together with a tortoise shell hair comb fitting. With signed and fitted box. Est. 15,000—20,000 USD. Lot Sold. Hammer Price with Buyer's Premium: 22,500 USD
Sotheby's. Magnificent Jewels. 09 Dec 09. New York www.sothebys.com
In the mid-19th century, the archeological revival was at its peak in England and demand for jewelry in the ancient style was high. At this opportune time, Carlo Giuliano moved with his wife and sons from Italy to England, where he began to make granulated gold jewelry in the ancient Greek and Roman style and to sell it through established jewelers such as Hancocks, Hunt and Roskell, and Phillips.
There are no records to support the theory, but it’s widely believed Giuliano studied under the renowned Castellanis in Italy and moved to London at Alessandro Castellani’s request to open a workshop for him. Giuliano’s early work is close in style to the Castellanis’, and Giuliano signed his work the same way – interlocked initials “C.G.” in place of the interlocking double “Cs” of the Castellanis.
Whatever the initial arrangement, Giuliano’s workshop was solely in his name from 1860-1877. By 1874, he also opened a retail shop with his son under the name Carlo and Arthur Giuliano. The company blossomed and developed its own style. Some of the success must be attributed to the head designer, Pascuale Novissimo, whose exceptional designs Giuliano skillfully transformed into exquisite jewels that caught everyone’s attention.
Renaissance Revisited. By the 1870s, archeological-style jewelry had lost much of its appeal, and the Renaissance style was capturing attention. Rather than replicate Renaissance jewelry, Giuliano sensitively interpreted it to suit late-19th century taste. In a style derived from 17th century French enamelwork, Giuliano meticulously applied opaque enamel in contrasting patterns of tiny dots, small scrolls and whisker-like lines in black on white, white on black and sometimes both alternately in the same piece. The most popular jewels in his Renaissance repertoire were lozenge-shaped pendants, cruciform pendants, brooches, hinged bangle bracelets and multistrand necklaces of pearls or gold links, all embellished with delicate enameling.
Although precious stones were never the focus, Giuliano enriched his jewelry with a modest combination of gems that enhance the design and maintain the Renaissance character. He particularly favored diamonds and pearls because they ideally suit the black and white theme. Other more colorful pieces feature faceted and cabochon ruby, sapphire, emerald, beryl, garnet, zircon, chrysoberyl, moonstone, amethyst and topaz.
Wide Appeal. Between 1874 and 1890, the company flourished. Its understated yet superb pieces appealed to everyone from royalty, including Queen Victoria and the Prince of Wales, to members of the Aesthetic movement such as artist Edward Burne-Jones. In the 1890s, interest in historicism waned and the company faltered a bit. To rectify this, Giuliano created a popular “candy-twist” enameled baton link, variations of which carried the company into the 20th century.
Today, collectors and connoisseurs alike seek Giuliano jewelry. The delicate beauty of each enameled treasure is as fresh today as it was 100 years ago. Although some imitations were attempted, none matched Giuliano’s precise enameling and attention to detail. Today, when virtually everything has a dozen knock-offs, it’s comforting to know Giuliano jewelry is unique. – Elise B. Misiorowski
18 karat gold and tourmaline tree brooch, James de Givenchy for Taffin
18 karat gold and tourmaline tree brooch, James de Givenchy for Taffin. Photo Sotheby's
The leaves composed of various green colored carved tourmalines, signed Taffin, maker's marks for James de Givenchy, engraved Central Park 150th Anniversary, 1853-2003. Est. 4,000—6,000 USD - Lot Sold. Hammer Price with Buyer's Premium: 7,188 USD
Sotheby's. Magnificent Jewels. 09 Dec 09. New York www.sothebys.com
Aquamarine, sapphire and diamond bird brooch, Aletto Brothers
Aquamarine, sapphire and diamond bird brooch, Aletto Brothers. Photo Sotheby's
Set with square-cut aquamarines, cabochon sapphires, round pink sapphires, and round and square-cut diamonds weighing approximately 1.50 carats, mounted in gold, signed Aletto Bros. Est. 7,500—10,000 USD - Lot Sold. Hammer Price with Buyer's Premium: 9,375 USD
Sotheby's. Magnificent Jewels. 09 Dec 09. New York www.sothebys.com
This is where the story continues; in addition to crafting timeless, world-famous jewels, Alfredo Aletto remains deeply committed to his heritage by taking on three apprentices—his sons, Alberto, Luigi and Mario. Alberto, the eldest, was eager to follow in his father’s footsteps and has worked in the family business for 11 years, now serving as a mentor to his younger brothers. After all, they are also his fellow artists and business partners. Together, Alfredo and his three sons work to balance the increasing demands of business and daily life, while offering each other the kind of inspiration, love and support that is only found with family. Sempre famiglia.
Five generations later, from Naples to Caracas to New York, Boca Raton, Florida is now home to Aletto Brothers. Their small shop is the birthplace of some of the world’s finest gold and gemstone treasures, which include modern interpretations of classic design. Even as times change, however, the Alettos stay grounded in their family history and their gift for immaculate art. ©2007 Aletto Brothers. All rights reserved
Old Master & 19th Century European Art @ Sotheby's New York on Fri, 29 Jan 10
Francesco Guardi (Venice 1712 - 1793), Head of the Virgin, oil on canvas, 7 by 5 1/2 in. 17.8 by 14 cm. Executed circa 1780-90. Est. 20,000 - 30,000 USD. photo courtesy Sotheby's
Sotheby’s Old Master & 19th Century European Art auctions are celebrated for their rich variety. From 17th and 18th century Italian Baroque paintings to the genre paintings, sporting and marine subjects originating from all parts of Europe throughout the 19th century, the diversity of the works being offered is evident. The Old Master section is highlighted with works by both Francesco and Giacomo Guardi; Adriaen van Ostade’s Peasant Brawl in a Tavern (included in a group of Dutch still-lifes and landscapes); and portraits by British masters Raeburn and Lawrence. Late 19th century paintings from France, Italy, Belgium, Spain, England and Poland showcase the era’s talents for depicting domestic dramas and communal celebrations. There are also selections of Barbizon, Orientalist, Symbolist and Belle Epoque works to be discovered among the broad and varied array of offerings, including a newly-discovered painting by Edwin Lord Weeks and Property from the Estate of Mary Warburg.
My personal selection:
Giacomo Guardi (Venice 1764 – 1835) View of the isle of San Spirito and View of the chandler's at San Gerolamo, Venice: a pair; each signed Giacomo di Guardi, titled, and inscribed (verso), gouache on paper, two works; each: 4 by 7 in, 10.1 by 17 .7 cm. Est. 5,000 - 7,000 USD. photo courtesy Sotheby's
German School, 16th century. The martyrdom of Saints George and John the Baptist: a pair, oil on cradled panel, the frames with Latin inscriptions, 23 1/8 by 16 1/4 in. 58.7 by 41.3 cm. Est. 15,000 - 20,000 USD. photo courtesy Sotheby's
Follower of Willem Kalf. Still life with lemon, oil on canvas, 25 by 20 5/8 in. 63.5 by 52.4 cm. Est. 6,000 - 8,000 USD. photo courtesy Sotheby's
Attributed to Gysbert Van Der Kuyl (Gouda 1626 – 1699) The Four Ages of Man, oil on canvas, 49 by 60 1/2 in. 124.5 by 153.7 cm. Est. 30,000 - 40,000 USD. photo courtesy Sotheby's
Jacob Van Oost (Bruges 1601-1671) Portrait of a young man, oil on paper, laid down on canvas, 15 1/4 by 18 1/4 in. 38.7 by 46.4 cm. Est. 12,000 - 16,000 USD. photo courtesy Sotheby's
Giovanni Paolo Panini and studio (Piacenza 1691- 1765 Rome) Capriccio with the temple of the divine Antoninus Pius and Faustina, oil on canvas, 29 1/4 by 40 in. 74.3 by 101.6 cm. Est. 30,000 - 40,000 USD. photo courtesy Sotheby's
Attributed To Jan Breughel The Younger (Antwerp 1601 – 1678) Still life of flowers with tulips, lilies, and carnations, oil on panel, 21 1/4 by 14 in. 54 by 35.6 cm. Est. 6,000 - 8,000 USD. photo courtesy Sotheby's
Attributed to Jacob De Wit (Amsterdam 1695 – 1754) Allegory Of Summer With The Infant Bacchus Riding A Goat, oil on canvas, en grisaille, 38 3/4 by 55 in. 98.4 by 139.7. Est. 7,000 - 9,000 USD. photo courtesy Sotheby's
Follower of Louis de Caullery, Piazzetta San Marco, oil on cradled panel, 20 3/4 by 25 1/4 in. 52.7 by 64 cm. Est. 6,000 - 8,000 USD. photo courtesy Sotheby's
