Le jeu de la séduction chez Boucheron: Taille de Guêpe: « Inviter aux fantasmes…
Boucheron. Collier Taille de Guêpe. Serti de perles de cultures roses, pavé de diamants poires, navettes et ronds, sur or blanc. Tous les motifs sont détachables pour pouvoir être portés séparément en deux broches, une paire de pendants d’oreilles et un pendentif.
Le charme féminin et l’assurance d’avoir une taille de rêve bien ajustée est l’étincelle qui a déclenché l’idée de la parure « Taille de Guêpe ». Les diamants et les perles de culture roses utilisés rappellent les nuances roses nacrées d’un corset avec ses rubans de soie qui s’entrecroisent.
D’un côté du collier, des cascades de diamants s’animent librement tout comme des rubans qui libèrent la taille cintrée. Les formes cambrées des motifs sont un rappel subtil de ce corset qui sculpte le corps de la femme.
« Taille de Guêpe » est la parure la plus versatile de la collection. Le collier peut se transformer de multiples façons : En ôtant, un, plusieurs, ou tous les motifs qui l’ornent, la femme qui le possède peut se parer d’une paire de boucles d’oreilles, deux broches et un pendentif, tout en gardant un magnifique collier d’or blanc couvert de plus de 700 diamants… Offre séduisante, s’il en est !
Cette saison, Boucheron révèle aux femmes de nouveaux secrets de beauté avec sept nouvelles créations uniques de Haute Joaillerie qui séduisent et exaltent le monde entier. Une collection qui capte la lumière, souligne le regard et illumine la peau suivant des lignes qui attisent les flammes du désir, ce pourquoi « Le Jeu de la Séduction » a été conçu.
Boucheron et le Jeu de la Séduction
Pour une femme qui se connaît et sait jouer de ses charmes, choisir la parure qui lui convient parfaitement est un art délicat qu’il faut savoir maîtriser. Poser une broche sur le revers d’un tailleur, ou sur la bordure d’une robe, accrocher une paire de boucles d’oreilles pour éclairer un visage, agrafer un collier pour souligner un décolleté, porter une bague afin de rehausser la beauté d’une main…Tous ces joyaux constituent des artifices dans la palette de séduction d’une femme.
Les mille facettes d’un rêve
Chaque femme a son bijou et ils peuvent varier en fonction de sa tenue, des différents moments de la journée ou simplement de son humeur. Cette collection reprend une des idées chères à Boucheron : présenter des bijoux qui ne sont pas figés. Dans cet esprit, la plupart d’entre eux sont modulables. Un geste suffit pour en modifier le « porté ». Le motif central d’un collier se transforme en pendentif ou en broche. Les motifs d’un autre deviennent boucles d’oreilles ou même ornement de coiffure. La séduction devient un jeu, suivant les envies de la femme qui porte ces joyaux.
La beauté des femmes qui rehausse celle des pierres
Le choix du bijou est l’ultime étape de la mise en beauté d’une femme. Mais avant de se parer de pierres précieuses, une femme a beaucoup d’autres rituels intimes pour se préparer. Ce sont ces gestes sensuels qui ont inspiré la collection du « Jeu de la Séduction ». Chaque parure de Haute Joaillerie s’inspire d’un des multiples aspects de la mise en beauté d’une femme dans son boudoir avant de sortir conquérir le monde.
Boucheron. Collier Taille de Guêpe.
RESULTS: Living with Design: The Collections of Walter Lees and Mr NC.
A rare cloisonné enamel model of a recumbent ram and rider. Qianlong incised four-character mark in a line and of the period (1736-95). Photo: Christie's Images Ltd., 2010
Finely modelled recumbent on a rectangular plinth with long curling horns, its body neatly covered in spiralling scrolls emulating fur, carrying on its back a seated figure dressed in ornate robes, 7½ in. (19 cm.) wide. Estimate £15,000 - £25,000 Sold £361,250 to an UK Trade.
Provenance: Acquired from Spink & Sons Ltd., London, September 1966.
Literature: Christiane de Nicolay-Mazery, Visite Privée: Hôtels Particuliers de Paris, Paris, 1999, p.186.
Notes: Compare a virtually identical recumbent cloisonné enamel ram in the Palace Museum, Beijing, catalogued as a brush-stand and illustrated in Jin Shu Tai Falangi, Hong Kong Commercial Press, pl. 125 p. 129.
Diego Giacometti (1902-1985), Sellette au ruban et aux arbustes. Photo: Christie's Images Ltd., 2010
bronze with brown and green patina and glass top. Height: 18½ in. (47 cm.) Width: 20¼ in. (51.4 cm.) Depth: 20¼ in. (51.4 cm.). Conceived circa 1982. Estimate £30,000 - £50,000 Sold £115,250 to an European Private
Provenance: Commissioned directly from the artist by Walter Lees.
Literature: D. Marchesseau, Diego Giacometti, Paris, 1986, p. 212 (another cast illustrated p. 143).
C. de Nicolay-Mazery, Visite Privée: Hôtels Particuliers de Paris, Paris, 1999, pp. 186-87.
Diego Giacometti (1902-1985) Sellette au ruban et aux arbustes. Photo: Christie's Images Ltd., 2010
bronze with brown and green patina and glass top. Height: 18½ in. (47 cm.) Width: 20¼ in. (51.4 cm.) Depth: 20¼ in. (51.4 cm.). Conceived circa 1982. Estimate £30,000 - £50,000 Sold £91,250 to an European Private.
Provenance: Commissioned directly from the artist by Walter Lees.
Literature: D. Marchesseau, Diego Giacometti, Paris, 1986, p. 212 (another
cast illustrated p. 143).
C. de Nicolay-Mazery, Visite Privée: Hôtels Particuliers de Paris, Paris, 1999, pp. 186-87.
Toussaint Dubreuil (Paris 1562-1602), Mars enthroned, wearing a plumed helmet and holding a spear (recto); A male nude playing a viola da gamba (verso) with inscription 'Martinus .. Fr[emi]net 16 ..' (partly erased). Photo: Christie's Images Ltd., 2010
black chalk, pen and brown ink (recto); red and black chalk (verso), the lower corners made up, watermark a crowned pot surmounted with letters 'NB', 10 5/8 x 6 5/8 in. (27.1 x 17 cm.). Estimate £30,000 - £50,000 Sold £91,250 to an UK Trade
Provenance: Anonymous sale; Hôtel Drouot, Paris, 18 December 1991, lot 103 (as Hendrick Goltzius).
Anonymous sale; Christie's, London, 13 July 1997, lot 117 (as Martin Fréminet).
Literature: D. Cordellier, 'Quelques feuilles de Toussaint Dubreuil' in Mélanges en hommage à Pierre Rosenberg, Paris, 2001, pp. 159-61, fig. 3.
D. Cordellier, Toussaint Dubreuil, exhib. cat., Paris, Musée du Louvre, 2010, p. 61, under no. 10.
Notes: Painter to Henri III and Henri IV of France, Toussaint Dubreuil was also a consummate courtier. From 1589 until 1597, and again in 1601, he was engaged on the decoration of Fontainebleau, developing the decorative scheme initiated by Rosso Fiorentino and Primaticcio and continued under the supervision of Ruggiero de' Ruggieri. The present drawing cannot be linked to any figure in his known works, but can be compared stylistically to the Standing nude warrior in the Musée du Louvre (inv. 26278), as well as to Cupid with two doves in the Metropolitan Museum of Art, New York (inv. 1998.63), both of which have the same terse, wiry pen-work, dense hatching and physical monumentality. The present sheet, indeed, demonstrates the breadth of artistic influences on Dubreuil's work, combining the forceful musculature of Michelangelo with the sinuous contortions of Northern European Mannerism.
The watermark of the present sheet is very similar that illustrated in Gaudrault, p. 303 (dated to France, 1602).
Diego Giacometti (1902-1985), Tabouret en X, troisième version. Photo: Christie's Images Ltd., 2010
bronze with light brown patina and needlework seat, depicting the Hôtel des Invalides, Paris. Height (excluding seat): 16½ in. (42 cm.) Width: 18¾ in. (47.5 cm.) Depth: 15¾ in. (40 cm.). Conceived circa 1965 Estimate £15,000 - £25,000 Sold £85,250 to a US Private.
Provenance: Commissioned directly from the artist by Walter Lees.
Literature: F. Francisci, Diego Giacometti, Catalogue de l'oeuvre, vol. I, Paris, 1986 (another cast illustrated p. 102).
D. Marchesseau, Diego Giacometti, Paris, 1986 (another cast illustrated p. 50).
Notes: Walter Lees's Parisian apartment overlooked architect Libéral Bruant's magnificent late 17th century domed structure, officially known as L'Hôtel National des Invalides in the 7th arrondissement.
Diego Giacometti (1902-1985), A Pair of Tabourets de coiffeuse. Photo: Christie's Images Ltd., 2010
stamped with the signature and monogram 'DIEGO DG' (on the crossbrace), bronze with dark brown and green patina and leather upholstered seat Height: 22¾ in. (57.8 cm.). Conceived circa 1960 , a pair (2). Estimate £30,000 - £50,000 Sold £79,250 to an European Trade.
Provenance: Commissioned directly from the artist by Walter Lees.
Literature: F. Francisci, Diego Giacometti, Catalogue de l'oeuvre, vol. II, Paris, 1986, p. 46 (another cast illustrated).
D. Marchesseau, Diego Giacometti, Paris, 1986, p. 45 (another cast illustrated).
Attributed to Antoine-Pierre Mongin (Paris 1761-1827 Versailles), The gardens and façade of the Palais du Luxembourg, Paris; and The gardens and Château de Saint-Cloud seen from the Seine, near Paris. Photo: Christie's Images Ltd., 2010
one with inscription 'Le Palais et Jardin du Sénat cy devant Palais du Luxembourg' (on a label attached to the backing); one with inscription 'Vue du chateau et La Cascade de Saint Cloud' (on a label attached to the backing), black chalk, bodycolour, 23½ x31¾ in. (56.9 x 80.8 cm.); 21½ x 31½ in. (54.5 x 79.9 cm.), a pair (2). Estimate £8,000 - £12,000 Sold £55,250 to an European Trade.
Provenance: Lore and Rudolf Heinemann; Christie's, London, 1 July 1997, lots 185 and 187.
Baron Jean-Baptiste Regnault (Paris 1754-1829), The Origin of Painting, or Dibutade tracing the profile of the shepherd; and The Origin of Sculpture, or Pygmalion and Galatea. Photo: Christie's Images Ltd., 2010
both signed 'Regnault', black chalk, pen and black ink, brown wash, one with fragmentary watermark, 6½ x 8½ in. (17.2 x 21.5 cm.), a pair (2). Estimate £8,000 - £12,000 Sold £49,250 to Musée national du Château de Versailles.
Provenance: Anonymous sale; Sotheby's, Monaco, 5 December 1991, lot 73.
Notes: Preparatory studies, with some differences, for a pair of overdoors commissioned by Louis XVI in 1785 for the Salon des Nobles de la Reine at Versailles, where they remain today (Figs. 1 and 2).
A pair of George II silver butter-dishes and covers, mark of Eliza Godfrey, London, 1758. Photo: Christie's Images Ltd., 2010
Oval, the sides and covers cast and chased with basketweave, with gadrooned handles, engraved inside the base and cover with a crest, marked underneath and on cover bezel, 6½ in. (16.5 cm.) wide, 45 oz. (1,402 gr.). The crest is that of Style, possibly for Sir Thomas Style, 4th Bt. (d.1769), who married Elizabeth (d.1737), daughter of Sir Charles Hotham 4th Bt. (d.1722). He demolished and rebuilt the family seat Wateringbury Place in the early part of the 18th century. (2). Estimate £15,000 - £20,000 Sold £40,850 to an UK Trade.
Provenance: Anonymous sale; Christie's, London, 23 May 1962, lot 51.
Acquired from S.J. Phillips Ltd., London, September 1975.
Literature: Christiane de Nicolay-Mazery, Visite Privée: Hôtels Particuliers de Paris, Paris, 1999, p.188.
Giovanni Francesco Barbieri, il Guercino (Cento 1591-1666 Bologna), The triumphant Hercules with the vanquished Hydra. Photo: Christie's Images Ltd., 2010
pen and brown ink, brown wash, 8¾ x 5¼ in. (20 x 12.7 cm.). Estimate £12,000 - £18,000 Sold £37,250 to an US Trade.
Provenance: A. Normand (L. 153c); Christie's, Monaco, 20 June 1994, lot 23.
Notes: A preparatory study for a lost fresco of Hercules and the Hydra, executed by Guercino on the façade of Palazzo Tanari in Bologna in 1618. He had depicted the same subject four years earlier, in a fresco in the Casa Provenzale in Cento, and made a number of studies exploring alternative ways of representing the episode, in preparation for his Bolognese fresco. The present drawing is one of two which show Hercules triumphant over the Hydra, rather than in the midst of battle with the monster: the other drawing, which seems to be slightly earlier in Guercino's exploratory series, is at the Kupferstichkabinett in Basel.
Christie's. Living with Design: The Collections of Walter Lees and Mr NC. 16 July 2010. London, King Street www.christies.com
Diamond bracelet & Pink sapphire and diamond bangle, Buccellati
Pink sapphire and diamond bangle, Buccellati. photo Sotheby's
Est. 6,000—8,000 GBP Lot Sold 13,750 GBP
Diamond bracelet, Buccellati. photo Sotheby's
Est. 5,000—10,000 GBP Lot Sold 18,750 GBP
Sotheby's. Jewels. 15 Jul 10. London www.sothebys.com
Wish list of a young collector @ Galerie Yvon Lambert
Barbara Kruger, Untitled, 2008. Archival pigment print. 121,9 x 167,6 cm. Courtesy galerie Yvon Lambert © Barbara Kruger
Yvon Lambert présente «Wish list of a young collector», une exposition de différents artistes, jeunes ou confirmés, réunissant entre autres les œuvres de Stefan Brüggemann, Nan Goldin, Loris Gréaud, Jenny Holzer, Jonathan Monk, Hans Nahmut et Andy Warhol.
L'idée de «Wish list of a young collector» est née, il y a cinq ans, d'une discussion entre Carl Ganem et Yvon Lambert. De fil en aiguille, des liens se tissent entre le jeune collectionneur et le marchand aboutissant à l'acquisition d'un tableau de l'artiste américaine Jenny Holzer. Lors de leurs nombreuses rencontres, ils abordent les thèmes de l'art, de son marché ainsi que le principe et l'axe d'une collection. Le jeune passionné reproche souvent aux galeries d'être des lieux trop intimidants et hermétiques.
Pendant un mois, Yvon Lambert offre l'opportunité à Carl Ganem de concrétiser les envies de tout collectionneur: un accès illimité à toutes les œuvres d'une galerie. Ce rêve devient réalité; celui de choisir sans compter, sans mesurer, sans contraintes et sans frustration. Le dénominateur commun de toutes ces œuvres est le coup de foudre. «Wish list of a young collector» réunira des œuvres déjà acquises et d'autres œuvres pour créer la collection idéale.
Cette exposition, moins conceptuelle dans son approche, apporte un regard intimiste et singulier, celui de ce passionné. Les envies de ce dernier évoluant avec le temps, l'accrochage changera au cours de l'exposition. Dans la première salle, les œuvres sont présentées de manière plutôt atypique puisque ces dernières sont pour la plupart rangées sur des rayonnages, comme dans une réserve.
Sur une caisse de transport, transformée pour l'occasion en une table de présentation, les monographies et catalogues des artistes exposés sont disponibles à la consultation. La seconde salle dévoile un accrochage plus classique ou l'eutopie et l'utopie d'une collection se réalise pour le temps d'une exposition.
Stefan Brüggemann, Nan Goldin, Loris Gréaud, Jenny Holzer, Jonathan Monk, Hans Nahmut, Andy Warhol. 01 juil.-31 juil. 2010.
Kendell Geers, Manifest, 2007. Néon. 300,04 x 269,88 cm. Courtesy galerie Yvon Lambert © Kendell Geers
Leopold Museum Pays a $19 Million Settlement for Egon Schiele's "Portrait of Wally"
Egon Schiele, Bildnis Wally, 1912, Öl auf Holz, 32,7 x 39,8 cm, Inv.Nr. 453, Leopold Museum, Wien.
NEW YORK (AP).- A 12-year dispute that illustrated the difficulty of proving art was stolen by Nazis in World War II ended Tuesday with an agreement that a 1912 oil painting entitled "Portrait of Wally" will be returned to a Vienna museum and displayed with an acknowledgement that it was stolen from a Jewish art dealer by a Nazi agent.
The settlement calls for the Leopold Museum to own the painting by Austrian expressionist Egon Schiele after paying $19 million to the estate of Lea Bondi Jaray and allowing it to be displayed for three weeks at the Museum of Jewish Heritage in lower Manhattan.
The painting has been the subject of court proceedings in New York City since it was lent 12 years ago to the Museum of Modern Art in New York by the Leopold Museum. At least three times, a judge had ordered it returned to Austria without acknowledgement it had been stolen.
U.S. Attorney Preet Bharara said in a statement that the settlement among the U.S. government, Jaray's estate and the Leopold Museum "marks another small step toward justice for victims of property crimes during WWII."
The deal comes less than a year after U.S. District Judge Loretta A. Preska rejected the Leopold Museum's argument that the painting was not stolen property and days before she was to preside over a trial to decide whether the museum knew it was stolen property when it was brought into the United States in September 1997.
In January 1998, the Manhattan district attorney's office began investigating claims that the painting was stolen more than a half century earlier when Jaray was forced to sell it on the cheap to a Nazi art collector.
After a state judge refused to let prosecutors seize the painting and an appeals court upheld the ruling, federal prosecutors obtained a federal seizure warrant from a magistrate judge, blocking its return.
The painting was among more than 100 paintings lent to MOMA by the Leopold Foundation for a three-month exhibit that ended Jan. 4, 1998. At the time, it was estimated that "Portrait of Wally" was worth about $2 million.
The Leopold Museum has always insisted that it acquired the painting in good faith from legitimate postwar owners.
Henry Bondi of Princeton, N.J., filed the claim that said the painting had been taken from his late aunt, a Viennese Jew, as she fled her home in 1939 to go to London when Germany annexed Austria. She died in 1969. Henry Bondi also has since died.
A lawyer for the Leopold Museum did not immediately return a telephone message for comment.
In a statement, representatives of the Bondi estate said the settlement reflects the true value of the painting.
They also said the public display of the painting at the Museum of Jewish Heritage will let visitors view it in a setting that memorializes the suffering of Holocaust victims and the resilience of those who escaped and survived.
"Justice has been served," the statement said. "Finally, after more than 70 years, the wrongs suffered by Lea Bondi Jaray are at least being acknowledged and, to some degree, corrected." By: Larry Neumeister, Associated Press Write. Copyright 2010 The Associated Press.
