Charles Cousin, « Venise »
Charles Cousin, « Venise ». Photo Maître Philippe AMIGUES et Hôtel des Ventes du Tar
HST 38 x 55 SBD.
Maître Philippe AMIGUES et Hôtel des Ventes du Tar. DIMANCHE 5 FÉVRIER à 14H00. 25, rue Antoine Lavoisier 81000 Albi. Tél. : 05.63.78.27.27 - Fax : 05.63.45.04.65 - Email : p.amigues@gmail.com
Tête de « lohan » ou « arhat » (un des 18 disciples de Bouddha), Chine, XVIIIe s
Tête de « lohan » ou « arhat » (un des 18 disciples de Bouddha), Chine, XVIIIe s. Photo Maître Philippe AMIGUES et Hôtel des Ventes du Tar
portant une coiffe, au visage très expressif. Bois, restes de polychromies yeux en verre de couleur noire.H : 32 cm. Accidents anciens à la joue gauche et à larrière de la tête, sinon TBE.
Maître Philippe AMIGUES et Hôtel des Ventes du Tar. DIMANCHE 5 FÉVRIER à 14H00. 25, rue Antoine Lavoisier 81000 Albi. Tél. : 05.63.78.27.27 - Fax : 05.63.45.04.65 - Email : p.amigues@gmail.com
Importante statue de Guanyin. Chine, XVIIIe siècle
Importante statue de Guanyin. Chine, XVIIIe siècle. Photo Maître Philippe AMIGUES et Hôtel des Ventes du Tar
la Déesse de Miséricorde bouddhiste, portant diadème et tenue formelle, assise en tailleur. Le diadème porte un petit Bouddha Amithaba stylisé en son centre, et le costume présente de magnifiques drapés. Bois, restes de polychromie sur les habits et de dorure sur certaines parties. La statue a été sculptée en plusieurs morceaux, ensuite rassemblés. Hauteur : 59 cm. Mains manquantes, anciennes restaurations.
Maître Philippe AMIGUES et Hôtel des Ventes du Tar. DIMANCHE 5 FÉVRIER à 14H00. 25, rue Antoine Lavoisier 81000 Albi. Tél. : 05.63.78.27.27 - Fax : 05.63.45.04.65 - Email : p.amigues@gmail.com
Vietnam. Petite boite de forme zoomophe en céramique. Navire Hoi An, XVIIIème siècle.
Vietnam. Petite boite de forme zoomophe en céramique. Navire Hoi An, XVIIIème siècle. Photo Le Calvez et Ass
Le Calvez et Ass. - 95430 Auvers-sur-Oise. Dimanche 5 février 2012. 29, rue Carnot - 95430 Auvers-sur-Oise. Tel: 01 34 48 03 44
Restored Rubens masterpiece goes back on public view at The Courtauld Gallery
Peter Paul Rubens (1577-1640), Cain slaying Abel, 1608-1609, after treatment. Oil on oak panel , 131.2 x 94.2 cm© The Samuel Courtauld Trust, The Courtauld Gallery, London
LONDON.- The newly-conserved masterpiece Cain Slaying Abel by Sir Peter Paul Rubens went back on public display at The Courtauld Gallery, today. The magnificent painting, widely considered to be one of the most important in the Gallery’s world-class collection of works by Rubens, has been restored as part of the Bank of America Art Conservation Project which was launched in 2010.
The Flemish master Rubens (1577-1640) was one of the most exciting and explosive artistic talents of early modern Europe . His energetic compositions, such as Cain Slaying Abel, greatly influenced his contemporaries as well as future generations of artists. One of the first works of Rubens's artistic maturity and representing a pivotal moment in his early career, Cain Slaying Abel was painted around 1609, shortly after he had returned to his home town of Antwerp following years spent living and working in Spain and Italy. The dynamic composition and powerful portrayal of the Old Testament scene demonstrate the artist’s remarkable virtuosity in the depiction of flesh and musculature although the violence of the subject is at odds with Rubens’s beautiful rendition of Abel’s body.
Cain Slaying Abel entered The Courtauld Gallery as part of Count Antoine Seilern's Princes Gate Bequest in 1978. Its state of preservation, with warped panels, splitting joins, scratches, uneven surface with areas of paint loss and yellowed and opaque varnish, has been a long-standing concern. The oak panel showed problems at the joins between the planks, and earlier attempts to rejoin the panel had left a stepped profile and the join at the centre had started to fail resulting in the paint surface beginning to blister. At some point during the 19th century a lattice of wood, known as a cradle, was applied to the reverse of the panel. This was intended to prevent the planks from moving but had caused stress to the panel support and had also attracted woodworm.
The eleven-month procedure was undertaken by conservators Kate Stonor and Clare Richardson in the Department of Conservation and Technology of The Courtauld Institute of Art. The cradle was removed, a delicate operation in itself; the small woodworm holes were filled with cellulose fibres; parts of earlier restorations which had compromised the painting were carefully removed, as was the yellowed varnish which disfigured the subtly modelled cool tones of the landscape in the background. They also had to find precise matches for the pigments and glazes where restoration was needed in order to stabilise the painting for the next hundred years.
Cain Slaying Abel will be hung above an impressive fireplace in The Courtauld Gallery's Rubens Room and the Baroque Room, across from Moses and the Brazen Serpent which Stonor and Richardson have already conserved. Dr Caroline Campbell, Schroder Foundation Curator of Paintings, said: “We are delighted to have received one of Bank of America’s inaugural conservation awards for Rubens’s early masterpiece, Cain Slaying Abel. Besides revealing the full beauty of the work, research undertaken during conservation treatment has given us important new information about Rubens’s artistic practice.”
During the conservation process, Stonor and Richardson made many exciting discoveries: dendrochronology has dated the painting to between 1600 and 1612; ultra-violet photographs and X-rays showed that Rubens amended the composition of Cain's club-wielding arm and the positioning of one of his eyes; infra-red imaging revealed line drawings beneath the tree in the background which is unusual for Rubens and could be the work of a landscape specialist, indicating that Rubens may already have established a workshop at this early stage in his career.
Rena De Sisto, Global Arts and Culture Executive at Bank of America Merrill Lynch, said: “The Art Conservation Project is designed to preserve artistic treasures from around the world, to enable audiences to experience diverse cultural traditions, and allow future generations to enjoy and learn from these works. At the same time it sets out to spotlight the growing need for art conservation and the increasing cost to museums of keeping their treasures in top condition. The Courtauld has an extensive Rubens collection and it is so rewarding to see this magnificent artwork restored to its former glory and back on display, hanging alongside the artist’s other esteemed pieces. The fastidious work undertaken over the course of the last year will enable countless audiences to experience the full drama of Cain Slaying Abel.”
Dr Ernst Vegelin, Head of The Courtauld Gallery, said: “The conservation of Cain Slaying Abel has preserved an extremely important work by one of the world’s best-known artists, and the new research and discoveries that have arisen from the project will now form part of our numerous public and university teaching programmes”.
Adaptation Tree, Norway
Adaptation Tree, Norway
Earliest known copy of Leonardo da Vinci's Mona Lisa found at Spain's Prado Museum
A copy of Leonardo da Vinci's Mona Lisa that was painted at the same time as the original in the same studio is displayed at the Prado Museum in Madrid Wednesday Feb. 1, 2012. Spain's Prado Museum says the copy it has of Leonardo da Vinci's Mona Lisa was painted at the same time as the original perhaps making it the earliest replica of the masterpiece. A museum spokeswoman said the work was painted side by side with the 16th century original that hangs in the Louvre in Paris and was done by one of Leonard's key students. AP Photo/Paul White.
MADRID (AP).- A "Mona Lisa" copy owned by Spain's Prado Museum was almost certainly painted by one of Leonardo da Vinci's apprentices alongside the master himself as he did the original, museum officials said Wednesday.
The stunning find of what the Prado now says is probably the earliest known copy of La Gioconda will give art lovers and experts an idea of what the Mona Lisa looked like back in the 16th century, said Gabriele Finaldi, the museum's deputy director collections.
"It is as if we were in the same studio, standing at the next easel," he told reporters.
The copy has been part of the Prado collection for years and displayed occasionally but no one paid much attention to it because around the woman in the Mona Lisa was a stark black background, not the pretty landscape seen in the original.
Two years ago, to get the copy ready for a da Vinci exhibit later this year in Paris, where the original hangs in the Louvre, tests were done and this gave restorers a hint that something lie under the black coat, which was added in the 18th century for reasons not fully understood.
When the black covering was removed, a Tuscan landscape very similar to the one in the original emerged.
And X-ray tests which allow experts to peek under a painting's surface to see how it developed as it was composed showed that changes made in the copy were similar to changes made to the original as it evolved.
Varnish has also been removed from the Mona Lisa's face, making it look brighter and younger than the face coated with cracked, darkish varnish at the Paris museum.
"You can imagine that this is what the Mona Lisa looked like back in the 16th century," Finaldi said.
Miguel Falomir, the Prado's director for Italian painting, said the copy gives art lovers and experts a chance "to admire the Mona Lisa with totally different eyes."
He and Finaldi said the museum's best guess is that the copy was done by a da Vinci apprentice named Francesco Melzi, because of the style observed in it.
Besides the black background, one other difference from the original is the woman in the copy has eyebrows and the Mona Lisa in the real masterpiece does not.
There are dozens of the surviving replicas of the masterpiece from the 16th and 17th centuries.
The Louvre supports the Prado's new evaluation of the painting, Finaldi said.
The Prado plans to put it on display later this month before it travels to France for the da Vinci show.
By: Daniel Wools, Associated Press. Ciaran Giles contributed to this report. Copyright 2012 The Associated Press
Miguel Falomir, director of Italian painting at the Prado Museum speaks to reporters next to a copy of Leonardo da Vinci's Mona Lisa that was painted at the same time as the original in the same studio is displayed at the Prado Museum in Madrid Wednesday Feb. 1, 2012. Spain's Prado Museum says the copy it has of Leonardo da Vinci's Mona Lisa was painted at the same time as the original perhaps making it the earliest replica of the masterpiece. A museum spokeswoman said the work was painted side by side with the 16th century original that hangs in the Louvre in Paris and was done by one of Leonard's key students. AP Photo/Paul White.
Attribué à Jean-Baptiste Carpeaux (1827 - 1875), Etude d'homme cambré
Attribué à Jean-Baptiste Carpeaux (1827 - 1875), Etude d'homme cambré. Photo Osdenat
Toile 32 x 40 cm Manques Sans cadre. Estimation 1 500 - 2 000 €
Notre tableau est à rapprocher de l'esquisse du groupe de naufragés conservé au Musée des Beaux-Arts de Valenciennes
Osenat. Dimanche 12 février à 14h30. 5 rue royale 77300 Fontainebleau. L'Esprit du XIXème siècle. EMail : contact@osenat.com - Tél. : Général 01 64 22 27 62
A large 'Famille-Verte' bowl. Qing dynasty, Kangxi period
A large 'Famille-Verte' bowl. Qing dynasty, Kangxi period. Photo Sotheby's
the steep rounded sides and rising from a tapering foot to a flaring foliate rim, the exterior moulded with lotus petal-shaped panels finely painted with scenes of lady in a garden and floral blossoms rising from rockwork, all below stylised flower heads with leafy tendrils, the interior decorated to the centre with butterflies hovering amongst floral blossoms, the well with undulating stems bearing stylised Indian lotus blossoms and trefoil leaves, the rim
encircled by floral sprays alternating with butterflies, the base with a leafy floral spray within a double circle in underglaze blue; 33.5cm., 13 1/4 in. Estimate 4,000-6,000 GBP. Lot Sold: 7,500 GBP
Sotheby's. Fine Chinese Ceramics and Works of Art. Londres | 09 Nov 2011 www.sothebys.com
Charles Camille Chazal (Paris 1825 - 1875), Un balcon à Venise
Charles Camille Chazal (Paris 1825 - 1875), Un balcon à Venise. Photo Osdenat
Sur sa toile d'origine rectangulaire à surface peinte ronde 149 x 149 cm Signé et daté en bas à gauche CAM. CHAZAL. 1867 Porte le n°313 sur le cadre.
Exposition: Salon de 1867, n°313
Notre tableau fût présenté au Salon de 1867 conjointement avec un autre tableau, n° 312, Les filles d'Eve passé en vente chez Christie's New-York, 25 octobre 2006, n°130, reproduit
Osenat. Dimanche 12 février à 14h30. 5 rue royale 77300 Fontainebleau. L'Esprit du XIXème siècle. EMail : contact@osenat.com - Tél. : Général 01 64 22 27 62
