Alain.R.Truong

27 mars 2015

Nguyễn Gia Trí (1908-1993), Landscape of Hà Tây, 1964

Nguyen Gia Tri (1908-1993), Landscape of Hà Tây

Nguyễn Gia Trí (1908-1993), Landscape of Hà Tây. Signed and dated 64. Lacquer on wood, 48.5 by 62 cm.; 19 by 24 1/4 inEstimate 100,000— 150,000 HKD. Photo: Sotheby’s.

Provenance: Sotheby’s Hong Kong, October 7 2012, Lot 282

Sotheby’s. MODERN & CONTEMPORARY SOUTHEAST ASIAN ART, 05 AVRIL 2015 | 10:00 AM HKT – HONG KONG


Phạm Hậu (1903-1995), Goldfish of abundance, circa 1940

Pham Hau (1903-1995), Goldfish of abundance

Phạm Hậu (1903-1995), Goldfish of abundance. Signed and stamped with the seal of the artist. Lacquer on wood, 100.5 by 45 cm.; 39 1/2 by 17 3/4 in. Executed CIRCA 1940Estimate 150,000 —200,000 HKD. Photo: Sotheby’s.

Notes: Commemorated as one of Vietnam’s most important and finest lacquer painter in history, Phạm Hậu perfected the meticulous technique under the prestigious tutelage of Professor Imguimberty. At the European-modelled academy, Pham Hau was exposed to classical Western paintings, which inspired him to revive the traditional subject matters of lacquer craft. He began experimenting with three dimensional compositions on a flat plane, and eventually built an impressive repertoire that redefined the medium with modern Vietnamese aesthetics and themes. Phạm Hậu demonstrated a profound grasp of both Eastern and Western artistic principles and philosophies through his paintings; his poetic landscape compositions offer us a glimpse into the rich and complex culture of Vietnam.

Executed circa 1940, the present Lot Goldfish of Abundance exemplifies the exceptional quality of lacquer works produced during the Golden Era of Vietnamese Art (1940 – 1945). The refined and precise brushwork describing the aquatic world demonstrates Phạm Hậu’s unparalleled technical virtuosity and supreme workmanship. Translucent layers of lacquer colours in various shades of gold, vermillion, brown and amber, are meticulously applied onto the panel to delineate the intricate textures of the various goldfish. Their delicate scales shimmer against the deep burgundy sea, echoing the symbolic meaning of this work, for the goldfish symbolizes both wealth and abundance in ancient Chinese culture. Swimming towards the luxuriant sea-plants in a manner resembling a sensuous S shape, the school of goldfish creates a sense of visual rhythm. The combination of colours, composition and exquisite detailing articulates a mixed contrast of simplicity and luxury, and of exuberance and quiet elegance. 

Sotheby’s. MODERN & CONTEMPORARY SOUTHEAST ASIAN ART, 05 AVRIL 2015 | 10:00 AM HKT – HONG KONG

 

École des Beaux-Arts de Hanoi (20th Century), Paysage de campagne du Nord Vietnam sous la brume (Hazy landscape of North Vietnam

École des Beaux-Arts de Hanoi (20th Century), Paysage de campagne du Nord Vietnam sous la brume (Hazy landscape of North Vietnam country scene)

École des Beaux-Arts de Hanoi (20th Century), Paysage de campagne du Nord Vietnam sous la brume (Hazy landscape of North Vietnam country scene). Lacquer on wood, in 6 parts (hexaptych). Each: 94 by 26.5 cm.; 37 by 10 1/4 in. (6). Overall: 94 by 159 cm.; 37 by 62 1/2 in. Executed CIRCA 1945Estimate 150,000 —250,000 HKD. Photo: Sotheby’s.

Sotheby’s. MODERN & CONTEMPORARY SOUTHEAST ASIAN ART, 05 AVRIL 2015 | 10:00 AM HKT – HONG KONG

Nguyễn Gia Trí (1908-1993), Abstract Composition, 1960

Nguyên Gia Tri (1908-1993), Abstract Composition

Nguyễn Gia Trí  (1908-1993), Abstract Composition. Signed. Lacquer on wood, 92 by 122 cm.; 36 by 48 in. Executed CIRCA 1960. Estimate 350,000 — 550,000 HKD. Photo: Sotheby's.

Provenance: Private Collection, France
Sotheby’s Hong Kong, April 2 2012, Lot 288

Note: Nguyễn Gia Trí began to settle in Saigon during the French Colonization, but it was not until the late 1950s that he began to compose his now famous and important lacquer works. Talented, creative and inquisitive, Gia Trí explored and mastered abstract composition, which led to the formation of an art movement that developed a dialogue between Eastern and Western lacquer traditions, and cemented the artist as the preeminent 20th century Master of Vietnamese lacquer.

Abstract Composition demonstrates Gia Trí’s dedication and commitment to the avant-garde movement where East meets West. Through the lacquer’s stunning, spellbinding form of gold and silver, he captured energy and existence – presenting both a mysterious depth and internal light. A fine example of Gia Trí’s combination of the abstract with traditional lacquer materials gives the flat surface boldness, richness, and rhythm to the work, and denotes another ground breaking piece by Nguyễn Gia Trí.

Sotheby’s. MODERN & CONTEMPORARY SOUTHEAST ASIAN ART, 05 AVRIL 2015 | 10:00 AM HKT – HONG KONG

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"Desdémone, entre désir et désespoir" à l’Institut du Monde Arabe

Ferdinand Victor Eugène Delacroix (1798 - 1863), Othello et Desdémone, 1849

Ferdinand Victor Eugène Delacroix (1798 - 1863), Othello et Desdémone, 1849, huile sur toile, 50.8 x 62.2 cm. National Gallery of Canada, Ottawa, Canada. (source Wikiart)

PARIS - Ce tableau d’Eugène Delacroix est la source de réflexion de cette exposition, il symbolise autant sa fascination pour un Orient visité que pour une Italie fantasmée. La scène du drame se déroule dans une Venise, nimbée des couleurs de Titien où évoluent l’amour, le drame et le crime passionnel. « Desdémone, entre désir et désespoir », présentée au musée de l’Institut du monde arabe, est une exposition qui convoque et fait dialoguer la littérature, la musique et les arts plastiques autour de cette tragédie...

Th_odore_Chass_riau__Othello__touffe_Desd_mone__1849__Huile_sur_bois__27___22_cm

Théodore Chassériau, Othello étouffe Desdémone, 1849, Huile sur bois, 27 × 22 cm© THE ART ARCHIVE/MUSÉE D’ART ET D’HISTOIRE, METZ/GIANNI DAGLI ORTI

L’exposition fait dialoguer des œuvres des XIXe et XXe siècles avec des invitations faites à des artistes contemporains : Paul Cézanne, Théodore Chassériau, Léon Cogniet, Eugène Delacroix, Jean Hélion, Georges Lacombe, Gustave Moreau, Charles Nègre, Pablo Picasso, Émile Picault et Félix Vallotton sont ainsi mis en correspondance avec Mathieu K. Abonnenc, Guillaume Bresson, Mohamed Bourouissa, Sophie Calle, Adrien Couvrat, Jochen Gerner, Camille Henrot, Erik Nussbicker, Émilie Pitoiset, Lili Renaud-Dewar et Edwart Vignot. Les œuvres sont issues des musées (Orsay, Picasso, Centre Georges Pompidou, Besançon et Metz) et de collections particulières. 

Sophie Calle, Les Dormeurs Gloria K

Sophie Calle, Les Dormeurs : Gloria K., première dormeuse, Anne B., deuxième dormeuse, 1979, Cinq photographies noir et blanc, un texte, 16,5 × 21,5 cm (chaque)© SOPHIE CALLE/ADAGP, 2015

Lorsqu’en 1604 William Shakespeare écrit Othello il se souvient de la visite historique, quatre ans auparavant, de l’ambassadeur du Maroc Abd el-Ouahed ben Messaoud Anoun à la reine Elisabeth Ire; il s’en inspire incarner le Maure de Venise. A son tour, Eugène Delacroix se souvient du Maroc pour évoquer une Italie fantasmée. 

Paul Cézanne, La Femme étranglée, 1875-1876, Huile sur toile, 31 × 25 cm

Paul Cézanne, La Femme étranglée, 1875-1876, Huile sur toile, 31 × 25 cm© MUSÉE D’ORSAY (DIST. RMN-GP/PATRICE SCHMIDT)

Othello, comme tout l’œuvre de Shakespeare, nourrit de nombreux créateurs : peintres, sculpteurs, musiciens - tels Verdi et Rossini – qui y trouvèrent matière pour oser faire des œuvres vivantes. 

Un album-objet comportant un disque vinyle 33 tours avec un enregistrement de Louise Bourgoin interprétant Desdémone et un recueil avec les œuvres librement commentées (par Pierre Bergé, Guy Cogeval, Arlette Sérullaz, Dominique de Font-Réaulx…) est édité en accompagnement de l’exposition.

26 mars 2015 - 26 juillet 2015. Institut du Monde Arabe

Mohamed Bourouissa, La Fenêtre, série Périphérique, 2005, C-print, 90 × 120 cm

Mohamed Bourouissa, La Fenêtre, série Périphérique, 2005, C-print, 90 × 120 cm© MOHAMED BOUROUISSA
COURTESY DE L’ARTISTE ET KAMEL MENNOUR, PARIS

Camille Henrot, Ulysse et les sirènes,

Camille Henrot, Ulysse et les sirènes,
série Tropics of Love, 2014
, Encre sur impression numérique,
80,5 × 57,5 cm© CAMILLE HENROT/PHOTO : FABRICE SEIXAS/ ADAGP, 2015/COURTESY DE L’ARTISTE
ET KAMEL MENNOUR, PARIS

Charles Nègre, Nu allongé sur un lit dans l’atelier de l’artiste, vers 1850, Négatif inversé, 11,3 × 18,7 cm, Paris, musée d’Orsay

Charles Nègre, Nu allongé sur un lit dans l’atelier de l’artiste, vers 1850, Négatif inversé, 11,3 × 18,7 cm, Paris, musée d’Orsay© RMN-GP (MUSÉE D’ORSAY)/CHRISTIAN JEAN

Émile Picault, Othello et Desdémone, 1878, Médaillon uni-face en bronze, D

Émile Picault, Othello et Desdémone, 1878, Médaillon uni-face en bronze, D. 35 cm, Paris, musée d’Orsay© RMN-GP (MUSÉE D’ORSAY)/ STÉPHANE MARÉCHALLE

Félix Vallotton, L’Assassinat, extrait du recueil Œuvre de Félix Vallotton, 1893, Bois gravé, 14,7 × 24,5 cm

Félix Vallotton, L’Assassinat, extrait du recueil Œuvre de Félix Vallotton, 1893, Bois gravé, 14,7 × 24,5 cm© MUSÉE NATIONAL D’ART MODERNE – CENTRE GEORGES POMPIDOU/PHOTO : PIERRE GUÉNAT/BESANÇON, MUSÉE
DES BEAUX-ARTS ET D’ARCHÉOLOGIE



A Jizhou resist-decorated papercut conical bowl, China, Southern Song Dynasty, 12th-13th century

A Jizhou resist-decorated papercut conical bowl, China, Southern Song Dynasty, 12th-13th century

A Jizhou resist-decorated papercut conical bowl, China, Southern Song Dynasty, 12th-13th centuryEstimate $12,000 - $18,000. Price Realized $40,000Photo Christie's Image Ltd 2015

The interior decorated in resist technique with paper-cut decoration of three diamond-shaped, openwork flowers reserved in brown against the variegated, milky buff ground, the exterior covered in a 'tortoiseshell' glaze of dark brown color mottled in beige falling to the small, circular foot;4 ¼ in. (10.8 cm.) diameter, box

Provenance: The Collection of Robert H. Ellsworth, New York, acquired in Hong Kong, 1987.

LiteratureR. D. Mowry, Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400-1400, Cambridge, 1996, pp. 248-249, no. 100.

ExhibitedHare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400-1400, Arthur M. Sackler Museum, Harvard University Art Museums, Cambridge, Massachusetts, 23 December 1995 - 10 March 1996; China Institute Gallery, New York, 20 April - 6 July 1996; Elvehjem Museum of Art, University of Wisconsin, Madison, 9 November 1996 - 19 January 1997.

NoteAmong the daring and innovative techniques, for which the Jizhou kilns in Jiangxi province are most famous, is the technique of using paper cut-outs as stencils to create resist designs. For a discussion of the processes involved in producing these designs see R.D. Mowry, Hare's Fur, Tortoiseshell, and Partridge Feathers, Cambridge, 1996, pp. 36-7. Two Jizhou bowls with similar paper-cut designs of three stylized flowers  on the interior and a 'tortoiseshell’ glaze on the exterior are illustrated in The Complete Collection of Treasures of the Palace Museum  33  Porcelain of the Song Dynasty (II), Hong Kong, 1996, nos. 218 and 220.

Christie's. THE COLLECTION OF ROBERT HATFIELD ELLSWORTH PART IV - CHINESE WORKS OF ART: METALWORK, SCULPTURE AND EARLY CERAMICS, 20 March 2015, New York, Rockefeller Plaza.

A large Cizhou-type russet 'oil-spot' bowl, China, Jin dynasty, 12th-13th century

A large Cizhou-type russet 'oil-spot' bowl, China, Jin dynasty, 12th-13th century

A large Cizhou-type russet  'oil-spot' bowl, China, Jin dynasty, 12th-13th centuryEstimate $7,000 - $9,000. Price Realized $23,750Photo Christie's Image Ltd 2015

The rounded sides covered inside and out with a lustrous blackish-brown glaze liberally splashed on the interior with russet 'oil spots' that continue on the exterior where the glaze falls in an irregular line atop a thin brown glaze; 7 ¾ in. (20 cm.) diameter, box

Provenance: The Collection of Robert H. Ellsworth, New York, acquired in Hong Kong, 1988.

Christie's. THE COLLECTION OF ROBERT HATFIELD ELLSWORTH PART IV - CHINESE WORKS OF ART: METALWORK, SCULPTURE AND EARLY CERAMICS, 20 March 2015, New York, Rockefeller Plaza.

A Cizhou-type russet-splashed blackish-brown-glazed bowl, China, Jin dynasty, 12th-13th century

A Cizhou-type russet-splashed blackish-brown-glazed bowl, China, Jin dynasty, 12th-13th century

A Cizhou-type russet-splashed blackish-brown-glazed bowl, China, Jin dynasty, 12th-13th centuryEstimate $7,000 - $9,000. Price Realized $32,500Photo Christie's Image Ltd 2015

The deep, rounded conical bowl covered on the interior with a lustrous blackish-brown glaze decorated with five large russet splashes composed of densely spaced russet flecks reserved against a ground of more dispersed russet flecks, the glaze also covering the exterior below the russet rim above a caramel glaze that falls short of the foot, exposing the buff ware; 7 3/8 in. (19 cm.) diameter, box

Provenance: The Collection of Robert H. Ellsworth, New York, acquired in Hong Kong, 1989.

LiteratureR.D. Mowry, Hare's Fur, Tortoiseshell and Partridge Feathers: Chinese Brown- and Black-glazed Ceramics, 400-1400, Cambridge, pp. 155-56, no. 48.

ExhibitedHare's Fur, Tortoiseshell and Partridge Feathers: Chinese Brown- and Black-glazed Ceramics, 400-1400, Arthur M. Sackler Museum, Harvard Art Museums, Cambridge, Massachusetts, 23 December 1995 - 10 March 1996; China Institute Gallery, New York, 20 April - 6 July 1996; Elvehjem Museum, University of Wisconsin, Madison, 9 November 1996 - 19 January 1997.

NoteDark-glazed bowls of this type, with large, evenly-spaced russet splashes, usually numbering between three and five, were popular wares produced at various Cizhou-type kilns in the north in the twelfth and thirteenth centuries. The present bowl, however, is an unusual example of this type, with the russet splashes diffusing into the speckled ground. A very similar bowl is in the collection of The Metropolitan Museum of Art, New York, and illustrated in Oriental Ceramics, The World's Great Collections, vol. 12, Tokyo, 1977, no. 39. 

Christie's. THE COLLECTION OF ROBERT HATFIELD ELLSWORTH PART IV - CHINESE WORKS OF ART: METALWORK, SCULPTURE AND EARLY CERAMICS, 20 March 2015, New York, Rockefeller Plaza.

A Cizhou-type blackish-brown-glazed bowl with white rim, China, Jin dynasty, 12th-13th century

A Cizhou-type blackish-brown-glazed bowl with white rim, China, Jin dynasty, 12th-13th century

A Cizhou-type blackish-brown-glazed bowl with white rim, China, Jin dynasty, 12th-13th centuryEstimate $5,000 - $7,000. Price Realized $6,875Photo Christie's Image Ltd 2015

The deep, flared sides rounding upwards towards the slightly inverted rim covered with a white slip under a clear glaze, the body covered on the interior with a lustrous black glaze decorated with five very faint luster splashes, the exterior with a black and brown glaze; 6 3/8 in. (16.4 cm.) diameter, box

Provenance: The Collection of Robert H. Ellsworth, New York, acquired in Hong Kong, 1986.

Christie's. THE COLLECTION OF ROBERT HATFIELD ELLSWORTH PART IV - CHINESE WORKS OF ART: METALWORK, SCULPTURE AND EARLY CERAMICS, 20 March 2015, New York, Rockefeller Plaza.

A large Cizhou-type green-glazed pillow, China, Song-Jin Dynasty, 11th-12th century

A large Cizhou-type green-glazed pillow, China, Song-Jin Dynasty, 11th-12th century

A large Cizhou-type green-glazed pillow, China, Song-Jin Dynasty, 11th-12th centuryEstimate $8,000 - $12,000. Price Realized $15,000Photo Christie's Image Ltd 2015

Of bean shape, the concave top combed with overlapping wave decoration, covered overall with an attractive green glaze; 16 ½ in. (42 cm.) wide, box

Provenance: The Collection of Robert H. Ellsworth, New York, acquired in Hong Kong, 1990.

Christie's. THE COLLECTION OF ROBERT HATFIELD ELLSWORTH PART IV - CHINESE WORKS OF ART: METALWORK, SCULPTURE AND EARLY CERAMICS, 20 March 2015, New York, Rockefeller Plaza.



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