Alain.R.Truong

30 mars 2015

A Ding jar and cover, Late Tang-Five dynasties, 10th century

A Ding, jar and cover, Late Tang-Five dynasties, 10th century

A Ding, jar and cover, Late Tang-Five dynasties, 10th century (base)

A Ding jar and cover, Late Tang-Five dynasties, 10th century. Estimate HK$700,000-900,000 (US$91,000-120,000). Photo Christie's Image Ltd 2015

The jar is well potted with straight sides supported on a cylindrical foot, and rises sharply to an angular shoulder surmounted by a short cylindrical neck. The cover is applied with a small finial at the slightly domed centre. The exterior is carved with rope twist design running down the sides. It is covered with an ivory-white glaze pooling in the recesses. 3 in. (8.6 cm.) high

PROVENANCE: Acquired in Japan, 2005

Note: Jars and covers of this type are very rare. A closely related example of this current jar and cover also dated to the same period but of slightly smaller size, is illustrated in Decorated Porcelains of Dingzhou: White Ding wares from the collection of the National Palace Museum, Taipei, 2014, p. 21, no. I-2.

Christie's. FINE CHINESE WORKS OF ART FROM THE YAOGUSHANFANG COLLECTION, 6 April 2015, 22nd Floor


Exhibition of new works by Anselm Kiefer opens at Galerie Thaddaeus Ropac in Salzburg

Anselm Kiefer, wohin wir uns wenden im Gewitter der Rosen, 2014

Anselm Kiefer, wohin wir uns wenden im Gewitter der Rosen, 2014. Acrylic, emulsion, oil, shellac, chalk and sediment of electrolysis on photograph mounted on canvas, 280 x 380 cm (110,24 x 149,61 in). Courtesy Galerie Thaddaeus Ropac, Paris/Salzburg © Anselm Kiefer Photo: Ulrich Ghezzi.

SALZBURG.- Galerie Thaddaeus Ropac presents its seventh solo exhibition of new works by Anselm Kiefer. Under the title Im Gewitter der Rosen [In the storm of roses], Kiefer has assembled a series of canvases, overpainted collages, watercolours and sculptures sharing the thematic dialectic of war and peace, love and pain, beauty and destruction. These leitmotifs draw primarily on three literary sources: Ingeborg Bachmann's (1926-73) poem In the Storm of Roses (1953), the mediaeval love poem Under der Linden [Under the lime-tree] by Walther von der Vogelweide (c.1170-c.1230), and Arthur Rimbaud's (1854-91) early sonnet Le Dormeur du val [The sleeper in the valley] (1870). It is not only the analytical reflection on the functions and iconographies of different myths, be they Christian, cabalistic or Germanic, with which Kiefer was concerned in recent years, but also literary motifs which he related to one another in his works from different centuries.

Anselm Kiefer,wohin wir uns wenden im Gewitter der Rosen, 2014

Anselm Kiefer, wohin wir uns wenden im Gewitter der Rosen, 2014. Acrylic, emulsion, oil, shellac, chalk and sediment of electrolysis on photograph mounted on canvas; 280 x 380 cm (110,24 x 149,61 in. Courtesy Galerie Thaddaeus Ropac, Paris/Salzburg © Anselm Kiefer Photo: Ulrich Ghezzi.

"I think in pictures. Poems help me with this. They are like boys in the sea. I swim to them, from one to the other. In between, without them, I am lost. They are the handholds where something masses together in the infinite expanse. Sometimes the ruins of things past condense into new words and contexts", said Anselm Kiefer in his acceptance speech at the award ceremony of the peace prize of the German book trade in the Frankfurt Pauluskirche in 2008. 

No-one, after 1945, made the question of war and peace more unreservedly the focus of their writing. Ingeborg Bachmann placed herself at the mercy of the destructive experiences of her time, and countered the continuing state of war in the world with her own utopia of a fulfilled life. In the Storm of Roses, written in a hermetic style comparable to that of Paul Celan's poetry, introduces an image around which all further metaphors are grouped. Night and thunder belong to the storm; related to roses are thorns, leaves, and bushes, which also symbolise the clouds. The dynamic suggested semantically by the storm is formally reflected in the opposing pairs. The formal asymmetry leaves behind a feeling of undirected motion.  

Anselm Kiefer, ignis sacer, 2014

Anselm Kiefer, ignis sacer, 2014. Acrylic, emulsion, oil, shellac, wood, wire, board, chalk and sediment of electrolysis on photograph mounted on canvas; 280 x 380 cm (110,24 x 149,61 in)Courtesy Galerie Thaddaeus Ropac, Paris/Salzburg © Anselm Kiefer Photo: Ulrich Ghezzi.

Similarly the depiction of plants, stems, clouds against dark, almost black fields in Anselm Kiefer's canvases, which take up the motifs and the dialectic of the poem. The elements seem as though whirled around by a storm. Kiefer's new series evinces an increasingly painterly style, although for these new works – in which the artist's typical material aesthetic of sedimentary structures applied layer by layer predominates – no brush was ever used. Sometimes the paint is flung on to the canvas, producing elements reminiscent of the Drippings of European Informel and American Expressionism.  

Walter von der Vogelweide's Middle High German song Under der Linden, which belongs to the so-called Mädchenlieder, tells of the experience of a simple maid and her courtly lover. The poem's bed of flowers and the broken flowers and blades of grass fit perfectly into the iconographic sphere of (broken) stems, flowers and ears of corn which Anselm Kiefer has used increasingly since his work on the series Für Paul Celan, Die Ungeborenen and Morgenthau Plan.

Anselm Kiefer, das letzte Fuder, 2014

Anselm Kiefer, das letzte Fuder, 2014. Acrylic, emulsion, oil, shellac, chalk and sediment of electrolysis on photograph mounted on canvas; 280 x 380 cmCourtesy Galerie Thaddaeus Ropac, Paris/Salzburg © Anselm Kiefer Photo: Ulrich Ghezzi.

In Arthur Rimbaud's poem Le Dormeur du val, which he wrote at the age of sixteen, under the shadow of the Franco-Prussian war, a man lying in the grass is also the principal motif: here the sleeper is a young soldier, shot dead by German troops. This early work is a favourite among Rimbaud's poems published in anthologies and schoolbooks. 

The monumental sculpture entitled steigend steigend sinke nieder [rise rise descend] (2011), which will be placed in the garden of the gallery, distorts the vegetal motif of the (broken) stem: here, Kiefer hangs showers of long-stemmed sunflowers from the top of a display-case sculpture, taking a motif from Johann Wolfgang Goethe's Faust II: in Act I, Faust must descend to the mothers in order to summon Helena. This realm of the mothers is a sphere of the amorphously unreal, the void. Goethe describes this descent at the same time as an ascent – similar to the cabalistic motif of ascent and descent to the seven heavenly palaces.  

Anselm Kiefer, Under der Linden, 2014

Anselm Kiefer, Under der Linden, 2014. Acrylic, emulsion, oil, shellac, wood, wire, charcoal and sediment of electrolysis on photograph mounted on canvas; 190 x 420 cm (74,8 x 165,35 in)Courtesy Galerie Thaddaeus Ropac, Paris/Salzburg © Anselm Kiefer Photo: Ulrich Ghezzi.

The sphere of the mothers is also referred to in the sculpture Regina Coeli (2010) – an honorary title for the Virgin Mary, the queen of heaven. Here, the firmament with its stars is symbolised by a historic model of the planets, set upon the shoulders of this woman of antiquity. The connection between macro- and microscopic structures – a theme which Anselm Kiefer has explored for many years, inspired not least by the philosophy Robert Flood(1574-1637) – permeates the Salzburg exhibition like a leitmotif: the stems, ears, feathers, flowers and bushes juxtaposed with heavenly spheres, subterranean palaces, natural forces and broad horizons. 

The exhibition will be accompanied by a publication with a text by Orhan Pamuk. 

Anselm Kiefer, Regina Coeli 2010 Resin, acrylic, plaster and iron

Anselm Kiefer, Regina Coeli, 2010. Resin, acrylic, plaster and ironCourtesy Galerie Thaddaeus Ropac, Paris/Salzburg © Anselm Kiefer Photo: Ulrich Ghezzi.

 

 

Swimming tiger by Henrik Vind

Swimming tiger by Henrik Vind

Swimming tiger by Henrik Vind

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Pair of Jadeite Disc and Diamond Pendant Necklaces

Pair of Jadeite Disc and Diamond Pendant Necklaces

Pair of Jadeite Disc and Diamond Pendant NecklacesEstimate 1,500,000 — 1,800,000 HKD (168,987 - 202,784 EUR). Photo Sotheby's

The matching pair of jadeite discs of translucent emerald green colour, each accompanied by a black cord with a stylized terminal set with circular-cut diamonds and jadeite beads of matching colour and translucency, mounted in 18 karat white gold, length adjustable.
Diameter and thickness of discs approximately 20.51 x 7.39mm and 20.50 x 7.55mm respectively; jadeite beads approximately 4.80 to 3.70mm.

Accompanied by two Hong Kong Jade & Stone Laboratory certificates numbered KJ 88975 and KJ 88976 respectively, both dated 23 January 2015, stating that the jadeites are natural, known in the trade as "A Jade".

The Circle of Unity and Peace

This pair of jadeite discs of extremely fine quality is remarkably matching in colour, translucency and size. Together, they are a perfect symbol of unity – between him and her, parent and child, siblings, and friends. Each of them is carved as a simplistic circle with a hole in the centre, free from intricate carvings, symbolizing the modest wish for a sense of peace. It is believed that this form bears similarity to the ancient ritual object bi﹙璧﹚, granting its wearer blessings from heaven. The infinite outline of the outer and inner circles is also the perfect representation of completeness and wholeness, an ideology of supreme importance in Chinese tradition.

 

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM

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29 mars 2015

Jadeite Bangle

Jadeite Bangle

Jadeite BangleEstimate 1,600,000 — 2,200,000 HKD (180,253 - 247,848 EUR). Photo Sotheby's

The translucent circular jadeite bangle of celadon tone to soft emerald green colour, rounded to the outside and flattened to the inside.
Inner diameter and thickness approximately 53.50 x 11.23mm.

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 89279, dated 10 February 2015, stating that the jadeite is natural, known in the trade as "A Jade".

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM

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Pair of Jadeite and Diamond Pendent Earrings

Pair of Jadeite and Diamond Pendent Earrings

Pair of Jadeite and Diamond Pendent EarringsEstimate 1,800,000 — 2,000,000 HKD (202,784 - 225,316 EUR). Photo Sotheby's

Each suspending an oblong jadeite cabochon of translucent emerald green colour, surmounted by a pear-shaped diamond altogether weighing approximately 2.00 carats, mounted in 18 karat white gold.
Cabochons approximately 33.13 x 11.50 x 7.19mm and 32.55 x 11.42 x 6.50mm respectively.

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 88846, dated 14 January 2015, stating that the jadeites are natural, known in the trade as "A Jade".

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM

Pair of Jadeite 'Double Hoop' and Diamond Pendent Earrings

Pair of Jadeite 'Double Hoop' and Diamond Pendent Earrings

Pair of Jadeite 'Double Hoop' and Diamond Pendent EarringsEstimate 1,800,000 — 2,300,000 HKD (202,784 - 259,113 EUR). Photo Sotheby's

Each suspending on two interlocking translucent jadeite hoops of emerald green colour, to a stylized surmount pavé-set with circular-cut diamonds and yellow diamonds altogether weighing approximately 1.15 carats, mounted in 18 karat white and yellow gold.
Outer diameter and thickness of hoops approximately 18.16 to 18.15mm and 5.35 to 5.25mm respectively.

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 89272 and KJ 89273, dated 10 February 2015, stating that the jadeite is natural, known in the trade as "A Jade".

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM

Jadeite and Diamond Ring and Pair of Matching Earrings

Jadeite and Diamond Ring and Pair of Matching Earrings

Jadeite and Diamond Ring and Pair of Matching EarringsEstimate 2,000,000 — 2,500,000 HKD (225,316 - 281,645 EUR). Photo Sotheby's.

The ring set with an oval jadeite cabochon of translucent emerald green colour, surrounded by brilliant-cut diamonds; and pair of matching earrings; the diamonds altogether weighing approximately 5.05 carats; mounted in 18 karat white gold. (2) Ring size: 6
Cabochon on ring approximately 12.36 x 11.48 x 6.23mm; cabochons on earrings approximately 12.41 x 10.50 x 3.50mm and 12.36 x 10.50 x 3.85mm respectively.

Accompanied by two Hong Kong Jade & Stone Laboratory certificates numbered KJ 88633 and KJ 88648, dated 24 and 29 December 2014 respectively, stating that the jadeites are natural, known in the trade as "A Jade". 

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM

Jadeite and Diamond Necklace

Jadeite and Diamond Necklace

Jadeite and Diamond NecklaceEstimate 2,000,000 — 2,400,000 HKD (225,316 - 270,379 EUR). Photo Sotheby's.

Set with twenty-six jadeite cabochons of translucent emerald green colour, spaced by step-cut diamonds together weighing approximately 5.00 carats, mounted in 18 karat white gold, length approximately 435mm. Cabochons approximately 13.96 x 9.41 x 3.07mm to 8.55 x 6.00 x 3.20mm.

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 88742(1-3), dated 9 January 2015, stating that the jadeites are natural, known in the trade as "A Jade".

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM

Deux modèles de fourneaux, Vietnam, Période Hán-Việt, 1er-3e siècle

Deux modèles de fourneaux, Vietnam, Période Hán-Việt, 1er-3e siècle

Deux modèles de fourneaux, Vietnam, Période Hán-Việt, 1er-3e siècleEstimation : 150€ / 35 €. Photo Cornette de Saint-Cyr

Grès à couverte. L. 16 et 19 cm. 

Pièces de référence- Un modèle similaire de fourneau et de pot en terre a été retrouvé dans la tombe de Van Phuc (Bezacier, 1972, pl.VIII-1). 
- May, 1999, n°70 ; Bezacier, 1972, pl. VIII-1 

CORNETTE DE SAINT CYR PARIS. Arts d’Asie - Art Tribal, le 14 Avril 2015 à 14h30. 6, Avenue Hoche - 75008 PARIS. Expert : Cabinet Daffos-Estournel (Tel. : +33 6 09 22 55 13). Consultant pour le Vietnam : Monsieur Philippe Truong (Tel. : +33 6 31 34 40 59)



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