A.lain R. T.ruong

31 juillet 2014

Fitzwilliam Museum bids to acquire weeping Virgin by Spanish sculptor Pedro de Mena

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Pedro de Mena (1628-1688), The Virgin of Sorrows (Mater Dolorosa), about 1670-5.

CAMBRIDGE.- A remarkably realistic painted wood bust of the Mater Dolorosa (Virgin of Sorrows) by Pedro de Mena (1628-1688), one of the most celebrated sculptors of the Spanish Golden Age, has gone on display at the Fitzwilliam Museum, Cambridge as part of an appeal to acquire the sculpture. 

Mesmerisingly beautiful and just under life size at 33.6cm tall, the Virgin of Sorrows’ gently furrowed brows, natural flesh tones, glass eyes and teardrops and eyelashes made from human hair, still elicit a powerful response from the viewer 350 years after it was made. It was most likely created for the private chapel, study or bedchamber of a devout patron, and would almost certainly have been protected under a glass dome and originally paired with a similarly-sized bust of the Ecce Homo (Christ as the Man of Sorrows). 

The Virgin of Sorrows is on show in the Museum’s Spanish & Flemish Gallery, alongside other masterpieces by contemporary Baroque sculptors and painters. The Fitzwilliam Museum has already raised a substantial amount towards the work (including £30,000 from the Art Fund and £10,000 from The Henry Moore Foundation) but needs to secure a further £85,000 by the end of September 2014 in order to acquire the remarkable bust. 

The Spanish Golden Age, early 16th to late 17th century, was a period of incredible artistic and economic output for Spain, seeing the nation rise to one of the greatest empires the world has ever seen. From the conquest of the New World, to the writing of Don Quixote by Miguel de Cervantes, this period changed the course of world politics and culture. The Fitzwilliam Museum has a small collection of Spanish art, including two works by Bartolomé Esteban Murillo, but the more emotive Catholic works, exemplified by painted wood sculpture are extremely rare in British collections. Taste and religion played their part in this: indeed, most of de Mena’s sculptures remain in the churches, monasteries and convents for which they were made. 

The Spanish sculptor Pedro de Mena (1628-1688) was taught the art of wood carving by his father, Alonso de Mena (1587-1646), a well-regarded sculptor of traditional religious images in Granada. Following his father’s death, the eighteen-year-old Pedro took over the workshop and was joined by established artist Alonso Cano (1601-1667), who taught him how to realistically paint sculpture. Cano also encouraged Mena to enhance the naturalism of his sculptures by including additional elements, such as eyes and tears made from glass, and eyelashes from human hair. As such, Mena’s statues and busts have a remarkable lifelike quality, which can be unnerving to the 21st century viewer. Mena left Granada in 1658 and spent the rest of his career in Málaga, becoming increasingly well regarded with prestigious patrons from church and state. Mena was known for his intense faith and was elected by the Inquisition in both Granada and Málaga as a censor of images. 

Tim Knox, Director of the Fitzwilliam Museum said: “The thing about this bust is that it is not one of those lugubrious virgins with rolling eyes that one associates with Spanish religious art. Here instead is a strikingly simple, and arrestingly intense, portrait of a beautiful young woman - an Andalusian peasant girl perhaps? - depicted in that moment of hopeless anguish for the humiliation and loss of her only Son. Pedro de Mena's Mater Dolorosa would be a wonderful addition to our collection.” 

Posté par Alain Truong à 09:15 - - Commentaires [0] - Permalien [#]
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30 juillet 2014

Charlton, Années 1925. Broche disque vase fleuri

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Charlton, Années 1925. Broche disque vase fleuri. Photo Tajan.

Elle porte un vase de fleurs au centre d'un anneau agrémenté de deux agrafes. L'ensemble est richement pavé de diamants taille brillant et baguette, une émeraude cabochon, et deux diamants Fancy color. Monture en platine. Poids brut : 19 gr. Poids des diamants : 35 à 38 carats environ. Dimensions : 5,7 x 3,6 cm. Estimation : 12 000 € / 15 000 €

A multigem and platinum brooch by Charlton, circa 1925.

TAJAN. Importants Bijoux. le 30 Juillet 2014 à 15h. CAFÉ DE PARIS - SALON BELLEVUE - MONTE CARLO. Contact: Romain Monteaux-Sarmiento au +33 (0)1 53 30 30 30.

Posté par Alain Truong à 21:56 - - Commentaires [0] - Permalien [#]
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A mulitgem and silver pendant by Jean Boggio

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Jean Boggio. Grand pendentif Jungle. Photo Tajan.

Il est de forme rectangulaire à décor de végétation tropicale entièrement serti d'émeraudes, diamants taille brillant, tsavorites et grenats. En applique des fleurs de tourmalines multicolores à godrons. Le dos du pendentif est regravé du même décor. Tour de cou fait d'une torsade de vingt rangs de boules d'aigues-marines facettées. Monture en argent. Poids brut : à peser plus de 300 gr. Dimensions de la plaque : 13,7 x 6,5 cm. Estimation : 15 000 € / 20 000 €

A mulitgem and silver pendant by Jean Boggio

TAJAN. Importants Bijoux. le 30 Juillet 2014 à 15h. CAFÉ DE PARIS - SALON BELLEVUE - MONTE CARLO. Contact: Romain Monteaux-Sarmiento au +33 (0)1 53 30 30 30.

Posté par Alain Truong à 21:49 - - Commentaires [0] - Permalien [#]
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An enamel and gold bracelet by Alexis Falize, circa 1880

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Alexis Falize, Années 1880. Intéressant bracelet ruban articulé Photo Tajan.

en or 18K composé de sept motifs rectangulaires ajourés et ciselés d'un décor de feuilles de platane et d'ananas sur fond émaillé turquoise. Le revers est gravé. Travail français, poinçon de maître d'Alexis Falize. Poids brut : 70,80 gr. Diamètre : 6 cm. Largeur : 2,2 cm. Estimation : 16 000 € / 18 000 €

D'origine belge il fait son apprentissage en France et entre chez Mellerio en 1833, puis chez Janisset et s'installe au Palais-Royal en 1838.
Il progresse rapidement et se fait remarquer par la virtuosité de sa technique, en particulier les émaux. Son imagination fertile s'inspire vers 1860 de l'art oriental. De grands émailleurs comme Meyer et Popelin collaborent avec lui. Son fils Lucien (1839-1897) le rejoint et ils participent aux Expositions Universelles de 1871 et 1878 ce qui leur vaut une grande réputation.
Leur inspiration naturaliste et l'utilisation abondante d'émaux rutilants annoncent déjà l'Art Nouveau.
La Maison ferme en 1936 laissant une œuvre représentée dans la plupart des grands musées du monde.

An enamel and gold bracelet by Alexis Falize, circa 1880.

TAJAN. Importants Bijoux. le 30 Juillet 2014 à 15h. CAFÉ DE PARIS - SALON BELLEVUE - MONTE CARLO. Contact: Romain Monteaux-Sarmiento au +33 (0)1 53 30 30 30.

Posté par Alain Truong à 21:43 - - Commentaires [0] - Permalien [#]
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René Boivin, Années 1952. Rare Broche modèle Cristal de neige

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René Boivin, Années 1952. Rare Broche modèle Cristal de neige. Photo Tajan.

Elle est de forme ronde composée au centre d'un diamant taille brillant dans un entourage de diamants taille brillant et baguette en serti clos. Il est entouré d'éléments rayonnants rehaussés de diamants taille brillant (TA) en serti clos. Monture en or jaune 18K et platine. Signé René BOIVIN. Poids brut : 20,4 gr. Diamètre : 3,5 cm. Estimation : 20 000 € / 25 000 €

La broche est accompagnée d'un certificat d'authenticité de Madame Françoise CAILLES.

A diamond, platinum and gold brooch by René Boivin circa 1952..

TAJAN. Importants Bijoux. le 30 Juillet 2014 à 15h. CAFÉ DE PARIS - SALON BELLEVUE - MONTE CARLO. Contact: Romain Monteaux-Sarmiento au +33 (0)1 53 30 30 30.

Posté par Alain Truong à 21:36 - - Commentaires [0] - Permalien [#]
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Pair of Chinese porcelain bowls, mark of Guangxu (1875/1908) and of the period

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Pair of Chinese porcelain bowls, mark of Guangxu (1875/1908) and of the period. Photo courtesy Alberto Varela Santos.

Yellow ground Chinese porcelain bowl decorated in famille rose (Fencai) palette opaque enamels, decorated with flowers, four reserves with characters ??? and  ???, base with the six character iron-red mark of Guangxu (1875/1908) in two lines and of the period, Qing dynasty, ø 11 cm, 4 1/4 in. Price on request

Alberto Varela Santos. santos@santoslondon.com · albertovsantos@aol.com

Chinese porcelain bowl, Daoguang (1821/1850) mark in zhuanshu in under glaze cobalt blue and of the period

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Chinese porcelain bowl, Daoguang (1821/1850) mark in zhuanshu in under glaze cobalt blue and of the period. Photo courtesy Alberto Varela Santos.

Chinese porcelain "medallion" bowl with deep rounded sides on a short foot, reserved on a rich dark red incised ground with four medallions decorated with flowers and peaches in famille rose (Fencai) palette opaque enamels, base with the Daoguang (1821/1850) mark in zhuanshu in under glaze cobalt blue (Qinghua) and of the period, Qing dynasty, ø 15 cm, 5 7/8 in. Price on request

Alberto Varela Santos. santos@santoslondon.com · albertovsantos@aol.com

Chinese porcelain bowl, Qianlong (1723-1795) zhuanshu mark and of the period

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Chinese porcelain bowl, Qianlong (1723-1795) zhuanshu mark and of the period. Photo courtesy Alberto Varela Santos.

Chinese export porcelain bowl with three reserves decorated with Europeans in famille rose (Fencai) palette opaque enamels on a brown ground decorated in gilt, the interior left white, base with the mark of Qianlong (1736/1795) in zhuanshu in under glaze cobalt blue (Qinghua) and of the period, Qing dynasty, ø14 cm, 5 1/2 in. Price on request.

Alberto Varela Santos. santos@santoslondon.com · albertovsantos@aol.com

Fortuny Stenciled Velvet Coat, early 20th century

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Fortuny Stenciled Velvet Coat, early 20th century. Photo courtesy Augusta Auctions.

Dark gray velvet, pattern resist stencil in metallic silver, raspberry silk faille edging on cuffs & jacket perimeter, raspberry silk charmeuse lining, 2 labels: 1 round "Mariano Fortuny Venise" & 1 stamped on seam "Made In Italy Fabrique En Italie. Fortuny Depose", 21 glass bead buttons w/ black cord loops, B 36", L 28", (sleeves altered, metal zippers added to sleeve ends, lining replaced) very good. Price Realized: $ 6000.00

Augusta AuctionsApril 17, 2013 - NYC

Fortuny Stenciled Velvet Coat,c. 1920

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Fortuny Stenciled Velvet Coat,c. 1920Photo courtesy Augusta Auctions.

Caramel silk velvet, short sleeves, single cord tie below glass bead & loop at neck, velvet stencilled in silver design of carnations, lined in pewter silk satin, circular label "Marino Fortuny Venise", owned by Lydia Fuller, daughter of 1925-1929 MassGovernor Alvan Tufts Fuller, L 35", (small very faint stain) otherwise excellent. Price Realized: $ 6325.00

Augusta AuctionsOctober 2006 Vintage Clothing & Textile Auction. New Hope, PA



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