A.lain R. T.ruong

30 juillet 2014

A bronze Dragon mirror, Korea, Koryo dynasty, 13th ct

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A bronze Dragon mirror, Korea, Koryo dynasty, 13th ct. Photo Nagel

Partly corroded, slightly chipped . D. 22,7 cm. Estimate 300/500 €. Sold 550 €

Property from an old Berlin private collection

Nagel. "Asiatische Kunst". Sale 710, 7.5.2014 http://www.auction.de/

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JAR Paris - Pendant Brooch, jade, garnets, sapphires, spinels, tourmalines, diamonds, silver and gold

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JAR Paris - Pendant Brooch, jade, garnets, sapphires, spinels, tourmalines, diamonds, silver and gold.

Posté par Alain Truong à 16:35 - - Commentaires [0] - Permalien [#]
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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 periodPhoto courtesy Alberto Varela Santos.

Chinese export porcelain bowl decorated with a marbled ground in famille rose (falencai) palette opaque enamels. Base with the mark of Qianlong (1736/1795) in zhuanshu and of the period. ø 14 cm, 5 1/2 in. - SOLD

Alberto Varela Santossantos@santoslondon.com · albertovsantos@aol.com

Chinese porcelain bowl, mark of Xianfeng (1851/61) and of the period

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Chinese porcelain bowl, mark of Xianfeng (1851/61) and of the period. Photo courtesy Alberto Varela Santos.

Chinese porcelain bowl decorated in famille rose (falencai) palette opaque enamels. Base with the six character iron red mark of Xianfeng (1851/61) and of the period. - SOLD

Alberto Varela Santossantos@santoslondon.com · albertovsantos@aol.com

Chinese porcelain bowl, base with "yongqing changchun" mark, Tongzhi-Guangxu (1862/83)

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Chinese porcelain bowl, base with "yongqing changchun" mark, Tongzhi-Guangxu (1862/83). Photo courtesy Alberto Varela Santos.

Chinese porcelain bowl decorated in famille rose (Fencai) palette opaque enamels with tree peonies, branches entwined with wisteria and a mynah bird on a green ground; rim with Daya Zhai (Studio of great elegance) and oval cartouche with tiandi yijia chun (Heaven and Earth harmonious as one family); base with four character iron-red mar in two lines reading yongqing changchun (enduring spring eternally celebrated). Tongzhi/Guangxu (1862/83), Qing dynasty, ø 12,6 cm, 5 in. Price on request

Literature: A similar bowl but with a yellow ground from the Percival David Foundation, now at the British Museum, London, with the number PDF A838 is illustrated in Rare Marks in Chinese Ceramics by Ming Wilson, pp. 40/41.

Alberto Varela Santossantos@santoslondon.com · albertovsantos@aol.com



Chinese porcelain bowl, Guangxu (1875/1908) mark and of the period

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

Chinese porcelain bowl decorated in famille rose (falencai) palette opaque enamels with two phoenix in flight. Base with the six character iron red mark of Guangxu (1875/1908) and of the period, ø 14,2 cm, 5 1/2 in.. SOLD

Alberto Varela Santossantos@santoslondon.com · albertovsantos@aol.com

Chinese porcelain bowl, Guangxu (1875/1908) mark and of the period.

395

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

Chinese porcelain bowl decorated in famille rose (Fencai) palette opaque enamels with five clawed dragons amidst clouds, base with the six character iron-red mark of Guangxu (1875/1908) in two lines and of the period, Qing dynasty, ø 14,2 cm, 5 1/2 in. Price on request

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

Seaman Schepps: Mousetrape Bracelet, Bamboo Section Cluster Bracelet and Branch Bracelet

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One of Seaman Schepps original Mousetrape Bracelets in ruby and diamond, circa 1935 and a photo of Blanche Knopf wearing a stack of three Mousetrap Bracelets.

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Seaman Schepps Bamboo Section Cluster Bracelet in mixed tourmaline, amethyst, emerald, aquamarine, diamond, gold (Formerly the property of Mrs. Axel Wenner-Gren), circa 1945.

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Seaman Schepps Branch Bracelet made of coral, emerald, diamond and gold, circa 1950. 

A selection of Barbara Nanning's works at Pierre Marie Giraud Gallery

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Barbara Nanning, Untitled, 2014, glass, blue gold, 18 x 30 x 22 cm © Barbara Nanning and Pierre Marie Giraud Gallery.

Evolution, a term for mapping out a piece of artistic history in a Darwinian manner. But not in a rigid way, just as nature does not let itself be governed by systematic laws that are all too strict. The oeuvre of Barbara Nanning is a continuum of objects that can be classified into groups, as if species and families. Her new objects follow from the preceding ones. Ideas often continue to have an effect for a long period of time, but never in a strictly linear way. 

Sometimes the forms are hybrid, emerging like some caprice of nature in an entirely new guise – and in isolated cases, via a large detour after much searching and dead-end experiments. But they almost always come into being without a shred of hesitation, confident and bold.

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Barbara Nanning, Untitled, 2014, orange gold, sandblasting, 16 x 29 x 23 cm © Barbara Nanning and Pierre Marie Giraud Gallery.

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Barbara Nanning, Untitled, 2014, orange gold, sandblasting, 16 x 31 x 22 cm © Barbara Nanning and Pierre Marie Giraud Gallery.

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Barbara Nanning, Untitled, 2014, blue, champagne gold, 16 x 29 x 24 cm © Barbara Nanning and Pierre Marie Giraud Gallery.

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Barbara Nanning, Untitled, 2014, champagne gold, 17 x 37 x 24 cm © Barbara Nanning and Pierre Marie Giraud Gallery.

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Barbara Nanning, Untitled, 2014, glass, orange gold, sandblasting, 17 x 28 x 29 cm © Barbara Nanning and Pierre Marie Giraud Gallery. 

Pierre Marie Giraud Gallery. 

Posté par Alain Truong à 13:27 - - Commentaires [0] - Permalien [#]
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Getty Foundation announces grant to conserve iconic masterpieces by Caravaggio and Rubens

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Michelangelo Merisi, gen. Caravaggio, David mit dem Haupt des Goliath, 1600/01. Photo: Kunsthistorisches Museum Vienna.

LOS ANGELES, CA.- The Getty Foundation in Los Angeles is awarding a grant of €300,000 (roughly $416,000 US) to the Kunsthistorisches Museum in Vienna (KHM) for the conservation of two great masterpieces by Michelangelo Merisi da Caravaggio and Peter Paul Rubens. The KHM grant will be one of the last training grants of the Foundation’s successful Panel Paintings Initiative, through which the next generation of paintings conservators is being trained in the complexities of conserving works of art painted on wood panels. 

The conservation of these two spectacular paintings in Vienna provides a fascinating learning opportunity for all of the conservators involved in the project. When the last major training grants are completed in late 2016, the Panel Paintings Initiative will have succeeded in reaching its goals, ensuring that the next generation of conservators is in place to provide quality care for panel paintings in major European and North American collections,” said Deborah Marrow, Director of the Getty Foundation. “The Initiative’s success is the result of a joint effort by all of the expert conservators involved, who have been extremely generous in sharing their time and knowledge.” 

Sabine Haag, General Director of the Kunsthistorisches Museum, added "I am an advocate of publicizing scholarship, science and research in the context of the museum's ongoing international collaborations and interconnected projects, of informing the general public about these important aspects of museum work. Our collaboration with the Getty Foundation has allowed us to expand the Kunsthistorisches Museum as a center of competence and training for panel conservation. I am extremely happy that we will continue this successful collaboration and that this long-term cooperation ensures the optimum examination and conservation of two icons of art history." 

The two KHM paintings – Caravaggio’s David with the Head of Goliath (ca. 1600) and Rubens’ Stormy Landscape (ca. 1625) – are both iconic masterpieces representing the height of Baroque painting. 

Caravaggio’s David with the Head of Goliath is one of only two existing paintings by the artist on wood panel. A beautiful and emotionally evocative work, this panel is in critically fragile condition, the result of past conservation interventions that shaved the wood support to only a few millimeters in thickness, nearly as thin as paper. The project will require the removal of the existing rigid cradle - a latticed wooden structure attached to the back of the panel intended to prevent warping. Following the cradle’s removal, the panels must rest to resume their natural shape before the conservators can determine the next steps, which will include the construction of a new flexible support and the repair of multiple fractures that threaten the integrity of the paint layers. 

Rubens’ Stormy Landscape is a powerful representation of the natural world, setting the course for the future development of landscape painting. The work is among the greatest dramatic landscapes by Rubens, who created it for his own personal collection. It is one of two large landscapes painted by the artist in this period that feature scenes from classical literature, in this case, from Ovid’s Metamorphoses . (Small figures on the right side of the painting indicate it is the story of Philemon and Baucis being rescued from the storm by the gods Jupiter and Mercury.) The painting is structurally complex and was cobbled together from ten different pieces of wood. Because each plank has aged differently, the panel presents some unique conservation challenges. The separations between the pieces are now visible to the naked eye. 

Old master paintings on wooden supports, or panels, are among the most significant works of art in American and European museum collections. Years of practice are required for a panel paintings conservator to develop the surgical skills required for intervention, including a deep knowledge of painting conservation techniques and exceptional woodworking expertise. With only a handful of experts fully qualified to conserve these paintings, and nearly all of them set to retire within the next decade, the Getty Foundation, Getty Conservation Institute, and J. Paul Getty Museum together launched the Panel Paintings Initiative in 2009 to ensure that the next generation of conservators would be prepared to take their place. Since then, the Foundation has identified and supported a number of projects designed to achieve this goal. 

The Initiative already has achieved a concentrated but significant impact on the field, so far providing more than 20 conservators intensive training and hands-on experience in panel paintings conservation. In addition, hundreds of other conservators and students have benefitted from the workshops that have been offered, university courses that have resulted, or translations of key works on panel painting conservation that have been disseminated. 

One of the key goals of the initiative was to increase knowledge among conservators in Central and Eastern Europe. The project in Vienna will support training for five conservators in from Crakow, Dresden, Prague, and Vienna. Two of these individuals hold teaching positions at conservation schools in their respective countries, which will extend the reach of training activities as they incorporate their newly acquired knowledge into their courses. 

Experts at KHM will oversee the project, and structural treatment will be undertaken by two of the world’s foremost panel paintings conservators, the Metropolitan Museum of Art’s George Bisacca and the Museo Nacional del Prado’s José de la Fuente. Also consulting on the project will be two leading experts and active trainers on the Panel Paintings Initiative: retired Opificio delle Pietre Dure conservator Ciro Castelli and Ebury Street conservator Ray Marchant. The project was developed in consultation with the initiative’s lead trainers and with members of the Panel Paintings Initiative advisory committee, which includes experts from Denmark, Italy, the Netherlands, the UK, and the United States. 

Although this is one of the last major training grants of the initiative, a number of the current projects remain active and will continue to yield interesting results over the next two to three years. 

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Peter Paul Rubens, Stormy Landscape, c.1625. Photo: Kunsthistorisches Museum Vienna.

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