23 mai 2008

Cabinet en ébène, bois précieux et os teintés, France, d’après des dessins de Jean Macé de Blois, vers 1630

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Cabinet en ébène, bois précieux et os teintés, France, d’après des dessins de Jean Macé de Blois, vers 1630, 208 x 173,5 x 56,5 cm. Estimation : 25 000/30 000 €.

Vedette de la prochaine vente Haute Époque organisée comme de coutume à Louviers, notre meuble sera accompagné de nombreux autres cabinets. Une sélection qui permet d’entrevoir l’évolution de ce meuble. Cité pour la première fois dans un inventaire dressé pour François Ier en 1538, il est à l’origine plus un coffre qu’un véritable meuble. Constitué de tiroirs et autres compartiments secrets, il permet de conserver et de transporter des documents ou des objets précieux. Le coffre, dont la forme remonte à l’Antiquité, revient au goût du jour grâce à la civilisation islamique, qui l’impose en Europe au XVe siècle, via l’Espagne. Présent à la vente, un bargueño espagnol sera ainsi un bel exemple de ces meubles, servant aussi d’écritoires portatives. Du XVIe siècle, cet exemplaire en noyer, dont la façade à abattant révèle un intérieur constitué de tiroirs, présente un riche décor d’incrustation de bois clair sculpté en bas relief de motifs végétaux, oiseaux et personnages de profil. Prévoyez 12 000 € pour emporter ce coffre proposé avec un piètement postérieur. Aux sculptures en bas relief sur bois, aux incrustations d’or et d’ivoire de style mudéjar succéderont bien d’autres techniques. Au XVIIe, les cabinets deviennent ainsi le miroir des civilisations. C’est en Italie que sa forme classique apparaît, au XVIe siècle. Le cabinet révèle alors derrière sa façade une multitude de tiroirs et autres compartiments, mais aussi une niche centrale - le petit théâtre richement décoré en trompe l’oeil. Les marqueteries de pierres semi-précieuses participent au décor ; à l’image d’un petit cabinet italien du XVIIe orné de pierres dures. La niche centrale est gardée par deux petites statuettes de bronze doré (15 000/20 000 €). Après l’Allemagne, la vogue des cabinets arrive en France, qui, jusque-là, importait ces meubles. On commence alors à les fabriquer grâce aux premiers «ébénistes», venus des Pays-Bas ou d’Allemagne. Ces menuisiers qui travaillent le placage d’ébène révolutionnèrent la profession sous le règne de Louis XIII. Notre cabinet en constitue une superbe illustration. Il a été réalisé à partir de dessins de Jean Macé. Cet artisan français, qui sera nommé menuisier ébéniste du roi en 1641 et qui obtiendra un logement au Louvre, s’est formé durant de nombreuses années aux Pays-Bas. L’évolution du cabinet ne s’arrête pas là... Sa forme évolue peu à peu au cours du XVIIIe, pour finalement donner naissance au secrétaire. Mais c’est une autre histoire...
Louviers, dimanche 25 mai. Jean Emmanuel Prunier SVV. M. Lagrand.

Posté par Alain Truong à 22:25 - - Commentaires [0] - Permalien [#]


HERMES Paris - Sac "Drag"

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HERMES Paris Sac "Drag" en veau Chamonix gold, fermoir H plaqué or, double poignée (grand modèle , 40 cm). Bon état général, quelques griffes et traces noires. - Estimation 900 - 1 100 €

Artcurial. Commissaire-priseur : François Tajan. Vintage Hermès. 2 juin 2008 10:30. Hôtel Dassault

Posté par Alain Truong à 21:43 - - Commentaires [0] - Permalien [#]

HERMES Paris - Cadenas hippopotame en acier chromé

Trop  mignon...

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HERMES Paris Cadenas hippopotame en acier chromé, créé à l'occasion de l'année des fleuves, 2005 - Estimation 80 - 100 €

Artcurial. Commissaire-priseur : François Tajan. Vintage Hermès. 2 juin 2008 10:30. Hôtel Dassault

Posté par Alain Truong à 21:41 - - Commentaires [0] - Permalien [#]

HERMES Paris - Sac "Plume"

Pas mal pour son portble, non ?

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Sac "Plume" 42 cm bicolore en box marine et gold, fermeture éclair, clefs, double poignée (griffures, tache, patine d'usage) - Estimation 900 - 1 200 €

Artcurial. Commissaire-priseur : François Tajan. Vintage Hermès. 2 juin 2008 10:30. Hôtel Dassault

Posté par Alain Truong à 21:39 - - Commentaires [0] - Permalien [#]

fashion156: Jeune homme en Carolyn Massey

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All items by Carolyn Massey, further information available @ www.carolynmassey.com

(© fashion156.com 2006 - All images copyright their respective owners)

Posté par Alain Truong à 20:22 - - Commentaires [0] - Permalien [#]



fashion156: Jeune fille en Bernhard Willhelm

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Dress by Bernhard Willhelm @ Good Hood available @ www.goodhood.co.uk . Sunglasses by Jeremy Scott for Linda Farrow Vintage, further information available @ www.lindafarrowvintage.com . Bracelets by Daydream Nation, further information available @ www.daydream-nation.co.uk . Bowtie by Treizeor, further information available @ www.valerydemure.com . T-shirt by American Apparel, available @ www.americanapparel.co.uk . Tights by Jonathan Aston @ www.mytights.com

(© fashion156.com 2006 - All images copyright their respective owners)

Posté par Alain Truong à 20:19 - - Commentaires [0] - Permalien [#]

UN TRÈS RARE BOL FIGURATIF JAUNE ET VERT - DYNASTIE MING, MARQUE ET ÉPOQUE JIAJING (1522-1566)

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UN TRÈS RARE BOL FIGURATIF JAUNE ET VERT - DYNASTIE MING, MARQUE ET ÉPOQUE JIAJING (1522-1566)

A rare and fine green and yellow bowl, Ming dynasty, mark and period of Jiajing.

avec un rebord évasé et un pied droit, finement incisé et peint en vert sous couverte sur un riche fond jaune de deux personnages l'un assis, l'autre marchant, sur une terrasse paysagée sous les pins, un rinceau de lingzhi à l'intérieur, la base circulaire émaillée blanche avec la marque en kaishu Jiajing en bleu sous couverte. diam. 16.5cm, 6 ½ in. Estimation: 30,000—40,000 EUR

LITERATURE AND REFERENCES: Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 842.

Chinese Ceramic Treasures, a Selection from the Ulricehamn East Asian Museum, Including The Carl Kempe Collection. The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, p. 312, no. 1023.

CATALOGUE NOTE: A similar bowl, from the Riesco collection, was included in the Oriental Ceramic Society exhibition The Arts of the Ming Dynasty, London, 1957, cat. no. 202; another, from the Evill collection, was sold in our London rooms, 30th November 1965, lot 31; and a third example, from the collection of Major A. J. A. Douglas, was also sold in our London rooms, 13th March 1973, lot 225.

Compare also a bowl in the Tokyo National Museum included in the Illustrated Catalogue of Tokyo National Museum. Chinese Ceramics II, Tokyo, 1990, cat. no. 316; and one in the Baur Collection, Geneva, published in John Ayers, The Baur Collection, vol. II, Geneva, 1969, pl. A166.

It is interesting to note that the design was later copied and can be found on Yongzheng pieces; for example see a yellow-ground bowl with this decorative motif in green enamels, from the Constantinidi collection, illustrated in Soame Jenyns, Later Chinese Porcelain, London, 1951, pl. LXIX, fig. 1.

Sotheby's Paris. From Neolithic to Qing, Chinese Ceramics from Two Private Collections. 12 Juin 08

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DEUX COUPELLES MONOCHROME JAUNE - DYNASTIE MING, L'UNE MARQUE ET ÉPOQUE JIAJING (1522-1566), L'AUTRE ÉPOQUE TRANSITION, V. 1650

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DEUX COUPELLES MONOCHROME JAUNE - DYNASTIE MING, L'UNE MARQUE ET ÉPOQUE JIAJING (1522-1566), L'AUTRE ÉPOQUE TRANSITION, VERS 1650

Two yellow dishes, one mark and period of Jiajing, the other Jiajing mark, Transitional period

chacune couverte d'une riche glaçure jaune, la base circulaire blanche émaillée avec une marque en kaishu Jiajing à six caractères dans un double cercle en bleu sous couverte. diam.12.8 et 12.4cm, 5 1/16 et 4 7/8 in. Estimate: 7,000—9,000 EUR

LITERATURE AND REFERENCES: Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 796.Chinese Ceramic Treasures, a Selection from the Ulricehamn East Asian Museum, Including The Carl Kempe Collection. The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, p. 292, no. 986.

Sotheby's Paris. From Neolithic to Qing, Chinese Ceramics from Two Private Collections. 12 Juin 08

Posté par Alain Truong à 20:09 - - Commentaires [0] - Permalien [#]

UN BOL POLYCHROME SUR FOND JAUNE - EPOQUE TRANSITION, XVIIE SIÈCLE

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UN BOL POLYCHROME SUR FOND JAUNE - EPOQUE TRANSITION, XVIIE SIÈCLE

A yellow ground polychrome bowl, Jiajing mark, Transitional period.

circulaire de forme lianzi sur un pied droit, à décor émaillé aubergine et vert de rinceaux de pivoines à l'intérieur se répétant sur le pourtour, la base émaillée blanc avec marque kaishu Jiajing dans un double cercle en bleu sous couverte. diam. 18cm, 7 1/16 in. Estimation: 800—1,200 EUR

LITERATURE AND REFERENCES: Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 841

Sotheby's Paris. From Neolithic to Qing, Chinese Ceramics from Two Private Collections. 12 Juin 08

Posté par Alain Truong à 20:03 - - Commentaires [0] - Permalien [#]

"Everyday Monuments: The Photographs of Jerome Liebling" & "From Any Angle: Photographs from the Collection of Doris Bry"

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Irving Penn, Harlequin Dress-Lisa Fonssagrives Penn, 1979. Platinum-palladium print, mounted on aluminum, 20 1/16 X 19 1/8 in. Yale University Art Gallery, Gift of Doris Bry

NEW HAVEN.- Continuing a new breakthrough tradition of hosting sharp, serious, and exploratory exhibitions organized by student curatorial teams, the Yale University Art Gallery is excited to announce two photography shows that delve into the heart of what a photograph can mean. "From Any Angle: Photographs from the Collection of Doris Bry" is a stunning selection of seventy works from a collection of nearly three hundred that Doris Bry has lent on a long-term basis to the Gallery. The concurrent exhibition, "Everyday Monuments: The Photographs of Jerome Liebling," explores the many facets of one artist's practice. Active since the late 1940s, American artist Jerome Liebling has explored a variety of photographic themes including social-documentary photographs of people and places.

Pamela Franks, Deputy Director for Collections and Education and Nolen Curator of Academic Affairs, who oversees the student-curated exhibition program, comments: "Student-curated projects create the opportunity for students from diverse fields to come together around art; they spend hours upon hours with the original works of art, coming to terms with its significance and considering together how best to communicate their ideas and responses in the form of an exhibition. The collaborative nature of the undertaking is essential to its success."

Jock Reynolds, the Henry J. Heinz II Director of the Gallery, states: "Creating constant opportunities for students to directly encounter original works of art, and to often be involved with many aspects of curatorial and scholarly practice, is what this teaching museum is all about. Both Doris Bry's Inadvertent Collection and the Gallery's great new cache of Jerome Liebling's photographs are major resources for active learning and enjoyment."

From Any Angle: Photographs from the Collection of Doris Bry
"From Any Angle: Photographs from the Collection of Doris Bry" celebrates the remarkable collection of nearly three hundred photographs brought together by Doris Bry that is currently on long-term loan to the Yale University Art Gallery. The exhibition highlights how the meaning of a photograph can be inseparable from the physical print, with its particular texture, surface, sheen, color, and density. Featured artists include Berenice Abbott, Ansel Adams, Eugène Atget, Walker Evans, Laura Gilpin, Eliot Porter, and Garry Winogrand, among others.

A noted scholar of eminent American photographer Alfred Stieglitz, Bry is perhaps best known as the agent and confidant of Stieglitz's wife, the painter Georgia O'Keeffe. Bry's collection includes photographs by renowned masters, as well as intriguing works by lesser-known artists, and features examples of a wide range of styles and photographic media. Bry describes her collection as inadvertent, reflecting an emphasis on each individual photograph, rather than on any kind of overarching thematic relationship among the works. The student curators have made selections that allow connections to be made but also highlight the diversity of the images and the autonomy of each individual picture. For example, Irving Penn's Nude No. 106 (1949-50), with its intentionally overdeveloped brightness, effects a dissolving presence. Lying horizontal, the great folds of the model's flesh
read as landscape, but there is tension between these forms and the effacement of the individual's identity (her head has been cut off by the edge of the paper). In contrast, Otto Steinert's Schwarzwalddach (Black Forest Roof) (1956) carries a kind of geometry at the service of pure abstraction. During the development process, Steinert pushed tonalities to extremes, from deep black to pure white, to remove recognition of content. The image, which presumably began as a picture of rooftop shingles, is now left completely open to the viewer's interpretation.

"From Any Angle: Photographs from the Collection of Doris Bry," on view May 23 through September 7, is organized by Yale students, under the direction of Ash Anderson, ph.d. candidate in the History of Art and Graduate Research Assistant, and Pamela Franks, Deputy Director for Collections and Education and Nolen Curator of Academic Affairs, both of the Yale University Art Gallery. This exhibition is supported by the John F. Wieland, Jr., b.a. 1988, Fund for Student Exhibitions, and The Nolen-Bradley Family and Jane and Gerald Katcher Funds for Education.

Everyday Monuments: The Photographs of Jerome Liebling
Jerome Liebling's practice as a photographer spans nearly sixty years. Over the course of this long career, he has tackled numerous and varied subjects, from social-documentary photographs of the people of Minnesota, to poetic images of the relics of literary figures such as Emily Dickinson and Herman Melville. While diverse in his practice, each image possesses a remarkable clarity‹a stark note of laying the truth bare‹that ³makes a Liebling a Liebling, as the student curators like to note. The Gallery has recently acquired nearly forty of Liebling¹s images, bringing the total number of works by Liebling in the collection to fifty-one. Within the group, a majority of Liebling¹s most substantial bodies of work is represented, providing an invaluable resource for looking at an artist's oeuvre over time.

Liebling was raised in Brooklyn, New York by his parents, who had emigrated from Eastern Europe. Following his service during World War II, he returned to study photography, and in the 1940s he began a series of photographs of New York City. Included in the exhibition are works from this time, such as Butterfly Boy, New York City (1949); the intense, questioning gaze of the child is confounded by his small size and playful flap of his coat. In 1949 Liebling moved to Minneapolis and pioneered one of the country's first photography departments at the University of Minnesota. Liebling¹s images of mannequins and corpses provide a haunting counterpoint to his images of regular people in cities such as Brooklyn and Minneapolis, as well as other locales. In Manikin (1962), Liebling juxtaposes the mannequin's idealized features with its stactic plasticity. Liebling is well known as an inspiring and influential teacher of photography as well. He was the first Walker
Evans Visiting Professor of Photography at the Yale School of Art in 1976-77. He is now professor emeritus at Hampshire College, in Amherst, Massachusetts, where he taught for more than three decades, after nearly twenty years of teaching at the University of Minnesota. His former student and longtime collaborator Alan Trachtenberg, the Neil Gray, Jr., Professor Emeritus of English and American Studies at Yale University, is one of the great photography writers of the past thirty years. Both Liebling and Trachtenberg worked with the student team to prepare the exhibition.

"Everyday Monuments: The Photographs of Jerome Liebling," on view May 23­September 7, was organized by Yale students, under the direction of Aja Armey, Museum Educator, and Pamela Franks, Deputy Director for Collections and Education and Nolen Curator of Academic Affairs, both of the Yale University Art Gallery. This exhibition is supported by the Janet and Simeon Braguin Fund, and The Nolen-Bradley Family and Jane and Gerald Katcher Funds for Education.

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Otto Steinert, Schwarzwalddach (Black Forest Roof), 1956. Gelatin silver print, 18 1/16 X 23 3/8 in. Doris Bry Inadvertent Collection

Posté par Alain Truong à 19:00 - - Commentaires [0] - Permalien [#]



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