15 décembre 2009

Pierre SOULAGES (né en 1919) Composition Noire, 1963

Pierre SOULAGES (né en 1919) Composition Noire, 1963

Huile sur papier marouflée sur carton, signée en bas à droite, contresignée et datée 24/12/64 au dos - 131,8 x 98,8 cm - 517/8 x 387/8 in. Estimation : 250 000 / 300 000 €

Oil on paper laid on canvas, signed lower right, countersigned and dated 24/12/64 on reverse

Provenance : Collection privée, Europe

Expositions : 1963 Paris, Galerie de France, Soulages peintures sur papier, 1946-1963

Cette œuvre sera incluse dans le catalogue raisonné Soulages, L'œuvre complet V, Papiers 1946-2009 de Pierre Encrevé actuellement en préparation. M. Encrevé confirme que cette œuvre a été peinte en 1963. La date 24/12/64 au dos a été inscrite lors de sa vente.

Aguttes - Paris. Tableaux XIXe siècle et Modernes. Peintures & Arts Graphiques. Vente du Mercredi 16 décembre 2009. Drouot Richelieu - Salle 1 & 7

13 décembre 2009

David Webb jewelry sold @ Sotheby's New York. Magnificent Jewels. 09 Dec 09

18 karat gold, platinum, diamond and black enamel cuff bracelet, David Webb. Photo Sotheby's

Round diamonds weighing approximately 6.40 carats, internal circumference 6 inches, signed David Webb. With signed box. Hammer Price with Buyer's Premium:  43,750 USD

Diamond, enamel and ruby zebra bangle-bracelet, David Webb. Photo Sotheby's

Round diamonds weighing approximately 3.00 carats, the eyes set with cabochon rubies, applied with black and white enamel, mounted in 18 karat gold and platinum, internal circumference 6 inches, signed David Webb. Hammer Price with Buyer's Premium:  37,500 USD

Diamond and black enamel bracelet, David Webb. Photo Sotheby's

Round diamonds weighing approximately 3.00 carats, mounted in 18 karat gold and platinum, length 7½ inches, signed Webb. Hammer Price with Buyer's Premium:  28,750 USD

Diamond, emerald and enamel tiger bangle-bracelet, David Webb. Photo Sotheby's

Round diamonds weighing approximately 6.20 carats, the eyes set with cabochon emeralds, mounted in 18 karat gold and platinum, signed Webb. Hammer Price with Buyer's Premium:  26,250 USD

Pair of cultured pearl, diamond and enamel pendant-earclips, David Webb. Photo Sotheby's

Baroque cultured pearls measuring approximately 15.0 mm., baroque cultured pearl drops measuring approximately 23.0 by 15.7 mm., round diamonds weighing approximately 2.40 carats, mounted in 18 karat white gold and platinum, pendants detachable, signed Webb. Hammer Price with Buyer's Premium:  22,500 USD

18 karat gold, platinum, diamond and black enamel brooch and earclips, David Webb. Photo Sotheby's

The brooch set with round diamonds weighing approximately 1.00 carat, signed David Webb; the earclips set with round diamonds weighing approximately 3.00 carats, signed Webb. Hammer Price with Buyer's Premium:  20,000 USD

18 karat gold, platinum, diamond and black enamel ring, David Webb. Photo Sotheby's

Round diamonds weighing approximately 3.20 carats, size 5½, signed Webb. Hammer Price with Buyer's Premium:  11,875 USD

18 karat gold, platinum, diamond and black enamel ring, David Webb. Photo Sotheby's

Round diamonds weighing approximately 1.70 carats, size 4, signed Webb. Hammer Price with Buyer's Premium:  8,750 USD

Sotheby's New York. Magnificent Jewels. 09 Dec 09 www.sothebys.com

22 octobre 2009

Shopping "Noir Contemporain" @ Piasa - Paris

Adolf LUTHER (1912-1990) 56 Quadratische Spiegel, 1976

56 miroirs teintés, carrés légèrement concaves, montés sur panneau signé et daté au dos. Sous plexiglas - 97 x 85 cm - Estimation : 15 000 / 20 000 €

Provenance : Collection particulière, Düsseldorf, Allemagne

Julio LE PARC (né en 1928) Modulation S n° 137, 1975

Acrylique sur toile signée, datée et titrée au dos - 80 x 100 cm - Estimation : 10 000 / 12 000 €

Provenance : Collection particulière, Paris

Francis BACON (1909-1992) Study for a Portrait of John Edwards, 1988

Offset en couleurs, épreuve signée vers le bas à gauche - 78 x 57 cm - Estimation : 5 500 / 6 500 €

Provenance : Ancienne collection Valérie Beston, proche amie de l'artiste Vente Christie's Londres, 10 février 2006

Robert MOTHERWELL (1915-1991) Africa, 1970

Laine teintée, tapis portant le copyright Motherwell dans la trame au dos. Édition Modern Master Tapestries, New York - 231 x 184 cm - Estimation : 2 800 / 3 500 €

Pierre SOULAGES (né en 1919) Eau-forte II, 1952

Gravure en couleurs sur papier Arches, épreuve signée et numérotée 54/100 - Édition Lacourière, Paris - 48,2 x 65 cm (la planche), 38 x 55 cm (l'image) - Estimation : 2 800 / 3 500 €

Bibliographie : Pierre Encrevé et Marie-Cécile Miessner, Soulages, L'œuvre imprimé, Bibliothèque Nationale de France, 2003, reproduit sous le n°3

€

Cy TWOMBLY (né en 1928) 8 Odi Di Orazio, 1968

Sérigraphie en blanc sur papier noir, épreuve signée et numérotée 24/30 - Édition Sergio Rossi, Milan - 39,5 x 59,5 cm - Estimation : 2 800 / 3 500 €

Bibliographie : Heiner Bastian, Cy Twombly, A Catalogue Raisonné 1953-1984, Édition Schellmann München, New York, 1984, reproduit sous le n° 20, pages 48-51

Ellsworth KELLY (né en 1923) Black Variation 3, 1975

Lithographie en noir avec intaglio, épreuve d'artiste signée et annotée AP VIII, d'une édition à 25 exemplaires Édition Gemini G.E.L, Los Angeles - 101 x 99 cm (la planche), 73,5 x 73,5 cm (l'image) - Estimation : 2 600 / 3 000 €

Bibliographie : Axsom, Rickard H, The Prints of Ellsworth Kelly : A Catalogue Raisonné, 1949-1985, Hudson Hills Press in association with the American Federation of Arts, New York, 1987, reproduit sous le n°111

Roy LICHTENSTEIN (1923-1997) I can see the whole Room, 1989

Offset en couleurs, épreuve signée en bas gauche - 95 x 95 cm Édition réalisée d'après l'œuvre originale de 1961 - Estimation : 2 500 / 3 000 €

Pierre SOULAGES (né en 1919) Lithographie No. 15, 1964

Lithographie en couleurs, épreuve signée et numérotée 27/85 - 65 x 49,7 (la planche), 65 x 49,7 cm (l'image) - Estimation : 2 400 / 3 000 €

Bibliographie : Pierre Encrevé et Marie-Cécile Miessner, Soulages, L'œuvre imprimé, Bibliothèque Nationale de France, 2003, reproduit sous le n°61

Robert INDIANA (né en 1928) White on black love

Laine teintée. Tapis signé dans la trame, contresigné et numéroté 169/300 au dos sur le bolduc. Édition Master Contemporary Original Artist Rugs - 183 x 183 cm - Estimation : 2 000 / 2 500

Pierre SOULAGES (né en 1919) Lithographie No. 14, 1964

Lithographie en couleurs, épreuve signée et numérotée 33/150 - 65 x 49,7 (la planche), 48,5 x 50 cm (l'image) - Estimation : 1 800 / 2 500 €

Bibliographie : Pierre Encrevé et Marie-Cécile Miessner, Soulages, L'œuvre imprimé, Bibliothèque Nationale de France, 2003, reproduit sous le n° 58

Antonio GALVEZ (né en 1928) Portrait of Bacon, circa 1970

Photomontage en noir et blanc portant le cachet encrée de l'artiste au dos - 22,4 x 16,7 cm - Estimation : 1 800 / 2 500 €

Yozo HAMAGUCHI (1909-2000) One and one quarter Lemons, 1983

Mezzotinte sur papier Arches, épreuve signée et numérotée 34/150 - 76 x 57 cm (la planche), 62 x 47,3 cm (l'image) - Estimation : 1 800 / 2 200 €

Provenance : Collection particulière, New York

Pierre SOULAGES (né en 1919) Lithographie No. 8, 1958

Lithographie en couleurs, épreuve signée et numérotée 50/250 - 75,5 x 56 cm - Estimation : 1 600 / 2 000 €

Bibliographie : Pierre Encrevé et Marie-Cécile Miessner, Soulages, L'œuvre imprimé, Bibliothèque Nationale de France, 2003, reproduit sous le n° 50

Alain JACQUET (1939-2008) Feuillage n° II, 1964

Sérigraphie sur toile signée, datée et titrée au dos - 32 x 37,5 cm - Estimation : 1 500 / 2 000 €

Provenance : Marianne et Pierre Nahon Galerie Beaubourg, Paris. Collection particulière, Paris

Exposition : Paris, Galerie Beaubourg, Déjeuner sur l'Herbe, mars 1989

Bibliographie : Pierre Restany, Alian Jacquet, Le Déjeuner sur l'Herbe 1964-1989 -25e anniversaire, La Différence, Paris, 1989, reproduit page 28

Antoni CAMARASA (né en 1957) Helicoptero, 1987

Huile, enduit, crayon gris et collage de cuivre sur toile signée et datée au dos - 97 x 130 cm - Estimation : 1 500 / 2 000 €

Provenance : Galerie Denise Levy, Paris Tom Maddock Gallery, Barcelone Collection particulière, Paris

Antonio SAURA (1930-1998) Retrato, 1984

Lithographie en noir, épreuve d'artiste signée et annotée EA, d'une édition à 100 exemplaires Éditions Atelier Clot, Paris - 30,5 x 23 cm (la planche) - Estimation : 400 / 500 €

Bibliographie : Olivier Weber-Caflisch et Patrick Cramer, Antonio Saura. L'Œuvre Imprimé. Catalogue raisonné, Patrick Cramer Editeur, Genève, 2000, reproduit sous le n° 399, page 463

Vente du Vendredi 23 octobre 2009. Art Contemporain. Peintures & Arts Graphiques. Piasa - Paris. Drouot Richelieu - Salle 10 - 9, rue Drouot - 75009 Paris. Pour tout renseignement, veuillez contacter la maison de ventes au 01 53 34 10 10

06 octobre 2009

Pierre Soulages, «peintre du noir et de la lumière» @ Centre Pompidou

Le Centre Pompidou célèbre, par une grande rétrospective présentée du 14 octobre 2009 au 8 mars 2010, l’oeuvre du plus grand peintre de la scène française actuelle, Pierre Soulages.

À la veille de son quatre-vingt dixième anniversaire, Pierre Soulages, «peintre du noir et de la lumière», est reconnu comme l’une des figures majeures de l’abstraction depuis la Seconde Guerre mondiale.

Le Centre Pompidou a consacré une première grande exposition à Pierre Soulages en 1979 faisant suite à celle présentée au Musée national d’art moderne en 1967, avant l’ouverture du Centre. Retraçant plus de 60 ans de peinture, l’exposition de cet automne permettra une lecture nouvelle du travail de l’artiste en insistant sur les développements récents de son oeuvre. L’exposition rassemblera plus d’une centaine d’oeuvres majeures créées de 1946 à aujourd’hui, des étonnants brous de noix des années 1947 – 1949 aux peintures des dernières années - la plupart inédites - qui manifestent le dynamisme et la diversité d’une oeuvre toujours en devenir.

Pierre Soulages, Brou de noix 65 x 50 cm, 1948. Collection Centre Pompidou, Musée national d’art moderne, Diffusion RMN © Adagp, Paris 2009

La première partie de l’exposition mettra l’accent sur la période fondatrice de l’œuvre de Pierre Soulages avec un ensemble important des premières peintures sur papier et des fameux goudrons sur verre, ainsi qu’un choix de peintures parmi les plus représentatives des années 1950 à 1970, période la plus connue de l’oeuvre de l’artiste.

Pierre Soulages, Goudron sur verre 45.5 x 76.5 cm, 1948. Collection particulière. Archives Pierre Soulages, Paris (photo DR) © Adagp, Paris 2009

En 1979, Pierre Soulages, qui peint déjà depuis plus de trente ans, aborde une nouvelle phase de son oeuvre qu’il qualifiera d’Outrenoir où s’affirme la lumière diffusée par reflets sur une surface entièrement recouverte de noir. En se concentrant sur ce pigment unique et sur la relation du noir à la lumière, Pierre Soulages conçoit un espace pictural qui, en dépit de l’emploi d’une seule couleur, se situe à l’opposé du monochrome dans la trajectoire de l’art moderne. L’exposition mettra clairement en évidence cette «peinture autre» dans toute sa diversité.

Pierre Soulages, Peinture 146 x 114 cm, 1950. Huile sur toile. Collection Centre Pompidou, Musée national d’art moderne, Diffusion RMN © Adagp, Paris 2009

Pierre Soulages, Peinture 202 x 327 cm, 17 janvier 1970. Huile sur toile, 202 x 327 cm. Collection particulière. Archives Pierre Soulages, Paris © Adagp, Paris 2009

Pierre Soulages, Peinture 260 x 202 cm, 19 juin 1963. Huile sur toile. Collection Centre Pompidou, Musée national d’art moderne, Diffusion RMN © Adagp, Paris 2009

Dans la dernière partie du parcours, de grands polyptyques récents seront installés en suspension dans l’espace.

Pierre Soulages, Peinture 324 x 362 cm, 1985. Polyptyque C (4 éléments de 81 x 362 cm, superposés) Huile sur toile. Collection Centre Pompidou, Musée national d’art moderne, Diffusion RMN © Adagp, Paris 2009

Pierre Soulages, Peinture 324 x 181 cm, 14 mars 1999. Polyptyque (4 éléments de 81 x 181 cm superposés) Acrylique/toile. Collection particulière. Archives Pierre Soulages, Paris (photo Jean-Louis Losi) © Adagp, Paris 2009

Pierre Soulages, Peinture 222 x 314 cm, 24 février 2008. Dyptique (2 éléments de 222 x 157 cm superposés) Acrylique/toile. © Adagp, Paris 2009

Pierre Soulages, Peinture 324 x 181 cm, 19 février 2009. Polyptyque (4 éléments de 81 x 181 cm superposés) Acrylique/toile. Collection particulière. Archives Pierre Soulages, Paris (photo Georges Poncet) 

Pour accompagner cette grande rétrospective, un important ouvrage paraîtra aux Éditions du Centre Pompidou qui organise en janvier 2010, en collaboration avec l'université François-Rabelais de Tours et l’INHA, un colloque international, placé sous la responsabilité scientifique d’Éric de Chassey.

24 septembre 2009

Jonathan Seliger, "Hourglass Figure" & "Back in Black"

Jonathan Seliger, Back in Black. photo courtesy Sotheby's

oil, alkyd, acrylic, modeling paste, varnish on canvas mounted on particle board. signed, dated 2004 and titled on the reverse. 82.5 by 81.9 by 20.6 cm. Est. 6,000—8,000 USD - Sold 3,750 USD

Jonathan Seliger, Hourglass Figure. photo courtesy Sotheby's

oil, alkyd, acrylic, modeling paste, varnish on canvas mounted on particle board. signed and dated 2005 twice on the reverse; titled and inscribed on the reverse. 88.6 by 56.2 by 18.1 cm. Est. 5,000—7,000 USD - Sold  4,375 USD

Sotheby's. Contemporary Art. 24 Sep 09. New York www.sothebys.com 

03 août 2009

From a Neoclassical vase and about 18th century Wedgwood black basalt

18th century Wedgwood black basalt neoclassical vase. England. circa 1775

Elegant 18th century Wedgwood neoclassical black basalt vase. Signed, with impressed 'Wedgwood' mark. Jubilee exhibition label. height: 22.86 cm (9 in.) width/length: 10.16 cm (4 3/4) Price $1,600

Provenance: The Zeitlin Collection.

Note: Black basalt was a form of stoneware developed by Josiah Wedgwood in 18th century England. The name derives from the color black and the prevailng taste for Grand Tour, neoclassical objets and art.

Andrew Spindler Antiques, 163 Main Street, Essex, MA 01929 United States of America - E-Mail: info@spindlerantiques.com

Two Wegwood black basalt was sold at Christie's last january :

Two Wedgwood black basalt encaustic-decorated two-handled vases , circa 1780, one incised no2

The krater-formed vase decorated with red figures between key-pattern and leaf borders, the oviform example with bifurcated bracket-handles and bacchic mask terminals, decorated in red, white and black enamels with Etruscan figures below a band of anthemion on a key-pattern band, damages and repairs. 12 7/8 in. (32.7 cm.) high; and 16 7/8 in. (42.9 cm.) high (2) Est. £800 - £1,200. Sold £3,250 ($4,501)

Notes : The print source for these vases is P. F. d'Hancarville, Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Honble William Hamilton, published in Naples in 1766-7. The subject of the krater vase is Hippothon, Antiochus and Clymenos, taken from the left hand side of plate 129 of volume I of the 1776 edition, used for the decoration of Wedgwood & Bentley's First Day's Vases.

Christie's. Lord St Helens And Sir William Fitzherbertthe Collections Of A Diplomat And A Courtier. 22 January 2009. London King Street www.christies.com

Some others résults for 18th century Wegwood black basalt neo classical from www.antiqforum.com

'Three Graces' Vase, 11½". Good cond. 1775, Jul'04. Skinner. $4,300

Basalt Vase and cover, 6 5/8". Perfect cond. 1775, Jul'04. Skinner. $3,100

Vase and cover, 11". Good cond. c1780, Dec'03. Sotheby's. $8,000

Vase, 5". Cover missing. c1775. May'00. Skinner. $740

Pair of Wedgwood & Bentley Vases, 3½". No lids. Handle damaged. 18c. Nov'02. Sotheby's. $750

Vase, 8". Cover missing. 18c, Aug'02. eBay. $1,050

Old Wedgwood.
Among collectors the term Old Wedgwood is taken to refer to wares produced before Josiah's death in 1795. Old Wedgwood is difficult to date. The first examination is of the piece itself. Old Wedgwood has a character of its own. It is finely crafted and just feels old. It is impossible to convey that quality in either words or photographs. The only way to gain an appreciation of the character of Old Wedgwood is to examine it, with the eye and with the finger tips. Take every opportunity to do so at shows and auctions. 

The Potters Mark.
The next recourse is to the mark. Josiah started marking his production with his name in about 1759, impressing the name into the underside of the article with printer's movable type. The resulting mark was often uneven and sometime arced. In about 1769 he adopted the familiar mark with the name impressed from a single slug. the WEDGWOOD mark is found on useful wares between 1769 and 1781 and on all wares produced thereafter until the sans serif version of the mark was introduced in 1929.

WEDGWOOD and BENTLEY.
It was in 1769 that he formed two partnerships, Wedgwood and Bentley produced decorative ware with his good friend, Thomas Bentley. Their production is marked with one or the other of the several versions of the Wedgwood and Bentley mark. Useful wares were produced with his cousin, Thomas Wedgwood and bear the WEDGWOOD mark.

THE LETTER/NUMBER CODES.
In 1860 the Wedgwood factory started marking its wares with the date of manufacture impressed in each piece as part of a three letter code. The first letter of the code represents the month of manufacture, the second identified the potter who threw the shape and the last letter signifying the year the piece was made starting with 0 for 1860. The series was repeated 4 times. From 1907 on in the third series the first letter for the month is replaced by a 3 and with the fourth series commencing with A in 1924 with the figure 4. There is an area of confusion in wares in the first two series. For example TOT could mean a piece produced in either June 1865 or June of 1891. Commencing in 1929 the year mark is replaced by th last to digits of the year, 30 standing for 1930.

February, April, September, October, November and December are always show by their intial letter. June is always T and August is always W. In 1860-1863 March is M, May is Y and July is V. In 1864 March becomes R, May is M and July is L. In 1871 Wedgwood adopted pattern numbers with the code letter prefixes. I bought a small Queens Ware creamer at a flea market thinking from its style and shape to be quite old has the pattern number A1820 on its bottom. The impressed marks are badly filled in with the glaze and are almost obscured. The last figure in the three letter code is probably an O and the first two letters are impossible to read. Since the prefixed code was not introduced until 1871 I date the piece at 1886. www.thepotteries.org

02 août 2009

Hank Willis Thomas @ Baltimore Museum of Art

Hank Willis Thomas, Some Fair Questions, Laser engraved touch on polished black granite. photo courtesy Jack Shainman Gallery

Hank Willis Thomas, The Slate is Clean, Laser engraved touch on polished black granite. photo courtesy Jack Shainman Gallery

Hank Willis Thomas, Everything Must Go, Laser engraved touch on polished black granite. photo courtesy Jack Shainman Gallery

Hank Willis Thomas, Absolut No Return, Light-jet print.  photo courtesy Jack Shainman Gallery

31 juillet 2009

Shopping of black diamond @ Bonhams

A cultured pearl and black diamond necklace

cultured pearls measuring approximately: 8.2 to 7.3mm; mounted in eighteen karat gold; length: 57 1/2in. (black diamonds not tested for origin of color) - Estimate: $2,500 - 3,500

A moonstone, black diamond and diamond ring

mounted in eighteen karat white gold; size: 6 1/2 (black diamonds not tested for origin of color). Estimate: $1,500 - 2,000

A black rough diamond necklace

estimated total diamond weight: 132.20 carats; mounted in eighteen karat white gold; length: 39 1/4in. (black diamonds not tested for origin of color)- Estimate: $1,400 - 1,600

A pair of diamond and black diamond briolette cluster earrings

estimated total diamond weight: 29.50 carats; mounted in eighteen karat white gold (black diamonds not tested for origin of color) -
Estimate: $1,400 - 1,600

A set of five black diamond stackable rings

mounted in eighteen karat gold; size: 7 1/2 (black diamonds not tested for origin of color) - Estimate: $1,200 - 1,400

Bonhams. Fine Jewelry and Watches. Quail Lodge Resort and Golf Club, Carmel, CA, 14 Aug 2009 www.bonhams.com

22 juillet 2009

Three pairs of Sèvres black-ground chinoiserie in The Royal Collection

Sèvres. Pair of mounted vases (vase à monter) c.1785. Hard-paste porcelain, gilt bronze mounts, onyx stand. Overall height 35 cm; dimensions excluding stand 32.7 x 19.2 x 12.8 cm. Purchased by George IV. RCIN 253.2. The Royal Collection © 2009, Her Majesty Queen Elizabeth II 

The elegance and beauty of these vases lies in the skilful combination of a simple form, mottled brown-black ground in simulation of lacquer and finely chased gilt bronze mounts, including mermaid figures and lion’s paw monopodia.

The vases resemble an annotated drawing that survives in the manufactory archives, dated 14 March 1785. Designed by Louis-Simon Boizot (1743-1809), this vase was intended to be fitted with mounts supplied by Pierre-Philippe Thomire: Vase Serpent Boizot fait pour Monte par Monsieur Tomire.

The vases were displayed at Carlton House under protective glass domes. (Text adapted from French Porcelain for English Palaces, Sèvres from the Royal Collection, London, 2009)

Sèvres. Pair of mounted vases, 1789-90. Hard-paste porcelain, decorated in platinum and two tones of gold, gilt bronze mounts. 1 33.5 x 11.5 x 11.5 cm .2 33.7 x 11.5 x 11.5 cm. Acquired by George IV, possibly from the dealer, Robert Fogg, in 1812. RCIN 2344.1-2. The Royal Collection © 2009, Her Majesty Queen Elizabeth II 

The inspiration for this model may have been one of the so-called Etruscan vases sold to Louis XVI by Vivant Denon (1747-1825) in 1786. This collection was placed on deposit at Sèvres to provide inspiration for the artists and sculptors. Only one other pair of vases of this form is known.

The fashion for black-ground chinoiserie scenes at Sèvres, variously described as fond noir or fond écaille, reflected the taste for oriental-inspired decoration and reached its height between 1790 and 1793. A possible source for the two figures worshipping a monkey seated on a column is an engraving published in 1759 by Pierre-Charles Canot (b.1710) after Jean-Baptiste Pillement.

The prevailing neo-classical style is represented by the gilded swags and garlands and scrolling arabesques, which, stylistically, are close to the gilt bronze mounts fitted to furniture in the Louis XVI style.

On left-hand vase: painted in gold: interlaced LLs, with (on either side) (?)M, forming the date-letters (?)MM for 1789. On right-hand vase: painted in gold: interlaced LLs with (on either side) n, forming the date-letters nn for 1790. (Text adapted from French Porcelain for English Palaces, Sèvres from the Royal Collection, London, 2009)

Sèvres. Pair of mounted pot-pourri vases (vase à monter) c.1790. Hard-paste porcelain, decorated in platinum and two tones of gold, gilt bronze mounts. 1 42 x 33.9 x 20.6 cm .2 42.7 x 34 x 20.7 cm. Possibly bought by George IV from the dealer, Robert Fogg, in 1815 for £157 10s. RCIN 2347.1-2. The Royal Collection © 2009, Her Majesty Queen Elizabeth II 

The fanciful oriental scenes are rendered in two tones of gold and platinum on a black ground. The vases probably conform to designs provided by the marchand mercier dealer/decorator, Dominique Daguerre, who would have added the bespoke gilt bronze mounts.

The known sources for chinoiserie decoration on black ground Sèvres porcelain, introduced at the factory c.1790, include engravings after designs by Jean-Baptiste Pillement, Cantonese lacquer patterns, Chinese woodcuts and debased generic chinoiserie scenes. In this instance, two scenes on the vases are taken from engravings by Jean-Jacques Avril (1771-1835) after Pillement, published in the series Cahier de Balançoires Chinoises.

The use of platinum on a black ground, as a substitute for silver (which tarnishes), was a technical innovation introduced at Sèvres c.1789. It was used extensively in the 1790s on black ground vases and tableware decorated with chinoiserie scenes.

Painted on both, in gold: crowned interlaced LLs, flanked by the letters G and I (G omitted on one vase), the mark of the gilder Etienne-Gabriel Girard. (Text adapted from French Porcelain for English Palaces, Sèvres from the Royal Collection, London, 2009)

20 juillet 2009

Black teabowl, 2007. By Hosokawa Morihiro (b. 1938) Japan, Heisei period (1989–)

Black teabowl, 2007. By Hosokawa Morihiro (b. 1938) Japan, Heisei period (1989–) Raku ware. Glazed earthenware. Collection of the artist, H2 © Shinchōsha Publishing Co, Ltd. Photo by Nonaka Akio.

25 juin 2009

Verseuse de forme balustre à fond noir dit "black miror" Période Kangxi (1662 - 1722)

Verseuse de forme balustre à fond noir dit "black miror" Période Kangxi (1662 - 1722)

H. : 20 cm Adaptée en Europe d'une monture en argent au col, à la base et au bec verseur. Estimation : 1 200 - 1 500 €

Vendredi 26 juin, salle 14 - Drouot-Richelieu. Thierry de Maigret SVV. M. L'Herrou

20 juin 2009

Robert Motherwell, Alberti Suite No. 8 (Black), 1970

Robert Motherwell, Alberti Suite No. 8 (Black), 1970

Robert Motherwell, Alberti Suite No. 8 (Black), 1970

09 juin 2009

Lucio Fontana (1899-1968) Concetto spaziale, natura

Lucio Fontana (1899-1968) Concetto spaziale, natura; terracotta; 31 x 31 x 28in. (78.7 x 78.7 x 71.1cm.). Executed in 1959-60. Estimate $2,057,900 - $3,007,700. Photo: Christie's Images Ltd. 2009

Concetto spaziale, Natura, 1959-60, by Lucio Fontana (1899-1968) is a unique work from a sculptural series described as the most important ever created by the artist (estimate: £1.3 million to £1.9 million). The largest of the series ever offered at auction, the present example was exhibited at the Palazzo Grassi in 1960, and was shown to the public for the first time in nearly 50 years at the Palazzo Ducale in Genoa from October 2008 to February 2009. It will be offered at auction for the first time at Christie’s in June. Created six months after Fontana’s first slash paintings, the Natura sculptures explored concepts of spaciality in a new, brutal and daring manner. In a letter to a friend in October 1960, Fontana said ‘This Summer, at Albisola I have worked hard. I have almost produced thirty very large terracotta spheres, with holes and large cuts. I am very pleased, I have managed to represent nothingness! This is the death of matter; pure life philosophy!’.

07 juin 2009

Boîte lenticulaire en laque guri sculpté de motifs de ruyi stylisés. Chine, XVIe -XVIIe siècle.

Boîte lenticulaire en laque guri sculpté de motifs de ruyi stylisés. Chine, XVIe -XVIIe siècle.

(Sautes de laque). Haut. 7.5 cm. Diam . 18.5 cm. Estimation : € 4,000-5,000

Lundi 8 juin, espace Tajan.  Tajan SVV. Mme Papillon d'Alton, M. Ansas

14 mai 2009

A rare black pearl necklace, by Cartier

A rare black pearl necklace, by Cartier

Composed of seventy-nine graduated black pearls measuring approximately from 12.0 to 4.5 mm, to the marquise-shaped diamond clasp with old-cut diamond accents, 56.5 cm long, with French assay marks for platinum and gold. Signed Cartier Paris. 

Accompanied by report no. 187732 dated 20 January 2009 from the CCIP Laboratoire Français de Gemmologie stating that all 79 pearls are (saltwater) natural pearls 'perles fines', with no indications of colour modification

Accompanied by report no. 53785 dated 28 April 2009 from the SSEF Swiss Gemmological Institute stating that the pearls are natural saltwater pearls, with no indications of artificial colour modification.

Accompanied by report no. 0904373 dated 30 April 2009 from the Gübelin Gem Lab stating the pearls are natural saltwater pearls, with no indications of colour enhancement.

Notes: Black pearls have always been admired for their beauty and rarity. To call them "black" is slightly misleading, as in fact, being produced by nature, they are all a little different and vary from dark grey/black to aubergine with wonderful green or purple overtones. The oyster producing most of the black pearls, that are found off of the Mexican coast, is the Pinctada Margaritifera, which is best known for its black, dark grey and gun metal coloured pearls. The degree of "blackness" is due, in part, to the colour of the shell as well as the black organic substance in the pearl.

It was not until the second half of the nineteenth century that black pearls grew in popularity. This was principally due to Empress Eugnie, wife of Napoleon III, who developed a taste for these exotic gems. In the sale of her jewellery at Christie's in 1872, a black pearl necklace sold for 4,000 ($20,000), a huge sum in those days. Very few black pearl necklaces have been sold in recent years, the most famous being the three-row Nina Dyer necklace, that consisted of 151 pearls and sold at Christie's Geneva in November 1997 for $913,000.

Christie's. jewels : The Geneva Sale. 13 May 2009. Geneva www.christies.com

Black diamond and diamond brooch, Michele della Valle

Black diamond and diamond brooch, Michele della Valle

Designed as a feather, set with brilliant-cut black and near-colourless diamonds, mounted in white gold and titanium, signed Michele della Valle and numbered, pochette. Est. 23,000—33,000 CHF. Lot Sold.  30,000 CHF

Sotheby's. Magnificent Jewels and Noble Jewels And A Celebration of Taste and , Magnificent Jewels from a Private Collection. 12 May 09. Geneva www.sothebys.com photo courtesy Sotheby's

09 mai 2009

Jacques Jarrige (né en 1962) Table basse "Odalisque",2003

Jacques Jarrige (né en 1962) Table basse "Odalisque",2003

Structure de forme libre en bronze à patine noire, piétement quadripode en découpe. Plateau en palissandre. Signée. Haut. 42,2 cm - Plateau : 96 x 50 cm . Estimation : € 2,000-3,000

TAJAN. ART & DESIGN SANS FRONTIÈRES. 14 mai 2009 19:00, Espace Tajan www.tajan.com

A green-ground black-decorated dragon bottle vase, China, Xuande six-character mark, 18th/19th century

A green-ground black-decorated dragon bottle vase, China, Xuande six-character mark, 18th/19th century

H. 18,4 cm. Est. 1 200 €

Provenance: Property from the collection of an old German industrial family, from the Dobrikow Collection, Beijing acquired with Lepke Berlin, 1.3.1930, Lot 361

Nagel Auctions. Asian Art. 8th May 2009. www.auction.de

Portfolio : Jean Carlos by Fabien

photos Fabien

An unusual and rare famille noire bisquit porcelain box and cover for ink, China, 18th/19th century

An unusual and rare famille noire bisquit porcelain box and cover for ink, China, 18th/19th century

Very small restored chip to rim inside, good condition. D. 12,1 cm. Est. 1 500 €

Provenance: Property from an old German private collection

Nagel Auctions. Asian Art. 8th May 2009. www.auction.de