Eloge du noir par Alain Truong

27 mai 2012

A Meissen black-glazed Böttger stoneware coffee pot and cover, circa 1710-13



A Meissen black-glazed Böttger stoneware coffee pot and cover, circa 1710-13.  photo Bonhams

After silver prototypes, of baluster square section, the edges of the handle, ribs and spout and detailing of the animal's head picked out in gilding, the cover with a diamond-cut finial, all with a deep black and manganese lustre in imitation of lacquer, 14cm high (minor wear to gilding) (2). Lot 66. Estimate: £20,000 - 30,000 / €24,000 - 36,000 / US$ 32,000 - 47,000. Unsold

Provenance: European private collection

Another black-glazed example of this form, with cold enamel decoration and gilding, is published by Claus Boltz, Steinzeug und Porzellan der Böttgerperiode, in Keramos 167/168 (2000), p. 76. An unglazed example of this model, which is listed in the 1711 inventory of the Meissen manufactory (Claus Boltz, Formen des Böttgersteinzeugs im Jahre 1711, in Mitteilungsblatt der Keramikfreunde der Schweiz, no. 96 (1982), p. 17: 'hohes 4 Eckichtes Thee Krügel'), is in the British Museum (Documentary Continental Ceramics from the British Museum (1985), no.1).

Bonhams. 23 May 2012 10:30 a.m. London, New Bond StreetFine European Ceramics

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26 mai 2012

A black-glazed bottle vase. Kangxi period (1662-1722)


A black-glazed bottle vase. Kangxi period (1662-1722).  photo: Christie's Images Ltd 2012

The vase has a globular body rising to a tall, slender neck, the exterior is covered in a lustrous black glaze ending just under the white-glazed lipped rim. 8 in. (20.2 cm.) high. Lot 1022. Price Realized £3,500 ($5,513)

Provenance: With 'C.T. Loo & Co.' label to base 

Christie's. Chinese Ceramics, Works of Art and Textiles 18 May 2012 London, South Kensington

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14 mai 2012


NEW YORK.- The New Museum is presenting an exhibition of works by British artist Tacita Dean, the most substantial presentation of the artists work in New York to date. In this image: More or Less, 2011. Five gravures on Somerset White Satin 400 gr. paper, 88 5/8 x 59 in. Edition of 8. Courtesy the artist, Marian Goodman Gallery, New York / Paris and Frith Street Gallery, London.

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13 mai 2012

A rare pair of Henan 'oil-spot' teabowls. Northern Song-Jin dynasty







A rare pair of Henan 'oil-spot' teabowls. Northern Song-Jin dynasty. photo Bonhams

Each of rounded form supported on a short footring, covered all over the interior and exterior with a rich lustrous black glaze densely suffused with a myriad of silvery'oil spots' emanating to the surface, the unglazed foot revealing the brown buff stoneware. Each: 12.8cm diam. (2). Lot 253. Estimate: HK$ 30,000 - 50,000 . US$ 3,900 - 6,400 / £2,400 - 4,000

北宋 / 金 黑釉油滴斑盌一對

Provenance 來源: Sotheby's London, 17 November 1999, lot 733

It is rare to find a pair of 'oil-spot' teapots in such well-preserved form. For a single bowl with similar 'oil-spot' effect, see the example illustrated in Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, 1994, cat. no.158. See also related examples illustrated by Robert D. Mowry,Hare's Fur, Tortoiseshell and Partridge Feathers. Chinese Brown-and Black-Glazed Ceramics, 400-1400, Harvard University Art Museums, 1996, cat. nos. 43, 44 and 46.

Bonhams. 27 May 2012 2 p.m. Hong KongFine Chinese Ceramics and Works of Art

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06 mai 2012

Robert Mapplethorpe (American, 1946-1989), Ron Simms


Robert Mapplethorpe (American, 1946-1989), Ron Simms, gelatin silver print; signed and dated Robert Mapplethorpe '78, l.r.; numbered "?/10" (scratched out) and inscribed For Ron, l.l.; 14 x 13 1/2 inches; framed: 26 x 25 inches. Lot 74Estimate $3,000-5,000

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05 mai 2012

A black 'Lingbi' rock. Qing dynasty


A black 'Lingbi' rock. Qing dynasty. Photo Sotheby's

a black 'Lingbi' limestone with perforations and white striations, with a clear metallic resonance, oriented three possible ways on three different hongmu stands; 14.3 by 33.5 cm., 5 5/8 by 13 1/4 in. Estimate 400,000-600,000 HKD. Lot 3247 vendu: 500,000 HKD

Sotheby's. Fine Chinese Ceramics & Works of Art. Hong Kong | 04 avr. 2012 www.sothebys.com

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Yan Pei-Ming, Gadhafi's Corpse - October 20th 2011, 2011


Yan Pei-Ming, Gadhafi's Corpse - October 20th 2011, 2011. Oil on canvas, 110 1/4 x 157 1/2 inches, 280 x 400 cm. Photo: Courtesy the artist and David Zwirner, New York

NEW YORK, NY.- David Zwirner presents an exhibition of recent work by Yan Pei-Ming, on view at the gallery’s 519 West 19th Street space. Born in Shanghai in 1960 and based in Dijon, France, Ming has gained international recognition for his large-sized, monochromatic portraits. His subjects, which range from historical figures, political leaders, and celebrities to anonymous soldiers, serial killers, female prisoners, orphans, and the artist himself, are typically presented face-on, with bold and expressive brushwork. The artist’s fluid yet precise technique and his use of shallow pictorial space combine to create iconic, monumental, and psychologically charged works. 

The paintings in this exhibition, Ming’s second at the gallery, relate to events in the recent and distant past. In a departure from previous work by the artist, they extend beyond the depiction of a singular subject to reference broad historical issues and, in the process, the gap that exists between the events and their visualization. Often taking a combination of mass media imagery and his own recollections of a motif as his starting point, Ming thus broadens a traditional understanding of the medium of painting: he refers to his large-scale canvases as “collages” of photographs and memories, while medium-specificity is further cast into question by the fluidity of the artist’s painterly technique, which at times resembles watercolor. 

Black Paintings is a title derived from a late series of wall paintings by Francisco Goya, since transferred to canvas. In these works, not originally intended for public view, the Spanish artist offers haunting visions of humanity’s darker side. 

Among the paintings on view in the present exhibition, one refers directly to a work by Goya. Exécution, Après Goya (2008) offers an interpretation of The Third of May 1808 (1814), which depicts the execution by firing squad of Spanish civilians who had taken part in an uprising against the French occupation of their country. Using blood red paint and bold brushstrokes with visible drips, Ming’s version of the subject matter dramatically isolates the figures from any background, thus separating the action from its historical context. The painting is the only one in the exhibition to use a color that is not black, white, or gray. 

Also on view is Pablo (2011), which shows a young Pablo Picasso kneeling before an unknown object or presence. The background is indeterminate and dark, and again provides no contextual setting. A somber, if ambiguous, mood is intensified by the boy’s downward gaze and the impossibility of telling whether his awkward pose is indicative of a religious act or perhaps signifies a punitive measure about to take place. By depicting arguably the most famous painter of the modern era as a humbled adolescent, Ming’s painting includes a reference to its own medium, while its black-and-white palette underscores a sense of nostalgia. 

A more recent history is evoked in Invisible Women (2011), a multiple portrait of burka-clad women. Standing closely together in a large group and looking straight ahead, the many pairs of eyes have a hypnotic quality and form a disquieting horizon. The subject matter may be a reference to the democratic undercurrents of the Arab Spring, which has led to an increased focus on women’s rights in the region. Although the title is borrowed from H.G. Wells’s famous novel The Invisible Man (1897), which told the story of a scientist whose experiments made him an invisible murderer, the women portrayed by Ming each have identifiable characteristics despite revealing little flesh. 

While the historical significance of Ming’s chosen subjects is readily apparent, his works resist the traditional heroic connotations of history paintings. The artist’s aforementioned reliance on often blurry mass media source material and personal memory combine to present a sense of elusiveness that is underscored by exaggerated brushwork. Rather than documenting separate events, the paintings suggest an ongoing history in flux. 

Yan Pei-Ming joined David Zwirner in 2006 and had his first New York solo exhibition at the gallery the following year. 

Over the past decade, the artist has had solo exhibitions at the Ullens Center for Contemporary Art, Beijing; Musée du Louvre, Paris; San Francisco Art Institute (all 2009); Musée d’art moderne de Saint-Étienne Métropole, Saint-Étienne, France (2006); Shanghai Art Museum; Guangdong Museum of Art, Guangzhou, China (both 2005); Kunsthalle Mannheim, Germany (2004); Musée des Beaux-Arts, Dijon, France; Musée des Beaux-Arts et d’Archéologie, Besançon, France; and the Musée d’Art et d’Histoire, Geneva (all 2003). 

Ming’s work was featured in several group exhibitions in 2011, including the Fonds régional d’art contemporain Auvergne, Clermont-Ferrand, France; Musée Anne-de-Beaujeu, Moulins, France; and the Musée des beaux-arts de Dôle, Dôle, France. He participated in the French Pavilion for Expo 2010 in Shanghai and other international group exhibitions include the Istanbul Biennial (2007); 2nd Seville Biennale, Spain (2006); Venice Biennale (2003 and 1995); and the Lyon Biennale, France (2000 and 1997). 

Work by the artist is represented in museum collections worldwide, including the Centre Georges Pompidou, Paris; Kunsthalle Mannheim, Germany; Musée d’Art Moderne de la Ville de Paris; Musée des Beaux-Arts, Dijon, France; Museum Ludwig, Cologne; National Museum of Modern Art, Tokyo; and the Shanghai Art Museum

Posté par Alain Truong à 14:43 - - Commentaires [0] - Permalien [#]

29 avril 2012

A carved black and cinnabar lacquer stationary box. Yuan dynasty


A carved black and cinnabar lacquer stationary boxYuan dynasty. Photo Sotheby's

of rectangular form with an upper section containing a deep box of rectangular section covered by a thin cover, the lower section with five small drawers hidden behind a removable panel, the exterior densely carved with a medley of flowers and fruit including peony, mallow, prunus, hibiscus, cherry blossom, magnolia, chrysanthemum, lychee, camellia and gardenia, the cover further carved with two ripe pomegranates, one with its skin bursting open, surrounded by lotus, prunus, and peony, all framed by a key-fret border and set against a red ground, the interior drawers carved with the 'Three friends of winter' (pine, bamboo and prunus) in black lacquer set against a red diaper ground, two drawers fitted with baitong metal locks and the other three with bat shaped pulls, the removable panel fitted to the box with a cloud-shaped baitong lock plate, the narrow sides with two metal swing handles; 33.5 by 24 by 18 cm., 13 1/8 by 9 1/2 by 7 1/8 in. Estimation 300,000-400,000 HKD. Lot 3139 vendu: 375,000 HKD

NOTE DE CATALOGUE: The carving on this box represents the fully developed style of the Yuan period when pictorial devices such as foreshortening and overlapping were translated into the language of relief carving. Fine incisions on leaves and petals, to indicate veins, was also used as a technique to bring texture into the composition. On a flat surface, the Yuan lacquer artist was able to create a three-dimensional image. He has cut deep into the lacquer layers that have been built on a yellow-ground some of which he has left exposed. The final product is finished to a shiny rich smoothness, characteristic of the period.

While Yuan period boxes of this type are rare, the carving on this piece may be compared to that seen on a distinct group of carved lacquer dishes, such as the two examples illustrated in James C.Y. Watt and Barbara Brennan Ford, East Asian Lacquer, New York, 1991, from the Metropolitan Museum of Art, New York, pl. 18 and 20.

For a later carved box, see one bearing a Jiajing reign mark and of the period and decorated with the shou character, illustrated in Carved Lacquer in the Palace Museum, Beijing, 1985, pl. 169. A cinnabar-lacquer Jiajing stationery box of related form, finely carved with the 'shou' tree as the main design was included in the exhibition Im Zeichen des Drachen, Museum für Lackkunst, Munster, cat. no. 71, from the Fritz Low-Beer collection. See also a box in the Tokyo National Museum, Tokyo, included in Hai-Wai Yi-Chen, Chinese Art in Overseas Collections, Lacquerware, Taipei, 1987, pl. 114; and another with a Jiajing reign mark and of the period, from the Lee Family collection, included in the exhibition Dragon and Phoenix, The Museum of East Asian Art, Cologne, 1990, cat. no. 54.

A number of Ming and Qing lacquered wooden stationary boxes of this type, from the Qing court collection and still in Beijing, are illustrated in The Complete Collection of Treasures of the Palace Museum. Furniture of the Ming and Qing Dynasties (I), Hong Kong, 2002, pls. 192, 194 and 195

 Sotheby's. Fine Chinese Ceramics & Works of Art. Hong Kong | 04 avr. 2012 www.sothebys.com 

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28 avril 2012

An exquisite black lacquer 'peony' dish. Song Dynasty


An exquisite black lacquer 'peony' dish. Song Dynasty. Photo Sotheby's

of circular form with shallow rounded sides, deeply and densely carved through thick layers of black lacquer through to the ochre ground below with a large peony in full bloom, surrounded by five attendant blooms and leaves, the petals richly detailed through varying depths, framed by a thick rim, the exterior similarly decorated with six flowers and their leaves, the recessed base lacquered in black, together with a bid slip from an auction;; 7.2 cm., 6 3/4 in. Estimation 400,000-600,000 HKD. Lot 3137 vendu: 1,460,000 HKD 

PROVENANCE: Sold at auction in Kyoto, pre-1871.

NOTE DE CATALOGUE: This fine black lacquer dish with large blooming peonies represents the mature Southern Song style where the decoration is attractively laid out, the carving is bold and deep, with little of the background left exposed. The flowers and leaves are especially elaborate and a sense of depth in the decoration is realized by the multiple layers within the design. The final product is also finished to a shiny rich smoothness. Closely related carving can be seen on a cinnabar lacquer dish included in the exhibition So Gen no bi, Nezu Institute of Fine Arts, Tokyo, 2004, cat. no. 94, and on a square dish with flowers and bamboo, cat. no. 95. A large black lacquer dish, included ibid., cat.no. 86, deeply carved with birds and flowers on a similar ochre ground, displays much of the characteristics seen on this piece.

This carving technique was continued and further developed in the Yuan period; see a Yuan black-lacquer dish finely carved with large chrysanthemum blooms amongst bold luscious leaves, in the Cleveland Museum of art, illustrated in Hai-Wai Yi-Chen. Chinese Art in Overseas Collections. Lacquerware, Taipei, 1987, pl. 56; another dish carved with a pair of birds amongst large flower blooms, in the collection of the Seattle Art Museum, illustrated in Michael Knight, East Asian Lacquers, Seattle, 1992, pl. 6; and a 14th century signed cinnabar lacquer dish carved in the same style with blooming flowers and large curling leaves, formerly in the collections of Professor E. Balla and Dr. W. Balla and later in the British Rail Pension Fund, sold in our London rooms, 12th December 1978, lot 251, and again, 12th December 1989, lot 41. Compare also a black-lacquer dish deeply carved with a pair of long-tailed birds amidst
luscious peony blossoms and leaves, in the Fitzwilliam Museum, Cambridge, included in Derek Clifford, Chinese Carved Lacquer, London, 1992, pl. 22.

Sotheby's. Fine Chinese Ceramics & Works of Art. Hong Kong | 04 avr. 2012 www.sothebys.com 

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26 avril 2012

A black lacquer 'guri' tray, Ming Dynasty, 15th-16th century


A black lacquer 'guri' tray, Ming Dynasty, 15th-16th century. photo Sotheby's

of rectangular form, deeply carved through thick alternating layers of black and red lacquer with a four-pointed star in the centre enclosed by six guri pommels, encircled by further rows of pommels radiating out from the centre, all framed by thick shallow walls with undulating scrolls repeated on the exterior, all supported on a tall pedestal foot with a bracketed apron further carved with scrolls; 47.2 cm., 18 1/2 in. Estimation 500,000-700,000 HKD. Lot 3140 unsold

NOTE DE CATALOGUE: The present tray, finely carved in the attractive guri technique, is a recognized Ming type. Guri lacquer of different periods are distinguished by the thickness and depth of the carving, the number of lacquer layers employed and the smoothness of the finish. The style of rounded cutting combined with a perfectly smooth finish are in keeping with Ming examples such as that seen on a lacquer box and cover included in the exhibition From Innovation to Conformity, Bluett and Sons, London, 1989, cat. no. 29. The attractive, evenly balanced, stylized scroll border design is also distinctive of the Ming period when it was frequently employed to decorate the back of dishes, for example see a dish included ibid., cat. no. 17.

A black guri lacquer tray of very similar size and form, but of a different design combination of the characteristic ruyi heads and a more stylized border motif, in the Chinese History Museum, Beijing, is illustrated in Zhongguo qiqi quanji, vol. 5, 1995, Fuzhou, pl. 92, attributed to the Ming period. See a smaller tray of this form sold at Christie's Hong Kong, 27th November 2007, lot 1789; and another rectangular tray with more heavily indented corners, carved with layers of black and red lacquer with bands of ruyi heads, from the Lee family collection, sold at Christie's Hong Kong, 1st December 2009, lot 1804.

The inspiration for this tray may have come from earlier, Yuan period, rectangular form panels such as one decorated in black guri lacquer with red layers beneath, discovered in the cargo of a ship foundered off the Sinan coast of Korea in 1323, illustrated in Relics Salvaged from the Seabed Off Sinan: Materials II, Seoul, 1985, pl. 134. See another early tray of slightly larger dimensions, in the Los Angeles County Museum of Art, included in Hai-Wai Yi-Chen. Chinese Art in Overseas Collections. Lacquerware, Taipei, 1987, pl. 62

Sotheby's. Fine Chinese Ceramics & Works of Art. Hong Kong | 04 avr. 2012 www.sothebys.com

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14 avril 2012

Creil. Théière en grès fin noir avec son couvercle. Epoque Empire vers 1808-1810,


 Creil. Théière en grès fin noir avec son couvercle. Epoque Empire vers 1808-1810,

marqué. Haut. : 13 cm - Larg. 24 cm (Excellent état) - Référence du lot : 24166 - 128 - Estimation : 150/200€


SCP V. de MUIZON et D. LE COËNT et HOTEL des VENTES de SENLIS sarl. DIMANCHE 29 AVRIL à 14H30. 63 rue du Faubourg Saint-Martin 60300 SENLIS. CONTACT: DOMINIQUE  LE COËNT. Tél. : - Fax : - Email : lecoent@senlisencheres.com

Posté par Alain Truong à 22:47 - - Commentaires [0] - Permalien [#]

10 avril 2012

Jean-Baptiste Huynh (French, b.1966), Monochrome - Corbeau, 2011


Jean-Baptiste Huynh  (French, b.1966), Monochrome - Corbeau, 2011Camera Work

 Contact Gallery for Price Camera Work  +49 (0)30 3100773 

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Jean-Baptiste Huynh (French, b.1966), Monochrome - Rose, 2011


Jean-Baptiste Huynh  (French, b.1966), Monochrome - Rose, 2011. Camera Work

Contact Gallery for Price Camera Work  +49 (0)30 3100773 

Posté par Alain Truong à 09:45 - - Commentaires [0] - Permalien [#]

07 avril 2012

Vase pririforme monochrome. en porcelaine. Marque Kangxi à huit caractères avec date cydique 1672 au revers


Vase pririforme monochrome. en porcelaine. Marque Kangxi à huit caractères avec date cydique 1672 au revers. Photo Iegor

H: 32cm - 12.5''. Lot 2068. Estimation : 3000-4000

Voir le film de la vente: http://www.youtube.com/watch?v=2EOtYj2Pmow

IEGOR. FRIDAY 20 APRIL 2012 AT 10:00AM - FINE ASIAN ARTS.http://www.iegor.net/

Posté par Alain Truong à 14:56 - - Commentaires [0] - Permalien [#]

27 mars 2012

Paire de bougeoirs du XIXème siècle, manufacture de Wedgwood d'après un modèle de John Flaxman


Paire de bougeoirs du XIXème siècle, manufacture de Wedgwood d'après un modèle de John Flaxman. Photo Artcurial

Représentant des tritons sur une base rocheuse ; accidents. Hauteur sans le socle : 28 cm. (11 in.) - Estimation 1 500 - 2 000 €


Artcurial. 27 mars 2012 14:30. Collection Jacques Thuillier. Commissaire-priseur : Isabelle Bresset. Hôtel Marcel Dassault www.artcurial.com 

Posté par Alain Truong à 11:58 - - Commentaires [0] - Permalien [#]

25 mars 2012

Azzedine Alaïa, Summer-fall 2003


Azzedine Alaïa, Summer-fall 2003, Photo: Robert Kot, ©Azzedine Alaïa

Posté par Alain Truong à 09:22 - - Commentaires [0] - Permalien [#]

11 mars 2012

Curtis Mann, Paper cuts, Horizontals (as straight and closed as possible), 2011


Curtis Mann, Paper cuts, Horizontals (as straight and closed as possible), 2011. Carved chormogenic print. 125 x 100 cm. Courtesy Galerie Almine Rech, © Curtis Mann

Posté par Alain Truong à 10:19 - - Commentaires [0] - Permalien [#]

Wim Delvoye, Sans titre, 2011.


Wim Delvoye, Sans titre, 2011. Pneu de voiture taillé à la main. 68 x 13 cm. Courtesy Galerie Perrotin © Wim Delvoye

Posté par Alain Truong à 10:15 - - Commentaires [1] - Permalien [#]

06 mars 2012


Posté par Alain Truong à 14:46 - - Commentaires [0] - Permalien [#]

Serge noire sur croix noire


Serge noire sur croix noire. Émail sur verre.
Édition numérotée de 1 à 7, datée, monogrammée SL.

Posté par Alain Truong à 14:45 - Commentaires [0] - Permalien [#]