20 novembre 2009
Le beau mec du jour : Brian Jarosinski by Rick Day
photo Rick Day
I18th century talian painted furniture sold @ Sotheby's London
An Italian polychrome painted carved giltwood mirror attributed to Giuseppe Maria Bonzanigo (1745-1820), Turin, late 18th century
202cm. high, 102cm. wide; 6ft. 7in., 3ft. 3¾in. Est. 70,000—100,000 GBP - Hammer Price with Buyer's Premium: 97,250 GBP
Comparative Literature: Enrico Colle, Il Mobile neoclassico in Italia arredi e decorazioni d'interni dal 1775 al 1800, Milan, 2005, p. 452-453, no. 107.
G Ferraris, Giuseppe Maria Bonzanigo e la scultura decorativa in legno a Torino nel periodo neoclassico (1770-1830), Turin, 1991, Tav. VI and Tav. VIII, p. 62, plates XVIII 1-2, and p. 63, plates XX 1-2, for related mirrors by Bonzanigo in the Palazzo Stupinigi, Turin.
G.Morazzoni, Il Mobile neoclassico Italiano, Milan,1955, Tav. LXXIX.
V.Viale, Mostra del Barocco Piemontese, Turin, 1963, Vol. III.
This magnificent mirror with its crisp ornate foliate carving represents the apogee of Italian wood-carving in the late 18th century disseminated by the most celebrated official wood-carver to the Crown, Giuseppe Maria Bonzanigo (1745-1820). The similarity of this mirror to other recorded mirrors by Bonzanigo make it possible to make a firm attribution to him for this piece.
There are four mirrors by Bonzanigo in King Vittorio Emanuele's apartments, in the Palazzina di Caccia, Palazzo di Stupinigi, Turin, illustrated by Ferraris, op. cit., Tav. 6/8, of similar conception ornately carved with flowers and foliage with a similar rectangular framing device with inverted corners to those on this mirror, reproduced here in fig.1. & 2.
Two of these four mirrors are carved with minor variations: e.g. a basket with flowers set to the sides of the stiles. In an account compiled by Bonzanigo in 1784, and published in January of the following year, the four mirrors were described in detail. They were designed for the rooms of Madam Felicità's apartment at Stupinigi.
The painter Michel Rapous was in charge of colouring garlands of leaves and flowers; gilder Ponticelli and glassworker Deangeli also took part in the manufacture of these mirrors. However, the name of the designer of these mirrors is nevertheless unknown. The mirrors seem to match sophisticated designs inspired by works of Leonardo Marini or Charles Randoni as they feature the same construction with interlacing volutes, symmetrically featured on sides of a central decorative motive. Among the drawings published in this book are the sketches probably used as model by Bonzanigo to make a whole series of fans in 1789, made for the Veneria Reale and are now kept in the Stupinigi Hunting Lodge. A drawing by Carlo Randoni, now in the Biblioteca Civica, Turin, for a mirror, from which Bonzanigo must have taken inspiration for this group of mirrors including the present one, is illustrated by Colle, op. cit., p. 252, reproduced here in fig. 3.
Giuseppe Maria Bonzanigo (1745-1820). Official wood-carver to the Crown from 1787.
Of Piedmontese origin, he settled in Turin in 1773, where he worked as a sculptor, wood-carver and cabinet-maker and where he was granted the patronage of the royal family. The following year he was elected to the Compagnia of San Luca. He worked for the Savoy Court for the next twenty years until the French invasion in 1796. In 1787, he was appointed official wood-carver to the Crown.
In the accounts of the royal family he is recorded as having supplied numerous stools, chairs, armchairs, benches, sofas, screens, beds and mirrors as well as many ornamental panels and chests of drawers for the Royal Palace in Turin and for the royal residences at Moncalieri, Rivoli, Stupinigi and Venaria. His reputation has grown, due in no small part, to the extraordinary quality of his wood carvings in light wood and ivory, the so-called 'microscuIture' which were highly sought after.
Although his work clearly reflects the influence of French style and design, there does not appear to be any documentary evidence that he visited Paris. However, he did exhibit at the 1808 Paris Exhibition. In 1815, with the fall of Napoleon and the return of the Savoy family, he was re-instated as royal sculptor. His justly deserved reputation was such that on his death in 1820, the Gazetta Piemontese wrote 'la bell'arte dell'intaglio ad aItissimo grado di perfezione con quarant'anni di assidue cure...'
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A set of six Italian carved giltwood and ochre painted chairs, Turin, late 18th century.
each with a padded back and drop-in seat; four chairs reblocked, some with the printed paper label on the seat-rail with the numbers 357 359 360. Est. 25,000—40,000 GBP - Hammer Price with Buyer's Premium: 75,650 GBP
Comparative Literature: Vittorio Viale, Cittá di Torino, Mostra del Barocco Piemontese, Vol.lll, 1963, Tav. 176, fig. b, illustrates a very similar armchair, (one of three armchairs together with four chairs), in cream lacquer with gilded elements and a different top-and-seat rail, in the Appartamento della regina Mario Antonia, Secondo piano, Palazzo Reale, Turin, which would seem to indicate that these very fine chairs are by the same maker as the armchair in the Royal Palace in Turin-see fig.1.
A pair of armchairs almost certainly from the same suite were sold in these Rooms, lot 37, 8th December 2004 (£30,000).
A pair of Italian ivory painted and parcel-gilt stools, Turin, late 18th century.
each with a padded drop-in top, the underside of both incised III DA and IIII DA, each: 48cm. high, 44cm. wide, 44cm. deep; 1ft.6½in., 1ft.5in., 1ft. 5in. Est. 15,000—25,000 GBP - Hammer Price with Buyer's Premium: 49,250 GBP
PROVENANCE: Probably from Stupinigi (Royal hunting lodge, Turin) where a set of six, of identical design exist (see comparative literature) and fig.1.
NOTE : Comparative Literature: M. Agnellini, Mobili Italiani del Settecento, Milano, 1990, page 145.
G. Mazzariol, Mobili del Seicento e del Settecento,Milano, 1964, page 146, pl. B (from the Pietro Accorsi Collection, Turin).
G. Wannenes, Mobili d'Italia, Milan, 1984, p. 159.
E. Quaglino, Mobili Regionali Italiani, Il Piemonte, Turin, 1966, page 173, where the identical Stupinigi example is illustrated.
V. Viale, Mostra del Barocco Piemontese, Turin, 1963, Vol.I. 201/ A.
The presence of unidentified inventory marks and Roman numbers on the present examples, the existence of six identical stools at Stupinigi and the fact that a few others have appeared on the market all with identical carving, would suggest that the present pair were part of a much larger suite comprising also armchairs and chairs.
An armchair from the same suite is recorded in the Royal Palace of Genoa (Sala degli Arazzi), where it was brought from Turin by the Savoy family (ill. by L. Leoncini, Galleria di Palazzo Reale, Genova, 1996, page 55).
Stools of this type were typical in Piedmontese interiors, especially used to furnish long galleries and therefore often made in large sets. A vast number of stools of various models are still at Stupinigi.
See for example the following identical stools sold at auctiom:
-lot 31, Finarte, Milan, 22nd February 1989
-a set of four stools, lot 55, sold in these Rooms from the Estate of the late Giuseppe Rossi, 10th March 1999 (£54,300)
-a pair of stools, from the collection of Evelyn Annenberg Hall,Christie's, New York, 17th May 2006, lot 341
-a banquette and a pair of stools, sold from a European Private collection, in these Rooms, 11th June 2003, lots 206 (£15,600) & 207 (£34,800).
It is interesting to note that an identical pair of French Louis XVI stools was sold, Christie's, New York, Arts of France, 6th October 2001, lot 349, which were stamped N. Foliot. Nicholes Quinibert Foliot, received Master 1776, was one of the greatest menuisiers under Louis XVI and his work was widely appreciated not only in France but throughout Europe. It is not inconceivable therefore that the two stools by him were taken to Turin, which at the time enjoyed close relations with France, in order to be copied by local artisans as this was not an unfamiliar practice. For example, Jean-Baptiste Tilliard supplied a suite of seat furniture to the Duchess of of Parma in 1755 which subsequently was widely copied at the time by Italian craftsmen.
The original commission for the hunting palace of Stupinigi was placed with Filippo Juvara (d. in 1736) by King Vittorio Amadeo II in 1729. Though the king abdicated in 1730 and the architect died in 1736, construction of the magnificent palace continued and was only completed at the end of King Carlo Emanuele III's reign (1730-1773). It was during this time that G. M. Bonzanigo was first employed by the Savoia family, being appointed the wood-carver to Victor-Amadeo III (1773-1796) in 1787.
A suite of Italian ivory painted and two-tone gilded seat furniture by Bartolomeo Manghetti, Turin, late 18th century.
comprising six armchairs and a settee with drop-in seats, the frame carved with ribbon-tied berried laurel sprays and acanthus, settee: 155cm. wide; 5ft. 1in. Est. 20,000—40,000 GBP - Hammer Price with Buyer's Premium: 49,250 GBP
PROVENANCE: Probably originally part of the suite of seat furniture supplied, circa 1780 to Carlo Francesco Valperga, Conte di Masino and Marchese de Caluso for the Palazzo Masino, Turin.
The Valperga di Masino was one of the oldest, wealthiest and most prestigious families of the Italian nobility. For ten centuries the primary residence of the Valperga's was Masino Castle, with halls frescoed and richly furnished in the 17th and 18th centuries. The Madama Reale apartments, decorative salons and a chapel holding the ashes of Arduino of Ivrea, King of Italy in the 11th century, all bore testament to the opulent tastes of the family.
Conte Carlo Francesco Valperga di Masino refurbished the castle during the second half of the 18th century in the fashionable Louis XVI style. The last of the principal line, Conte Carlo Francesco Valperga di Masino died in 1845 leaving no descendants. His wife and heir, Contessa Eufrasia then passed away four years later leaving much of the land, the castle of Masino and a residence in Turin, as well as the family titles to Conte Luigi.
NOTE
Comparative Literature: G Ferraris, Giuseppe Maria Bonzanigo e la sculTav. LXtura decorativa in legno a Torino nel periodo neoclassico (1770-1830), Turin, 1991, p. XXXIV, Tav. 35, for a pair of identical armchairs by Bartolomeo Manghetti, in the Palazzo Masino, Turin.
Bartolomeo Manghetti:
Manghetti originated from the Foresto municipality of Lombardy, before moving to Turin and was awarded maestro minusiere from the Università dei Minusieri on the 6th July 1786. Prior to this however, he already worked for the Royal House of Savoy when in 1775 he made the carvings for trumeau at Castello di Moncalieri. Manghetti appeared to have been the main mobiliere documented for supplying furniture to the Viceroy of Sardinia – Carlo Francesco Valperga, Conte di Masino, when work began in 1780 renovating the interior and exterior of his city palace in Turin. The palace was to be remodelled into two apartments and to retain the character of the Castello di Masino, the architects Filippo Castelli and Carlo Randoni were employed, meanwhile the furnishings and decoration were carried out by cabinet-maker Giuseppe Viglione and craftsmen including Francesco Bozzelli, Angelo Maria Pellegrino and Bartolomeo Manghetti.
Various pieces had been commissioned from commodes to suites of seat furniture. Some of the armchairs and sofas can now be seen at the Castello di Masino – in the music room of the Queen's apartments and in the bedroom of those belonging to the Viceroy himself.
An Italian blue and white painted demi-lune commode, Piedmontese, late 18th century
with a bardiglio grey marble top above a pull-out slide, with two drawers and two doors enclosing a shelf; partially redecorated, 88cm. high, 120cm. wide, 56cm. deep; 2ft.10¼in., 3ft.10¾in., 1ft.9¾in. Est. 10,000—15,000 GBP - Hammer Price with Buyer's Premium: 31,250 GBP
An Italian blue painted and parcel-gilt console table, Piedmontese, circa 1730
with later Spanish portor marble top, the wooden support to the top inscribed in black ink No 1, 92cm. high, 156cm. wide, 75cm. deep; 3ft. ¼in., 5ft. 1½in., 2ft. 5½in. Est. 15,000—25,000 GBP - Hammer Price with Buyer's Premium: 23,750 GBP
An Italian yellow painted carved mirror, Piedmontese, in the manner of Bonzanigo, late 18th century.
212cm high, 104cm. wide; 6ft.11in., 3ft.4½iin. Est. 12,000—18,000 GBP - Hammer Price with Buyer's Premium: 23,750 GBP
An Italian pink and blue painted and parcel-gilt demi-lune commode à vantaux, Piedmontese. Late 18th Century.
with a blue and white faux mabre top, above two drawers flanked by two doors each enclosing a shelf, the panels with incised strapwork, 96cm. high, 122cm. wide, 63cm. deep; 3ft.1¼in., 4ft., 2ft.½in. Est. 12,000—18,000 GBP - Hammer Price with Buyer's Premium: 20,000 GBP
A pair of Italian green painted and parcel-gilt stools, Turin, mid 18th century.
decoration refreshed, each 43cm. high, 46cm. wide, 42cm. deep; 1ft. 4½in., 1ft. 5½in., 1ft. 4in. Est. 4,000—6,000 GBP - Hammer Price with Buyer's Premium: 18,750 GBP
A pair of Italian yellow painted stools, Piedmontese, circa 1740.
46cm. high, 43cm. wide, 43cm. deep; 1ft. 5¾in., 1ft. 4½in., 1ft. 4½in. Est. 5,000—8,000 GBP - Hammer Price with Buyer's Premium: 6,250 GBP
NOTE: A pair of virtually identical stools was sold as lot 390, Sotheby's, Milan, 21st October 2003.
Also see a similar pair of stools, lot 130.
An Italian ivory painted and parcel-gilt footstool, Turin, circa 1760
carved with oak leaves and acorns; decoration partially refreshed, 46cm. high, 44cm. wide, 44cm. deep; 1ft.5¾in., 1ft.5in., 1ft.5in. Est. 2,000—3,000 GBP - Hammer Price with Buyer's Premium: 5,000 GBP
A pale blue painted and parcel-gilt stool, Louis XVI, late 18th century
decoration refreshed, 22cm. high, 31cm. wide, 32cm. deep; 8¾in., 1ft., 1ft. ¼in. Est. 1,500—2,500 GBP - Hammer Price with Buyer's Premium: 4,375 GB
Sotheby's. A Piedmontese Villa, the contents of Vigna Corte di Bonvicino, Moncalieri (Turin). 17 Nov 09. London www.sothebys.com
Portfolio : Beach Boys by Ed Olen
Photos Ed Olen
Edito : "Blue Ray" with Fancy by Joseph Saraceno for Fantasticsmag
PHOTOS joseph saraceno - FASHION: Alexander mcqueen - Michael kors - Diane Von Furstenberg - Catherine Malandrino
Cinq plaques en émail peint polychrome avec rehauts d'or, Limoges, XVIème siècle
Plaque ovale en émail peint polychrome avec rehauts d'or représentant Hippolyte. Limoges, entourage de Léonard Limosin, vers 1560
Contre-émail en fondant. Le jeune fils de Thésée est figuré à l'antique, en buste de trois-quarts, et regarde vers la droite ; il a la tête ceinte d'une couronne de laurier et porte une perle en guise de boucle d'oreille. Inscription or dans le champ sur fond bleu HIPPOLYTE. H.25,2 cm L.21,4 cm. Cadre en bois doré (restaurations importantes au pourtour) - Estimation : 5 000 / 7 000 €
Notes: Cette plaque devait vraisemblablement faire partie d'une suite de portraits mythologiques. Thierry Crépin-Leblond, conservateur en chef du musée de la Renaissance d'Ecouen, a identifié une série sur ce thème que Léonard Limosin aurait réalisée vers le milieu du XVIe siècle. De forme rectangulaire, ces plaques illustrent les personnages des Héroïdes d'Ovide qui sont au nombre de trente-quatre.
Dix-sept de ces plaques ont été jusqu'ici inventoriées, conservées dans divers musées en France et à l'étranger.
Hippolyte, aimé de Phèdre, est au nombre de ces héros chantés par Ovide.
La plaque proposée ici appartient à une autre série, de forme ovale, dont quelques exemples nous ont été signalés (voir T. Crépin-Leblond, «Une suite de portraits mythologiques émaillés par Léonard Limosin» dans Revue de l'Art, n°116, 1997-2, pp 17-26)
Grande plaque en émail peint polychrome avec rehauts d'or de forme cintrée représentant « La Comparution de Jésus devant Caïphe ». Limoges, maître M R (non répertorié), vers 1530/40
Contre-émail violacé sombre. Jésus, les mains liées, est mené devant le grand prêtre Caïphe qui se détourne de lui pour consulter le Sanhédrin ; sol carrelé et fond d'architectures. Monogramme or M R sur un des carreaux du sol. H.25 cm L.15,4 cm. Dans un cadre en laiton et velours (quelques usures à la dorure) - Estimation : 3 000 / 4 000 €
Plaque en émail peint polychrome représentant « La Cène ». Limoges, milieu du XVIe siècle
H.23,2 cm L.17,2 cm. Dans un cadre en bois doré et velours (très légers accidents) - Estimation : 2 200 / 2 500 €
Plaque en émail peint polychrome avec rehauts d'or représentant « La Flagellation du Christ ». Limoges, vers 1560/70
Contre-émail en fondant. Le Christ, adossé à une colonne, est encadré de deux bourreaux en costume Renaissance avec culottes bouffantes et pourpoints. H.16,9 cm L.13 cm. Dans un cadre en laiton (légers accidents et réparations) - Estimation : 1 800 / 2 000 €
Plaque en émail peint polychrome avec rehauts d'or représentant La Lamentation au pied de la croix entre saint Jean et Marie-Madeleine. Limoges, attribuée à Colin Nouailher, vers 1540
Contre-émail rosâtre. H.16 cm L.12 cm. Dans un cadre en bois doré et émaillé (accidents en bordure) - Estimation : 800 / 1 000 €
Piasa - Paris. Haute époque. Objets d'Art. Vente du Vendredi 27 novembre 2009. Drouot Richelieu - Salle 14 - 9, rue Drouot - 75009 Paris. Pour tout renseignement, veuillez contacter à la maison de ventes Isabelle de Puysegur au 01 53 34 10 10.
Four rhinoceros horn libation cup, 17th century @ Sotheby's London
A large and finely carved 'lotus bouquet' rhinoceros horn libation cup, 17th century.
naturalistically carved as a large long stemmed lotus leaf with an infurled undulating rim and characteristic veining running down the interior and exterior, further stalks bearing leafs and buds rise up the side of the vessel and are tied together with a ribbon, the horn of rich dark honey tone, carved wood stand. Est. 25,000—35,000 GBP - Hammer Price with Buyer's Premium: 145,250 GBP
PROVENANCE: Scandanavian Collection, acquired in the early 20th Century.
NOTE The present piece is impressive for its deeply undercut forms and rhythmic and naturalistic depiction of the lotus leaves. Carefully carved with meticulous attention to detail, as seen in the delicately curled edges and veins running through the broad leaves, the varying surface textures and interlocking forms combine to create a highly sensuous piece characteristic of seventeenth century rhinoceros horn carving.
Compare a libation cup carved as a lotus leaf, but in lower relief, sold in these rooms, 31st October 1986, lot 175, and again in our Hong Kong rooms, 25th November 1987; another sold in these rooms, 27th October 1989, lot 186; and a third example sold in our New York rooms, 26th February 1983, lot 358. See also a lotus leaf-shape cup decorated with various water plants at Snowshill Manor, Worcester, illustrated in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, pl. 210; and another adorned with lotus seed pods, blossoms and qilong, sold in these rooms, 5th November 2008, lot 6.
The lotus plant is one of the most popular decorative themes in the rhinoceros horn carvers' repertoire. Homonymous with the word for peace, the lotus (he) is symbolic of the pure and elevated character of virtuous gentlemen and thus appealed greatly to the literati.
A large archaistic rhinoceros horn libation cup, 17th century.
the sides carved with three chilong in high relief over a wide band of taotie, with two further chilong carved to the handle, inscribed to the interior lip Wu Qi Sun, 'The Five Honourable Dragons', with ornate carved and pierced wood stand - 18.5cm., 7 1/4 in. Est. 20,000—30,000 GBP - Hammer Price with Buyer's Premium: 55,250 GBP
A finely carved rhinoceros horn libation cup, 17th century.
Naturalistically carved as a large veined lotus leaf enveloped around the flared sides with leaves and a magnolia flower rising from stalks, a large butterfly perching on the tips of the magnolia petals and further stalks rising from the base to the rim forming the handle, the horn of rich honey tone. Est. 10,000—15,000 GBP - Hammer Price with Buyer's Premium: 51,650 GBP
PROVENANCE: Scandanavian Collection, acquired in the early 20th Century
An archaistic rhinoceros horn libation cup, 17th century.
The exterior carved with a central taotie band, between a stiff leaf band at the foot and a high relief chilong and bats beneath the rim and a large sinuous chilong forming the handle - 16cm., 6 1/4 in. Est. 15,000—25,000 GBP - Hammer Price with Buyer's Premium: 32,450 GBP
PROVENANCE: Sotheby's London, 12 June 2003, Lot 6.
Sotheby's. Fine Chinese Ceramics and Works of Art. 04 Nov 09. London www.sothebys.com
Mary and George Bloch Collection of Lin Fengmian Paintings Goes Under the Hammer at Bonhams Hong Kong Autumn Auctions
Lin Fengmian (1900-1991) Autumn Lake. Ink and colour on paper, hanging scroll. Signed Lin Fengmian, with one seal of the artist, 67cm x 67cm (26in x 26in).Estimate: HK$1,500,000 - 2,500,000, $190,000 - 320,000. Photo Bonhams
LONDON.- Bonhams will offer the Mary and George Bloch Collection of Lin Fengmian paintings at its 2009 Autumn Auction. A foremost collector of fine arts in Hong Kong, George Bloch (12 October 1920 - 27 April 2009) was born into a prominent industrial family in Vienna. He went to school in England, but his life changed radically in the mid-1930s when his father died and the Nazis nationalized the family business.
In 1938 he moved to Shanghai, arriving with only twenty pounds in cash, and knowing almost no one. After a couple of years, he started his own trading business and laid the foundations for his wealth.
In 1949 George uprooted yet again and moved to Tokyo. The entrepreneur recognized the business opportunities there and established Herald International Ltd, initially to sell watches to soldiers and staff on U.S. military bases throughout the Asia-Pacific region. George moved the company to Hong Kong in 1955, where Herald began to branch out, adding its own manufactured brands to imported Swiss watches and, eventually, developing other areas of business.
In 1969, George married Mary and they began to actively collect art together, expanding George's early interest in collecting stamps to encompass a wider, far more sophisticated range of art. George was a born collector, but with his partnership with Mary his interests broadened considerably. Early acquisitions of Chinese and some Japanese art, included lacquer and ivory carvings, ceramics, glass and other works of art soon led to a life-time love for modern Western paintings and sculpture. Together they also formed a stellar collection of scholarly works of art, which sold spectacularly in Hong Kong in 2005. Their collection of twentieth-century Western paintings was among the first formed in Hong Kong, and came to be seen as the most important in the region. From this interest sprang a range of activities which took them to museums and auctions around the world, and saw Mary appointed to the Peggy Guggenheim Advisory Board in Venice.
Another of their famous endeavors together was the formation of the foremost private collection of Chinese snuff bottles ever formed which is renowned worldwide and has been exhibited extensively, including at the Hong Kong Museum of Art (1994) and the British Museum (1995). It has also fostered a host of publications on the collection.
Their interest in twentieth-century Chinese painting was ignited by a chance meeting with Lin Fengmian at a dinner party in Hong Kong the late 1970s. Later this inspired them to collect other twentieth century artists, including Lu Shoukun, Wang Jiqian (C.C. Wang), Chen Qikuan, He Huaishuo, Fang Zhaolin and others. George sadly passed away in April 2009.
The Mary and George Bloch Collection of Lin Fengmian paintings features eight ink paintings with various subject matters, such as landscape, figures, nude, fisherman, and flying geese, executed in light and rich colors. Although different from each other, the paintings show Lin Fengmian's work from his mature period. Both exhibited and available on the art market for the first time, these paintings are completely fresh to the market and present excellent opportunities for collectors to own a painting from the renowned Chinese artist who pioneered modern Chinese paintings by blending Chinese and Western styles. The paintings are expected to sell for up to HK$2 million each.
Meilin Wang, head of Chinese paintings and Contemporary Asian Art comments: "Bonhams is delighted that the Bloch family has entrusted such extraordinary works by Lin Fengmian to us. The Bloch name is unparalleled in Hong Kong in its association with the highest quality 20th-century Western paintings. Lin Fengmian was painting with the vision of the 20th-century, while his average contemporary Chinese artists lagged behind in the 15th and 16th-century. This group of Lin Fengmians, bought directly from the artist, epitomise the apex of Lin's modern achievement". Highlights of the collection are:
• Lot 102 "Autumn Lake" (estimate: HK$1,500,000-2,500,000) used the dry paint skill of oil painting with layers of western opaque pigment on Chinese rice paper. It is an innovation by Lin Fengmian. Each brushwork has a different color tone. The yellow, orange and red, constituting the autumn wood and the lake reflection, are a nuanced interface of color and light. It is a color poem.
Lin Fengmian (1900-1991) Autumn Lake (detail). Ink and colour on paper, hanging scroll. Signed Lin Fengmian, with one seal of the artist, 67cm x 67cm (26in x 26in).Estimate: HK$1,500,000 - 2,500,000, $190,000 - 320,000. Photo Bonhams
林風眠 秋之湖 設色紙本 立軸
款識：林風眠
鈐印：林風眠印
註: 飲湖上初晴后雨 蘇軾
水光瀲灩晴方好，山色空蒙雨亦奇。
欲把西湖比西子，淡妝濃抹總相宜。
畫中樹木葉叢在逆光下猶如鍍上一層金邊，而與濃黑的樹幹交相輝映，以最濃的墨托最清麗的光，有如一場視覺的盛宴，是一首彩色的詩。
用油畫的乾畫法，在國畫的宣紙上，以不透明的西畫顏料，不摻水，層層堆厚的畫法，這是由林風眠首開風氣之先。他的畫中色彩層次豐富，秋林和湖中倒影的黃、橘和紅色，都不是平板的塗抹，而是有十分細微的色、光層次變化；即使林中小屋的白牆，也蘊含著十分豐富的色階，而不是簡單的純白。
• Lot 101 "Lady Holding a Lotus" (estimate: HK$1,200,000-1,800,000) presents a lady of delicate and transparent face, which was influenced by Song Dynasty ceramics Guanyao and Longquan. Her elegant body contour was inspired by Amedeo Modigliani (1884-1920) and Henri Matisse (1869-1954), the Expressionist and the Fauvist. In contrast with the curve lines, Lin's composition is square. His "formation in square" broke the traditional Chinese paintings' formats of hanging scrolls and handscrolls."
Lin Fengmian (1900-91) had studied in France from 1920 to 1925. He was enlightened by the 20th century Western prevailing styles, such as Impressionism, Post Impressionism, Fauvism, Expressionism and Synthetic Cubism, and finally created his own 20th-century Chinese style. In 1926 he returned to China, where he was appointed the Director and Professor of National Beijing Fine Art School.
After being purged in the Cultural Revolution, he was finally granted a visa to visit his family in Brazil. Stopping first in Hong Kong, he then returned and lived most of the rest of his life in Hong Kong, where he passed away at the Adventist Hospital in 1991.
Lin Fengmian had always retained his close links to France, where he had studied in the 1920s. These caused him considerable difficulties in the Cultural Revolution, where they were used against him. It was at a special party at the official residence of the French consulate-general in Hong Kong that he was introduced to Mary and George Bloch around 1977.
As great collectors of modern Western art, including Picasso, the Blochs were immediately drawn to these paintings, and agreed to buy several that very evening. This was the start of a close association, which was of great benefit to Lin Fengmian, who had arrived in Hong Kong near destitute. The Blochs followed up with further purchases selected from him and from the fairly large number of paintings circulating at the time.
George Bloch had always expressed a wish that his collections would be eventually disseminated for other collectors to enjoy.
"This is an outstanding opportunity for collectors to buy masterpieces by China's greatest artist of the 20th-century, with absolute confidence of their quality and authenticity", adds Meilin Wang.
Lin Fengmian (1900-1991) Lady Holding a Lotus. Ink and colour on paper, framed and glazed. Signed Lin Fengmian, with one seal of the artist, 69cm x 66cm (27in x 26in). Estimate: HK$1,200,000 - 1,800,000, $150,000 - 230,000. Photo Bonhams
林風眠 捧蓮仕女 設色紙本 鏡框
款識：林風眠
鈐印：林風眠印
註：怨情 李白
美人卷珠簾，深坐顰蛾眉。
但見淚痕濕，不知心恨誰。
林風眠喜愛畫仕女，和自幼母子分離有相當關連。林風眠七歲時，母親被賣走，自此對母日夜思念，之後更將思念之情抒發於其畫作中。他筆下的女性，呈現畫家心目中所憧憬的完美女性形象，氣質嫻靜、優雅、溫婉而憂鬱。林風眠的古典仕女，融合了東西方的審美觀念。既吸收了二十世紀初巴黎畫派的新藝術風貌，亦注入了中國傳統陶瓷藝術的因子。修長的身軀，典雅的鵝蛋臉，以及哀傷的眼神，脫胎於西方表現主義莫迪里安尼(Amedeo Modigliani)。此外，他曾說：「我的仕女畫，最主要是受到中國陶瓷藝術的影響。我喜歡唐宋的陶瓷，尤其是宋瓷中官瓷和龍泉窑那種透明的顏色，它帶給我創作的靈感和繪畫技法的啟發。」
Le bel asiate du jour : Rock Ji Huanbo 紀煥博
Edito : Scherer Gonzalez, Berlin Space Age Fashion
Shopping of yellow diamond @ Sotheby's London
Very impressive Fancy Vivid Yellow diamond ring. Photo Sotheby's
Claw-set with a fancy vivid yellow cut-cornered rectangular modified brilliant-cut diamond weighing 74.80 carats, to a plain yellow gold mount, size 52. Est. 2,600,000—3,600,000 CHF - Hammer Price with Buyer's Premium: 3,162,500 CHF
Accompanied by GIA report no. 11179460 stating that the diamond is Fancy Vivid Yellow, Natural Colour, VS1 Clarity.
Further accompanied by a GIA letter dated 6 June 2000, stating that according to the records of the GIA Gem Trade Laboratory, the 74.80 carat cut-cornered rectangular modified brilliant, described in GIA Colored Diamond Grading Report 11179460, is the largest Fancy Vivid Yellow, Natural Colour, diamond they have graded as of the date of this letter and report issued.
Fancy Yellow diamond ring. Photo Sotheby's
Claw-set with a fancy yellow oval diamond weighing 16.04 carats, the shoulders and frame set with brilliant-cut stones, mounted in yellow gold and platinum, size 52. Est. 200,000—260,000 CHF - Hammer Price with Buyer's Premium: 230,500 CHF
Accompanied by GIA report no. 2105297104 stating that the diamond is Fancy Yellow, Natural Colour, SI1 Clarity.
Pair of Fancy Intense Yellow diamond ear clips. Photo Sotheby's
Each set respectively with a fancy intense yellow brilliant-cut diamond weighing 3.27 and 3.37 carats respectively, bordered by brilliant-cut diamonds, mounted in platinum and yellow gold. Est. 145,000—200,000 CHF - Hammer Price with Buyer's Premium: 206,500 CHF
Accompanied by GIA reports no. 5101560323 and no. 210560823 stating that both diamonds are Fancy Intense Yellow, Natural Colour, VVS1 Clarity,
Pair of fancy intense yellow pendent earrings. Photo Sotheby's
Each suspending a fancy intense yellow cut-cornered square modified brilliant-cut diamond weighing respectively 3.20 and 3.30 carats, to a surmount set with square- and brilliant-cut diamonds, mounted in platinum and yellow gold. Est. 85,000—125,000 CHF - Hammer Price with Buyer's Premium: 170,500 CHF
Accompanied by GIA reports no. 15188619 and no. 16443102, stating that the 3.20 carat and 3.30 carat diamonds are Fancy Intense Yellow, Natural Colour, VS2 and VS1 Clarity respectively.
Fancy yellow diamond ring. Photo Sotheby's
The fancy yellow cut-cornered rectangular modified brilliant-cut diamond weighing 6.01 carats, flanked by two half moon-shaped stones, mounted in white and yellow gold, size 53. Est. 42,000—70,000 CHF - Hammer Price with Buyer's Premium: 96,100 CHF
Accompanied by GIA report no.10657051, dated June 25th, 1999, stating that the diamond is Fancy Yellow, Natural Colour, VVS2 Clarity.
Fancy Intense Yellow diamond ring. Photo Sotheby's
Of cluster design, claw-set with a fancy intense yellow brilliant-cut diamond weighing 6.48 carats, bordered by brilliant- and circular-cut diamonds, mounted in platinum, size 65. Est. 12,000—18,000 CHF - Hammer Price with Buyer's Premium: 92,500 CHF
Accompanied by GIA report no. 1102879600 stating that the diamond is Fancy Intense Yellow, Natural Colour, I1 Clarity.
Fancy Yellow diamond ring. Photo Sotheby's
The fancy yellow cut-cornered rectangular step-cut diamond weighing 6.01 carats, flanked by triangular stones, mounted in yellow gold and platinum, size 53. Est. 31,000—41,000 CHF - Hammer Price with Buyer's Premium: 74,500 CHF
Accompanied by GIA report no. 5111200815 stating that the diamond is Fancy Yellow, Natural Colour, VVS2 Clarity, together with an additional GIA worksheet stating that the diamond may be Potentially Flawless after repolishing.
Sotheby's. Magnificent Jewels. 17 Nov 09. Geneva www.sothebys.com