Les cahiers d'Alain Truong

Portfolio : Hommage à Egon Schiele par Joseph Bleu

Alain Truong — Fri, 27 Nov 2009 22:33:49 GMT

photos Joseph Bleu

Quatre photos de Pablo Picasso par André Villers

Alain Truong — Fri, 27 Nov 2009 22:23:22 GMT

André Villers (Né en 1930) Pablo Picasso en toréador. Vallauris, 1954.

Tirage argentique (c. 1980), signé dans la marge inférieure à droite. Tampon du photographe, titre, date, signature et mention manuscrite «tirage effectué par moi-même» au verso. 39,7 x 28,7 cm avec les marges. Estimation : 1 500 / 2 000 €

Provenance : du photographe à l'actuel propriétaire.

André Villers (Né en 1930) Pablo Picasso avec le revolver et le chapeau offerts par Gary Cooper. Cannes, 1959.

Tirage argentique (c. 1980), signé dans la marge inférieure à droite. Tampon du photographe, titre, date, signature et mention manuscrite «photo tirée par moi-même» au verso. 39,7 x 28,7 cm avec les marges. Estimation : 1 500 / 2 000 €

Provenance : du photographe à l'actuel propriétaire.

Bibliographie : Portraits de Picasso par Jacques Prévert et André Villers, Éditions Muggiani, 1959.
Jacques Prévert, Portraits de Picasso, photographies d'André Villers, Éditions Ramsay, 198

André Villers (Né en 1930) Pablo Picasso. Vallauris, octobre 1953.

André Villers (Né en 1930) Les mains de Picasso. Vallauris, 1954.

Tirage argentique (c. 1980), signé dans la marge inférieure à droite. Tampon du photographe, titre, date, signature et mention manuscrite «photo faite par moi-même» au verso. 30,5 x 37,5 cm avec les marges. Estimation : 1 500 / 2 000 €

Provenance : du photographe à l'actuel propriétaire

Kapandji Morhange - Paris. Photographie Ancienne et Moderne. Mardi 1er décembre 2009. Drouot Richelieu - Salle 16 - 9, rue Drouot - 75009 Paris. Pour tout renseignement, veuillez contacter la maison de ventes au 01 48 24 26 10

A highly important and extremely fine early Ming underglaze-blue vase, yuhuchunping. Hongwu period (1368-1398).

Alain Truong — Fri, 27 Nov 2009 21:56:25 GMT

A highly important and extremely fine early Ming underglaze-blue vase, yuhuchunping. Hongwu period (1368-1398). Photo: Christie's Images Ltd., 2009.

The well-potted pear-shaped vase decorated in cobalt with a distinct 'heaping and piling' effect on the globular body, with four peony blossoms rendered alternately full-faced and in profile, borne on a slender scrolling stem with serrated leaves and buds, between upright lotus petal panels and a pendent trefoil collar, the waisted neck encircled by a classic scroll, keyfret and overlapping plantain leaves below the flaring mouth rim, supported on a slightly splayed foot decorated with classic scrolls 13 in. (33 cm.) high, box - Estimate on request

明洪武青花纏枝牡丹紋玉壺春瓶
蘇玫瑰 - 國際亞洲藝術部學術總監

此玉壺春瓶不但燒製完美、品相無暇，青花的紋飾更為珍罕，因為寥若晨星的傳世品中多為釉裏紅器。盡管在景德鎮禦窰廠遺址出土了一批洪武青花瓷器，但青花瓷器還是要比釉裏紅瓷器更為珍貴。現存的洪武青花瓷器明顯少於釉裏紅器其原因是可能洪武皇帝偏愛釉裏紅釉，或和當時鈷料因進口貿易限制而稀缺。

劉良佑著1991年臺北出版《中國歷代陶瓷鑑賞‧4‧明官窰》22-23頁著錄了兩件臺北國立故宮博物院藏的玉壺春瓶，23頁圖版上的繪纏枝蓮花，22頁圖版玉壺春瓶上飾與此器相同的纏枝牡丹紋（圖一）。另外還有一件經著錄，繪纏枝牡丹紋的玉壺春瓶現藏北京故宮博物院，見2000年香港商務印書館出版故宮博物院藏文物珍品全集《青花釉裏紅‧上》圖版14（圖二）。美國費城藝術博物館藏一件繪菊花紋的玉壺春瓶。

所有這此玉壺春瓶足牆繪卷草紋，近足處環飾蓮瓣紋，如意雲肩紋，口沿下至頸繪蕉葉紋，下有回紋。臺北國立故宮博物院所藏纏枝番蓮紋玉壺春瓶肩上所的如意雲頭紋較大，並勾勒葉脈，但其他三件纏枝牡丹紋的和繪菊紋的如意雲肩紋較小，並滿填青花釉。這三件輔助紋式相仿的纏枝牡丹紋和繪菊紋的玉壺春瓶唯一不同之處是如意雲肩紋和回紋之間的紋飾。臺北故宮藏的在白地上重筆繪卷草紋；北京故宮的卷草紋以幼細的線條表達；美國費城藝術博物館所藏和本拍品上所繪的都是靈芝紋。

北京故宮博物院藏明洪武青花菊紋執壺的頸肩處繪靈芝紋，見故宮博物院藏文物珍品全集《青花釉裏紅‧上》圖版15。艾惕思爵士在他於1957-1959年第31冊「Transaction of the Oriental Ceramic Society」中發表的一篇關於裏紅釉的文章中指出：洪武的玉壺春瓶和執壺無論紋飾和樣式都非常相似，只是執壺上多了流、柄和蓋。三件由景德鎮禦窰廠遺址出土的青花執壺1996年於鴻禧美術館展出，見《景德鎮出土明初官窯瓷器》圖版2-4。其中兩件器腹通景繪洞石、竹等園林小景，另一件器腹繪纏枝菊花，如意雲肩上繪靈芝紋，有別於其他兩件的茶花紋，但與本拍品相似。出光美術館藏一纏枝牡丹紋執壺，如意雲肩上繪蓮花紋，另有一件菊花紋執壺2003年10月27日於香港佳士得拍賣，拍品627號，在如意雲肩上繪石榴紋（圖三）。

洪武玉壺春瓶造型優美，源自元朝的玉壺春瓶。洪武玉壺春瓶較元短粗、腹大下垂。在上文所提的艾惕思爵士的文章中指出：安徽合肥出土了元銀胎玉壺春瓶，瓷胎玉壺春瓶可能源自金屬器。

洪武玉壺春瓶無論是青花或釉裏紅器因胎體薄的關係器頸均非常脆弱，容易損壞。一件器頸斷裂，打磨過的繪纏枝菊紋玉壺春瓶1989年5月16日在香港蘇富比拍賣，拍品114號。故本拍品品相完美的洪武青花玉壺春瓶甚為難得。

此玉壺春瓶上其中一個另人賞心悅目的是豐滿逼真的牡丹花葉。洪武青花玉壺春瓶很少可以見到如此器上的花紋一樣枝葉飽滿，一般所見多枝葉單薄，留白甚多，而在釉裏紅器上的紋飾比較飽滿，於本拍賣較為接近。北京故宮博物院藏一件花葉豐滿，紋飾畫工與本拍品較為接近的釉裏紅牡丹紋玉壺春瓶，見故宮博物院藏文物珍品全集《青花釉裏紅‧上》圖版197，其如意雲肩紋和回紋之間也飾靈芝紋，北京故宮還藏一件釉裏紅牡丹紋執壺，其如意雲肩紋和回紋之間同樣飾靈芝紋。

從以上的例子中可見明洪武朝玉壺春瓶和執壺無論是青花還是釉裏紅都出自同一工匠、同一窰、同一時間。但像本拍品一樣發色均勻瑩潤、紋飾飽滿逼真、品相完美無暇者，非常罕見。

明洪武青花纏枝牡丹紋玉壺春瓶

瓶撇口，長頸，垂腹，圈足外撇。通體青花紋飾，裏口沿繪忍冬紋一周，頸環蕉葉紋、回紋及靈芝紋，肩飾垂雲紋，腹繪四朵盛開的牡丹花，近足處飾蓮瓣紋一周，足牆環飾忍冬紋，與口沿內紋飾互相呼應。

此器造型端莊穩重，紋飾佈局疏朗，繁而不亂，承元朝之遺風，把象徵富貴的牡丹紋延續在明朝瓷器上。

傳世的洪武青花瓷器比釉裏紅器更為珍罕，如此瓶品相完美者絕無僅有。洪武官窰青花主要使用含鐵量低、含錳量高且淘煉欠精的國產青料，呈色青中帶有灰色調，發色也欠穩定，要燒製出如此器一樣發色均勻亮麗，紋飾清晰的瓷器也甚為難得。

從景德鎮出土的洪武朝青花瓷器的資料對比來看，青花瓷的器型與釉裏紅的器型雷同。2006年春季賭場大亨史提芬永利（Steve Wynn）於香港佳士得投得洪武釉裏紅纏枝牡丹紋玉壺春瓶與此器造型、紋飾及尺寸雷同，並創下了最高成交價明初瓷器的世界記錄。

Exhibited : The Chang Foundation, Taipei, Ching Wan Society Millennium Exhibition, 2000, illustrated in the Catalogue, p. 173, no. 78

Notes : The result of Oxford Authentication Ltd sample no. 866c58 is consistent with the dating of this lot.

A superb blue and white yuhuchunping by Rosemary Scott - International Academic Driector, Asian Art

Not only is this Hongwu vase well-fired and in excellent condition, but very rare since most of the few surviving Hongwu yuhuchunping are decorated in underglaze copper red, rather than the cobalt blue of the current vessel. Although recent excavations of the Hongwu strata at the imperial kilns at Jingdezhen have unearthed a greater number and wider range of porcelains decorated in underglaze cobalt blue than had been expected, nevertheless blue and white Hongwu porcelains are still considerably rarer than underglaze copper red wares. Various reasons have been suggested for this disproportionate number of copper red porcelains, including a predilection for the colour red on the part of the Hongwu emperor, and a scarcity of imported cobalt because of the restriction of foreign trade during the Hongwu period.

Two underglaze blue yuhuchunping from the collection of the National Palace Museum, Taipei, have been published by Liu Liang-yu in A Survey of Chinese Ceramics 4 Ming Official Wares, Taipei, 1991, pp. 22-23. One of these Taipei vases is decorated with a lotus scroll (p. 23), while the other (p. 22) bears a similar peony scroll to that seen on the current vase. Only one other blue and white yuhuchunping from the Hongwu period with this peony design appears to have been published. This vase is preserved in the collection of the Palace Museum, Beijing (illustrated in The Complete Collection of Treasures of the Palace Museum - Blue and White Porcelain with Underglazed Red (I), Hong Kong, 2000, p. 16, pl. 14). A Hongwu blue and white yuhuchunping in the Philadelphia Museum of Art is illustrated by Margaret Medley in Yuan Porcelain and Stoneware, London, 1974, pl. 51b. This has chrysanthemums in its main decorative band.

All of these blue and white yuhuchunping have a classic scroll around the foot, a lotus petal band around the base of the vase, a lappet band around the shoulder, plantain leaves around the upper part of the neck extending beneath the flared mouth, and below the plantain a band of squared spirals. While the vase with lotus scroll in the National Palace Museum has a rather large-scale lappet band, with internal striations, on the shoulder, all three of those decorated with peony bands, as well as the vase with chrysanthemums, have much smaller-scale lappets, which are filled with solid blue colour. The point of departure from this homogeneous decorative scheme on the peony vases, and chrysanthemum vase, is found in the band that appears between the lappets and the squared spiral band. On the vase in the National Palace Museum this band contains a heavy white classic scroll reserved against a blue ground. On the vase in the Palace Museum Beijing the band contains a classic scroll painted in fine lines in underglaze blue. The current vase and the Philadelphia vase have perhaps the most accomplished bands, which contain finely-painted lingzhi fungus scrolls.

A similar lingzhi fungus scroll can be seen in a similar position on a pear-shaped ewer in the collection of the Palace Museum Beijing (illustrated The Complete Collection of Treasures of the Palace Museum - Blue and White Porcelain with Underglazed Red (I), op. cit., p. 17, pl. 15). As Sir John Addis pointed out in his paper, "A Group of Underglaze Red", Transactions of the Oriental Ceramic Society, Vol. 31, 1957-1959, pp. 15-48, the pear-shaped vases and pear-shaped ewers of the Hongwu reign are very closely linked - the ewers essentially being the same form and decorative lay-out as the vases with the addition of spout, linking strut, handle and lid. Three Hongwu blue and white ewers, excavated from the site of the imperial kilns, were exhibited at the Chang Foundation in 1996 (see Imperial Hongwu and Yongle Porcelain excavated at Jingdezhen, Taipei, 1996, pp. 70-75, nos. 2-4). Two of these ewers have freely-painted designs of plants with rocks in a landscape setting as their main decorative band. One of these has a chrysanthemum scroll above the lappet band, while the other has a camellia band. The third excavated ewer has a chrysanthemum scroll as its major decorative band, while above the lappets is a lingzhi fungus band similar to that on the current vase. A ewer from the Idemitsu Collection, painted with very similar peony scrolls to those on the current vase, is illustrated in Sekai Toji Zenshu, vol. 14, Ming, Japan, 1976, pl. 1, and has a lotus scroll above the lappet band. Another ewer with chrysanthemums in the major band and a pomegranate scroll above the shoulder lappets, was sold at Christie's Hong Kong, 27 October 2003, lot 627.

Hongwu yuhuchunping are of a particularly elegant form, which developed from the Yuan dynasty pear-shaped vases. In contrast to the Yuan version of the form, the Hongwu vessels have a slightly lower centre of gravity and are wider around the body producing a greater contrast with the slender neck and providing a more accentuated s-shaped profile. Sir John Addis, op. cit., noted that silver Yuan dynasty pear-shaped vases were excavated at Hefei in Anhui province from a site datable to AD 1333, and it is possible that the form originated in metal. All Hongwu porcelain vases of this shape, whether decorated in underglaze cobalt blue or copper red, are particularly vulnerable to damage at their slender necks, where they are thinly potted. A vase of this form, painted with a chrysanthemum scroll in both its major decorative band and above the lappets, which had previously been damaged and reduced at the neck, was sold at Sotheby's Hong Kong, 16 May 1989, lot 114. It is extremely rare to find a Hongwu pear-shaped vase in the perfect condition of the current vase.

One of the particularly aesthetically pleasing features of the current vase is the richness of the leaves on the peony scroll. It is rare to find Hongwu blue and white vases of this type with boldly scrolling stems bearing flowers, although vases with similar decoration in underglaze-red are well known. While some blue and white vessels have peony scrolls with rather thin stems and somewhat meagre leaves, the copper-red versions tend to have more densely rendered leaves, filling the available white space more generously, in the manner that can be seen on the current blue and white vase. A pear-shaped vase with a similar ratio of underglaze decoration to white space as the current vase is a copper red example in the collection of the Palace Museum Beijing (illustrated The Complete Collection of Treasures of the Palace Museum - Blue and White Porcelain with Underglazed Red (I), op. cit., p. 211, no. 196), which also shares with the current vase peonies in the main decorative band and a lingzhi fungus scroll above the lappet band. A Hongwu copper red pear-shaped ewer, also in the Palace Museum collection, shares a similar ratio of underglaze decoration to white space, as well as peony scrolls in the main decorative band and a lingzhi fungus scroll above the lappet band.
It seems clear that in the Hongwu reign pear-shaped vases and pear-shaped ewers decorated in underglaze cobalt blue and underglaze copper red were being made by the same craftsmen at the same kilns at the same time. However, of all these vessels underglaze blue vases like the current example are certainly the most rare.

Christie's. Important Chinese Ceramics and Works of Art. 1 December 2009. Hong Kong www.christies.com

Bijoux et intailles antiques @ Boisgirard et Associés

Alain Truong — Fri, 27 Nov 2009 21:37:59 GMT

Intaille magique. Art romain, groupe des intailles gréco-égyptiennes, 1er-3e siècle

Rare intaille ovale en agate gris clair, gravée d'un guerrier agenouillé, armé d'une lance et d'un bouclier, entouré d'inscriptions. 3,3 x 2,2 cm - Estimation : 3 500 / 4 500 €

Provenance : Ancienne collection Jean-Alain Mariaud de Serres,
Drouot-Montaigne, 2e vente, 22-23 Avril 2001 : n° 20.

Collier de perles sphériques cannelées en cristal. Vers le 1er siècle

de taille décroissante, séparées par de petites perles cannelées d'or - Estimation : 3 000 / 4 000 €

Collier de perles biconiques. 1er millénaire av. J.C

en lapis séparées par de petites perles d'or. Estimation : 1 500 / 2 500 €

Anneau plat en or et chaton discoïde en jaspe vert. Art parthe, 1er siècle.

gravé d'un capridé, tête tournée vers l'arrière. Diam. 1,8 ; Intaille : 1,3 cm - Estimation : 2 000 / 3 000 €

Provenance : Ancienne collection Jean-Alain Mariaud de Serres,
Drouot-Montaigne, 2e vente, 22-23 Avril 2001 : n° 337.

Intaille ovale en agate orange à deux couches. Art romain, 1er-2e siècle.

gravée d'un faune debout, un chien assis à ses pieds, entre les lettres C et S. 2,4 x 1,6 cm - Estimation : 1 200 / 1 500 €

Provenance : Ancienne collection Jean-Alain Mariaud de Serres,
Drouot-Montaigne, 2e vente, 22-23 Avril 2001 : n° 65.

Intaille ovale en jaspe vert, gravée d'une tête d'homme barbu, de profil. Art romain, 2e siècle.

1,4 x 1,2 cm - Estimation : 600 / 800 €

Provenance : Ancienne collection Jean-Alain Mariaud de Serres,
Drouot-Montaigne, 2e vente, 22-23 Avril 2001 : n° 83.

Tessière. Jeton de théâtre discoïde en os, sculpté en relief d'un profil. Art romain, 3e-5e siècle.

Cassure et lacune. 2,1 cm - Estimation : 300 / 400 €

Publié dans Les Ivoires, Tardy : p. 28, n° 4.

Provenance : Ancienne collection Jean-Alain Mariaud de Serres,
Drouot-Montaigne, 2e vente, 22-23 Avril 2001 : n° 131.

Boisgirard et Associés - Paris. Vente Arts d'Orient. Vendredi 27 novembre 2009.

Fashion : J.Crew Spring 2010 Look Book

Alain Truong — Fri, 27 Nov 2009 21:10:55 GMT

La collection est dessinée par Jenna Lyons.

Fashion: ‘The Documentary and A Dream’ by J. Lindberg

Alain Truong — Fri, 27 Nov 2009 21:04:29 GMT

Pour feuilleter le livre, : jlindeberg

Bonhams to Make Its Impression on the Recovering Art Market with December Sale

Alain Truong — Fri, 27 Nov 2009 20:49:23 GMT

Bonhams has announced an exciting line-up of works for its Impressionist and Modern Art sale to be held at New Bond Street on Thursday 3 December.

Fighting for position as the sale's most valuable lot is 'Gladiatori nell'arena' by Giorgio de Chirico (1888-1978). An oil on canvas dated 1927, the painting is from Leonce Rosenberg's hugely important collection of the artist's Gladiator paintings which he housed in his Parisian apartment. Unsurprisingly, for such a significant piece, 'Gladiatori nell'arena' has attracted a pre-sale estimate of £600,000-800,000.

Giorgio de Chirico (Italian, 1888-1978) Gladiatori nell'arena, signed 'G. de Chirico' (upper right), oil on canvas, 55 x 46cm (21 5/8 x 18 1/8in). executed in 1927. Estimate: £600,000 - 800,000, €660,000 - 880,000

PROVENANCE: Léonce Rosenberg, n.8929, Paris
Private Collection, New York
Private Collection, Europe

EXHIBITED: 1986-1987 Verona. Galleria d'Arte Moderna e Contemporanea di Palazzo Forti
de Chirico, Gli Anni Venti p. 160
2003 Varese. Villa Panza Giorgio de Chirico, Gladiatori 1927-1929 4 October to 14 December

LITERATURE: C. Bruni Sakraischik, Catalogo Generale dell'Opera di Giorgio de Chirico, opere dal 1908 e 1930. ed. Electa, Milan 1987, vol.8, n.514.
M. Fagiolo Dell'Arco and P.Baldacci, Giorgio de Chirico, Parigi 1924-1929.
ed. Daverio-Mondadori, Milan 1982, n.201, p.536.
P. Baldacci, Giorgio de Chirico, Gladiatori 1927-1929, ed. Skira. Milan 2003, n.6, p.68.

Around 1927 Giorgio de Chirico was commissioned by the collector and dealer Léonce Rosenberg to create a series of Gladiator paintings to be displayed in a 'Room of the Gladiators' specially designed for Rosenberg's Paris home. There seems to have been thirteen of these Gladiator paintings produced from 1927 to 1929. Gladiatori nell'arena must surely be one of the most dramatic and visually striking of the series.

Léonce Rosenberg originally opened his own gallery in 1910 called the Haute Epoque at 19 rue de la Baume in Paris' 8th arrondissement. By the end of 1914 he had acquired works by artists such as Picasso, Herbin and Gris. In 1918 he opened a new gallery, L'Effort Moderne, which continued in business till 1941 and became a powerful force in promoting avant-garde art. Between 1924-1927 the gallery issued the Bulletin de l'Effort Moderne which provided a forum for his views and for artists such as de Chirico. In the latter years several artists, whom Rosenberg represented defected to his brother Paul, also a dealer, including Picasso.

In the Rosenberg paintings de Chirico realised his personal vision. Whilst elements of 'meta-physicism' remain, he turned his attention to creating 'meta-historical' themes. The helmets, daggers and lances appear historically correct and reflect the research de Chirico carried out, he studied Roman sarcophagi and antique Roman paintings to ensure the details would be as authentic as possible. He had a longstanding involvement with classical culture but was able to incorporate it into Italian Modernism. In contrast his Gladiator figures appear mostly naked as if live statues or in some case as mannequins, mostly seen before in his work.

The group of figures in Gladiatori nell'arena hint at emotional and familial relationships in their interaction, especially with the contrast of the ghostly arbiter or referee and the dominant gladiator. The Roman setting of the arena is a meta-historical field of action, in which the key players are bound up in a romantic vision. It's almost as if de Chirico wanted to bring the figures directly to us in our living rooms as they don't seem that involved in their backgrounds. Perhaps de Chirico was conscious of creating them for Rosenberg's Salon where they would talk to each other, interact with each other. Whilst the themes are of battle, the pictures' effects are static rather than dynamic, lyrical rather than fierce.

Of Gladiatori nell'arena P.Baldacci states: 'This is one of the most important works, especially in its detail, of the works executed in 1927 with the theme of Gladiators. One can see clearly the arena with spectators in the terraces in the evening light. It is already twilight and one can distinguish the moon in the night sky. It appears to be one of those Roman evenings described in Hebdomeros. At the end of the spectacle, when the sun was going down and the sombre mood augmented the shadow in the arena, the scene had an odour of sawdust and sand mixed in with blood'.

'Various elements contribute to making this painting impressive, particularly the stark colouring, which contrasts with the radiant mystical figure standing on the left. It seems he is almost one of the returning figures which populated de Chirico's metaphysical paintings. To counter balance this figure, we are presented with the pose of the winning gladiator and the defeated warrior beneath his foot. The psycho-analytical component of this painting is very strong, for example we can perhaps see in the white figure to the left the ghost of a father figure. It is evident that the recent battle can be a metaphor for a conflict between brothers or even friends'.

Paolo Baldacci, Giorgio de Chirico, Gladiatori 1927-1929. ed. Skira, Milan 2003, n.6 p.68.

As well as the metaphysical and psycho-analytical elements discussed there is another important theme, an enigmatic one. This is as intriguing to today's viewer as it must have been to de Chirico's contemporaries. The victorious gladiator and the fallen one describe respectively violence and death. Paradoxically with the ghostly arbiter alongside, an element of possible reconciliation as well as paternal love is introduced. There are definitely 'two sides of the sword', as it were being explored here. De Chirico has shown himself to be a master of an enigmatic depiction. This is confirmed by a sentence painted by him on one of his works which sums it up:

Et quid amabo nisi quod aenigma est?(What shall I love, if not that which is an enigma?)

A second piece by de Chirico is another sale highlight. This hugely rare sculpture – 'Manichini coloniali' – was cast in 1969, during the artist's lifetime and is expected to achieve £80,000-120,000. It will be joined by two magnificent modernist works by Alberto Burri (1915-1995): the two cellotex paintings (dated 1990 and 1991) are priced at £180,000-200,000 and £140,000-180,000 respectively.

Giorgio de Chirico (Italian, 1888-1978) Manichini coloniali, signed 'de Chirico', inscribed and numbered 'I Coloniali 4/9. Fond Artistica G.B.Esse Verona Italy' (on the base), bronze with a dark patina, 49 x 26cm (19 5/16 x 10 1/4in). cast in 1969. Estimate: £80,000 - 120,000, €88,000 - 130,000

This bronze is an important addition to de Chirico's oeuvre as it was cast during the lifetime of the artist in an edition of 9, of which this is number 4 (9 examples were produced plus 2 artist's proofs). It is dated 1969 and was inspired by the painting of the same title of 1959 and is archived as no 0041/07/03 OT in the archives of Fondazione Giorgio e Isa de Chirico.

This work comes with a certificate of authenticity from Professor Paolo Picozza stating the above and dated 5 July 2003.

EXHIBITED: Milan and Ferrara, 1970
New York, 1972
Rome, 1974-1975
Paris, 1975

LITERATURE: Bruni, Catalogo Generale volume 2, n.293/3, 1972
Catalogo Nazionale della Scultura Italiana, Bolaffi, n.5, 1981.
G.Dalla Chiesa, De Chirico scultore, Mondadori, Milano, 1988, p.71, n.15

Alberto Burri (Italian, 1915-1995) Cellotex, signed 'A. Burri' (on the reverse) acrylic and vinavil on cellotex, 72.5 x 102.5cm (28 9/16 x 40 3/8in). executed in 1990. Estimate: £180,000 - 200,000, €200,000 - 220,000

Note: Inscribed on the reverse (inv. 669). This inventory number is the same as that stated in the archives as an original work by Alberto Burri and relating to inventory no.90.11.

The work is accompanied by a certificate of authenticity from the Fondazione Palazzo Albizzini, in Città di Castello, dated 9 March 2005 and signed by Professor Marizio Calvesi.

Alberto Burri (Italian, 1915-1995) Cellotex, signed 'A. Burri' (on the reverse) acrylic on cellotex, 53.5 x 68cm (21 1/16 x 26 3/4in). executed in 1991. Estimate: £140,000 - 180,000, €150,000 - 200,000

Note : This work is accompanied by a certificate of authenticity from the Fondazione Palazzo Albizziniin Città di Castello, dated 7 February 2000 and signed by Professor Nemo Sarteanesi.

This work dates from 1991 and is the same work as that listed in the archive with the number 91.43/710.

Collectors of Italian art will also be drawn to Gino Severini's (1833-1966) wool tapestry. The colourful 'Il Ciclista' is one of only three authorised by the artist's daughter, Gina, following Severini's death. The tapestry was made between 1977-1978 and has been priced at a hugely tempting £15,000-20,000.

Gino Severini (Italian, 1883-1966) Il Ciclista, signed 'G Severini' (lower left). Edition of 3. wool tapestry, 150 x 210cm (59 1/16 x 82 11/16in). Estimate: £15,000 - 20,000, €17,000 - 22,000

Note: Bonhams are grateful to Elio Palmisano for confirming the authenticity of this work. Only three tapestries of Il Ciclista were authorised by Gina Severini, the artist's daughter, after Severini's death.

Elio Palmisano, founder of a tapestry workshop near Milan and supporter of Italian avant-garde artists, was instrumental in translating painted and printed works by Futurist artists into tapestry form. Severini collaborated with Palmisano on three occasions. The designs chosen were Ballerina based on a Cubist work of 1913 and Il gioco delle carte, again a Cubist work (1956). Il Ciclista was modelled on a lithograph by the same name of 1956.

Il Ciclista, a pure-wool hand–woven tapestry, was made in Palmisano's workshop between 1977 and 1978. The tapestry was executed in chain-stitch using a wooden handled crochet-hook. Il Ciclista clearly exhibits Futurist traits, namely fragmentation of form and a clear sense of speed, where the cyclist becomes a metaphor for the dynamism of the modern world. The decision to make works in tapestry form is also in keeping with the Futurists' aim not to limit their output to formal artworks but to ensure that their designs became a part of everyday life to create a 'Futurist Universe'.

The catalogue includes a series of striking sculptures by Salvador Dali (1904-1989), of which his bronze, 'Winged Triton' (c1972) is sure to catch the eye of collectors of modern art. At nearly 2 metres high, the sculpture is one of only twelve produced and as such has attracted a pre-sale estimate of £100,000-150,000.

Salvador Dalí (Spanish, 1904-1989) Winged Triton, signed 'Dalí' (on the base) bronze with a light blue patina, 190 x 140cm (74 13/16 x 55 1/8in). the sculpture is on a pedestal, executed circa 1972. Estimate: £100,000 - 150,000, €110,000 - 170,000

EXHIBITED: Cedar Rapids City, Iowa, USA, 2001
Lowe Art Museum, Miami, USA, 2001
Mississippi Art Museum, Jackson, USA, 2001
Toramaru Outdoor Park, Ohchi, Japan, 2002
Quinta Patino, Estoril, Portugal, 2003
Palacio Lusitania, Lisboa, Portugal, 2004
Caves Burmester, Porto, Portugal, 2004
Palacio Episcopal de Malaga, Spain, 2004
Chateau les Roeulx, Belgium, 2004/2005
Chateau de Bray, France, 2007
Sevilla, Spain, 2008

LITERATURE: Robert & Nicolas Descharnes The Hard and the Soft. ed. Eccart. p. 165 ref. 415

Winged Triton shows the body of a young man who evokes the movement of the sea and yet stands above the waves. In Greek mythology the gods used two winged messengers, Hermes and Triton.

This is edition 7/8 and was cast by the Mibrosa Foundry in Spain c. 1972. In total there were 8 monumental examples produced in bronze plus 4 artist's proofs.

This work is part of a series which belonged to the Clot collection. In the early 1970s the Catalan art lover Isidro Clot, a friend of Dalí, made an agreement with him to reproduce a series of sculptures in bronze. These had initially been sculpted by Dalí in soft wax in his summer house in Port Lligat in Spain. They were later cast, also in a monumental size, of which this is an example.

The Impressionist market is similarly well-represented, with works by 'up and coming' talent alongside more recognisable names. A series of paintings by Jean Franck Baudoin (1870-1961) are the ideal introduction to Impressionist ownership – his dreamy oil landscapes are estimated between £5,000-15,000. Alongside Baudoin's work is a late entry to the sale – a charming oil landscape by Pierre-Auguste Renoir (1841-1919) . A stunningly evocative – yet simple – composition, the painting is estimated between £80,000-100,000.

Jean-Franck Baudoin (French, 1870-1961) Quai de Seine avec vue sur la Concièrgerie, signed 'Jean-Franck Baudoin' (lower right) oil on canvas, 130 x 161cm (51 3/16 x 63 3/8in). Estimate: £15,000 - 20,000, €17,000 - 22,000

PROVENANCE: With Frost & Reed, London

Pierre-Auguste Renoir (French, 1841-1919) Paysage arboré, signed with initial 'R' (lower left) oil on canvas, 19 x 24cm (7 1/2 x 9 7/16in). Estimate: £80,000 - 120,000, €88,000 - 130,000

PROVENANCE: With Galerie Dominique Hurtebize, Cannes

This work is accompanied by a certificate of authenticity from Monsieur Dauberville and will be included in the forthcoming Cataloque Raisonne prepared by Mr Dauberville and edited by Bernheim-Jeune

Edward Plackett, Head of Bonhams Impressionist and Modern Art Department comments: "This sale contains a wide variety of Impressionist and Modern art, including sculptures, paintings, watercolours and even a tapestry. There is something for every type of collector from a Renoir oil sketch to a de Chirico painted at the height of the artist's powers."

Sélection de bijoux CARTIER @ Pierre Bergé & associés, lundi 14 décembre 2009

Alain Truong — Fri, 27 Nov 2009 20:01:00 GMT

CARTIER. Années 1910. Rare et importante parure de tête en platine et diamants brillantés

Elle se compose d'un bandeau oblong articulé composé de grands motifs « muguet » sertis de diamants brillantés de taille dégressive dans un entourage de diamants en sertissure carrée, au centre un diamant brillanté plus important en sertissure. Il retient deux longues et importantes pampilles composées d'une chenille de diamants brillantés en sertissure terminées par deux larges motifs ovales à palmettes repercés pavés de diamants brillantés. Ce bijou présente la caractéristique d'être portable dans différentes configurations : les éléments peuvent être portés au choix en une très longue barrette, deux broches ovales, un bracelet articulé, pendentifs dans de multiples montages (à l'aide d'un ensemble de petits ustensibles en or gris et platine) en pendants d'oreilles (sans le système). Travail français. Dans son grand écrin d'époque de la Maison CARTIER. Longueur du bandeau : 18,7 cm. Longueur des deux longs pendentifs : 14,8 cm. Estimation : 160 000 - 180 000 €

CARTIER. Epoque ART DECO. Collier « Chaîne d'huissier »

portant un grand pendentif en forme d'écusson repercé dans le goût égyptien rehaussé d'une émeraude carrée et trois émeraudes poire et diamants baguette en pampille. Le sautoir est formé d'une résille de petites perles fines et diamants brillantés (TA) en sertissure, deux motifs ronds en rosace sur les côtés. Monture en platine et or (sautoir divisble pour être porté en deux longueurs). Travail français. Signé et numéroté. (Egrisure à l'émeraude carrée). Hauteur du pendentif : 8 cm. Longueur du sautoir : 76 cm. Estimation : 100 000 - 130 000 €

CARTIER. Epoque ART DECO. Exceptionnel pendentif

articulé formé d'une chute de motifs retenus par une accolade pavée de diamants brillantés et éméraudes gravées. Au centre un cylindre de corail piqueté d'onyx encadré par un hexagone et une volute pavés de diamants. Une émeraude poire termine l'ensemble. Numéroté. Hauteur totale : 13,5 cm. Estimation : 75 000 - 90 000 €

CARTIER. Années 1935-1939. Bracelet ruban plat en or à maillons plaquette.

Fermoir serti de tourmalines vertes taillées en demi-cylindre. Il porte deux motifs amovibles en écusson formant clip serti également de tourmalines vertes taillées en demi-cylindre et terminés par un motif triangulaire pavé de diamants brillantés. Dédicacés. Signature et numéro sur les clips. Estimation : 15 000 - 20 000 €

CARTIER. Années 1930-1931. Rare collection de sept épingles de cravate intitulée « Sept Jour pour Le Sept Ciel » gravé sur un jeton d'argent et daté 1931.

Elle se compose de personnages tels que Polichinelle, un mousquetaire, un groom, un jardinier, un sportif, une dame à l'ombrelle et un homme en haut de forme. Elles sont rehaussées de rubis étoilés, émeraudes cabochon, saphir cabochon, pierre de lune et de diamants de toutes formes, brillantés, trapèze, demi-lune, carrés et triangulaire. Monture en platine et or gris. Signés sur chacune des épingles. Dans leur écrin adapté d'époque de la Maison CARTIER. Estimation : 15 000 - 20 000 €

CARTIER. Années 1920. Rare paire de longs pendants d'oreilles

terminés par un cabochon poire d'améthyste à culot pavé de diamants taillés en rose. Ils sont retenus par une chaîne à maillons bâtonnet émaillés blanc à toutes faces, diamants baguette et brillantés. Le motif d'oreille rond porte une améthyste cabochon dans un entourage d'émail blanc. Monture en or et platine (système d'oreille postérieur). Signés. Longueur : 8,2 cm. Estimation : 10 000 - 15 000 €

CARTIER. Années 1935. Clip « Roi de Coeur » en or émaillé polychrome

la couronne rehaussée de petits diamants taillés en rose. Monture en or 18 kts et platine. Travail français. Signé et numéroté. Hauteur : 3,3 cm. Estimation : 7 000 - 9 000 €

CARTIER. Années 1950. Rare brooche en forme de tortue.

La carapace est formée de disques de corail piqués de cabochons d'émeraudes. Monture en or ciselé, deux cabochons de saphirs pour les yeux. Travail français. Signature, poinçon de Maître et numéro. Dimensions : 4 x 2 cm. Estimation : 4 000 - 6 000 €

CARTIER. Années 1960. Rare bague en forme de tortue

formée d'un cabochon d'hématite dans une monture cage en or. Le corps est formé de serpents lovés en or ciselé. Deux émeraudes pour les yeux. Signée et numérotée. Tdd : 55. Estimation : 3 000 - 5 000 €

CARTIER. Année 1960. Parure « trèfle à quatre feuilles »

en or 18 kts finement godronné. Elle se composé d'une broche et d'une paire de motifs d'oreilles au modèle chacun piqué d'un diamant brillanté. Travail anglais. Signature, poinçon de Maître et numéro. Hauteur de la broche : 4,3 cm. Estimation : 3 500 - 4 000 €

Pierre Bergé & associés. Bijoux des XIXème et XXème siècles – Precious design. Lundi 14 décembre à 17h00. Salle des Beaux Arts - Bruxelles. EMail : contact@pba-auctions.com - Tél. : +33 (0)1 49 49 90 00 - Tél. : +32 (2) 504 80 00

Sotheby's to Sell the Pierre Leroy Collection of Modern & Contemporary Art

Alain Truong — Fri, 27 Nov 2009 08:16:34 GMT

Andy Warhol, Portrait of James Wyeth , 1976. Signed, dated and titled on the reverse. Acrylic and silkscreen on canvas, 101.5 x 101.5 cm. Estimate: 100 000 – 150 000 €. Photo: Sotheby's

PARIS.- Sotheby’s will offer Impressionist, Modern and Contemporary works from the collection of Pierre Leroy, Co-Managing Partner of Groupe Lagardère. Pierre Leroy’s collection of books and manuscripts is already world renowned; now his modern art collection will be unveiled for the first time, in Paris on December 8/9.

Andy Warhol is the foremost figure in Pierre Leroy's collection of contemporary art, which boasts two works by the Pope of Pop Art – both portraits, but of very different artists: Roy Lichtenstein, the other big name of Pop Art, painted on a tiny canvas in 1967; and Jamie Wyeth, captured ten years later in the manner of Warhol's spectacular Society Portraits recently displayed at the Grand Palais in Paris.

In early 1967, to mark the tenth anniversary of the Leo Castelli Gallery, Andy Warhol made twelve portraits of the artists represented by the gallery: Lee Bontecou, John Chamberlain, Jasper Johns, Donald Judd, Robert Morris, Larry Poons, Robert Rauschenberg, James Rosenquist, Frank Stella, Cy Twombly, Roy Lichtenstein and Warhol himself. Only a handful of copies of each portrait were produced, and few are known to have survived. Their modest dimensions give them an engaging, family character, in keeping with their subject-matter: "family portraits" of Leo Castelli's gallery artists. Warhol's vibrant homage to Roy Lichtenstein (est. €30,000–40,000) evokes his early Red Elvis of 1962, also in red and black.

The strikingly handsome Jamie Wyeth was a young painter who embodied the "spirit of America," much like his father and grandfather before him. It was an inspired move by Warhol to portray the youthful Wyeth in the style of a period celebrity, like his portraits of Mick Jagger and U.S. President Jimmy Carter, done the same year. The model's elegant pose, with his chin resting on his hand like Rodin's Thinker, and the gentle, slightly absent look in his eyes, make Portrait of Jamie Wyeth (est. €100,000–120,000) a magnificent Warholian hymn to Melancholy. The two artists, in fact, painted one another; their Portraits of Each Other were shown at New York's Coe Kerr Gallery in 1976.

The sale includes a superb collage by Nicolas de Staël (est. €35,000–45,000), recalling his famous Portrait of Anne in Comar's Musée Unterlinden; one of Niki de Saint-Phalle's first Tir (shooting) paintings, formerly owned by artist Jean-Pierre Raynaud (est. €35,000–45,000); and a monumental work by Jacques Monory (est. €25,000–35,000).

Nicolas de Staël (1914-1955), Portrait de femme. Photo Sotheby's

collage sur papier, 38,5 x 30,2 cm; 15 1/4 x 12 in. Exécuté en 1954. Est. €35,000–45,000

PROVENANCE: Collection Douglas Cooper, Argilliers
Galerie Daniel Malingue, Paris
Galerie de l'Echaudé, Paris
Acquis auprès de celle-ci par le propriétaire actuel, Pierre Leroy

EXHIBITED: Arles, Musée Réattu, Nicolas de Staël, 1958, no. 95
Parme, Fondazione Magnani Rocca, Nicolas de Staël, 1994 ; catalogue, p.197, no.131, illustré

LITERATURE "La Gazette de l'Hôtel Drouot", 1er juin 1990, p.14, illustré
Françoise Monnin, Le Collage, in "La Gazette de l'Hôtel Drouot", 11 janvier 1991, p.76, illustré
Françoise Monnin, Le Collage, Art du Vingtième Siècle, Paris, 1993, p.90, illustré
"La Gazette de l'Hôtel Drouot", 28 mai 1993, p.77, illustré
Marco Vallora, De Staël, tradito dal cognome, in "La Stampa", 11 avril 1994

NOTE stamped with the signature; collage on paper. Executed in 1954.
Cette oeuvre est à rapprocher du tableau Portrait d'Anne de 1953, conservé au Musée d'Unterlinden à Colmar. Une lithographie a été éditée à partir de ce collage.
Nicolas de Staël, Portrait d'Anne, 1953 (huile sur toile, 130 x 89 cm), collection du Musée d'Unterlinden à Colmar. © ADAGP, Paris 2009

Niki de Saint Phalle (1930-2002), Old Master - Séance 15 juin. Photo Sotheby's

signé et daté au dos, peinture et plâtre dans un cadre ancien, 80 x 69 cm; 31 1/2 x 27 1/4 in. Exécuté le 15 juin 1961. Estiimate 35,000 - 45,000 EUR

PROVENANCE : Collection Jean-Pierre Raynaud, Bougival
Galerie Piltzer, Paris
Vente: Perrin - Royère - Lajeunesse, Versailles, 28 juin 1998, lot 118
Acquis lors de cette vente par le propriétaire actuel, Pierre Leroy

EXHIBITED : Paris, Galerie J, Feu à volonté, 1961 (reproduit sur le carton d'invitation)
Paris, Galerie Georges-Philippe et Nathalie Vallois, Nouveau Réalisme, 1997
Paris, Galerie Piltzer, Les Nouveaux Réalistes, 1997

LITERATURE : Paris Match", 17 mars 1962, Paris
Stedelijk Museum, Les Nanas au pouvoir, Amsterdam, 1967 (étapes du tir)
Kunstverein, Niki de Saint Phalle: Werke 1962-1968, Düsseldorf; Kunstverein, Hanovre, 1968-1969 (étapes du tir)
Centre Georges Pompidou, Exposition rétrospective, Paris, 1980, pp.14-15, illustré
Wilhelm-Lehmbruck Museum, Retrospektive 1954-1980, Duisburg, 1980, p.20, illustré (pendant le tir)
Kunsthalle der Hypo-Kulturstiftung, Niki de Saint Phalle, Munich, 1987, pp. 56-57
Barbara Hammann, "KunstlerKritisches Lexikon der Gegenwartkunst", Weltkunst Bruckmann Verlag, Munich, 1989, p. 4 (tiré et non tiré)
Galerie de France, JGM Galerie, Tirs... et autres révoltes 1961-1964, Paris, 1990
Kunst und Ausstellungshalle, Niki de Saint Phalle, Bonn, 1992, pp. 36-37 (étapes du tir)
Museo Rufino Tamayo, Niki de Saint Phalle, Mexico, 1995-1997, p. 5; Museo de Arte
Contemporaneo, Caracas, p. 51; Museo de Arte Moderno, Bogota, p. 51; Sala de Exposiciones Edificio, Santiago, p. 47
Und Heute, Villa Merkel, Zero und Paris 1960. Esslingen, p.180 (reproduit sur l'invitation)
"Niki de Saint Phalle", Niki Museum, Nasau, 1998, pp. 106-107 (étapes du tir)

NOTE : signed and dated on the back; paint and plaster in an antique frame. Executed on June 15, 1961.
Niki de Saint-Phalle devant l'oeuvre achevée © Harry Shunk
Phases de production du tableau-tir © Harry Shunk

Jacques Monory (n.1934), Fuite N°1. Photo Sotheby's

signé, titré, daté et inscrit N°620 au dos, huile sur toile, plexiglas et photographie, 151 x 231,4 cm ; 59 1/2 x 91 1/8 in. Exécuté en 1979. Estimate 25,000 - 35,000 EUR.

PROVENANCE : Galerie MC, Paris
Galerie Maeght Lelong, Paris

EXHIBITED : Ausstellungsleitung Haus der Kunst München E.V, 1986, catalogue no.84

LITERATURE : Pascale Le Thorel, Monory, Paris, 2006, p.174, illustration en couleurs
Pierre Tilman, Monory, Paris 1992, p.128, illustration

NOTE : signed, titled, dated and inscribed N°620 on the back; oil on canvas, plexiglas and photography.
Executed in 1979.

Pierre Leroy acquired Dora Maar's Portrait of Picasso during the famous Dora Maar sale in Paris in 1998, when it was reproduced on the cover of one of the catalogues. This powerful work (est. €120,000–180,000), evoking one of the most super-charged artistic relationships of the 20th century, dates from 1936 – the year of the decisive encounter between Picasso and the future muse of his 'Weeping Woman' series. This is unquestionably Dora Maar's finest-ever painting, portraying Picasso as a Mayan-like divinity with a smile on his lips that is both tranquil and voracious. His placid yet relentless gaze – fixed on both the artist and the viewer – is typical of the "look" we find in photographic portraits of the time, a field in which Dora Maar had already made her name.

Dora Maar would never recover from her relationship with Picasso, reliving the tragic destiny of another famous artist consumed by the love of a genius: Camille Claudel. The Pierre Leroy Collection contains a superb casting of one of Claudel's most moving sculptures – Le Dieu Envolé (est. €80,000–120,000).

Dora Maar (1907 - 1997), Portrait de Pablo Picasso. Photo Sotheby's

signé Dora Maar et daté 1936 (en bas à droite), huile sur toile, 65 x 54,5 cm ; 25 5/8 x 21 3/8 in. Peint en 1936. Estimate 120,000 - 180,000 EUR

PROVENANCE : Dora Maar (Henriette Theodora Markovitch), Paris (vente de son atelier : Piasa, Paris, 26 novembre 1998, L'Atelier de Dora Maar, lot 97, reproduit sur la couverture du catalogue)
Acquis lors de cette vente par le propriétaire actuel, Pierre Leroy

LITERATURE : Mary Ann Caws, Dora Maar with & without Picasso, a biography, Londres, 2000, reproduit p. 118

NOTE : signed 'Dora Maar' and dated '1936' (lower right), oil on canvas. Painted in 1936.

Fig. 1 Pablo Picasso, Portrait de femme, 1937, huile et pastel sur toile, Musée Picasso, Paris
Cet intense portrait de Picasso par Dora Maar porte la date de leur rencontre : 1936. Au début de cette année, Picasso est, avec Matisse, le peintre le plus célèbre du monde mais il ne peint plus depuis mai 1935, notamment en raison de son mariage désastreux avec Olga. Dora Maar est une des photographes les plus en vue, très proche du groupe surréaliste, travaillant également pour le cinéma. C'est une femme belle et intelligente, ancienne maîtresse de Georges Bataille
La fascination mutuelle qu'éprouvent ces deux fortes personnalités est immédiate. Dora Maar initiera Picasso à la photographie tandis que celui-ci l'incite et lui apprend à confronter ses talents de plasticienne à l'art pictural. Ce portrait de Picasso est très certainement le meilleur tableau jamais peint par Dora Maar : Picasso y est représenté tel un dieu Maya, le visage animé d'un sourire à la fois tranquille et carnassier, l' il placide fixant obsessionnellement le spectateur, typique des portraits photographiques de l'époque. Ce tableau emblèmatique d'une des relations artistiques les plus fortes de l'histoire de la peinture au XXe siècle, figurait en couverture d'un des catalogues de la vente Dora Maar de 1998.

Fig. 2 Picasso et Dora Maar à Antibes, photographiés par Man Ray en 1937
This intense portrait of Picasso by Dora Maar is dated the year that they met: 1936. At the beginning of this year, Picasso was, along with Matisse, the most famous painter in the world, however he had not painted since May 1935, notably because of his disastrous marriage to Olga.
Dora Maar was one of the most well known photographers of the time, working closely with the Surrealists and also in thecinema. She was a beautiful, intelligent woman and formerly the mistress of Georges Bataille.
The two strong personalities felt an immediate mutual fascination. Dora Maar introduced Picasso to photography while he encouraged her to apply her talents as a visual artist to painting. This portrait of Picasso is without a doubt the finest picture ever painted by Dora Maar: Picasso is depicted as a Mayan god, his face animated by a smile that is both quiet and menacing, the placid eye fixatedly staring at the viewer, in a manner that is typical of the photographic portraits of the time. Emblematic of one of the most powerful artistic couplings in the history of 20th Century painting, this picture featured on the cover of one of the Dora Maar sales in 1998.

Camille Claudel (1864 - 1943), Le Dieu Envolé. Photo Sotheby's

signé C. Claudel et numéroté 6/8, porte le cachet du fondeur A. Valsuani, bronze. H. : 72 cm ; 28 3/8 in. Conçu en 1894 et tiré en bronze dans une édition posthume de huit exemplaires plus quatre épreuves d'artistes. Estimate 80,000 - 120,000 EUR

L'authenticité de cette oeuvre a été confirmée par François de Massary, petit-neveu et ayant-droit de Camille Claudel.

PROVENANCE : Galerie Cueto Monin, Paris
Acquis du précédent en 1998 par le propriétaire actuel, Pierre Leroy.

LITERATURE : Anne Pingeot (coll.), "L'Age mûr" de Camille Claudel, Les Dossiers du Musée d'Orsay, Paris,
1988, le modèle en plâtre reproduit p. 71
Reine-Marie Paris & Arnaud de La Chapelle, L' uvre de Camille Claudel, Paris, 1991, no. 44, un autre exemplaire reproduit p. 168
J. A. Schmoll gen. Eisenworth, Auguste Rodin and Camille Claudel, New York, 1994, un autre exemplaire reproduit p. 87
Gérard Bouté, Camille Claudel, Le Miroir et la nuit, Paris, 1995, un autre exemplaire reproduit p.229
Anne Rivière, Bruno Gaudichon & Danielle Ghanassia, Camille Claudel Catalogue raisonné, Milan, 1996, no. 43.4, le modèle en plâtre reproduit p. 114
Reine-Marie Paris, Camille Claudel re-trouvé, Catalogue raisonné, Paris, 2000, no. 37, le modèle en plâtre et un autre exemplaire reproduits pp. 332-333

NOTE: signed 'C. Claudel', numbered '6/8' and bears the foundry mark 'A. Valsuani', bronze. Conceived
in 1894 and cast in a posthumous edition of height plus four artist's proofs.

"Oeuvre capitale, [...] Elle précède le drame de la rupture qu'incarnera L'Age mûr. La jeune femme agenouillée se tient droite, non dans le geste de la supplication , mais dans la souffrance étonnée d'une disparition et d'un espoir trahi. La douleur s'exprime encore comme un gémissement égaré, et non sous cette rage féroce et vengeresse qu'elle portera bientôt à l'homme du reniement, comme si le coup venait des dieux, et non d'une main humaine.
Au dessus d'un ventre d'une jeune mère, se retrousse comme une tunique offerte, l'accablante chevelure torsadée en multiples serpents, qui emprisonnent la tête : on retrouve là la quenouille vivante de la Clotho, et plus tard le thème de la Gorgone.
Jamais Camille n'a cependant associé ailleurs la beauté de la jeunesse à cette capture du cerveau par les liens d'une chevelure de naufrage.
Métamorphose de vieille fileuse des ans en La jeune Parque, une grande phase de la dramaturgie de Camille est ici mise à nu." Reine-Marie Paris ("Le Dieu envolé", in. Anne Pingeot (coll.), op. cit. p. 71)

"This major work, [...] precedes the drama of the break-up that will take place in L'Age mûr. The young woman, kneeling, is sitting straight upright, not in an imploring manner but with astonished sorrow caused by a disappearance and a betrayed hope. Her grief is expressed as a lost moan and not as the ferocious and vengeful rage that she will soon hurl at the man who has scorned her, as if the blow has come from the gods and not from a human hand.
Above the young mother's torso, folded up like a gifted tunic, her cascading hair twists in multiple snakes encircling her head: here we see the living distaff of the Clotho, and later the theme of the Gorgon.
Never before has Camille associated the beauty of youth with this capture of the mind through the bonds of entangling tresses.
The metamorphosis of the old spinner into the young Parque, an important stage in Camille's drama, is here stripped bare." Reine-Marie Paris ("Le Dieu envolé", in. Anne Pingeot (coll.), op. cit. p.71)

Viewing
Friday 4 December, 12 noon–6pm - Saturday 5 December, 10am–6pm - Monday 7 December, 10am–6pm - Tuesday 8 December, 10am–2pm

Le beau mec du jour : Matt Schiermeier

Alain Truong — Thu, 26 Nov 2009 22:46:00 GMT