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C’EST FOU !
AN ECLECTIC COLLECTION AT CHRISTIE’S
12, 13 AND 14 DECEMBER 2018
For its last sale of the year, Christie’s is pleased to present C’est fou!, an important private collection characterised by its eclecticism and its exuberance amongst around 1000 lots. They will be scattered through different sales the 12, 13 and 14 December 2018 in Paris. In total, more 725 artworks divided in seventeen sections will be offered with a global estimation of 9 million euros.
This collection is interesting for its variety. The collector, erudite and passionate, has gathered from year to year unique pieces from all eras and from all domains making this collection a truly treasure. C’est fou! is that mysterious and surprising collection which will be presented to the public next December and which will attract connoisseurs and collectors from all horizons.
Lionel Gosset, Collections Director: “Insatiable collector, this sale is only a stage in the life of this connoisseur who follows his dream and his passion to discover, be amazed and to exclaim C’est Fou !”
Amongst the 725 lots presented, collectors will be pleased to discover one of the masterpieces of the sale, a painting from the 19th century by Hermengildo Anglada-Camarasa, La Gata Rosa estimated at €600,000-800,000. The Spanish artist, influenced by the late 19th century’s artistic movements, depicted a woman with a strong resemblance with Klimt’s creations added to a wonderful work on the material, patterns and colours. The gaze of the woman looking at the public reminds us of some models from the same period.
The 19th century is represented with this amazing group of four wood sculptures realised by Jean-Baptiste Gustave Deloye following a commission of the Maison Krieger. These four allegoric figures were designed for the Universal Exhibition of Paris in 1889. Two Renommées together with two allegories of Architecture and Sculpture are made of mahogany in a perfect state of preservation for their important size of 1,50 meters. With the technical and aesthetic achievements of this group, the stand earned the Grand Prix of the Universal Exhibition, the highest recompense at this international event (estimate: €80,000-120,000, illustrated above).
The section dedicated to European sculpture will present a remarkable artwork attributed to Antonio Moglia, a Panthère made of a marble called giallo tigrato and estimated at €200,000-300,000. Thanks to this rare and precious marble, this artwork is exceptional for the realism of the animal’s spotted coat, but also in its volumes, muscles and extremely realistic panther’s fangs. This rare and specific marble was used during the Antiquity and is very appreciated by the collectors. Another model titled Léopard assis realised in Italy at the same period was sold by Christie’s in Paris in May 2017 for €722,500.
Other decorative objects from prestigious provenance will be offered such as an admirable set of Garniture de table coming from the former collection of the Marquis de Linares. This lot, composed of a table centerpiece and wonderful silver candelabras, is estimated at €600,000-900,000. It is not only a silversmithery treasure but also a testimony of the luxurious lifetstyle the Marquis de Linares had in his amazing palace in Madrid.
The provenance is royal for one Meissen porcelain set composed by a chocolate cup and its saucer, part a larger group offered by August III of Saxe, King of Poland, to Marie Lesczynska, Queen of France. Its provenance is noticeable on the royal coats of arms of France and Poland depicted on the set. With its golden and polychrome decoration, this lot is estimated at €8,000-12,000.
The profusion of artworks allows a comparison with the famous « Kunstkammer » from the Renaissance. The curiosity of our collector has no limit. In the course of fairs, galleries, auctions and antique dealers, he acquired works of art across categories, without restraining his desire to discover new fields. Old master paintings, sculptures, antiquities, oriental art, ivory, religious art, this spontaneous collection is seeking beauty across centuries, artistic movements, eras and tastes.
Ivories are linked to the confined and mysterious universe of the Kunstkammer. This is how audacious artworks, from the Renaissance to the 19th century, are present in this sale such as a splendid sculpture representing the Virgin Mary made of ivory and coral (estimate: €6,000-9,000).
From several periods and different specialties, this unusual collection is also offering more than 200 lots of Asian art. One Guanyin Statue from the Ming dynasty (1368-1644), estimated at €30,000-50,000 will be presented along with a Red carved and encrusted lacquer box from the Qianlong period of the Qing dynasty estimated at €30,000-50,000.
Sales: Wednesday 12 December at 6:30pm, Thursday 13 December at 11am and 2:30pm, Friday 14 December at 11am and 2:30pm.
Viewings: Saturday 8 and Sunday 9 December from 2pm to 6pm, Monday 10 and Tuesday 11 December from 10 am to 6 pm.
Christie’s: 9 avenue Matignon, 75008 Paris.
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The Smithsonian’s Hirshhorn Museum and Sculpture Garden has announced “Rafael Lozano-Hemmer: Pulse,” an exhibition featuring the interactive artwork of Mexican Canadian artist Rafael Lozano-Hemmer through spring 2019. Three major installations from Lozano-Hemmer’s “Pulse” series and six public-art documentaries come together for the first time in “Rafael Lozano-Hemmer: Pulse,” which fills the museum’s entire second-floor galleries with evocative, immersive environments that use heart-rate sensors to create kinetic and audiovisual experiences from visitors’ own biometric data. Over the course of six months, “Rafael Lozano-Hemmer: Pulse” will animate the vital signs of hundreds of thousands of participants in the Hirshhorn’s largest interactive technology exhibition to date.
“Lozano-Hemmer’s unique practice straddles the line between art, technology and design, and will activate the museum unlike ever before,” said Hirshhorn Director Melissa Chiu. “His hypnotic installations invite museum visitors to participate in a one-of-a-kind experience while addressing complex themes surrounding agency, mortality and ownership.”
With Lozano-Hemmer’s trademark sensitivities to audience engagement and architectural scale, each artwork detects the biometric signatures of each visitor, registering and recording them as repetitive sequences that are visualized as flashing lights, panning sound scapes, waves in ripple tanks and animated fingerprints. These “portraits” or “snapshots” of the visitor’s intimate electrical activity then gets added to a live archive of other recordings, creating a landscape of syncopated rhythms. At a time when biometry is increasingly used for identification and control, here agglomerated data presents a new form of anonymity.
The exhibition begins with “Pulse Index” (2010), which is presented at its largest scale to date. The work records participants’ fingerprints at the same time as it detects their heart rates, displaying data for the last 10,000 users on a Fibonacci-sequenced grid of massive projections. To take part, visitors insert their finger into a custom-made sensor equipped with a digital microscope and a heart-rate monitor. Their fingerprint, the most commonly used biometric image for identification, immediately appears on the largest cell of the display, pulsating to their heart beat. As more people participate, older recordings get recycled and the display’s rotating projections become a metaphor for the human life cycle.
The second work visitors will encounter is “Pulse Tank,” which was premiered at the Prospect1 New Orleans Biennial in 2008, and will be updated and expanded for this new exhibition. To participate, visitors hold sensors on the sides of illuminated water tanks. Computers then detect their pulse and hammer ripples on the water’s surface, reflected in shadow patterns on the gallery walls. The patterns are ever-changing as they are the result of the live waves interfering with each other and creating complexity.
Stepping into the last installation, “Pulse Room” (2006), visitors enter an otherworldly space filled with hundreds of clear, incandescent light bulbs hanging from the ceiling in even rows, pulsing with the heartbeats of past visitors. This work was inspired by the 1960 Mexican film Macario (dir. Roberto Gavaldón), in which the protagonist suffers a hunger-induced hallucination wherein every person is a lit candle in a cave. Visitors add their heartbeat by touching a sensor near the beginning of the installation, transmitting their pulse to the first bulb, which then flickers to its rhythm. Additional heartbeats continue to register on the first bulb, advancing earlier recordings ahead one bulb at a time. The amplified sound of collected heartbeats accentuates the impact of the piece.
Six short documentaries of “Pulse” works will also be exhibited, showing biometric public-art interventions in Abu Dhabi, Toronto, Hobart, New York and Urdaibai, Spain (2007–2015).
About the Artist
Lozano-Hemmer was born in Mexico City in 1967. In 1989, he received a Bachelor of Science in physical chemistry from Concordia University in Montreal, Canada. In 2003, he founded the studio Antimodular Research in Montreal, composed of 14 programmers, engineers, architects and artists from around the world. Lozano-Hemmer was the first artist to represent Mexico at the Venice Biennale in 2007, and he has recently had solo exhibitions at the MUAC Museum in Mexico City, the Musée d’art contemporain de Montréal, and the Museum of Contemporary Art in Sydney. His work is in the collection of the Hirshhorn, as well as MoMA, Guggenheim, Museodel Barrio in New York, the Tate and Science Museum in London, CIFO in Miami, Jumex and MUAC in Mexico City, SFMOMA in San Francisco and many others. More than two dozen permanent architectural commissions are currently being developed around the world, and his large-scale interactive installations have been created for public spaces in Mexico City, New York, Vancouver and Berlin.
About the Hirshhorn
The Hirshhorn Museum and Sculpture Garden is the national museum of modern and contemporary art and a leading voice for 21st-century art and culture. Part of the Smithsonian, the Hirshhorn is located prominently on the National Mall in Washington, D.C. With nearly 12,000 paintings, sculptures, photographs, mixed-media installations, works on paper and new media works, its holdings encompass one of the most important collections of postwar American and European art in the world. The Hirshhorn presents diverse exhibitions and offers an array of public programs on the art of our time—free to all, 364 days a year. For more information, visit hirshhorn.si.edu.
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Exceptional Pieces from Chanel, Hermès and Louis Vuitton lead December Handbags & Accessories Auction – London, 12 December 2018
Christie’s Handbags & Accessories Auction
Exceptional Pieces From Chanel And Hermès
Extremely Rare Aluminium Explorer Trunk By Louis Vuitton
12 December 2018, London
On 12 December 2018 Christie’s London will present at auction 225 rare, limited edition, and one-of-a-kind Handbags & Accessories. With a focus on the most sought-after vintage and current pieces, the sale will offer something for every collector, with estimates ranging from £500 to £150,000.
Highlights of the auction include an exceptional Chanel Matte White Diamonds Forever Flap Bag with 18k White Gold & Diamond Hardware (estimate: £50,000–70,000, illustrated above left), one of a limited edition of only sixteen. Also offered is a Hermès, Matte Himalaya Niloticus Crocodile Birkin 35 with 18k White Gold & Diamond Hardware (estimate: £100,000–150,000, illustrated above centre). A similar piece in a smaller size was sold in London in June for £162,500 and currently holds the European record for most valuable handbag sold at auction.
A leading lot of the sale is an extremely rare aluminium Louis Vuitton explorer trunk (estimate £50,000-100,000, illustrated above right). Dating to 1892, this extraordinary trunk was created at a time when the production of aluminium was so complex it was more expensive than gold. Following its appearance at the “Exposition Universelle” in 1855 the demand for this precious metal soared. The immense shine of the metal combined with its incredible lightness made it ideal for jewellery design and soon became the material of choice for the French elite, becoming known as ‘the white gold of Napoleon’. Louis Vuitton produced explorer trunks in a range of metals including Zinc, Brass and Copper however, due to exceptionally high production costs, only a very small quantity of aluminium trunks were crafted. These were coveted by explorers and high-society alike due to their resistance, weight and rarity.
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