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Tue 11 Jun

Etienne-Charles LE GUAY(ou LEGUAY).1762-1846 - Etienne-Charles LE GUAY(or LEGUAY).1762-1846 Portrait of Marie-Victoire Jaquotot Bust version of Etienne-Charles Le Guay's miniature Portrait of Marie-Victoire Jaquotot, seated on a sofa Between 1794 and 1801 Miniature on ivory, mounted on cardboard 13 x 10 cm Etienne-Charles Le Guay (1762- 1846), was a miniaturist and painter on porcelain, born in Sèvres in 1762 and died in Paris in 1846. He was taught at the Académie Royale by Joseph-Marie Vien (1716-1809), founder of the modern classical school, who taught many of his pupils, including Regnault and David. After managing production at the Dihl et Guérhard porcelain factory in Paris during the French Revolution, Le Guay (or Leguay) was considered the best figure painter at the Sèvres factory in the early 19th century. In 1794, Etienne-Charles Le Guay married his pupil, Marie-Victoire Jaquotot ( 1772-1855), a porcelain painter. The couple separated a few years later in 1801. Le Guay exhibited at the Salon between 1795 and 1819, his work proving in tune with the precious taste of the Consulate and Empire. A painter at the Manufacture de Sèvres from 1778 to 1840, he is particularly renowned for having adorned a monumental "Etruscan" vase at the Sèvres factory with a 2.05 m frieze depicting the wedding procession of Napoleon 1st and Marie-Louise through the Grand Galerie of the Louvre. The vase has now been destroyed, but the model for the frieze, a watercolor by B. Zix, is preserved in the Louvre's cabinet des dessins. Marie-Victoire Jaquotot (1772-1855), a porcelain painter, was a pupil and second wife in 1794 of Etienne-Charles Le Guay, whom she divorced in 1801. She worked as a painter at the Manufacture de Sèvres between 1801 and 1842. She exhibited her porcelain paintings at the Salon between 1808 and 1836, and at the first of these exhibitions was awarded the gold medal, the first given to porcelain painting. In 1816, Marie-Victoire Jaquotot was awarded the title of "premier peintre sur porcelaine du cabinet du roi" (first porcelain painter in the King's cabinet), a title that enabled her to open a private studio where, for almost twenty years, she taught porcelain painting to some thirty students, most of them women, including Marie-Adélaïde Ducluzeau (1787-1849), who was also a painter at Sèvres. Marie-Victoire Jaquotot, while employed at the Sèvres factory, painted a large number of pieces that may rank among the finest paintings on porcelain. According to Le Guide de l'amateur de faïences et porcelaines : poteries, terres cuites, peintures sur lave, émaux, pierres précieuses artificielles, vitraux et verreries published in 1867: "It was she who painted the dessert service given to Emperor Alexander, and the series of portraits of kings, which belonged to the court. She painted La Belle Jardinière, after Raphaël; Anne de Clèves, after Van Dyk; Wellington; Napoleon 1er; Lady Darnley; the Countess Woronzof; the Duchesse d'Orléans; the Duchesse de Berry; the Countess Lorges, etc.". Our ivory miniature is a bust version of Portrait de Marie-Victoire Jaquotot, assise sur un divan, an ivory miniature painted by Etienne-Charles Le Guay between 1794 and 1801, now in the Musée du Louvre. The painter depicts his wife, the artist Marie-Victoire Jaquotot, consulting prints, among which is the figure of Mansuétude, one of the virtues painted by Raphaël in Constantine's bedroom. She is also holding an engraving of La Vierge à la chaise, all of which testify to the artist's admiration for Raphael. Indeed, Marie-Victoire Jaquotot was particularly renowned for her copies after Raphael. Her talent for mastering ceramic colors, combining brilliant hues and velvety complexions, made her a key figure in Alexandre Brongniart's policy of painting copies on large porcelain plates (the quest for unalterable paint), which were framed like paintings. Le Guay plays on the whiteness of ivory to give his wife's portrait "a luminous, slightly ethereal envelope". Camille Mauclair described this work as delightful: "the young miniaturist appears very pretty".

Estim. 3 000 - 5 000 EUR

Tue 11 Jun

USHNISHAVIJAYA STATUETTE IN PARTIALLY GILDED SILVER AND GILDED COPPER ALLOY CENTRAL TIBET, CIRCA 17TH CENTURY Himalayan Art Resources item no. 1828 17.2 cm (6 3/4 in.) high Footnotes: A PARCEL GILT SILVER AND GILT COPPER ALLOY FIGURE OF USHNISHAVIJAYA CENTRAL TIBET, CIRCA 17TH CENTURY Published Amy Heller, Tibetan Art: Tracing the Development of Spiritual Ideas and Art in Tibet, 600-2000 B.C., 1999, p. 197, no. 105. Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 350, no. 148. Exhibited Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. A Spectacular Ushnishavijaya In this superb c. 17th century sculpture from Central Tibet, the goddess Ushnishavijaya appears in her three-headed, eight-armed manifestation.1 She casts her central gaze downward to meet that of her devotees. Her right countenance is serene and similarly downward-cast. The left is fierce and powerful, with fangs exposed and eyes wide and unflinching. In Tibetan Buddhist practice, Ushnishavijaya is invoked to support long-life, purification, and enhanced well-being. Following traditional iconography for her representation, she holds the double vajra (vishvavajra) in front of her heart, an image of Amitabha Buddha in her upper right hand, the arrow, gesture of generosity (varada mudra), bow, and a gesture of protection (abhaya mudra) in the upper left hand. The left hand near her chest once held the sacred cord (pasha); the upward-turned hand in her lap a vase of immortal elixir.2 The body of the goddess is white, here beautifully represented by the silver in which she is cast. The cool metal is used to superb aesthetic effect, contrasting with the warm gold of the base, halo, and adornments and with the vibrant turquoise blue of her inset jewelry. Her faces were once painted, as is evident from the remaining traces of pigment. Traditional iconographic texts describe the central face as white, like her body, her right face as golden or yellow, and her left as red.3 The enhanced power afforded by the pigment can be seen in the fierce left face with its painted eyes. Commissions in silver, a rare and expensive material, were uncommon in Tibet. Another example is a c. 17th century Buddhist goddess in the Nyingjei Lam Collection.4 Like this example, the Nyingjei Lam eight-armed goddess has slender limbs, arranged elegantly around the torso. The lotus petals, halo, and other details in the Bonhams Ushnishavijaya are very similar to those in a c. 17th century sculpture of Ushnishavijaya in The Metropolitan Museum of Art, New York (fig. 1; 2007.75a, b). Moreover, its verso is so like that in The Metropolitan Museum Ushnishavijaya as to suggest the two sculptures share an as yet undetermined historical connection.5 More generally, the sculpture expresses elements of Nepalese taste, although it was commissioned for a Tibetan patron, evident in the choice of turquoise stones which were favored in Tibet. Features in the Speelman sculpture can also be found in works created in a famous workshop adjacent to Tashi Lhunpo monastery in Shigatse, Central Tibet. Indeed, the halo of flames surrounding Ushnishavijaya and her lotus base are very similar to those in a c. 17th century Chakrasamvara sculpture formerly in the Claude de Marteau Collection which bears an inscription confirming its connection with the Tashi Lhunpo workshop (fig. 2). The workshop, named Tashikitsel (bkra shis skyid tshal), was established during the tenure of the Fourth Panchen Lama, Lobsang Chökyi Gyaltsen (Blo bzang chos kyi rgyal mtshan, 1567-1662), very near to Tashi Lhunpo monastery. It was founded to cultivate excellence in the arts of making sculpture, painting, architecture, and textile arts and crafts. A few published sculptures bear the inscription 'Tashi Lima' ( bkra shis li ma ), recently understood to be an indication that the inscribed sculptures were made in this workshop very close to Tashi Lhunpo monastery.6 A literal translation of the term Tashi lima is 'Auspicious metal' but as Luo Wenhua has noted, its most specific meaning is 'Tashikitsel.'7 Jane Casey January 2024 1. See Marie-Therese de Mallmann, Introduction a l'Iconographie du Tantrisme Bouddhique, Paris, 1975, pp. 389-390 for discussion of her various forms. 2. The roughly contemporaneous gilt copper alloy sculpture of Ushnishavijaya in The Metropolitan Museum of Art (fig. 1) retains a fine cord connecting the upper left hand, threading through the bow, and falling into the left central hand. The Metropolitan figure still holds the vase of elixir in the lower left hand, as one envisions was originally held in the Speelman sculpture. 3. Mallmann, 1975, pp. 389-390. See also Himalayan Art Resources set no. 5924: https://www.himalayanart.org/search/set.cfm?setID=5924. 4. Published in David Weldon and Jane Casey Singer, The Sculptural Heritage of Tibet

Estim. 600 000 - 800 000 EUR
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