拍卖日历

Built up over thirty years at Parisian auction houses, a Chinese couple’s collection returns to Drouot. From Chu Teh-chun to Lucio Fontana, from Puiforcat to Louis Vuitton trunks, it blends the cosmopolitan elegance of the interwar period with an Asian perspective.The objects and works of art from the Parisian apartment of a Chinese couple of art lovers reveal a genuine appreciation for a certain cosmopolitan lifestyle—that of the interwar Café Society—enriched by an Asian perspective. “My parents come from the world of fashion,” their son explains. “They traveled extensively in Europe (Paris, Milan, Florence, London), as well as in Asia and along the East Coast of the United States. The collection evolved as their experiences unfolded. ” Of the approximately

Among the antique and modern jewelry presented by Gros & Delettrez in Paris, this striking domed “Sea Urchin” brooch from the 1960s–1970s stands out. Crafted in yellow gold, with each of its spines chiseled and textured, weighing 21 g and estimated at €2,000–3,000, it bears the diamond-shaped hallmark of Georges Lenfant’s workshop for Hermès. The relationship between the master jeweler and the saddlery house began in the 1950s, when Hermès decided to develop a jewelry line. Lenfant would go on to

The collection assembled by the couple, which includes this work by Chamberlain, reveals a strong interest in the artistic explorations of the 1960s and 1970s that redefined the relationships between painting, sculpture, objects, and space.In *Madison*, created in 1965, John Chamberlain transforms fragments of automobile bodywork into a compact sculpture in which the metal is caught in a compressive force. Sheets of metal painted burgundy red and turquoise blue are bent, crushed, and welded together. Their surfaces retain the traces of these deformations: protruding edges, deep indentations, folds, and abrupt changes in direction. Born in 1927 in the United States, Chamberlain made a name for himself in the 1950s through his use of

At the ceramics auction organized by Mirabaud-Mercier at Drouot (Room 15) on Wednesday, October 28 (Ms. Finaz de Villaine), 18th-century earthenware manufacturers will take center stage, particularly those from eastern France. Among them is this lot from Strasbourg: a pair of lidded cream pots (h. 8 cm), decorated in polychrome with Chinese figures swinging on a rope adorned with flowering branches ( € 1, 000 and €1, 500 ). This model, as rare as it is cheerful, attests to the variety found within

Léon Bernardel (1853–1931) came from a long line of instrument makers. He began his training in 1871 with Justin Derazey in Mirecourt, before returning to Paris to work for Gandet Bernardel Brothers. In 1898, he opened his own workshop at 40 bis Rue du Faubourg-Poissonnière and became one of the leading suppliers to French orchestras and music conservatories. Dated 1926, this cello bears Bernardel’s original label, his signature in sepia ink, and his brand marks on the inside of the back (M. Herou).

The rare collection of poetry and art, compiled by Sven Pitseys, gave pride of place to Henri Michaux: 65 issues are devoted to the poet and illustrator.34 paperback volumes by Henri Michaux, written between 1923 and 1965, have been ingeniously assembled in these slipcase boxes with sliding lids, designed by the Belgian bookbinder Clara Gevaert, to be given by the writer to his friends Georgette and Jacques-Olivier Fourcade. This impressive collection perfectly illustrates the section dedicated to Henri Michaux in the poetry and art library assembled by Sven Pitseys, the writer being “one of the most influential figures of the 20th-century period,”