JEAN DUNAND | VASE
JEAN DUNAND | VASE
JEAN DUNAND | VASE
JEAN DUNAND | VASE
1

JEAN DUNAND | VASE

Estimate: 8,000 - 12,000 USD

12

JEAN DUNAND | VASE

Estimate: 8,000 - 12,000 USD

Lot Sold:23,750USD

Lot Details

Description

JEAN DUNAND

1877 - 1942

VASE


Circa 1920

Lacquered metal

Impressed with the artist's monogram

Height: 4⅛ in.; 10.5 cm

Diameter: 3½ in.; 8.9 cm

Condition Report

Overall in very good condition. This piece presents with a complex decorative pattern with rich amber, forest green, black and silver hues. The lacquer presents with some minor and expected signs of gentle handling and age consistent with the natural evolution of the medium. The rim with some extremely minor edge wear with associated extremely minute edge flecks to the lacquered surface. The inner edge of the rim with one extremely minute surface blemish, only visible upon close inspection and not visually distracting. The foot presents with two minor dents, neither affecting the stability of the piece, one with an associated loss to the lacquered surface measuring approximately 1/2 inch wide, consistent with age and handling. The interior of the vase with a small area of adhesive residue adjacent to a remnant of transparent tape measuring approximately 1 1/4 x 1/4 inches, not visually distracting. This piece has been inspected under blacklight and shows no apparent evidence of prior restoration. An extraordinarily delicate and diminutive work with exceptionally rich decoration and coloration.


In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Cataloguing

Provenance

Collection of Andy Warhol, New York

Sotheby's New York, The Andy Warhol Collection: Art Nouveau and Art Deco, April 23, 1988, lot 313

Private Collection, New York

Christie’s New York, Masterworks of 20th Century Design: An Important Private New York Collection, December 17, 2015, lot 109

Literature

Jean Dunand, Jean Goulden, exh. cat., Galerie du Luxembourg, Paris, 1973, p. 61 (for a related example)

Félix Marcilhac, Jean Dunand: His Life and Works, London, 1991, p. 124, no. 119 (for a related example)


Catalogue Note

The Journey


“Inanimate objects, do you have a soul, that connects to our soul, and forces it to love?”


Alphonse de Lamartine, from Harmonies poétiques et religieuses, 1830.


Perhaps it was the nostalgia of Paris whilst living in London that served as my initial inspiration. The first piece I ever purchased was The Pont Neuf, Wrapped by Christo and Jeanne-Claude. At that time, I had started by reading books about the Art Deco period. The modernity and innate beauty of these objects immediately attracted me. I was fascinated by their simplicity and purity of form, the mixing of sumptuous materials. As I embarked on this journey, I defined the criteria that would guide my acquisitions. First, I strove to acquire pieces that represent the very best in quality by each artist. Second, I focused on the provenance of pieces that had to be impeccable. I paid a lot of attention to the past of each of these objects and who owned them, trying to only acquire works that came from the most important collectors of the period: the Maharaja of Indore, Jacques Doucet, Templeton Crocker, Countess von Bismarck, and Jane Renouardt, as well as the personal collections of the artists themselves. Many pieces also came from the second generation of pioneering collectors of Art Deco, such as Andy Warhol, Robert Walker, Robin Symes, Félix Marcilhac, Claude et Simone Dray, Tina and Michael Chow, Anthony DeLorenzo, Robert and Cheska Vallois, Steven Greenberg and Jacques Grange.   


When I was young, I studied French poetry, and in particular Lamartine. This entire collection can be summarized by a single sentence from one of his poems: “Inanimate objects, do you have a soul, that connects to our soul, and forces it to love?” When I think about each of these objects, this poem always immediately comes to my mind. Their beauty always deeply resonated within me. I have lived with these objects and they have lived together with other people before, whether famous or anonymous like me. Most importantly, these objects also spent time together with other objects.


The idea that they do not belong to me has been omnipresent: perhaps is it me who actually belonged to them? We are only temporary custodians, and I feel compelled to offer these objects yet another life. These objects are alive. They have a soul. Their inextricable beauty, their presence, and fascinating history make each of them timeless.


LE VOYAGE


« Objets inanimés, avez-vous donc une âme qui s’attache à notre âme et la force d’aimer ? » 


Extrait d’Alphonse de Lamartine, Harmonies poétiques et religieuses, 1830. 


C’est probablement la nostalgie de Paris, alors que je vivais à Londres, qui m‘a inspiré initialement. La première œuvre que j’ai achetée fut Emballage du Pont Neuf de Christo et Jeanne-Claude. À cette époque, j’ai commencé par la lecture d’ouvrages sur la période Art Déco. La modernité et la beauté intrinsèque de ces objets m’ont immédiatement attiré. J’ai été fasciné par leur simplicité, par la pureté de leur forme et par la somptuosité des matériaux. Dès le début, j’ai défini les critères qui devraient guider mes acquisitions. Je me suis efforcé d’acquérir des objets qui représentaient la quintessence de chaque artiste. J’ai également porté une attention particulière à leur provenance, qui devait être impeccable. J’ai passé beaucoup de temps à m’intéresser au passé de chacun d’eux et à leurs propriétaires successifs, en tachant d’acquérir des œuvres provenant des plus grands commanditaires : Jacques Doucet, le maharajah d’Indore, Templeton Crocker, la comtesse Mona von Bismarck, Jane Renouardt, ainsi que de collection personnelle des artistes eux-mêmes. Un grand nombre d’œuvres proviennent aussi de collectionneurs pionniers avertis tels que Andy Warhol, Robert Walker, Robin Symes, Félix Marcilhac, Claude et Simone Dray, Tina et Michael Chow, Anthony DeLorenzo, Robert et Cheska Vallois, Steven Greenberg ou Jacques Grange. 


Jeune, j’ai étudié la poésie française et en particulier Lamartine. Une phrase extraite d’un de ses poèmes résume à elle seule toute cette collection : « Objets inanimés, avez-vous donc une âme qui s’attache à notre âme et la force d’aimer ? ». Lorsque je pense à chacun de ces objets, ce poème me revient toujours à l’esprit. Leur beauté a toujours résonné profondément en moi. J’ai eu la chance de vivre avec eux de la même manière qu’ils ont vécu avec d’autres auparavant, qu’il s’agisse de personnes célèbres ou anonymes comme moi. De manière importante aussi, ces œuvres ont vécu entre elles.



L’idée qu’elles ne m’appartenaient pas a toujours été omniprésent dans mon esprit : peut-être est-ce moi qui leur ai appartenu ? Nous ne sommes jamais que les gardiens temporaires des œuvres et il est temps pour moi de leur offrir une nouvelle vie. Ces objets sont vivants. Ils ont une âme. Leur inextricable beauté, leur présence et leur fascinante histoire rendent chacun d’eux immortel.

Modern Masters: Chefs-d’œuvre d’une Collection Privée
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