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Shun Kawakami’s first collected works, between art and design credit: artwork & art direction: shun kawakami, artless Inc.
 design: koyuki inagaki, artless Inc. photographer: yuu kawakami publisher: W Inc. – Shun Kawakami(artist/conductor of design/representative of artless Inc.), is proud to announce the publication of the artist’s first collected works, between art and design on June…

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http://www.sothebys.com/en/auctions/ecatalogue/2015/collection-didier-ludot-pf1570/lot.171.html

Emile Othon Friesz（1879 - 1949） oil on canvas 81.3 by 100.5cm Painted in Le Havre in 1903 www.sothebys.com/en/auctions/ecatalogue/2016/impressionis... Estimate : 25,000 - 35,000 GBP Sold : 40,000 GBP Sotheby's Impressionist & Modern Art Day Sale 2 March 2017, London

A recently sold painting of a dazzle ship being painted on the Clyde: http://www.sothebys.com/en/auctions/ecatalogue/2014/a-way-of-life-tim-ellis-modern-british-art-l14311/lot.15.html and for a discussion of dazzle ships: http://janandcoragordonart.blogspot.com/2014/03/jan-gordon-and-dazzle-painting-of-ships.html

A Byzantine Mosaic Panel, Syria [390-450 CE] 64 1/2 by 49 in. // 164 by 124 cm. Eupsychios, son of Theodosios, is the donor of the mosaic panel Depicting in multicolored tesserae a large krater flanked by two addorsed ducks with heads turned back, the vessel with gadrooned body and voluted handles, and a flower flanked by two confronted birds each with a flower behind, a tabula ansata above the scene containing five lines of Greek dedicatory inscription translating "Eupsychios, son of Theodosios, lawyer, in thanksgiving for the Holy Place adorned it with mosaics, in the year 700-760 (?), on the 24th day of the month Gorpiaios." Source: Sotheby's www.sothebys.com/en/auctions/ecatalogue/2008/antiquities-... **************************************************************************************************** The time given in the above text of the Syriac mosaic was according to the Macedonian calendar, which begins counting in the year 312//311 BC. Therefore, 311 or 312 years must be subtracted from the date 700-760 according to the Macedonian calendar in order to arrive at our Gregorian calendar, i.e. a date of origin of approx. 388 to 448 CE is calculated for the Syrian mosaic.

Jan van Huysum (1682-1749) - Still Life with Flowers and Fruit We are grateful to Dr Fred G. Meijer of the Rijksbureau voor Kunsthistorische Documentatie, The Hague, for endorsing the attribution to Jan van Huysum (who should be correctly referred to as Van Huijsum, the spelling with which he most often wrote his name), listing this painting as ‘attributed to’ Van Huysum on the RKD database. His endorsement of the attribution is moderated only by the slightly worn condition of the present lot. Dr Meijer believes this still life to be a relatively early work by Van Huysum, dating to circa 1720. Jan van Huysum was known within his own life time to have been a brilliant, yet reclusive artist. His works were much in demand and he received important commissions from, among others, the Duc d’Orléans, Prince William of Hesse-Kassel, Frederick-Augustus II, Elector of Saxony and King of Poland, and Frederick William I, King of Prussia, and yet he was notoriously secretive about his process. Any interest shown in his works by his fellow artists was interpreted as jealousy, and no one was allowed to enter his studio for fear that they would learn how he purified and applied his colours. Van Huysum's lasting fame owes much to his technical virtuosity, and the exuberant arrangements of flowers and fruits. The masterful inclusion of bugs and insects among the elements of the still life, and the silhouetting of pale stems and tendrils against a dark back ground, as we see in this elegantly balanced still life, are typical of the artist. www.sothebys.com/en/auctions/ecatalogue/2017/old-masters-...

Christie’s Middle Eastern art department celebrates the 15 th sale season with its upcoming online auctions this November. Our main Middle Eastern Modern & Contemporary Art sale will continue to offer a strong caliber of modern art, while also presenting a freshly handpicked and diverse selection of contemporary works, offering modernist icons across Morocco, Sudan, Saudi Arabia to Iran. Headlining the sale is a work by Farhad Moshiri, along select highlights by Farid Belkahia, Mohamed Melehi, Samia Halaby and Charles-Hossein Zenderoudi, among others. For the first time our art auction will be complemented by a Middle Eastern Design section curated by the renowned architect and designer Viktor Udzenija.  It will be showcasing the breadth of artistic talent from the region and carrying with them symbols of hope and strength. A variety of contemporary reinterpretations of cultural and traditional influences materialise within a stunning selection of pieces by Ranya Sarakbi, Nada Debs and Hassan Hajjaj, among others. IMPORTANT NOTICE:  Following the UK government’s announcement of new social restrictions, please note that our London premises are now closed to the public. All scheduled auctions are confirmed to continue, and we will be taking  telephone and absentee bids, or via the Christie’s LIVE™ platform . Christmas / Holiday Shipping Notice To be able to ship your property in advance of the holidays, payment for property and/or shipping must be received by on Wednesday, 2 December for any European road shuttles or international airfreight shipments and Friday, 11 December for any UK road shuttles and domestic or international courier shipments. Please note that Christie’s is not responsible for delays in international shipments due to customs and export licenses. Explore Viewing Room | Explore Curated Design with Viktor Udzenija > View eCatalogue >

Ceramics - A large 19th century Spanish Lebrillo from Fajalauza ( Granada ) ,with bespoke metal brackets to be hanged on the wall.Please note that this lebrillos are all original and have been used. Some wear and tear with restorations expected , making them even more beautiful. ( 19th Century ) https://www.sothebys.com/en/auctions/ecatalogue/2018/collection-pierre-berge-pf1860/lot.706.html This lot sold for 100,000 Euros at Sothebys B Brief history of ceramics from Fajalauza The birth of Fajalauza ceramics occurs in the first half of the 16th century in Granada, ーespecially in the Albayzínー, where a type of pottery commonly known as Fajalauza ceramics is made. It is a popular production that over time has aroused wide interest, to the point that any of its humble containers can be considered one of the hallmarks of the city. The name of Fajalauza dates back to at least 1841. That is when this name appeared in the local magazine “La Alhambra (31-1-1841)”, fully consolidating in the 20th century. However, the productive activity is much older: its origins must be sought in the evolution of ceramics made in the surroundings of the Alhambra and Realejo after the surrender of Granada. A complex situation will then arise in which some elements will evolve, while others will remain the same, thus being the manifestation of a popular art, genuinely from Granada, which has already been in existence for more than five hundred years. Indeed, the first mention that has been found in the documents dates back to 1517, and refers to the “olleros”, that is, the potters. However, these are already mentioned in a Royal Certificate of 1492. The potters who continued to work after the conquest were Moorish, whose names in some cases we know thanks to the documentation. The most significant, for the case at hand, is that of Hernando Morales, ancestor of the same family that currently continues to own the Fajalauza workshops. In the 16th century the city of Granada had 37 potters’ workshops, which in the 18th century, in the Ensenada Cadastre, had been reduced to 10. In the 19th century this number decreased even more, to only 8. One of them It will be that of the Morales family. Ceramics of Fajalauza, therefore, is called the popular pottery in glazed and decorated clay, made in the Albaicín of Granada by a large number of different families, and with a pottery tradition that dates back to at least 1517. It remained unchanged in a style and hallmarks characterized by the tin glaze and the decoration in cobalt blue-gray, copper green and manganese black-purple, with decorations with plant motifs –with the prominence of pomegranate, birds, interlacing and heraldic motifs. Among his acknowledgments we can mention the Silver Medal of the Brussels Universal Exposition of 1910, the Ibero-American Exposition of Seville 1929, the first award for the ornamental plate of Cáceres, the Hispanic Society of New York, the Victoria & Albert Museum of London, the Ethnological Museum of Geneva, etc. Our products are made following the traditional Arab technique of which we are its most faithful followers and proof of this is, among other achievements, the restoration tile cloth of the Patio de los Arrayanes in the Alhambra, the plinth of the main patio of the Ayto. Granada, the house of the Jew of Córdoba, or the complete tilework of the estate of the kings of Belgium in Motril. The workshop building: industrial heritage The main nucleus of the potteries was found in modern times in the area between Cartuja-San Isidro, San Ildefonso and Fajalauza. The potteries are facilities that require space for the development of their activity and in addition to raw materials and water. They also had a living space, where the members of the owner family lived. The house-factory on Calle Fajalauza nº 2, which is still in production, integrates all the necessary processes for traditional pottery production: settling ponds and clay maturation area, buried lathes, stoves and a reverberatory oven for elaboration of enamels, painting and drying chambers, and the magnificent “Hispano-Arabic” oven for firing with gorse as fuel. Likewise, the century-old factory houses “modern” improvements from the mid-20th century, such as the plate press, the mixer to mix the clay, enamel mills, etc. The Fajalauza Foundation aims to protect and preserve the artistic and artisanal tradition of this ceramic, transmitting this heritage to all citizens as intangible cultural heritage and collective memory. Of all the old factories, those of the Morales Moreno family are the only ones that still maintain production today, maintaining the centuries-old tradition despite the ravages of the industrial revolution. In 1517, Granada’s potters maintained a pulse with the authority on account of the lack of water, assessed with very high taxes. A document of the moment narrates the lawsuit and mentions a certain Morales among those involved. Barely 25 years had passed since the arrival of the Catholic Monarchs in Granada and, beyond the union problem, ceramics were in a moment of transformation: the artisans expelled from the usual neighborhood, in the center of the city, were resettled in a new one, on the outskirts; the newly arrived Christianity allowed the adoption of new designs and, also, derived from the same, the family customs changed and with it the use of these pieces. Those changes, not huge either, turned the former Granada Moorish pottery into the new Fajalauza pottery. A popular ceramic that was not born for palaces but for ordinary dwellings, and that five centuries later remains practically the same as in its origin thanks to the transmission of knowledge within the families of the potters who molded it.Among those families that maintain the tradition is that of that Morales who sued with the authority in the 16th century. They also preserve the factory in which they were installed more than 300 years ago, including the original oven, although somewhat deteriorated by the passage of time. To prevent it from collapsing, one of the family members, José Miguel Chemi Márquez Morales, has promoted the creation of the Fajalauza Foundation, with the aim of defending the heritage that this factory houses: the intangible of the knowledge and the tangible of the clay. Granada potters —olleros was the name by which they were called then — from the beginning of the 16th century lived and worked in the center of the city, in the Realejo neighbourhood. But the new authorities had different urban plans for that area and, on the other hand, neighbours began to complain about the fumes generated by the ovens. Dozens of potters then moved to the outskirts of the city, near the gate of the Nasrid wall called Fajalauza, which ended up giving the pottery its name. In the area, Chemi Márquez says, there was good mud, enough water and a good exit from the city for the games that were sold abroad, which were many. Between the lawsuit of 1517 and 1700, it is not documented exactly where the Morales family worked. But yes from there: it was installed in the same place where you can practically see how the original factory was, the one that the foundation wants to protect and preserve.The change of location was followed by the design: the Fajalauza ceramics discarded some colors, “certain reds and metallic reflections that were used in the Nasrid era,” says Márquez, and focused on two, which are the ones that remain: green , obtained from copper oxide, and blue, obtained thanks to cobalt oxide. And in the background, a highly nuanced white produced from tin and lead. The drawings were reduced to flowers, “especially lilies and pomegranates”, he explains, “and branches, birds and little else”.Beyond aesthetics, the transition from Islamism to Christianity also brought with it a change in customs that had no choice but to transfer to the functionality of household pots: the Arab custom was to eat all of a central plate and Granada ceramics Moorish adapted to it, producing large and deep sources. The Christians already ate each one of their plates, so the Fajalauza ceramics were opportunely modified, placing emphasis on those individual dishes. Fajalauza ceramics were part of the household furnishings of all the houses of the kingdom of Granada. It was not for decoration, but for everyday use. Márquez explains that it is a “simple, non-noble ceramic for domestic and popular use.” The measurements were fixed. “There are eight sizes, depending on the use, which were also essential in the houses until the running water arrived.” Basin basins and other pieces of ceramics that, at least in the kingdom of Granada, were part of family inheritances. “They were passed from parents to children and, of course, if they broke down, they fixed themselves, they didn’t get thrown away.” For that were the lañas and the lañeros, capable of joining ceramics in a task difficult to imagine at this time. And while the Moraleses were always there. There are more than 60 Morales potters documented since 1517. A few meters from the old kiln, the Cecilio Morales factory also houses three lathes, which, although they are not used regularly, are in perfect condition and that Chemi – also a potter, although only as a hobby – starts up from time to time. They are curious lathes because they are not the usual ones in which the potter sits on a stool. In these, with three centuries turning, the potter sits on the ground and must turn the great wheel with his feet under the ground. Chemi also shows a large deposit with clay pellets that have been resting there from the last 40 years ago and that this hobby potter is now patiently recovering. “The Chinese used to prepare kaolin to be molded by two later generations, so we may well use this clay from the previous generation,” he recalls.