A Large Curious South German Carved Ivory Memento Mori of a Human Skull. Late 17th – early 18th Century. Photo courtesy Finch & Co

with Lower Jaw displaying lost teeth and crooked grin.  Size: 7cm high, 5cm wide, 9cm deep – 2¾ ins high, 2 ins wide, 3½ ins deep - SOLD

See: Finch & Co catalogue no. 13, item nos. 105, and 106 for other smaller examples 

Literature: Known as the ‘Deaths Head’ carved ivories of the human skull were popular in Baroque Germany as contemplative reminders of the transience of earthly life. However, there was also a rising scientific interest in human anatomy, so a carefully carved ivory model of a skull became a ‘must have’ for a collectors Kunstkammer. 

http://www.finch-and-co.co.uk

A Late 17th Century German Carved Boxwood 'Memento Mori' Skull. Circa 1680. Photo courtesy Finch & Co

Size: 3.5cm high, 5cm deep, 3.5cm wide - 1¼ ins high, 2 ins deep, 1¼ ins wide. FOR SALE

Provenance: Ex English Private collection

http://www.finch-and-co.co.uk

South German Carved Wood Vanitas of a Skull, 17th-18th Century.  Photo courtesy Finch & Co

Old lime-washed surface.Size: 14.5cm high, 17cm deep, 11.5cm wide - 5¾ ins high, 6¾ ins deep, 4½ ins wide. FOR SALE

http://www.finch-and-co.co.uk

BORNITE
10.5" across
Dzhezkazgan, Kazakhstan
Ex. Dr. Edward E. David Collection
Collection of Russ BEHNKE, Meriden, Connecticut, U.S.A
Photo : Russ BEHNKE ©

BABINGTONITE on PREHNITE
5.5" across
Qiaojia County, Yunnan, China
Collection of Russ BEHNKE, Meriden, Connecticut, U.S.A
Photo : Russ BEHNKE ©

Color change EUCLASE
shown in artificial light (emerald green in daylight)
1.12" tall
Ouro Preto, Minas Gerais, Brazil
ex Harvard University
Collection of Russ BEHNKE, Meriden, Connecticut, U.S.A
Photo : Russ BEHNKE ©

COPPER coated with TENORITE and CUPRITE
3.75" tall
Phoenix mine, Keweenaw County, Michigan, U.S.A
This specimen has a Pennypacker label. The label implies this is circa 1900.
Collection of Russ BEHNKE, Meriden, Connecticut, U.S.A
Photo : Russ BEHNKE ©

TOPAZ
5.75" across 
Teofilo Otoni, Minas Gerais, Brazil
Russ Behnke note : " I used to gaze at this piece back in the late 1960's when this was about as fine a specimen as anyone could hope to get"
Collection of Russ BEHNKE, Meriden, Connecticut, U.S.A
Photo : Russ BEHNKE ©

RHODONITE
1" across
Morro da Mina Mine, Conselheiro Lafaiete, Minas Gerais, Brazil
Collection of Russ BEHNKE, Meriden, Connecticut, U.S.A
Photo : Russ BEHNKE ©

FLUORITE on QUARTZ
6.6" tall
Grimsel region, Bern, Switzerland
Dug by Kasper Fahner
Collection of Russ BEHNKE, Meriden, Connecticut, U.S.A
Photo : Russ BEHNKE ©

Philippe PASQUA (Né en 1965) - "VANITE JAUNE, PAPILLONS VERTS". Photo courtesy HOLZ-ARTLES MAISON de VENTE

Sculpture en résine et acrylique, papillons naturalisés, sous plexiglas. Signée. OeŒuvre originale, pièce unique. Certificat de l'artiste. Haut. 40 cm - Larg. 50 cm - Prof. 50 cm. Estimation 8 000 € - 8 500 €

HOLZ-ARTLES MAISON de VENTE. Samedi 21 septembre à 15h00 à Arles. Me Françoise HOLZ, 26 rue Jean Lebas, 13200 Arles. Tél. : 04 90 49 84 70 - Fax : 04 90 93 89 41 - f.holz@wanadoo.fr

Blue and white dish with flowers, Iran, Safavid, 17th century. Stonepaste body with blue underglaze painting, Ø: 46.6 cm. AKM00588. The Aga Khan Museum. © 2007 The Aga Khan Development Network.

Since the ninth century, the Islamic world has observed and admired the production of Chinese potters. This dish is a model dating back to the beginning of the fifteenth century which has been faithfully copied. No fewer than thirty-four similar dishes are still to be found among the collections of the Ardebil sanctuary, the founding site of the Safavid dynasty (Makariou 2007, p. 55, no. 81). They present slight variations; with or without wings. However, the winged model, decorated with waves and rocks and cavettos with small bouquets of flowers, has two examples among the Ardebil collection (ibid., n. 82). It is unusual for an imitation to be so faithful to the original. It copies almost detail for detail the decoration of waves and rocks on the wings and the bouquets embellishing the cavetto. Nevertheless, the Safavid piece is bigger than the Chinese examples that have been preserved. Some of them bear the mark of Shah Abbas, which leads us to date the Safavid copy back to the first quarter of the seventeenth century. However, the Chinese model probably goes back to the beginning of the fifteenth century. This poses a problem for the reception of these objects and the gap between their approximate date of fabrication and that of their imitations. The Chinese model boasts a number of features which fit in perfectly with ornamentation in the Islamic world: the wave and rock design on the wing is static and the wavy writing less skittish, compared to fourteenth century dishes. On the Chinese original, the curly lines of the waves remain fluid, though repetitive. By contrast, on the Safavid model, the waves fold up into geometrically organized bands. It is here a different universe of transcription at play, dominated by a steadily maintained rhythm. The centre bouquet copies the Chinese model almost down to the minutest detail. However, these transcription details change the design, accentuating a simple contrast between the spindly lines and the excessive colour on the petals from which the monochromes have disappeared (ibid., n. 83). On the underside, the undulating foliage replete with flowers from the Chinese model has been simplified, or “ornamentalised”. The thick, oily and shiny glaze spread over the piece lends warmth to the copy. The Ottoman world also liked Chinese ceramics; the Topkapi Palace holds one of the most extensive collections of Chinese ceramics outside of China. However, the Ottoman pastiches of Chinese ceramics most often elicited transcriptions more distanced from the model.

Vase de Delft dans le style chinois, 17e siècle, faïence. Hauteur : 0.420 m. EO3610. Paris, musée Guimet - musée national des Arts asiatiques (C) RMN-Grand Palais (musée Guimet, Paris) / Thierry Ollivier

A blue and white small octagonal chinoiserie ewer, marked SVE for Samuel van Eenhoorn, owner of the Greek A factory in Delft from 1678-1685, Height: 14.8 cm. (5 13/16 inches). Major Collection of Delft Showcased by Aronson Antiquairs at 2013 Winter Antiques Show

A pair of blue and manganese bottle-form chinoiserie vases, marked SVE for Samuel van Eenhoorn, owner of the Greek A factory in Delft from 1678-1685, Height: 42.6 cm. (16 3/4 inches). Aronson Antiquairs. The Winter Antiques Show, New York, NY, U.S.A. January 25 - February 3, 2013

A blue and manganese baluster-form chinoiserie vase and cover (detail), marked SVE for Samuel van Eenhoorn, owner of the Greek A factory in Delft from 1678-1685, Height: 29.8 cm. (11 3/4 inches). Aronson Antiquairs. The Winter Antiques Show, New York, NY, U.S.A. January 25 - February 3, 2013

 A Delft Blue and Manganese Chinoiserie Posset Pot and Cover. Samuel van Eenhoorn. c.1695-1705. Aronson Antiquairs. The Winter Antiques Show, New York, NY, U.S.A. January 25 - February 3, 2013

The Doris Duke Collection of Important Jewelry. A magnificent Belle Epoque diamond and pearl pendant necklace, by Cartier. Photo Christie's Image Ltd 2004

The pear-shaped diamond pendant, within an openwork single-cut diamond frame, enhanced by three pear-shaped diamond tassel terminals, suspended by a pearl, measuring approximately 8.80 mm, from a similarly-designed cushion-cut diamond plaque, joined to the four-strand pear, marquise and French-cut diamond festoons, with single and old European-cut diamond trim and florets, further enhanced by an old European-cut diamond openwork clasp of geometric design, mounted in platinum, circa 1908. Estimate $800,000 - $1,200,000 - Price Realized $2,359,500

Provenance: James B. Duke; Cartier Paris, 24 December 1908, 18,500 Francs 

Mr. Duke collaborated with Cartier in the creation of this necklace and supplied some of the larger diamonds. Originally designed as a sautoir, Cartier finally adapted the design to create this magnificent object. 

Cartier and the Beautiful Era

Edward VII's ascension to the British throne upon the death of his mother, Queen Victoria, in 1901 marked the beginning of the Belle Epoque. Literally meaning 'beautiful era', it was a time when elegance was valued above all else in fashion and jewelry. The upper and middle classes flourished, especially in America, and indulged in clothing and jewels that expressed their wealth.
At the turn of the century, Cartier was establishing itself as one of the preeminent jewelers to the elites of Paris, London and New York. Their designs paralleled the fashions of the day: upswept hair and low necklines in the evening leant ever more importance to necklaces. Dog collars, sautoirs and lavalieres were popular styles, as was the garland style festoon necklace represented by this example. The garland, or neoclassical style incorporating ribbon, swag and bow motifs, was popular following the sale of the French Crown Jewels in 1887. The House of Cartier's innovations with platinum contributed to its ability to rework neoclassical designs in a newly light and flexible way. Although stronger than silver, which had been favored to display diamonds, platinum is less flexible, which prompted Cartier's designers to construct articulated jewels with hinged elements to create easy movement.
This necklace, lot 111, is a magnificent example of a Belle Epoque diamond, pearl and platinum garland necklace by Cartier. It ranks as one of the most important and beautiful necklaces representing this era, both for the luxurious elegance of the design and for the opulence of the diamonds. James B. Duke provided the firm with some of the diamonds employed. The original invoice from Cartier's Rue de la Paix boutique is dated 24 December 1908.

The Doris Duke Collection of Important Jewelry. An exquisite diamond ring, by Tiffany & Co. Photo Christie's Image Ltd 2004

Set with a rectangular-cut diamond, weighing approximately 19.72 carats, to the pavé-set diamond gallery and shoulders, mounted in platinum, circa 1935
Signed Tiffany & Co. Estimate $800,000 - $1,200,000 - Price Realized $1,261,900

With report 0402031 dated 9 February 2004 from the Gübelin Gemmological Laboratory stating that the diamond is D color, VS2 clarity; accompanied by a note stating that based on its infared spectrum, the 19.72 ct diamond described in Diamond Report No. 0402031 is classified as a type IIa

With report 13149214 dated 26 January 2004 from the Gemological Institute of America stating that the diamond is D color, VS1 clarity; accompanied by a working diagram stating the the clarity is potentially flawless 

Provenance: Nanaline Duke, and by descent to Doris Duke

The King of Diamonds

The name Tiffany & Co. has long been associated with fine and important diamonds. The founder, Charles Louis Tiffany, was nicknamed the "King of Diamonds" during the late 1800s when his firm began purchasing fabulous diamonds from aristocratic European estates. Over the course of the past hundred years, Tiffany & Co. has cut, sold and collected some of the most magnificent stones in the world.
By the early 1840s, the American company had built up enough capital to enter the high-end gold and diamond jewelry market; but soon enough they became aware that their Parisian and London workshops could not meet their demand. Tiffany met this challenge by scouring all of Europe for diamonds. Eighteenth century diamond jewelry belonging to European aristocracy was an excellent source. The turbulence created by the French Revolution had increased supply, and hence the value of aristocratic jewels had dropped dramatically. Tiffany & Co. purchased important stones from renowned collections including the estate of the Hungarian Prince Esterhazy, from the noblest and richest family in Hungary; the "jewel-mad" Duke of Brunswick, including a 30 carat canary diamond; and the acquisition of the Spanish Crown Jewels. In 1887, the firm purchased a major share of the French Crown Jewels that had once belonged to Empress Eugenie. These magnificent jewels were brought back to America and soon adorned the newly wealthy industrial class. Perhaps the most remarkable of Tiffany's acquisitions was the purchase of a 287.42 cts. rough diamond from the Compagnie Francaise de Diamant du Cap Mine, a branch of the Kimberley mine, in 1877. It was cut in Paris to the current weight of 128.54 carats and named "The Tiffany Diamond". This was the largest flawless yellow diamond the world had ever seen.
The twentieth century witnessed a renewed interest in diamonds and the designers at Tiffany & Co. pioneered the trend. The firm continued to mount important gems into jewelry including the ring illustrated. This ring, dating from 1935, is a magnificent example of both Nanaline Duke's exquisite taste and the importance of Tiffany's diamonds. The 19.72 carat cushion-cut stone is elegantly mounted in platinum with delicate diamond-set shoulders. Typical of stones this size, the cushion-cut makes an understated and lovely outline. The cushion-cut is a transitional cut, linking the old mine with the old European. Most likely, Mrs. Duke's stone is of Golconda origin. This ledgendary Indian mine produced some of the most spectacular diamonds of the world including the Koh-I-noor, the Hope and the Agra which were all cut in the same cushion outline. According to Doris Duke's biography by Stephanie Mansfield, Mrs. Duke lost this diamond ring at a bridge party. Thankfully, it was returned to her.

The Doris Duke Collection of Important Jewelry. A magnificent Art Deco diamond bracelet, by Cartier. Photo Christie's Image Ltd 2004

The openwork baguette-cut diamond geometric band, of flexible design, centering upon a marquise-cut diamond, weighing approximately 7.19 carats, flanked on either side by pear-shaped diamonds, weighing approximately 7.03, 6.24, 4.98 and 3.76 carats, joined by pavé-set diamond links and baguette-cut diamond arched spacers, mounted in platinum, circa 1927, 7 ins., in a Cartier red leather case. Signed Cartier, no. 2716752. Estimate $350,000 - $500,000 - Price Realized $1,217,100

With five reports dated from 29 January 2004 to 26 February 2004 from the Gemological Institute of America stating that the weight, color and clarity of the diamonds are as follows:

7.19 carats, F color, VS1 clarity; 7.03 carats, F color, I1 clarity; 6.24 carats, D color, VS1 clarity; 4.98 carats, G color, SI1 clarity; 3.76 carats, G color, SI2 clarity 

Provenance: Nanaline Duke, and by descent to Doris Duke 

The Doris Duke Collection of Important Jewelry. A magnificent two-strand emerald necklace. Photo Christie's Image Ltd 2004

Each strand composed of sixty or sixty-one graduated emerald beads, joined by a single and old European-cut diamond pierced plaque clasp, centering upon a cabochon emerald, mounted in gold and silver, circa 1935, 18¾ ins. The total weight of the emeralds is approximately 541.40 carats. Estimate $300,000 - $400,000 - Price Realized $1,127,500

The Doris Duke Collection of Important Jewelry. A spectacular Indian diamond necklace. Photo Christie's Image Ltd 2004

The diamond collet line, suspending a fringe of twelve large foil-backed table-cut diamonds, each within circular-cut diamond frames with similarly-set foliate accents, the central table-cut diamond suspending an elaborate pendant of similar design, mounted in platinum, (many of the diamond drops are detachable), 15½ ins. Estimate $400,000 - $600,000 - Price Realized $701,900

Provenance: Madame Ganna Walska
Parke-Bernet Galleries, 1 April 1971, lots 80-82, $83,750 

Literature: Stefano Papi and Alexandra Rhodes, "Famous Jewelry Collectors", Harry N. Abrams, Inc., New York, 1999, page 174-175 

In the Parke-Bernet sale on 1 April 1971, Doris Duke purchased lot 80 for $7,250, lot 81 for $14,000 and lot 82 for $62,500. She likely combined the three lots (a pendant clip, earrings and necklace), to create the present necklace with a large central chandelier-style pendant. The sale that she purchased these lots from, "The Important Jewelry Collection of Madame Ganna Walska" was a single-owner sale of the flamboyant Polish soprano, Ganna Walska, (b. 1887). It is interesting to note that Walska apparently bought the necklace from Cartier in the early 1930s and altered it to her taste. When the necklace went up for auction in 1971, the necklace appeared quite different but with the same large foil-backed diamonds, each in the original circular-cut diamond borders. 

The Doris Duke Collection of Important Jewelry. An important pair of Art Deco diamond bracelets, by Cartier. Photo Christie's Image Ltd 2004

Each composed of three independent circular, navette, marquise and baguette-cut diamond lines, intersected by pavé-set diamond sculpted motifs, mounted in platinum, (may also be worn as a choker, 13¼ ins.), circa 1930, 6 5/8 and 7 ins. Signed Cartier, nos. 8410, 8354, 822 (2). Estimate 120,000 - $150,000 - Price Realized $433,100

The Doris Duke Collection of Important Jewelry. An elegant diamond clip brooch, by David Webb. Photo Christie's Image Ltd 2004

Designed as an undulating old European and baguette-cut diamond foliate scroll, suspending a central pear-shaped diamond, weighing approximately 9.67 carats, and a smaller pear-shaped diamond, weighing approximately 4.14 carats, further enhanced by a marquise-cut diamond fringe, mounted in platinum, circa 1957. Estimate 180,000 - $220,000 - Price Realized $343,500

With reports 8448680 and 13155477 dated 29 January and 2 February 2004 from the Gemological Institute of America stating that the diamonds weighing approximately 9.67 and 4.14 carats are D color, VS1 clarity and E color, VS2 clarity respectively 

Provenance: Gift of James B. Duke to Nanaline Duke,
Gift to Doris Duke, December 1949

The diamonds used in this brooch originated from a diamond bracelet James B. Duke bought for his wife, Nanaline. In December 1949, she gave Doris the bracelet. Doris Duke then commissioned David Webb to create a spectacular brooch on 30 November 1957. Records indicate that Webb invoiced her for $3,000. A full list of the diamonds Webb used was provided on 9 January 1958. 

The Doris Duke Collection of Important Jewelry. An elegant sapphire, diamond and seed pearl bracelet, by Cartier. Photo Christie's Image Ltd 2004

Centering upon a square-cut sapphire, weighing approximately 35.54 carats, flanked on either side by twin bagette-cut diamonds, circular-cut diamond rectangular links and calibré-cut sapphire spacers, joined to the six-strand seed pearl bracelet, enhanced by a clasp of similar design, mounted in platinum, circa 1925, 6½ ins. Signed Cartier, no. 24121. Estimate 100,000 - $120,000 - Price Realized $332,300

With report CS 36737 dated 22 January 2004 from the American Gemological Laboratory stating that based on available gemological information, it is the opinion of the Laboratory that the origin of this material would be classified as Ceylon (Sri Lanka). Heat Enhancement: None. Clarity Enhancement: None 

James B. Duke commissioned Cartier to make this bracelet using stones he provided. The payment of $5,630 was not made until 8 November 1925, after his death. 

The Doris Duke Collection of Important Jewelry. An elegant Art Deco natural pearl and diamond bandeau, by Cartier. Photo Christie's Image Ltd 2004

The openwork old European-cut diamond tapering band, of geometric design, centering upon a pearl, measuring approximately 13.10 mm, enhanced by two pear-shaped diamonds, mounted in platinum, circa 1924. Signed Cartier, no. 2419203. Estimate 150,000 - $200,000 - Price Realized $3298,700

With report 13163096 dated 10 February 2004 from the Gemological Institute of America stating that the pearl is natural
The total weight of the natural pearl is approximately 12.77 carats 

Provenance: Nanaline or James B. Duke; Cartier, 1 March 1924, $23,000,
and by descent to Doris Duke 

Literature: Diana Scarisbrick, "Tiara", Chronicle Books, San Francisco, 2000, page 164-165 

Exhibited: "Crowning Glories: Two Centuries of Tiaras", Boston, Museum of Fine Arts, Torf Gallery, 1 March-25 June 2000 

Towards the turn of the last century, new styles of tiaras developed and increased in popularity. At the same time, a newly wealthy class of industrialists were becoming America's aristocracy and began to entertain with the same extravagance of European royalty. The charity ball and numerous private parties were new forms of socializing that gave stylish women an opportunity to wear tiaras outside of the traditional Court functions. The laurel wreath, acanthus and garland motifs were traditional types of tiaras, however, contemporary jewelers invented new styles to rejuvenate headpieces and jewelry. This tiara was purchased by either Nanaline or James B. Duke in 1924 and is an excellent example of the early Art Deco tiara. Designed to sit low on the forehead, rather than on the top of the head, this was the perfect look for the cropped boy's hairstyle favored at the time. The bandeau, with a geometric all-white diamond and platinum design, would have complimented perfectly the long sautoirs and straight and narrow silhouette. 

The Doris Duke Collection of Important Jewelry. An exquisite Art Deco emerald and diamond bracelet, by Cartier. Photo Christie's Image Ltd 2004

Of Indian design, centering upon a cabochon emerald plaque of circular outline, with single-cut diamond trim, flanked on either side by old European-cut diamond trefoil shoulders to the cabochon emerald and four-row cultured pearl bracelet, measuring approximately 4.50 mm, joined by a circular and rectangular-cut diamond clasp, mounted in platinum and gold, circa 1934, 6½ ins. Signed Cartier Paris New York, no. 2717519. Estimate 250,000 - $350,000 - Price Realized $209,100

Provenance: Cartier New York, 31 December 1934, $18,505 (as brooch) 

This bracelet was originally purchased as a brooch from Cartier New York. On 11 January 1935, the diamond motif was mounted as a bracelet with pearls supplied by Doris Duke. She recieved a credit for the pearls and clasp. 

Cartier's Indian Intrigue

The incorporation of Indian influences and gemstones into jewels was one of Cartier's greatest innovations in the Art Deco period. Jacques Cartier first grew enamored of Indian jewels at the turn of the 19th century. As the director of Cartier London, he was exposed to the lavish jewels of the Indian princes who often visited Britain. Jacques himself traveled to India in 1911 in an effort to establish Cartier's reputation among the Indian elite. Over time, he gained their admiration and respect, and the Indian elite entrusted Cartier to re-set and transform their jewels into modern designs, incorporating traditional motifs.
Indian tradition held that gems were a permanent investment. As they were passed from generation to generation, they would constantly be reset and jewels reinvented with old stones. Parisian styles and fashion fascinated the Indian elite of this time, so they were eager to have Cartier reinterpret their family treasures.
At the same time, as travel increased between the two continents, not only did Parisian styles grow in popularity in India, but Indian fashion and design became prevalent in Europe as well. Cartier began to purchase whatever precious gems were available in India, including delicately carved emeralds, sapphires and rubies. Many of these stones were incorporated into Cartier's Tutti Frutti jewels. Fine quality gems cut en cabochon were often used to reinterpret Mughal motifs from art of the Mughal Empire, which merged Hindu and Persian elements.
This bracelet, lot 107, incorporates three of the most valued gems in Indian jewels: emeralds, pearls and diamonds. The richly-saturated cabochon emeralds are the focal point of the bracelet, the bold, geometric plaque, trimmed by diamonds, extends diamond and emerald accents to the simple four-strand pearl bracelet and Art Deco diamond clasp. The bracelet is an excellent example of Cartier's interpretation of Mughal jewels. It is also interesting in the context of Doris Duke's collection as her purchase of the bracelet and clip in December 1934 preceded her first trip to India and the advent of her passion for collecting Mughal jewelry.
In February 1935, Doris Duke married James Cromwell, and the newlyweds spent most of the remainder of the year on their honeymoon in India. It was during this trip that Miss Duke was first captivated by Indian culture, especially the decorative and jeweled arts. The couple bought carpets, ivory carvings, tiles, jade, bronzes, clothing and jewels. Later, Doris collected Indian jewels in abundance, delighting in their heritage as much as in their decorative element. As with all of her jewels, Doris Duke exhibited refined taste in selection as well as the redesign of some pieces to her preference.

The Doris Duke Collection of Important Jewelry. An exquisite Art Deco diamond and enamel evening bag, by Cartier. Photo Christie's Image Ltd 2004

Of square outline, the black silk bag joined by a black enamel clasp, enhanced at either end by pierced pavé-set diamond plaques, to the central pave-set diamond pull of geometric motif, centering upon an old European-cut diamond, to the central baguette-cut diamond line, opening to reveal a white silk interior with a separate mirror, mounted in platinum, circa 1934, 6 3/8 x 5 7/8 x 5/8 ins. Signed Cartier. Estimate 20,000 - $30,000 - Price Realized $101,575

Provenance: Nanaline Duke, and by descent to Doris Duke 

The Doris Duke Collection of Important Jewelry. A spectacular ruby and cultured pearl necklace, by David Webb. Photo Christie's Image Ltd 2004

Designed as a multi-strand ruby bead fringe, accented by cultured pearls, measuring approximately 9.70 mm, to the ruby bead and polished gold neckchain and cultured pearl and ruby bead floret clasp, mounted in 18k gold, circa 1969, 16 ins., in a David Webb black suede case. Signed Webb for David Webb. Estimate 80,000 - $120,000 - Price Realized $93,210

Doris Duke commissioned this necklace from David Webb using three single-strands of pearls, 14 loose pearls and 1136 ruby beads she provided. The invoice for $4,000 was paid in full on 10 October 1969. 

David Webb: The Quintessential American Jeweler

David Webb opened shop in the late 1940s in New York's jewelry district, but it wasn't until the early 1960s that Webb's popularity soared and he established himself as the quintessential American jeweler. He relocated to Fifty Seventh Street where he sold his designs to private clients in an upstairs salon, while maintaining relationships with Bonwit Teller and Bergdorf Goodman.
The 1960s were a period of change in American culture, as women gained greater independence and confidence; and David Webb captured that sentiment to create bold jewels that make a statement for the wearer. He was enamored of unusual gemstones, baroque pearls, and semi-precious stones, which he combined in modern and innovative designs. David Webb attracted a celebrity clientele. The Duchess of Windsor, Elizabeth Taylor and Jacqueline Kennedy visited his New York boutique and purchased his jewels and President Kennedy commissioned several gifts of State from him.
Doris Duke began to frequent David Webb's boutique in the early 1960s and often selected suites of jewels. She purchased dangling ear pendants, brightly colored necklaces and other bold pieces including lots 35, 36 and 38. It is not surprising that Doris Duke felt an affinity for David Webb's designs. Webb often used imagery from the Far East based on his studies of 18th century jewels from Jaipur, India. Doris Duke's life-long fascination with Indian jewelry and art began decades earlier and made Webb a natural choice for the commission of the Indian inspired fringe necklace, lot 79, and the emerald bead necklace, lot 84. Miss Duke actually supplied the cultured pearls, rubies and emeralds for the designs. Lot 94, the large cultured pearl and diamond ear pendants are also of obvious Indian inspiration.

Attributed to Gentile Bellini, "A Seated Scribe" - The Isabella Stewart Gardner Museum

This singular painting, which has intrigued scholars and inspired whole exhibitions, shows a young scribe in the Ottoman court hunched over a writing pad. Attributed - though with no great certainty - to Bellini, it is one of the most evocative and popular works in the museum.

Titian, "Europa" - The Isabella Stewart Gardner Museum

Painting doesn’t get better than this. The mythological scene, which depicts Europa being abducted by Zeus in the form of a bull, is a late work by the Venetian genius, painted for Spain’s King Phillip II.

Rembrandt, "Self-Portrait, Aged 23" - The Isabella Stewart Gardner Museum

One of the earliest self-portraits in a series of more than 90 that Rembrandt made throughout his life. The series is one of the high points of Western art.

Sandro Botticelli ,"The Tragedy of Lucretia" - The Isabella Stewart Gardner Museum

This is late Botticelli, a very different creature from the earlier painter of dreamy, part-Gothic Madonnas and mythological figures. Having shifted from tempera to oil, he pulled out all the stops here to tell three sequentially linked episodes in the story of Lucretia’s rape, a tragedy that led to the overthrow of tyranny and the declaration of the Roman republic.

Giotto, "The Presentation of the Christ Child in the Temple" - The Isabella Stewart Gardner Museum

This small panel on gold, painted around 1320 by the father of the Italian Renaissance, is full of simple human tenderness. 

Fra Angelico, "The Death and Assumption of the Virgin" - The Isabella Stewart Gardner Museum

With its transporting blues, ambitious conception, and incredibly fine detail, this jewel of a painting needs to be studied up close. It’s one of four panels Fra Angelico made for the church of Santa Maria Novella in Florence. 

John Singer Sargent, "Mrs. Gardner in White" - The Isabella Stewart Gardner Museum

When she was 82, Isabella Stewart Gardner suffered a debilitating stroke. This portrait in watercolor was created by her friend, Sargent, not long afterward. It was painted in the museum’s Macknight Room, where it now hangs. 

John Singer Sargent, "El Jaleo" - The Isabella Stewart Gardner Museum

Stirringly theatrical and full of life, this enormous image of a live dance performance in Spain was painted by Sargent and is installed in the Spanish cloister on the ground floor. 

James Whistler, "Nocturne, Blue and Silver: Battersea Reach" - The Isabella Stewart Gardner Museum

Whistler’s emphasis on sensation and atmosphere over detailed description has been compared by some to the philosophy underpinning Gardner’s whole museum. “I see the entire museum as a correlative to these shadowy tone poems,’’ wrote the poet and critic Wayne Koestenbaum of Whistler’s nocturnes. 

Piero della Francesca, "Hercules" - The Isabella Stewart Gardner Museum

Hercules was a strong guy, as this painting makes obvious. But Piero painted him here as a young man, without his usual beard, and with an expression of uncommon serenity. In the 19th century, the picture - one of Piero’s few mythological works - was detached from a wall in the artist’s own house before being sold to Isabella Stewart Gardner 40 years later. 

(source: http://www.bostonglobe.com)

Yves Klein, Untitled Anthropometry (ANT 8) c. 1960. Pure pigment and synthetic resin on paper, 40 1/8 x 28 3/4 inches (102 x 73 cm) No. ANT 8. Private Collection. Image credit: © Yves Klein, Artists Rights Society (ARS), New York / ADAGP, Paris 2013 / Courtesy Dominique Lévy, New York.

NEW YORK, NY.- Dominique Lévy announced her gallery’s new home in New York City and the inaugural exhibition Audible Presence: Lucio Fontana, Yves Klein, Cy Twombly, which will open to the public on September 18, 2013. Installed in the gallery’s historic landmark building at 909 Madison Avenue at 73rd Street, Audible Presence explores the relationship between the time-based procedures employed by three of the most influential artists of the 20th century and the auditory experiences of music, sound, and silence. Curated by Dominique Lévy and Associate Director Jennifer G. Buonocore, and organized with support from the Yves Klein Archives, Paris, and the Fondazione Lucio Fontana, Milan, Audible Presence will present more than 30 paintings and sculptures. Among these are rare masterpieces loaned by The Broad Art Foundation, Santa Monica; The Museum of Modern Art, New York; The Menil Collection, Houston; and Robert Rauschenberg Foundation, New York. The exhibition will remain on view through November 16th. Spanning a thirty year period, Audible Presence reveals moments of conceptual and formal resonance between carefully selected works of art by Fontana, Klein, and Twombly. While the monochromatic surfaces on view – cut, pressed, burned, inscribed, or otherwise violated – reflect distinct dynamic, sensual, and romantic approaches to abstraction, they emerged from a shared Mediterranean climate and engagement with an international community of influential dealers and critics such as Iris Clert and Pierre Restany. Among the evocative, intimate, and experiential works of art on view will be an early environmental installation – Soffitto (1949) – conceived by Fontana for a private residence in Milan and never before exhibited in the United States; the monumental Untitled Sponge Relief (RE 23) (1957) by Klein, the only all- white sponge painting the artist ever created; a vibrant International Klein Blue (IKB) monochrome painting, Untitled (IKB 100) (1956), acquired by Fontana from Klein’s 1957 exhibition at Galerie Apollinaire, Milan, on loan to this exhibition from the Fondazione Lucio Fontana; Fontana’s non-objective portrait of a Venetian blue sky, Concetto Spaziale, Il Cielo di Venezia (1961); and Twombly’s attempt to capture the experience of warm Italian light, a cream canvas with crimson and gold markings called Sunset (1957), created the year the artist permanently relocated to Rome. 

According to Yves Klein, the origins of his aesthetic and personal development coincided with an early idea for a symphony consisting of a single prolonged tone – a concept originally conceived with two friends on a beach in Nice. “During this period of concentration,” Klein wrote, “I created, around 1947-1948, a monotone symphony whose theme expresses what I wished my life to be.” What began as a spontaneous experiment for three voices, evolved into Monotone-Silence Symphony– a challenging work formally scored for a small orchestra and chorus in 1960. The Monotone-Silence Symphony was Dominique Lévy’s key source of inspiration for Audible Presence. In conjunction with the exhibition, Dominique Lévy will present New York City's first public performance of Monotone-Silence Symphony at the Madison Avenue Presbyterian Church on September 18th. This powerful perceptual encounter will unfold over 40 minutes. Seventy musicians and singers will hold a single continuous tone for a 20-minute period. The performers then will remain frozen and motionless in observance of a 20-minute period of absolute silence. Of that soundlessness Klein wrote, “This silence is so marvelous because it grants happenstance and even sometimes the possibility of true happiness, if only for only a moment, for a moment whose duration is immeasurable.” 

Monotone-Silence Symphony was performed only once during the artist’s brief lifetime, on the night of March 9, 1960 as one part of the happening Anthropometries de l'époque bleue at the Galerie internationale d'art contemporain in Paris. For that event Klein conducted a small group of musicians as they played his symphony and directed three nude models – his “living brushes” – in the creation of Anthropometry paintings by covering their bodies with blue paint and pressing themselves against blank sheets of paper lining the walls and floor. Reflecting on his experience of sound in his symphony, Klein writes, “This continuous sound... emerged from space even while remaining in it, penetrated it anew, then returned to silence... deprived of its attack and of its conclusion.... It was silence – an audible presence!” 

Monotone-Silence Symphony will be presented free to the public. Seating is limited and reservations for the performance on September 18th will be offered on a first- come, first-served basis. 

Connoisseur, collector, advisor, and gallerist Dominique Lévy, formerly the director of private sales of modern, post-war, and contemporary art at Christie’s and founding partner of L&M Arts, formed her eponymous gallery in January 2013. Lévy is admired internationally as a leading expert on the work of such postwar masters as Alexander Calder, Alberto Giacometti, Yves Klein, Mark Rothko, and Andy Warhol. Her gallery will present innovative historical exhibitions of such influential European and American figures as well as showcases of exceptional new work by living artists and special commissioned projects. The gallery also will focus upon private sales in the secondary market; produce original scholarship and key publications; provide advisory and collections management services; and participate in art fairs internationally. Dominique Lévy is proud to represent the artists Günther Uecker and Pierre Soulages, as well as the estates of Yves Klein and Germaine Richier, in the United States. Dominique Lévy will be open to the public Tuesday through Saturday from 10 AM until 6 PM. Information about the gallery and its programs is available to the public online at www.dominique-levy.com 

IMAGES (LEFT TO RIGHT): FONTANA. CONCETTO SPAZIALE, ATTESE, 1966; KLEIN. UNTITLED ANTHROPOMETRY (ANT 8), C. 1960; TWOMBLY, UNTITLED (ROME), 1971 (ON LOAN FROM PRIVATE COLLECTIONS). ALL PHOTOGRAPHY OF WORK BY KLEIN: © YVES KLEIN, ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / ADAGP, PARIS 2013 / COURTESY DOMINIQUE LÉVY, NEW YORK.

IMAGES (LEFT TO RIGHT): FONTANA. CONCETTO SPAZIALE, II CIELO DI VENEZIA, 1961; KLEIN. UNTITLED (MG 26), 1960; TWOMBLY. UNTITLED, 1971 (ON LOAN FROM PRIVATE COLLECTIONS). PHOTO OF FONTANA: PHOTO © ELLEN PAGE WILSON / COURTESY DOMINIQUE LÉVY, NEW YORK.

Aiguière Gomil"D. Manuel", Dynastie Ming, Règne Zhengde (1506-1521). Casa-Museu Medeiros e Almeida, Lisbonne

Kendi, Dynastie Ming, Règne Jiajing (1522-1566). Casa-Museu Medeiros e Almeida, Lisbonne

Kendi, Dynastie Ming, Règne Jiajing (1522-1566). Casa-Museu Medeiros e Almeida, Lisbonne

Jarre aux carpes, Dynastie Ming, Règne Jiajing (1522-1566). Casa-Museu Medeiros e Almeida, Lisbonne

Plat "Fontanges". Porcelaine chinoise d'exportation, vers 1722, dynastie Qing, règne Kangxi (1662-1722). Casa-Museu Medeiros e Almeida, Lisbonne

Fontaine et bassin, dynastie Qing, règne Kangxi (1662-1722). Casa-Museu Medeiros e Almeida, Lisbonne

Terrine rectangulaire à pans coupés couverte et son présentoir, dynastie Qing, règne de Kangxi (1662-1722). Casa-Museu Medeiros e Almeida, Lisbonne

Paire de bols impériaux, dynastie Qing, règne de Yongzheng (1723-1735). Casa-Museu Medeiros e Almeida, Lisbonne

Terrine couverte "Aux Paons" et son présentoir, famille rose, porcelaine chinoise d'exportation, dynastie Qing, règne de Qianlong (1736-1795). Casa-Museu Medeiros e Almeida, Lisbonne

Terrine couverte "Aux Coqs" et son présentoir, famille rose, porcelaine chinoise d'exportation, dynastie Qing, règne de Qianlong (1736-1795). Casa-Museu Medeiros e Almeida, Lisbonne

Paire de lapins, famille rose, porcelaine chinoise d'exportation, dynastie Qing, règne de Qianlong (1736-1795). Casa-Museu Medeiros e Almeida, Lisbonne

Terrine "Chou vert" et son présentoir, porcelaine chinoise d'exportation, dynastie Qing, règne de Qianlong (1736-1795). Casa-Museu Medeiros e Almeida, Lisbonne

Terrine "Canard", 

Wendy Yue. Secret Paradise. 18 Karat White Gold Ring w/ Jade, Aquamarine, Brown Diamond, Blue Sapphire, Tsavorite, Topaz, Citrine

Wendy Yue. Luminous Throne. 18 Karat White Gold Ring w/ Black Pearl, Brown Diamond, White Sapphire, Tourmaline, Tsavorite

Wendy Yue. Hidden Treasure. 18 Karat White Gold Bangle w/ Jade, Black Diamond, Brown Diamond, Tsavorite, Black Wood

Wendy Yue. Bejeweled Frog. 18 Karat Rose Gold Ring w/ White Diamond, Black Diamond, Tsavorite, Ruby, Spessartite Garnet

Wendy Yue. Medusa. 18 Karat White Gold Bangle w/ Lava, Brown Diamond, Fancy Diamond, Orange Sapphore, Tsavorite, Emerald, Spinel

Wendy Yue. Serpent's Nest. 18 Karat Rose Gold Ring w/ Opal, Brown Diamond, Blue Sapphire, Pink Sapphire, Tsavorite, Citrine

Amphore, dynastie Tang (618-906). Casa-Museu Medeiros e Almeida, Lisbonne

Aiguière à tête de phénix, dynastie Tang (618-906). Casa-Museu Medeiros e Almeida, Lisbonne

Coupe "Jun", province de Henan, dynastie Song (960-1279). Casa-Museu Medeiros e Almeida, Lisbonne

Pièces céladon, dynastie Song (960-1279). Casa-Museu Medeiros e Almeida, Lisbonne

Coupe "Ding", Dynastie Song (960-1279). Casa-Museu Medeiros e Almeida, Lisbonne

Memento mori pendant, France, 16th century. Length: 2.8 centimetres. 1978,1002.117. British Museum © Trustees of the British Museum

'Memento mori' gold pendant in the form of a coffin enamelled in black and white with a hinged rock-crystal cover and a skeleton in high relief. The reverse and insides are enamelled with tongues of fire.

Detail. Late 16th century Spanish ensemble

Pendant, Hungary, 16th century @ Hungarian National Museum - Budapest

Pendant, Hungary, 16th century @ Hungarian National Museum - Budapest

Clasp, Hungary, 16th century @ Hungarian National Museum - Budapest

Detail. Clasp, Hungary, 16th century @ Hungarian National Museum - Budapest

Clasp, Hungary, 16th century @ Hungarian National Museum - Budapest

Clasp, Hungary, 16th century @ Hungarian National Museum - Budapest

Detail. Clasp, Hungary, 16th century @ Hungarian National Museum - Budapest

(source: Kotomi_http://www.flickr.com)

Posy rings, France, 1500-1530. Gold, engraved. Given by Dame Joan Evans. M.221-1962. Victoria & Albert Museum, London © V&A Images.

Gold posy ring, inscribed in Roman capitals in French, 'UNG TEMPS VIANDRA' separated by a flower and scrolling foliage in relief around the outer hoop and '+MON DESIR ME VAILLE' separated by stars engraved on the inner hoop. The outer hoop may originally have been enamelled.

Posy rings, the name deriving from poesy ('poetry'), are rings with inscriptions that express affection, friendship and love. Rhyming or cryptic inscriptions were fashionable from around 1200-1500, and were written in Latin but more commonly in French, the language of courtly love. Both these languages were spoken and understood fairly widely by the elite in medieval Europe. The repetition of particular inscriptions suggest that goldsmiths had reference books of stock phrases; the more unusual inscriptions perhaps indicate a client's individual request. 
The small size of this example suggests it was owned by a woman. 
The circular hoop could be engraved both inside and out; until around 1350 the style of lettering took the form of the rounded capitals, known as Lombardic script, and from that date until after 1500 lettering was in the spiky script known as Gothic.

Giovanni Pisano (c. 1248 - before 1319), Head of a Bearded Man, 1312-14. KMS5962. National Gallery of Denmark

The head, an example of Italian late Gothic art, is believed to be by Giovanni Pisano who trained under his father Nicola Pisano (c. 1220/1225 - c. 1284) at his workshop, his so-called “botegga”.

Style and technique

In terms of style and technique the head is reminiscent of the many sculptures appearing in the reliefs and pedestal bases of his principal work: the pulpit at the baptistery in Pisa, which was carve from marble between 1302 and 1310.

Recent studies show that the head is presumably from the sepulchral monument, now destroyed, created for Margaret of Luxembourg in 1311.

The sculpture's dramatic style

Giovanni Pisano was the greatest sculptor of his day because he mastered the art of assimilating the reliefs of classical Antiquity, used e.g. on sarcophagi, combining it with his own dramatic and highly narrative style. 

The face is very expressive and lifelike for its time. The drama is accentuated by the pronounced contrasts between light and shadow created by the holes bored into the hair and beard. Even the eyes have been brought to life with bored holes. 

By: Eva de la Fuente Pedersen (http://www.smk.dk)