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A Magnificent And Rare Blue And White 'Dragon And Phoenix' Jar, Yuan Dynasty

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A Magnificent And Rare Blue And White 'Dragon And Phoenix' Jar, Yuan Dynasty - Photo Sotheby's

stoutly potted with full rounded sides rising to a gently waisted neck, flanked by a pair of animal mask handles, the body painted in bright inky shades of cobalt-blue with two scaly dragons pacing amongst scrolling clouds in pursuit of flaming pearls between classic scroll bands, all below a frieze of rising and descending phoenix among boughs of flowering peony, the neck encircled by a band of undulating lotus scrolls and the foot with a lappet band, applied with a metal rim and cover. Quantité: 2. 35cm. 13 3/4 in. Estimation: 400,000 - 600,000 GBP

PROVENANCE: Acquired by a European diplomat in Japan, prior to World War II.

A European private collection.

NOTE DE CATALOGUEThe Magnificent Yuan Dynasty ‘Dragon’ Guan. By Hajni Elias

In its material, form and design, the present magnificent guan is the classic representation of blue-and-white porcelain from the Yuan dynasty (1279-1368) and represents a key stage in the formation of the shape known as guan. The banded decoration seen on this piece is unique in its design combination; in fact, no two Yuan jars are ever the same. However, the decoration encompasses many of the characteristic elements found on Yuan porcelain design, such as the lotus scroll, dragons, petal-panels or lappets and phoenix among flowers-heads.

The painting of the dragons on this jar is bold and free. The two mythical beasts are lively and animated with powerful yet elegant elongated bodies, impressive bulging eyes, long snouts and fierce looks. They are characteristic of the Yuan style that is generally confident and individual. The phoenixes amongst flowering peonies are painted in a more gentle and stylized manner, adding a softer touch to the overall composition. Yuan designs reflect the artistic freedom and innovative climate encouraged by the Mongol rulers at the time, who gave potters employed by the Fouling Porcelain Bureau, located in Jingdezhen, Jiangxi province and established in 1278, carte blanche to create pieces that satisfied both domestic and export markets. In fact, following the technical perfection achieved with the making of large white-glazed wares and the availability of precious cobalt for decoration, there was no limit to the artistic expression that went into the making of blue-and-white pieces. Individually styled and exquisitely crafted wares became the new luxurious items of the 14th century, highly sought after by the Yuan court as well as other parts of the Mongol Empire, Central Asia and the Islamic world. Guan of this type, like much of the contemporary chargers, were especially made to suit the communal feasting traditions of the Mongols and other Central Asian communities and therefore large amounts were produced for the export markets. 

The dragons seen here are reminiscent of that painted on the famous guan unearthed from the Yuan dynasty cellar at Gao’an, Jiangxi province, where over two-hundred ceramics pieces were found hidden. The Gao’an discovery gives us some context in which to place the present piece. A recent study suggests that the cellar was located in the residence of the official and the emperor’s son-in-law Wu Liangcheng, whose name is listed in the Tongzhi (r.1862- 1874) edition of Gao’an shen zhi. Renwu zhi. Wu’s father was also a government official and a man of considerable wealth. The family’s direct access to the court meant that they were either awarded pieces from the imperial palace or purchased them at a high price. The Gao’an jar is illustrated in The Porcelain from the Cellar of the Yuan Dynasty in Gao’an, Beijing, 2006, p. 46.

Similar dragons can also be found on a dated pair of temple vases, from the collection of Sir Percival David and now in the British Museum, London. The ‘David’ vases bear a commemorative inscription dedicating the pieces to a Daoist temple in Yushan district, Jiangxi province, in the 11th year of the Zhizheng reign (corresponding to 1351). Dated blue and white wares of the Yuan dynasty are extremely rare and these vases provide essential information on the rapid development in porcelain technology in the 14th century. The vases are illustrated in numerous publications, including Oriental Ceramics. The World’s Great Collections, vol. 6, New York, 1982, col. pl. 25, with one of the pair sold in these rooms, 6th June 1935, lot 89, from the Charles E. Russell collection.

See also the two large dragons a guan of this type in the Museum of Fine Arts, Boston, included in Sekai toji zenshu, vol. 13, Tokyo, 1981, pl. 196; and the dragons on a jar in the Museum of Oriental Ceramics, Osaka, included in the Exhibition of Blue and White Wares in Yuan Dynasty: 14th Century Ching-te Chen Wares, Osaka Municipal Art Museum, Osaka, 1985, cat. no. 4. A closely related single dragon is painted below the neck on a jar in the Topkapi Saray Museum, Istanbul, illustrated in Zhu Yuping, Yuan dai qinghua ci, Shanghai, 2000, pl. 4-13, and also in Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. II, London, 1986, pl. 586. Compare also a jarsold in our Hong Kong rooms, 8th April 2007, lot 838, with a related dragon design band on the body, below a stylized peony scroll band.

The Yuan period was a small window between two great Chinese dynasties of ceramics production, the Song and the Ming. Potters at Jingdezhen were encouraged to be innovative with their art form and served a ruler that was enterprising and international in outlook. Ceramics production was thereby stimulated by both international and domestic commercial demands and influences. The present guan with its traditional Chinese decorative motifs combined with the foreign nature of its shape is truly original and advanced. The provenance history of the guan is also of historical importance. The jar was acquired by a European diplomat in Japan before World War II, being part of a wider private collection. After the 1930s, it became part of his ‘diplomatic’ belongings, even during the years spent in a prison camp. After the war, the collection, including the jar, was shipped to his family home in Europe where it stayed in the hands of his family for two further generations.

Sotheby's. Fine Chinese Ceramics & Works of Art. London | 07 nov. 2012 www.sothebys.com


Boucheron Plume de Paon emerald and diamond necklace.

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Boucheron Plume de Paon emerald and diamond necklace.

A Copper-Red 'Peony' Vase, Yuhuchunping. Ming Dynasty, Hongwu Period

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A Copper-Red 'Peony' Vase, Yuhuchunping. Ming Dynasty, Hongwu Period - Photo Sotheby's

the pear-shaped body rising from a spreading foot to a waisted neck, painted in greyish tones of copper-red against a crackled glaze with an undulating leafy scroll bearing large peony blooms, all between trefoil leaf motifs above and a lappet band below, the neck encircled by stiff leaf, keyfret and foliate scroll bands, skirted around the foot with a keyfret band, the neck reduced; 36.2cm., 14 1/4 in. Estimation: 60,000 - 80,000 GBP

PROVENANCE: Collection of Dr J.H. Zeeman, Chargé d'Affaires, Embassy of the Netherlands, Beijing, 1954-1957.
Thence by descent.

NOTE DE CATALOGUE: Underglaze copper-red decorated vessels of the Hongwu period are amongst the rarest examples of early Ming dynasty porcelain wares made in the kilns at Jingdezhen, Jiangxi province. Copper-red became an important colour for decoration during Hongwu’s reign, and according to Liu Xinyuan, ceramics expert at the Jingdezhen Institute of Ceramic Archaeology, underglaze-red porcelain were produced systematically on a considerable scale because very few were fired successfully due to the difficulty in controlling the copper-red pigment. See Liu Xinyuan, ‘A Study of Early Ming and Yongle Imperial Porcelain Excavated at Zhushan, Jingdezhen’, Imperial Hongwu and Yongle Porcelain Excavated at Jingdezhen, Taipei, 1996, p. 52. Although the beginning of the new Ming dynasty brought profound changes to the Jingdezhen potters’ repertoire, painted designs for the first three decades remained mainly restricted to formal flower motifs and ornamental borders covering the surface of the vessel in an orderly pattern, as seen on this piece. Liu ibid., p. 52, notes that while the subject matter and decoration employed may not have been as rich or varied as that of the Yuan Dynasty, nor is the brushwork as fluent and lively, Hongwu porcelain retains a quality of independent robustness with a distinct style that was virtually unrepeated in later periods.

A related bottle vase from the Qing court collection and still in Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglaze Red, vol. 1, Shanghai, 2000, pl. 197; and another in the Tokyo National Museum is included in Oriental Ceramics. The World’s Great Collections, vol. 1, Tokyo, 1982, pl. 112. Compare also a vase sold in these rooms, 12th June 1990, lot 209, with the peony scroll design painted beneath a similarly distinct irregular crackled glaze, suggesting that the two pieces may have been produced and fired by the same hand.

Further examples of peony scroll decorated yuhuchunping include one from the collection of Sir Harry Garner, sold in these rooms, 21st November 1961, lot 24; four vessels of this type published in Mayuyama Seventy Years, Tokyo, 1976, pls. 721-4; and another with an extensive provenance, sold in our Hong Kong rooms, 17th May 1988, lot 12, and last sold at Christie’s Hong Kong, 30th May 2006, lot 1248, of exceptional quality and deep copper-red decoration.

Sotheby's. Fine Chinese Ceramics & Works of Art. London | 07 nov. 2012 www.sothebys.com

Princess Margaret's 5- row pearl and diamond necklace

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Princess Margaret's 5- row pearl and diamond necklace

A Rare Inscribed White-Glazed 'Monk's Cap' Ewer, Sengmao Hu. Ming Dynasty, Yongle Period - Sotheby's

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A Rare Inscribed White-Glazed 'Monk's Cap' Ewer, Sengmao Hu. Ming Dynasty, Yongle Period - Photo Sotheby's

the compressed globular body rising from a splayed foot to a flared cylindrical neck, surmounted by a galleried monk’s cap rim with a small lug on the interior, the tall spout of semi-circular section extending the full length of the neck,  the wide strap handle with a ruyi-shaped terminal and a ruyi-shaped tab on top incised in iron-red with the Arabic inscription reading Shah Jahan Ibn Shah 1503, corresponding to AD 1643, applied overall with a rich white glaze; 19.3cm., 7 5/8 in. Estimation: 80,000 - 120,000 GBP

PROVENANCE: Collection of Shah Jahan, India (r. 1627-1658).

An Indian Private Collection (until circa 1980).

A Swedish Private Collection.

NOTE DE CATALOGUEShah Jahan’s Monk’s Cap EwerRegina Krahl

Monochrome white monk’s cap ewers from the imperial porcelain kilns at Jingdezhen were created for the Yongle Emperor (r. 1403-24) to be used in Tibetan Buddhist rituals performed either at court in the then capital, Nanjing, or in Tibet proper. The present piece subsequently reached the court of another important Asian ruler, Shah Jahan of India, the creator of the Taj Mahal. The Mughal ruler, who reigned from 1627 to 1658, amassed a sizeable collection of fine Chinese porcelains as well as exquisite jades, several of which are remaining, identified by an engraved cartouche bearing his name, like on the present piece.

By far the most famous piece bearing Shah Jahan’s engraved cartouche is a Mughal jade wine cup in the Victoria & Albert Museum, inscribed with a year equivalent to AD 1657 (Robert Skelton, ‘The Shah Jahan Cup’, Victoria and Albert Museum Bulletin, vol. II, no. 3, July 1966, pp. 109-10). Other Chinese porcelains formerly in his collection are a blue-and-white dish of the Yuan dynasty (AD 1279-1368) and a white one of the early Ming (AD 1368-1644), both engraved with Shah Jahan’s name and the former with a date corresponding to AD 1652/3, both preserved in the Asia Society, New York, from the John D. Rockefeller 3rd collection, see Denise Patry Leidy, Treasures of Asian Art: The Asia Society’s Mr. and Mrs. John D. Rockefeller 3rd Collection, New York, 1994, pls 161 and 162.

Monk’s cap ewers derive their shape from Tibetan ewers made of metal or wood that may have been placed in front of Buddhist altars filled with provisions or with water for use in ablutions, as is suggested in a somewhat later Tibetan painted textile depicting Avalokiteshvara and other deities, behind an altar set with bowls of fruit, a flower vase, pearshaped bottles and a monks cap ewer; see the exhibition catalogue Defining Yongle. Imperial Art in Early FifteenthCentury China, The Metropolitan Museum of Art, New York, 2005, pl. 36.

Ewers of this form appear to have been produced in porcelain since the Yuan dynasty and became a standard vessel shape of the imperial kilns in the Yongle (AD 1403-24) reign, when the emperor actively supported Tibetan Buddhism. In AD 1407 he invited the most influential Tibetan lama, Halima (AD 1384-1415) of the Karma-pa sect to the capital Nanjing to perform religious services for his deceased parents, and on the occasion commissioned lavish gifts for him from the imperial workshops. More than fifty porcelain ewers of this form were recovered from stratum five of the Yongle waste heaps of the Ming imperial kiln site, believed to date from around AD 1407, both plain or with incised decoration; see Imperial Porcelain of the Yongle and Xuande Periods Excavated from the Site of the Ming Imperial Factory at Jingdezhen, Hong Kong Museum of Art, Hong Kong, 1989, p. 62, where a white monks cap ewer with flower scrolls from the site is illustrated, cat. no. 8. A rare white piece with a Yongle reign mark incorporated into an engraved flower scroll on the neck is illustrated in Regina Krahl, ‘The T.T. Tsui Collection of Chinese Ceramics’, Orientations, December 1989, p. 39, figs 14 and 14a; and a ewer still remaining in Tibet, in the Tibet Museum, was included in the exhibition Treasures from Snow Mountains. Gems of Tibetan Cultural Relics, Shanghai Museum, Shanghai, 2001, cat. no. 88.

Monochrome white porcelain was so important in the Yongle period that the milky-translucent glaze seen on this ewer was specially created and used exclusively for monochromes. Particularly lush in appearance and smooth and soft to the touch, it has become known as ‘sweet-white’ (tianbai).

For a white Yuan prototype of this form but of different proportions and with the usual transparent glaze used at Jingdezhen at that time, excavated from a tomb in Haiding district, Beijing, and now in the Capital Museum, Beijing,see Zhongguo taoci quanji [Complete series on Chinese ceramics], Shanghai, 1999-2000, vol. 11, pl. 62.

Sotheby's. Fine Chinese Ceramics & Works of Art. London | 07 nov. 2012 www.sothebys.com

A natural pearl and diamond necklace, by M. Gérard

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A natural pearl and diamond necklace, by M. Gérard. Photo Christie's Image Ltd 2012

Of V-shaped design, with two lines of graduated baguette and brilliant-cut diamonds, suspending at the front five drop-shaped natural grey pearls, with diamond trefoil surmount, mounted in gold, 38.0 cm. Signed M. Gérard. Estimate CHF250,000 - CHF350,000

Accompanied by report no. 64306 dated 2 August 2012 from the SSEF Swiss Gemmological Institute stating that the pearls are natural saltwater pearls, with no indications of colour modification

Christie's. Geneva Magnificent Jewels, 13 November 2012, Geneva

An Anhua And Incised White-Glazed Bowl, Lianzi Wan. Ming Dynasty, Yongle Period - Sotheby's

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An Anhua And Incised White-Glazed Bowl, Lianzi Wan. Ming Dynasty, Yongle Period - Photo Sotheby's

the deep rounded sides supported on a straight foot, decorated in anhua to the interior with a floral medallion, enclosed by radiating stiff petal lappets below a band of breaking waves at the rim, the exterior incised with an undulating floral scroll bearing alternating chrysanthemum and camellia blossoms below a keyfret band, applied overall with a milky-white glaze, Japanese wood box. Quantité: 2 - 21cm., 8 1/4 in. Estimation: 60,000 - 80,000 GBP

PROVENANCE: A Japanese Private Collection

NOTE DE CATALOGUE: Anhua, ‘hidden decoration’, is a complicated and not yet fully-understood manner of decoration that appears to have involved some moulding into a fine layer of slip. It was practised almost exclusively at the beginning of the Ming dynasty, from the Hongwu to the Xuande period, and only at Jingdezhen. The term is often misinterpreted and used to designate any difficult-to-decipher design, but pieces such as the present bowl, which is decorated with both incisingand with anhua, clearly document the difference between the two techniques. 

A closely related bowl from the Meiyintang collection is illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994, pl. 649, where she notes that although blue and white bowls of this type were also produced, but with the interior and exterior designs reversed, the Yongle emperor is believed to have preferred monochrome white wares and blue-and-white only became popular during the Xuande period (1426-35). Further bowls of this type include one in the National Palace Museum, Taipei, published in Minji meihin zuroku, vol. 1, Tokyo, 1977, pl. 102; one published in Porcelains from the Tianjin Municipal Museum, Hong Kong, 1993, pl. 73; another from the Alfred Clark collection, included in the Oriental Ceramic Society exhibition The Arts of the Ming Dynasty, London, 1957, cat. no. 9, and sold in these rooms, 26th June 1973, lot 247; and a fourth bowl from the M.C. Wang, Edward T. Chow and Mathias Komor collections, sold at Christie’s New York, 20th September 2001, lot 133.

Sotheby's. Fine Chinese Ceramics & Works of Art. London | 07 nov. 2012 www.sothebys.com

A White-Glazed Stem Bowl, Xuande Mark And Period

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A White-Glazed Stem Bowl, Xuande Mark And Period - Photo Sotheby's

the deep rounded sides rising to a gently flaring rim and supported on a tall splayed foot, the interior inscribed in the centre with a six-character Xuande mark within a double circle, applied overall with a creamy-white glaze; 11.5cm., 4 1/2 in. Estimation: 30,000 - 50,000 GBP

Sotheby's. Fine Chinese Ceramics & Works of Art. London | 07 nov. 2012 www.sothebys.com


Dear Dior Dentelle Chantilly Multicoloured ring

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Dear Dior Dentelle Chantilly Multicoloured ring

A rare Wucai 'fish' jar, Jiajing mark and period

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A rare Wucai 'fish' jar, Jiajing mark and period - Photo Sotheby's

the tapering ovoid body surmounted by a short neck with lipped rim, painted to the exterior with carp swimming in a lotus pond admist aquatic plants, framed by a lappet band above and ruyi heads below, the neck encircled with a classic scroll band, the base inscribed with a six-character Jiajing mark, Japanese wood box. Quantité: 2 - 23cm., 9 1/8 in. Estimation: 20,000 - 30,000 GBP

PROVENANCE: A Japanese Private Collection.

NOTE DE CATALOGUE: Two closely related jars from the Oppenheim collection and now in the British Museum are illustrated in Jessica Harrison-Hall, Ming Ceramics, London, 2001, pls 9:117 and 9:118; another in the Metropolitan Museum, New York, is published in Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 169; and a third from the collection of Mrs Otto Harriman, included in several exhibitions including the Oriental Ceramics Society Arts of the Ming Dynasty, London, 1957, cat. no. 204, was sold in these rooms, 9th June 1987, lot 238.

The Jiajing emperor was a fervent patron of Daoism and the motifs that decorated the arts of his reign were steeped in Daoist imagery and iconography. Fish as an image of freedom from restraints have played an important part in Daoist thought and the association is found in the ancient Daoist classic, Zhuangzi, of the late 5th century BC. For a discussion on fish jars of the Jiajing period, see Regina Krahl, ‘The Pleasure of Fishes’, Fine Chinese Ceramics and Works of Art, Sotheby’s New York, 11th/12th September 2012, pp 196-199.

Sotheby's. Fine Chinese Ceramics & Works of Art. London | 07 nov. 2012 www.sothebys.com

Dior Dentelle Tourmaline ring

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Dior Dentelle Tourmaline ring

A blue and white 'lotus and peacock' vase. Ming Dynasty, Jiajing period

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A blue and white 'lotus and peacock' vase. Ming Dynasty, Jiajing period - Photo Sotheby's

the elegant broad shouldered body rising from a spreading recessed base to a short waisted neck, painted around the exterior in rich dark cobalt-blue tones with a broad band of peacocks in flight over leafy scrolling lotus, all between lotus and ruyi bands at the base and shoulder and a crane and ruyi cloud band at the neck; 35cm., 13 3/4 in. Estimation: 15,000 - 25,000 GBP

Sotheby's. Fine Chinese Ceramics & Works of Art. London | 07 nov. 2012 www.sothebys.com

A blue and white 'phoenix medallion' bottle vase. Ming Dynasty, Jiajing period

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A blue and white 'phoenix medallion' bottle vase. Ming Dynasty, Jiajing period - Photo Sotheby's

the elegant ovoid body rising from a short foot to a tall slender neck with everted rim, painted in reverse around the exterior in rich cobalt-blue tones with four phoenix medallions divided by ruyi clouds and scrolls, all within lappet and ruyi bands at the base and shoulder, the neck with further ruyi scrolls below a chevron band at the rim, the base with four-character seal mark fugui jiaqi (beautiful vessel for the rich and honourable); 35cm., 13 3/4 in. Estimation: 8,000 - 12,000 GBP

Sotheby's. Fine Chinese Ceramics & Works of Art. London | 07 nov. 2012 www.sothebys.com

Dear Dior Bouquet d'Opales ring

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Dear Dior Bouquet d'Opales ring

A red-glazed Guan jar. Ming Dynasty, Jiajing period

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A red-glazed Guan jar. Ming Dynasty, Jiajing period - Photo Sotheby's

the baluster body rising to a waisted neck flanked by a pair of bovine mask handles, the exterior covered with a rich vermillion-red glaze pooling into streaks of horizontal layers of darker red, with traces of gilt decoration, the interior glazed white; 31.5cm., 12 3/8 in. Estimation: 60,000 - 80,000 GBP

NOTE DE CATALOGUE: The prototype to this jar, glazed in yellow and attributed to the Hongzhi period (1488-1505), in the Qing Court collection and still in Beijing, is illustrated in The Complete Collection of Treasures of the Palace Collection. Monochrome Porcelain, Hong Kong, 1999, pl. 36, together with another yellow-glazed jar of related form but without handles, pl. 37, and a blue-glazed example with loop handles, gilt-decorated with an additional buffalo on the body. The Palace jars retain most of their gilt designs and the trace on the present piece suggests it may have been similarly decorated with horizontal lines encircling the body. 

The style of glazing on this jar, with its layers of vertical streaking, is consistent with that found on other red-glazed wares attributed to the Jiajing reign; for example see a red kinrande stembowl, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 4, pt. I, London, 2010, pl. 1684; and a hexagonal double-gourd vase, formerly in the Eumorfopoulos collection, in the British Museum, London, included in Jessica Harrison-Hall, Ming Ceramics, London, 2001, pl. 9:70.

White, blue, yellow and red monochromes were made in the Jiajing era and it is thought that porcelains of different colours were assigned to different temples built in this period (see ibid., p. 214).

Sotheby's. Fine Chinese Ceramics & Works of Art. London | 07 nov. 2012 www.sothebys.com


Dear Dior Dentelle Opale d'Orient ring

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Dear Dior Dentelle Opale d'Orient ring

A blue and white pilgrim flask for the Portuguese Market, Ming Dynasty, 16th century - Sotheby's

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A blue and white pilgrim flask for the Portuguese Market, Ming Dynasty, 16th century - Photo Sotheby's

the flattened circular body rising from a spreading foot to a tall waisted neck, painted to the front face with the arms of Philip II of Spain enclosed by leafy floral sprays, the reverse with butterflies hovering amongst floral sprays issuing from rockwork, the sides with scrolling lotus, decorated with further floral sprays at the neck; 30.5cm., 12in. Estimation: 20,000 - 30,000 GBP

PROVENANCE: A Japanese Private Collection.

Sotheby's. Fine Chinese Ceramics & Works of Art. London | 07 nov. 2012 www.sothebys.com

Art Deco Platinum, Carved Sapphire and Diamond Jabot, Cartier. Circa 1925

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Art Deco Platinum, Carved Sapphire and Diamond Jabot, Cartier. Circa 1925. Photo Doyle New York.

A pair of blue and white, Yenyen vases. Qing dynasty, Kangxi period - Sotheby's

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A pair of blue and white, Yenyen vases. Qing dynasty, Kangxi period - Photo Sotheby's

each baluster body rising from a spreading foot to a tall trumpet neck and everted rim, painted around the exterior in rich cobalt-blue tones with four arch-shaped panels enclosing birds perched on fruiting and flowering bushes issuing from rockwork, all between moulded and painted lotus-lappet bands at the base and collar, the neck similarly painted with panels between a ribbed chevron and a moulded lappet band, the interior of the rim with a geometric floret band, the base with a ruyi spray within double circles; 51cm., 20 1/8 in. Estimation: 25,000 - 35,000 GBP - Lot. Vendu 31,250 GBP

Sotheby's. Fine Chinese Ceramics & Works of Art. London | 07 nov. 2012 www.sothebys.com

Grand guéridon, bâti de tilleul, placage d'acajou. Epoque Empire, vers 1805

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Grand guéridon, bâti de tilleul, placage d'acajou. Epoque Empire, vers 1805. Photo Europ Auction

Le plateau est composé d'une marqueterie d'une trentaine de marbre et pierres dures à motif géométrique, ceint d'une galerie de bronze ciselé et doré, ornée d'étoiles, mascaron et rehaussée d'un cordage. Il repose sur trois pieds en bois sculpté patiné vert et doréà têtes de lion ailé tenant un anneau en bronze dans la gueule et terminés par des pieds griffes. Le fût central à balustre, le tout réuni sur un socle en acajou, cintré de forme trapèze avec roulettes. H 80, Diam 105 cm - 

Un dessin de Charles Percier (1764- 1838) et Pierre-François-Léonard Fontaine (1762-1853) permet de donner ce modèle aux célébres architectes.

Europ Auction. Mercredi 14 novembre 2012. Drouot Richelieu - Salle 4 - 9, rue Drouot - 75009 Paris. Tel. +33 (0)1 48 00 20 04

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