A gem-set marine scene brooch, Seaman Schepps. Photo Bonhams.

designed as a carved opal fish, with a circular-cut sapphire eye, enhanced by a coral branch and textured gold seaweed, set with circular-cut diamond and emeralds and baroque cultured pearls; signed Seaman Schepps; no. P12111, with maker's mark; mounted in eighteen karat gold; length: 2 1/2in. Sold for US$ 7,500 (€5,419)

Bonhams. FINE JEWELLERY. New York, 9 Apr 2014 - www.bonhams.com

A pair of Dutch Delft polychrome vases, mid-18th century. Photo Sotheby's

of slender lobed baluster form, painted in the 'cashmire' palette with panels of a bird amongst flowers alternating with a bird perched on a vase of flowers beneath a floral lappet border, restoration to one rim. Quantité: 2; 32.5cm., 12 3/4 in. high. Estimation 1,000 — 1,500 GBP

Provenance: The Stodel Collection (paper label to base)

Sotheby's. The Gustav Leonhardt Collection, Property from the Bartolotti House, Amsterdam. London | 29 avr. 2014 - www.sothebys.com

 GENEVA.- On 13 May 2014, Sotheby’s Geneva auction of Magnificent Jewels and Noble Jewels will present an impressive selection of signed and period jewels from private collections, some with noble provenance. The array of important diamonds in the sale includes the ‘Graff Vivid Yellow’, an exceptional 100.09 carat daffodil yellow diamond ring and the Victory Diamond, named in honour of the Allied victory in World War II. Coloured stones include an important 121.00 carat Burmese sapphire and an exquisite 12.46 carat Burmese ruby. Collectors of jewels from the 20th century will be captivated by the Belperron jewels from the collection of Mme Picha-Eisenstein, a close friend of the celebrated designer Suzanne Belperron. 

David Bennett, Chairman of Sotheby’s Switzerland and Chairman of the Jewellery Department for Europe and the Middle East commented: “It is a very interesting and varied sale featuring fine coloured gemstones, magnificent white diamonds, and a wide choice among many private collections of fine jewellery, some of them with noble provenance. Of particular interest to the collector will be the fascinating group of jewels by Suzanne Belperron which was formed by one of her close friends, Madame Mary Picha-Eisenstein; and a small but exquisite private collection of art nouveau jewels by René Lalique”.  

Jewels from the Collection of Flora Sassoon
Sotheby’s will present a selection of jewels from the collection of Flora Sassoon. A pioneering and influential figure of the late 19th and early 20th century, Flora Sassoon excelled in business, successfully running her husband’s Bombay business after he died, and went on to shine in social and philanthropic circles in turn-of-the-century London. Outstanding pieces from her collection include a ravishing diamond necklace, (lot 459, est. CHF 360,000 – 625,000 / $400,000 – 700,000).

The auction will also feature an impressive selection of pieces from other important private collections, some of noble and royal provenance. 

Formerly in the Collection of Flora Sassoon, Diamond necklace, circa 1900. Estimate: 360,000 – 625,000 CHF / 400,000 - 700,000 USD. Photo Sotheby’s

Diamonds of exception
The Magnificent Jewels section features an exceptional offering of important diamonds, led by the spectacular ‘Graff Vivid Yellow’, a sensational daffodil yellow diamond weighing 100.09 carats, mounted as a ring. Of exceptional beauty and extraordinary fire and brilliance, this gem is among the largest Fancy Vivid Yellow diamonds in the world, appearing on the list of the ‘World’s Largest Cut Diamonds’ in Ian Balfour’s Famous Diamonds (2008) (lot 507, est. CHF 13,400,000 – 22,300,000 / $15,000,000 – 25,000,000).

The spectacular ‘Graff Vivid Yellow’. Est. CHF 13,400,000 – 22,300,000 / $15,000,000 – 25,000,000. Photo: Sotheby's.

The selection will also include a stunning cushion brilliant-cut diamond weighing 70.33 carats. This D Colour flawless gem was found to be part of the rare Type IIa subgroup – chemically the purest of all diamond crystals and often with extraordinary optical transparency (lot 500, est. CHF 10,700,000 – 14,300,000 / $12,000,000 – 16,000,000). 

Of fascinating historical significance is the Victory Diamond, named in honour of the Allied victory in World War II. A step-cut diamond weighing 31.34 carats, it was also graded by the GIA (Gemmological Institute of America) as D Colour and Potentially Flawless, and is also Type IIa. The Victory Diamond formerly belonged to Florence Gould, celebrated as one of the truly great collectors of jewellery in the 20th century (lot 504, est. CHF 4,460,000 – 7,100,000 / $5,000,000 – 8,000,000). 

Property from a Private Collection. The Victory Diamond. Weighing 31.34 carats, D Colour, VVS2 Clarity, Type IIa Potentially Internally Flawless. Estimate: 4,460,000 CHF - 7,100,000 CHF / 5,000,000 - 8,000,000 USD. Photo Sotheby’s

Among the other white diamonds on offer is a spectacular diamond ring by Graff, set with a round brilliant-cut diamond which, at 103.46 carats, is one of the largest known round diamonds. The gem, like the ‘Graff Vivid Yellow’, appears on Famous Diamonds’ list of the ‘World’s Largest Cut Diamonds’ (lot 506, est. CHF 3,200,000 – 4,460,000 / $3,500,000 – 5,000,000). 

The section will also feature an impressive array of step-cut, potentially flawless diamonds, including a D Colour 17.25 carat diamond (lot 493, est. CHF 1,520,000 – 2,200,000 / $1,700,000 – 2,400,000). Also worthy of note is a 30.01 carat diamond (lot 496, est. CHF 1,340,000 – 2,230,000 / $1,500,000 – 2,500,000). 

Coloured Diamonds
The selection of coloured diamonds comprises a delightful ring of toi et moi design, set with two diamonds: one a Fancy Vivid Blue of 3.08 carats and the other a Fancy Intense Blue weighing 2.83 carats. Both diamonds are potentially flawless (lot 526, est. CHF 3,570,000 – 6,200,000 / $4,000,000 – 7,000,000).

The allure of pink diamonds is exemplified this Spring in a Fancy Pink diamond ring, claw-set with a marquise-shaped stone weighing 12.07 carats (lot 522, est. CHF 3,570,000 – 6,200,000 / $4,000,000 – 7,000,000) along with a round brilliant Fancy Light Pink diamond ring weighing 10.11 carats (lot 525, est. CHF 450,000 – 715,000 / $500,000 – 800,000).

From an Important Private Collection. Fancy Light Pink diamond ring weighing 10.11 carats, Natural Colour, Fancy Light Pink, VS2 Clarity. Estimate: 450,000 – 715,000 CHF / 500,000 – 800,000 USD. Photo Sotheby’s

From an Important Private Collection. Fancy Vivid Blue and Fancy Intense Blue "toi et moi" diamond ring, set with one fancy vivid blue diamond weighing 3.08 carats, the other fancy intense blue weighing 2.83 carats, both VVS1 clarity and both Potentially Flawless. Estimate: 3,570,000 - 6,200,000 CHF / 4,000,000 - 7,000,000 USD. Photo Sotheby’s
 
From an Important Private Collection. Fancy Pink diamond ring. Weighing 12.07 carats, Natural Colour, Fancy Pink, Internally Flawless. Estimate: 3,570,000  - 6,200,000 CHF / 4,000,000 – 7,000,000 USD. Photo Sotheby’s

Coloured Gemstones
The sale in May will also feature a rich assortment of exceptional gemstones. The exemplary characteristics of Burmese rubies are represented by a very important ruby and diamond ring (left), set with a cushion-shaped ruby weighing 12.46 carats between triangular diamond shoulders (lot 461, est. CHF 2,500,000 – 4,250,000 / $2,800,000 – 4,800,000).

A very important Burmese ruby and diamond ring weighing 12.46 carats. Estimate: 2,500,000–4,250,000 CHF / 2,800,000–4,800,000 USD. Photo Sotheby’s

Meanwhile, a fine example of Kashmir sapphires is found in an important sapphire and diamond ring – the cushion-shaped sapphire weighing 10.96 carats mounted as a ring between demi-lune diamond shoulders. The Swiss Gemmological Institute describes this exceptional sapphire: “the velvety blue of this sapphire is due to very fine and subtle inclusions and a combination of well-balanced trace elements in the gemstone” (lot 492, est. CHF 1,100,000 – 1,400,000 / $1,200,000 – 1,600,000). 

Connoisseurs will also delight in a rare and magnificent unmounted Burmese sapphire – an oval stone weighing 121.00 carats. The gem is accompanied by a Gübelin report stating that the stone is “free from thermal treatment, and possessing a richly saturated and homogenous colour, combined with a high degree of transparency” (lot 445, est. CHF 1,200,000 – 1,600,000 / $1,300,000 – 1,800,000). 

The section will offer a variety of emerald jewels, including an emerald and diamond ring, featuring a step-cut Colombian emerald weighing 30.32 carats (lot 514, est. CHF 270,000 – 450,000 / $300,000 – 500,000). A further example of the dazzling green of Colombian emeralds can be found in an exquisite pair of emerald and diamond ear clips, each with a bow-shaped surmount set with triangular diamonds and a cabochon emerald, suspending a drop-shaped emerald (lot 520, est. CHF 180,000 – 270,000 / $200,000 – 300,000). 

The sale will include a wide selection of fine natural pearl jewels - more than 60 pieces - among them necklaces and ear pendants and fine pearl drops. Highlights include a natural pearl and diamond necklace (lot 505, est. CHF 225,000 – 315,000 / $250,000 – 350,000) and a pair of natural pearl and diamond pendent earrings from a Noble Collection (lot 460, est. CHF 315,000 – 490,000 / $350,000 – 550,000). 

Signed and Period Jewels
The sale this spring features a fascinating selection of jewels demonstrating exemplary craftsmanship and historical significance. A fragment of aviation history is brought to life through a gold and diamond necklace (illustrated left) from the collection of Jacqueline Auriol, celebrated as one of the most audacious test pilots of the 20th century. A gift to Mme Auriol from aircraft industrialist Marcel Dassault in honour of her achievements, the necklace is embellished to the side with a gold Mystère IV fighter jet and a line of graduating circular-cut diamonds (lot 432, est. CHF 20,000 – 30,000 / $22,000 – 33,000).

Connoisseurs of jeweler Van Cleef & Arpels will delight in wonderful examples of serti mystérieux craftsmanship: a selection of jewels designed as flowers, the petals composed of calibré-cut rubies, the pistils with brilliant-cut diamonds. The sale includes a ruby and diamond brooch, ‘Deux Fleurs’, 1996 (lot 501, est. CHF 135,000 - 225,000 / $150,000 – 250,000), along with a pair of ruby and diamond ear clips ‘Pergola Royale’, 1996 (lot 502, est. CHF 135,000 – 225,000 / $150,000 – 250,000) and a pair of ruby and diamond brooches (lot 517, est. CHF 65,000 – 90,000 / $70,000 – 100,000). 

A ruby and diamond brooch, ‘Deux Fleurs’, 1996 (lot 501, est. CHF 135,000 - 225,000 / $150,000 – 250,000), with a pair of ruby and diamond ear clips ‘Pergola Royale’, 1996 (lot 502, est. CHF 135,000 –225,000 / $150,000 – 250,000. Photo: Sotheby's

The Art Nouveau designer René Lalique is represented by a small but exquisite private collection of jewels, including a natural pearl, enamel and diamond devant le corsage set with glass berry clusters and circular-, single-cut and rose diamonds, suspending a baroque-shaped natural pearl (lot 391, est. CHF 105,000 – 135,000 / $118,000 – 150,000). 

Sotheby's Geneva has led the market for Belperron jewels since the sale of Suzanne Belperron's personal collection in 2012. The woman widely recognised as the greatest female jewellery designer of the 20th century is well represented in this sale, with a selection showcasing her creativity and craft. The ensemble is from the Collection of Mme Picha-Eisenstein, a dear friend of Mme Belperron who regularly sought out Suzanne to make jewels for her personal collection. Admiring of her talent, she often recommended Mme Belperron to famous actors and actresses whom she knew through her husband, Boris Eisenstein, founder of the “Société Parisienne de Sonorisation”. She wore her Belperron jewels when attending the annual Cannes Film Festival where she met the likes of Charlie Chaplin, Marlene Dietrich, Cary Grant and dear friends Walt and Roy Disney. Highlights from Mme Picha-Eistensten’s collection include a pair of diamond clips by Suzanne Belperron, 1943, accompanied by a hinged torque necklace (above) (lot 233, est. CHF 37,000 – 50,000 / $40,000 – 53,000) and a diamond cuff bracelet, ‘Mon Bracelet’, Suzanne Belperron, 1942, composed of three tapered bands set with circular-cut diamonds (lot 249, est. CHF 37,000 – 50,000 / $40,000 – 53,000). 

Pablo Picasso, Chouette. Terre de faïence vase, 1968. Estimate: £6,000-8,000. Photo: Sotheby's

LONDON.- Sotheby’s is to offer an exceptional selection of ceramics by Pablo Picasso in London on 7 May 2014. This follows Sotheby’s auction in March 2013 of Important Ceramics by Pablo Picasso from a Private Collection, in which all the ceramic lots sold. The comprehensive group of over 170 works represents an opportunity for collectors to acquire their own work of art by one of the 20th century’s most famous artists. The sale includes plates, vases, jugs, bowls and tiles designed by Picasso, depicting a range of classical and mythical forms alongside portraits of animals and people, as well as linocuts from this period. The individual pieces range in estimate from £400 to £60,000. 

Picasso constantly explored opportunities to break creative boundaries and challenge himself in innovative ways. A chance encounter with the owners of the renowned Madoura pottery in Vallauris in the south of France in 1946, when the artist was 64 years of age, was the starting point for his exploration of a whole new creative medium. Picasso remained enchanted by the freedom and expressive nature of ceramics throughout the last 25 years of his life. Working with the Ramié family during these years, Picasso found great satisfaction in working with clay. His freedom of thought and creative powers are clearly evident in these works, and the sense of playfulness for which he was so renowned. 

The years Picasso spent in the region are understood to have been among the happiest of his life. At Madoura, he met his future wife and famed muse Jacqueline Roque, who was to remain his partner for over 20 years until his death in 1973. During his first year at the pottery, Picasso and his lover Françoise Gilot welcomed a son, Claude, who shared his name with the Patron Saint of Potters. 

Since the Royal Academy’s flagship exhibition of Picasso’s ceramics in 1998 there has been a renewed appreciation for the artist’s experimentations with this art form. An exhibition currently on view in Sèvres until 19 May – Picasso, Ceramicist, and the Mediterranean – is the biggest ever dedicated to Picasso’s ceramics. 

Pablo Picasso (1881 - 1973), Quatre profils enlacés. Terre de faïence plate, a unique variant 1949. a unique variant with additional decoration by the artist on the underside, glazed and painted, with the Madoura and Empreinte Originale de Picasso stamps; diameter: 265mm 10½in. Estimate: £10,000-15,000. Photo: Sotheby's

In 1949, Picasso produced six versions of ‘Four enlaced profiles’. The motif of the interlocking profiles dates to the mid-1920s, to a drawing by Picasso that was used as a design for a black and white mosaic floor at the Château de Clavary, near Grasse. In the ceramic version, the repeated profile is recognisably that of Françoise Gilot. Decorations painted directly on to the plate by Picasso make this unique variant particularly rare. 

Pablo Picasso (1881 - 1973), Taureau dans l’arène. Terre de faïence platter, 1948, from the edition of 450, inscribed 'Edition Picasso', glazed and painted, with the Madoura and d'Après Picasso stamps; width: 380mm 15in. Estimate: £4,000-6,000. Photo: Sotheby's

Picasso repeatedly evoked the bullfight during the years following World War II when he was in the south of France. This platter depicts the bull standing proud in the centre, with spectators lining the ring. The bullfight had personal associations for Picasso; it symbolised Spain, the homeland that he decided not to return to after Franco had come to power in 1939. The profile of the standing bull is given dramatic emphasis with a delineated white contour and cloud-like white surround. 

Pablo Picasso (1881 - 1973), Gros oiseau corrida. Terre de faïence vase, 1953. numbered 7, from the edition of 25, partially glazed and painted, with the Madoura and d'Après Picasso stamps; height: 578mm 22 3/4 in. Estimate: £60,000-80,000. Photo: Sotheby's

This large composite bird vase is decorated with bullfighting scenes on the oval body. When he was in Vallauris, Picasso attended bullfights in neighbouring towns. The confrontation between the mounted picador and the bull was a favourite motif, and Picasso enjoyed the company of the Spanish troupes of bullfighters who would take part in the corridas. 

Pablo Picasso (1881 - 1973), Profil de Jacqueline. Terre de faïence dish, 1956. from the edition of 100, with the Empreinte Originale de Picasso and Madoura stamps; diameter: 410mm 16in. Estimate: £8,000-12,000. Photo: Sotheby's

Picasso met his second wife, Jacqueline Roque, when she was working in Madoura. The undecorated earthenware dish, in which Jacqueline’s head is seen in profile, her hair covered with a headscarf, was produced in both white and red earthenware versions. 

Pablo Picasso (1881 - 1973), Vallauris. Silver plate, 1967, after the 1956 ceramic design. numbered 7/20, inscribed'Picasso', published by François and Pierre Hugo, 1967, Paris, with the original wooden presentation box; diameter: 415mm 16½in. Estimate: £20,000-30,000. Photo: Sotheby's

After World War II, an annual summer exhibition took place in Vallauris, and Picasso began to produce posters for the event. In 1956, the design of the Vallauris exhibition poster was used on the commemorative ceramic dishes that he produced in the same year. Within an oval central image, a frontal view of a faun in the centre is flanked by profiles at either side. The faun’s horns protrude beyond the rim of the oval. The name of the town and the date were carved in reverse into the plaster, so that they would read correctly; though the final ‘s’ of Vallauris is reversed. Discussions with François Hugo and his son, Pierre, the renowned gold- and silversmiths, about an edition in silver began in 1956, and took a full ten years to develop, before being fully realised in 1967. During this time, Picasso chose to keep private the development of the silver plates. 

This work is accompanied by a certificate of authenticity from Pierre Hugo.

Pablo Picasso (1881 - 1973), Visage en forme de trèfle. Gold pendant, 1973. with the stamped signature and numbered 1/20 on the reverse, also stamped 'Hugo', with the goldsmith's mark 'FH' and numbered '1683' and '1621', with the original fitted wooden case incised 'Picasso'; 43 by 52mm 1 3/4 by 2 1/8 in. Estimate: £7,000-10,000. Photo: Sotheby's

Gold pieces by Picasso are rarely seen on the auction market. From an early edition that Picasso produced with François Hugo – who designed limited-edition jewellery interpretations for Picasso, Jean Cocteau, Max Ernst and Coco Chanel – this medallion is stamped with the ‘FH’ goldsmith’s mark and ‘Hugo’. The collaboration between Picasso and Hugo was important to both men, and their friendship endured until the end of Picasso’s life. 

This work is accompanied by a certificate of authenticity from Pierre Hugo.

Pablo Picasso (1881 - 1973), Vase aztèque aux quatre visages. Terre de faïence vase, 1957. numbered 37/50, inscribed'Madoura' and 'Edition Picasso', partially glazed and painted, with the Madoura and Edition Picasso stamps; height: 540mm 21in. Estimate: £25,000-35,000. Photo: Sotheby's

Pablo Picasso (1881 - 1973), Vase aztèque aux quatre visages. Terre de faïence vase, 1957. numbered 84/100, inscribed 'Edition Picasso' and 'Madoura', painted, with the Edition Picasso and Madoura stamps; height: 560mm 22in. Estimate: £35,000-40,000. Photo: Sotheby's

Picasso’s Aztec vases look back to Pre-Columbian stirrup heads, with their round handles topping the design, and like his forebears, he saw the potential in transforming the vase into a head. Picasso decorated each side so that faces appear on all of them, with an eye shared between adjacent faces. The handle is painted to give the appearance of a braid of hair, and in this example, is shaped into a circular form above the front of the woman’s face – modelled on Jacqueline – which has a circular mark above her nose, like a Hindu caste mark. 

Pablo Picasso (1881 - 1973), Chouette. Terre de faïence vase, 1968. numbered 472/500, with the workshop numbering, incised 'Edition Picasso' and 'Madoura', partially glazed and painted, with the Madoura and Edition Picasso stamps; height: 297mm 11 3/4 in. Estimate: £6,000-8,000. Photo: Sotheby's

Picasso came up with the idea of representing a bird (mostly owls) with composite pots of his own design. The open neck of the vase formed the head; an amphora, turned sideways, became the body; and a neck positioned at the end of the amphora formed the tail, with all the assembled components placed on another neck to create a stand. Picasso adopted and tamed an injured owl, when he was working in Antibes in the south of France in 1946, and named it Ubu, an assonant of the French word for owl, ‘hibou’. 

Plateau ou panneau décoratif en bois exotique incrusté d'une fine marqueterie de nacre. Vietnam, Fin du XIXe siècle. Photo PERIGORD ENCHERES - PERIGORD ESTIMATIONS

Estimation: 100 € - 120 €

PERIGORD ENCHERES - PERIGORD ESTIMATIONS. Maître MIALLON. Dimanche 27 avril à 14h30 à Périgueux - 9 rue Bodin 24000 Périgueux. Tél. : 05 53 08 60 84 - Fax : 05 53 07 45 32 - bertrand.miallon@wanadoo.fr

Table en bois exotique, à piètement pliant supportant un plateau orné d'une riche marqueterie de nacre. Vietnam. XIX° siècle. Photo PERIGORD ENCHERES - PERIGORD ESTIMATIONS

manques). Estimation: 300 € - 400 €

PERIGORD ENCHERES - PERIGORD ESTIMATIONS. Maître MIALLON. Dimanche 27 avril à 14h30 à Périgueux - 9 rue Bodin 24000 Périgueux. Tél. : 05 53 08 60 84 - Fax : 05 53 07 45 32 - bertrand.miallon@wanadoo.fr

Plateau sur pieds en bois exotique incrusté d'une fine marqueterie de nacre. Vietnam, Fin du XIXe siècle. Photo PERIGORD ENCHERES - PERIGORD ESTIMATIONS

16,5x51x29 cm. (à restaurer). Estimation: 100 € - 150 €

PERIGORD ENCHERES - PERIGORD ESTIMATIONS. Maître MIALLON. Dimanche 27 avril à 14h30 à Périgueux - 9 rue Bodin 24000 Périgueux. Tél. : 05 53 08 60 84 - Fax : 05 53 07 45 32 - bertrand.miallon@wanadoo.fr

Salisbury - Kashmir sapphires and natural saltwater pearls are now generating more international interest than ever before. Both combine extreme rarity and beauty and the two to be offered in the May sale have the additional dimension of exceptional size. It is most unusual for any round natural pearl over 10mm or any Kashmir sapphire over 5cts to come on to the open market. The Kashmir sapphire weighs 9.68 cts. At 33.15 cts and with a maximum diameter of 17.44 mm., the round pearl could well be the largest in the world to have ever come up for sale by auction. Both are modestly estimated at £80,000-120,000.

A large and important natural pearl, 33.15cts, 132.59 grains. 16.51 x 17.44mm. Estimate: £80,000 - 120,000. Photo courtesy Woolley & Wallis

Accompanied by report number 09623 from The Gem and Pearl Laboratory, London dated 21st January 2014 stating that the pearl measures 16.5 - 17.4mm, weighs 33.15cts and is a natural saltwater pearl.

Accompanied by report number 72642 from SSEF, Switzerland, dated 5th February 2014 stating that the pearl weighs 33.147cts (132.59 grains), measures 16.51 x 17.44mm, roundish, half-drilled, the colour is white and the pearl is a natural saltwater pearl.

With appendix letter stating:

The natural pearl described in Test Report No 72642 from the Swiss Gemmological Institute SSEF possesses extraordinary characteristics and merits a special mention and appreciation.

The described natural pearl exhibits an impressive size and weight of 33.147cts (132.59 grains), combined with an attractive roundish shape and smooth pearl lustre. The pearl shows an attractive white colour with weak rosé and green overtones, poetically also referred to as the 'orient of pearls'. Such overtones are due to an iridescence effect caused on the surface of pearls and greatly contribute to their beauty.

The combination of well-balanced trace elements found in this pearl is characteristic for a saltwater pearl.

A natural pearl of such a large size and quality is very rare and exceptional.

Documentation of historic round pearls can be prone to conflicting details and some pearls, over the years, have simply disappeared. Although some were recovered, the entire French crown jewels were stolen when the Garde Meuble (Royal Treasury) was stormed in Paris during the French Revolution in 1792. An inventory of the jewels had listed a 388 grain, round pearl just a few months previously. It has not been mentioned again.

A pearl of 148 grains was referred to in Taverniers Voyages (1676 - 1679) as being a gift to the Great Mogul from Shah Abbas. Again, it has not been mentioned since.

However, it is certain that the 33.14, or 132 grain pearl to be offered on May 1st 2014 is one of the largest round pearls ever to be offered at auction.

A Kashmir sapphire and diamond ring. Photo courtesy Woolley & Wallis

the cushion shaped sapphire weighs 9.68cts and is set in platinum with two tapered baguette shaped shoulder diamonds. The shank marked for Garrard, with London marks for 1985.

Accompanied by report number 72641 from SSEF, Switzerland, dated 5th February 2014 stating that the sapphire weighs 9.685cts, measures 11.50 x 10.32 x 7.94mm, the colour is blue of medium strong saturation. With no indications of heating. Origin: Kashmir. 

Accompanied by report number 09292 from The Gem and Pearl Laboratory, London dated 21st January 2014 stating that the sapphire weighs 9.68cts, with no evidence of heat treatment. Origin opinion: Kashmir. 

Woolley and Wallis Salisbury Salerooms - Jewellery - 01 May 2014

LONDON - Tang - Qing, fourteen centuries of Chinese art, an amazing time span. China has given the world some great art from the early bronze age: sculpture, furniture, paintings, jade carving and porcelain manufacture. It is a sobering thought that the West could not make porcelain until the eighteenth century. With the present catalogue we have selected what we believe to be excellent examples of several periods: Tang pottery, Ming and Qing imperial porcelain, Chinese domestic-market porcelain of the Kangxi period and examples of export porcelain. in all fifty-eight pieces that our firm is proud to present to our clientele. Whenever I write the foreword to one of our catalogues, I feel fortunate to have spent a lifetime handling these beautiful and creative pieces. They have enabled four generations of the Marchant family to travel the world searching for these treasures and meeting kind and knowledgeable people who share our love and passion.

It is customary for me to mention some of the pieces that have particular personal appeal:

No. 2 Tang blue-splashed pouring vessel - the simple globular form and rare blue colour have great appeal.

No. 6 Cream-glazed Dingyao bowl - from a rare kiln, it is a fine example of crisp moulding. 

No. 10 Longquan-celadon wine pot and cover - a rare and outstanding example of Ming celadon. My heart missed a beat on my first touch. 

No. 12 Imperial blue and white Zhengde brush rest - whenever I visit the Percival David collection, so beautifully displayed in its special room at the British Museum, I am happy that from time to time Marchant can duplicate one of the pieces from the collection.

No. 18 Imperial blue and white Wanli stem cup - it is with pride we offer this remarkable piece as only one other is known.

No. 25 Imperial blue and white and copper red fish bowl - the contrast between the underglaze red and blue has great charm, with a typical wet-brush mark confirming an early Kangxi date.

No. 40 Massive famille rose vase and cover with a continuous scene of fishing families - the ultimate home should be a Chinese museum where it can stand alone and the public can enjoy the remarkable painting and the story it tells.

No. 43 Imperial Qianlong blue and white ewer and cover - standing with great dignity, it says I’m proud to be the Qianlong version of the early Ming forerunner.

No. 47 Imperial ge octagonal lobed brushwasher - my favourite piece as it has everything one could wish for in a classic Qing monochrome and would grace any collection.

No. 53 Large goose tureen - Marchant has never before had such a large and rare example.

Blue-splashed straw glazed-ground round pouring vessel. Tang dynasty, 618-906. Photo courtesy Marchant

with lipped rim and cylindrical short spout, the interior cream and amber. 11.5cm wide

Old Japanese wood fitted box.
• Formerly in a Japanese private collection.
• Exhibited at the Kawaii Minichua, Tokubetsuten, Special Exhibition, MOA Museum of Art, Japan, 2005, no. 35, p. 18.
• A similar multicoloured, blue splashed pouring vessel is illustrated by Tohru Toguri in Chinese Ceramics in the Toguri Collection, 1988, no. 23, p. 31, and three others of this form in blue, blue-splashed and green, amber and speckled straw glaze are illustrated by Margaret Medley in An Exhibition of Tang Sancai Pottery, selected from the Collection of Alan and Simone Hartman, 1989, nos. 27-29, pp. 54/5.
• The result of thermoluminescence test certificate no. C113j27 Oxford Authentication Ltd. is consistent with the above dating.

Cream-glazed moulded dingyao conical bowl. Northern Song dynasty, 960-1234. Photo courtesy Marchant

with gilt metal rim and small circular foot rim, crisply moulded with four stylised flowerheads on a continuous scrolling branch with leaves and stems, encircling a flowerhead in the centre, all beneath a key-fret border, the exterior with characteristic tear marks. 15.5cm diameter.

• Formerly in the collection of James K. Wetherly, Colorado, USA.
• Sold by Shimojo Art Co. Ltd., Tokyo, circa 1980.
• A similar dish with four blossoms is illustrated in Selection of Ding Ware, The Palace Museum’s Collection and Archaeological Excavation, Beijing, 2012, pl. 68; another with three blossoms, is illustrated in White Porcelain of Dingyao, Nezu Institute of Fine Arts, 1983, no. 137, p. 78; a further example was sold by Sotheby’s New York in their auction of Fine Chinese Ceramics and Works of Art, 19-20th March 2013, no. 32, pp. 32/3; another example, in the Qing Court Collection, is illustrated in Porcelain of the Song Dynasty (I), The Complete Collection of Treasures of the Palace Museum, Beijing, no.54, p. 62.

Longquan celadon wine pot and cover, Early Ming dynasty, 14-15th century. Photo courtesy Marchant

carved on the globular body with flowerheads on a continuous leafy scrolling branch above lappets at the foot, the gate-form handle decorated on each side with a continuous branch of lingzhi scrolls supported with ‘s’-shape struts, the rectangular short curved spout decorated with scrolls, the domed cover incised with bands of scrolls, triangular diaper and leaf-form lappets, all beneath a bud finial. 22.3cm high.

Old Japanese wood box.
• Formerly in the collection of the Nobehara family, Osaka, Japan.
• A slightly later example without a cover is illustrated by William Willetts, Christopher Hooi and S. R. Parker in
Chinese Celadons and Other Related Wares in South East Asia, no. 250, pl. 206, pp. 254/5.

Chinese Imperial blue and white porcelain brushrest, The base with six-character mark of Zhengde within a double square and of the period, 1506-1521. Photo courtesy Marchant

in the form of five stylised mountain peaks on a ribbed rectangular integral base, painted on each side with an Arabic inscription in a round medallion on a scrolling ground repeated on the flat sides, the base in imitation of a wood stand with a continuous ruyi-head band, all on an unglazed biscuit foot rim. 19.8cm long, 13cm high.

• Sold by C. T. Loo & Co., New York and included in Exhibition of Chinese Arts, C. T. Loo and Co., 1941, no. 652.
• Sold by Sotheby’s London in their auction of Fine Chinese Ceramics, Bronzes and Works of Art, 11th December 1984, no. 346.
• From the collection of Robert H. Blumenfield, California.
• Sold by Christie’s New York in their auction of Auspicious Treasures for Scholars and Emperors from the Robert H. Blumenfield Collection, 22nd March 2012, no. 1270, pp. 108/9.
• The inscription is an Arabic proverb, Al-qalam aqbalu min kul shay’in, “The pen is above all else” (or “The pen is superior to all”).
• Another from the collection of Mrs C. G. Seligman was included by Prof. Angelo Spanio, Alberto Giuganino and Jean-Pierre Dubosc in The Exhibition of Chinese Art, Venice, 1954, no. 671, p. 182; another, formally in the collection of Louise Hawley Stone (1904-1997), is illustrated by Patricia F. Ferguson in Cobalt Treasures, The Bell Collection of Chinese Blue and White Porcelain, Gardiner Museum of Ceramic Art, Toronto, Canada, no. 1, p. 13; another, in The Percival David Foundation of Chinese Art, is illustrated by Sir Harry Garner in Blue and White of The Middle Ming Period, The Oriental Ceramic Society, Volume 27, 1951-3, pl. 19b; a further example, in The British Museum, is illustrated by Jessica Harrison-Hall in Ming Ceramics in The British Museum, no. 8:4, pp. 193/4.

Imperial blue and white small stem cup, gao zu bei. The base with six-character mark of Wanli within a double ring in underglaze blue and of the period, 1573-1619. Photo courtesy Marchant

incised with nine white anhua mythical sea creatures, including a winged dragon, yilong, seahorse and turtle, on a swirling-wave ground above crested waves, the flared single-ribbed stem with rocks and waves, all beneath a ruyi-head band on the gently flared rim, the interior with nine Sanskrit lanca characters. 7.8cm high, 8cm diameter.

Meiji/Taisho silk holder.
• Formerly in an important Japanese private collection.
• Only one other appears to be recorded and is illustrated in The Catalogue of Famous Ming Porcelain from Japan and Taiwan, Ming Ci Ming Pin Tu Lu Jiajing, Longqing, Wanli, no. 82, and is also illustrated by Liu Liang-yu in Ming Official Wares, p. 281.
• Another of the Wanli period bearing six-character mark of Xuande is included by Margaret Medley in The illustrated Catalogue of Underglazed Blue and Copper-Red, 1976, Section 3, no. 601.
• This design is inspired by the Xuande mark and period prototype, an example is illustrated by Chin Hsiao-yi in Catalogue of The Special Exhibition of Selected Hsüan-te Imperial Porcelains of The Ming Dynasty, National Palace Museum, Taiwan, 1998, no. 73, pp. 200/1.
• The theme of mythical sea creatures and their origins is discussed by Liu Xiang in the Han dynasty book, Shan Hai Jing ‘Classic of the Seas and Mountains’, and is discussed by Jessica Harrison Hall in Ming Ceramics in The British Museum, 2001, no. 4:13, p. 128, where the author illustrates a larger Xuande mark and period stem cup of similar design.

Imperial blue and white and underglaze copper-red deep bowl, wan. The base with six-character mark of Kangxi within a double ring in underglaze blue and of the period, 1662-1722. Photo courtesy Marchant

with upright sides, painted in the well of the interior with a carp leaping from crested waves beneath the sun, amongst three lotus flowerheads and a prunus flowerhead, encircled by a wide band of two carp, crab, prawn, shells, arrow heads and aquatic plants on a stylised wave ground, beneath a further blue-ground crested wave band with copper-red prunus flowerheads at the rim, the exterior with three further carp and a mandarin fish on a wave ground amongst lotus and prunus flowerheads. 19.8cm diameter.

• Formerly in the O’Byrne collection.
• Exhibited at The Oriental Ceramic Society exhibition of The Animals in Chinese Art, 1968, no. 507.
• Sold by Sotheby’s London in their auction of Fine Ch’ing and Transitional Porcelain, 20th April 1971, no. 62.
• Formerly in the Sachot collection, France.
• A dish of this rare design in The Victoria and Albert Museum, W. G. Gulland bequest, C.355-1931, is illustrated by Rose Kerr in Chinese Ceramics, Porcelain of the Qing Dynasty, 1644-1911, no. 55, p. 79, where the author notes, “It is painted with the leaping carp, a pattern with wide appeal owing to the association of the Chinese homophones for ‘abundance’ and ‘fish’. The reproductive powers of the fish may also explain its popularity as a peasant motif, while the jumping element is indicative of academic success. This is due to the story about the fish which swam up the Yellow river every year, and which on their way must leap up the dragon gate falls. Those that succeed in passing above the rapids are transformed into dragons.” Another dish of this design was included by Marchant in their exhibition of Seventeenth-Century Blue and White and Copper-Red and their Predecessors, 1997, no. 47, p. 49.
• A bowl of this form bearing a similarly written Kangxi mark is illustrated in Blue and White Porcelain with Underglazed Red (III), The Complete Collection of Treasures of The Palace Museum, Beijing, Volume 36, no. 68, p. 78, and is also illustrated by Chen Run Min in Qing Dynasty Shunzhi and Kangxi Period, Underglaze Blue Porcelain in The Gugong Museum Collection, Beijing, 2005, no. 125, p. 204.

Massive famille rose, fencai, baluster vase and cover, Yongzheng, 1723-1735. Photo courtesy Marchant

painted in a continuous scene with the lives of fishing families, with boats of ladies and children watching fishermen using nets from both land and a fishing boat, beside further boats with a lady breastfeeding and an elderly gentleman fanning a stove, looking on at five fishermen on a rocky promontory, eating, drinking and playing ‘rock paper scissors’, above further fishermen wading in water and reaching into large baskets; four further boats contain ladies and children cooking, resting and rowing, while a couple drink under a canopy; further vignette scenes of children playing with insects, elderly gentlemen supervising children at play, a lady holding an open fish basket and three fishermen carrying rope, basket and fishing rod, all above a band of lotus flowerheads on leafy scrolling branches and lotus flowers, leaves, peony, prunus and chrysanthemum, on a pink flowerhead cash band at the shoulder repeated on the cover rim, the neck with chrysanthemum and peony sprays, all beneath a gilt-topped finial, the base unglazed. 81cm total height.

European wood stand
• Formerly in the collection of Lady Jane Lane. The family estate in Staffordshire was sold in 1927 and Jane Lane’s parents moved to Mawnan Smith, outside Falmouth, Cornwall, where she was born.
• A dish of similar subject in The Metropolitan Museum of Art is illustrated by Yu Chunming in Zhong Guo Ming Pian, Ming Qing Wai Xiao Ci Tan Yuan Yu Shon Cang, in ‘The Chinese name card , Ming and Qing Export Ware, Researched and Collected’, 2011, Beijing, pl. 293, p. 195; and a related dish is illustrated by David S. Howard in The Choice of the Private Trader, 1994, no.41, pp. 64/5; a further dish is illustrated by William Motley in Cohen & Cohen’s catalogue Tiptoe Through The Tulipières, pl. 24, pp. 36/7.

Imperial blue and white ewer and cover. The base with six-character sealmark of Qianlong in underglaze blue and of the period, 1736-1795. Photo courtesy Marchant

with pear-shaped body painted in the Ming style with two octofoil panels enclosing fruiting peach and fruiting loquat berries respectively, on a ground of chrysanthemum, camellia, pomegranate and peony branches, beneath a wide band of lotus flowerheads on a continuous scrolling foliate branch, beneath a further band of stiff leaves at the neck, the lower section with a band of lappets above stylised scrolls on the foot, the strap handle with four lingzhi branches above three raised bosses, the spout with scrolls and leaves above lingzhi and ruyi-heads with blue-ground strut adjoining the body, the cover with three chrysanthemum flowerheads on a continuous scrolling leafy branch, beneath moulded lappets and ring finial. 29.5cm total height.

• Formerly in a French private collection.
• A similar example, from the Grandidier collection, no. 2687, in the Musée Guimet, Paris, is illustrated by Daisy Lion-Goldschmidt in Oriental Ceramics, The World’s Great Collections, Vol. 7, no. 178; another, in the National Place Museum, Taiwan, is included in The Illustrated Catalogue of Ch’ing Dynasty Porcelain, pl. 7; another is illustrated by Regina Krahl and John Ayers in Chinese Ceramics in the Topkapi Sarayi Museum, Istanbul, Vol. III, no. 2565, p. 1106, and in colour p. 920; a further example is illustrated by Marchant in their Recent Acquisitions catalogue, 2009, no. 38, pp. 68/9; two further covered examples, one donated by Dr. K. S. Lo, is included in Ceramics from the Collection of The Hong Kong Museum of Art, 1984, no. 64, pp. 108/9, and an example in the British Museum is illustrated by John Ayers and Masahiko Sato in Sekei Toji Zenshu, Ceramic Art of the World, Volume 15, Qing Dynasty, no. 161, p. 152.
• This piece is inspired by the early Ming Yongle original, 1403-1424; an example from the Qing Court Collection is illustrated in Blue and White Porcelain with Underglazed Red (III), The Complete Collection of Treasures of the Palace Museum, Beijing, vol. 36, no. 41, p. 43.

Imperial ge-type octagonal lobed brushwasher. The underside with six-character sealmark of Qianlong in underglaze blue and of the period, 1736-1795. Photo courtesy Marchant

with lipped rim on three short feet, covered in an even grey-crackled glaze extending over the interior and base, the feet dressed in brown. 21.3cm diameter.

Fitted double Japanese wood box.
• Formerly in the Endoh collection, Tokyo, Japan (by repute).
• A similar example was sold by Sotheby’s New York in their auction of Important Chinese Ceramics from the J.M. Hu Family Collection, 4th June 1985, no.65; and was later illustrated by Rosemary E. Scott in the exhibition of Important Chinese Ceramics from the Robert Chang Collection, Christie’s London, 2nd-14th June 1993, no. 62, pp. 136/7, and sold again by Christie’s Hong Kong in their auction of Kangxi, Yongzheng, Qianlong, Imperial Wares from the Robert
Chang Collection, 2nd November 1999, no. 517.
• A guan-type example is illustrated by Regina Krahl in Chinese Ceramics from the Meiyintang Collection, Volume II, no. 1801, pp. 350/1.
• A ru-type example from the collection of Nelson Elliot Bunker was included by Marchant in their exhibition of Imperial Porcelain of Kangxi, Yongzheng and Qianlong, 1996, no. 32, pp. 50/1.
• The brown dressed feet are in veneration of the Song dynasty prototype.

Rouge-de-fer, grisaille and yellow-enamelled large goose tureen, Qianlong, 1736-1795. Photo courtesy Marchant

with detailed feather work in different tones of iron-red, speckled on the lower body and neck and moulded on the folded back wings and upright tail, the long beak, legs and feet in yellow enamel, the eyes and claws heightened in black, the interior white, the base unglazed. 35cm high, 35.5cm long, 23cm deep.

• Formerly in a European private collection.
• A similar goose tureen, from the collection of Mr and Mrs Rafi Y. Mottahedeh, is illustrated by David Howard and John Ayers in China for the West, Volume Two, no. 615, pp. 590/1, dated circa 1760-1780, where the authors note “Sizeable geese modelled at the Meissen factory by J. J. Kandler about the middle of the century show similar naturalistic modelling of the feathers and a general inspiration of this source is unmistakable. A more probable source for the invention of the tureens, however, is the Höchst Faience factory, patronised by the Elector of Mainz: various tureens were modelled here, possibly by G. S. Hess; but surviving examples are rare. In 1749 the factories’ Director Adam von Löwenfinck, left and joined the Strasbourg factory, where goose, turkey and woodcock tureens among others, were certainly modelled in Faience in 1750-1754, and in all probability under his guidance. These acquired wide renown, and they remain perhaps the most likely originals for the Chinese models. Chinese production of the tureens probably continued over two decades or more.”
• Another related example in The British Museum, given by Miss E. V. S. Carter, 1931, is illustrated by Douglas Barratt, Laurence Smith, Jessica Rawson and Roderick Whitfield in The Worlds’ Great Collections, Oriental Ceramics, Vol. 5, no. 47, col. pl. no. 47; and a further example in The Victoria and Albert Museum, collection nos. 72 & A-1884, is illustrated by Rose Kerr and Louisa E. Mengoni in Chinese Export Ceramics, no. 110, p. 79.

Andrea Boscoli, The miracle of the donkey - Scene from the life of St. Anthony of Padua. Pen and brown ink, brown wash, 23 x 16 cm (9 x 6,2 inch ). At lower right with the collector's stamps Boguslaw Jolles (Lugt 382) and Jan Pietersz. Zoomer (Lugt 1511). 

MUNICH.- A claim for restitution of a drawing by the Florentine painter and draftsman Andrea Boscoli (1560-1607) in the Staatliche Graphische Sammlung Munich was lodged by the heirs of Dr. Michael Berolzheimer (1866-1942) in a letter from the Holocaust Claims Processing Office dated June 5, 2012 . The drawing is to remain in the Munich collection against payment of financial compensation. Based on research conducted by the Holocaust Claims Processing Office, Department of Financial Services, New York, and subsequent investigations on the part of the Staatliche Graphische Sammlung Munich, it became evident that the work, depicting a scene from the life of St. Anthony, was once part of the collection of Dr. Berolzheimer, who due to his Jewish origin was dispossessed by the National Socialists and forced to emigrate. At the time of the SGSM's acquisition of the work from Ketterer, auction of May 5-6, 2003 (282th Auction, “Tremmel Collection”), the “Berolzheimer” provenance was unknown. The case is a textbook example of how crucial basic research is in determining Nazi injustices with respect to fellow citizens of Jewish origin. Only by means of careful, step-by-step provenance research can the ownership of art works during the 1930s and 40s be determined and light be brought into the darkness of dispossession cases. 

Until being compelled to leave Germany , Dr. Berolzheimer was evidently a member of the “Vereinigung der Freunde der Staatlichen Graphischen Sammlung München e.V.”. This prompted his heirs to generously agree, in view of the injustice he suffered, to relinquish the drawing to the Association of Friends in 2014, enabling it to remain in the museum in memory of its former supporter. 

Photo: Christie's Images Ltd 2014. 

LONDON.- Christie’s Asian Art sales in London this spring will take place between 13 and 16 May, with a rich offering of dynamic, rare and beautiful works with stellar provenance, many of which are coming to the market for the first time in many decades. The sales include: The C. Philip Cardeiro Collection of Chinese Art and Fine Chinese Ceramics and Works of Art on 13 May at King Street; and at South Kensington: a new two-day sale format of Chinese Ceramics, Works of Art and Textiles on 14 and 16 May. 

The C. Philip Cardeiro Collection of Chinese Art: 13 May at 10am (Lot 1-125), Christie’s King Street - Bid via Christie’s LIVETM
Christie’s will be opening Asian Art Week at Christie’s in London with a selection of 125 Chinese works of art from The C. Philip Cardeiro Collection. Philip Cardeiro was born in 1930 in Boston, Massachusetts, and at a very early age developed a fascination with world art and culture. He immersed himself in museum exhibitions, recalling that the area he grew up in was replete with some of the best institutions in the country, including the Museum of Fine Arts, Boston. Amongst the myriad exhibitions he attended, he would later in life cite the 1980 Asia House exhibition Chinese Jades from Han to Qing as providing some of the inspiration for his jade collecting.

While Philip Cardeiro’s earliest interests included Greek and Roman art, he quickly branched out to the field of Chinese art. Mr Cardeiro was inspired by early pottery and works of art from China’s neolithic age, which at the time were the subject of much new research and scholarship. It was during this period, in the 1940s, that he made his first acquisition. Thereafter began a lifetime of collecting, which continued unabated for the next six decades, with the greatest bulk of his collecting taking place in the late 1960s and 70s. He epitomised the true collector, amassing a sizeable collection of porcelain, jades, cloisonné, scholar’s objects and furniture, amongst others. He would carefully research each piece, utilising the research library of comparable size which he had developed over the years. He greatly enjoyed searching for new objects, and would travel across the world in their pursuit. This included yearly buying trips to New England, London, and Asia. However, of equal enjoyment was researching his finds upon his return home. 

Among the highlights from his collection in the current sale is a rare 18th/19th century zitan throne chair, baozuo, carved with dragons (estimate: £90,000-120,000) and a magnificent pair of finely carved 19th century zitan armchairs which fall into a group of mid-Qing Palace furniture, the most distinctive characteristics of which include heavily carved, highly ornamental decoration (estimate: £50,000–70,000). Further notable works include a rare large Kangxi Period (1662–1722) langyao copper red baluster-shaped vase, measuring 18 ¾ in. (47.5 cm.) high (estimate: £25,000–35,000), and a rare pair of 18th century famille rose enamelled ‘basket weave’ dishes, elegantly decorated with blossoming peony, chrysanthemum and magnolia flowers and foliage (estimate: £15,000-20,000). 

A magnificent pair of zitan armchairs, 18th-19th century. Estimate: £50,000–70,000. Photo: Christie's Images Ltd 2014.

The panelled seats above square section legs terminating in scrolling feet, below stylised ruyi shaped aprons. The inset shaped arms are carved in relief with archaistic confronting dragons. The central panel of the three-sectioned arched back is carved with a bat suspending a chime and double fish, above dragons, flanked by two further panels of stylised dragons. The wood is of a rich, dark patina. 39 in. (99 cm.) high, 23 ? in. (59.3 cm.) wide, 18 ¼ in. (46.3 cm.) deep

Notes: The present pair of zitan armchairs falls into a group of mid-Qing Palace furniture, primarily carved from zitan, and all of related form. The most distinctive characteristics of this group are high, protruding crestrails surmounting the splat, rounded, stepped armrails, and the substantial use of thick members of zitan, with heavily carved, highly ornamental decoration.

A similar example of a single zitan chair is illustrated by The Commercial Press, Hong Kong 2002, in Furniture of the Ming and Qing Dynasties (II), The Complete Collection of Treasures of the Palace Museum, no. 53, p. 64. Also two further examples no's. 55 and 56, p.66 and 67.

A rare large Kangxi Period (1662–1722) langyao copper red baluster-shaped vase. Estimate: £25,000–35,000. Photo: Christie's Images Ltd 2014.

The tall powerfully shaped body rises to a waisted cylindrical neck. It is covered with a crackle-suffused glaze of deep crushed strawberry-red colour falling in a thick line above the unglazed foot and thinning to a pale tone below the white rim. 18 ¾ in. (47.5 cm.) high.

Notes: The term langyao, 'lang wares' derives its name from Lang Tingji, director of the official kilns at Jingdezhen between 1705-1712, who is credited with the revival of monochrome glazes and particularly copper-red glazes. The copper-red colour is often considered the most challenging to regulate during the firing process as exactly the right conditions are required within the kiln to achieve the rich tones demonstrated by the present lot. Although copper-red was used successfully in the Ming dynasty, particularly in the Xuande period, the copper-red monochrome glazes seen in the Qing dynasty became even more refined and were of an exceptionally even and vibrant tone. The fine glaze and elegant form of the present vase exemplifies the skill of the Chinese potters under Lang Tingji. 

LONDON - An extraordinary Imperial Chinese twelve-leaf screen comprising 64 magnificent porcelain panels depicting tales from Chinese mythology which may have graced an Imperial throne room, will be sold at Bonhams Fine Chinese Art sale in London on May 15.

It is estimated to sell for £800,000 to £1.2m. The immortals are characters from Chinese mythology who symbolize good fortune and longevity.

In the Imperial halls, such screens were often used as backdrops to thrones, reinforcing the Imperial eminence and stature behind the throne. No cost was spared in their production, using precious materials generously, such as zitan and huanghuali woods, cinnabar lacquer, gilt on black lacquer and embellishments with porcelain panels, hardstones, and cloisonné and painted enamels.

The Imperial very rare famille rose and huanghuali twelve-leaf screen is dated to the Jiaqing reign period (1796-1820).

The Qianlong Emperor abdicated his throne in 1796 out of filial respect to his grandfather the Kangxi Emperor, but continued ruling in effect until his death in 1799. Therefore, the Imperial taste and demand as well as the zenith of craftsmanship achieved during the Qianlong period (1736-1795), continued well into the subsequent Jiaqing period (1796-1820). The present screen can be ascribed to this group with its peerless quality combining two mediums, huanghuali wood and porcelain panels, attaining an imposing and opulent effect imbued with symbolism.

Each of the twelve leaves is finely carved from huanghuali, framing the porcelain plaques and set within the massive tiered huanghuali dais. Huanghuali wood, one of the most luxurious close-grained sub-tropical hardwood timbers used from the Ming dynasty onwards, was highly sought after for its rich yellow-hued grain.

The twelve leaves of the screen are resplendently inset with 64 famille rose porcelain plaques. These are superbly enamelled with mythical imagery of Daoist Immortals, auspicious flowers and birds, laden with puns, rebuses and symbolic significance.

Asaph Hyman, Director of Chinese Art, commented: "The rare screen is a statement of Chinese Imperial art at its zenith demonstrating Qing dynasty master-craftsmanship. As it was made for a Qing Palace, no cost was spared in its production making use of the finest materials and artisan skills".

An Imperial very rare famille rose and huanghuali twelve-leaf screen, Jiaqing. Estimate £800,000 - 1.2 million (€970,000 - 1.5 million). Photo Bonhams

The large huanghuali-framed screen inset with twelve leaves, each enclosing five famille rose porcelain plaques, all raised upon an imposing tiered huanghali dais flanked by openwork huanghuali terminals; the main famille rose panels superbly enamelled with groups of Immortals, each with his attribute, engaged in various pursuits in a mountainous river landscape with trees, flowers and bamboo; the smaller rectangular top and bottom famille rose panels colourfully decorated with a bat above a cluster of peaches above a leafy lotus blossom, each such panel framed by a lotus scroll on a turquoise ground; each leaf with two further famille rose panels between the main plaque and the lowest one, with each smaller rectangular panel decorated with a pair of confronted chi dragons clawing at a foliate lotus blossom and pursuing the flaming pearl of wisdom, each such panel framed by a lotus scroll on pink ground, and the square famille rose plaques each finely enamelled with a flower and a pair of birds representing the twelve months, the huanghuali framed leaves finely carved in relief with interlocking archaistic scrolls, above an openwork section carved with a foliate lotus blossom, the flanking reticulated terminals carved with foliate scrolls interlocked with archaistic geometric scrolls, all raised on the impressive tiered pedestal, carved in relief with double and single rows of lotus petal panels above and below the waisted section, with each petal superbly carved with a lotus blossom below a ruyi, all further supported on short feet. Overall 383cm (150in 3/4) wide x 175cm (68 7/8in) high (18).

Provenance: according to the family acquired in the 1970s from an important Italian family prominent in industry.

Accompanied by a certificate from CNR-IVALSA, National Research Council of Italy, Trees and Timber Institute, no.0004214, dated 2 December 2013, certifying that the wood is of the genus Dalbergia sp., of the family Leguminosae Papilionaceae.

The Qianlong Emperor, though abdicating his throne in 1796 out of filial respect to his grandfather the Kangxi Emperor, continued ruling in effect until his death in 1799. Therefore, the Imperial taste and demand as well as the zenith of craftsmanship achieved during the Qianlong period, continued well into the Jiaqing period. The present screen can be ascribed to this group with its peerless quality combining two mediums, huanghuali wood and porcelain production, to attain an imposing and opulent effect imbued with symbolism. 

An important colored diamond and diamond ring, by Harry Winston. Photo Christie's Image Ltd 2014

Set with a cut-cornered rectangular-cut fancy intense pink diamond, weighing approximately 6.10 carats, flanked on either side by a tapered baguette-cut diamond, mounted in platinum and 18k rose gold, in a Harry Winston black leather box Signed H.W. for Harry Winston  Price Realized $5,765,000

With report 11890355 dated 10 January 2014 from the Gemological Institute of America stating that the diamond is fancy intense pink, natural color, VVS1 clarity

Accompanied by a supplemental letter stating that the diamond has been determined to be a Type IIa diamond. Type IIa diamonds are the most chemically pure type of diamond and often have exceptional optical transparency. Type IIa diamonds were first identified as originating from India (particularly from the Golconda region) but have since been recovered in all major diamond-producing regions of the world. Among famous gem diamonds, the 530.20 carat Cullinan and the 105.60 carat Koh-i-noor, are examples of Type IIa

From the collection of Riki and Jerome Shaw.

Christie's. MAGNIFICENT JEWELS, 16 April 2014. New York, Rockefeller Plaza. www.christies.com

A superb ruby and diamond ring. Photo Christie's Image Ltd 2014

Set with a cushion-cut ruby, weighing approximately 6.25 carats, flanked on either side by a shield-shaped diamond, within a circular-cut diamond surround to the circular-cut diamond gallery and hoop, mounted in white gold, ring size 5¾. Price Realized $1,325,000

With report CS 58693 dated 16 January 2014 from the American Gemological Laboratories stating that it is the opinion of the Laboratory that the origin of this material would be classified as Burma (Myanmar). Heat enhancement: None.

With report 0608707 dated 22 August 2006 from the Gübelin Gem Lab stating that gemmological testing revealed characteristics consistent with those of rubies originating from Burma (Myanmar). No indications of heating; accompanied by a supplemental appendix attesting to the rarity of the ruby

From the collection of Riki and Jerome Shaw.

Christie's. MAGNIFICENT JEWELS, 16 April 2014. New York, Rockefeller Plaza. www.christies.com

THE BLUE. Photo Christie's Image Ltd 2014

The fancy vivid blue pear-shaped diamond, weighing approximately 13.22 carats, flanked on either side by a pear-shaped diamond, weighing approximately 1.00 and 0.96 carat, in blue leather fitted case. Estimate CHF19,000,000 – CHF23,000,000 ($21,666,441 - $26,227,797)

Accompanied by report no. 17490687 dated 25 March 2014 from the GIA Gemological Institute of America stating that the diamond is Fancy Vivid Blue colour, Flawless clarity, a Diamond Type Classification letter stating that the diamond is Type IIb, and a letter indicating that the diamond ' is the largest Flawless, Fancy Vivid Blue, Natural Color, diamond (...) graded as of the date of this letter'

Report no. 16935589 dated 12 May 2008 from the GIA Gemological Institute of America stating that the 1.00 carat diamond is D colour, Internally Flawless clarity

Report no. 16875165 dated 12 May 2008 from the GIA Gemological Institute of America stating that the 0.96 carat diamond is D colour, Internally Flawless clarity

Christie's. GENEVA MAGNIFICENT JEWELS, 14 May 2014. Geneva - www.christies.com

Imperial blue and white deep bowl. The base with six-character mark of Jiajing within a double ring in underglaze blue and of the period, 1522-1566. Photo courtesy Marchant

with upright sides and slightly inverted foot, painted with four lobed medallions, two with dragons, two with swooping phoenix between lingzhi clouds, the interior painted in the well with a ruyi-head and floral medallion within a double ring beneath a band of interlocking branches at the rim. 12.8cm diameter. Price on request

• From the collection of Helen and Peter Thompson, collection no. 141.
• A similarly painted cup is illustrated by Peter Y. K. Lam and Li Sukyee in Enlightening Elegance, Imperial Porcelain of the Mid to Late Ming, The Huaihaitang Collection, 2012, no. 26, pp. 150/1.

Marchant. 'Chinese Ceramics Tang to Qing' exhibiting tuesday 6th may - friday 30th may 2014 - http://www.marchantasianart.com/

A pair of jadeite bangles. Photo Bonhams.

The translucent bangles of bright green colour, suffused with splashes of emerald green, streaks of bright green with white mottling, inner diameters and thicknesses approximately 54.0 x 8.5mm (2). Estimate HK$ 1.3 million - 1.6 million (€120,000 - 150,000)

Accompanied by two Hong Kong Jade & Stone Laboratory reports stating that both natural jadeite bangles have no resin detected. Report numbers KJ 84723 and KJ 84725, dated 13 March 2014.

Bonhams. FINE JEWELLERY & JADEITE. Hong Kong, Admiralty, 21 May 2014 - www.bonhams.com

Imperial blue and white deep saucer, pan. The base with six-character mark of Jiajing within a double ring in underglaze blue and of the period, 1522-1566. Photo courtesy Marchant

with flat everted rim, painted in the centre with a crane on one leg with its head turned, on a rocky promontory, beside a large pine tree with lingzhi and bamboo, with further rocks in the distance, all beneath stylised clouds, encircled within a double ring, the rim with a continuous band of scrolls on a bluewashed ground, the underside with grass sprays beneath flowerheads and branches. 12cm diameter. Price on request

• Formerly in a British private collection.
• A related small saucer of this form, painted with two cranes and pine is illustrated by Regina Krahl and John Ayers in Chinese Ceramics in the Topkapi Saray Museum, Istanbul, A Complete Catalogue, Volume II, Yuan and Ming Dynasty Porcelains, 1986, no. 1152, collection no. 15/2643, pp. 692/3.

Marchant. 'Chinese Ceramics Tang to Qing' exhibiting tuesday 6th may - friday 30th may 2014 - http://www.marchantasianart.com/

A jadeite and diamond necklace. Photo Bonhams.

Comprising one hundred and twenty-three graduated intense emerald green jadeite beads, measuring approximately 4.2-8.0mm, interspersed with diamond rondelles, to a floral clasp centering a rose-cut diamond, within a brilliant and marquise-cut diamond surround, diamonds approximately 8.25 carats total, necklace length 86.5cm. Estimate HK$ 1.3 million - 1.6 million (€120,000 - 150,000)

Accompanied by a Hong Kong Jade & Stone Laboratory report stating that the selected natural jadeite has no resin detected. Report number KJ 84337, dated 12 February 2014.

Bonhams. FINE JEWELLERY & JADEITE. Hong Kong, Admiralty, 21 May 2014 - www.bonhams.com