A unique jadeite bead and diamond necklace. Estimate HK$5,500,000 – HK$8,500,000 ($700,000-1,100,000). Photo Christie's Image Ltd 2015.

Composed of thirty-three jadeite beads of light green ground and glassy translucency, each suffused with brilliant emerald green streaks, measuring approximately 11.2 to 12.9 mm, to the brilliant-cut diamond boule clasp, mounted in 18k white gold, 45.5 cm long

Accompanied by premium report no. 78695 dated 10 March 2015 from the SSEF Swiss Gemmological Institute stating that the analysed properties confirm the authenticity of these thirty-three translucent jadeite-jades, of Burma (Myanmar) origin, with no indications of impregnation, these jadeite-jades may also be called 'jadeite-jades type A' in the trade; also accompanied by an appendix stating that the jadeite-jade necklace possesses extraordinary characteristics and merits special mention and appreciation. The jadeite-jades are characterised by a saturated green vein within a nearly colourless matrix crossing each bead perpendicular to the drill-hole, thus resulting in a very attractive design of the necklace. Furthermore, the jadeite-jade beads exhibit an outstanding translucency and an excellent surface lustre. The green colour vein in all of these beads is due to the presence of chromium as a trace element, and a very attractive result of natural processes responsible for the formation of this jadeite-jade from the jade mines in northern Burma (Myanmar). The outstanding translucency of these jadeite beads is a result of their very fine and densely interlocked texture. Based on the homogeneity of these jadeite-jade beads in terms of quality and green vein texture, it is assumed that they may have been cut from the same jadeite rock specimen of high quality. In addition, this necklace shows no indication of any impregnation or other form of treatment, thus their colour and transparency are all natural. On the Asian market such jadeite may also be called 'jadeite-jade type A'. Assembling a selection of jadeite-jade of this quality and exceptional and attractive vein-texture is rare and exceptional.

Also accompanied by report no. KJ89252(1-3) dated 9 February 2015 from Hong Kong Jade & Stone Laboratory stating that the beads are natural jadeite and no polymer is detected

Note: Jadeite bead necklaces of pure and vivid colours are considered to be the best in class, particularly those with even colours. Although this jadeite necklace (Lot 2092) does not bear a full-bodied colour, each bead shows a band of vivid emerald green, just like Saturn’s rings. With their glass-like texture, the beads display a luminous translucency and lustre. The thoughtful colour distribution underlines the artisan’s ingenious design and unrivalled skills, making the necklace even more precious than full-bodied jadeite pieces.

Figure 1. Only jadeite roughs with a high quality, high translucency, crack-free texture and even colour distribution could be cut and polished into the exceptional piece of Lot 2092.

Christie's. HONG KONG MAGNIFICENT JEWELS, 2 June 2015, Hong Kong

A jadeite laughing Buddha and diamond pendant. Estimate HK$4,200,000 – HK$6,000,000 ($1,500,000-2,300,000). Photo Christie's Image Ltd 2015.

Carved as a jadeite laughing Buddha of brilliant emerald green colour and very good translucency, to the brilliant-cut diamond bail, mounted in 18k white gold, Buddha approximately 36.5 x 41.0 x 6.5 mm, pendant 4.7 cm long

Accompanied by report no. KJ89237 dated 9 February 2015 from Hong Kong Jade & Stone Laboratory stating that the Buddha is natural jadeite and no polymer is detected

Christie's. HONG KONG MAGNIFICENT JEWELS, 2 June 2015, Hong Kong

An elegant natural pearl and diamond necklace, by Moussaieff. Estimate HK$24,000,000 – HK$35,000,000 ($3,000,000-4,500,000). Photo Christie's Image Ltd 2015.

The front designed as a series of natural white and cream button pearls measuring approximately 9.0 - 9.1 x 8.6 to 13.5 -13.6 x 10.9 mm, alternating with marquise-cut diamonds, suspending a fringe of white and cream natural pearl drops measuring approximately 8.8 - 8.9 x 11.7 to 11.1 - 11.2 x 15.0 mm and marquise-cut diamond trefoils, each joined by brilliant-cut diamonds, to the marquise and brilliant-cut diamond backchain and floral clasp, mounted in platinum and 18k white gold, 39.4 cm long, in beige suede Moussaieff case; Signed Moussaieff 

Accompanied by premium report no. 79822 dated 10 April 2015 from the SSEF Swiss Gemmological Institute stating that the analysed properties confirm the authenticity of these thirteen saltwater natural pearls; also accompanied by an appendix stating that the natural pearl necklace possesses extraordinary characteristics and merits special mention and appreciation. The colour of these natural pearls subtly ranges from white to slightly cream, partly with distinct rosé and greenish 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 the beauty of these pearls. The combination of well-balanced trace elements found in these natural pearls are characteristics for saltwater pearls. Assembling a matching selection of natural pearls of this size and quality is very rare and exceptional and therefore this pearl necklace can be considered a true treasure of nature.

Twenty reports dated from 13 February 2006 to 26 January 2015 from the Gemological Institute of America stating that the marquise and brilliant-cut diamonds weighing from 5.75 to 0.32 carat range from D to E colour, internally flawless clarity

Please note that one certificate is more than 3 years old and seven certificates are more than 5 years old and might require an update 

Christie's. HONG KONG MAGNIFICENT JEWELS, 2 June 2015, Hong Kong

A unique 10.02 carats Type IIa pear-shaped diamond, 2.66 carats pear-shaped diamond and hexagonal-shaped fancy purplish red diamond pendant necklace, by Nirav Modi. Estimate HK$15,000,000 – HK$25,000,000 ($2,000,000-3,200,000). Photo Christie's Image Ltd 2015.

Set with a pear-shaped diamond weighing 10.02 carats, suspended from a pear-shaped diamond weighing 2.66 carats, spaced by a hexagonal-shaped fancy purplish red diamond weighing 1.03 carats, joined to the neckchain set with navette-shaped brilliant-cut diamond links assembled by combining two calibré-cut crescent-shaped diamonds, mounted in 18k white gold, 41.6 cm long. With maker's mark for Nirav Modi 

Accompanied by report no. 5131530964 dated 20 June 2011 from the Gemological Institute of America stating that the 10.02 carat diamond is D colour, internally flawless clarity, with excellent polish and symmetry

Also accompanied by a supplemental letter from the Gemological Institute of America stating the 10.02 carat diamond has been determined to be type IIa. 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 I and the 105.60 carat Koh-i-noor, are examples of Type IIa

Report no. 2111346257 dated 27 July 2011 from the Gemological Institute of America stating that the 2.66 carat diamond is D colour, internally flawless clarity

Report no. 1112824574 dated 24 March 2010 from the Gemological Institute of America stating that the 1.03 carat diamond is fancy purplish red, natural colour, I2 clarity

Please note that two certificates are more than 3 years old and one certificate is more than 5 years old and might require an update

Christie's. HONG KONG MAGNIFICENT JEWELS, 2 June 2015, Hong Kong

A rare 'Ming-style' blue and white bowl, Chenghua six-character mark, Kangxi period.  Estimate HK$ 250,000 - 350,000 (€29,000 - 41,000). Photo: Bonhams.

Elegantly potted with rounded sides above a short foot, the exterior painted in rich blue tones with a continuous heavenly landscape scene, depicting a female deity accompanied by three female attendants within a terraced courtyard by a pavilion surrounded by clouds, one attendant leads with a candle lit, all amidst willow trees, flowering plants, tall rockwork and distant mountains, the base with a Chenghua six-character kaishu apocryphal mark. 12.6cm (5in) diam. 

Provenance: Mrs Walter Sedgwick Collection (1883-1967)
Sotheby's London, 1 November 1965, lot 178
Hans Goldstein collection and thence by descent

Published and Illustrated: S.Jenyns, Later Chinese Porcelain. The Ch'ing Dynasty (1622-1912), London, 1971, pl.XVI, no.2

Notes: The present lot is an excellent example of very fine Kangxi period 'Ming-style' blue and white porcelain. The rich deep cobalt blue tones achieved on this bowl, as well as the style of design and composition were clearly inspired by similar figural blue and white pieces from the early Ming dynasty. This includes decorative elements such as the continuous scene of a terraced courtyard, with billowing clouds enveloping areas of the design, and the extremely precise and detailed rendering of figures. Compare a Kangxi period bowl, apocryphal Xuande mark with a very similar scene, illustrated in A Panorama of Ceramics in the Collection of the National Palace Museum: Hsuan-te Ware I, Taipei, 2000, p.53, fig.46. 

The illustration of court ladies or celestial maidens in garden or courtyard settings was frequently produced in the early Ming, and was particularly favoured during the Xuande period. Examples of blue and white bowls, Xuande mark and period, with drawings also of ladies on a night excursion are in the collection of the National Palace Museum, Taipei: see two bowls, each decorated with an attendant holding a lantern, lighting the way for her mistress in a deer-drawn carriage, illustrated in ibid., pp.244-247, nos.92 and 93. These type of bowls would have been the prototype for the present bowl. There are however, discernable stylistic differences between the Ming and Qing versions, with the latter's clouds executed with a more 'pencilled' effect and the ladies drawn with more pointed and angular faces, though the overall aesthetic remains similar. 

Compare with a rare blue and white bowl, Kangxi six-character mark and of the period, of very similar painting style, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red (I), Beijing, 2010, p.75, no.65.

See a related blue and white bowl, Kangxi mark and period, sold at Sotheby's Hong Kong, 7 April 2015, lot 3644

BONHAMS. FINE CHINESE CERAMICS AND WORKS OF ART, 4 Jun 2015 10:30 HKT - HONG KONG, ADMIRALTY

A blue and white and copper-red 'Immortals' bowl, Qianlong seal mark and of the period. Estimate HK$ 180,000 - 240,000 (€21,000 - 28,000). Photo: Bonhams.

Decorated around the exterior with the Eight Daoist Immortals on a ground of copper-red crested waves, the interior with a central medallion enclosing Shoulao beside a deer holding a staff, the base with a six-character zhuanshuseal mark. 22.2cm (8 3/4in) diam.

Provenance: Wilfred A. Evill (d.1963)
Bluett & Sons, London
According to the family, acquired by Hans Goldstein probably between 1948-1981 and thence by descent

Notes: The Eight Immortals, a group of legendary deities depicted in Chinese Daoist mythology, are led by Lu Dongbin, and consists of another seven members named He Xiangu, Lan Caihe, Zhang Guolao, Han Xiangzi, Zhongli Quan, Li Tieguai and Cao Guojiu.

The scene depicted on the present lot of the Eight Immortals traversing through crashing waves, is a reference to the well-known Ming dynasty folklore, 'The Eight Immortals Crossing the Sea'. Legend has it that the Eight Immortals were en route to attend the Conference of the Magical Peach when they encountered an ocean. Exercising their individual abilities, each by using their unique tools that are depicted with the figures on the present lot, they crossed the vast body of water. The Chinese proverb of Baxian guohai, gexian shentong is derived from this legend, whereby it bears the moral of each individual doing their part to make a plan successful.

Bowls of this type were also produced in blue and white and are rarer still in doucai enamels. See a blue and white bowl with the Immortals on the exterior, Yongzheng mark and period, from the collection of Sir Harry Garner, illustrated by S.Jenyns, Later Chinese Porcelain, London, 1971, pl.LX. 

Compare a bowl of similar size and decoration sold at Christie's New York, 22-23 March 2012, lot 2010; see also another sold at Christie's New York, 19-20 September 2013, lot 1409.

BONHAMS. FINE CHINESE CERAMICS AND WORKS OF ART, 4 Jun 2015 10:30 HKT - HONG KONG, ADMIRALTY

An extremely rare 10.33 carats Kashmir sapphire and diamond ring. Estimate HK$12,800,000 – HK$18,000,000 ($1,650,000-2,300,000). Photo Christie's Image Ltd 2015.

et with a circular-cut sapphire weighing approximately 10.33 carats, within a brilliant-cut diamond two-tiered surround, extending to the quarter-hoop, mounted in 18k gold, ring size 6½

Accompanied by report no. 75679 dated 17 July 2014 from the SSEF Swiss Gemmological Institute stating that the 10.33 carat sapphire is of Kashmir origin, with no indications of heating

Also accompanied by report no. 14080133 dated 25 August 2014 from the Gübelin Gemmological Laboratory stating that the 10.33 carat sapphire is of Kashmir origin, with no indications of heating

Christie's. HONG KONG MAGNIFICENT JEWELS, 2 June 2015, Hong Kong

An important 9.13 carats Kashmir sapphire and diamond ring. Estimate HK$6,500,000 – HK$9,500,000 ($800,000-1,200,000). Photo Christie's Image Ltd 2015.

Set with a cushion-shaped sapphire weighing approximately 9.13 carats, flanked by tapered baguette-cut diamonds, mounted in platinum, ring size 6, with French assay mark for platinum

Accompanied by report no. 77113 dated 9 October 2014 from the SSEF Swiss Gemmological Institute stating that the 9.13 carat sapphire is of Kashmir origin, with no indications of heating; also accompanied by an appendix stating that the sapphire possesses extraordinary characteristics and merits special mention and appreciation. The sapphire exhibits an attractive and saturated colour combined with an outstanding purity and a well-proportioned cutting style. The few tiny inclusions found by microscopic inspection are the hallmarks of sapphires from the reputed deposit in Kashmir, located in a remote part of the Himalayan Mountains in India. The velvety and saturated blue colour of this sapphire is due to very fine and subtle inclusions and a combination of well-balanced trace elements in the gemstone, typical and characteristic for the finest sapphires of Kashmir. This sapphire has been spared exposure to heat treatment and its clarity and colour are thus all natural. A natural sapphire from Kashmir of this size and quality is rare and exceptional

Also accompanied by report no. 14120242 dated 22 December 2014 from the Gübelin Gemmological Laboratory stating that the 9.13 carat sapphire is of Kashmir origin, with no indications of heating; also accompanied by an appendix stating that the sapphire possesses a richly saturated and homogeneous colour, combined with a high degree of transparency, and a finely proportioned cut. In addition, this remarkable gemstone has been spared thermal treatment. Such a combination of characteristics is rare in natural Kashmir sapphires of this size.

Christie's. HONG KONG MAGNIFICENT JEWELS, 2 June 2015, Hong Kong

A very rare imperial famille rose bottle vase, Yongzheng six-character mark and of the period. Estimate HK$ 180,000 - 240,000 (€92,000 - 140,000). Photo: Bonhams.

Exquisitely enamelled in delicate shades of green, purple, white and red against a striking pure white ground, the compressed globular body rising to a straight neck decorated with a continuous scene featuring narcissus blooms on elegant long leafy stems, lingzhi fungus, and branches of nandina berries, the base with a six-character kaishu mark. 18.8cm (7 3/8in) high

Provenance: ccording to the family, acquired by Hans Goldstein probably between 1948-1981 and thence by descent

Notes: The vase is a superb example of the high technical standards and artistry gained on famille rose porcelains from the Yongzheng reign. With the innovation of the famille rose palette including opaque and semi-opaque enamels, a wider range of colours fired on porcelain that appeared softer and gentler was perfected in the Yongzheng period. These graduated shades of pink, white and yellow enamels were expertly used by craftsmen to render delicate shading, making designs more complex and pleasing. The narcissus blooms of the present vase exemplify this, exhibiting subtle different hues of white ranging from fine pure white to yellowish and greenish white tones. 

The composition of the decoration, with undulating stems and leaves with clusters of ripe berries above and various views of full blooms and buds, also exhibit the aesthetic sensibilities and astute artistry favoured in the Yongzheng period. The use of the vivid iron-red enamel for the nandina against the softer and gentler famille rose hues also provides a pleasing visual contrast. 

For examples of Yongzheng famille rose vessels demonstrating a similar aesthetic of asymmetrical and irregular, spreading, composition lines formed by gnarled branches or long stems, see a larger famille rose vase, Yongzheng six-character mark and of the period, with large branches of peony, from the Qing Court Collection, illustrated in Ceramics Gallery of the Palace Museum, Part II, Beijing, 2008, p.430, no.342. Compare also another, but larger, famille rose globular vase, Yongzheng/Qianlong, decorated with magnolias and peonies, sold at Christie's Hong Kong, 27 November 2013, lot 3438. 

The combination of nandina berries, tianzhu 天竺, and narcissus, shuixian 水仙, form a rebus for 'heavenly immortal'. Together with the fungus, lingzhi 靈芝, they form the auspicious phrase 'heavenly immortal, longevity fungus'. This group of decoration, symbolising the wish for health and a long life, was therefore very appropriate to mark an imperial birthday celebration. 

Although this combination of plants and flowers is frequently seen on Yongzheng doucai wares, it is rare to find them on famille rose vessels such as on the present vase. Often famille rose vessels of the period depict nandina and lingzhiwith orchids or magnolia; compare a faux-bois famille rose brushpot, Yongzheng mark and period, from the Qing Court Collection, with very similar treatment of narcissus flowers, illustrated in Fire and Colour, Imperial Kiln Porcelain of Qing Dynasty from the Palace Museum Collection, Macau, 2011, p.221, no.85. See also a famille rose dish, Yongzheng mark and period, decorated with narcissus together with a spray of roses, in the Victoria and Albert Museum, London, illustrated by R.Kerr, Chinese Ceramics, Porcelain of the Qing Dynasty 1644-1911, London, 1986, p.111, no.94.

BONHAMS. FINE CHINESE CERAMICS AND WORKS OF ART, 4 Jun 2015 10:30 HKT - HONG KONG, ADMIRALTY

A wucai'dragon and phoenix' bowl, Daoguang seal mark and of the period. Estimate HK$ 120,000 - 180,000 (€14,000 - 21,000). Photo: Bonhams.

With deep rounded sides above a short foot rising to a slightly everted rim, the exterior of the body with two five-clawed dragons amidst floral and leafy vines, each chasing a flaming pearl and interspersed by a pair of phoenix, all beneath a band of ruyi-head scrolls interspersed between auspicious Buddhist Emblems, the interior with a central medallion enclosing a scaly five-clawed dragon reaching for a flaming pearl amidst fire and cloud scrolls, the base with a six-character zhuanshu seal mark. 15cm (5 7/8in) diam.

Provenance: According to the family, acquired by Hans Goldstein probably between 1948-1981 and thence by descent

notes: For an example of a very similar pair of wucai bowls, Daoguang marks and period, see The Wonders of the Potter's Palette. Qing Ceramics from the Collection of the Hong Kong Museum of Art, Hong Kong, 1984, no.100. See also another example from the Muwen Tang collection, illustrated by S.Kwan, Imperial Porcelain of Late Qing, Hong Kong, 1983, no.44. 

A pair of wucai 'dragon and phoenix' bowls, Daoguang marks and period, was sold in these rooms, 26 May 2013, lot 239.

BONHAMS. FINE CHINESE CERAMICS AND WORKS OF ART, 4 Jun 2015 10:30 HKT - HONG KONG, ADMIRALTY

An impressive pair of 6.76 and 6.17 carats marquise-cut fancy vivid yellow diamond and pear-shaped diamond ear pendants, by Moussaieff. Estimate HK$6,500,000 – HK$9,500,000 ($1,600,000-2,300,000). Photo Christie's Image Ltd 2015.

Each set with a marquise-cut fancy vivid yellow diamond weighing approximately 6.76 and 6.17 carats, surmounted by a pear-shaped diamond weighing approximately 1.52 and 1.50 carats, mounted in platinum and 18k yellow gold, 2.9 cm long, in black suede Moussaieff case. Signed Moussaieff 

Accompanied by two reports nos. 2155205717 and 2155205721 dated 21 January 2013 and 17 January 2013 from the Gemological Institute of America stating that the 6.76 and 6.17 carat diamonds are fancy vivid yellow, natural colour, VS2 and VVS1 clarity respectively

Report no. 5153280358 dated 3 June 2013 from the Gemological Institute of America stating that the 1.52 carat diamond is E colour, VVS2 clarity, with excellent polish

Report no. 1155362159 dated 14 June 2013 from the Gemological Institute of America stating that the 1.50 carat diamond is F colour, VS2 clarity, with excellent polish (2)

Please note that this lot is not accompanied by a GIA report for the 1.50 carats diamond 

Christie's. HONG KONG MAGNIFICENT JEWELS, 2 June 2015, Hong Kong

A rare 9.50 carats rectangular-shaped fancy vivid orangy yellow diamond and diamond ring. Estimate HK$12,000,000 – HK$18,000,000 ($1,500,000-2,300,000). Photo Christie's Image Ltd 2015.

Set with a rectangular-shaped fancy vivid orangy yellow diamond weighing approximately 9.50 carats, within a baguette and oval-shaped diamond surround, mounted in platinum and 18k yellow gold, ring size 5¾

Accompanied by report no. 12621867 dated 1 April 2013 from the Gemological Institute of America stating that the 9.50 carat diamond is fancy vivid orangy yellow, natural colour, internally flawless clarity, with excellent polish

Christie's. HONG KONG MAGNIFICENT JEWELS, 2 June 2015, Hong Kong

A pair of 6.09 and 5.89 carats Type IIa diamond ear pendants and a 9.58 carats diamond ring. Photo Christie's Image Ltd 2015.

A pair of 6.09 and 5.89 carats Type IIa diamond ear pendants. Estimate HK$9,500,000 – HK$15,000,000 ($1,200,000-1,900,000). Photo Christie's Image Ltd 2015.

Each set with a brilliant-cut diamond weighing 6.09 and 5.89 carats, to the brilliant-cut diamond hook, mounted in 18k white gold, 3.1 cm long

Accompanied by two reports nos. 5151919565 and 5161015264 dated 8 April 2014 and 31 March 2014 from the Gemological Institute of America stating that the 6.09 and 5.89 carat diamonds are D colour, internally flawless clarity, with excellent cut, polish and symmetry

Also accompanied by two supplemental letters from the Gemological Institute of America stating the 6.09 and 5.89 carat diamonds have been determined to be type IIa. 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 I and the 105.60 carat Koh-i-noor, are examples of Type IIa

A 9.58 carats diamond ring. Estimate HK$8,000,000 – HK$12,000,000 ($1,000,000-1,500,000). Photo Christie's Image Ltd 2015.

Set with a brilliant-cut diamond weighing approximately 9.58 carats, to the similarly-cut diamond gallery and hoop, mounted in 18k white gold, ring size 6

Accompanied by report no. 2165718335 dated 29 October 2014 from the Gemological Institute of America stating that the 9.58 carat diamond is D colour, internally flawless clarity, with excellent cut, polish and symmetry

Christie's. HONG KONG MAGNIFICENT JEWELS, 2 June 2015, Hong Kong

An inside-painted glass snuff bottle. Signed Zhou Leyuan, cyclically dated renchen year corresponding to 1892. Estimate HK$ 100,000 - 150,000 (€14,000 - 21,000). Photo: Bonhams.

Of compressed rectangular form with high shoulders above an oval foot, intricately painted with a continuous landscape scene of insects by a gnarled tree and rockwork, one side with a series of dated kaishu inscriptions followed by the signature and a painted seal mark of the artist, with stopper. 6.3cm (2 1/2in) high (2). 

Provenance:According to the family, acquired by Hans Goldstein probably between 1948-1981 and thence by descent

Notes: Zhou Leyuan (active circa 1879-1893) born in Shangyin, Zhejiang Province, is arguably one of the most important inside-painted artists. Zhou founded his school of painting style in Beijing, and strongly influenced other artists including Ma Shaoxuan, Ding Erzhong and Ye Zhongsan. 

Compare an inside-painted snuff bottle by Zhou Leyuan, but featuring a landscape scene with a crane, also datedrenchen year corresponding to 1892, sold in these rooms, The Paul Braga Collection of Snuff Bottles, 24 November 2012, lot 11.

BONHAMS. FINE CHINESE CERAMICS AND WORKS OF ART, 4 Jun 2015 10:30 HKT - HONG KONG, ADMIRALTY

An inside-painted glass 'landscape' snuff bottle. Signed Ding Erzhong, cyclically dated bingshen year corresponding to 1896. Estimate HK$ 60,000 - 80,000 (€6,900 - 9,200). Photo: Bonhams.

Of flattened rectangular form rising from a short foot to curved shoulders, intricately decorated on one side with two travellers by a large gnarled tree amidst a mountain landscape, below a four-character kaishu inscription followed by a painted seal of the artist, the reverse with rockwork and plants beside a further series of dated kaishu inscriptions followed by the signature and a painted seal mark of the artist, with stopper. 5.7cm (2 1/4in) high (2).

Provenance: Sotheby's London, 15 February 1966, lot 207
Hans Goldstein collection and thence by descent

Notes: Ding Erzhong is the sobriquet of Ding Shangyu, a Qing dynasty scholar official from Tongzhou in Jiangsu Province, who was also a calligrapher, seal carver, painter and master of inside-painted snuff bottles. In addition to finding inspiration in Song, Ming and Qing dynasty paintings, his garden scenes with auspicious objects and rockwork were influenced by Zhou Leyuan.

Compare an inside-painted snuff bottle by Ding Erzhong, formerly in the Mary and George Bloch Collection, featuring a related scene of rockworks and auspicious objects on one side and a landscape scene on the reverse, also dated by inscription to bingshen year corresponding to 1896, illustrated by H.Moss, V.Graham and K.B.Tsang, A Treasury of Chinese Snuff Bottles. The Mary and George Bloch Collection. Vol.4. Part 1. Inside Painted, Hong Kong, 2000, pp.280-282, no.542, later sold in these rooms, Snuff Bottles from the Mary and George Bloch Collection: Part II, 23 November 2010, lot 54.

BONHAMS. FINE CHINESE CERAMICS AND WORKS OF ART, 4 Jun 2015 10:30 HKT - HONG KONG, ADMIRALTY

An impressive 53.88 carats rectangular-shaped fancy intense yellow diamond and diamond pendant necklace. Estimate HK$9,500,000 – HK$15,000,000 ($1,200,000-1,900,000). Photo Christie's Image Ltd 2015.

The detachable pendant set to the centre with a rectangular-shaped fancy intense yellow diamond weighing approximately 53.88 carats, within a marquise, pear and brilliant-cut diamond cluster surround, suspended from a neckchain designed as a series of graduated diamond florets, mounted in 18k white gold, 39.1 cm long

Accompanied by report no. 1162078283 dated 21 April 2014 from the Gemological Institute of America stating that the 53.88 carat diamond is fancy intense yellow, natural colour, VS1 clarity

Christie's. HONG KONG MAGNIFICENT JEWELS, 2 June 2015, Hong Kong

An inside-painted amber snuff bottle. Signed Ye Zhongsan, cyclically dated bingshen year corresponding to 1896. Estimate HK$ 60,000 - 80,000 (€6,900 - 9,200). Photo: Bonhams.

Of flattened rectangular form, carefully painted on one side with a boy riding a water buffalo crossing a shallow stream, the reverse with plants in vases by rockwork beside a series of dated kaishu inscriptions followed by the signature of the artist, with stopper.6.3cm (2 1/2in) high (2).

Provenance: According to the family, acquired by Hans Goldstein probably between 1948-1981 and thence by descent

Notes: Ye Zhongsan (active circa 1892-1943), was born in Beijing in 1869. As demonstrated in the present lot, he was influenced by the Zhou Leyuan Beijing school of painting. In accordance to Zhou's school of painting, the rock formation is the centre-piece, revered for being immutable and lasting - a symbol of longevity. Similarly, the imagery of a boy riding water buffalo is also derived from Zhou.

Compare two related inside-painted amber snuff bottles by Ye Zhongsan, decorated with rockwork and auspicious objects in the National Palace Museum, Taipei, one dated by inscription to the 18th year of Guangxu, corresponding to 1892, illustrated in Lifting the Spirit and Body: The Art and Culture of Snuff Bottles, Shanghai, 2012, pp.264-265, no.IV-057.

BONHAMS. FINE CHINESE CERAMICS AND WORKS OF ART, 4 Jun 2015 10:30 HKT - HONG KONG, ADMIRALTY

A rare Imperial-tribute painted enamel 'European subject' oval snuff box and cover Red-enamelled Qianlong four-character mark and of the period. Estimate HK$ 250,000 - 350,000 (€29,000 - 40,000). Photo: Bonhams.

Exquisitely enamelled with vibrant and bright colours, the hinged cover with a raised oval cartouche decorated with a scene of lovers, featuring a European lady with a figure of Cupid standing on her right in front of leafy bushes, holding a basket of flowers in one hand and a pair of doves in the other, her head turned towards the gentleman beside her as he serenades her with his mandolin, all encircled by a band of stylised lotus and Roccoco-style leaf scrolls against a blue ground on the sloping sides of the cover and box, the interior of the box and cover decorated in sepia with landscape scenes depicting European buildings on a rich yellow ground, the base with a four-character kaishu mark. 7.6cm (3in) long

Provenance: According to the family, acquired by Hans Goldstein probably between 1948-1981 and thence by descent

Published and Exhibited: M.Gillingham, Chinese Painted Enamels, Ashmolean Museum, Oxford, 1975, Catalogue no.33A

Notes: Snuff was an expensive luxury commodity in Europe in the 18th century and was introduced to the Qing Court by means of European missionaries, envoys and merchants. Snuff-taking became immensely popular, even with the emperor himself, and the imperial household began manufacturing snuff boxes and bottles with a combination of innovative western elements and ingenious Chinese craftsmanship. 

The present lot in its form and decoration acknowledges inspirations from several cultures including the Chinese interpretation of the Indian-style lotus borders that emulates Rococo-type designs, together with a distinct European subject matter, representing an exotic foreign culture. The snuff box is therefore a representative artwork that bears witness to the integration of Asian and Western cultures in the imperial Court. The imperial Court's fascination with European culture and hence its depiction as decorative subject matter on various mediums is evident in many existing porcelain and works of art in the imperial collections in Beijing and Taipei, ranging from clocks to snuff bottles, vases and other vessels of porcelain and glass.

The usage of materials, forms, and techniques all reached new heights of skill and design during the Qianlong reign. Painted enamel, first introduced during the Kangxi reign by foreign missionaries, became a defining art form of the Qianlong style, in quality, innovation and unsurpassed opulence. The actual painting on the present snuff box was probably done by artists employed by private ateliers in Guangzhou who were capable of producing intricately designed pieces combining Chinese and European elements. 

Compare related examples of painted enamel boxes and covers, Qianlong marks and of the period, also applying a related composition of a Western scene encircled by Chinese elements, from the National Palace Museum, Taipei, illustrated by Shi Jingfei, Radiant Luminance: The Painted Enamelware of the Qing Imperial Court, Taipei, 2012, pls.93, 94 and 104; and see also E.Rawski and J.Rawson, China: The Three Emperors, 1662-1795, London, 2005, pl.98.

BONHAMS. FINE CHINESE CERAMICS AND WORKS OF ART, 4 Jun 2015 10:30 HKT - HONG KONG, ADMIRALTY

Two coloured diamond and diamond rings. Photo Christie's Image Ltd 2015.

A 3.64 carats brilliant-cut fancy pink diamond and diamond ring. Estimate HK$7,800,000 – HK$10,000,000 ($1,000,000-1,250,000). Photo Christie's Image Ltd 2015.

Set with a brilliant-cut fancy pink diamond weighing 3.64 carats, within a brilliant-cut diamond surround, gallery and half-hoop, mounted in 18k white and rose gold, ring size 5¼

Accompanied by report no. 1162587333 dated 21 October 2014 from the Gemological Institute of America stating that the 3.64 carat diamond is fancy pink, natural colour, internally flawless clarity

A 4.23 carats oval-shaped fancy pink-purple diamond and diamond ring. Estimate HK$7,800,000 – HK$10,000,000 ($1,000,000-1,250,000). Photo Christie's Image Ltd 2015.

Set with an oval-shaped fancy pink-purple diamond weighing approximately 4.23 carats, within a brilliant-cut pink diamond surround extending to the gallery, joined to the brilliant-cut diamond hoop, mounted in platinum and 18k rose gold, ring size 6

Accompanied by report no. 15308718 dated 23 February 2015 from the Gemological Institute of America stating that the 4.23 carat diamond is fancy pink-purple, natural colour, SI1 clarity

Christie's. HONG KONG MAGNIFICENT JEWELS, 2 June 2015, Hong Kong

Exceptionnelle commode à décor « au vernis » de chinoiseries or et argent, par Jean-François Leleu, Epoque Louis XVI. Estimation : 120 000 € / 150 000 €. © Aguttes

Exceptionnelle commode à décor « au vernis » de chinoiseries or et argent à l’imitation des laques du Japon représentant des paysages à pagodes animés de pêcheurs, oiseaux et papillons ; de forme rectangulaire, elle ouvre par deux tiroirs dissimulés dans une frise de grecques en relief et par deux tiroirs sans traverse ; montants à pans coupés et réserves évidées ; pieds fuselés à bagues à godrons et cannelures ; ornementation de bronze finement ciselé et doré tels que rosaces turbinées à graines, anneaux laurés, macarons feuillagés, entrées à filets et sabots à feuilles d’eau. (trace d’estampille). Plateau de marbre. H : 80,5 – L : 103 – P : 49 cm

Notes: La composition originale de cette commode est représentative des meilleures réalisations de Jean-François Leleu, qui se caractérisent particulièrement par la qualité des assemblages, l’équilibre des proportions et la sélection rigoureuse des matériaux employés en placage, marqueterie, vernis ou laque, qui constituent la véritable signature de l’ébéniste et distinguent ses meubles de la plupart de ceux de ses confrères parisiens de l’époque. Ainsi, l’on retrouve notamment ce même parti pris sur un bureau plat illustré dans J. Nicolay, L’art et la manière des maîtres ébénistes français au XVIIIe siècle, Paris, 1982, p.297, fig. M ; ainsi que sur un socle supportant une figure en porcelaine qui a été vendu chez Sotheby’s, à Paris, le 28 avril 2009, lot 111 ; enfin, sur une paire d’encoignures et une commode, provenant des collections du marquis de Brunoy, respectivement vendues à Neuilly, Me Aguttes, le 19 décembre 2007, lot 267, et à Paris, Hôtel Drouot, Piasa, le 20 décembre 2000, lot 88. 

La commode que nous proposons s’intègre parfaitement à l’œuvre de l’ébéniste qui comprend d’autres modèles de dessin similaire, également ornés de rosaces turbinées sur le haut de leurs montants à pans coupés, mais réalisés en placage ou en marqueterie, citons : une première commode de ce type qui a été proposée aux enchères à Paris, Me Millon, le 2 avril 1997, lot 112 ; ainsi qu’une deuxième est passée en vente chez Christie’s, à New York, le 1 novembre 1989, lot 84 ; et une dernière vendue à Paris, Palais Galliera, le 10 décembre 1971, lot 102 ; celle présentée a la particularité d’avoir conservé son décor « en vernis Martin » réalisé dans le goût de l’Orient. 

Cette mode dérivait librement des créations françaises de la fin du XVIIe ou du début du siècle suivant qui faisaient suite à l’entrevue de Louis XIV et des ambassadeurs du roi de Siam en 1686 qui suscita un exceptionnel engouement pour les objets venus d’Orient et eut pour principale conséquence, quelques décennies plus tard, l’adaptation de panneaux de laque orientale sur des créations d’ébénisterie de facture parisienne. Rapidement, le coût très élevé des panneaux de laque entraîna une parade particulièrement audacieuse initiée par les marchands-merciers désireux de réduire le coût de fabrication de leurs meubles : le vernis européen. 
Leleu n’était pas véritablement spécialisé dans ce type de décor et ne réalisa que quelques meubles à panneaux de laque ou décorés en vernis ; ce qui suggère que ces meubles dits « de commande »étaient spécialement conçus par l’artisan pour le compte d’un grand marchand-mercier parisien. Ainsi, parmi les rares commodes à panneaux de laque ou « vernis Martin » de l’ébéniste, citons : un premier modèle, d’esprit Transition Louis XV-Louis XVI, qui se trouvait anciennement dans la collection Riahi (vente Christie’s, Londres, le 6 décembre 2012, 23) ; ainsi qu’un second, ouvrant par huit tiroirs en façade, qui est illustré dans P. Kjellberg, Le mobilier français du XVIIIe siècle, Dictionnaire des ébénistes et des menuisiers, Les éditions de l’Amateur, Paris, 2002, p.557. 

Jean-François Leleu naît à Paris en 1729. Tout d’abord, il exerce en tant qu’ouvrier libre dans le quartier du Faubourg Saint-Antoine, puis il intègre l’atelier de Jean-François Oeben, ébéniste-mécanicien du Roy, où il a comme compagnon Jean-Henri Riesener. A la mort du maître en 1763, Leleu et Riesener s’affrontent pour la succession, finalement Riesener l’emporte et épouse la veuve d’Oeben ; Leleu gardera une rancune tenace envers son confrère, futur ébéniste du Garde-Meuble de la Couronne. 
Leleu fait alors enregistrer ses lettres de maîtrise le 19 septembre 1764 et ouvre une boutique rue de la Contrescarpe, puis déménage rue Royale dans une maison plus vaste. Dès 1789, Leleu est mentionné comme un ancien ébéniste, mais c’est certainement en 1792 qu’il cède son atelier à son gendre Charles-Antoine Stadler. Probablement due à son inimitié envers Riesener, Leleu ne travaille quasiment pas pour la Cour, ses meubles se destinaient de préférence à une clientèle de riches amateurs et de grands collectionneurs.

AGUTTES, Mobilier et Objets d'Art, le 28 Mai 2015 à 14h00