Pablo Picasso, La Famille, 1956. Est. €2,800,000-3,500,000 / $3,570,000-4,460,000. Photo: Sotheby’s/ArtDigital Studio.

PARIS.- Sotheby’s announced a highly selective sale of Impressionist & Modern Art to be held in Paris on 5th December 2012. This prestigious auction will pay tribute to two great 20th-Century Masters: Picasso and Matisse. Wifredo Lam will also be honoured with a monumental and emblematic masterpiece, from the Joyce & Samir Mansour Collection. The sale also features Surrealism and top-quality works from the 1920s-1940s by Matta, Masson, Duchamp, Magritte, Man Ray, Tanguy and Picabia.

Two Star Works from Picasso’s Post-War Years

Sotheby’s is will present for auction two magnificent examples of the power and virtuosity of Picasso’s late work.

Femme et Jeune Garçon Nus (1969) is one of his most grandiose drawings from this period. Picasso’s supreme skill and the complex use of different techniques yielded a dazzlingly powerful image, reflecting the glorious finale to his career. Femme et Jeune Garçons Nus, shown at the legendary Picasso exhibition at the Palais des Papes in Avignon in 1970, is the work of young man of 88 at the height of his powers and at the pinnacle of the art of his era. The perfection Picasso attained would define the classicism of his final period (est. €2,000,000-3,000,000 / $2,550,000-3,825,000).*

Pablo Picasso painted La Famille at the age of 72 at La Californie, the villa in Cannes where he had moved with his new partner Jacqueline the summer before, opening a new chapter in his life and work. The family constitutes one of Picasso’s most personal themes, reflecting his ceaseless exploration of the meaning of art. The Family is one of six paintings he made on 20th August 1956, five of which show a seated man playing the flute for small dancing figures. La Famile is the most accomplished and carefully painted work in this series. Picasso scratched some parts of the paint surface to create blank lines, accentuating the outlines of certain forms and adding detail to the trees. It was also the most personal painting of the six: the figures can be identified as Picasso, Jacqueline, Claude, Paloma and Cathy (est. €2,800,000-3,500,000 / $3,570,000-4,460,000).

A Legendary Work by Wifredo Lam: Peinture, Nous t'Attendons (1958-61)

Peinture, Nous t'Attendons (1958-61), one of the culminating masterpieces of post-war Surrealism, was acquired directly from Lam by Joyce and Samir Mansour, and counts as one of the most ambitious and grandiose works in the Cuban artist’s career. This monumental composition, painted during a turbulent period in Lam’s life, was chosen by Breton for a full-page colour reproduction in the new 1965 edition of Surréalisme et la Peinture – the last edition to appear during its author’s lifetime.

This legendary work has not been seen in public since 1969, and offers a remarkable glimpse of Wifredo Lam’s mysterious world with its horse-headed women. It is a perfect illustration of the power of his work to stimulate the spirit and move the soul (est. €2,000,000-3,000,000 / $2,550,000-3,825,000).

Surrealism in the Spotlight

Morphologie Psychologique de l’Attente (1938) is one of the first works on canvas painted by Matta just a few months after he discovered painting. It sows the seed for the plastic innovations which, a few years later in the United States, would lead him to influence a whole generation of artists, including Robert Motherwell and Jackson Pollock. This poetic work is one of the ‘visionary paintings’ vaunted by its first owner Gordon Onslow-Ford (est. €800,000-1,200,000 / $1,020,000-1,530,000).

Réunion d’Insectes, with its swarm of giant insects, dates from André Masson’s stay in Spain between 1934-36 (est. €500,000-700,000 / $637,000-892,000). Its eye-catching colours fail to hide an underlying menace.

Max Ernst is represented by two works from the 1960s: La Terre à travers les âges from 1961 (est. €180,000-250,000 / $229,000-319,000) and Sternbild II from 1967 (est. €200,000-300,000 / $255,000-382,000).

Yves Tanguy’s mineral landscape Le Plan des Sources (1929) was inspired by memories of his childhood in Brittany and youthful stint in the Merchant Navy (est. €300,000-500,000 / $382,000-637,000).

Femme Accroupie (1942) combines all the elements typical of Francis Picabia’s work during World War II. This crouching nude seems both modest yet intensely sensual. The painting is inspired by photographs from 1930s girlie magazines which Picabia liked to copy, modify, retouch, complete and transform, so as to accentuate or divert their meaning (est. €300,000-400,000 / $382,000-510,000).

The section also includes a Marcel Duchamp ready-made, Apolinère Enameled (1916/17) – a humorous homage to the famous poet, and the last of the edition still in private hands (est. €350,000-500,000 / $446,000-637,000); one of the earliest major works by René Magritte, Métaphore (1923), reflecting the influence of De Chirico (est. €300,000-400,000 / $382,000-510,000); and a superb ink drawing by Man Ray, La Mort Inutile II (1937), portraying Lee Miller (est. €120,000-180,000 / $153,000-230,000).

Henri Matisse: Themes & Variations

Three remarkable drawings from Henri Matisse’s 1941 Themes & Variations, with their expressive and innovative outlines, are the fruit of a method which the artist called ‘libre jaillissement.’ Matisse was aiming to show that the apparent facility of his drawings was misleading – and that a long interior process was needed before he could produce his ‘instantaneous improvisations.’ This remarkable ensemble of three successive variations from a single series – preserved as a triptych and never separated – was given by Matisse to Suzanne Schiff-Wertheimer, the chef de service of the Ophthalmology Ward at the Quinze-Vingts Hospital in Paris who looked after him for many years (est. €700,000-1,000,000 / $892,000-1,275,000).

* estimates do not include buyer’s premium 

Pablo Picasso: Femme et Jeune Garçon Nus, 1969. Estimate €2,000,000-3,000,000 / $2,550,000-3,825,000. Photo: Sotheby’s/ArtDigital Studio.

Nicolas Regnier (Flemish, 1591-1667), San Sebastian

Bague en or gris orné d'un important saphir taillé en coussin épaulé de deux diamants taillés en triangle. Photo Artcurial

Poids du saphir : 21.98ct. Estimation : 86 000 / 88 000 €

Accompagné d'un certificat du laboratoire GRS indiquant origine Birmanie, pas de modification thermique constatée.

A SAPPHIRE AND DIAMOND WHITE GOLD RING ACCOMPANIED BY A GRS CERTIFICATE STATING THAT THE 21,98 CT SAPPHIRE, ORIGIN BURMA SHOWED NO INDICATION OF THERMAL TREATMENT

Artcurial - Briest-Poulain-F.Tajan. Mardi 27 novembre 2012. Hôtel Dassault - 7 Rond Point des Champs-Elysées - 75008 - Paris www.artcurial.com

An ebony, hardstone and ormolu-mounted night timepiece, G Monginot, Florence, circa 1690 - Photo Sotheby's.

2¼ x 7-inch re-painted copper dial depicting Christ with followers within a landscape, the upper section with an aperture revealing the hours passing by quarter hour markings, the fusee movement with circular plates signed Gio: Monginot, Fiorenze, with baluster pillars, verge escapement with bob pendulum and pierced and engraved cock, the architectural triple breakfront case with arched cresting and fluted scroll sides applied with ormolu mounts, the base inset with a drawer, the whole decorated with polished stone panels in shades of red and green within gilt borders; 84cm. 33in. high. Estimation: 40,000 - 60,000 GBP

Sotheby's. Arts of Europe. London | 04 déc. 2012 www.sothebys.com

Bague en or gris sertie d'un rubis ovale épaulé de quatre diamants baguette. Photo Artcurial

Poids du rubis : 6,20 ct. Poids brut : 5g. Estimation : 85 000 / 90 000 €

Accompagné d'un certificat du laboratoire GRS indiquant couleur "vivid orange-red", pas de modification thermique constatée.

A RUBY, DIAMOND AND WHITE GOLD RING ACCOMPANIED BY A GRS CERTIFICATE STATING THAT THE 6,20 CT "VIVID ORANGE-RED" RUBY SHOWED NO INDICATION OF THERMAL TREATMENT.

Artcurial - Briest-Poulain-F.Tajan. Mardi 27 novembre 2012. Hôtel Dassault - 7 Rond Point des Champs-Elysées - 75008 - Paris www.artcurial.com

A pair of Italian tortoiseshell, ebony veneered and ebonised cabinets, Sicilian late 17th/early 18th century and later - Photo Sotheby's

each of architectural form, with a later gilt-bronze balustraded gallery with baluster urn finials above an architectural niche flanked by two pairs of columns opening to reveal a fitted interior flanked on either side by four panelled drawers, the later stand with a panelled frieze on square tapering legs joined by a shelf on inverted pad feet; each cabinet 103cm high, 135cm wide, 43cm deep; 3ft. 6½in., 4ft. 5in., 1ft. 5in.; each base 103.5 high, 142cm wide, 46cm deep; 3ft. 6¾in., 4ft. 8in., 1ft. 6in. Estimation: 40,000 - 60,000 GBP

PROVENANCE: By repute originally in teh Collection of Principessa De Spucches, Palermo

Comparative Literature: Mario Giarrizzo and Aldo Rotolo, Mobili e Mobilieri nella Sicilia del Settecento, Palermo, 1992, p. 66, fig. 3.
Vincenzo Abbate, Wunderkammer Siciliana alle origini del museo perduto, Naples, 2001, pp. 91-92 and 96-97.
This pair of cabinets are rare in that the other known recorded examples seem to be similar to each other but none of them would appear to have been conceived as a pair. There are two related cabinets of almost identical form to the present pair in the Galleria Regionale of Sicily, originally in the De Ciccio collection, Naples, illustrated by Abbate, op. cit., pp. 91 and 92, figs I. 4a and b.

The two published cabinets were not originally conceived as a pair but were probably acquired by the same collector who commissioned an identical base for each of them, as on the present pair. The cabinets were made between the end of the 17th century and the beginning of the following century. The differences in the published cabinets with the present pair is due to the fact that one has a sculptor in the niche depicting a bishop, the other a putto, which are lacking on the present pair. Other examples of this type of cabinet are recorded; one in the collection of the duca Lombardo di Cumia, Naples and another in the Museum of Applied Arts in Milan.

This particular technique of veneering furniture in tortoiseshell was popular since 1640 and employed by German, Flemish and French cabinet-makers. In the second half of the 17th century, France was major centre for the production of tortoiseshell furniture: the cabinet-maker André-Charles Boulle introduced the practice of inlaying brass, ivory and rare woods in tortoiseshell veneer. Tortoiseshell furniture was recorded in Naples since 1646: in 1663, two cabinets similar to those formerly in the De Ciccio collection were sold in Naples.

Sotheby's. Arts of Europe. London | 04 déc. 2012 www.sothebys.com

Bague en or gris ornée d'un diamant taillé en coussin modifié de couleur jaune pâle. Photo Artcurial

Poids brut : 6,55g. Poids de la pierre : 10.58 ct. Estimation : 75 000 / 80 000 €

A PALE YELLOW DIAMOND AND WHITE GOLD RING

Artcurial - Briest-Poulain-F.Tajan. Mardi 27 novembre 2012. Hôtel Dassault - 7 Rond Point des Champs-Elysées - 75008 - Paris www.artcurial.com

A Meissen 'Augustus Rex' hexagonal  vase and cover, the porcelain circa 1730, the decoration perhaps somewhat later - Photo Sotheby's

the sides painted in Kakiemon style with black cranes perched among peonies, alternating with flowering peony bushes, the shoulders and cover with three reserves of phoenix on a broad tomato-red ground band of scrolling lotus, the neck with a key-fret border, 'underglaze' blue AR mark overpainted in blue and black enamel with a peony flowerhead, blue enamel caduceus mark; 32cm, 12 1/2 in high. Estimation: 40,000 - 60,000 GBP

NOTE DE CATALOGUE: Factory records show that twenty-six examples of this vase were ordered by Augustus the Strong for his Japanese Palace at Dresden between 1728 and 1730; all twenty-six were still in Dresden at the time of the 1779 inventory(listed under inventory number 327 as 'twenty-six pieces diverse 6-cornered bottles').

The Augustus Rex initial mark was used exclusively to mark pieces intended for Augustus the Strong's two Dresden palaces. However, it was an 'underglaze' blue mark; i.e. it was put on first, before the undecorated piece was fired for the first time. In the kiln, the larger or heavier of these pieces were often difficult to fire, and many developed faults or firing cracks. A considerable number of these pieces were therefore held back and put into store - from which they were extracted over a period of years afterwards, to be decorated and sold to the general public.

It follows that anything with an AR mark is either a piece made and decorated for one of the Royal palaces for the King, or it is decorated at some later date, perhaps a year or two later, perhaps even thirty or more. Difficulties of exact dating of these pieces and of assessment of their importance and value are therefore common, and can boil down to a matter of expert opinion.

The present vase is more intriguing than most, in that its 'AR' mark has been deliberately obscured, and then a caduceus mark (an uncommonly-found alternative factory mark of around 1722-1730) added. It is hard to imagine why the factory would obscure its own mark. On the other hand, it is equally difficult to explain why an outside or later decorator would cover up a mark that he would surely be glad to find on the piece.

A third possibility would be the involvement of Rudolphe Lemaire. He held a trusted position at the factory, and was found to have been creaming off a lot of pieces, and ordering special pieces, which he caused to be smuggled out of the factory and sold for his own benefit. Mostly, these pieces were deliberately made without a mark – it seems he was passing them off in Paris as the genuine Japanese article. When he was caught, many hundreds of pieces were returned to the factory, there to be marked with the crossed swords in enamel. The theory here is that he might have got hold of this piece from the store, already AR marked, and had it decorated in Japanese style and the mark obscured, to be passed off as Japanese. It is an interesting theory, but there is no actual evidence, or precedent, for it.

There is certainly no other example of this form with the caduceus mark, or with the AR mark obscured. One might also note that this seems to be the only example of the type with the big cranes' bodies in this striking black enamel;  the birds seem to be brown on every other example of this pattern; see the Japanese and Meissen examples in the Staatliche Kunstsammlung Dresden, illustrated together by U. Pietsch and C. Banz, Triumph of the Blue Swords, p.255 no. 195.

Sotheby's. Arts of Europe. London | 04 déc. 2012 www.sothebys.com

Rare pendentif en or gris orné d'un très beau saphir taillé en coussin ovoïde. Photo Artcurial

dans un encadrant finement ajouré de feuilles, comme la bélière sertie de diamants taillés en brillant. Poids de la pierre: 21,76ct. Poids brut: 12,3g. Estimation : 60 000 / 70 000 €

Accompagné d'un certificat de GPL indiquant origine Sri Lanka, pas de modification thermique constatée. 

A SAPPHIRE, DIAMOND AND WHITE GOLD PENDANT, ACCOMPANIED BY A GPL CERTIFICATE STATING THAT THE 21,76 CT SAPPHIRE ORIGIN SRI LANKA, SHOWED NO INDICATION OF THERMAL TREATMENT

Artcurial - Briest-Poulain-F.Tajan. Mardi 27 novembre 2012. Hôtel Dassault - 7 Rond Point des Champs-Elysées - 75008 - Paris www.artcurial.com

A South Italian coral and enamel-mounted gilt-copper mirror, Trapani, Sicily mid 17th century - Photo Sotheby's

with an octagonal later plate within a moulded surround elaborately embellished with carved coral pieces, the angles with flowerhead shaped enamelled motifs, enamel and coral rosettes and gilt-bronze putti masks, surrounded by a rim with pierced foliate and scrolling outer border; 79cm. high, 68.5cm. wide; 2ft. 7in., 2ft. 3in. Estimation: 40,000 - 60,000 GBP

Comparative Literature: Gina Carla Ascione / Enzo Tartamella, Exhibition catalogue: Coralli - talismani sacri e profane, Trapani (Museo regionale Pepoli) 1986, pp. 213-215, figs 58-60.
Maria Concetta Di Natale, Exhibition catalogue: Splendori di Sicilia - Arti Decorative dal Rinascimento al Barocco, Palermo (Albergo dei Poveri) 2001, p. 50, fig. 48, and p.33, fig. 15.

Trapani in Sicily, witnessed from the 16th century until the end of the 18th century, the flourishing of a highly specialized production of gilt-bronze works of art richly decorated with coral. This precious material had its mythical origin in the blood that flowed from the head of the gorgon Medusa when she was slain by Perseus. Like many other rare materials, it was much sought after during the period of the Renaissance and became one of the materials favoured for the fashioning of works of art for princely Kunstkammern that aimed at bringing together all the marvels of the natural world. Talismanic and medicinal qualities were attributed to coral, such as the detection of poison in foods and the stimulus of fertility. One of the most striking objects in the great Kunstkammer of the Electors of Saxony in Dresden is a silver-gilt cup in the form of Daphne who is turning into a tree in order to escape from the pursuit of Apollo; from the head of the nymph large branches of coral emerge. It was made in the late sixteenth century by the Nuremberg goldsmith Abraham Jamnitzer, copying a piece by his father Wenzel which is now in the Louvre.

The Trapani workshops were patronized by the Court of the Viceroys in Sicily, and many pieces of Trapani work must have found their way to European courts as diplomatic gifts. However, the majority of the output seems to have been destined for the local market or for export to Southern Italy or Spain. Many religious works, such as crucifixes, monstrances and holy water-stoups were absorbed by church treasuries, and secular pieces were acquired by the nobles and the court. Trapani work is characterized by the employment of small pieces of coral carved into many different shapes and set in a ground of gilt-copper to obtain a variety of effects. Small sculptural elements may be executed in coral as well, but three-dimensional mounts also play an important role.

Ascione and Tartamella illustrate three closely related octagonal mirrors, op.cit. pp. 213-215, figs 58-60. Related Trapani frames include examples in Santiago da Compostela and formerly in the Whitaker collection, illustrated by M.C. di Natale, op. cit., p. 50, fig. 48, and p.33, fig. 15.

A pair of very similar mirrors was sold Christie's, London, 6th July 2006, lot 178. A related octagonal holy water stoup was sold in the same sale as lot 199. 

Another comparable mirror was sold Christie's, New York, 22nd October 2003, lot 5. 

Furthermore, a related octagonal Trapani devotional plaque was sold in these Rooms, lot 50, 3rd December 2008.

Sotheby's. Arts of Europe. London | 04 déc. 2012 www.sothebys.com

Importante bague en or gris, sertie d'un saphir jaune taillé en coussin. Photo Artcurial

l'encadrement ajouré d'enroulement comme l'épaulement serti de diamants taillés en brillant. Poids du saphir: 75,21ct. Tour de doigt : 55 - Poids brut : 37,7g. Estimation : 42 000 / 45 000 €

Accompagné d'un certificat du laboratoire LFG indiquant origine Ceylan (Sri Lanka), pas de modification thermique constatée. 

AN IMPORTANT YELLOW SAPPHIRE AND WHITE GOLD RING, ACCOMPANIED BY AN LFG CERTIFICATE STATING THAT THE 75,21 CT SAPPHIRE, ORIGINE CEYLAN, SHOWED NO INDICATION OF THERMAL TREATMENT

Artcurial - Briest-Poulain-F.Tajan. Mardi 27 novembre 2012. Hôtel Dassault - 7 Rond Point des Champs-Elysées - 75008 - Paris www.artcurial.com

An Important Pair Of Emerald, Coloured Diamond And Diamond Ear Pendants, By Van Cleef & Arpels. Photo Christie's Image Ltd 2012

Each detachable pendant set with a pear-shaped emerald weighing approximately 13.20 and 12.18 carats, within a marquise, brilliant and pear-shaped diamond surround, to the diamond cluster surmount, each set to the centre with a brilliant-cut fancy intense yellow diamond weighing approximately 3.09 and 3.03 carats, mounted in 18k gold, 6.2 cm long, with french assay mark for gold, in blue leather Van Cleef & Arpels case. Estimate HK$9,500,000 - HK$12,000,000 (US$1,200,000-1,500,000)

Signed and with maker's mark for Van Cleef & Arpels, no. SL266

Accompanied by report no. CS 51336 A & B dated 6 september 2012 from the American Gemological Laboratories stating that based on available gemological information, it is the opinion of the laboratory that the emeralds weighing 13.20 and 12.18 carat are natural, the origin of this material would be classified as classic Colombia, clarity enhancement: faint; also accompanied by an appendix stating that the emeralds are singularly distinguished and together make a pair of unique rarity. both exhibit an intense and saturated green colour that is representative of top-quality stone from Colombia. emeralds of such colour and quality are commonly referred to as "old-mine" emeralds and are considered to have originated from the Muzo mining district in western flank of the Cordillera oriental. AGL has developed a match pair rating that defines the comparative similarity in appearance of two gemstones and reflects the uniformity of all quality parameters. these two emeralds described received a rating of excellent. the total combination of quality elements, origin determination, match rating, as well as important ear pendants, represents a particularly rare example of a very fine emerald and diamond jewellery

Two duplicate reports nos. 11182466 and 13104080 dated 17 july 2000 and 16 january 2004 from the Gemological Institute OF America stating that the 3.09 and 3.03 carat diamonds are fancy intense yellow, natural colour, internally flawless and vs2 clarity respectively

Please note that two certificates are more than 3 years old and might require an update (2)

Christie's. Hong Kong Magnificent Jewels. 27 November 2012. Hong Kong

A Rare And Superbly Carved 'Orchid Pavilion' Rhinoceros Horn Libation Cup. Ming Dynasty, Early 17th Century. Photo Christie's Image Ltd 2012

The sides are crisply carved in high relief with a continuous scene from 'Preface to the Scholarly Gathering at the Orchid Pavilion', depicting four scholars seated reading books and drinking wine beneath pine and wutong trees by the banks of a swirling river accompanied by attendants carefully floating cups of wine on the currents. The scene continues to the reverse with two further scholars writing, enjoying wine and playing the qin, all set below a pavilion nestled among rocks and wispy clouds that continue over the rim to the interior of the cup, the river flowing around to the side of the cup, descending into a waterfall between the two rocky outcrops that form the handle and emerging at the base beside a two-character seal mark Wu Heng. The material is of a light amber tone. 6 1/2 in. (16.6 cm.) wide, wood stand, box. Estimate HK$6,000,000 - HK$9,000,000 ($777,832 - $1,166,748)

Provenance: A.V. Stuart, Saco, Maine
Sold at Sotheby's New York, 22-23 March 1999, lot 430

Exhibited: Hong Kong Museum of Art, Metal, Wood, Water, Fire and Earth: Gems of Antiquities Collections in Hong Kong, 2002-2005

Notes: The characters, Wu Heng, probably denote the name of the carver or the collector. However, it appears to be unrecorded.

The exquisitely rendered details on the cup illustrate a scene as described in the 'Preface to the Scholarly Gathering at the Orchid Pavilion' written by the great calligrapher and poet, Wang Xizhi (A.D. 307-365). The author invited a group of scholars to a gathering by the Orchid Pavilion in Shanyin, Zhejiang, in A.D. 353, to celebrate the Spring Purification Festival. During the gathering they played a game in which servants would float cups of wine on the river to the scholars waiting downstream. In the time the cups took to reach the scholars, they had to try to compose a poem and catch the cups as they passed by. 

The theme is rarely depicted on rhinoceros horn carvings due to its complexity, elaborate scenery and the large number of figures involved. The spectacular size of this horn enabled the carver to skilfully recreate the scene in magnificent detail.

Compare to another very large 'Orchid Pavilion' rhinoceros horn libation cup signed by Fang Hongzhai also from the Songzhutang Collection, sold at Christie's Hong Kong, Important Chinese Rhinoceros Horn Carvings from the Songzhutang Collection, 27 May 2008, lot 1709.

Christie's. Important Chinese Ceramics and Works of Art. 28 November 2012. Hong Kong

A Rare And Finely Carved Rhinoceros Horn 'Hundred Boys' Stem Cup. Late Ming-Early Qing Dynasty, 17th Century. Photo Christie's Image Ltd 2012

The stem cup has deep rounded sides rising to a flared rim, supported on a stem foot spreading towards the base. It is carved all over with boys at play, some with instruments, fans; others playing ball games; one climbing up a tree and another bathing, all in a courtyard scene on a diaper-ground above a band of lotus scrolls. The mouth and foot rims are encircled with a narrow keyfret border. The horn is of an amber tone darkening towards the base. 3 1/2 in. (8.9 cm.) high. Estimate HK$1,800,000 - HK$2,200,000 ($233,350 - $285,205)

Notes: This is a particularly charming stem cup on which young boys are shown engaging in a wide variety of games. The theme of 'hundred boys', or baizi tu, is found on many of the Chinese decorative arts, reflecting the preoccupation with the acquisition of male offspring, and symbolising the wish 'may you have many sons'. In many occasions the children are shown at play, while some of them are also depicted engaging in scholarly pursuits, suggesting that one day they would become successful officials, as on the current stem cup.

Christie's. Important Chinese Ceramics and Works of Art. 28 November 2012. Hong Kong

A Rare Carved Rhinoceros Horn Libation Cup. Qing Dynasty, 18th Century. Photo Christie's Image Ltd 2012

The cup is delicately carved around the exterior with a seated lady sewing by a recessed-leg table and accompanied by an attendant, beside an irregular-shaped rock displaying antiquities including a gu-form vase, an archaic bronze lei, a tripod censer and a tool vase, amidst a continuous landscape punctuated by rocky outcrops with pine, wutong and bamboo trees and chrysanthemum flowers. The handle is pierced in the form of a gnarled pine tree branch with clusters of pine extending to the the interior of the cup. The material is of a rich amber honey tone. 6¼ in. (16 cm.) long, box. Estimate HK$1,800,000 - HK$2,500,000 ($233,350 - $324,097)

Provenance: Acquired in New York, 1998

Notes: The subject matter on the current vase is highly unusual as it entails several motifs which rarely appear on carved rhinorceros horns, such as Ming-style furniture, antiquities and lady sewing. The imagery of a lady surrounded by antiquities is reminiscent of the famous Yongzheng Beauty Appreciating Antiquities painting, in which a court lady is seated in front of a cabinet containing priceless antiquities, in the Beijing Palace Museum Collection and included in the National Palace Museum exhibition Harmony and Integrity: The Yongzheng Emperor and His Times, Taipei, 2009, Catalogue, pl. I-62.

However the depiction of a lady engaging in embroidery is rarely seen on Chinese decorative art, as females are usually portrayed pursuing leisurely activities or absorbed in scholarly events, but seldom are they depicted engaging in needlework. Thus the current cup belongs to a small and rare group of rhinoceros horns with rather unconventional motifs, such as a libation cup carved with eight horses, an unusual subject on rhinoceros horns, from the Songzhutang Collection and sold at Christie's Hong Kong, 31 May 2010, lot 1817.

Christie's. Important Chinese Ceramics and Works of Art. 28 November 2012. Hong Kong

A Superb Ruby And Diamond 'Red Scarlet' Necklace, by James W. Currens for Faidee. Photo Christie's Image Ltd 2012

Designed as twenty-six graduated oval-shaped rubies weighing approximately from 5.38 to 1.27 carats, each accented by a cluster of marquise and pear-shaped diamonds, mounted in platinum and 18k yellow gold, 39.5 cm long, in a black faidee case. Estimate HK$28,000,000 - HK$44,000,000 (US$3,500,000-5,500,000)

Signed and with maker's mark for James W. Currens 
Accompanied by report no. 12101076/1 to 26 dated 16 october 2012 from the Gübelin Gemmological Laboratory stating that the rubies weighing 5.38 to 1.27 carat are of Burma (MYANMAR) origin, with no indications of heating and the colour variety of some of the rubies in this necklace may also be called "pigeon blood red" in the trade; also accompanied by an appendix stating that these gemstones display a saturated red coloUR

Also accompanied by report no. 1137745018 dated 31 july 2012 from the Gemological Institute of america stating that the natural rubies weighing 5.38 to 1.27 carat are of Burma (MYANMAR) origin, with no indications of heating and the colour appearance of this stone is described in the trade as "pigeon's blood"; also accompanied by a monograph and a letter stating that the rubies are wonderful examples of the classic pigeon's blood colour. the intensity of the vivid red colour combined with the exquisite design and manufacturing of jw currens gives these gems a sensation that is a truly fitting subject for detailed documentation

Ten reports dated from 14 july 2010 to 3 may 2012 from the Gemological Institute Of America stating that the pear and marquise-shaped diamonds weighing from 1.21 to 1.00 carat range from d to f colour, internally flawless to vs2 clarity

Accompanied by a certificate of authenticity from Faidee

The total weight of the certified rubies is 62.46 carats.

Christie's. Hong Kong Magnificent Jewels. 27 November 2012. Hong Kong

A Superb Pair of Ruby and Diamond 'Red Butterflies' Earrings, by James W. Currens for Faidee. Photo Christie's Image Ltd 2012

Each designed as a cluster of oval-shaped rubies weighing approximately 5.05, 5.01, 2.11 and 2.03 carats and pear and marquise-cut diamonds weighing approximately from 2.59 to 1.01 carats, mounted in 18k white and yellow gold, 2.9 cm long, in black Faidee case. Signed and with maker's mark for James W. Currens. Estimate HK$18,000,000 - HK$28,000,000 (US$2,300,000-3,500,000)

Accompanied by report no. 12101077/1 and 2 dated 16 october 2012 from the Gübelin Gemmological Laboratory stating that the rubies weighing 5.05 to 2.03 carat are of Burma (MYANMAR) origin, with no indications of heating; also accompanied by an appendix stating that these gemstones possess a saturated red colour

Also accompanied by report no. 1147082008 dated 30 october 2012 from the Gemological Institute Of America stating that the natural rubies weighing 5.05 to 2.03 carat are of Burma (MYANMAR) origin, with no indications of heating and the colour appearance of this stone is described in the trade as "pigeon's blood"; also accompanied by a monograph and a letter stating that the rubies are wonderful examples of the classic pigeon's blood colour. the intensity of the red colour gives these gems a sensation that is a truly fitting subject for detailed documentation

EIght reports dated from 3 november 2010 to 27 june 2012 from the Gemological Institute Of America stating that the pear and marquise-shaped diamonds weighing from 2.59 to 1.01 carat range from d to e colour, vvs1 to vs1 clarity

Accompanied by a certificate of authenticity from Faidee (2)

Christie's. Hong Kong Magnificent Jewels. 27 November 2012. Hong Kong

An Important Ruby, Diamond, Demantoid Garnet and Sapphire Ring, by Gimel. Photo Christie's Image Ltd 2012

Designed as a flowerhead, set to the center with a cushion-shaped ruby weighing approximately 6.80 carats, within a pavé-set brilliant-cut diamond petal surround, accented by a polished gold ladybug set with cabochon sapphires, joined to the circular-cut demantoid garnet half-hoop, mounted in platinum and 18k yellow gold, ring size 5¾, in brown suede gimel case. signed and with maker's mark for Gimel. Estimate HK$16,000,000 - HK$25,000,000 (US$2,000,000-3,000,000)

Accompanied by report no. 52977 dated 2 december 2008 from the SSEF Swiss Gemmological Institute stating that the 6.80 carat ruby is of Burma (Myanmar) origin, with no indications of heating; also accompanied by an appendix stating that the ruby possesses extraordinary characteristics and merits special mention and appreciation. the ruby exhibits a well-saturated colour combined with a very pleasant cutting style. its vivid red, poetically referred to as "pigeon's blood" is due to an excellent cut and combination of well-balanced trace elements in the stone, characteristics for rubies from Burma

Also accompanied by report no. 0711537 dated 10 december 2007 from the Gübelin Gemmological Laboratory stating that the 6.80 carat ruby is of Burma (Myanmar) origin, with no indications of heating and this colour variety may also be called "pigeon's blood red" in the trade; also accompanied by an appendix and note stating that the ruby possesses a saturated and homogeneous colour. such a combination is rare in natural rubies of this size.

Christie's. Hong Kong Magnificent Jewels. 27 November 2012. Hong Kong

An Important And Very Rare Early Ming Underglaze-Blue Baluster Jar, Guan. Hongwu Period (1368-1398). Photo Christie's Image Ltd 2012

The high shouldered jar with sharply tapered sides and waisted base stands on a heavy foot rim. The sides are potted with twelve lobed segments, each containing a long flowering branch growing from ornamental rocks; these include daylily, two varieties of lotus, pomegranate, tree peony, chrysanthemum, camellia, hibiscus, and rose blooms among others. These floral designs are set below a cloud collar lappet containing lotus sprays, and the waisted neck decorated with a band of clustered ruyi-cloud below a further band of upright lappets each enclosing a lotus. The tapered base is encircled by a keyfret band dividing lotus lappet borders containing further lotus blooms and stylised flower heads. The jar is supported on a wide foot encircled by a classic scroll and a recessed base. 20 7/8 in. (53 cm.) high. Estimate HK$6,000,000 - HK$8,000,000 ($777,796 - $1,037,061)

Notes: There are a number of variations of this pattern either decorated in underglaze-blue or underglaze-red. Whilst most of these jars appear with restored necks where the luting line joins the body and neck, the present jar is remarkable to have survived nearly intact.

Two very similar excavated covered jars are published: the first, excavated from the Haidian district of Beijing in 1961, included in the exhibition, The Genius of China, illustrated by W. Watson, Catalogue, 1973, p. 157, no. 364; and the other, discovered at Dongmentou, Zhushan, was exhibited in Imperial Hongwu and Yongle Porcelain Excavated at Jingdezhen, Chang Foundation, Taipei, 1996, illustrated in the Catalogue, no. 1. It has been suggested that the form was derived from the archaic storage vessel, lei, op. cit., p. 68. A third near-identical jar, missing its neck at the uppermost luting line, is illustrated in Blue and White Porcelain with Underglazed Red (I), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2000, pl. 13.

The style of the present jar is closely related to the blue and white jar with a restored neck sold at Sotheby's Hong Kong, 30 April 1991, lot 9, and offered at Sotheby's Hong Kong, 9 October 2012, lot 3060. Compare to other published examples of this pattern in underglaze-red: one in the Matsuoka Museum of Art, illustrated in Selected Masterpieces of Oriental Ceramics, Japan, 1983, pl. 44; another in the Baur Collection, illustrated by J. Ayers, Chinese Ceramics in the Baur Collection, vol. 1, Geneva, 1999, pl. 59 [A136]; and the jar sold at Christie's Hong Kong, The Imperial Sale, 26 April 1999, lot 551.

Christie's. Important Chinese Ceramics and Works of Art. 28 November 2012. Hong Kong

A Fine And Very Rare Ming Blue and White Pentafoil Basin. Wanli six-Character mark within double-Circles and of the period (1573-1619). Photo Christie's Image Ltd 2012

The deep sides of the basin encircling the well are divided into five rounded lobes rising to a flattened rim of conforming shape. The central scene filling the well depicts a bearded figure seated on the back of a buffalo in a mountainous landscape flanked by further standing figures and two boys. Further individual figural scenes decorate the sides and the lobed rim. The reverse is decorated around the sides with a continuous lotus scroll below a band of Zabao, 'Precious Objects', encircling the reverse of the rim. The mark is contained within a recessed medallion set within the otherwise unglazed base.
14 1/4 in. (35.7 cm.) wide, Japanese wood box. Estimate HK$2,000,000 - HK$3,000,000 ($259,265 - $388,898)

Literature: Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 322, pl. 960

Notes: This is a very rare example of a small group of Wanli blue and white or wucai lobed basins vividly decorated with Daoist figural scenes. Two other examples of the same scene are known, and both are decorated in the wucai palette. The first, stylistically very similar to the present example, is in the Eisei Bunko Foundation Tokyo and was illustrated in Tokai Seij Zenshu, Shogakukan Series, Tokyo, 1976, vol. 14, p. 103, pl. 105. The second wucai example was sold at Christie's Hong Kong, 29 September 1992, lot 483.

Two other Wanli blue and white lobed basins depicting figural scenes are known and both differ from the present example in their octagonal rather than pentafoil form. An example in the Palace Museum, Beijing is illustrated in Blue and White Porcelain with Underglaze Red, The Complete Treasures of the Palace Museum, Hong Kong, 2000, pp. 204-205, no. 189. The other example from the Sui Lin An and Meiyintang collections was most recently sold at Sotheby's Hong Kong, 7 April 2011, lot 72. A wucai example depicting the same scene as the Meiyingtang example from the Ataka Collection is in the Museum of Oriental Ceramics, Osaka illustrated in Masterpieces of Old Chinese Ceramics from the Ataka Collection, Osaka, 1972, col. pl. 72. Another wucai octagonal basin with a different figural scene depicting Wang Xizhi was excavated in Beijing and is illustrated, op. cit., Tokyo, 1976, col. pl. 204.

Christie's. Important Chinese Ceramics and Works of Art. 28 November 2012. Hong Kong