A blue and white “dragon” meiping, Kangxi mark and period (1662-1722). H: 22.5cm. Estimate 6,500,000-8,500,000 HKD (832,000-1,088,000 USD). Photo Tokyo Chuo Auction Hong Kong

HONG KONG.- Tokyo Chuo Auction Hong Kong will hold its Autumn Auctions at the Four Seasons Hotel Hong Kong from 25 to 26 November 2015. A series of sales, which brings together over 400 lots, will be featured including Fine Chinese Classical Paintings and Calligraphy, Fine Chinese Modern Paintings, Imperial Treasures, ICHIGO ICHIE - The Art of Tea Ceremony, Fine Scholar's Objects as well as The Enchantment of Chinese Ink - Letters and Manuscripts from an Important Japanese Collection which will be held for the first time. All offerings will be exhibited in a public preview at the Four Seasons Hotel from 23 to 24 November 2015. 

Imperial Treasures 
The Imperial Treasures sale will feature a selection of extremely rare works of art made for the Qing court. The star lot is a blue and white “dragon” meiping, Kangxi mark and period (1662-1722). The shape of this classical meiping, literally "prunus vase", is slightly different from those most frequently seen as its superbly balanced body is taller and more slender in form. Painted in different tones of flamboyant blue on the white-glazed body, the five-clawed dragon, symbolising Imperial power and dignity, cavorts in the sky with its whiskers and mane flying in the wind. Known as Tuweilong, or “dragon with bare tail”, the painted dragon design was invented by the Qing Imperial Kilns and was most widely used during the Kangxi era. 

A blue and white “dragon” meiping, Kangxi mark and period (1662-1722). H: 22.5cm. Estimate HK$6,500,000-8,500,000 / US$ 832,000-1,088,000. Photo Tokyo Chuo Auction Hong Kong

Another highlight is an Imperial celadon-glazed square-formed vase, Yongzheng mark and period (1723-1735) from the Konoike Family collection. The Konoikes were an important and respected clan in the Edo period. The family started its winemaking business in the 16th century and moved into banking in 1656 through the founding of Konoike Bank. At Tokyo Chuo’s 5th anniversary sales held in September this year, treasures from the clan’s collection were well received by collectors and achieved excellent sale results. 

An Imperial celadon-glazed square-formed vase, Yongzheng mark and period (1723-1735). H: 30.5cm. Estimate  HK$ 1,800,000 – 2,800,000 / US$ 230,400 – 358,400. Photo Tokyo Chuo Auction Hong Kong

Emperor Yongzheng was known for his penchant for details in the design, forms and colours of Imperial wares. The present vase was made in the shape of the ancient bronze vessel Zun. Its square-formed body is glazed in pure celadon on which no further decoration compromises the vessel’s elegance and simplicity, and its base bears the six-character Yongzheng reign mark. 

A carved white jade "dragon" jar and cover, Qianlong period (1736-1795) H: 27.5cm Estimate  HK$ 2,500,000 – 2,800,000/ US$ 320,000 – 358,400. Photo Tokyo Chuo Auction Hong Kong

Crafted in excellent white jade, this jar is adorned with a superbly carved dragon on its cover and a pair of ruyi-shaped handles with rings on its shoulders. Full of movement and beauty, the decoration epitomizes the marvellous craftsmanship of the Qianlong era. 

Fine Chinese Classical Paintings and Calligraphy 
Bird-and-flower paintings collected by an oil painter from the Taisho period 
The Fine Chinese Classical Paintings and Calligraphy sale will showcase rare bird-and-flower paintings of the Song and Yuan dynasties from the collection of a respected oil painter from the Taisho period (1912– 1926) in Japan. The paintings cover a wide range of subject matter, including birds, animals, insects and flowers. Among the highlights are Young birds attributed to Li Di and Flower basket attributed to Li Song. Classical paintings from the Song and Yuan dynasties are exceedingly rare in the market and given the numerous important collectors’ seals on the present pieces, these two superb lots on offer are expected to generate intense bidding.

Li Di (attributed to, circa Song to Yuan dynasty), Young birds. Ink and colour on silk, hanging scroll, 23× 25 cm. Provenance: Collection of an oil painter from the Taisho period. Estimate  HK$ 600,000 – 900,000/US$ 76,800 – 115,200. Photo Tokyo Chuo Auction Hong Kong 

Li Di was one of the eminent figures of the Imperial Painting Academy famed for his vivid depiction of birds, small animals, flowers, bamboo and rocks. Young birds on offer is one of his outstanding pieces. With meticulous brushstrokes, he depicted two chicks gazing forward. The various colours of the subjects are in harmony with the light brownish tone of the background, further creating a sense of harmony and refinement. 

Li Song (attributed to, circa Song to Yuan dynasty), Flower basket, Ink and colour on silk, hanging scroll, 21× 26 cm. Provenance: Collection of an oil painter from the Taisho period. Estimate  HK$ 500,000 – 800,000/US$ 64,000 – 102,400. Photo Tokyo Chuo Auction Hong Kong

Li Song was a court painter best known for his flower and figure paintings. Flower basket is a captivating depiction of a basket filled with blossoming spring flowers, such as begonias and white roses. All the flowers and leaves are meticulously drawn and vibrantly painted so that the overall composition represents a lively tribute to the joy of spring. 

Fine Chinese Modern Paintings 
Paintings and calligraphy by Wu Changshuo from various Japanese collections 
Exceptional works by the master Wu Changshuo have been eagerly sought after in both China and Japan. Thanks to Kawai Senro’s and Nagao Uzan’s promotional efforts in Japan, the artist attracted even more attention from collectors in the country and his works were highly coveted. Respected collectors from the political and financial sectors, of particular note, included Inukai Bokudo, Saionji Kinmochi and Okura Kishichiro. Tokyo Chuo will present a series of Wu’s masterpieces from various Japanese collections, including Lychee. 

• DONG SHOUPING (1904-1997) Peaks clothed with pines Ink on paper, framed 66 × 66 cm Provenance: Collection of Mr Arakawa Est.: HK$ 200,000 – 500,000/ US$ 25,600 – 64,000 

• QIN ZHONGWEN (1896-1974) Peaks clothed with pines Ink and colour on paper, framed 135 × 67 cm Provenance: Collection of Mr Arakawa HK$ 150,000 – 300,000 US$ 19,200 – 38,400 

• CHENG SHIFA (1921-2007) Girl feeding goats Ink and colour on paper, framed 50.5 × 82.5 cm Est.: HK$ 350,000 – 550,000/ US$ 44,800 – 70,400 

• QI BAISHI (1863-1957) After the rain Ink and colour on paper, hanging scroll 103 × 33.5 cm Est.: HK$ 600,000 – 1,200,000/ US$ 76,800 – 153,600  

ICHIGO ICHIE - The Art of Tea Ceremony 
The ICHIGO ICHIE - The Art of Tea Ceremony sale will offer a selection of magnificent tea wares and incense accessories crafted in the Meiji era during which the majority of Maki-e wares, traditional Japanese lacquer wares sprinkled with gold or silver powder for decoration, were made for export to Europe and America. Such handcrafted works were later replaced by mass produced ones and hence very few handcrafted Maki-e wares are still available on the market today. The sale will also feature an array of excellent agarwood, showcasing to collectors the beauty of Chinese and Japanese incense ceremonies. 

A fine gold teapot and cover by Kitamura Shizuka. H:14.5cm; W:394g. Estimate HK$ 320,000 – 400,000/ US$ 40,960 – 51,200. Photo Tokyo Chuo Auction Hong Kong

A gold-inlaid silver teapot with iron handle and cover by Kudo Enju. H: 17.5cm; W: 493g. Estimate HK$ 320,000 – 380,000/ US$ 40,960 – 48,640. Photo Tokyo Chuo Auction Hong Kong

The pot has a neat and elegant shape. Its neck and the rim of the cover are carved with archaistic angular scrolls, auspicious designs symbolising fortune and prosperity. The gold knob is adorned with a Bagua pattern, while the silver handle is covered by a layer of iron engraved with three Chinese characters in gold. 

A Makie pear-skin ground home pattern incense box and cover L: 20cm; W: 15.5cm; H: 16cm Estimate HK$150,000 – 180,000/ US$ 19,200 – 23,040. Photo Tokyo Chuo Auction Hong Kong

An exceptional log of Ziyou agarwood. L: 35cm; W: 9cm; H: 8cm; W: 661g. Estimate HK$ 800,000 – 1,200,000/ US$ 102,400 – 153,600. Photo Tokyo Chuo Auction Hong Kong

A gold-and-silver-inlaid iron “dragons and phoenix” censer and cover by Hiraishi Chikayuki, Meiji period (1868-1912) H:13cm. Estimate  HK$ 450,000 – 550,000 /US$ 57,600 – 70,400. Photo Tokyo Chuo Auction Hong Kong

This small censer is inlaid with an elegant composition of numerous mythical animals in gold and silver. The silver knob is sculpted as a crouching qirin and the cover is engraved with a pair of gold phoenix. The body of the vessel is decorated with a dragon and a turtle, both in gold, cavorting in the sky and sea. Commonly known as the "Four Auspicious Beasts", the featured animals symbolise luck and longevity in Chinese culture.  

Fine Scholar's Objects 

A yellow Chengni inkstone from the former collection of Huang Yi, with Huang’s inscription on box’s cover, mid Qing dynasty. L: 23.5cm; W: 16cm; H: 2.3cm. Estimate HK$ 150,000 – 250,000/ US$ 19,200 – 32,000. Photo Tokyo Chuo Auction Hong Kong

Made of extremely fine and smooth clay, this yellow Chengni inkstone originally belonged to Huang Yi (1744-1802), a celebrated artist of the Qing dynasty. The piece was later acquired by Japanese collectors. The cover of the box is marked with collector’s seals and inscriptions by the artist, as well as by Sugitani Rokkyo (1865-1944) and Adachi (1868-1946). 

A carved bamboo “Qiao sisters” brush pot, early Qing period. H:12cm; D:19cm. Estimate HK$ 200,000 – 300,000/ US$ 25,600 – 38,400. Photo Tokyo Chuo Auction Hong Kong

The exterior of this brush pot is meticulously carved in multiple layers of relief depicting the Qiao Sisters in elegant robes under towering trees. With a refined composition and superbly carved design, this brush pot is believed to be made by one of the prominent craftsmen in Jiading in the early Qing period. 

A bamboo “two immortals” carving, early Qing period. H:19cm. Estimate HK$ 450,000 – 550,000/ US$ 57,600 – 70,400. Photo Tokyo Chuo Auction Hong Kong

• A finely carved Tianhuang stone “beast” seal with mark of Zhoubin, early Qing dynasty L:2cm; W:2cm; H:3.7cm; W: 25g Est.: HK$ 750,000 – 850,000/ US$ 96,000 – 108,800 

The Enchantment of Chinese Ink - Letters and Manuscripts previously from an important Japanese Collection 

The Japanese Calligraphic Association, which is particularly active in the Wakayama region of west Japan, has devoted itself to the promotion of calligraphy, seal carving and the collecting of works by renowned calligraphers. One of the cherished pieces from its collection is Letter to Shen Shiyou by Wu Changshuo, a 10-page album which will be offered in the coming sale. The work is written in Wu’s signature runningcursive script displaying coherent brushwork. It was written and sent during the Republic of China period and one of the pages is stamped “9th May”, revealing the date the letter was written. . Wu’s regards to Shen Shiyou’s family and their discussions on art and poetry can be found in the correspondence. 

• Wu Changshuo (1844-1927) Letter to Shen Shiyou (1858-1917) Album of ten pages 9 × 13.5 cm × 10 HK$ 200,000 – 250,000/ US$ 25,600 – 32,000 

• Zhang Ruitu (1570-1641) Calligraphy in running script Album of twenty-eight pages, ink on silk 23.5 × 11 cm × 28 HK$ 400,000 – 600,000/ US$ 51,200 – 76,800 
Zhang Ruitu, one of the talented calligraphers of the late Ming dynasty, was famed for his expressive and unorthodox style. He excelled in standard, running and cursive scripts and his works often display characters written without concealing the tip of the brush. In addition, some cursive connecting strokes are replaced by more angular ones, coupled with vigorous brushwork. 

Calligraphy in running script, a 28-page album also from the collection of the Japanese Calligraphic Association, was created by Zhang in 1630 after he returned from Beijing to his native city of Jinjiang in Fujian province. He then lived in retreat with his wife and they spent their time in the countryside, trying to leave the mundane world behind. The album was rendered with his signature running script but without any overbearing sentiment and the characters convey a sense of tranquillity. Zhang’s calligraphy has long been admired in Japan and the featured album has been highly treasured by the association.

A carved aloeswood 'double-gourd' brush washer, xi, 18th century-early 19th century. Estimate £3,000 - £5,000 ($4,554 - $7,590). Price Realized £21,250 ($32,258). Photo Christie's Image Ltd 2015

The washer is delicately carved as a double-gourd adjoined by a smaller one, and is entwined with leafy and fruiting vine. 4 1/8 in. (10.5 cm.) wide, carved hardwood stand, possibly zitan

Christie's. CHINESE CERAMICS, WORKS OF ART AND TEXTILES, 13 November 2015, London, South Kensington

A pale celadon jade 'mythical beast' vase and cover, 19th century. Estimate £3,000 - £5,000 ($4,554 - $7,590). Price Realized £21,250 ($32,258). Photo Christie's Image Ltd 2015

The vase is of flattened form and is carved as a horned mythical beast standing foursquare with an elaborate curled tail. The neck is carved with two loop handles with loose rings and the cover is surmounted by a bird-form finial. The stone is of a pale even tone with a few minor lighter streaked inclusions to one side. 5 ¾ in. (14.6 cm.) high, wood stand

Provenance: With R. Kitchen, 14 January 1965.

Christie's. CHINESE CERAMICS, WORKS OF ART AND TEXTILES, 13 November 2015, London, South Kensington

Adele Simpson dress, jewelry by Van Cleef & Arpels, modelled by Dovima.

Dovima modeling a black sheath dress by Adele Simpson, Vogue Feb 1954.

Dovima, 1952

Dovima, 1956

Dovima, 1950's

Seyh Hamdullah (Islamic, 1436 (?)-1520), Album of Calligraphy, Turkey, opaque watercolor and ink on paper mounted on thin pasteboard bound between sheepskin-covered boards with gold and chamois leather. Folio H: 11 13/16 x W: 9 1/16 in. (30 x 23 cm). The Walters Art Museum (W.672).

BALTIMORE, MD.- The great Mughal, Safavid, and Ottoman empires flourished during a time of rapid change and artistic innovation in the Islamic world, as people, ideas, and technologies spread across Europe and Asia. At the heart of the empires’ courts were networks of individuals—writers, poets, artists, craftsmen—who produced extraordinary works of art for the ruling elite. From November 8, 2015, through January 31, 2016, the Walters Art Museum presents Pearls on a String: Artists, Patrons, and Poets at the Great Islamic Courts, the first major exhibition to focus on these influential and often charismatic individuals. 

Mughal illustration from the Akbarnama (Book of Akbar), 16th century. The Walters Art Museum.

The free exhibition features more than 120 works including paintings, calligraphy, textiles, ceramics, and jeweled luxury objects. Dating from the 16th to the 18th century, these exquisite works of art were created in historic India, Iran, and Turkey, a vast geographic area that extends from the Bay of Bengal to the Mediterranean Sea.  

Manuscript illustration showing artisans at the Mughal court, 16th century. The Walters Art Museum.

“Pearls on a String seeks to broaden public engagement with the cultural histories of Muslim societies by demonstrating how human imagination and collaboration can ignite extraordinary artistic creativity,” said Amy Landau, associate curator of Islamic and South Asian art and curator of the exhibition. 

16th-century Persian ‘alam (standard used in processions). The Walters Art Museum.

Three Vignettes 
Pearls on a String is organized in a series of vignettes that spotlight a 16th-century writer, a 17th-century artist, and an 18th-century patron. Through poignant quotes, startling juxtapositions of artwork, and subtle references to the protagonists’ architectural surroundings, the exhibition offers a rare glimpse into their worlds. The individuals also inform the exhibition’s poetic title: viewed independently, each is a gleaming “pearl,” yet collectively they constitute an even more vibrant “string of pearls.” 

Manuscript painting of a scene from the Khamsa of Nizami, 17th century, Persian. The Walters Art Museum.

Writer Abu’l Fazl (1551–1602): A prolific writer, visionary historian and intimate at the court of the third Mughal emperor Akbar in India, he was the most powerful voice in defining Akbar’s policies of political inclusion in the context of a demographically diverse empire.  

Manuscript painting of a scene from the Manuscript painting of a scene from the Shahnama (Book of Kings), 17th century, Persian. The Walters Art Museum.

Painter Muhammad Zaman (c. 1650–1700): At the court of Safavid ruler Shah Sulayman, this imperial artist radically changed the course of Persian painting by introducing farangi-sazi, a European style, into the Persian tradition.  

Painting by Muhammad Zaman, after Rubens’s ‘Return from Egypt,’ 17th century. The Walters Art Museum.

Patron Sultan Mahmud I (1696–1754): An Ottoman ruler and active patron of the arts and architecture, this once-forgotten sultan commissioned fanciful jeweled objects as well as lavish libraries and mosques that define Istanbul’s skyline to this day.  

Portrait of Ottoman Sultan Mahmud I, 1815. The Walters Art Museum.

“The Walters’ initiative to organize its first international loan exhibition dedicated to Islamic art springs from the quality of the museum’s collection, its intellectual resources and its dedication to providing free access,” said Julia Marciari-Alexander, the Andrea B. and John H. Laporte Director of the Walters Art Museum.

Turkish Hunting Set, 1732-33.  Acquired by Henry Walters, 1903. The Walters Art Museum.

Mitch Griffiths, Finest Hour.

LONDON.- Enduring Freedom is a major new solo exhibition by celebrated British artist, Mitch Griffiths. On view at Halcyon Gallery, the body of work, which was unveiled to an invited audience on Remembrance Day, alludes to a sense of disillusionment and abandon typical of many post-war twentieth-century paintings. 

Enduring Freedom’s majestic triptych: First Person Shooter draws upon the titles of the popular video-game franchise Call of Duty, referencing the series across three 150 x 120cm paintings: Finest Hour, Call of Duty and Modern Warfare. 

Mitch Griffiths, Call of Duty.

Call of Duty, which depicts a soldier - oil dripping from his hands - references the words of WW1 veteran and poet Wilfred Owen. The words emblazoned in the tattoo across the soldier’s chest quote the words: Dulce et Decorum Est, from Owen’s famous poem which denounced the glorification of war and exposed the true horrors seen by those on the ground. 

Enduring Freedom at Halcyon Gallery precedes the artist’s inclusion in the June 2016 exhibition, Realisms at The State Hermitage Museum in St. Petersburg, one of the world’s largest and most prestigious museums of art and culture. 

Mitch Griffiths.

Preferring not to comment explicitly on any one interpretation of his work, Griffiths offers multiple readings and an opportunity both to identify with, and question the iconography which permeates his art. Unlike the work of Nash, Nevinson, Dix or Bacon, Griffiths’ paintings do not attempt to convey the visceral terror of mortal combat in sharp discordant angles, contrasting tones and expressive brush work. Instead, more akin to devotional painting of a seventeenth-century Papist Italy, the true strength and efficacy of these paintings lies in their understatement and reservation. 

Griffiths’ subjects glow softly at the edge of the picture plane, with such carefully observed and surprising detail that the viewer is compelled into contemplation. Through the theatrics of his compositions, Griffiths achieves a sense of twenty-first century history painting, dripping in symbolism, iconography and ancient mythological reference.  

Mitch Griffiths.

“This series looks at ideas I have been having regarding the triumph of the human spirit set in contrast to the more tangible authority held by various institutional or governmental structures of human society. The struggle for power can be found in the everyday rat-race or in the upper echelons of global politics.” - Mitch Griffiths 

Griffiths was born in Nuneaton in 1971. In 2001 he was nominated for the National Portrait Gallery BP Portrait Award with Armoured Heart. The piece was chosen for the exhibition's promotional poster, which resulted in wide exposure for his work across London. His first solo show in London was mounted at the Enid Lawson Gallery in Kensington in 2002. During this period Halcyon Gallery became one of his favourite haunts, following an exhibition of work by the painter Robert Lenkiewicz that caught his interest. A chance conversation with a gallery representative and an opportunity to show the sketchbook he was carrying resulted in what has become an enduring creative collaboration; Halcyon Gallery started permanently representing Griffiths in 2004.  

Mitch Griffiths.

His first show at the gallery, Reality (2006), examined the power of brand names in such works as Twenty-first Century Boy – a portrayal of a figure in Calvin Klein underpants with a Coca-Cola trademark branded into his skin. Credit cards encircle the man’s head like a crown of thorns, and his chest and arms bear cut marks that suggest self-harm. The Promised Land (2010), another major solo show, exhibited 25 paintings that delve into the pain and contradictions of modern British life. Griffiths took the Union Jack as a recurrent theme, wrapping figures in it to raise provocative questions about patriotism and identity. He drew attention to society’s fixation on appearance in The Fitting Room, to its voyeurism and inconstancy in The Muse is Dead. 

Griffiths latest exhibition Iconostasis (May 2013) took its concept from ecclesiastical architecture: the screen of icons dividing the sanctuary from the nave of an Eastern Orthodox church. He sees parallels with the way magazine covers and mobile-phone screens separate us from modern idols. The exhibition featured portraits of famous figures including Ray Winstone, Sir Bob Geldof and Keira Knightley.

Jan Brueghel the Younger, The Five Senses: Sight, c. 1625, Oil on panel, 27 5/8 x 44 5/8 inches, Paul G. Allen Family Collection. 

PORTLAND, ORE.- This fall, the Portland Art Museum is the first venue of a major touring exhibition exploring the evolution of European and American landscape painting. Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection features 39 paintings from five centuries of masterpieces drawn from the collection of Microsoft co-founder and philanthropist Paul G. Allen. 

Giovanni Antonio Canal, known as Canaletto, The Grand Canal, Venice, Looking South-East from San Stae to the Fabbriche Nuove di Rialto, c. 1738, Oil on canvas, 18 1/2 x 30 5/8 inches, Paul G. Allen Family Collection.

This exhibition is co-organized by Portland Art Museum and the Seattle Art Museum, in collaboration with the Paul G. Allen Family Collection, and presents masterpieces spanning nearly four hundred years—from Jan Brueghel the Younger’s series devoted to the five senses to Canaletto’s celebrated views of Venice to landscapes by innovators ranging from Joseph Mallord William Turner, Paul Cézanne, and Gustav Klimt to David Hockney and Gerhard Richter. Paintings by Thomas Moran, Edward Hopper, and Georgia O’Keeffe, and others provide an American perspective on landscapes at home and abroad. Seeing Nature includes five Impressionist canvases painted in France, London, and Venice by the French master Claude Monet.  

 Joseph Mallord William Turner, Depositing of John Bellini’s Three Pictures in La Chiesa Redentore, Venice, 1841, Oil on canvas, 29 x 45 1/2 inches, Paul G. Allen Family Collection.

“Seeing Nature offers an extraordinary opportunity to perceive the world through the gaze of some of the most important artists in history,” said Brian Ferriso, The Marilyn H. and Dr. Robert B. Pamplin Jr. Director of the Portland Art Museum, who is curating the exhibition in Portland. “These masterpieces have never before been on display together. Paul Allen is one of the Northwest’s most significant art collectors and philanthropists, and his willingness to share his landscape masterpieces with our visitors offers an unprecedented chance to be inspired by works of art.”  

Edouard Manet, View in Venice-The Grand Canal, 1874, Oil on canvas, 22 1/2 x 18 3/4 inches, Paul G. Allen Family Collection. 

The exhibition premiered at the Portland Art Museum on October 10, 2015. It next travels to The Phillips Collection in Washington, D.C, the Minneapolis Institute of Arts, and the New Orleans Museum of Art before closing at the Seattle Art Museum in early 2017. 

Seeing Nature explores the development of landscape painting from a small window on the world to expressions of artists’ experiences with their surroundings on land and sea. 

Claude Monet, En Paysage dans l’île Saint-Martin, 1881, Oil on canvas, 28 13/16 x 23 5/8 inches, Paul G. Allen Family Collection.

The exhibition reveals the power of landscape to locate the viewer in time and place—to record, explore, and understand the natural and man-made world. Artists began to interpret the specifics of a picturesque city, a parcel of land, or dramatic natural phenomena. 

Gustav Klimt, Birch Forest, 1903, Oil on canvas, 42 1/4 x 42 1/4 inches, Paul G. Allen Family Collection.

In the 19th century, the early Impressionists focused on direct observation of nature. This collection is particularly strong in the works of Monet: five great Monet landscapes spanning thirty years are featured, from views of the French countryside to one of his late immersive representations of water lilies, Le Bassin aux Nymphéas of 1919. Cézanne and his fellow Post-Impressionists used a more frankly subjective approach to create works such as La Montagne Sainte-Victoire (1888-90). The exhibition also features a rare landscape masterpiece by the Austrian painter Gustav Klimt, Birch Forest of 1903.  

Claude Monet, Le bassin aux nymphéas, 1919, Oil on canvas, 39 1/2 x 79 inches, Paul G. Allen Family Collection. 

The last part of the exhibition explores the paintings of artists working in the complexity of the 20th century. In highly individualized ways, artists as diverse as Georgia O’Keeffe, Edward Hopper, David Hockney, Gerhard Richter and Ed Ruscha bring fresh perspectives to traditional landscape subjects. 

Thomas Moran, Grand Canyon of Arizona at Sunset, 1909, Oil on canvas, 30 x 40 inches, Paul G. Allen Family Collection.

Max Ernst, Paysage avec lac et chimères, c. 1940, Oil on canvas, 20 x 26 inches, Paul G. Allen Family Collection.

Georgia O’Keeffe, Black Iris VI, 1936, Oil on canvas, 36 x 24 inches, Paul G. Allen Family Collection.

David Hockney, The Grand Canyon, 1998, Oil on canvas, 48 1/2 x 169 1/2 inches, Paul G. Allen Family Collection.

A green schist Devata console, Gandhara, Swat Valley, 2th-3rd century. Estimate CHF 12 000.- / 18 000.- € 11 110.- / 16 670. Photo Koller.

Height 19.5 cm. Mounted on a wood stand.

Swiss private collection, acquired before 1977.

Koller. Art asiatique (Japon, Asie du Sud-Est, Inde, Perse): Vente A175AS, 18 November 2015 10:00

A grey schist figure of a seated Bodhisattva with kalasha, Gandhara, 2nd-3rd century. Estimate CHF 2,000 / 3,000 | EUR 1900 / 2850. Photo Koller.

H 36,5 cm. 

Swiss private collection, acquired before 1988. 

Koller. Art asiatique (Japon, Asie du Sud-Est, Inde, Perse): Vente A175AS, 18 November 2015 10:00

A small grey schist torso of a Bodhisattva. Gandhara, 3rd-4th century. Estimate CHF  700 / 1,000 | EUR 660 / 950. Photo Koller.

Height 16.5 cm. Mounted on a metal plinth. 

Swiss private collection, acquired before 1977. 

Koller. Art asiatique (Japon, Asie du Sud-Est, Inde, Perse): Vente A175AS, 18 November 2015 10:00

A stucco Buddha head, Gandhara, 4th-5th century. Estimate CHF  600 / 800 | EUR 570 / 760. Photo Koller.

Height15 cm. Mounted on a wood stand. 

Swiss private collection, acquired before 1977. 

Koller. Art asiatique (Japon, Asie du Sud-Est, Inde, Perse): Vente A175AS, 18 November 2015 10:00

A silk yellow ground dragon chuba, Tibet-China, 18th century. Estimate CHF  5 000.- / 8 000.- € 4 630.- / 7 410. Photo Koller.

Length 131 cm. Imperial silk. Light stains, traces of wear. 

Koller. Art Asiatique (Himalaya et Chine): Vente A175AS, 17 November 2015 10:00

A mottled brown jade carving of a mythical beast, China, Ming dynasty. Estimate CHF  6,000 / 9,000 | EUR 5700 / 8550. Photo Koller. 

width 7.8 cm.

Koller. Art Asiatique (Himalaya et Chine): Vente A175AS, 17 November 2015 10:00

A celadon jade carving of a mythical beast with buff inclusions, China, Ming dynasty. Estimate CHF  3,000 / 5,000 | EUR 2850 / 4750. Photo Koller. 

width 5 cm.

Koller. Art Asiatique (Himalaya et Chine): Vente A175AS, 17 November 2015 10:00

HONG KONG.- Tiancheng International Jewellery and Jadeite Autumn Auction 2015 will be held on 6 Dec 2015 (Sunday), 1pm, and preview will be held from 28 Nov to 5 Dec (10:00 am to 6:00pm), at 30/F Bank of China Tower, 1 Garden Road, Central, Hong Kong. This autumn, Tiancheng International offers over 280 lots of finest jewellery and jadeite pieces totalling over HK$280 million／US$36 million. The forthcoming auction will highlight an array of exceptional jewels, including the magnificent Natural Unheated Burmese Sapphire and Diamond Necklace and Pair of Matching Pendent Earrings, with sapphires altogether weighing 106.86 carats. Also noteworthy is a rare Icy Lavender Jadeite “Laughing Buddha” and Diamond Pendant. With exquisite craftsmanship, the Buddha’s iconic image was brought to life in this much-coveted lot. 

Mr. Stewart Young, Director of Tiancheng International’s Jewellery Department, remarks, “Following our extraordinary auction results achieved last season with The Flare of Crimson, 52.22-carat natural unheated Mozambican “Pigeon’s Blood” ruby and diamond necklace sold at HK$24.8 million/US$3.17 million, setting a world record for any Mozambican ruby jewellery at auction, we have amassed an array of extraordinary gemstones this season. Under current global economic slowdown, it is foreseen that jewellery will render as a preferable investment option and hence an increasing market demand for finest jewellery and jadeite pieces. We have garnered an array of important natural untreated gemstones, and they are complemented by a splendid range of impressive designs by Alessio Boschi, Bulgari, Nirav Modi, Scavia and many more. Apart from that, we will present a number of irresistible jewellery pieces by independent designers. Similarly noteworthy is a delightful selection of jewellery by Mikimoto, together with collection of spinels and “Triple Excellent” diamonds will also be presented. The auction promises to lead all discerning connoisseurs to a dazzling world of exquisite jewellery.” 

MAGNIFICENT GEMSTONES AND DIAMONDS 
Coloured Gemstones 
Sapphire has been intertwined with jewellery for as long as we can remember. It holds the responsibility of bonding modern times with the past; it is thought that sapphire attracts heavenly blessings, as well as protecting its owner from envy and harm. In addition, this eminent gemstone represents royalty and romance. Two large sapphires play the main role in the talisman of Charlemagne, the King who united Western Europe during the middle ages. The talisman was crafted for his wife as their faith for everlasting love. His intention was surely an honest and respectful one, as their love never found its way to an ending. Sapphire has been exchanged among royal families since then as a sincere symbol and promise of love. 

Comprising a necklace and a pair of matching earrings, “The Blue Lagoon” is a pure fascination. Representing flowing water in nature, the suite consists of 20 incredible sapphires weighing over 106 carats in size; it is complemented with D-colour diamonds weighing over 103 carats, mapping out a flawless balance for this magnificent piece of treasure that can pass on for generations.

“The Blue Lagoon”. Magnificent Burmese "Blue colour" Sapphire and Diamond Necklace; and Pair of matching Pendent Earrings. Estimate HK$22,500,000 - 30,000,000 (US$2,885,000 - 3,850,000). 

The articulated necklace composed of sixteen graduated cushion-shaped sapphires, accented by pear-, marquise-shaped and brilliant-cut diamonds; and pair of matching pendent earrings, the sapphires altogether weighing 106.86 carats, the diamonds altogether weighing approximately 104.60 carats, mounted in 18 karat white gold, length approximately 418mm. (2) 

Accompanied by Gübelin reports numbered 15097117/1 to 16 and 15097116/1 and 2, dated 16 September 2015, stating that the 86.41 and 20.45 carat sapphires on necklace and earrings respectively are natural, Burmese , of Burmese origin, with no indications of heating; along with an appendix stating that 'The twenty sapphires described in the above mentioned Gübelin Gem Lab Report possess a saturated and homogeneous colour. In addition, these gemstones have been spared of thermal treatment. A matched set of twenty sapphires of this size, and possessing such a combination of characteristics is rare.'

SSEF report and Premium Book numbered 81881, dated 25 September 2015, stating that the 106.86 carat sapphires on necklace and earrings are natural, Blue colour of medium strong to strong saturation, of Burmese origin, with no indications of heating; along with an appendix letter, stating that the sapphire jewellery set described...possesses extraordinary characteristics and merits special mention and appreciation...The natural sapphires in this jewellery...have been carefully selected to match beautifully in quality, especially in terms of their attractive and saturated blue colour...Their attractive blue colour is due to a combination of well-balanced trace elements in these gemstones, typical and characteristic for the finest sapphires of Mogok. Part of these sapphires show a degree of saturation and colour hue, qualifying them to be poetically also described as 'royal blue'...Assembling a matching selection of natural sapphires from Burma of this size and quality is rare and exceptional.';

206 GIA reports, stating that the 103.34 carat diamonds ranging from 1.52 to 0.30 carats are D colour, Internally Flawless to VVS2 clarity, 18 round diamonds with Excellent Cut, Polish and Symmetry, 21 fancy-cut diamonds with Excellent Polish and Symmetry, 155 fancy-cut diamonds with Excellent Polish 

Natural rubies from Burma are normally smaller in size, so those exceeding 5 carats in weight are extremely rare. This autumn, Tiancheng International proudly presents fiery treasures that will set every heart aflutter. Imbued with an intense red hue, this 8.06-Carat Natural Unheated Burmese Mogok “Pigeon’s Blood” Ruby and Diamond Ring from Bulgari （Lot 104，Estimate : HK$ 3,500,000 – 4,500,000／US$450,000 – 577,000）is set among sparkling diamonds to offer a tribute to the ancient Roman heritage and architectural origins of Bulgari’s artistry, rendering it a classical gem that deserves pride of place in any private collection.

8.06-Carat Natural Unheated Burmese Mogok “Pigeon’s Blood” Ruby and Diamond Ring by Bulgari. Estimate HK$22,500,000 - 30,000,000 (US$2,885,000 - 3,850,000). 

Centring on a cushion-shaped ruby weighing 8.06 carats, flanked by baguette diamonds, accented by brilliant-cut diamonds, the diamonds together weighing approximately 3.55 carats, mounted in 18 karat yellow gold, signed. Ring size: 6¼

Accompanied by SSEF report numbered 82271, dated 25 September 2015, stating that the 8.06 carat ruby is natural, Red colour of medium strong saturation, of Burmese origin, with no indications of heating; along with an appendix stating that 'The natural ruby described...possesses extraordinary characteristics and merits special mention and appreciation...The ruby exhibits a remarkable size and weight of 8.06 ct combined with an attractive and beautifully saturated color...The inclusions found by microscopic inspection are the hallmarks of rubies from the classical ruby mines in the Mogok valley in Burma (Myanmar), well known for its wealth in gems since historic times. Its saturated red colour is due to a combination of well-balanced trace elements in this gemstone, characteristic for fine rubies from Mogok...A natural ruby from Burma of this size and quality is rare and exceptional.';

GIA report numbered 7208875352, dated 29 September 2015, stating that the 8.06 carat ruby is natural, Vivid Red colour, of Burmese origin, with no indications of heating; with comments stating that 'The colour appearance of this stone is described in the trade as 'Pigeon's Blood'.'; along with a portrait, stating that 'As a stunning symbol of love, power, and wisdom, this 8.06 carats of ruby spark a passion within both gemologists and spectators, inspiring further review and observation.' 

Another 10.22-Carat Natural Unheated Burmese Mogok “Pigeon’s Blood” Ruby and Diamond Ring （Lot 235，Estimate : HK$ 18,000,000 – 25,000,000／US$ 2,300,000 – 3,200,000）is equally enchanting. Exuding the most preferred stunning “pigeon’s blood” colour, the gem is surrounded with white diamonds totalling approximately 7.55 carats, unleashing the most luminescent sparkle for a lasting impression. 

10.22-Carat Natural Unheated Burmese Mogok “Pigeon’s Blood” Ruby and Diamond Ring. Estimate HK$18,000,000 - 25,000,000 (US$2,300,000 - 3,200,000). 

Centring on a cushion-shaped ruby weighing 10.22 carats, framed by brilliant-cut diamonds together weighing approximately 1.10 carats, to an outer frame of brilliant-cut diamonds together weighing 6.45 carats, mounted in 18 karat white and yellow gold. Ring size: 6

Accompanied by SSEF report and Premium Book numbered 80415, dated 27 May 2015, stating that the 10.22 carat ruby is natural, Red colour of strong saturation, of Burmese origin, with no indications of heating; along with an appendix letter, stating that 'the natural ruby descibed...possesses extraordinary characteristics and merits a special mention and appreciation...The small inclusions found by microscopic inspection are the hallmarks of rubies from the classical ruby mines in the Mogok valley in Burma (Myanmar), well known for its wealth in gems since historic times. Its saturated red colour - poetically also referred to as 'Pigeon Blood Red' - is due to a combination of well-balanced trace elements in this gemstone, characteristic for the finest rubies from Mogok. In addition to these qualities, this ruby has been spared exposure to heat treatment and its clarity and colour are thus entirely natural. A natural ruby from Burma of this size and quality is vary rare and exceptional.';

Gübelin report numbered 15097115, dated 16 September 2015, stating that the 10.22 carat ruby is natural, Red colour, of Burmese origin, with no indications of heating; along with two information sheets, stating that 'The demand for natural, unheated rubies kept growing while the supply of such gems remains highly limited, making large, natural rubies of gem-quality from all major souces, such as Burma (Myanmar), Madagascar, Kenya, Tanzania, Mozambique, Vietnam, Afghanistan and Tajikistan, difficult to find...Mogok-type rubies typically possess a red body colour and red UV-fluorescence. In addition, they may contain tiny amounts of light-scattering rutile silk and a swirl-like growth pattern. It is this combination of features which gives these rubies their characteristic appearance.';

GRS report numbered GRS2014-102856, dated 19 November 2014, stating that the 10.22 carat ruby is natural, Vivid Red colour (GRS type "Pigeon's Blood"), of Burmese origin, with no indication of thermal treatment;

12 GIA reports, stating that the diamonds ranging from 0.58 to 0.51 carat are G colour, Internally Flawless clarity, with Excellent Cut, Polish and Symmetry.

99.00-Carat Natural Unheated Burmese Ruby and Diamond Necklace; diamonds together weighing approximately 33.90 carats. Estimate : HK$ 1,000,000–2,000,000 (US$ 128,000–256,000). 

Of ribbon design, the articulated necklace composed of one hundred and thirty-seven oval, antique cushion-shaped and circular-cut rubies together weighing 99.00 carats, decorated with pear-shaped diamonds together weighing approximately 33.90 carats, mounted in platinum and 18 karat yellow gold, length approximately 375mm.

Accompanied by LOTUS report numbered 2596-9740, dated 10 August 2015, stating that the 99.00 carat rubies are natural, Red colour, of vivid saturation and medium-deep tone, of Burmese origin, with no indications of heating or treatment; along with a note stating that 'Suites of matched gems such as this are exceptionally rare'; report numbered 2109-2245, dated 20 May 2015, stating that the 0.93 carat ruby is natural, Red colour, of vivid saturation and medium-deep tone, of Burmese origin, with no indications of heating or treatment; with a colour type note stating that 'The highly saturated crimson colour of this gem earns it the LOTUS "Pigeon's Blood" distinction.' 

24.13-Carat Natural Untreated Colombian Muzo Emerald and Diamond Ring. Estimate : HK$ 10,000,000 – 15,000,000 (US$ 1,280,000 – 1,920,000). 

Centring on a cushion-shaped emerald weighing 24.13 carats, flanked by half-moon shaped diamonds together weighing approximately 2.30 carats respectively, mounted in platinum. Ring size: 5¾

Accompanied by Gübelin report numbered 14116060, dated 1 December 2014, stating that the 24.13 carat emerald is natural, Green colour, of Colombian origin, with no indications of clarity enhancement; along with an information sheet;
SSEF report and premium book numbered 78901, dated 10 March 2015, stating that the 24.13 carat emerald is natural, Green colour of strong saturation, of Colombian origin, with no indications of clarity modification; along with an appendix letter stating that "the natural emerald ...possesses exceptional characteristics and merits special mention and appreciation.The small inclusions found by microscopic examination represent the hallmarks of Colombian emeralds from the famous mining areas Muzo, Coscuez, and Chivor, all located in the green foothills of the Cordillera Oriental in the Colombian Andes. A natural emerald from Colombia of this size and quality is very rare and exceptional.";
GRS report numbered GRS2014-103592, dated 23 October 2014, stating that the 24.13 carat emerald is natural, Vivid Green colour, of Colombian origin, with no clarity enhancement (non-enhanced clarity features visible); along with an appendix stating that the vivid saturated green emerald of 24.13 carat is reminiscent of the legendary colour variety found in the world renowned Muzo mines (GRS-type Muzo green)

The qualities of spinels – such as rich intense colour, hardness and glitter – misled many to consider them sapphires. Besides red, spinel also comes in blue, which is long cherished by jewellery collectors. While iron and zinc could turn spinel bluish, none of them surpass cobalt spinel in value. Characterised by its rarity, cobalt spinel is considered extraordinary for the brilliant radiance it evokes that is hardly seen in other gems. Amongst cobalt spinels, only the rarest possesses the colour-changing characteristics, due to the conditions of light source and ions in these stones. 

The 25.79-Carat Natural Untreated Sri Lankan Colour-Changing Cobalt Spinel and Diamond Ring （Lot 144，Estimate : HK$ 780,000 – 1,200,000／US$ 100,000 – 154,000）to be offered in the upcoming auction is named “The Electric Romance” . The spinel appears blue in daylight（Left）but turns purplish（Right）under incandescent light, looking enchanting in different ways. Mistaken for a blue sapphire, it had been stored in a private fault for over 50 years until the rediscovery of its original value by Tiancheng International’s specialists. By far the largest colour-changing cobalt spinel to be offered at auction, the lot has astounded experienced gemstone dealers by its tremendous size. Endowed with extraordinary colour-changing characteristics, this cobalt spinel has a strong investment value and is considered a rare treasure to discerning collectors. 

25.79-Carat Natural Untreated Sri Lankan Colour-Changing Cobalt Spinel and Diamond Ring. Estimate : HK$ 780,000 – 1,200,000 (US$ 100,000 – 154,000). 

The ring set with an oval colour-changing cobalt spinel weighing 25.79 carats, to a stylised basket embellished with brilliant-cut diamonds together weighing approximately 1.05 carats, mounted in platinum. Ring size: 6

Accompanied by SSEF report numbered 81880, dated 25 September 2015, stating that the 25.79 carat colour-change cobalt spinel is natural, Blue colour under daylight and Purple colour under incandescent light, with a moderate colour-change, of Sri Lankan origin, with no indications of any treatment; along with an appendix letter, stating that 'The natural spinel described...possesses extraordinary characteristics and merits special mention and appreciation...It exhibits an impressive size and weight of 25.79 ct, combined with a very fine purity. Furthermore, this cobalt-spinel is characterised by a very attractive colour change from blue in daylight to purple in incandescent light...Its attractive blue colour with a subtle colour change to purple in incandescent light is due to a combination of well-balanced trace elements - notablly cobalt - which is typical and characteristic for this variety of spinel... A natural colour-change cobalt-spinel from Ceylon of this size and quality is very rare and can thus be considered a true treasure of nature';

GIA report numbered 6192327908, dated 27 February 2015, stating that the 25.79 carat cobalt spinel is natural, Violetish Blue colour under daylight or fluorescent light changing to Purple colour under incandescent light, with no indications of heating; along with a GIA portrait stating that the 'top-quality colour-change spinels like the 25.79ct gem which is the subject of this special GIA portrait report are extremely rare';

LOTUS report numbered 3065-4149, dated 17 July 2015, stating that the 25.79 carat spinel is natural, Blue colour in daylight, of rich saturation and medium-deep tone, of Sri Lankan origin, with no indications of heating or treatment; with a note stating that 'this gem displays a lovely change of colour from blue in daylight to violet in incandescent light'; along with a special supplement stating that 'the colour-changing phenomenon is quite rare in spinel and the 25.79 ct stone that is the subject of this report is a fine example...While Serendib is justly famous for its rubies and sapphires, it is also known as the home of the finest blue spinels...contain traces of cobalt, producing an electric blue unique in the world of gems...its beautiful colour in daylight, coupled with an impressive size and fine cut, earn it the LOTUS Gem of Distinction honour'.

Sparkling Diamonds 
In diamonds, rarity equals value. Coloured diamonds are rarer and more valuable than colourless diamonds. Only one in 10,000 diamonds found is coloured diamonds. Across the spectrum, yellow diamonds are celebrated for the vivid and golden hues. This autumn, Tiancheng International has assembled several of these sophisticated and glamorous yellow diamonds: 

31.01-Carat Step-Cut Natural Fancy Vivid Yellow VVS2 Clarity Diamond and Diamond Ring; diamonds together weighing approximately 1.50 carats. Estimate : HK$ 16,000,000 – 20,000,000 (US$ 2,050,000 – 2,560,000) 

Centring on a square emerald-cut fancy vivid yellow diamond weighing 31.01 carats, flanked by two trapeze-shaped diamonds together weighing approximately 1.50 carats, mounted in platinum and 18 karat yellow gold. Ring size: 6¼

Accompanied by GIA report numbered 2171265325, dated 3 August 2015, stating that the 31.01 carat diamond is natural, Fancy Vivid Yellow colour, VVS2 clarity; along with a GIA portrait, stating that 'With a distinctive glow often likened to rays of the sun, yellow diamonds such as the 31.01 carat Fancy Vivid Yellow Square Emerald-Cut Diamond are coveted by those with fine taste and aesthetic vision...In GIA's experience, the larger the crystal, the less likely it is to contain strong coloration. While a yellow tinge is common among natural diamonds, strong, apparent colour is not. In dictating the value of colored diamonds, color far outweighs the other Cs (clarity, cut and carat weight).'

Many coloured diamonds nowadays are fashioned as radiant-cut to intensify the colour. Only premium Internally Flawless coloured diamonds with strong saturation will be fashioned as step-cut as such cutting not only sacrifices a lot of weight during polishing, it also reveals the true colour and clarity of the diamond through its table. Of remarkable size, this Fancy Vivid Yellow diamond radiates a dazzling brilliance that delights all jewellery lovers. In recent years, coloured diamonds have accepted growing popularity. And with its brilliance and elegance, yellow diamonds are well loved by connoisseurs, which have made their price per carat soar up over time. This pristine beauty is certainly a treasure not to be missed. 

“Sierra Leone Golden Tiger Eye”. 5.21-Carat Natural Fancy Deep Yellow Diamond and Diamond Ring. Estimate : HK$ 2,600,000 – 3,600,000 (US$ 335,000 – 460,000) 

Centring on a brilliant-cut natural fancy deep yellow diamond weighing 5.21 carats, decorated with brilliant-cut diamonds to the shank, mounted in platinum and 18 karat yellow gold. Ring size: 5

Accompanied by GIA report numbered 2175056496, dated 13 August 2015, stating that the 5.21 carat diamond is natural, Fancy Deep Yellow colour.

The world’s most captivating yellow diamonds are harvested from the Zimi mine in Sierra Leone. The yellow diamonds mined possess a deep, warm and intense yellow colour with a touch of orange hue. This makes the entire stone sparkles with a vivid yellow like the colour of Jonquil. This autumn, Tiancheng International is pleased to offer a 5.21-carat Fancy Deep Yellow diamond originated from the Zimi mine in Sierra Leone. Featuring the same magnificent colour that makes Zimi yellow diamonds so coveted around the world, it resembles the fiery glint of regality that calls to mind the glow in a tiger’s eyes.  

With jewellery of perfection and elegance to charm modern women, Indian jeweller Nirav Modi speaks thousands of sophisticated stories. This Pair of 17.55 and 17.06-Carat Natural Fancy Intense Yellow Diamond, Pink Diamond and Diamond Pendent Earrings is entitled “Eternity Earrings” （Lot 284，Estimate : HK$ 9,000,000 – 12,000,000／US$ 1,150,000 – 1,540,000）. Sourced from South Africa, the dazzling Fancy Intense Yellow diamonds are accentuated by a halo of intense pink and DIF brilliant-cut diamonds with Excellent Cut, Polish and Symmetry. Simulating beautiful water droplets, the unique design is a resembling mix of rich Indian heritage and Western Renaissance. Echoing the beauty of femininity, the “Eternity Earrings” are set to be an aesthetic gratification and timeless desire for all jewellery collectors. 

“Eternity Earrings”. Pair of 17.55 and 17.06-Carat Natural Fancy Intense Yellow Diamond, Pink Diamond and Type IIa Diamond Pendent Earrings. Estimate : HK$ 9,000,000 – 12,000,000 (US$ 1,150,000 – 1,540,000)

Each suspending a cushion-shaped fancy intense yellow diamond weighing 17.55 and 17.06 carats respectively, encircled with four brilliant-cut diamonds extending to the pink diamond surrounds, to the surmount set with a brilliant-cut diamond weighing 1.61 and 1.55 carats respectively, enhanced to the basket with brilliant-cut yellow diamonds, the yellow diamonds and diamonds altogether weighing approximately 3.70 carats, the pink diamonds altogether weighing approximately 1.80 carats, mounted in 18 karat white, pink and yellow gold, signed. Accompanied with a signed presentation set.

Accompanied by GIA reports numbered 2125478910 and 2171090810, dated 27 May and 4 May 2015 respectively, stating that the 17.55 and 17.06 diamonds are natural, Fancy Intense Yellow colour, VS1 clarity; 17.55 carat with Excellent Polish; 
reports numbered 1137847461 and 1169306524, dated 22 August 2012 and 31 January 2014 respectively, stating that the 1.61 and 1.55 carat diamonds are D colour, Internally Flawless clarity, with Excellent cut, Polish and Symmetry; along with two diamond type classifications, stating that the 1.61 and 1.55 carat round brilliant diamonds have 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 I and the 105.60 carat Koh-i-noor are examples of type IIa; 
eight GIA reports stating that the 0.60, 0.59, 0.35, 0.35, 0.35, 0.35, 0.34, 0.34 diamonds are D colour, Internally Flawless clarity, with Excellent Cut, Polish and Symmetry. 

The Triple Excellent Collection 
A single brilliant-cut diamond with Excellent Cut, Polish and Symmetry is already a legacy of nature and craftsmanship; not to mention a well matched collection with good clarity and intricate proportions. Such a collection requires a long period of time to pair, large amount of resources to complete and great attention to the details. At the Spring Auction 2015, Tiancheng International introduced a series of diamond lots with “Excellent Cut, Polish and Symmetry” which concluded with overwhelming results. This autumn, Tiancheng International continues to present collectors with several Triple Excellent diamonds pieces housed by Golkonda to unveil the true luminescence and brilliance of the perfect stones. As it may take years to produce a well-matched diamond collection, the necklace and bracelet presented are exceptionally precious. 

71.74-Carat Diamond Bracelet with Excellent Cut, Polish and Symmetry, Golkonda. Estimate : HK$ 6,200,000 – 8,200,000 (US$ 795,000 – 1,050,000) 

The articulated bracelet centring on a brilliant-cut diamond weighing 10.10 carats, flanked by brilliant-cut diamonds together weighing 61.64 carats, mounted in platinum, signed, length approximately 171mm. Accompanied with an original signed box.

Accompanied by GIA report numbered 2135638929, dated 13 July 2011, stating that the 10.10 carat diamond is I colour, VS2 clarity, with Excellent Cut, Polish and Symmetry; 

GCAL report numbered 223050010, dated 9 January 2015, stating that the 10.10 carat diamond is I colour, VS2 clarity, with Ideal Cut (Excellent Light Performance, Finish and Proportions), and Excellent Hearts and Arrows.

32 GIA reports, stating that the diamonds ranging from 3.56 to 1.02 carats are H to J colour, Internally Flawless to VS2 clarity, with Excellent Cut, Polish and Symmetry.

16.23-Carat Natural Fancy Yellow VVS1 Clarity Diamond and Diamond Pendent Necklace, Golkonda. Estimate : HK$ 6,200,000 – 8,200,000 (US$ 795,000 – 1,050,000) 

Suspending a heart-shaped fancy yellow diamond weighing 16.23 carats, surmounted by an emerald-cut diamond weighing 0.62 carat, to a necklace composed of a heart-shaped diamond weighing 3.50 carats and forty-three brilliant-cut diamonds together weighing 46.90 carats, mounted in platinum and 18 karat yellow gold, signed, length approxiamtely 438mm. Accompanied with an original signed box.

Accompanied by GIA report numbered 5111123509, dated 10 September 2009, stating that the 16.23 carat diamond is natural, Fancy Yellow colour, VVS1 clarity;

report numbered 2146750840, dated 12 March 2013, stating that the 3.51 carat diamond is F colour, VS2 clarity;

report numbered 2146548244, dated 20 May 2013, stating that the 0.62 carat diamond is D colour, Internally Flawless clarity, with Excellent Polish;

43 GIA reports, stating that the diamonds ranging from 3.51 to 0.33 carats are D to G colour, Internally Flawless to VS2 clarity, with Excellent Cut, Polish and Symmetry. 

10.67-Carat H Colour SI1 Clarity Excellent Polish Diamond Ring. Estimate : HK$ 1,000,000 – 2,000,000 (US$ 128,000 – 256,000). 

Simply set with an oval brilliant-cut diamond weighing 10.67 carats, mounted in 18 karat white gold. Ring size: 4¾

Accompanied by GIA report numbered 7208219267, dated 15 June 2015, stating that the 10.67 carat diamond is H colour, SI1 clarity, with Excellent Polish

Oval-shaped diamonds are especially rare and popular among connoisseurs. This sparkling 10.67-carat diamond is simply a classic sophistication. The estimate of this lot is only a third of its market value. Given its premium quality, this shinning glory promises to bring further sparkles to the auction.

Diamond “Feather” Brooch, Mikimoto. Estimate : HK$ 100,000 – 200,000 (US$ 12,800 – 25,600)  

Modelled as a feather, the articulated brooch set throughout with brilliant-cut diamonds together weighing approximately 10.90 carats, mounted in 18 karat white gold, signed.

With their high-quality cultured pearls, Mikimoto is one of the world’s leading fine jewellers nowadays. Apart from pearls, its gemstone jewellery enjoys equivalent popularity. Set upon this brooch are diamonds weighing approximately 10.90 carats, accompanied with an elegant, streamlined design inspired by the elegance and dancing movements of a feather. When worn, the “feather” emits a desirable glitter, as though swaying gracefully in the breeze to impart an enticing allure. This dynamic “feather” bears the legacy of Mr. Mikimoto’s aspiration to “adorn every woman in the world with jewels” and let them express their feminine charm. 

OPULENT JADEITE 

Pair of Jadeite, Icy Lavender Jadeite, Coloured Diamond and Diamond Pendent Earrings／Ring／Pendent Necklace, Alessio Boschi. Estimate : HK$ 22,000,000 – 32,000,000 (US$ 2,820,000 – 4,100,000) 

The multi-functional pair of jadeite cabochons of highly translucent intense lavender and bright emerald green colour respectively, to be worn as pair of pendent earrings, ring and pendent necklace, decorated with marquise-shaped, baguette, shield- and brilliant-cut diamonds of colourless, yellow and pink hues, the diamonds altogether weighing approximately 16.65 carats, mounted in 18 karat yellow, white and blackened gold, signed, length approximately 409mm. Ring size: 6

Lavender and Green cabochons measuring approximately 27.61 x 24.70 x 10.88 and 26.55 x 24.23 x 9.25mm respectively.

Accompanied by Hong Kong Jade & Stone Laboratory reports numbered KJ91562 to KJ91563, dated 13 October 2015, stating that the jadeites are natural, known in the trade as 'A Jade'.

In traditional Chinese culture and Taoism, purple is considered a supreme colour, symbolising the ziwei Star, which represents the emperor of the Middle Kingdom. Cultural references to the colour include zijincheng (purple Forbidden City), the Chinese name of the Forbidden City in Beijing; zi yi shou dai (purple clothing and ribbons), which symbolise the lofty positions held by court officials and the nobility. Another saying cited frequently is zi qi dong lai (purple qi coming from the east), which originates from the tale of a purple cloud hovering over the Hangu Pass as Laozi, founder of Taoism, travelled through the outpost in western China. The term is used to connote wealth, fortune and auspiciousness. 

Emerald green was the colour symbolising fortune, fame as well as luck and peace. Jadeite of this colour was discovered by the imperial court in the early Ming period and it became the superior jewellery material among the upper class. Emperor Qianlong of the Qing dynasty was so obsessed with it that half of the 30,000 pieces of jadeite treasures displayed in the Palace Museum centuries later was once owned by him. Similarly infatuated with the gemstone was Empress Dowager Cixi, who was always seen donning bead necklaces, rings and hairpins made from jadeite. Even her abode in Changchun Palace was filled with jadeite utensils including chopsticks and bowls with lids. Emerald-green fei cui was associated with nobility in the Ming and Qing dynasties and the finest jadeite colour was praised as “Imperial Green”, meaning that only emperors were qualified to wear it. 

This is an extraordinary work by renowned designer Alessio Boschi. The two enormous jadeite cabochons are characterised by full-bodied roundedness and captivating translucency. Coinciding with each other, the graceful purple and lustrous green delineates the virtues of auspiciousness symbolised by jadeite. They can be flexibly transformed into a pendent necklace, earrings or rings to suit diverse occasions, while accentuating the owner’s privileged status.

Pair of Icy Jadeite, Jadeite, Gem-Set and Diamond Pendent Earrings, Alessio Boschi. Estimate : HK$ 550,000 – 800,000 (US$ 70,500 – 103,000) 

Each suspending a pear-shaped icy jadeite of fine translucency, surmounted by three jadeites of good translucent emerald green colour, surrounded by circular-cut yellow sapphires altogether weighing approximately 1.95 carats, decorated with marquise-shaped and circular-cut tsavorite garnets altogether weighing approximately 4.20 carats, highlighted by a rose-cut diamond and brilliant-cut diamonds, mounted in 18 karat yellow and white gold, signed.

Icy jadeites measuring approximately 31.75 x 18.85 x 11.76 and 31.46 x 19.15 x 11.85mm respectively; green jadeites approximately 14.03 x 6.51 x 3.83 to 10.77 x 5.72 x 3.47mm.

Accompanied by Hong Kong Jade & Stone Laboratory reports numbered KJ91388(1-2) to KJ91389, dated 24 September 2015, stating that the jadeites are natural, known in the trade as 'A Jade'.

Another masterpiece from Alessio Boschi is this pair of earrings. Under the designer’s creative endeavour, emerald green jadeite pieces are matched with a highly translucent, full-bodied icy jadeite, adorned with coloured gemstones and diamonds to depict the image of fruits harvested in autumn as a symbol of abundance. 

Icy Lavender Jadeite “Laughing Buddha” and Diamond Pendant. Estimate : HK$ 8,000,000 – 15,000,000 (US$ 1,030,000 – 1,920,000) 

Suspending a jadeite of very fine translucency and evenly rich lavender tone, carved as a 'laughing Buddha', surmounted by brilliant-cut diamond-set hoops, mounted in 18 karat white gold, accompanied by an adjustable black cord.

Laughing Buddha measuring approximately 56.98 x 57.26 x 18.50mm.

Accompanied by Hong Kong Jade & Stone Laboratory report numbered KJ91533, dated 7 October 2015, stating that the jadeite is natural, known in the trade as 'A Jade'.

In this much-coveted lot, the Laughing Buddha’s iconic image is carved on top-quality icy lavender jadeite of saturated purple hue. The Buddha’s facial expressions of calmness and benevolence are realistically depicted. The halo of light around the Buddha’s head, ingeniously expressed by the interplay of light and shadow in the jadeite, also attests to the craftsman’s superb artistry. The seamless melding of jadeite’s spiritual quality with extraordinary workmanship makes the lot a magnificent work. 

Pair of Icy Jadeite Bangles. Estimate : HK$ 18,000,000 – 25,000,000 (US$ 2,300,000 – 3,200,000)

The two well-matching cylindrical jadeite bangles, each of very fine translucency and evenly intense celadon colour.

Outer diameters, inner diameters and thicknesses measuring approximately 84.40 x 57.96 x 13.50 and 84.00 x 57.93 x 13.28mm respectively.

Accompanied by Hong Kong Jade & Stone Laboratory reports numbered KJ91520 to KJ91521, dated 6 October 2015, stating that the jadeites are natural, known in the trade as 'A Jade'.

Bangles are one of the most popular items among jadeite jewellery collectors. Due to its rarity and vast quality differences of the roughs mined, it has become almost impossible to find a bangle created from jadeite rough that offers equal excellence in colour, texture and transparency. Even if a piece of premium-grade rough is found, it will be prone to blemishes and cracks, owing to the multi-crystalline structure of jadeite. Only jadeite rough of considerable weight, with neither cracks nor flaws within a single circle, can be crafted into a bangle. It is almost one-of-a-kind to fashion two bangles of similar qualities from the same rough. This pair of rare icy jadeite bangle embodies full roundness with considerable thickness. Of evenly intense celadon colour and matching translucency, the icy jadeite bangles are a perfect pairing that connotes blessing and completeness.

Equally outstanding is the Double-Stranded Jadeite and Diamond Necklace（Lot 213, Estimate : HK$ 16,000,000 – 20,000,000／US$2,050,000 – 2,560,000）. Creating a jadeite necklace necessitates substantial wastage of jadeite rough of an even quality, followed by a set of complex polishing procedures. This is why premium-grade jadeite bead necklaces are so exceedingly rare in the market. This necklace is strung with 128 perfectly polished jadeite beads. Each bead boosts an arresting translucency and emanates a luscious emerald green colour, exuding the air of sophistication and everlasting beauty that jadeite is cherished for.  

Double-Stranded Translucent Emerald Green Jadeite and Diamond Necklace. Estimate : HK$ 16,000,000 – 20,000,000 (US$2,050,000 – 2,560,000). 

The double-stranded necklace composed of one hundred and twenty-eight graduated jadeite beads of finely translucent emerald green colour, completed by a semi-cylindrical clasp set with brilliant-cut diamonds together weighing approximately 4.00 carats, mounted in 18 karat white gold, necklace detachable to be worn as two single strand, lengths approximately 684 and 637mm respectively.

Beads measuring approximately 11.55 to 7.51mm.

Accompanied by Hong Kong Jade & Stone Laboratory report numbered KJ91551(1-10), dated 12 October 2015, stating that the jadeites are natural, known in the trade as 'A Jade'.

Jadeite, Seed Pearl, Ruby and Diamond “Dragon” Necklace, Scavia. Estimate : HK$ 5,800,000 – 6,800,000 (US$ 745,000 – 872,000) 

Composed of two jadeite plaques of translucent emerald green colour, each carved with an abstract dragon motif, symbolising best wishes and endless happiness, decorated with brilliant-cut diamonds, to the necklace set with numerous rubies and seed pearl beads, completed by a stylised clasp of brilliant-cut diamonds, anchored by three emerald beads together weighing approximately 3.90 carats, the rubies and diamonds together weighing approximately 141.45 and 9.20 carats respectively, mounted in 18 karat white gold, adjustable length approximately 730 to 655mm, signed.

Plaques measuring approximately 70.85 x 19.75 x 3.88 and 70.76 x 19.01 x 3.68mm respectively.

Accompanied by Hong Kong Jade & Stone Laboratory report numbered KJ91535(1-2), dated 7 October 2015, stating that the jadeites are natural, known in the trade as 'A Jade'.

This magnificent piece is from Scavia, an Italian jeweller founded over 100 years ago. Two pieces of emerald green “Dragon” natural jadeite are adorned with sparkling diamonds, stunning ruby beads and seed pearls. The opulent combination of gemstones presents a pleasant flowing of colour. Scavia’s arresting design combines with flawless craftsmanship to facilitate harmony of Oriental essence and Western heritage, emerging a transcendental beauty that testifies the sublime artistry of the jeweller. 

DESIGNER’s PIECES 
Tiancheng International has collaborated with jewellery designers, time and time again, to provide a platform for them to present their creations to collectors from around the world. This autumn, some of their stunning designs will be showcased. 

7.08-Carat Natural Untreated Sri Lankan Red Spinel, Coloured Diamond and Diamond “God of Success” Pendant, Nisan. Estimate : HK$ 100,000 – 200,000 (US$ 12,800 – 25,600) 

Modelled as a Ganesha, symbolising success, the body centring on an oval pinkish red spinel weighing 7.08 carats, surrounded by champagne-coloured brilliant-cut diamonds, the head, ears and movable limbs embellished with similar coloured diamonds and colourless diamonds, highlighted by colour-changing garnet-set eyes, the coloured diamonds and diamonds together weighing approximately 5.70 carats, mounted in 18 karat yellow and blackened gold, signed.

Accompanied by LOTUS report numbered 5250-9187, dated 1 July 2015, stating that the 7.08 carat spinel is natural, Pinkish Red colour, of intense saturation and medium-deep tone, of Sri Lankan origin, with no indications of heating or treatment.

This elephant-headed Ganesha pendant is designed by Thai jewellery designer Nisan specially for Tiancheng International. Set with an oval, thermally untreated red spinel of 7.08 carats from Sri Lanka, the jewellery symbolises the peaceful resolution of life’s contradictions. Adorned with oval-shaped loose diamonds, the head of the elephant stands for the magnificence of infinite wisdom. Ganesha’s head and limbs are movable in the pendant, mounted in yellow gold by unique craftsmanship. On the back of the pendant is the inscription of a “Success” mark to depict Ganesha’s ultimate status as the God of Victory, Wealth and Wisdom; the Destroyer of Misfortune and the Vanguard of Everlasting Victory and Light. 

In this Jadeite, Pink Sapphire, Gem-Set and Diamond “Winding Piglet” Brooch （Lot 90，Estimate : HK$ 45,000 – 85,000／US$ 5,800 – 11,000）, ICE makes dexterous use of a translucent apple green jadeite to portray part of the piglet’s large torso. Set around it are pink sapphires, decorated with coloured gems atop the piglet’s back, to provide a sense of childlike fun. Also designed by ICE is a Bi-Coloured Yellow Jadeite, Yellow Sapphire, Yellow Diamond and Diamond “Bumble Bee” Brooch（Lot 86，Estimate : HK$ 78,000 – 120,000／US$ 10,000 – 15,400）, where a natural bi-coloured yellow jadeite is used with eye-catching yellow sapphire and diamonds, to evoke the beauty of golden autumnal colour. 

Translucent Apple Green Jadeite, Pink Sapphire, Gem-Set and Diamond “Winding Piglet” Brooch. Estimate : HK$ 45,000 – 85,000 (US$ 5,800 – 11,000). 

Modelled as a winding piglet, the brooch centring on an oval jadeite cabochon of translucent apple green colour, decorated with circular-cut pink sapphires together weighing approximately 3.95 carats, to the brilliant-cut yellow diamond-set nose and foot, highlighted by a black diamond-set eye, the ratchet lever set with circular-cut tsavorite garnets and rubies, mounted in 18 karat pink and blackened gold, signed.

Cabochon measuring approximately 19.12 x 12.51 x 7.81mm.

Accompanied by Hong Kong Jade & Stone Laboratory report numbered SJ121610, dated 4 September 2015, stating that the jadeite is natural, known in the trade as 'A Jade'.

Bi-Coloured Yellow Jadeite, Yellow Sapphire, Yellow Diamond and Diamond “Bumble Bee” Brooch. Estimate : HK$ 78,000 – 120,000 (US$ 10,000 – 15,400). 

Modelled as a bumble bee, the wings each centring on a jadeite cabochon of translucent cream white to honey yellow colour, surrounded by brilliant-cut yellow diamonds and diamonds to the antennae, the head and abdomen set with circular-cut yellow sapphires and brilliant-cut diamonds, highlighted by two green tourmaline-set eyes, the yellow sapphires together weighing approximately 4.45 carats, the yellow diamonds and diamonds together weighing approximately 2.05 carats, mounted in 18 karat yellow, white and blackened gold, signed.

Jadeites measuring approximately 31.32 x 11.66 x 5.25 and 31.15 x 11.58 x 5.24mm respectively.

Accompanied by Hong Kong Jade & Stone Laboratory report numbered SJ121609, dated 4 September 2015, stating that the jadeite is natural, known in the trade as 'A Jade'.

Moonstone, Blue Chalcedony and Diamond “Tree” Brooch and Star Rose Quartz, Pink Sapphire and Diamond “Little Girl” Ring, Farn Farn. Estimate : HK$ 48,000 – 80,000 (US$ 6,150 – 10,300) 

The brooch modelled as a tree, set with five moonstones together weighing approximately 57.30 carats, highlighted by cabochon blue chalcedonies together weighing approximately 3.25 carats, to a stem deocrated with brilliant- and rose-cut diamonds; the ring set with a cabochon star pink quartz weighing approximately 16.15 carats, decorated to the hairpiece and collar with circular-cut pink sapphires and brilliant-cut diamonds, the diamonds altogether weighing approximately 3.60 carats, mounted in blue coloured titanium, 18 karat white, pink and blackened gold, signed, brooch pendant fitting. Ring size: 6 (2)

Taiwanese brand Farn Farn draws inspiration from the world of amazement. By integrating different thematic elements and impeccable craftsmanship, the works produced are exceptionally unique and delicate. Included in this lot are two adorable jewellery pieces. Featuring a tree brooch composed of moonstones and a “little girl” ring set with a star rose quartz, the design resembles a young girl admiring the moon under a tree.

Bright Apple Green Jadeite, Translucent Yellow Jadeite, Yellow Diamond and Diamond Jabot pin, Wang Chinlin. Estimate : HK$ 55,000 – 85,000 (US$ 7,100 – 11,000) 

The stylised jabot pin set with numerous bright apple green jadeite cabochons of very good translucency, decorated with translucent yellow jadeite cabochons, embellished with pear-shaped yellow diamonds and brilliant-cut diamonds together weighing approximately 1.40 carats, mounted in 18 karat white and yellow gold, signed. Accompanied with a signed pouch.

Green cabochons measuring approximately 23.20 x 6.79 x 3.36 to 4.03 x 3.06 x 2.13mm, yellow cabochons approximately 9.55 x 4.92 x 2.45 and 8.37 x 4.13 x 1.75mm respectively.

Accompanied by Hong Kong Jade & Stone Laboratory report numbered SJ123105, dated 7 October 2015, stating that the jadeite is natural, known in the trade as 'A Jade'

Decorating jadeite of mesmerising translucency and fine texture with yellow jadeite and sparking diamonds, an enchanting flower was created. This lot truly reflects Taiwanese jewellery designer Wang Chinlin’s penchant for simplicity and minimalism and the integration of East and West.

Fu Baoshi (1904-1965), Wandering Poet. Hanging scroll, ink and color on paper, inscribed, dated to 1943, and signed, with three seals of the artist. 20th Century 18 3/4 x 19 1/4 inches (47.6 x 48.9 cm). Provenance: Dedicated directly to Mrs. Shum Wai Yu in 1943, and thence by descent within the family. Estimate: $200,000/300,000. 

ALAMEDA, CA.- Fu Baoshi’s (1904-1965) paintbrush masterfully transforms a paper scroll into a candid snapshot of reflection in the ink and color work Wandering Poet, highlighting fine artworks in the December sale (lot 3197, $200,000-300,000). The poet/scholar is created in detailed, finely painted brush strokes as opposed to his surroundings, of wild and free strokes with areas of modulation. Baoshi’s hand whispers the Zen nature and refinement of the man, even while wandering the untamed natural environment. However, the subject remains in harmony with the forest setting, which is further conveyed by the subdued color scheme that both share. Baoshi finished the piece with three artist seals, one accompanied by a dedication to the consignor’s mother, Mrs. Shum Wai Yu. Also of note from the selections is Luo Pin’s ink and color depiction of Zhong Kui at $50,000-70,000 (lot 3183), a Zhang Daqian hanging scroll titled Zhuangzi Viewing Waterfalls estimated at $40,000-60,000 (lot 3195) and a Pu Ru scroll deemed Prunus and Bamboo at $5,000-7,000 (lot 3191). 

Luo Pin (1733-1799), Zhong Kui the Demon Queller. Ink and color on paper, inscribed, dated and signed by the artist, with three seals, framed and glazed. Dated by Inscription to 1758 34 1/4 x 67 inches (87 x 170.2 cm). Estimated Price: $50,000 - $70,000.

Zhang Daqian (1899-1983), Zhuangzi Viewing Waterfalls. Hanging scroll, ink and color on paper, inscribed, dated to the twelfth month of the year 1951, signed, and with three seals of the artist. 20th Century 26 1/2 x 11 13/16 inches (67.3 x 30 cm). Estimated Price: $40,000 - $60,000.

Pu Ru (1896-1963), Magpie, Prunus and Bamboo. Hanging scroll, ink and color on paper, inscribed and signed 'Xinyu', with two seals of the artist. 20th Century; 50 x 13 inches (127 x 33 cm). Estimated Price: $5,000 - $7,000.

Private collection jades seem sure to enchant the most discriminating of collectors, providing an exceptional assortment of carvings at sale. The private estate offerings include a white jade brush pot of auspicious imagery of the Qianlong period (lot 3068, $200,000-300,000), a substantial table screen (lot 3067, $100,000-150,000), a mythical horse of white jade (lot 3065, $30,000-50,000), an unusual pair of ovoid lanterns with carnelian insets (lot 3063, $30,000-50,000), a lion mask motif tripod censer (lot 3066, $10,000-15,000) and a lavender jadeite vase of floral motifs carved in high relief (lot 3061, $6,000-8,000). From yet another private collection are pleasing snuff bottle examples in a mutton fat white jade piece of the 19th century (lot 3002, $4,000-6,000), a russet jade pebble rendition (lot 3005, $3,000-5,000) and a yellow jadeite melon form vessel (lot 3006, $3,000-5,000).

A Fine White Jade Brush Pot, Qianlong Period. Diameter: 4 15/16 inches (12.5 cm). Estimate: $200,000/300,000. 

Raised on four bracket supports, the sides well carved in relief with a continuous landscape depicting three immortals carrying a fan, a staff, and a ruyi scepter, the reverse with a pair of deer on a ledge beneath an overhanging cliff, the translucent stone of even white tone. [Various chips, losses to one foot]

Provenance: Private East Coast Estate Collection, acquired in China during the Republic Period (1911-1949). 

Compare with the white jade brush pot of similar size (5 1/8 inches high) raised on five bracket supports and carved with a continuous landscape scene with sages and attendants in the Palace Museum, Beijing, and illustrated in The Complete Collection of Treasures of the Palace Museum - 42 - Jadeware (II), Hong Kong, 1995, pp. 204-5, no. 167. Also see the similarly carved white jade brush pot raised on five supports, decorated with a continuous landscape with sages and attendants holding tributes, sold at Christie's Hong Kong, 30 November 2011, lot 2970.

A Fine Jade Table-Screen, Qianlong Period; 6 5/16 x 8 inches (16 x 20.3 cm) of plaque. Estimated Price: $100,000 - $150,000.

The thick plaque carved in high relief to one side with an immortal along with his attendant standing on a rocky path overlooking a serene waterfall, another individual is seated in an open pavilion, the landscape with pine tree branches sprouting from the surrounding rock faces, the reverse depicting the 'three friends of winter' including pine, prunus and bamboo along with garden rocks, the semi-translucent stone of pale celadon hue with some opaque white and speckled black inclusions and added russet coloring. [Chips]

Provenance: Private East Coast Estate Collection, acquired in China during the Republic Period (1911-1949). 

A White Jade Mythical Horse, 18th-19th Century. Length: 11 5/8 inches (29.5 cm). Estimate: $30,000/50,000. 

The recumbent animal with a bundle of three scrolls strapped onto its back, its head turned sharply over its shoulder, finely detailed with bulging eyes, pointed ears and a striated mane, all on a bed of swirling, turbulent waves, with a fitted wood stand. [Minor wear]

Provenance: Private East Coast Estate Collection, acquired in China during the Republic Period (1911-1949).

An Unusual Pair of Jade Lanterns and Stands, Republic Period. Height: 14 3/8 inches (36.5 cm) each. Estimated Price: $30,000 - $50,000.

The ovoid lanterns with incised decorations of a continuos garden scene featuring children at play under the supervision of female attendants, below a band of the Eight Buddhist Emblems executed in alternating carnelian insets and incised decoration, the cylindrical column with pierced spinach jade stylized dragon flanges, all on a tiered base with shaped feet. [One lantern lacking flange, small chips, minor restorations]

Provenance: Private East Coast Estate Collection, acquired in China during the Republic Period (1911-1949). 

A Jade Tripod Censer and Cover, 19th Century. Height: 7 7/8 inches (20 cm) approximately. Estimated Price: $10,000 - $15,000.

The compressed globular body rising from three lion-mask and paw supports to a waisted neck with everted rim, flanked by a pair of curved upright handles, the exterior carved with stylized taotie masks on a leiwen ground, all between bird form lappets, the rim with a key fret border, the domed cover surmounted by a pierced dragon finial, the stone of a grayish celadon tone with beige-brown inclusions, with a fitted wood stand. [Small chips]

Provenance: Private East Coast Estate Collection, acquired in China during the Republic Period (1911-1949). 

A Lavender Jadeite Vase and Cover, Republic Period. Height: 9 1/8 inches (23.2 cm). Estimated Price: $6,000 - $8,000.

Of barrel form depicting emerging peony branches in bloom and various birds including cranes and pheasants supported on a faceted rock base with another peony blossom forming the finial on the cover, the brightly polished matrix mottled with shades of lavender gray predominating, a few patches of emerald green and russet inclusions, with a fitted wood stand. [Small chips throughout] 

Provenance: Private East Coast Estate Collection, acquired in China during the Republic Period (1911-1949).

A Mutton-Fat White Jade Snuff Bottle, 19th Century. Height: 2 1/2 inches (6.4 cm). Estimated Price: $4,000 - $6,000. 

Of flattened rounded rectangular form raised on a shallow concave foot, well hollowed from translucent mutton-fat white stone. [Small chip to the mouth] 

Provenance: Private North Bay Collection, since 1970.

A Russet Jade Snuff Bottle, 19th Century. Height: 2 3/4 inches (7 cm). Estimated Price: $3,000 - $5,000. 

The well-hollowed bottle is of elongated pebble form with one flattened side, the stone is of a pale celadon tone with patches of russet inclusions throughout, with a green jadeite stopper.

Provenance: Old Towne Antiques, Folsom, California, November 17, 1977. Private North Bay Collection.

A Yellow Jadeite Snuff Bottle, 19th Century. Height: 2 3/8 inches (6 cm). Estimated Price: $3,000 - $5,000. 

Carved as a melon borne on a sinuous leafy vine with one smaller melon, the stone of even caramel-yellow tone with some dark russet mottling, with a red coral branch-form stopper.  [Chips]

Provenance: Private North Bay Collection, since 1976.

Fine porcelains will also be sold at a range of price points. Auction spotlights include a set of four famille rose porcelain plaques from the Studio of Wang Qi at $100,000-120,000 (lot 3169), a large famille rose vase of natural subject matters estimated at $5,000-7,000 (lot 3157) and a vase of a striking and finely painted peacock by Cheng Yunnong at $3,000-5,000 (lot 3160). 

Studio of Wang Qi (1884-1937), A Set of Four Famille Rose Porcelain Plaques. 38 1/4 x 14 inches (97.1 x 35.6 cm) each including frame. Estimate: $100,000/120,000. 

The first is painted with Zhong Kui, the Demon Queller, presenting his sister for marriage accompanied by his demonic attendants; the second depicting the Arhat Ajita sitting upon a cliff ledge with a gibbon dangling off his long eyebrow above crashing waves; the third showing a beauty gazing at her refection as a tiger within a rectangular standing mirror, the interior setting decorated with various antiques and cut chrysanthemums below an ovoid window; the fourth depicting a bearded man with his arms in an embracing gesture toward a crane flying above, shown standing next to another redheaded crane and a boy attendant holding a gnarled staff with a double gourd; all four plaques bearing an inscription dated to 1933, and with two seals of the artist, each framed. [Cracks, chips, repairs to the enamel, not examined out of the frame]

A Large Famille Rose Vase, Late 19th-Early 20th Century. Height: 16 3/4 inches (42.5 cm). Estimated Price: $5,000 - $7,000.

Painted with two roundels of magpies and prunus, surrounded by flower scrolls reserved on a yellow ground, all between decorative borders, with a pair of elephant head handles flanking the neck, the base with an apocryphal Qianlong mark, with matching wood stand. [Overall wear, a chip to one handle]

A Famille Rose Vase by Cheng Yunnong (Active 1940s). Height: 8 13/16 inches (22.4 cm). Estimated Price: $3,000 - $5,000.

The cylindrical vase with a short flaring neck is meticulously painted with a majestic peacock perched on a garden rock issuing blossoming peony and magnolia, the reverse is inscribed with a five-verse poem and signed 'Cheng Yunnong', and with one artist seal, another artist seal centering the recessed base.

Provenance: Berkeley Private Collection.

A trio of lots of refined furnishings crafted in huanghuali wood will also offer rarities in décor. A square kang table circa the 17th/18th century is estimated at $40,000-60,000 (lot 3124). From the Naomi Lindstrom Collection is a suite of four side chairs made of the coveted material at $30,000-50,000 (lot 3123). Lastly, is a classic horseshoe back armchair of the 20th century, projected at $15,000-20,000 (lot 3126). 

A Huanghuali Square Kang Table, 17th-18th Century, 11 7/8 x 29 x 29 inches (30.3 x 73.6 x 73.6 cm). Estimated Price: $40,000 - $60,000. 

The square top is set above a bracket-shaped apron, carved with confronted dragons and supported on cabriole legs of square section ending in scroll toes. [Overall wear, abrasions]

Provenance: Acquired in Hawaii in the 1980s. Ex. Edward E. Sox Collection, Hawaii.

Literature: Robert Hatfield Ellsworth, Chinese Hardwood Furniture in Hawaiian Collections, no. 6, p. 32, p 42.

Exhibited: Honolulu Academy of Arts, Chinese Hardwood Furniture in Hawaiian Collections, January 16 to February 14, 1982. 

A Set of Four Huanghuali Side Chairs, 18th-19th Century; 40 1/2 x 19 1/2 x 16 inches (103 x 49.5 x 40.6 cm) each approximately. Estimated Price: $30,000 - $50,000. 

Each chair with a stepped top-rail fitting flush with the round-section side posts to either side of a gently curving rectangular back splat, the cane seats set within rectangular frames above shaped and beaded aprons, all supported upon square-section legs joined by four stretchers. [Chips, small losses, overall wear including abrasions] 

Provenance: The Naomi Lindstrom Collection, mostly acquired during 1950-1970.

A Huanghuali Horseshoe-Back Armchair, 20th Century: 40 1/2 x 28 1/4 x 23 (102.8 x 71.7 x 58.4 cm). Estimate: $15,000 / 20,000.

With rounded crest rail set on straight back posts centered by a rectangular S-form splat, the side posts and recessed front posts curved and below scrolled hand-grips, the hardwood seat within a mitered frame, the four cylindrical legs secured by plain-shaped aprons and four stretchers of ascending height. [Minor wear]

Additionally, exciting and remarkable textiles and works of art made from precious metals will present additional categories of excellence in the approximate two hundred lot sale.

A Ningxia Pillar Rug, Late 19th-Early 20th Century; 82 x 37 3/4 inches (208.3 x 96 cm) approximately. Estimate: $5,000/7,000.

Depicting a yellow dragon against a beige ground, flying amidst auspicious Buddhist emblems and swirling clouds in dark blue, green and cream, between an inscription in Manchu at the top and a striped figural border along the bottom edge. [Losses, fading, soiling, slight staining, possible repair]

Provenance: The Naomi Lindstrom Collection, mostly acquired during 1950-1970.