A rare 'numbered four' Jun bracket-lobed narcissus bowl, Yuan-Ming dynasty, 14th-15th century. Estimate HK$ 5,000,000 – HK$7,000,000 ($648,180 - $907,452). Photo Christie's Image Ltd 2015

The sides of the bowl are evenly moulded into six petal lobes rising to an everted, conforming lobed mouth rim, resting on three ruyi-shaped feet. The exterior and interior are covered with a milky lavender-blue glaze thinning to mushroom on the raised edges and some 'worm trail'. The base is covered with a brown wash with fine spur marks along the edges, and incised with the numeral, si, 'four'. 8 7/8 in. (22.5 cm.) wide, Japanese wood box

Provenance: Dr. T.H. Shire (d. 1976)
Bluett & Sons, London
Bonhams London, 7 Novermber 2005, Lot 5

Literature: Oriental Ceramics Society of London, Sung Dynasty Wares. Chun and Brown Glazes, 1952, p. , fig. 41
Christie's, The Classical Age of Chinese Ceramics: An Exhibition of Song Treasures from the Linyushanren Collection, Hong Kong, 2012, pp. 78-79, no. 24

Exhibited: Oriental Ceramics Society of London, Sung Dynasty Wares. Chun and Brown Glazes, 1952, Catalogue, no. 41
Christie's, The Classical Age of Chinese Ceramics: An Exhibition of Song Treasures from the Linyushanren Collection, Hong Kong, 22 to 27 November 2012; New York, 15 to 20 March 2013; London, 10 to 14 May 2013, Catalogue, no. 24

Notes: Dr. T.H. Shire served in the Royal Navy during the Second World War and was with the Allied forces when Hong Kong was liberated. Subsequently he was sent to Shanghai to care for and evacuate Allied prisoners of war, and while there he formed the basis of his collection of Chinese porcelain, see R. David and D. Jellinek, Provenance, Collectors, Dealers and Scholars in the Field of Chinese Ceramics in Britain and America, 2011, p. 398.

The present bowl belongs to a group of Jun vessels comprising zun-shaped vases with prominent flanges, flower pots, and narcissus bowls, where each vessel has been incised or stamped with a Chinese numeral on the base. The numbers range from one to ten, and according to the Nanyao biji (Notes of the Nanyao), composed during the Qianlong reign, the numbers are indications for pairing flower pots with stands. In recent years, scholars have also noted that the numbers appear to have an indirectly proportional relationship with the sizes of the vessels, with ten representing the smallest and one the largest. Jun narcissus bowls of this group appear in three styles, and is traditionally catalogued as 'brush washers', though the function of these bowls might well be stands of flower pots. The first has a circular mouth rim with drum-nail bosses on the exterior such as the 'number nine' example from the R.F.A. Riesco Collection, sold at Christie's Hong Kong, 27 November 2013, lot 3102. The second style has of six-petalled lobes such as the bowl sold at Christie’s Hong Kong, 3 June 2015, lot 3121; and the third has moulded six bracket lobes at the flatterned rim, such as the present example. The only other known narcissus bowl with six bracket lobes incised with the numeral four, appears to be a moon-white glaze bowl in the National Palace Museum, illustrated in A Panorama of Ceramics in the Collection of the National Palace Museum: Chun Ware, Taipei, 1999, p. 114-115, no. 40, measuring 22.5 cm. diam. 

There are three bowls of this bracket-lobed form, catalogued as a brush washers, in the Qing Court Collection, illustrated in Porcelain of the Song Dynasty (I), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1996, pp. 34-36, nos. 29-31. Three further examples are in the National Palace Museum, illustrated in Chun Ware, A Panorama of Ceramics in the Collection of the National Palace Museum, 1999, pp. 108-113, nos. 37-39, with rose-red glaze (number two); azure and aubergine glaze (number three); and moon-white glaze (number three) respectively. A 'number three' of rose-purple glaze pairing with a bracket-lobed flower pot in Arthur M. Sackler Museum, Harvard University Art Museums is illustrated by Stephan Wolohojian, ed., Harvard Art Museum Handbook, Cambridge, 2008, p. 55. Several other bracket-lobed bowls were sold at auction, one from the George Eumorfopoulos Collection, ‘number two’ (24.1 cm. diam.), sold at Christie’s London, 15 June 1998, lot 87; one from the Robert Chang Collection, 'number seven' (21.1 cm. diam.), sold at Christie's New York, 26 March 2003, lot 227; and the other one from Edward T. Chow Collection, ‘number nine’ (19.7 cm. diam.), sold at Sotheby’s Hong Kong, 30 April 1996, lot 305. 

Christie's. THE CLASSIC AGE OF CHINESE CERAMICS - THE LINYUSHANREN COLLECTION, PART I, 2 December 2015, Convention Hall

A lavender jadeite bangle. Estimate HK$6,800,000 – HK$8,800,000 ($881,525 - $1,140,797). Photo Christie's Image Ltd 2015

The cylindrical lavender jadeite bangle, inner diameter approximately 54.2 mm, width approximately 8.9 mm, thickness approximately 8.7 mm

Accompanied by report no. KJ91578 dated 15 October 2015 from Hong Kong Jade & Stone Laboratory stating that the bangle is natural jadeite and no polymer is detected 

Christie's. HONG KONG MAGNIFICENT JEWELS, 1 December 2015, Convention Hall

A semi-cylindrical jadeite bangle. Estimate HK$6,000,000 – HK$8,000,000 ($777,816 - $1,037,088). Photo Christie's Image Ltd 2015

The semi-cylindrical jadeite bangle, inner diameter approximately 57.3 mm, width approximately 14.7 mm, thickness approximately 7.4 mm 

Accompanied by report no. KJ85509 dated 15 May 2014 from Hong Kong Jade & Stone Laboratory stating that the bangle is natural jadeite and no polymer is detected

Christie's. HONG KONG MAGNIFICENT JEWELS, 1 December 2015, Convention Hall

An Important Jadeite and Diamond Necklace. Estimate HK$4,500,000 – HK$6,500,000 ($583,362 - $842,634). Photo Christie's Image Ltd 2015

The front set with thirteen oval jadeite cabochons, the reverse of each cabochon embellished with pavé-set circular-cut diamonds, joined by a flexible line of oval-shaped diamonds, to the clasp set with an oval jadeite cabochon, mounted in platinum, largest cabochon 14.0 x 9.5 x 6.9 mm, 40.5 cm

Accompanied by report no. JC24463 dated 6 September 2002 from Hong Kong Jade & Stone Laboratory stating that the cabochon is natural jadeite and no polymer is detected

Please note that the certificate is more than 5 years old and might require an update  

Christie's. HONG KONG MAGNIFICENT JEWELS, 1 December 2015, Convention Hall

A carved jadeite Buddha and diamond pendant necklace. Estimate HK$4,000,000 – HK$6,000,000 ($518,544 - $777,816). Photo Christie's Image Ltd 2015

Suspending a carved jadeite Buddha with a circular-cut diamond surmount, to the black cord, mounted in gold, Buddha approximately 34.5 x 41.5 x 6.0 mm, neckchain 51.2 cm 

Accompanied by report no. KJ91431 dated 29 September 2015 from Hong Kong Jade & Stone Laboratory stating that the Buddha is natural jadeite and no polymer is detected 

Christie's. HONG KONG MAGNIFICENT JEWELS, 1 December 2015, Convention Hall

A pair of jadeite double-hoop and diamond ear pendants. Estimate HK$3,800,000 – HK$5,800,000 ($492,617 - $751,889). Photo Christie's Image Ltd 2015

Each jadeite double-hoop suspended from a flexible line of three heart-shaped diamonds, mounted in gold, largest hoop diameter approximately 18.4 mm, width approximately 5.1 mm, thickness approximately 5.6 mm, ear pendants 4.6 cm 

Accompanied by report no. EXKJ3645 dated 21 September 2015 from Hong Kong Jade & Stone Laboratory stating that the double- hoop is natural jadeite and no polymer is detected

Christie's. HONG KONG MAGNIFICENT JEWELS, 1 December 2015, Convention Hall

A Jadeite and Diamond Ring and a pair of Jadeite and Diamond Ear Pendants. Photo Christie's Image Ltd 2015

A Jadeite and Diamond Ring. Estimate HK$3,800,000 – HK$5,800,000 ($492,617 - $751,889). Photo Christie's Image Ltd 2015

Set with an oval jadeite cabochon, flanked by trapeze-cut diamonds, to the circular-cut diamond gallery and half-hoop, mounted in gold, cabochon approximately 18.3 x 16.7 x 6.0 mm, ring size 6½

Accompanied by report no. KJ91446 dated 29 September 2015 from Hong Kong Jade & Stone Laboratory stating that the cabochon is natural jadeite and no polymer is detected

A pair of Jadeite and Diamond Ear Pendants. Estimate HK$1,800,000 – HK$2,800,000 ($233,345 - $362,981). Photo Christie's Image Ltd 2015

Each set with an oval jadeite cabochon, suspended from a flexible line of circular-cut diamond collets, to the pear and circular-cut diamond foliate surmount, mounted in gold, largest cabochon approximately 15.5 x 12.4 x 6.3 mm, ear pendants 3.5 cm

Accompanied by reports nos. KJ91447 and KJ91448 dated 29 September 2015 from Hong Kong Jade & Stone Laboratory stating that the cabochons are natural jadeite and no polymer is detected

Christie's. HONG KONG MAGNIFICENT JEWELS, 1 December 2015, Convention Hall

A pair of jadeite and diamond earrings. Estimate HK$2,800,000 – HK$3,800,000 ($362,981 - $492,617). Photo Christie's Image Ltd 2015

Each set with an oval jadeite cabochon, within a circular-cut diamond surround, mounted in gold, largest cabochon approximately 24.5 x 21.0 x 11.6 mm, earrings 2.6 cm 

Accompanied by two reports nos. KJ91441 and KJ91442 dated 29 September 2015 from Hong Kong Jade & Stone Laboratory stating that the cabochons are natural jadeite and no polymer is detected

Christie's. HONG KONG MAGNIFICENT JEWELS, 1 December 2015, Convention Hall

A very rare finely moulded 'peacock' Ding dish, Northern Song-Jin dynasty, 12th-13th century. Estimate HK$2,000,000 – HK$3,000,000 ($259,272 - $388,908). Photo Christie's Image Ltd 2015

The dish is delicately potted with a flat base and flaring sides and is crisply moulded to the interior with a single peacock flying amid peonies and leaves, adorned by a butterfly and insect, all within a heptafoil frame. The well is further moulded with composite floral scroll below a keyfret band. The dish is covered overall in a warm ivory glaze, thinning in some areas near the foot and rim on the exterior to reveal the white biscuit body. The rim is bound with a metal band. 7 1/8 in. (18.1 cm.) diam., Japanese wood box

Provenance: Sen Shu Tey, Tokyo

Literature: Anthony du Boulay, Chinese Porcelain. Pleasures and Treasures, Frankfurt, 1963, p. 31, fig. 21
Jan Wirgin, Sung Ceramic Designs, London, 1979, pl. 88b
Sen Shu Tey, The Collection of Chinese Art, Tokyo, 2006, p. 52, no. 60 
Christie's, The Classical Age of Chinese Ceramics: An Exhibition of Song Treasures from the Linyushanren Collection, Hong Kong, 2012, pp. 44-45, no. 10
Tsai Meifen, Decorated Porcelains of Dingzhou: White Ding Wares from the collection of the National Palace Museum, op. cit., 2014, p. 275.

Exhibited: Sen Shu Tey, Special Exhibition ‘Run Through 10 Years’, Tokyo, 2006, Catalogue, no. 60 
Christie's, The Classical Age of Chinese Ceramics: An Exhibition of Song Treasures from the Linyushanren Collection, Hong Kong, 22 to 27 November 2012; New York, 15 to 20 March 2013; London, 10 to 14 May 2013, Catalogue, no. 10

Notes: Moulded decoration on Ding wares was adopted in the latter part of the Northern Song dynasty and flourished in Jin dynasty. The moulding technique allowed the Ding potters to adopt more complex and formal designs. The gorgeous peacock on the interior of the present dish is among new animal patterns appeared in the late Northern Song-Jin period. The peacock, an exotic and precious bird from the west, was regarded as an auspicious symbol. It is often depicted amidst rocks and flowers in Song-Yuan period; see peacocks on a Song dynasty kesi painting in the National Palace Museum Collection, illustrated in National Palace Museum. Kesi, Tokyo, 1970, Catalogue, no. 22. It is rare to find peacock pattern on Ding wares. There are two other known examples of similar shape and decoration, both in the National Palace Museum collection. The first with a slightly splayed foot is decorated with three chi-dragons in the well, illustrated by Tsai Meifen, Decorated Porcelains of Dingzhou: White Ding Wares from the collection of the National Palace Museum, Taipei, 2014, p. 188, no. II-125. The second with a flat base is also decorated with three chi-dragons on the well, ibid., p. 189, no. II-126. Compare also with a large moulded ‘peacock’ dish with everted rim, illustrated ibid., p. 192, no. II-128. All three examples lack the heptafoil frame.

Heptafoil shapes were also found in Song metalwork. Compare with a Southern Song silver octafoil dish, illustrated in J.J. Lally & Co., Silver and Gold in Ancient China, 2012, Catalogue, no. 23. In the Song-Jin period, metal forms often influenced wares such as Ding and Jun. These products are often of high quality and were most likely made for the wealthy social elite and the court. According to the Jin official book Dajin jili (Compilation of Rites of the Grand Jin), in the second year of the Tianjuan reign (1139), one thousand Ding pieces were designated as presents to a princess along with other objects. Recently, a large number of moulded Ding shards were discovered in archaeological excavations in Hangzhou, see Tsai Meifen, Decorated Porcelains of Dingzhou: White Ding Wares from the collection of the National Palace Museum, op. cit., p. 275. The sites yielding moulded Ding shards include the residence of Empress Yang (1162-1231), the Governance Hall of Hangzhou, and the Imperial Ancestral Hall. The present piece is representative of the court aesthetic in the Song-Jin period.

Christie's. THE CLASSIC AGE OF CHINESE CERAMICS - THE LINYUSHANREN COLLECTION, PART I, 2 December 2015, Convention Hall

A white-glazed ding-type yuhuchun vase, Northern Song-Jin dynasty, 12th century. Estimate HK$400,000 – HK$600,000 ($51,854 - $77,782). Photo Christie's Image Ltd 2015

The elegantly potted pear-shaped vase yuhuchunping with low splayed foot and flared mouth. The exterior is covered with a white glaze that continues inside the neck, with the exception of the unglazed foot exposing the pale white biscuit body. 11 4/8 in. (29.3 cm.) high, Japanese wood box

Provenance: Toguri Museum of Art
Sen Shu Tey, Tokyo 

Literature: Sen Shu Tey, The Collection of Chinese Art, Tokyo, 2006, p. 53, no. 62

Exhibited: Sen Shu Tey, Special Exhibition ‘Run Through 10 Years’, Tokyo, 2006, Catalogue, no. 62

Notes: This vase is of an especially elegant yuhuchunping, pear-shaped vase form. Some scholars have suggested that one of the uses for pear-shaped vases was as a decanter for wine. Although as yet there is little corroborating evidence for this use in the Song period, Yuan dynasty burials and tomb murals suggest this may have been the case (fig. 1). Certainly the graceful proportions of the few extant Song dynasty Ding and Ru ware pear-shaped vases show that they were also eminently suitable to grace the tables of the refined Song elite. 

fig. 1. Mural painting from a Yuan dynasty tomb in Pucheng City, Shaanxi Province, dated to the 6th year of the Zhiyuan era (1269)

A related white-glazed yuhuchun vase was excavated from Xiangfen, Shanxi province, illustrated in the Zhongguo chutu ciqi quanji (Complete Collection of Ceramic Art Unearthed in China), Beijing, 2008, vol. 5, p. 210. A similarly proportioned, white-glazed yuhuchun vase is in the Kwan Collection, illustrated in Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, 1994, p. 106, no. 35. The Kwan vase has been attributed to Jiexiu ware in Shanxi province. A similar white ware pear-shaped vase with a slightly compressed body is in the Hakone Art Museum, Japan, illustrated in Mayuyama, Seventy Years, 1976, vol. 1, no. 637. Another related pear-shaped vase with slightly longer neck is illustrated by S. Valenstein, The Herzman Collection of Chinese Ceramics, The Metropolitan Museum of Art, New York, 1992, no. 25. Compare also a few other examples identified as Ding ware, one in the collection of the British Museum, illustrated by S. Vainker, Chinese Pottery and Porcelain From Prehistory to the Present, British Museum Press, London, 1991, p. 89, no. 66; one with slightly longer neck and incised floral decoration in the collection of the National Palace Museum, Taipei, illustrated in Dingyao baici tezhen tulu, Taipei, 1987, no. 22; and another with incised floral decoration in the collection of the Tianjin Museum of Art, illustrated in Porcelains from the Tianjin Municipal Museum, Hong Kong, 1993, no. 23.  

Christie's. THE CLASSIC AGE OF CHINESE CERAMICS - THE LINYUSHANREN COLLECTION, PART I, 2 December 2015, Convention Hall

A rare large carved Ding 'lotus' basin, Northern Song dynasty, 11th-12th century. Estimate HK$5,000,000 – HK$7,000,000 ($648,180 - $907,452). Photo Christie's Image Ltd 2015

The basin is finely potted with steep rounded walls rising from a recessed base to a slightly flared rim. The interior is freely carved with meandering lotus blossoms, and the exterior with six notches forming six very shallow lobes. It is covered with a transparent ivory-white glaze pooling in the recesses. The rim is bound in a metal band. 8 1/8 in. (20.6 cm.), diam., Japanese wood box

Provenance: Sen Shu Tey, Tokyo 

Literature: Sen Shu Tey, The Collection of Chinese Art, Tokyo, 2006, p. 53, no. 61 
Christie's, The Classical Age of Chinese Ceramics: An Exhibition of Song Treasures from the Linyushanren Collection, Hong Kong, 2012, pp. 42-43, no. 9

Exhibited: Sen Shu Tey, Special Exhibition ‘Run Through 10 Years’, Tokyo, 2006, Catalogue, no. 61 
Christie's, The Classical Age of Chinese Ceramics: An Exhibition of Song Treasures from the Linyushanren Collection, Hong Kong, 22 to 27 November 2012; New York, 15 to 20 March 2013; London, 10 to 14 May 2013, Catalogue, no. 9

Notes: Ding basins of this form and decoration are relatively rare. A very similar ‘lotus’ basin is in the Tokyo National Museum, published in the Oriental Ceramics: the World’s Great Collections, vol. 1: Tokyo National Museum, Tokyo, 1982, colour plates, no. 9. Two other Ding basins with six-lobed sides but carved on both the interior and exterior with lotus scrolls are known. The first is in the Museum of Oriental Ceramics, Osaka, illustrated in Asahi Shimbun, Song Ceramics, Tokyo, 1999, p. 67, no. 30. The second is in the Palace Museum Collection, illustrated in Selection of Ding Ware: the Palace Museum’s Collection and Archaeological Excavation, Beijing, 2012, p. 136, no. 52. A basin of similar form and size but lacking the notches on the exterior are in the collection of National Palace Museum, Taipei, illustrated by Tsai Meifen, Decorated Porcelains of Dingzhou: White Ding Wares from the collection of the National Palace Museum, Taipei, 2014, p. 97, no. II-54. Two larger basins also with rounded sides are in the National Palace Museum collection; one is carved with wave patterns at the base of interior below a band of daylily scroll and daylily scroll on the exterior, illustrated in ibid., p. 136, no. II-85; the other one is carved with fish and waterfowls scene on the interior and lotus scroll on the exterior, illustrated in ibid., p. 137, no. II-86. Compare also a small number of Ding basins with foliate rims, such as a pair of Ding basins, each carved with a single lotus spray at the base of interior, in the National Palace Museum Collection, illustrated in ibid., p. 132, no. II-81.82; and another example carved with a larger lotus spray, also in the National Palace Museum, illustrated in ibid., pp. 130-131, no. II-80. 

Lotus is a popular decorative theme on Ding wares, as it has been traditionally revered for its quality as 'rising from the mud but is unsullied, bathed by clear waves but is not seductive', written in a famous poem, Passion for the Lotus by Song scholar-official Zhou Dunyi (1017-1073). Another symbolic meaning of the lotus is derived from its phonetic similarity with the phrase ‘incorruptible’. Therefore, vessels decorated with lotus were particularly suitable for the scholar-official class. Large basins like this were sometimes used in the serving of alcohol. The exact function remains unclear, though scholars from the Palace Museum have suggested that basins of this type may well be warming bowls, containing hot water to heat wine ewers that would have been placed within. This theory is suggested by a number of Song mural paintings and large number of paired ewer and basin in qingbai wares. However, it is extremely rare to find a paired example in Ding ware. As indicated by a Yuan mural painting, basins of this type could also serve as ajiuhai (wine sea) wine basin, paired with a ladle to serve alcohol in banquets.

Christie's. THE CLASSIC AGE OF CHINESE CERAMICS - THE LINYUSHANREN COLLECTION, PART I, 2 December 2015, Convention Hall

A unique 20.04 carats pear-shaped diamond and natural pearl pendant necklace-ring, by Forms. Estimate HK$3,500,000 – HK$5,500,000 ($453,726 - $712,998). Photo Christie's Image Ltd 2015

Comprising a pendant necklace, the pear-shaped diamond, weighing approximately 20.04 carats, terminating in a fringe of natural pearls and fancy-cut diamonds, suspended from a rhomboid-shaped diamond, weighing approximately 2.37 carats, the back set with a fancy-cut diamond, joined to a line of natural pearls, enhanced by fancy-cut diamonds, a ring, the gallery and half-hoop pavé-set with circular-cut diamonds, mounted in gold, 60.0 cm, ring size 6¼, in two red leather Forms cases
With maker’s mark for Forms

Accompanied by a report from the SSEF Swiss Gemmological Institute stating that the analysed properties confirm the authenticity of these saltwater natural pearls

Report no. 7181411289 dated 22 October 2014 from the GIA Gemological Institute of America stating that the 20.04 carat diamond is W to X range, light brown colour, SI1 clarity, with excellent polish; and a Diamond Type Classification letter stating that the diamond has been determined to be Type IIa 

Report no. 6185349683 dated 15 October 2014 from the GIA Gemological Institute of America stating that the 2.37 carat diamond is D colour, SI1 clarity

Christie's. HONG KONG MAGNIFICENT JEWELS, 1 December 2015, Convention Hall

An elegant natural pearl and diamond necklace, by Etcetera for Paspaley. Estimate HK$3,200,000 – HK$5,000,000 ($414,835 - $648,180). Photo Christie's Image Ltd 2015

Designed as a graduated line of button-shaped natural pearls, measuring approximately 4.60 - 4.70 x 3.95 to 13.35 - 13.45 x 9.85 mm, alternating with a graduated series of marquise and circular-cut diamonds, each within pavé-set diamond navette-shaped panels, enhanced by natural pearls, measuring approximately, mounted in gold, 46.0 cm (length adjustable), in Paspaley case. With maker's mark for Paspaley

Accompanied by report no. 82449 dated 12 October 2015 from the SSEF Swiss Gemmological Institute stating that the analysed properties confirm the authenticity of an important part of these saltwater natural pearls; also accompanied by an appendix stating that the natural pearl necklace possesses extraordinary characteristics and merits special mention and appreciation. The pearls exhibit partially a remarkable size and weight. They have been carefully selected for this necklace and exhibit an attractive colour subtly ranging from white to light cream combined with a very fine pearl lustre. In addition to these qualities, part of these pearls exhibit attractive rosé and green overtones, poetically also referred to as the 'orient of pearls'. Due to the setting, fifteen of the smaller pearls in this necklace could not be fully tested. A necklace containing natural pearls of this size and quality is very rare and exceptional

Eight reports dated 2 July 2013 to 6 October 2014 from the GIA Gemological Institute of America stating that the ten pearls are natural saltwater with no indications of treatment

Six reports dated 31 October 2013 to 2 June 2015 from the GIA Gemological Institute of America stating that the 1.55, 1.53, 1.16, 1.11, 1.07 and 1.00 carat diamonds range from D to G colour, VS1 to VS2 clarity

Please note that the smaller pearls have not been tested for natural origin

Christie's. HONG KONG MAGNIFICENT JEWELS, 1 December 2015, Convention Hall

A pair of button-shaped natural pearl measuring approximately 15.30 x 15.05 and 15.10 x 14.70 mm and diamond ear pendants. Estimate HK$2,600,000 – HK$3,600,000 ($337,054 - $466,690). Photo Christie's Image Ltd 2015

Each set with a button-shaped natural pearl, measuring approximately 15.30 x 15.05 and 15.10 x 14.70 mm, to the old-cut diamond surmount, mounted in gold, 1.8 cm

Accompanied by report no. 1162629911 dated 20 October 2014 from the GIA Gemological Institute of America stating that the pearls are natural saltwater with no indications of treatment; also accompanied by a letter stating that the pearls are notable for their exceptional size, natural origin, fine condition and very good matching

Christie's. HONG KONG MAGNIFICENT JEWELS, 1 December 2015, Convention Hall

A natural pearl and diamond necklace. Estimate HK$1,200,000 – HK$1,800,000 ($155,563 - $233,345). Photo Christie's Image Ltd 2015

Composed of one hundred forty-five natural pearls, measuring approximately 3.65 – 8.30 mm, alternating with diamond beads, to the marquise, circular and single-cut diamond clasp, mounted in gold, 103.0 cm

Accompanied by report no. 82651 dated 21 October 2015 from the SSEF Swiss Gemmological Institute stating that the analysed properties confirm the authenticity of these saltwater natural pearls

Christie's. HONG KONG MAGNIFICENT JEWELS, 1 December 2015, Convention Hall

Lot 49 - A fine embroidered and beaded chinoiserie jacket, attributed to Margaine Lacroix, circa 1925. Estimate:£2000 - £3000 © Kerry Taylor Auctions.

A fine embroidered and beaded chinoiserie jacket, attributed to Margaine Lacroix, circa 1925. of gold lamé adorned with pagodas and figures carrying parasols in mainly pink, blue and yellow beads and sequins with finely chain-stitched silk details, chest 102cm, 40in

For similar coats by Margaine Lacroix with Egyptian and chinoiserie motifs see the Musée Palais Galliera catalogue 'Les Années Folles 1919-1929'. 

Kerry Taylor Auctions. Tuesday December 8th at 2pm. 249-253 Long Lane, Bermondsey, London, SE1 4PR

Lot 37 : A Maison Worth cut velvet evening coat, 1901 and altered in the 1920s. Estimate:£500 - £700 © Kerry Taylor Auctions.

A Maison Worth cut velvet evening coat, 1901 and altered in the 1920s. un-labelled, of deep crimson velvet woven with ribbon scrolls and blooms, edged in white fox and lined in ivory silk, chest 92cm, 36in

For a similar Worth mantle in green see 'The Opulent Era' by Elizabeth Ann Coleman colour plate 23, published by Thames & Hudson and the Brooklyn Museum. Jean Philippe Worth was the chief designer at this period. 

Kerry Taylor Auctions. Tuesday December 8th at 2pm. 249-253 Long Lane, Bermondsey, London, SE1 4PR

Lot 38 : A Maison Worth cyclamen pink wool evening coat, circa 1910. Estimate:£600 - £1000 © Kerry Taylor Auctions.

A Maison Worth cyclamen pink wool evening coat, circa 1910. with woven signature label, numbered 25236, djellabah inspired with couched gold thread embroidery to the shoulders, wide dolman sleeves edged with elaborate silk cord and gold thread macramé fringes and tassels, two large matching pendants to the back below crochet tulips

Jean Philippe Worth was the chief designer at this period.

Kerry Taylor Auctions. Tuesday December 8th at 2pm. 249-253 Long Lane, Bermondsey, London, SE1 4PR

Lot 45 : A Maria Gallenga gothic-stencilled tabard dress, mid 1920s. Estimate:£600 - £1000 © Kerry Taylor Auctions.

A Maria Gallenga gothic-stencilled tabard dress, mid 1920s. un-labelled, of deep orange velvet, stencilled with mythical birds and beasts, the shoulders and sides outlined and weighted with glass beads, trained hem, bust approx. 117cm, 46in . 

Kerry Taylor Auctions. Tuesday December 8th at 2pm. 249-253 Long Lane, Bermondsey, London, SE1 4PR

Lot 43 : A Reville Ltd of Paris couture court dress and train, circa 1928. Estimate:£800 - £1200 © Kerry Taylor Auctions.

A Reville Ltd of Paris couture court dress and train, circa 1928. labelled Reville Ltd, and with inscribed ribbon label 'Lady Holcroft', the extensively beaded flapper-style dress in black and white seed beads with clear droplet beads, the bodice and waist defined by rhinestone studded bands, the matching train in dramatic black and white with foliate bands, edged in black velvet, bust 86-92cm, 34-36in; together with court presentation plumes and veils and an ostrich feather fan (qty)

Mary Frances Swire married Sir Reginald Culcheth Holcroft, 2nd Baronet, on 26th July, 1928.

Kerry Taylor Auctions. Tuesday December 8th at 2pm. 249-253 Long Lane, Bermondsey, London, SE1 4PR