A pair of rare 5.23 and 5.13 carats Burma "pigeon's blood red" ruby and diamond ear pendants. © Christie's Image 2011

Each set with an oval-shaped ruby weighing 5.23 and 5.13 carats, within a marquise-cut diamond surround, accented by circular-cut rubies, joined to the trefoil diamond surmount each set with a pear-shaped diamond weighing 0.96 and 0.95 carat, mounted in 18k white gold, 3.9 cm long - Lot 3278. Estimate HK$13,500,000 - HK$20,000,000 ($1,700,000-2,500,000). Price Realized HK$16,340,000 ($2,110,200)

Accompanied by two reports nos. 11037080 and 11037081 dated 16 March 2011 from the Gübelin Gemmological Laboratory stating that the 5.23 and 5.13 carat ruby is of Burma (Myanmar) origin, with no indications of heating and this colour variety may also be called "pigeon's blood red" in the trade

Also accompanied by two reports nos. 58207 and 58208 dated 17 January 2011 from the SSEF Swiss Gemmological Institute stating that the 5.229 and 5.135 carat ruby is of Burma (Myanmar) origin, with no indications of heating; also accompanied by an appendix stating that the two rubies possess extraordinary characteristics and merits special mention and appreciation. The rubies exhibit a well-saturated colour combined with a pleasant cutting style. Inclusions found by microscopic inspection represent the hallmarks of the Burmese deposits (Myanmar). Natural Burmese rubies of this quality represent a great rarity and its combination of outstanding characteristics is a very exceptional treasure

Accompanied by thirteen reports from the Gemological Institute of America stating that the thirteen pear and marquise-cut diamonds weighing from 0.96 to 0.50 carats range from D to F colour, internally flawless to VS2 clarity
(2)

Christie's. HONG KONG MAGNIFICENT JEWELS, 31 May 2011, Convention Hall

A very rare two-strand natural pearl and diamond necklace. © Christie's Image 2011

The two-strand necklace composed of one hundred and twenty graduated white natural pearls and one cultured pearl measuring from 4.7 to 12.2 mm, joined to the diamond clasp, mounted in platinum, 45.6 cm long - Lot 3253. Estimate HK$5,500,000 - HK$7,500,000 ($700,000-900,000). Price Realized HK$11,524,000 ($1,488,246)

Accompanied by report no. 58880 dated 18 March 2011 from the SSEF Swiss Gemmological Institute stating that the analyzed properties confirm the authenticity of one hundred nineteen saltwater natural pearls, one freshwater natural pearl and one saltwater cultured pearl 

Christie's. HONG KONG MAGNIFICENT JEWELS, 31 May 2011, Convention Hall

LONDON- From 18th February to 8th March 2016, Sotheby’s London is set to stage an exhibition that shines a spotlight on an aspect of jewellery which is little known, yet one that is absolutely critical to the production of all the greatest designs: the drawing preceding the jewel, which is very often a work of art in itself.

The exhibition, entitled “Masters of Design”, will consist of hundreds of previously unseen drawings from one of the greatest collections of jewellery and silver designs in private hands. The drawings, many of which relate to styles seen in widely exhibited and celebrated jewels, will be presented together with magnificent jewels from Sotheby’s Geneva May sale and stunning vintage clothes handpicked by fashion expert William Banks-Blaney* in order to recreate key aesthetic movements of the last two centuries, from 19th century and Belle Epoque to Art Deco and 1950s glamour.

David Bennett, Worldwide Chairman of Sotheby’s International Jewellery Division said: “Sotheby’s is very excited to host an exhibition of jewellery designs and drawings from this prestigious and comprehensive private collection. It is a collection I have followed for over 20 years in private. Now that it will have its first public exhibition it will, I am sure, prove to be of immense interest to all who are admirers of the very best of 20th century jewellery creation.”

Van Cleef & Arpels & René-Sim Lacaze, Study for an important necklace, 1939. © Sotheby's

Assembled over decades by a European private collector, the collection includes over 3,000 drawings signed by the world’s most prestigious “maisons”, including Cartier, Van Cleef & Arpels, Bolin, Boucheron, Rubel and Verdura. Charting almost a century of jewellery and silver design (1890-1960), this remarkable ensemble sheds light on the influence of major artistic movements, social and political changes on the evolution of jewellery.

At the heart of this group are preparatory works for important commissions from Cartier, such as brooches made for A. Vanderbilt, a 1911 hair comb designed for K. Pulitzer, a Belle Epoque tiara designed for Princess Marie Bonaparte, Duchess of Camastra and a garland style tiara commissioned by the Comte Orloff.

CARTIER. Study for an Hair comb for Princess Marie Bonaparte, Belle Epoque. © Sotheby's

CARTIER. Study for a Tiara for Count Orloff.  © Sotheby's

The collection also features very rare jewellery and silver drawings from C.E. Bolin and W.A. Bolin, court jewellers in St. Petersburg, Moscow and Stockholm. These include studies for precious objects engraved with the Russian Imperial Crown and the Swedish royal insignia.

BOLIN. Study for a gold walking stick handle by Russian Court jeweller Bolin, Late 19th century - 1900. © Sotheby's

Blue and White Eight Tiered Pagoda, China — Qing dynasty (1644-1911), late 18th century/early 19th century. Porcelain decorated in underglaze cobalt blue and gold. H. 90 cm L. 28 cm. © Jorge Welsh Works of Art.

LONDON.- A comprehensive collection of works of art, illustrating the best of cross-cultural encounters between Europe, Africa, India, China and Japan, has been chosen purposely for the TEFAF fair by Jorge Welsh Works of Art. TEFAF will open its doors to the public on the 11th of March and close on Sunday the 20th of March. 

Fine and rare pieces ranging from the 15th to the early 19th century will be displayed at stand 210: ivories from India and Sri Lanka, Japanese works of art including namban coffers, cabinets and fine examples of Chinese export porcelain and works of art, including a rare Chinese three-fold screen with Portuguese inscriptions. “Each piece has been carefully selected on purpose to be exhibited at TEFAF, because this is one of the leading art fairs in the world”, explains Jorge Welsh. 

One of the highlights of the stand is a rare Eight-Tiered Chinese export porcelain Pagoda. As early as the 17th century, the Chinese pagoda became a global symbol for the Western imagination of the East. European and American travellers, captains, supercargoes, among others, were fascinated by these ‘exotic’ and almost ‘mystical’ constructions, and began to describe and draw these delicate and complex structures in their travelling books. Models of pagodas are found in a variety of materials and were particularly favoured by European royalty. Between 1806-1816, King George IV bought six porcelain pagodas for the Brighton Pavilion, at great expense. The four pagoda models of the Brighton Pavillion are now in the Royal Collection Trust. A comparable six-storey, hexagonal blue and white porcelain pagoda is in the Peabody Essex Museum in Salem, Massachusetts. A large model of a pagoda, decorated in underglaze blue and overglazed polychrome enamels, is in the Victoria and Albert Museum, London. Similar blue and white pagodas, with sides painted to imitate brick walls, are in the Rijksmuseum in Amsterdam, and the Winterthur Museum in Winterthur, Delaware.

Three-panel folding screen, China – Qing dynasty, Qianlong period (1736-1795). Oil paint on canvas with gold in relief; wooden structure, H. 199 cm W. 186 cm. Each panel - H. 199 cm W. 64 cm. © Jorge Welsh Works of Art.

Another rare and intriguing piece is a Chinese three-fold screen (199 cm tall by 186 cm wide), dating to the Qianlong period (1736-1795), made for the Portuguese market. On one side, each of the three panels is decorated with two cartouches, one depicting several animals among flowers and leaves, a perforated rock and a pond; the other is surmounted by a crown flanked by two cherubs, and encloses a Chinese recreational scene, identified by the Portuguese inscriptions “Comédia”, “O Imperador assistindo aq.m ganha as Carreyras” and “Dous Mandarins de recreação Acassa”. On the other side, each panel is painted with a Chinese life-size human figure. The present piece combines the typical Chinese decoration, namely on the lower cartouches on one side and the life-size human figures on the other, while the upper cartouches are painted with uncommon Chinese scenes intentionally made for the export market. The scenes are painted with oil on the canvas, a technique that was only introduced in China during the 16th century by the Jesuits. Chinese screens showing Portuguese inscriptions are extremely rare. Two comparable six-panel screens made in Macau in circa 1708, gilded and painted with the portrait of the Kings of Portugal (1st dynasty) together with the restoration wars identified, once again, by the Portuguese inscriptions, belong to the Museu Nacional de Arte Antiga in Lisbon. 

TEFAF Maastricht is regarded as the world’s leading art fair, setting the standard for excellence in the art market. The Fair truly is an event not to be missed by collectors and museum representatives. Presenting 269 of the world’s leading galleries, TEFAF Maastricht is a continuously evolving showcase for the best works of art currently on the market.

Giorgio Ghisi, “The Vision of Ezekiel”, 1554, engraving. Private collection of Kirk Edward Long. Photo: Cantor Arts Center, Stanford University

STANFORD, CA.- More than 180 works, selected from one of the most extensive private collections of Mannerist prints in the world, epitomize the 16th-century’s extravagant and sophisticated style. Opening at Stanford University’s Cantor Arts Center on February 10, Myth, Allegory and Faith: The Kirk Edward Long Collection of Mannerist Prints reveals the scope and depth of this exemplary collection for the first time. The exhibition of engravings, etchings, woodcuts and chiaroscuro woodcuts by renowned artists and famous printmakers of the era continues through June 20, 2016. 

Antonio da Trento (Italy, c. 1510-c. 1550) after Parmigianino (Italy, 1503-40), “Narcissus”, c. 1529. Photo: Cantor Arts Center, Stanford University.

The exhibition familiarizes visitors with the development of the Mannerist style in Italy, traces its dissemination through Europe, shows its adaptation for both secular and religious purposes and follows its eventual transformation into the baroque style at the end of the century. In conjunction with the exhibition, the Cantor Arts Center is co-publishing an illustrated catalogue of Kirk Edward Long’s entire collection of 700 works with essays by 10 scholars and 146 entries discussing individual works and suites. 

Niccolo Boldrini (Italy, active after 1510-1566) after Titian (Italy, c. 1488-1576), "Venus and Cupid", 1566. Photo: Cantor Arts Center, Stanford University.

“We are delighted that the Cantor has had a long and fruitful collaboration with such an astute and dedicated collector, resulting in this beautiful exhibition and the enlightening publication cataloguing Mr. Long’s complete holdings of 16th-century prints,” said Connie Wolf, the John and Jill Freidenrich Director. “These works provide extraordinary opportunities for new and important scholarship, allow for unique interdisciplinary perspectives on this dynamic moment in history and support exciting collaborations with students and faculty. I am thrilled that we can bring these important works to Stanford University and share them with our colleagues and students on campus as well as the greater community. The exhibition and the accompanying publication are invaluable to scholars of the period as well as anyone interested in art and history. This exhibition shows what a dedicated scholar-collector can accomplish, and the catalogue shares new knowledge of an important period in art history.” 

Jan Harmensz Muller (the Netherlands, 1571-1628) after Bartholomaeus Spranger (Netherlands, 1546-1611), “Minerva and Mercury Arming Perseus”, 1604. Photo: Cantor Arts Center, Stanford University.

The Exhibition 
The exhibition begins with Mannerism’s primary sources, a fascination with classical antiquity and the overwhelming influence of Michelangelo. Curated by Bernard Barryte, the Cantor’s Curator of European Art, the exhibition is organized by region, tracing the style’s path from Florence, Rome and Central Italy to Venice and the rest of Europe. One section illuminates the way in which Mannerism was transformed in the Low Countries, where the Italianate artist Maarten van Heemskerck was an important innovator and where Hendrick Goltzius and his circle were responsible for the extraordinary flowering of the style in Haarlem during the last decades of the 16th century. Another portion of works illustrate Mannerism’s French variant. Known as the School of Fontainebleau, it was developed by Rosso Fiorentino and Francesco Primaticcio, Italian artists imported by King François I to decorate his palace at Fontainebleau in the most opulent and fashionable style.

Aegidius Sadeler II (ca. 1570–1629) after Bartolomeus Spranger (1546–1611), "Wisdom Conquers Ignorance", ca. 1600. Private collection of Kirk Edward Long. Photo: Cantor Arts Center, Stanford University

The exhibition concludes with works that demonstrate the shift away from the artifice of the Mannerist aesthetic. Included are prints by Annibale Carracci, pioneer of a new naturalism that was influenced in part by the impetus of the Counter-Reformation and the dictates of the Council of Trent, which encouraged artists to create clearer and more emotionally engaging images to counteract the impact of Protestantism and win new converts. 

Throughout the exhibition, visitors can enjoy the accomplishments of the print designers Raphael, Giulio Romano and Maarten van Heemskerck—as well as the virtuosity of printmakers Marcantonio Raimondi, Ugo da Carpi, Giorgio Ghisi, Cornelis Cort and Hendrick Goltzius. Some images may be familiar, but many rare works by artists of less renown are also on view. 

Aegidius Sadeler II (Flanders, c. 1570-1629) after Bartholomeus Spranger (Flanders, 1546-1611), “The Three Marys Returning from the Tomb”, 1600. Photo: Cantor Arts Center, Stanford University.

The Kirk Edward Long Collection 
Long has spent his life collecting art. He first focused on the Symbolists and Surrealists, both of whom had found inspiration in Mannerism. Following the symbolist and surrealist artists’ gaze back to 16th-century Mannerism, Long acquired several exemplary prints and in 2003 began collaborating with Barryte. The goal was to create a comprehensive collection focused on Mannerist prints that would stimulate ongoing research. Representing 15 years of attentive effort, the collection now numbers more than 700 sheets and is among the most extensive repositories of this material in private hands. The sampling of the works featured in Myth, Allegory and Faith is representative of the collection, illustrating in graphic form the sources, evolution and diffusion of what art historian John Shearman called “the stylish style.”

Artist unknown (Italy, 16th century) after Michelangelo Buonarroti (Italy, 1475-1564), “The Dream”, 1545. Photo: Cantor Arts Center, Stanford University.

Mannerism 
Mannerism, the style dominant throughout Europe from about 1520 to 1590, followed the High Renaissance and then led into the Baroque. Mannerists broke with the naturalistic idealism of the High Renaissance, rejecting the imitation of nature in favor of subjective imagination and the aesthetic values of the artist. Mannerist art—painting and sculpture as well as prints—typically shares characteristics that include elongated figures in graceful, complex and stylized poses; complex compositions, often with multiple figures; a stress on contour; ornamental embellishments; and high finish. Pressure from the Catholic church at the end of the century lead to new styles of representation and the Baroque period. The Long collection represents the range of 16th-century styles, with an emphasis on Mannerism. 

Domenico del Barbiere (France, b. Italy, c.1506-1565, d.1565-75) after Rosso Fiorentino (France, b. Italy, 1494-1540), “Gloria”, c. 1540-50. Photo: Cantor Arts Center, Stanford University.

Print-Making in 16th-Century Europe 
Prints played a crucial role in the dissemination of the Mannerist style through Europe. The 16th century, encompassed by the Kirk Edward Long Collection, is notable for the multitude of printmakers who published a remarkable variety of compelling images. In addition, the emergence of professional print publishers advanced the dissemination and development of the medium during this period. European printmaking was invented in the 15th century: first came the woodcut, then engraving and etching. In the early 16th century, the painter Raphael was key among those who recognized the artistic as well as the fiscal potential of prints and integrated them into their studio production. The success of the enterprise continued after Raphael’s death in 1520 with the next generation of artists, printmakers and publishers. Mannerism was further spread by the artistic diaspora that followed the Sack of Rome in 1527.

Pierre Milan (France, c. 1500-c. 1557) after Rosso Fiorentino (France, b. Italy, 1494-1540), “The Three Fates”, 1538-40. Photo: Cantor Arts Center, Stanford University

“Through prints we can trace lines of filiation that connected the centers of European art throughout the 16th century, contributing to the formation of a common Mannerist language that was inflected by local traditions as the style evolved outside Florence and Rome, or that retained the native accent of the artists who worked in Italy, where they assimilated classical traditions at their source and contributed to their modern expression,” Barryte explained in an essay for the collection catalogue. “In terms of style, in the 16th century all roads did lead to Rome, and they were paved with prints.”.

Giulio Bonasone (Italy, c. 1510-after 1576) after Michelangelo (Italy, 1475-1564), “St. Andrew Bearing the Cross”, c. 1546. Photo: Cantor Arts Center, Stanford University.

Hendrick Goltzius (the Netherlands, 1558–1617), "Apollo", 1588. Engraving. Lent by Kirk Edward Long. Photo: Cantor Arts Center.

Jan Saenredam (the Netherlands, 1565-1607), after Hendrick Goltzius (Netherlands, 1558-1617), “Without Ceres and Bacchus Venus Grows Cold (Sine Cere et Bacch friget Venus)”,  1600. Photo: Cantor Arts Center, Stanford University

Jacques Bellange (France, c.1575-1616), "Three Holy Women", 1611-16. Photo: Cantor Arts Center, Stanford University.

Giovanni Battista Scultori, “David Beheading Goliath”, 1540, engraving. Photo: Cantor Arts Center.

Battista Franco (Italy. c. 1510-1561), "St. Jerome Meditating on a Skull," 1530s. Etching. Photo: Cantor Arts Center

Bas Meeuws, Still life © 2014 Bas Meeuws

Bas Meeuws, Vanitas © 2014 Bas Meeuws

Bas Meeuws, Vanitas © 2014 Bas Meeuws 

Bas Meeuws, Vanitas © 2014 Bas Meeuws

Bas Meeuws, Vanitas © 2014 Bas Meeuws 

Bas Meeuws, Vanitas © 2014 Bas Meeuws

Bas Meeuws, Still life © 2014 Bas Meeuws 

Bas Meeuws, Still life © 2014 Bas Meeuws

Bas Meeuws website

An orchid brooch, circa 1900, by Tiffany & Co. Photo courtesy of Christie’s

Of the Laelias variety, extending undulating white enamelled petals with lavender concentrations, the center set with an old European-cut diamond, enhanced by yellow enamelled detail, mounted in gold, circa 1900. Signed Tiffany & Co.

A rare late 19th century enamel orchid brooch, by Tiffany, circa 1890. Photo Bonhams

Realistically modelled as an Oncidium orchid, decorated in yellow enamel with flecks of brown and white, applied plaque to reverse signed Tiffany & Co, later pin, length 4.6cm. Lot 132. Sold for £43,200 (€55,573) 

Notes: In 1889 Tiffany sensationally unveiled a series of enamelled orchid jewels at the Paris Exposition Universelle. These twenty five hair and bodice ornaments, realistically rendered in gold and enamels, were suspended in the main showcase from fine wires above glittering diamonds. Such was the enthusiasm that greeted them, Tiffany was awarded the Gold Medal and all had sold by the second day. 

Tiffany’s translation of this variety of flower hit upon a sophisticated contemporary fashion for orchid collection. The 19th century passion for plant collecting had progressed alongside hothouse cultivation and the art of botanical illustration. By the end of the century, “orchidomania” had spread from Europe, notably England, to America. Collecting orchids was an expensive pastime and to own the real specimen – or even its bejewelled twin – was the thinking person’s status symbol. 

Jay Gould, the American railroad baron, not only amassed one of the finest private collections of orchids at great expense, but he also purchased a number of the Tiffany orchids – not to adorn his wife but to display in a cabinet for his own enjoyment.

The technical innovation employed to achieve the botanical verisimilitude of the jewels, had arguably never been seen before. Tiffany designers had access to the most recent reference books and sketched straight from live specimens in the studio. Each flower variety was electroformed in copper to achieve the precise mould and the resulting gold jewel was then expertly and faithfully enamelled. 

After the Paris Exposition, Tiffany expanded their number of orchid jewels to around 41 different varieties. These were sold in their shops in New York and Paris and orchids appeared in their sale catalogue until around 1896. This is a rare survivor of one of Tiffany’s most celebrated designs and from a relatively short period of production.

Literature: Loring, John, Tiffany Jewels, New York, 1999
Phillips, Clare, Bejewelled by Tiffany, 2006

Bonhams. FINE JEWELLERY, INCLUDING WORKS BY ANDREW GRIMA, 7 Dec 2006 - LONDON, NEW BOND STREET

Tiffany Flora, Orchid Brooch, 1889-90. Photo courtesy of Giselle Padoin

An attractive coloured sapphire and diamond 'orchid' brooch, by Kholoud Osama Kurdi for Toujours Jewellery. Photo courtesy Christie's.

Designed as a life-size 'orchid', each petal mounted with a series of pavé-set brilliant-cut diamonds, accented by circular-shaped sapphires of graduated pink hues to the diamond-set stamen, 9.0cm wide, stamped '18K', with original maker's presentation case. Lot 7.  Estimate $10,000 - $15,000. Price Realized $16,250

Christie's. IMPORTANT JEWELS, 20 April 2011, Dubai

Platinum, 18 Karat Gold, Ruby, Diamond and Colored Diamond Orchid Brooch, Marcus & Co. Estimate 45,000 — 65,000 USD. Lot sold 75,000 USD. Photo Sotheby's

Designed as an orchid, the central petal decorated with calibré-cut rubies, accented by round diamonds of yellow hue weighing approximately 2.25 carats, the outer petals set with round diamonds weighing approximately 16.00 carats, signed Marcus & Co.; circa 1940.

Please note the diamonds of yellow hue have not been tested for natural origin of color.

Sotheby's, Magnificent Jewels, New York, 21 Apr 2015

An enamel and diamond orchid brooch. Photo Bonhams

Designed as an orchid, the leaves of a yellow-orange and pinkish-red enamel, the stamen and stalk set with brilliant-cut diamonds, diamonds approx. 1.85cts total, enamel damaged, length 8.7cm  - Lot 51. Sold for £2,000 (€2,572)

Bonhams. JEWELLERY, 18 Apr 2012 11:00 BST, LONDON, KNIGHTSBRIDGE

Art Nouveau Enamel Diamond Gold Brooch, Attributed to Vever, Circa 1900's.  Photo courtesy Macklowe Gallery

An Art Nouveau 18 karat gold and enamel brooch with diamonds, attributed to Vever. The three dimensional brooch has 3 old mine-cut diamonds with an approximate total weight of .45 carat and 57 rose-cut diamonds with the approximate total weight of .57 carat. The vibrantly enameled orchid brooch has diamond set details. Sold.

Similar pictured in Art Nouveau Jewelry, by Vivian Becker, E.P.Dutton New York, 1985, page 72, Plate 86.

Macklowe Gallery, 667 Madison Ave.New York, NY 10065, United States - 212-644-6400

A blue and white Stem Cup, Ming dynasty, Xuande mark and period (1426-35). Estimate in excess of £2 million.

HONG KONG.- The Stem Cup, which dates back to about 1425, is valued in excess of £2 million and will be sold by Lyon & Turnbull at a special auction in Hong Kong on the 31st May 2016. The Stem Cup will be the star lot of the 80-100 lot auction of Chinese Art that Lyon & Turnbull will co-produce with their sister company Freeman's of Philadelphia, America's oldest auction house. The sale will preview in America, first at Freeman’s from 10-11 March, then in New York at Carlton Hobbs Gallery from 14-16 March during Asia Week New York. From there, the piece will be exhibited during Asia Week Hong Kong on the 28th, 29th, 30th May, before the sale on the 31st May 2016. 

Lee Young, Head of Asian Art at Lyon & Turnbull said “The Ming Xuande (1426-35) mark and period blue and white Stem Cup is a rare masterpiece and, of its type, is virtually unseen outside museum collections. The motif of flying dragons was popular in the Yuan dynasty, but was revived in the Xuande dynasty as can be seen in this case. The fearsome five-clawed dragon flies amongst flames, chasing the eternally flaming pearl, above a sea with crashing waves tipped in white, with rocks seen around the base.” 

The Stem Cup was the most valuable of 270 items bequeathed to the Staffordshire University by Mr Ernest Thornhill in 1944, having originally been sent there during wartime to safeguard the collection. Upon rediscovering the collection, which has been hidden away in storage for a significant number of years, the University appointed Lyon & Turnbull to sell the Stem Cup so that it can raise funds to build a permanent new home for the remainder of the collection at its Stoke-on-Trent campus. This resource centre will enable student access to the collection for their study, complying with the original bequest and wishes of Mr Thornhill. 

The blue and white Stem Cup, Ming dynasty, Xuande mark and period (1426-35) in the Thornhill Collection.

Deputy Vice-Chancellor of the University, Rosy Crehan, and Lee Young agree: "Whilst to some it may seem unfortunate to have to sell one item from a collection, this is simply being done for the greater benefit of University students, and indeed the wider public. The funds raised will finally allow the remaining 269 pieces to be curated, conserved and enjoyed in a facility that will attract a broader audience to Staffordshire, complementing what is, the heart of the British ceramics industry. An appropriate tribute to the Stem Cup will feature in this display.” 

Ernest Thornhill was a pharmacist from London who collected Oriental ceramics. He donated several pieces to the British Museum as well as the then North Staffordshire Technical College, which later became Staffordshire University in 1992. 

Rosy Crehan continues: "The Thornhill Collection is an important part of the University’s heritage and an exciting part of our future. The sale of the Stem Cup is enabling the University to tell the story of the Thornhill collection to a global audience. The journey began at Asian Art in London in November when the Stem Cup was publically exhibited in the UK for the first time in 20 years. Its exhibition in America in March and then in Hong Kong in May ahead of the sale, will provide the first international platform for this important piece and will spread the story of the Thornhill Collection far and wide."

A visitor looks at the blue and white Stem Cup, Ming dynasty, Xuande mark and period (1426-35). Estimate in excess of £2 million.

Bowl with Birds, Ibex, Floral, Calligraphic and Geometric Motifs, Nishapur, Iran, 9th-10th century, Abbasid Period (750-1258). Buff clay body with dark brown slip and yellow, green and clear glazes. Newark Museum. Purchase 1970 John O’Neill Fund 70.16.

NEWARK, NJ.- Bringing together both historic and contemporary objects from its diverse collections—Asian, African, American and the decorative arts of Europe—the Newark Museum’s winter 2016 feature exhibition will showcase the history and breadth of Islamic art. 

More than 100 works on display in Wondrous Worlds: Art & Islam Through Time & Place reflect aspects of faith, culture and everyday life of Muslims across the world and throughout the ages. The exhibition opens February 12 and runs through May 15, 2016. 

Molded Tile with Calligraphic, Floral and Geometric Motifs. Kashan, Iran, first half of the 13th century, late Abbasid Period (750-1258). White paste clay body with white, blue, turquoise and luster glazes. Newark Museum Gift of Herman A. E. Jaehne and Paul C. Jaehne, 1938 38.242. 

The exhibition features works in nearly all media, including carpets, costumes, jewelry, ceramics, glassware, metalworks, prints, paintings and photographs. Contemporary works from artists such as Rachid Koraichi and Victor Ekpuk, and modern day calligraphy by Hassan Massoudy will be shown with pieces dating back to the 9th-century. Highlights range from dazzling lustrewares of Iran and Spain to delicate prayer rugs from Turkey and India, as well as Harem #1 from the bi-national Moroccan-American photographer Lalla Essaydi and a majestic pair of early-20th-century Egyptian applique tent hangings—measuring 10 feet high and 6 feet wide—that were acquired in Egypt in 1929 by John Cotton Dana, the Newark Museum’s founding director and museum education pioneer. 

Hispano-Moresque Dish with Bird and Foliate Motifs. Spain, possibly Valencia, 1550-1650. Earthenware with luster glaze. Newark Museum Purchase 1935 35.165.

“John Cotton Dana focused on making relevant connections between objects and people’s lives, while providing inspiration to artists, artisans and makers across disciplines,” said Steven Kern, Museum Director and CEO. “Through this exhibition, our audiences will gain a more nuanced understanding and appreciation for Islamic art along with other multi-cultural art forms they may encounter in the future.” 

Pair of Pilgrim Bottles with Molded Floral and Figural Motifs, Iran, early 17th century, Safavid Period (1501-1722). White clay body with turquoise glaze, metal. Newark Museum. Gift of Herman A. E. Jaehne and Paul C. Jaehne, 1941 41.1234A,B.

The exhibition opens with a world map populated with select items that demonstrate the intercontinental reach of the Dar al-Islam or Islamic World—touching all continents except Antarctica. 

“Most Islamic art exhibitions focus on works from the Middle East, North Africa or South Asia, but this exhibition includes a much larger scope. We will showcase works from Southeast Asia, the Americas as well as East and West Africa,” said Dr. Katherine Anne Paul, Curator of the Arts of Asia and lead curator of the exhibition. Kimberli Gant, Arts of Global Africa Mellon Foundation Curatorial Fellow, an assistant curator on the exhibition, as well as curators from other departments all have worked together to expand the scope of the project geographically and materially. 

Ewer in the Shape of a Mythic Good and Makara with Floral Motifs, India, 17th -18th century. Brass, Newark Museum, Gift of Dr. David R. Nalin, 1991 91.451.

Wondrous Worlds opens with an introduction to the Five Pillars of Islam—Declaration of Faith, Daily Prayers, Charity, Fasting for Ramadan and the Haj Pilgrimage—to provide context and a distinctive view into the function, artistry and cultural histories of the objects. The exhibition then expands upon five themes: 

Internationalisms—Then and Now, highlights the long history of inter-continental trade and the role that the Hajj pilgrimage plays in promoting international interconnections. The trade of Turkish textiles to Morocco, English and Dutch textiles inspired by Indonesian prints that were exported to Africa, as well as a ceramics traded between China, Iran and Turkey are featured in this section. 

Summer Carpet (Dastarkahana), Prayer Cloth with Architectural and Floral Motifs, India, late 18th or early 19th century. Colors printed on cloth. Newark Museum. Gift of Dr. Louis C. West, 1967 67.417.

Quran, Calligraphy and Book Arts delves into the power of the written word, not only through the Quran but also through histories and poetry written in diverse scripts representing different languages including Arabic, Farsi, Nsibidi, Turkish, and Urdu. 

Hospitality: Fasting, Feasting and Fun, celebrates the domesticated arts. A mise-en-scene installation of a Moroccan feast will showcase a Rabat carpet, leather cushions, wooden screen and metal table settings. Glorious ceramics, paintings and musical instruments from other regions will also be highlighted.

Double Portrait of Mughal Emperor Shah Jahan (1592-1666) and His Empress Mumtaz Mahal (1593-1631). India, late 19th c. Colors and gold on ivory. Newark Museum Bequest of J. Ackerman Coles, 1926 26.1133.

Decorated Wall Hanging, Egypt, early 20th century. Cotton. Newark Museum. Purchase, 1929  29.1470. 

Factory Printed Textile with Crescent Moon Motif, Burkina Faso, late 20th century. Cotton, Newark Museum, Purchase, 1995 95.26.39.

Moon meet us apart, May the sun find us together, Victor Ekpuk (born 1964, Nigeria. Lives and works in Washington, D.C.), 2001. Acrylic and copper wire on board. Newark Museum Gift of Simon Ottenberg, 2012 2012.38.57A,B.

Lalla Essaydi, Harem #1, 2009. Triptych. Newark Museum

MUMBAI - It’s not very often that in an auction of Indian art, a work of contemporary art supercedes those by modern masters to become an important highlight. One such rare instance is the upcoming Saffronart Evening Sale of Modern & Contemporary Indian Art on February 24, where the most talked about work will be an untitled stainless steel sculpture by Anish Kapoor (b. 1954). Inscribed as ‘Anish Kapoor Oval Disc,’ this 2005 work measuring 55 X 43.25 X11.75 in is expected to go for $588,240-$882,355 (approx. Rs 4 crore - Rs 6 crore). This is the first time that an Anish Kapoor work of this scale is coming up for auction in India. 

The rest of the auction is peopled by familiar names and signatures of modern and contemporary art. As has been the case with the Indian art market for quite sometime, the top price is reserved for an oil on canvas by Vasudeo S. Gaitonde (1924-2001). Painted in 1971, it is estimated at $882,355 - $1,176,480 (approx. Rs 6 crore - Rs 8 crore). Another work by the late master is on offer in this auction. It is a pen and ink work on paper, dated 1987, and estimated at $26,475 - $35,295 (approx. Rs 18 lakh - Rs 24 lakh).

An untitled 1992 oil on canvas by Manjit Bawa (1941-2008), which has made to the cover of the sale catalogue is estimated at $294,120 - $441,180 (approx. Rs 2 crore - Rs 3 crore). Though the work is untitled, the central figure bears a distinct resemblance to Lord Krishna playing the flute, as he is also blue-bodied like Krishna, appearing striking in a lush red background. However, unlike the cowherd Krishna who is surrounded by cows when he plays the flute, this figure is surrounded by dogs. The sale catalogue conjecturs that Bawa’s blue-bodied figure may even be the doomed lover Ranjha from the Punjabi legend of “Heer-Ranjha”. Four other works by Bawa appear in the auction — three oils on canvas and one ink on paper. The most distinctive is an oil exploring the same theme as the Krishna canvas — relationship between man and animal. In a rich canary yellow background, Bawa captures man and a dog in a playful posture. It is estimated at $257,355 - $330,885 (approx. Rs 1.75 crore - Rs 2.25 crore). 

A total of six works by S H Raza (1922) are going on sale, of which the most expensive is a 1987 acrylic on canvas, titled “Germination.” It is estimated at $367,650-$514,710 (approx. Rs 2.5 crore - Rs 3.5 crore). It comes from an important New Delhi collection. Equally eminent and highly attractive with its bright triangles is Raza’s 2000 acrylic on canvas, “Triangles.” It is estimated at $176,475 - $220,590 (approx. Rs 1.2 crore - Rs 1.5 crore).

Highly distinctive due to its composition is “Pieta” by Krishen Khanna (b. 1925). An oil on canvas, it’s Khanna’s interpretation of an iconic moment from Christianity when Mother Mary cradles Christ who is exhausted after his descent from the cross. It’s a theme that the artist has dealt with many times in his career. The canvas is estimated at $102,945 - $132,355 (approx. Rs 70 lakh - Rs 90 lakh).  

“Pieta,” an oil on canvas by Krishen Khanna (b. 1925), is estimated at $102,945 - $132,355 (approx. Rs 70 lakh - Rs 90 lakh). Saffronart.

One of the largest works (in terms of size) on offer is an untitled oil on canvas by Akbar Padamsee (b. 1928). A 1970 work measuring 157 X 273.7 cm, it’s the only seascape that Padamsee ever painted. It was commissioned by Nana Vakil, a prominent Mumbai lawyer, who was also a patron to many Indian modernists. 

The sale is also presenting works by top names of contemporary Indian art such as Atul and Anju Dodiya, Subodh Gupta, Bharti Kher, T.V. Santhosh, and Thukral and Tagra among others. A canvas to watch out for is “Blast In Silence,” a 2002 oil by Rameshwar Broota. It’s a rare work considering that the master artist is not very prolific and his works come up in auction not so frequently. It is estimated at $404,415-$514,710 (approx. Rs 2.75 crore - Rs 3.5 crore). Another of Ravinder Reddy’s fibreglass work, the renowned gold-painted heads with elaborate coiffeure, is on offer. It is estimated at $220,590-$294,120 (approx. Rs 1.5crore - Rs 2 crore). 

“Blast In Silence,” a 2002 oil by Rameshwar Broota. Estimate: $404,415-$514,710 (approx. Rs 2.75 crore - Rs 3.5 crore). Saffronart.

“Valldemosa,” 1961, oil and polyvinyl acetate on canvas by F.N. Souza, is estimated at $147,060 - $220,590 (approx. Rs 1 crore - Rs 1.5 crore). Saffronart.

For details on all the 80 lots on offer in this sale, visit www.saffronart.com.

A large impressed grey pottery tomb brick, Eastern Han dynasty (AD 25-220). © Christie's Image 2003

Perhaps part of a door lintel, hollow and impressed with descending registers of long-tailed birds, trees, dragons and immortals (xian) and tigers running amidst mountains on the long sides, and dragons on top, the bottom with a lozenge band between bands of cloud scroll, with apertures on the narrow sides and a rectangular tenon on top - 25 3/8in. (64.5cm.) long, stand - Lot 194. Estimate $4,000 - $6,000. Price Realized $3,585 

Notes: For a hollow tomb brick impressed with a row of similar trees in the Asian Art Museum of San Francisco see He Li,Chinese Ceramics: A New Comprehensive Survey, New York, 1996, p. 72, no. 58. 

CHRISTIE'S. FINE CHINESE CERAMICS AND WORKS OF ART, 18 September 2003, New York, Rockefeller Plaza

A rare large painted red pottery figure of a mythical beast, unicorn, Han dynasty (206 BC-AD 220). © Christie's Image 2003

The powerful composite creature made in sections and shown with head lowered and body tensed for attack, the large bovine head modelled with flared nostrils, bulging eyes and a socketed horn between elephantine ears, the muscular body molded with wings and made with sockets for the canine-like legs and long upturned tail, with traces of pale lavender-blue, black, red and white pigment - 31¾in. (80.7cm.) long, stand - Lot 195. Estimate $50,000 - $70,000. Price Realized $89,625 

Notes: This rare single-horned mythical beast is extraordinary not only for its size but also for the exceptional modelling of its composite body: the head and body of a bovine, elephantine ears, wings, the legs and paws of a dog and a long sabre-like ox tail. Composite creatures of this type, later known as qilin, are emblematic of the Han dynasty interest in a spirit world populated by fantastic creatures. Such mythological creatures were seen as both powerful and protective and usually seen as auspicious.

Two related creatures, both of large size and both called unicorns are illustrated by A. Juliano and J. Lerner in the catalogue for the exhibition, Monks and Merchants; Silk Road Treasures from Northwest China, Asia Society, New York, 2001, pp. 44-5, nos. 6 and 7. Both depict a single-horned creature standing with head lowered as if to charge, and with long tail extended. The painted wood figure (no. 6) dated to the Han dynasty was excavated at Mocuizi, Wuwei, Gansu province and is 93.7cm. overall. Like the present figure the horn, tail and legs are separately made, although differently attached. The bronze figure excavated at Xiaheqing, Jiuquan, Gansu province is dated to the Wei/Jin dynasties (220-317) and is 70.2cm. long and parts of it appear to be separately made and then attached. Considering the size and weight of the body of the present figure it would make sense that the legs, as well as the horn and tail were separately made.

A related, smaller pottery figure of a unicorn (41cm. long) apparently missing its tail dated to the Northern Wei period was included in the exhibition, China Imperial; Las Dinastias de Xi'an, Museo Nacional de Antropologia, Mexico City, 2000, no. 128. It too is shown standing with head lowered. Another related figure is that of a painted grey pottery winged mythical creature with more of a dragon-like head and long ears, unearthed in 1979 at Xian City, Shaanxi province, and included in the exhibition, Treasures from the Han, The Empress Place, Singapore, 1990, p. 73 (bottom left). This creature, too, is made in sections, with the wings and tail separate. See, also, the small bronze bottom of an oil lamp of Western Han date cast in the form of a reclining bovine, included in the exhibition, Bronzen aus dem alten China, Museum Rietberg, Zurich, 1975 - 1976, p. 111, no. 61. Stylistically the eyes and muzzle are very similar to the present figure.
The result of Oxford Authentication Ltd. test no. C103h92 is consistent with the dating of this lot.  

CHRISTIE'S. FINE CHINESE CERAMICS AND WORKS OF ART, 18 September 2003, New York, Rockefeller Plaza

A well-painted dark grey pottery cocoon jar, Han dynasty (206 BC-AD 220). © Christie's Image 2003

The body painted in shades of salmon pink, pale gray-green, dark red and white with bands of decoration, the wide bands decorated with scrolls, the narrow bands with geometric patterns, with linear bands encircling the shallow pedestal foot, the base of the short neck and the faceted, everted mouth rim - 13in. (33cm.) long - Lot 196. Estimate $3,000 - $4,000. Price Realized $4,183 

Provenance: The Hardy Collection of Early Chinese Ceramics and Works of Art from the Sze Yuan Tang, Christie's, New York, 21 September 1995, lot 23. 

Notes: A jar of this type excavated in Xinxiangxian, Henan province is illustrated in Historical Relics Unearthed in New China, Beijing, 1972, pl. 87. Compare a jar with very similar decoration illustrated by Frances Klapthor, Chinese Ceramics, The Baltimore Museum of Art, 1993, p. 4; and another included in the exhibition, Spirit of Han, Ceramics for the After-Life, Southeast Asian Ceramic Society, Singapore, 1991, no. 17.

Similar examples have sold in these rooms, 2 December 1986, lot 24 and another from the Scheinman Collection, 23 March 1995, lot 21.

CHRISTIE'S. FINE CHINESE CERAMICS AND WORKS OF ART, 18 September 2003, New York, Rockefeller Plaza

A painted grey pottery mythical animal stand, Late Han dynasty-Three Kingdoms period, 3rd century. © Christie's Image 2003

Hollow-modelled as a recumbent beast curved around a central socket, the raised head with blunt snout and a single knobbed horn, with wings extending back from the shoulders, extensive white slip remaining - 9¼in. (23.5c.) long - Lot 198. Estimate $1,200 - $1,800. Price Realized $1,554 

Provenance: Blanchette H. Rockefeller Collection.

Notes: A mythical beast of this type with central socket and raised head is illustrated by E. Schloss, Ancient Chinese Ceramic Sculpture from Han to T'ang, vol. II, Stamford, Connecticut, 1977, pl. 17. 

CHRISTIE'S. FINE CHINESE CERAMICS AND WORKS OF ART, 18 September 2003, New York, Rockefeller Plaza