A painted grey figure of a mythical beast, Han-Jin dynasty, 3rd century. © Christie's Image 2003

The stocky beast shown in mid-stride, its bovine head lowered, modeled with three flame-like spikes issuing from the neck and flattened bosses along the spine, with muscular haunches supported on knife-cut legs, its long, tapered tail curved upward, extensive traces of white slip and red pigment, earth encrustation - 10½in. (26.7cm.) long - Lot 198. Estimate $1,500 - $1,800. Price Realized $1,434 

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 24. 

Notes: Similar examples are in the Metropolitan Museum of Art, illustrated by Suzanne Valenstein, A Handbook of Chinese Ceramics, New York, 1989, rev. ed. p. 57, no. 50; in Sekai toji zenshu, vol. 13, Tokyo, 1962, no. 123; and in Kandai no bijutsu, 'The Art of the Han', Osaka Municipal Museum of Fine Art, 1976, no. 1-118.

Comparable figures have been sold in these rooms, June 3, 1988, lot 127; and another from the Scheinman Collection, March 23, 1995, lot 23.

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

Diamond tiara, 1920s. Photo Sotheby's 2011

Designed as a graduated series of open work plaques of palmette, acanthus leaf and floral cluster motifs, pierced and millegrain-set with circular-, single-cut and rose diamonds, inner circumference approximately 260mm, frame circumference approximately 350mm, detachable, most probably the tiara was designed to be worn also as a collier de chien but presently no further fittings accompany this lot, French assay marks, two small stones deficient. Lot 287. Estimate 35,000 — 55,000 GBP. Lot sold 277,250 GBP

Property of a ducal house.

Literature: Cf: Geoffrey Munn, Tiaras a History of Splendour, London, 2002, page 154-155 and 192-193 where the where the lotus flower and honeysuckle tiaras are illustrated.

Notes: This tiara is highly reminiscent of the lotus flower and honeysuckle tiaras, both created by E.Wolff & Co. for Garrard.  The latter was created early 1914, with interlocking open work acanthus scrolls and highly stylised honeysuckle or palmette motifs.  These jewels are both in the collections of the British Royal family: the honeysuckle tiara is in the collection of their Royal Highnesses The Duke and Duchess of Gloucester.

Sotheby's, Fine Jewels London, 13 Jul 2011

Natural pearl and diamond brooch, 1920s. Photo Sotheby's 2011

Centring on a drop-shaped pearl within an octagonal frame millegrain-set with circular- and single-cut diamonds, French assay marks for platinum, frame 1920s. Lot 286. Estimate 15,000 — 20,000 GBP. Lot sold 56,450 GBP

Accompanied by The Gem & Pearl Laboratory report no. 04155, stating that the drop pearl was found to be natural, saltwater.

Sotheby's, Fine Jewels London, 13 Jul 2011

Opal and diamond corsage ornament, mid 19th century. Photo Sotheby's 2011

Designed as a series of ribbons and leaves, to a central cabochon opal within a floral border, set with cushion-shaped, circular-cut and rose diamonds, suspending a series of four tassels similarly set, brooch fitting;further accompanied by a jabot pin, each terminal set an oval cabochon opal within surrounds of cushion-shaped and circular-cut diamonds, part illustrated. Lot 286. Estimate 20,000 — 30,000 GBP. Lot sold 25,000 GBP

Property of a Spanish aristocratic collection.

Sotheby's, Fine Jewels London, 13 Jul 2011

Saint Laurent 2016 Fall-Winter Menswear

(Source: The Fashionisto)

A rare olive-glazed stoneware ovoid bottle, Sui-Early Tang dynasty, 6th-7th century. © Christie's Image 2003

Based on metal prototypes, the ovoid body surmounted by a slender waisted neck rising to a sharply cut everted mouth, covered with a thin olive glaze falling in irregular streaks and ending in a clean line above the knife-cut foot with slightly concave base to expose the pale grey ware - 10 1/8in. (25.7cm.) high - Lot 209. Estimate $8,000 - $10,000. Price Realized $8,365 

Property from the collection of Mr. and Mrs. James E. Breece III

Notes: Three Tang dynasty bottles of this form, one a sancai-glazed example, one a bronze example and one in clear-glazed stoneware illustrated in Royal Ontario Museum: The T.T. Tsui Galleries of Chinese Art, 1996, pl. 67, illustrate the inter-relationship between the metal and ceramic versions of this shape. The authors note that the shape is based on the Buddhist holy water flask, amrta kalasha, which is an attribute of the bodhisattva Avalokitesvara.

The result of Oxford Authentication Ltd. thermoluminescence test no. P102f44 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 rare large red pottery drum, Tang dynasty (618-907). © Christie's Image 2003

Hollow modelled with thick walls in an hourglass shape encircled by seven single ribs, with traces of white, red and green pigment - 23¾in. (60.5cm.) long, metal stand - Lot 212. Estimate $10,000 - $15,000. Price Realized $9,560 

Notes: Ceramic drums of Tang dynasty date are very rare, and most of the published examples are glazed. A stoneware drum of similar shape and size covered with a phosphatic-splashed glaze, Huangdao ware, is illustrated in Sekai toji zenshu, Tokyo, 1976, vol. 11, p. 118, pl. 97. Another smaller sancai-glazed pottery drum (38cm.) is illustrated in Treasures of the Shosoin, Tokyo, 1965, pl. 10.

A drum of large size is shown being played by a female musician in a stone carving from the outer coffin of Li Shou (died 630), illustrated in Zhongguo diaosu yishushi, Beijing, 1988, vol. 2, no. 537. Another stone carving from the Five Dynasties (10th century) tomb of Wang Jian, Sichuan, shows another female musician with a large drum supported on her lap. Taut cords are stretched lengthwise to secure coverings at either end, and the shape of the drum seen through the cords is the same as that of the present drum, showing how these drums were actually played. 

The result of Oxford thermoluminescence test no. 766x33 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 pair of unusual painted grey pottery figures of female attendants, Tang dynasty (618-907). © Christie's Image 2003

Well modelled standing with hands hidden beneath a cloth, wearing belted mens'-style robes that blouson over the sides of the belt applied in back with gilded bosses, the long slit skirt showing the black boots worn by one and the trousers and shoes with upturned toes worn by the other, the full faces with small features beneath a helmet-like coiffure pulled up into topknots above the forehead, traces of white slip, and orange, pale green, red and black pigment - 16¼ and 16½in. (41.3 and 41.9cm.) high (2) - Lot 213. Estimate $70,000 - $90,000. Price Realized $59,750 

Notes: These rare and charming figures relate closely to a Tang dynasty painting on silk depicting female attendants, which was excavated from the Astana site, Turfan, Xinjiang province in 1972, illustrated in The Silk Road - Treasures of Tang China, Empress Place, Singapore, 1991, p. 65. The right-hand figure in the painting has the same twin topknots falling forward onto her forehead as have the current pottery figures. The figures also share a similar style of dress. The attendants in the painting also wear long, loose tunics, belted on the hips and split at the sides. Like the pottery figures they also appear to wear a knee-length robe beneath the tunic with striped underskirt or loose trousers. Interestingly, one of the figures in the painting wears shoes with upturned toes and the other flat-fronted footwear, mirroring the current ceramic figures.

The Astana painting may also offer a clue to what the pottery figures are carrying. One of the figures in the painting appears to be holding a gold cup on a gold cup stand. Comparing her stance with that of the ceramic attendants, it seems very possible that they are carrying something similar beneath cloth covers. These covers might well have been intended either to preserve the heat of whatever was in the cup, or to prevent dust from despoiling either the precious vessel or its contents.

The result of Oxford Authentication Ltd. thermoluminescence test nos. C103b14 and C103b15 are consistent with the dating of this lot. 

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

Maur bust, probably Germany, before 1733. Baroque pearls, gold, silver, partly gilded, partially painted, diamonds, rubies, emeralds, walnut. H 12.8 cm. Inventory number VI 121. Green Vault© Staatliche Kunstsammlungen Dresden 2016

By a note which can be found in the sealed on October 31, 1733 inventory of valuables room, was the "Mohr, whose eyes Zwey small diamonds in which ears are Zwey small beads, the collar is of a Perl with small Diamantgen, Rubingen Schmaragdgen ... ... given "on April 12 of the same year of" Ihro Royal. Highness the Chur-Prince in the green vault ... ". In this artwork, the later Augustus III. over had in the treasury museum of his father, is the 12.8 cm high bust of a Moor, whose body and turban are made of large, irregularly shaped shell beads. The head, the arms, the rich moving sleeves, the abdominal binder and the small base are made of silver, which was partially gilded. A restoration that took place in mid-1995, put dates a rich color version with blue and red areas, which emphasizes the darkness of belonging to the skin surface of the Moor. Stocking of diamonds, rubies and emeralds reinforced this impression. Of the former attributes to which, the arm and hand postures, only the loosely received with the bust linked gilt quiver. Compared to other fine specimens of the Green Vault This breast image that is mounted on a simple, nußbaumfurnierten base, almost inconspicuous appear.

Barker or doctor, Germany, 1700-1733. Baroque pearls, gold, diamonds, enamel, Gamienstein, Obsidian, chalcedony, carnelian, jade, agate, shell, Plasma, amber, jasper. H 12,2 cm. Inventory number VI 120. Green Vault© Staatliche Kunstsammlungen Dresden 2016

The theme of the composite of eight different materials Gemstone figure designate the addendum to Pretiosen inventory, where the statuette is listed first: "A small Cabinet Stückgen 5 inches tall, imagining a doctor ...". In later inventories the same statuette appears well because of their expressive speech rich gesture as Barker. Both terms are complementary, leading one bears in mind, by any means in the early 18th century itinerant dentists and quacks offered their art to the public markets. The most famous healer of this type was Johannes Andreas Eisenbarth (1663 - 1727), whose occurrence markschreierisches the popular type of Quachsalbers decided coined. The right hand raised, open the left, fixed with legs slightly apart on the ground, the Medicus confronts his audience. The short black coat, the golden Umlegetuch and flashy hat belonged to the civil clothes wandering physician. Behind the quack sat on a small table an educated beaded monkey. Subsequent changes in the group of figures now make it almost impossible to use the monkey back to the right place. The presence of a monkey with a wandering physicians explained partly from their exoticism that should arouse interest among the public. On the other hand were monkeys symbolizing vice and vanity and also as a symbol of the imitation of nature by man.

Elias Lencker (-1591) (Goldsmith), Calvary, Nuremberg, dated 1577. Ebony, tropical timber, Blisterperlen, irregularly shaped pearls, silver, wrought, cast, engraved, stippled, etched, gilded, putty, oil gilding, turquoise, emeralds, garnets, peridot, silk; 67.0 x 31.0 x 19.3 cm. Inventory number III 187. Green Vault© Staatliche Kunstsammlungen Dresden 2016

The Calvary consists Perlmutterschalen and irregularly grown pearls, which were placed at the end of the 16th century by Spanish and Portuguese traders from the Gulf of Mexico, the Persian Gulf and the Indian Ocean to Europe. Since the mid-16th century they were used for jewelery, but never in such abundance for a single work of art. The beads splendor was joined by a version made of solid gold, the turquoises, emeralds and garnets are placed. After of the lazy nature casts can be found on the mountain as well as grasshoppers, lizards and frogs as lesser beings of impermanence, but also a little stork. In between are formed from silver wire trees and shrubs. The Calvary rock resting on a carved ebony base on which the Nuremberg goldsmith Elias Lencker six reliefs installed with scenes from the Passion of Christ: At the four corners, eight personifications of virtues. The year 1577, which was given on the cross strain, was for the Elector Augustus of great importance. Back then, the Concord was defined under its supervision in Dresden, with the Lutheran doctrine adopted orthodox forms and parted from Calvinism. 1580 sat Elector August on the occasion of the 50th anniversary of the Augsburg Confession this creed at the Lutheran Estates by. The Calvary rock from beads with the lonely triumphant Christ may have been as a symbol of triumph of their faith for the Saxon Elector pair something. 1733 "Calvary of shells" at the behest of Augustus the Strong on was "table, the table top of oriental marble, the frame of walnut veneer, with goat's feet and brass fittings" erected in front of the long south wall of valuables hall - and there he is also today again.

Johann Bernhard Schwarzeburger (1672-1741) possibly Lapidary, Statuette of Domitian, Frankfurt am Main, before 1729. Enamelled different Steinvarietäten (agates, chalcedony, heliotrope, chert) mainly from the area of Idar-Oberstein, gold, precious stones, some black. H 26.3 cm (with pedestal). Inventory number V 149. Green Vault© Staatliche Kunstsammlungen Dresden 2016

The colorful clothes, the vast harem pants, the tight-fitting doublet and the high, wide-brimmed hat were typical of the for their sailing skills valued in Europe boatmen Holland. This statuette is the only precious stone figure, which follows four gemstone statues of Roman emperors of Black Burger both the virtuosity of stone cut, the taste safety of the composition of individual parts as well as in face education and the careful By forming the garment details. These precious works that have been acquired from the 1729-1731 operating in Frankfurt Lapidary for valuables collection of Augustus the Strong, is the mentioned in the invoice Julius Caesar. As with the Emperor statuettes gemstones were used by the Dutch skipper probably mostly derived from the space Idar-Oberstein. The present appearance of the gemstone figure is affected by the fact that the right hand of the Dutchman, in which it "a red Bouteillgen" held, was lost. Between the inventory from Schreiber assessed as "orienthalisch" Gems a large baroque pearl was inserted, which purports to be the silvery-white shirt of the Dutch skipper. Thus, even this costly gem statuette that came as one of the last acquired the strong under August artworks in the Green Vault in October 1731 to a Pretiosen work with a "body of Perl".

Johann Bernhard Schwarzeburger (1672-1741) possibly Lapidary, Dutch skipper, Frankfurt am Main, before 1731. Baroque pearls, silver, gold, diamond, emerald, agate, red jasper, onyx, chalcedony, plasma, Gamienstein. H 18.9 cm. Inventory number VI 240. Green Vault© Staatliche Kunstsammlungen Dresden 2016

This statuette is the only precious stone figure, which follows four gemstone statues of Roman emperors of Black Burger both the virtuosity of stone cut, the taste safety of the composition of individual parts as well as in face education and the careful By forming the garment details. These precious works that have been acquired from the 1729-1731 operating in Frankfurt Lapidary for valuables collection of Augustus the Strong, is the mentioned in the invoice Julius Caesar. As with the Emperor statuettes gemstones were used by the Dutch skipper probably mostly derived from the space Idar-Oberstein. The present appearance of the gemstone figure is affected by the fact that the right hand of the Dutchman, in which it "a red Bouteillgen" held, was lost. Between the inventory from Schreiber assessed as "orienthalisch" Gems a large baroque pearl was inserted, which purports to be the silvery-white shirt of the Dutch skipper. Thus, even this costly gem statuette that came as one of the last acquired the strong under August artworks in the Green Vault in October 1731 to a Pretiosen work with a "body of Perl".

A sancai-glazed pottery figure of a horse, Tang dynasty (618-907). © Christie's Image 2003 

Standing with head turned tautly to the left and long straw-glazed mane swept over to one side of the muscular neck, the trappings molded with florets and hung with 'apricot' leaf medallions, and the unglazed saddle cloth set atop a contrasting splash-glazed blanket - 20 5/8in. (52.4cm.) high - Lot 215. Estimate $25,000 - $30,000. Price Realized $28,680 

Notes: Compare the similar horse illustrated by Mae Anna Pang, An Album of Chinese Art from the National Gallery of Victoria, 1983, pp. 80-1, no. 25. 

The result of Oxford Authentication Ltd. thermoluminescence test no. C102k67 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 rare sancai-glazed pottery figure of a lion, Tang dynasty (618-907). © Christie's Image 2003 

The finely modelled figure shown seated atop a pierced rockwork base as it raises the left rear paw to scratch its face, the amber and green glazes neatly delineating the curly mane and artfully combined in two-color splashes that drain on the clear straw glaze of the body - 8¼in. (21cm.) high, box - Lot 217. Estimate $120,000 - $150,000. Price Realized $147,500 

Notes: This figure of a seated lion is modelled in an extremely rare stance. The majority of Tang ceramic lions are modelled seated squarely on their hind legs with both forelegs straight and head facing forward, as in the example excavated in 1958 from a tomb in Hebei province illustrated in Zhongguo wenwu jinghua daquan - taoci juan, Taipei, 1993, p. 159, no. 545, or are seated with one hind leg raised and the head turned to bite it, as in the example excavated in 1955 from a tomb at Xi'an, ibid., no. 546. The current lion adopts a variant of the latter pose. Its head is turned and a hind leg is raised, but in this case the animal appears to be scratching the side of its head in a naturalistic and rather charming manner.

Another lion in similar pose, although the hind paw has not quite reached the head, in the Seikado Museum, Tokyo is illustrated by Masahiko Sato and Gakuji Hasebe (eds.) in Sekai toji zenshu, vol. 11, Tokyo, 1976, p. 87, no. 67. In both cases the eyes of the creature are half closed, as if in anticipation of relief from an irritating itch. Interestingly, another lion - this one biting its leg - in the Seikado Museum, ibid. p. 86, no. 66, is seated on a rocky stand modelled in an almost identical fashion to the current example, with narrow oblique grooves around the sides, and grooved indentations at the upper edge. Both the Seikado Museum lions share with the current creature a rope-like tail curled around the flank under the raised leg. A further somewhat less elaborate figure of a lion scratching its head, was excavated in 1955 in Xi'an, and is now in the National Museum of History in Beijing illustrated in Zhongguo meishu quanji - Gongyi meishu bian 2 taoci (zhong), Shanghai, 1988, p. 28 and 68, no. 77.

This stance for the lion with hind leg raised to scratch its face remained popular in later periods. A Liao white-glazed stoneware lion in similar posture seated on the cover of a censer from the Eumorfopoulos Collection and now in the Victoria and Albert Museum is illustrated by J. Ayers in Far Eastern Ceramics in the Victoria and Albert Museum, London, 1980, fig. 74.

The result of Oxford Authentication Ltd. thermoluminescence test no. C103j51 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 sancai-glazed buff pottery tray and eight cups, Tang dynasty (618-907). © Christie's Image 2003

The tray raised on a shallow foot with flat base, the rim splashed with green, amber and white glazes that fall in streaks down the shallow sides, the small cups similarly glazed on the rim and interior - 10in. (25.2cm.) diam. (9). Lot 224. Estimate $6,000 - $8,000. Price Realized $4,780 

Notes: Patches of pale green-tinted straw glaze around the periphery of the unglazed area of the tray and traces of the same glaze on the bases of the cups indicate that the cups were on the tray during firing, or placed there shortly thereafter.

A similar tray and seven cups in The Asian Art Museum of San Francisco are illustrated by He Li, Chinese Ceramics: A New Comprehensive Survey, New York, 1996, no. 158, and another set in Luoyang Tang sancai (Three-color Glazes of the Tang Dynasty in Luoyang), Beijing, 1980, p. 96. 

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

Johann Heinrich Köhler (-1736), Small jewelry altar with St. Joseph. Coral work: probably Trapani (Sicily); Goldsmith version: Dresden, 1729 - 1732. Coral, silver, gilt, enamel, gems, 30.1 x 18.1 x 10.5 cm. Inventory number: VI 28. Green Vault © Staatliche Kunstsammlungen Dresden 2016

Georg Christoph Dinglinger (1668-1746), Cabinet "Noli Me Tangere". Coral figures: probably Trapani (Sicily), in 1700. Coral, silver, gold, precious stones, mirror glass. H 19.5 cm, W 15.1 cm, D 8,1 cm, platform: B 15.3 cm, D 7.8 cm. Inventory number: VI 55. Green Vault © Staatliche Kunstsammlungen Dresden 2016

Works with religious themes play in the Dresdner treasury quantitatively a rather subordinate role.Among the finest examples, the fine copy belongs to the "Noli Me Tangere" which was "Hoff Joubelier delivered Ding Lingern" 1725-1733. It is dedicated to an episode from the Gospel of John (20, 14-17): the resurrected Jesus appears to Mary Magdalene that keeps him at first for a gardener until he gives her to recognize. His request not to touch him ( "Noli Me Tangere"), since he had not yet ascended to heaven, gave the famous scene its name. The carved blood coral figural group was most likely in the Sicilian town of Trapani, whose coral works were in demand throughout Europe. As adequate framework of precious preciousnesses is a stage-like architecture of gilded, decorated with precious stones silver. It is the Hofgoldarbeiter Georg Christoph Dinglinger, the youngest brother Johann Melchior attributed. The scene extensive ruin arch absorbs the grave vault respect, had disappeared from the Jesus, the mirror used there visually expands the space into the depths. The highly stylized engravings on the base plate indicate rebates and a fountain and define the laterally delimited by a balustrade the scene as a garden. In the stage-like plant, the piece is related to under Italian cribs that also show coral pieces in silver settings.

Abraham Jamnitzer (1555-1600) and Wenzel Jamnitzer (1508-1585), Daphne with coral tines, Nuremberg, 1580 - 1586. Silver, gilt largely, Coral. H. 64.6 cm. Inventory number: VI 260. Green Vault © Staatliche Kunstsammlungen Dresden 2016

Already in the Treasury inventory of 1586/87 this is listed as "1 Silver breast bilt of a virgin, with a large gewechß of coral Zincken ...". Certainly the bizarre object was never intended for practical use, although remove the upper body of the nymph in belt height and the hollow lower part could in principle use as a vessel. The statuette is rather regarded as an artistically and intellectually demanding goldsmiths plastic. It tells the written down by the ancient poet Ovid story of the nymph Daphne, who - to escape the approximations of the god Apollo - transformed into a laurel tree. To illustrate the miraculous metamorphosis coral teeth whose shape corresponds to the branches of a tree is used. The man-made artwork combines so ideally with rare Naturalie. As the goldsmiths brands betrayed, is a work Abraham Jamnitzer, son of the great Nuremberg goldsmith Wenzel Jamnitzer who was 1580 champion. Every detail he repeated with the Daphne a statuette that had created his father 1569-1576 and is now located in Ecouen, Musée National de la Renaissance. This was made possible with the help of molds which have remained in his father's workshop.