A rare green and yellow-glazed pottery ribbed tripod vessel, lian, Tang dynasty (618-907). © Christie's Image 2003

The interior covered in a thin yellowish ochre glaze and the ribbed exterior and feet with a green glaze - 6 3/8in. (16.2cm.) diam. Lot 227. Estimate $2,000 - $3,000. Price Realized $1,912 

Provenance: Professor Jan Hellner Collection. 

Literature: O. Siren, Histoire des Arts Anciens de la Chine: L'Époque Han et les Six Dynasties, Paris and Brussels, 1929, vol. II, pl. 106B. 

Notes: This rare lian is similar to one of slightly smaller size, also covered with a green glaze on the exterior and a yellow glaze on the interior, illustrated by d'Argencé, The Hans Popper Collection of Oriental Art, Japan, 1973, pp. 92-3, no. 57, and a slightly larger one is in the Illustrated Catalogues of Tokyo National Museum, Chinese Ceramics I, Tokyo, 1988, p. 61, no. 236. 

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

A small green-glazed stoneware flask, Liao dynasty (907-1125). © Christie's Image 2003

Modelled after leather prototypes, the swelling body flattened at the top below a finger-pinched loop handle attached to a cylindrical spout with molded rim and raised band at its base, covered with a thin bright green glaze over a white slip falling irregularly to expose the buff ware - 10 5/8in. (27cm.) high - Lot 231. Estimate $3,000 - $5,000. Price Realized $2,390 

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

An amber and green-glazed molded pillow, Liao dynasty (907-1125) © Christie's Image 2003

Molded in high relief around the sides with a frieze of foliate scroll, with boys playing amidst the leafy stems on the back which is glazed in green and amber while the rest is glazed in amber only - 9 13/16in. (24.9cm.) long. Lot 234. Estimate $5,000 - $6,000. Price Realized $4,183 

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

Notes: This appears to be an unusual design in Liao dynasty pillows. However, the theme suggesting male progeny is a recurring subject matter in Chinese art. For other molded amber and green-glazed pillows of this period, but with different decoration, see the exhibition catalogue, Chinese Ceramics Pillows from Yeung Wing Tak Collection, The Museum of Oriental Ceramics, Osaka, 1984, pp. 211-12, nos. 107-110. 

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

Necklace of 177 Saxon pearls before 1734 from the Vogtland waters. largest pearl: Dm 12.9 mm; smallest bead: Dm 6.5mm. Inventory number: VIII 33. Green Vault © Staatliche Kunstsammlungen Dresden 2016

The first customer midland beads occurrence dates back to the mid-15th century. 1566 is the first known state intervention in the beads Search by Elector August. Center of the original occurrence was the headwater of the White Elster and its catchment area. The pearl fishery was Kronregal; the total income had to be delivered to the Saxon dynasty. Die177 native beads that had been taken from the waters off Vogtland 1734 gradually said to have been the first time in 1805 strung to a pearl necklace.Only 1927-1937 it was decided to combine the individual beads into one great chain.

A late Victorian natural pearl and diamond tiara. £145,000.00. © Bentley Skinner

An Edwardian diamond tiara, with foliate swags and floral motifs graduating from the centre, set in white throughout with old brilliant-cut and rose-cut diamonds estimated to weigh a total of 8 carats, all to a yellow gold mount with detachable frame, convertible into a necklace, circa 1910. Gross weight 69.68 grams - No. 22487M - info@bentley-skinner.co.uk

A Georgian diamond floral tiara as worn in Downton Abbey. £145,000.00 © Bentley Skinner

An Important Georgian diamond tiara, the tiara in the form of a garland spray of leaves and floral clusters, pave-set throughout with old-cut diamonds, weighing an estimated total of 45 carats, cutdown collet-set in silver to a yellow gold mount, convertible to two brooches, gross weight 75.5 grams on frame, circa 1800. No. 21162M  - info@bentley-skinner.co.uk

A russet-splashed black-glazed conical bowl, Northern Song-Jin dynasty, 11th-first half 12th century © Christie's Image 2003

The slightly rounded sides rising to the gently everted rim, the interior covered with a black glaze splashed with russet markings and thinning to russet on the rim, the exterior covered with a matte russet skin falling short of the shallow ring foot - 4¾in. (12cm.) diam. Lot 251. Estimate $7,000 - $9,000. Price Realized $9,560 

Provenance: Stephen Junkunc, III.
Important Chinese Ceramics and Works of Art from an American Private Collection, Christie's, New York, 21 September 1995, lot 180. 

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

Notes: The glaze on this bowl is a very successful example of the Song dynasty dark brown iron-rich glaze with russet splashes containing an even higher percentage of iron. Such glazes developed from earlier Tang glazes, but the Song potters utilized more refined raw materials and higher firing temperatures to achieve greater contrast and control. See N. Wood, Chinese Glazes - Their Origins, Chemistry and Recreations, London/Philadelphia, 1999, p. 142.

Compare the similar russet-splashed black-glazed bowl from the Edward T. Chow Collection, sold at Sotheby Parke Bernet, 16 December 1980, lot 256. See, also, the bowl and cover covered with a similar black glaze accented with russet splashes from the Falk Collection, sold in these rooms, 20 September 2001, lot 83. 

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

A russet-painted black-glazed jar, Jin dynasty (1115-1234). © Christie's Image 2003

The high shoulder deftly painted in iron-oxide with three birds in flight against the blackish-toned dark brown glaze that ends in a neat line on the foot and continues over the mouth rim to cover most of the interior except for a broad ring in the bottom, the interior of the foot and base also glazed - 10¾in. (27.3cm.) diam., box. Lot 252. Estimate $4,000 - $6,000. Price Realized $4,183 

Notes: Compare a jar of similar design and form illustrated by J. Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, London, 1980, col. pl. 26. Another jar of this design, from the collection of Walter Hochstadter, was included in a 1952 exhibition at the Los Angeles County Museum of Art and illustrated by H. Trubner in the catalogue, Chinese Ceramics from the Prehistoric Period through Ch'ien Lung, Los Angeles, p. 86, no. 205. See, also, a jar of this type, decorated with three stylized birds rendered in iron-rust, but reserved against a 'teadust' glaze, from the collection of R. M. Ferris IV, and now in the collection of the Harvard University Art Museums, illustrated by R. Mowry, Hare's Fur, Tortoiseshell and Partridge Feathers, Cambridge, 1996, p. 164, no. 54. 

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

A pair of semi-translucent intense green jadeite and diamond earrings. Photo Bonhams

The earrings each formed with an articulated line of two bars connected by an oval link, set throughout with round brilliant-cut diamonds, terminating in a semi-translucent intense green tapered jadeite plaque, measuring approximately 47.8 x 14.7 x 3.78mm, mounted in 18k white gold, the diamonds estimated to weigh approximately 1.66 carats in total, earring length 7.7cm. Lot 733. Sold for HK$ 350,000 (€40,253)

Accompanied by a certificate from the Hong Kong Jade & Stone Laboratory, stating that the selected jadeite plaque is natural and no resin was detected. Report number SJ 41345, dated 9 Feb 2012

BONHAMS. FINE JEWELLERY & JADEITE, 26 May 2012 14:00 HKT, HONG KONG, ADMIRALTY 

A bright apple green jadeite and diamond Laughing Buddha pendant. Photo Bonhams

The bright apple green jadeite pendant, measuring approximately 41.6 x 44.7 x 5.6mm, carved as the Laughing Buddha, to a single round brilliant-cut diamond surmount and diamond-set bail, mounted in 18k white gold, the diamonds estimated to weigh approximately 0.52 carats in total, pendant length 6.0cm. Lot 684. Sold for HK$ 300,000 (€34,502)

Accompanied by a certificate from the Hong Kong Jade & Stone Laboratory, stating that the jadeite is natural and no resin was detected. Report number SJ 41336, dated 9 Feb 2012 

BONHAMS. FINE JEWELLERY & JADEITE, 26 May 2012 14:00 HKT, HONG KONG, ADMIRALTY

An unmounted melo pearl. Photo Bonhams

The near-round undrilled melo pearl of orange hue, weighing 173.20 carat, measuring 29.3 x 27.9mm. Lot 671. Estimate HK$ 1.95 million - 2.72 million (€220,000 - 310,000). Unsold.

Accompanied by a report from GIA, stating that the saltwater melo pearl is natural and has no indications of treatment. Report number 6112849002, dated 28 Jan 2011 

BONHAMS. FINE JEWELLERY & JADEITE, 26 May 2012 14:00 HKT, HONG KONG, ADMIRALTY

A Jizhou tortoiseshell-glazed tea bowl, Southern Song dynasty (1127-1279). © Christie's Image 2003

The flared sides rounding upwards just below the finger-grooved rim, covered inside and out with a dark brown glaze splashed in buff with bluish-white suffusions falling to just above the foot - 5in. (12.7cm.) diam. Lot 253. Estimate $5,000 - $6,000. Price Realized $6,573 

Provenance: Sotheby's, Hong Kong, 5 November 1996, lot 735. 

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

Notes: The remarkable glaze seen on this bowl was an innovation of the pioneering potters at the Jizhou kilns in Jiangxi province. Known as 'tortoiseshell' glaze, its name was derived supposedly from its similarity to the shell of a warm-water sea turtle known as the hawksbill. Compare two similar 'tortoiseshell'-glazed conical bowls, the first from the Charles B. Hoyt Collection, and now in the Museum of Fine Arts, Boston, illustrated in Oriental Ceramics, The World's Great Collections, vol. 10, Tokyo, 1980, no. 172; the second illustrated in Song Ceramics from the Kwan Collection, Hong Kong, 1994, no. 170.

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

Alexandre Reza. Dune. Sand and polish pink gold cuff featuring two pear-shaped diamonds and 152 brilliant cut diamonds weighing 31.51 cts. © Alexandre Reza

Alexandre Reza. Facette. Yellow gold ring ebony faceted featuring an oval cabochon Colombian emerald of 17.83 cts. © Alexandre Reza

Alexandre Reza (stand 142) - TEFAF Maastrich 2016

Directors: OLIVIER REZA, Marie- Joelle LEVESQUE

REZA’s devotion to beauty and passion for perfection is one that borders on obsession.The brand’s founder, Alexandre Reza, is thought to be among the greatest gemstone collectors and merchants of all time. While he had long enjoyed legendary status throughout the jewelry industry, it was not until he was already past the age of sixty that Reza decided to launch his own unique brand of jewelry, incorporating his vast and highly important collection of diamonds and colored stones that had been, for so many years, a prime resource for the world’s master jewelers, not only on the Place Vendome in Paris but also far beyond. It was Reza’s deep affinity for gems and extraordinary eye for beauty that drove him to amass a collection of stones unlike any other in existence. Coupled with spectacular design and exemplary craftsmanship, Reza’s rare and exceptional inventory is the cornerstone of the brand’s unparalleled offering.Currently led by Alexandre’s son, Olivier Reza, the brand continues to pursue its founder’s passion for perfection and dedication to awing its clients. With a global heritage, yet settled in France, the Maison continues to appeal to the same level of international collectors that Alexandre first attracted.With its by appointent only exclusive salon at 21, Place Vendome in Paris, and a shop next door at the Ritz hotel at 15 place Vendôme, REZA serves the brand’s clientele: those who seek exceptionality, exploration, and a caliber of stone and design that cannot be found elsewhere. REZA’s offering is comprised of two distinct pillars: a permanent offering representative of the brand’s heritage, featuring many of REZA’s most significant pieces and parures; and a new collection under the creative vision of Olivier Reza – an artistic evolution that embraces the present with an eye toward the future. 

Contact: Alexandre REZA (Reza Gem SAS)
21, Place Vendôme
75001 Paris
France
T  +33 (1) 42 61 51 21
www.alexandrereza.com
contact@alexandrereza.com 

A woodcock tureen and cover painted in trompe l’oeil. Manufactory Hannong, under directorship of Paul Hannong, modeled by Johann William Lanz, Strasbourg, circa 1750-1754. Tin-enameled earthenware, polychrome 'petit feu' décor. Height 21, 9 cm. © Caviglia

Provenance: Mr. and Mrs. Saemy Rozenberg collection, New York; Jaime Ortiz-Patiño Collection, London; Private collection, France 

A duck tureen with it tray painted in trompe l’oeil, Sceaux, period of Jacques Chapelle, circa 1755. Tin-enameled earthenware, polychrome 'petit feu' décor, 36 x 31 cm. Lenght of tray 40 cm. © Caviglia

Caviglia (stand 136) - TEFAF Maastrich 2016

Founded in 1980 by Enrico Caviglia, the gallery is specialised in important 15th through 18th century European ceramics: Italian majolica and Italian, Swiss, German porcelaines 

Director: Enrico Caviglia

Contact: Via Rodari 2
6817 Maroggia
Switzerland
T  +41 91 649 97 10
M   +41 79 620 78 33
caviglia@bluewin.ch 

Turban ornament, Turra, Delhi, 18th century. Gold, diamonds old mine cut in the middle, other old style brilliant cuts, rose cuts and flat. Length 9.5 cm (bird with tail). Diameter diamond-set rosette 4 cm. Weight 55 gr. © Van Gelder Traditional Indian Folk Jewellery

Literature: The Nasser D. Khalili Collection of Islamic Art, pp. 126-127

Exhibitions: Antwerp, Provinciaal Diamant Museum Antwerpen, A Kaleidoscope of Colours, Indian Mughal Jewels from the 18th and 19th centuries, 1997, exh. no. 06, exh. cat. p. 54

A Choti or Chunti, Rajasthan, early 19th century. Gold, consisting of one large and three smaller dome-shaped ornaments, kundan set with flat-cut diamonds and cabochon rubies, decorated with strings of natural pearls. Chat is an hair ornament which is suspended from the end of a woman’s braid. © Van Gelder Traditional Indian Folk Jewellery

Exhibitions: Antwerpen, Provinciaal Diamant museum Antwerpen, 8-5-1997 ~ 17-8-1997, Exhibit no 01 Exhibition Cataloque p. 52; A Kaleidoscope of Colours, Indian Mughal Jewels from the 18th and 19th centuries

Van Gelder Traditional Indian Folk Jewellery (stand 241) at TEFAF Maastrich 2016

Directors: Bernadette van Gelder-van der Ven, Noelle Viguurs-van Gelder 

The prime specialisation of Van Gelder is traditional Indian jewellery. The collection consists of jewellery set with a large variety of fine gems, pearls and decorated with different enamel techniques. Together with the participation in different high quality national and international fine art and antiques fairs, there is the possibility to view the collection by appointment. 

Contact: Nachtegaalslaantje 1
5211 LE ´s-Hertogenbosch 
Netherlands
T  +31 73 6572813
M   +31653883560
www.vangelderjewellery.com
info@vangelderjewellery.com 

Lambertus van Eenhoorn, Delft spoon rack, circa 1710. Tin-glazed earthenware, 40 x 24 x 16 cm. Marked 'LVE' for Lambertus van Eenhoorn, The Metaale Pot Factory, (active between 1691-1721) © Salomon Stodel Antiquités

It may be regarded as a technical marvel that the rear plate and spoon rack are not broken during firing or afterwards.
A thick fire crack shows the struggle to get a perfect product. Spoon racks in wood, pewter, and even in miniature silver are known, but this is the only known copy in Duch Delft pottery so far. .This unique object in Delftware is made as a spoon rack.The back has the shape of a seventeenth century Duch canal house with landscapes and mythological figures painted between pilastersThe crowing with a woman's head is typical for the rich ornamentation where especially the Metaale Pot was known for.Even for one of the most important factories of Delftware, The Metaale Pot, this must have been a special purpose given the size and the shape. 

Provenance: Mathieu Hart, Amsterdam; Private collection, New York

Literature: Exhibition catalogue "Uit de Kunst" number 50, page 77-78. Apeldoorn 2011.

Exhibitions: Apeldoorn, Museum Paleis Het Loo, 100 Year VHOK anniversary exhibition, 2011

Attributed to Adriaen Kocks, Delft vase and cover, The Netherlands, 1686-1701. Delftware, tin glazed earthenware. The tapered cylindrical sides painted with a frieze of a cherub seated amongs flowering shrubs and birds, above a gadroon moulded border painted with panels of birds in branches alternating with acanthus, the rim surmounted with eight moulded scallop shells, the high domed cover further painted with a cherub amongst flowers and birds benaeth a spire finial. Height 41 cm. Traces of signature 'AK' for Adriaen Kocks, The Greek A Factory. © Salomon Stodel Antiquités

Provenance: Private collection, The Netherlands.

Literature: Compare: Courts and Colonies. The William & Mary Style in Holland, England and America The Smithsonian Institution and Cooper - Hewitt Museum, 1988

Salomon Stodel Antiquités (stand 121) at TEFAF Maastrich 2016

Directors: J. Estié, S. Lilian-Stode

Contact: Rokin 70
1012 KW Amsterdam
Netherlands
T  +31 20 623 16 92
M   +31 6 53 93 15 19
F  +31 20 620 27 84
Mon.-Fri. 10 am-5.30 pm and by appointment
www.salomonstodel.com
stodel@wxs.nl 

spiegelgracht 11
1017 JP AMSTERDAM
Netherlands
T  00 31 20 6231692
M   00 31 653931519
F  00 31 20 6202784
10.30 - 17.30
www.salomonstodel.nl
stodel@wxs.nl 

Albert Jansz. Vinckenbrinck, Skull with case, c. 1650. Boxwood, leather, commper; h 4cm. BK-KOG-2486. On loan from the Koninklijk Oudheidkundig Genootschap, 1951. Rijksmuseum, Amsterdam. 

Vinckenbrinck specialized in small-scale carvings in boxwood; he had a great feeling for the rendering of texture and detail. The owner of this little skull – a vanitas symbol for the transience of life – valued the piece so greatly as a work of art that a small case was made to house it.

"Memento Mori", ivory skeleton in an ebonized wood coffin. South German, possibly Augsburg, 17th century.

"Memento mori", 1520, ivory, ebony. Ludwig Collection, Museum Schnütgen. Photo petrus.agricola

Otto Jakob, Akar II. Ring of partially oxidized white gold with micro pavé set 79 honey brown and 75 black diamonds. © Otto Jakob

Otto Jakob, Korol. Earrings with diamond-set flaming stars inlaid in coral. © Otto Jakob

The coral cabochons are set in hexagonal yellow gold frames, whose facets are enameled black and embellished with diamond-set ornaments of white gold. Yellow and white gold, coral, 2 baguette-cut diamonds 1.10ct, 508 micro pavé set diamonds 1.33ct, vitreous enamel.

Otto Jakob, Hand with Grass Carp. Pendant in the shape of a grass carp that tries to twist itself free from the holding hand. © Otto Jakob

The white enameled hand is tattooed with splashes of golden droplets; it wears a bracelet set with diamonds, and a pair of diamond and tourmaline-set rings. The carp’s engraved scales are covered with translucent purple, golden-brown and turquoise enamels. The eyes are composed of rock crystal lenses with pupils set on the reverse and underlaid with radially engraved iris discs of partially oxidized white gold.

Otto Jakob (stand 147) at TEFAF Maastrich 2016

Director: Otto Jakob

Otto Jakob (*1951) is a self-taught artist-goldsmith and jeweler with an academic background in art and art history. Due to his lifelong passion for both art and mineralogy, many of his pieces resemble objects from Renaissance Wunderkammer and feature rare minerals and natural curiosities.

Contact: Otto Jakob
Weinbrennerstr.40
D-76135 Karlsruhe
Germany
T  +49 721 855911
M   +49 1752452738
F  +49 721 844439
www.ottojakob.de
kontakt@ottojakob.de