Lot 58. Vase balustre Meiping en céladon à décor incisé de fleurs, Epoque Ming. Estimation 200 € - 300 €. Photo Pescheteau-Badin.

H. : 30 cm

Porcelaine de la Chine et du Japon, le 21 Juin 2016 à 14h00. PESCHETEAU-BADIN, 75009 PARIS

Lot 8. Lucas Cranach le Vieux (Kronach 1472 - 1553 Weimar), Portrait de Frederick III Le Sage, Prince-Electeur de Saxe. Signé d'un serpent ailé et daté 1532. Huile sur panneau, 13,8 x 13,6 cm ; 5 3/8  by 5 3/8  in. Estimation 20,000 — 30,000 €. Prix réalisé 123,000 €. Photo: Sotheby's.

Provenance: Collection privée anglaise ;
Acquis chez The Brod Gallery, Londres par les actuels propiétaires.

LUCAS CRANACH THE ELDER ;  PORTRAIT OF FREDERICK III THE WISE, ELECTOR OF SAXONY ; SIGNED WITH THE WINGED SNAKE AND DATED 1532 

Sotheby's. Tableaux et Dessins Anciens et du XIXe siècle, Paris, 16 Jun 2016

Lot 25. Jacques Linard (Troyes 1597 - 1645 Paris), Coupe de raisins sur un entablement. Signé en bas à droite LINARD et daté en bas au centre 1631. Huile sur panneau. En bas à droite la marque de la Collection du Marquis de Remisa 261 M. de. R., 47,5 x 62,2 cm ; 18 3/4  by 24 1/2  in. Estimation 50,000 — 70,000 €. Prix réalisé 113,400 €. Photo: Sotheby's.

Provenance: Collection du Marquis de Remisa ;
Collection privée, Madrid.

JACQUES LINARD ; BOWL OF GRAPES ; SIGNED LOWER RIGHT LINARD AND DATED LOWER CENTRE 1631 ; OIL ON PANEL ; THE MARK OF THE COLLECTION OF THE MARQUES DE REMISA 261 M. DE R. LOWER RIGHT

 Notes: Cette très belle nature morte aux raisins est un exemple représentatif du talent de Linard. Sur un fond obscur, posée sur une table, se détache une opulente coupe de raisins noirs et blancs disposés sur des feuilles de vigne dans un plat en étain. Le clair-obscur très franc, l’éclairage violent jeté sur les fruits renforcent l’impression de présence. Leur texture, leur consistance, rendues presque sensibles, suscitent l’envie. Mais au-dessus de ces nourritures bachiques volète un papillon, symbole de l’éphémère, rappelant à un spectateur peut-être trop tenté le caractère périssable des plaisirs terrestres. 

Jacques Linard se fit une spécialité de ce type de natures mortes à portée allégorique. Il composa ainsi un certain nombre de vanités, dont une, la Vanité au papillon de 1634, reprend le symbole de notre tableau. Par ailleurs notre œuvre n’est pas sans rappeler Les abricots aux papillons de nuit, également datée de 1631, dans lequel la discrète symbolique du petit papillon laisse la place à deux papillons plus visibles, amplifiant la métaphore d’une vocation irrémédiablement éphémère. Après avoir tenté, durant les années 1620, de se dégager de l’influence flamande, toutes ces œuvres correspondent à une époque de renouveau dans la manière de Linard. La composition des Cinq sens au paysage, du musée de Strasbourg et datée de 1638, est peut-être la plus ambitieuse de Linard. Celle-ci, à travers des symboles comme les dés, les cartes, le miroir et le fruit, le cahier de musique et la flûte, exprime clairement la fragilité de la connaissance poursuivie à travers les sens. 

De la vie de Jacques Linard, peu d’éléments sont aujourd’hui connus. Mentionnéà Paris pour la première fois en 1626, il fut en contact avec le peintre Vignon, dont l’activité de marchand de tableaux participa peut-être à la diffusion de ses œuvres. Ses allégories de sens semblent avoir été très à la mode entre la deuxième moitié des années 1620 et dans les années 1630. Ainsi, Georges de Scudéry, dans son Cabinet de M. de Scudéry, gouverneur de Notre-Dame de la Garde (1646) n’hésita pas à mentionner son nom aux côtés de ceux de Titien et Raphaël.

Note sur la provenance :
Ce tableau faisait partie de la collection du marquis Gaspar de Remisa (1784 – 1847), qui fut l’un des hommes d’affaires les plus importants de tout le XIXe siècle espagnol. À la tête de l’une des plus grandes fortunes de son temps, il occupa de nombreuses fonctions, de l’exploitation de mines à la fondation d’un journal, El Corresponsal, qui fut édité jusqu’en 1844. En outre, il s’intéressa beaucoup au monde de la culture, parvenant même àêtre nommé président de la Société Artistique et Littéraire de Madrid. Dans sa demeure madrilène de la calle de la Salud, il réunit une collection très importante de peintures qui fut évaluée à plus de quatre cents œuvres, d’artistes comme Murillo, des Rives, Zurbaran, Velasquez et Goya. Pour son aptitude aux affaires et sa protection des Beaux-Arts, il fut distingué par les titres de Marquis de Remisa et Vizconde de Maison Sanz, par la reine Isabel II. 

Vicente López Portaña, Portrait du Marquis de Remisa, Museo del Romanticismo de Madrid

Sotheby's. Tableaux et Dessins Anciens et du XIXe siècle, Paris, 16 Jun 2016

Lot 9. Hendrick van Cleve III (Anvers 1525 – 1589), La Tour de Babel. Huile sur panneau, 58,5 x 96 cm ; 23 by 37 3/4  in. Estimation 30,000 — 40,000 €. Prix réalisé 37,500 €. Photo: Sotheby's.

HENDRIK VAN CLEVE III ; THE TOWER OF BABEL ; OIL ON PANEL

Notes: Artiste anversois, Hendrick van Cleve se forma dans l’atelier de son père Willem van Cleve, puis dans celui du peintre Frans Floris. Il parcourut très jeune l’Italie, où il dessina d’après nature des paysages, des vues de villes, ainsi que de nombreuses ruines. À son retour d’Italie en 1551, il devint membre de la guilde de Saint Luc, corporation des peintres d’Anvers. Beaucoup de ses dessins furent gravés et publiés par Philippe Galle, qui édita notamment, à Anvers en 1587, une suite de trente-huit vues, intitulée Henrici a Cleve ruinarum varii prospectus ruriumque aliquot delineationes. L’artiste collabora notamment avec son frère Marten (1527-1581), avec Ambrosius Francken (1544-1618) ou encore avec son maître Frans Floris (1516-1570). 

Cette Tour de Babel est une œuvre très caractéristique de la production d’Hendrick van Cleve, qui montra un intérêt prononcé pour le sujet, déclinant les formats, les angles, les paysages. Ce sujet, tiré de l’Ancien Testament, rencontra un certain succès auprès des artistes flamands du XVIe siècle comme Pieter Brueghel l’Ancien, Lucas van Valckenborch ou Graf Hans.

Sotheby's. Tableaux et Dessins Anciens et du XIXe siècle, Paris, 16 Jun 2016

Lot 3. Entourage de Pieter Coecke van Aelst (Aelst 1502 - 1550 Bruxelles), Vierge à l'Enfant. Huile sur panneau, 44 x 30 cm ; 17 1/4  by 11 1/8  in. Estimation 5,000 — 7,000 €. Prix réalisé 36,250 €. Photo: Sotheby's.

CIRCLE OF PIETER COECKE VAN AELST ; VIRGIN AND CHILD ; OIL ON PANEL

Sotheby's. Tableaux et Dessins Anciens et du XIXe siècle, Paris, 16 Jun 2016

Lot 1. Entourage du Maître au Perroquet (Actif à Anvers 1525 - 1550), Vierge à l'Enfant. Huile sur panneau, 58,5 x 41,5 cm ; 23 by 16 3/8  in. Estimation 10,000 — 15,000 €. Prix réalisé 30,000 €. Photo: Sotheby's.

CIRCLE OF THE MASTER OF THE PARROT ; THE HOLY FAMILY ; OIL ON PANEL

Sotheby's. Tableaux et Dessins Anciens et du XIXe siècle, Paris, 16 Jun 2016

Lot 6. Entourage de Jacob de Backer (Anvers 1560 - vers 1590), Adam et Eve. Huile sur panneau, 65 x 48 cm ; 25 1/2  by 18 7/8  in. Estimation 15,000 — 20,000 €. Prix réalisé 17,500 €. Photo: Sotheby's.

CIRCLE OF JACOB DE BACKER ; ADAM AND EVE ; OIL ON PANEL 

Sotheby's. Tableaux et Dessins Anciens et du XIXe siècle, Paris, 16 Jun 2016

Bettina Graziani by Gordon Parks, 1951

Suzy Parker wearing Christian Dior gown, 1951

Bettina is wearing an ensemble by Jeanne Lanvin, Paris, 1951. Photo by Gordon Parks

Lot 97. A Blanc de Chine porcelain figure of Budai, China, Qing dynasty, Kangxi period (1662 - 1722). Estimation 800 € - 1 200 €. Photo Artcurial 

STATUETTE DE BUDAI EN PORCELAINE BLANC DE CHINE, CHINE, DYNASTIE QING, ÉPOQUE KANGXI (1662 - 1722) 

Représenté assis sur un rocher, poitrine et ventre dénudés, la main droite sur son genou relevé, la main gauche appuyée sur un sac, le visage souriant ; émail usé, accident à la main gauche, quelques manques à la bordure de la base, restauration au pied - H. : 13 cm (5 in.)       

Art d'Asie, le 21 Juin 2016 à 14h00, ARTCURIAL, 75008 PARIS (FRANCE)

Lot 98. A Blanc de Chine porcelain group, China, Qing dynasty, 18th century. Estimation 1 000 € - 1 500 €. Photo Artcurial 

GROUPE EN PORCELAINE BLANC DE CHINE, CHINE, DYNASTIE QING, XVIIIe SIÈCLE 

Représentant Guanyin assise sur une base rocailleuse, vêtue d'une longue robe et parée de colliers de perles, les mains jointes, entourée de deux adorants ; petits manques aux doigts - H. : 22,5 cm (8 ¾ in.) 

Provenance : Ancienne étiquette R. Duchange.

Art d'Asie, le 21 Juin 2016 à 14h00, ARTCURIAL, 75008 PARIS (FRANCE)

Lot 93. Statuette de Guanyin en blanc de Chine assise sur un rocher, tenant un enfant sur les genoux. Estimation 2 000 € - 3 000 €. Photo Pescheteau-Badin.

H. : 40 cm. 

Porcelaine de la Chine et du Japon, le 21 Juin 2016 à 14h00. PESCHETEAU-BADIN, 75009 PARIS

Lot 94. Statuette de Guandi en blanc de Chine assis sur un trône, Période Kangxi (1662-1722). Estimation 1 500 € - 2 000 €. Photo Pescheteau-Badin.

H. : 28 cm. 

Porcelaine de la Chine et du Japon, le 21 Juin 2016 à 14h00. PESCHETEAU-BADIN, 75009 PARIS

Lot 95. Statuette de Guandi en blanc de Chine assis sur un rocher, tenant un ruyi dans la main gauche, XVIIe-XVIIIe siècle. Estimation 2 200 € - 2 800 €. Photo Pescheteau-Badin.

H. : 34 cm. Quelques restaurations aux extrémités.

Porcelaine de la Chine et du Japon, le 21 Juin 2016 à 14h00. PESCHETEAU-BADIN, 75009 PARIS

Lot 98. Statuette de Bouddha assis en blanc de Chine, tenant une pêche dans la main gauche, Période Kangxi (1662-1722). Estimation 2 000 € - 2 500 €. Photo Pescheteau-Badin.

H. : 14 cm. 

Porcelaine de la Chine et du Japon, le 21 Juin 2016 à 14h00. PESCHETEAU-BADIN, 75009 PARIS

Lot 99. Statuette en blanc de Chine représentant Li Tieguai appuyé contre une canne, debout sur un rocher, XVIIIe-XIXe siècle. Estimation 1 500 € - 2 000 €. Photo Pescheteau-Badin.

H. : 32 cm. 

Porcelaine de la Chine et du Japon, le 21 Juin 2016 à 14h00. PESCHETEAU-BADIN, 75009 PARIS

Lot 85. Rare brûle-parfum en porcelaine à glaçure blanche, Marque et époque Qianlong (1736-1795). Estimation 15,000 — 25,000 €. Photo Sotheby's.

reposant sur trois pieds cambrés à têtes de lion, le corps globulaire finement sculpté et moulé en relief d'une large bande de deux grands masques de taotie stylisés, l'épaule ornée de bandes de virgules archaïsantes entrelacées, le col décoré d'un méandre et d'une frise de ruyi, les bords soulignés par une bande de grecques entourant une marque en relief à six caractères en sigillaire - 25 cm; 9 7/8  in.

A RARE ARCHAISTIC 'IMITATION DING' CENSER WITH A CARVED AND MOULDED DESIGN, MOULDED SIX-CHARACTER QIANLONG SEAL MARK AND PERIOD 

Notes: This censer belongs to a small group of Imperial porcelains produced under the Qianlong emperor that is referred to as 'fang Ding yao' ('in imitation of Ding wares) after the bluish opaque white glaze of the much celebrated official 'Ding' wares of the Song dynasty. It is very rare to find a monochrome white censer such as the present example bearing a reign mark. A white-glazed censer of the same form and design, possibly the pair to the present piece, was sold in Sotheby's London, 13th June 1989, lot 348, and again in Sotheby's London, 20th June 2001, lot 24. Several related monochrome white vessels with a similarly carved and moulded designs imitating 'Ding' wares bearing a raised Qianlong seal mark, formerly in the Qing Imperial collection, are illustrated in The Complete Collection of Treasures of the Palace Museum, vol. 37: Monochrome Porcelain, Hong Kong, 1999, pls. 239 and 241. 

Sotheby's. Arts d'Asie, Paris, 23 juin 2016, 10:30 AM

Lot 1. Lesedi La Rona. The largest gem quality rough diamond to be discovered in over a century. The largest gem quality diamond in existence today. An historic rough diamond. Estimate Upon Request. Photo: Sotheby's.

The rough diamond of high colour and purity weighing 1,109 carats and measuring approximately 66.4 x 55 x 42mm.

Accompanied by a GIA letter stating the rarity and characteristics of the stone.

Note: It is a huge privilege for Sotheby’s to have been chosen by Lucara Diamond Corp. to offer Lesedi La Rona for sale. Indeed, it is a unique honour as no other rough diamond of even remotely similar size has ever been proposed for public auction.

What has struck me personally, since I first held this phenomenal gemstone in my hands, is how well it embodies the symbolism that Man has invested in diamond since remote antiquity – ideas of permanence, indestructability, immutability, and of course, adamantine hardness.

Just try to imagine the epic journey this stone has undergone to arrive with us. Having been formed as a result of unimaginable temperatures and pressures, soon after the birth of the earth itself – some two to three billion years ago – the crystal then waited until, by chance, perhaps a billion years later, it became associated with a volcanic eruption that carried it upwards a distance of over 100 miles towards the surface. Having survived that tumultuous passage it still had to undergo the dramatic explosions and crushers associated with the mining process before eventually seeing the light of day – and the gaze of man – on the 16th November 2015. Perhaps no other gemstone could have survived such a journey unscathed - certainly no other diamond of this size has been recovered in more than a century.

Only a few months have passed since Lesedi La Rona’s adventure with man began. Perhaps it will be cut and polished into the largest, most beautiful stone the world has yet seen, to be admired by countless generations down the centuries to come. Or maybe, as the survivor it is, it will remain untouched and admired not only as one of the earth’s most beautiful creations but also as the supreme symbol of permanence in our constantly changing world. 

David Bennett, Worldwide Chairman of Sotheby’s International Jewellery Division

FORMATION

“The cleavage faces and sculpted surfaces on the 1,109 carat rough lead one to consider the remarkable story of a natural diamond’s growth and transportation to the earth’s surface. Between one and three billion years ago, at depths of more than 140 kilometres below the surface, intense and dynamic surroundings lent the circumstances necessary for a diamond to form. But the extreme heat and pressure were also mitigating factors – conditions that may have limited how large it could become. After the mineral formed, it undertook a tumultuous journey through the earth’s crust, forced upwards against unimaginable odds through volcanic conduits and pipes. Those mechanisms deposited the diamond near the earth’s surface, where it could have been uncovered through mining efforts, or separated from its volcanic host rock by erosion. Many diamonds fracture or crumble under the tremendous stress of this journey or the mining process; the fact that a crystal of this size withstood such conditions is a combination of ideal conditions in nature and good fortune”. Excerpt from the GIA letter 

The Karowe Mine, image courtesy of Lucara Diamond Corp

DISCOVERY

The outstanding 'Lesedi la Rona' diamond was uncovered in Botswana, in the Karowe Mine, on 16 November 2015. It is the largest rough diamond ever recovered through a hard rock diamond mining process.

Diamonds were first discovered in Botswana in 1969; they have been the main force behind the country’s economic expansion. The Karowe Mine, meaning “Precious Stone” in Tswana, is owned and operated by Lucara Diamond Corp., headquartered in Vancouver, Canada. After acquisition, the mine was completed in 2012 and is expected to have a production life of fifteen years. The mine has a production of approximately 400,000 carats of gem quality diamonds, including many type IIa, and employs almost a thousand people. Botswana maintains a beneficial relationship with all its mine operators and established protocols for all to be corporate citizens and adhere to the highest environmental and sustainability standards. The country is a participating member of the Kimberley Process. Botswana, Lucara and the Karowe Mine are all involved jointly in the highest levels of responsible field practices, management systems in Environment, Health and Safety.

The cleavage faces and sculpted surfaces on the 1,109 carat rough indicate that the stone was once larger and Lucara has indicated that pieces of this stone have been matched. Many diamonds fracture or crumble under the tremendous stress of surfacing or by the mining process; the fact that a crystal of this size withstood such conditions is a combination of luck and an endorsement of the success of the new Tomra large diamond recovery machine which utilises X-ray transmission sensors. ‘Lesedi la Rona’ is circa 2.5 to over 3 billion years old, it was extracted in a kimberlite pipe approximately 200 meters below the surface in the South Lobe of the Karowe Mine. The following day, two more colossal diamonds weighing 813 and 374 carats were also found.

“Though the Karowe mine went into production just four years ago, it has already earned a reputation for producing many of the world’s finest colourless diamonds. The 1,109 carat rough crystal is the flagship recovery from the mine and now holds the honour of being the second largest gem-quality diamond ever recovered”. Excerpt from the GIA letter

The Karowe Mine, image courtesy of Lucara Diamond Corp

NAME

The diamond was first given a generic name after the mine (Karowe) and the pipe (AK6) where it was found. On 18 January 2016, Lucara Diamond launched a competition to name this spectacular diamond. The competition was open to all Botswana inhabitants. Entrants were invited to submit their suggested name and the rationale for their choice. More than 11,000 entries were received. On 9 February 2016, Lucara Diamond announced that the stone had been named 'Lesedi La Rona'which means "Our Light" in the Tswana language spoken in Botswana. The winner of the competition stated that his reason for the name was that "the diamond is a pride, a light and a hope for Botswana”.

William Lamb, CEO and President of Lucara Diamond, commented: "The outpouring of pride and patriotism shown by all the participants in the contest was incredible. The diamond industry has played a vital role in the country's development, allowing for significant and ongoing investment in world-class healthcare, education and infrastructure. "Lesedi La Rona" symbolizes the pride and history of the people of Botswana."

Frederick Wells, the mine manager, with the Cullinan Diamond, circa 1907© Fox Photos/Getty Images

AN HISTORIC DISCOVERY

In terms of its size, the gem quality rough is exceeded only by the legendary ‘Cullinan Diamond’, recovered in South Africa, in the Premier Mine, in 1905. The 3,016 carat ‘Cullinan Diamond’ produced nine major diamonds that are part of the historic Crown Jewels of the United Kingdom, including ‘The Great Star of Africa’ – currently the largest top-quality colourless polished diamond in existence, weighing 530.20 carats - set in the Imperial Sceptre of Great Britain. The other important diamond cut from the Cullinan is a cushion-shaped stone weighing 317.40 carats set in the brow of the British Imperial Crown. 

The provenance of the 1,109 carat ‘Lesedi la Rona’ is the most significant colossal gem quality diamond rough extracted through modern mining methods to date. The ‘Cullinan’, the only larger gem diamond rough, was exposed in blueground approximately 6 feet below the surface and was extracted by the superintendant of the mine during a routine inspection. Lesedi la Rona is therefore the largest rough diamond ever recovered through a hard rock diamond mining process and the largest gem quality rough diamond in existence today.

“Approximately a century after the discovery of the 3,106 carat Cullinan Diamond, another large, high-quality rough diamond was found in the Karowe mine in Botswana: at 1,109 carats, it is the second largest gem-quality diamond that has ever been discovered.” Excerpt from the GIA letter

“The 1,109 carat ‘Lesedi la Rona’ is historic and significant as the largest gem rough diamond mined since the discovery of the 3,106 carat ‘Cullinan’ in 1905. This is a centennial event.” Excerpt from the GCAL report 

THE POTENTIAL OF THE STONE

Sotheby's commissioned two independent reports from Diamex Inc./Crodiam Consulting DMCC and Gem Certification & Assurance Lab (GCAL) to explore and give their opinion on the potential yield of the stone. According to these reports, the Lesedi la Rona may have the potential to yield one of the largest top-quality diamonds that has ever been cut and polished. 

“This crystal had the potential to produce one of the largest top quality polished diamonds of any shape that has ever been cut and polished”. Excerpt from the Diamex Inc. report

“According to our preliminary calculations, this rough diamond could possibly yield the largest D colour faceted and polished diamond known in the world”. Excerpt from the GCAL report

“The possibilities of how this rough could be fashioned into faceted diamonds are infinite. Master diamond cutters will undoubtedly spend hundreds of hours studying this rough before it ever touches a diamond cutting wheel”. Excerpt from the GCAL report

COLOUR

This diamond possesses exceptional transparency and quality, as mentioned in the GIA letter. Independent reports on the potential yield of the rough have also stated that there is a high probability that the resulting polished diamonds will be D colour – the highest colour classification for white diamonds.

“The stone has high potential to be a D colour. The stone was observed under a polariscopic light to have limited to no stress and there was no surface graining evident”. Excerpt from the Diamex Inc. report

“The cleaved faces are windows into the diamond giving us a view into the centre of the crystal… The ‘Lesedi la Rona’ is an extraordinary rough crystal of exceptional transparency and quality… The centre of the rough crystal appears to be clean so far as our field examination permits. The colour of the rough is very high, which we estimate will be graded as ‘D’ if faceted”. Excerpt from the GCAL report

“The crystal has the potential to produce one of the largest top quality diamonds that has ever been cut and polished”. Excerpt from the GIA letter 

“The Lesedi la Rona is simply outstanding and its discovery is the find of a lifetime. It is a huge honour for Sotheby’s to have been entrusted with its sale. Every aspect of this auction is unprecedented. Not only is the rough superlative in size and quality, but no rough even remotely of this scale has ever been offered before at public auction”. David Bennett, Worldwide Chairman of Sotheby’s International Jewellery Division 

 “We are very excited to be partnering with Sotheby’s on this landmark auction. Lucara has made innovation the cornerstone of its development strategy and this has led to the historic recovery of the Lesedi la Rona diamond. The forthcoming sale presents a unique opportunity to present this extraordinary diamond to a worldwide audience”. William Lamb, President and Chief Executive Officer of Lucara Diamond Corp

Sotheby's. Lesedi La Rona, London, 29 Jun 2016, 06:30 PM

Lot 1A. Rough diamond weighing 5.44 carats. Estimate 10,000 — 15,000 USD. Photo: Sotheby's.

Of octahedron form.

Lot 1B. Rough diamond weighing 5.62 carats. Estimate 10,000 — 15,000 USD. Photo: Sotheby's.

Of octahedron form.

Lot 1C. Rough diamond weighing 5.88 carats. Estimate 10,000 — 15,000 USD. Photo: Sotheby's.

Of octahedron form.

Notes: Lots 1A, 1B and 1C will be offered as part of the sale of Lesedi la Rona at 6.30pm on 29 June 2016. All proceeds from the sale of lots 1A, 1B and 1C will be donated to the Lady Khama Charitable Trust including any commission charged by Sotheby's in its entirety. 

The Lady Khama Charitable Trust was founded in 2002 in honour of Lady Ruth Khama, the wife of Botswana’s first President Sir Seretse Khama who until her passing in 2004 had played an active and passionate role in Botswana supporting and caring for those in need. The Trust partners with existing charitable organizations, to work on community development and in particular projects which support vulnerable women and children. The strength of the Lady Khama Trust is its  ability to identify and evaluate potential beneficiaries and projects, raise financing and to provide support for these organizations to meet their objectives and to operate with strong governance and integrity.

Sotheby's. Lesedi La Rona, London, 29 Jun 2016, 06:30 PM