Dish, porcelain painted in overglaze enamels in the famille rose palette with flowers and insects, China, Qing dynasty, 1730-1750. 658-1903. Bequeathed by W. H. Cope, Esq. © V&A Images.
Dish of 'eggshell' porcelain, painted in overglaze enamels in the famille rose palette with sprays of convolvulus, peony, morning glory, peach and two insects.
Natural Intense Pink Ceylon 17.51 Carats Sapphire Ring. Photo by MS Rau Antiques
An extremely rare, 17.51-carat Natural Intense Pink Ceylon sapphire dazzles in this magnificent ring. Displaying exceptional clarity and vividness, this cushion-cut gem is extraordinary in that it displays the flawless pink hue for which the finest pink sapphires are so desired. The combination of its excellent color, crystal-clear clarity and outstanding size make this monumental gem an extraordinary rarity of nature. This sapphire is supported by two shield-cut diamonds, weighing 2.35 total carats, and is certified by the American Gem Trade Association (AGTA) and C. Dunaigre, Switzerland as Intense Pink and Ceylon origin. Set in platinum and 18K yellow gold.
MS Rau Antiques. 630 Royal Street, New Orleans, LA, 70130 - Phone: 877-315-8652 - E-Mail: info@rauantiques.com
Bowl, porcelain with peony design painted in overglaze enamels in the famille rose palette, China, Qing dynasty, Yongzheng mark and period (1723-1735). Height: 7.6 cm, Diameter: 16.8 cm. 581-1907. Given by Mrs. Julia C. Gulland. © V&A Images.
Bowl of porcelain, with flat base, side sloping outwards. Painted in overglaze enamels in the famille rose palette, outside with a tree-peony growing among rocks, and inside with three small blossoms of prunus.
Exquisite Diamond Flower Earrings. Photo by TMW Jewels Co.
Superbly crafted diamond flower ear-clips made of ten pear shape diamonds weighing 10.33 carat total and two pink diamonds weighing 0.22 carat total in platinum and 18 karat yellow gold.
TMW Jewels Co. 15 West 47th Street - By Appointment Only. New York City, NY, 10036 - Phone: 212.869.8446 - E-Mail: 1stdibs@tmwjewels.com
Dish, porcelain painted in overglaze enamels in the famille rose palette and gilding, China, Qing dynasty, Yongzheng mark and period (1723-1735). Diameter: 16.8 cm. 640-1907. Given by Mrs. Julia C. Gulland. © V&A Images.
Dish of porcelain, circular. Painted in overglaze enamels in the famille rose palette and gilding, on the inside with two ladies and a boy watching a cock and hen; the ladies are standing beside a table on which are fruit and a vase of tree-peonies.
Unique Rare Natural Fancy Purple-Pink Oval Cut Diamond Ring. Photo by Zeit Fine Jewelry
A gorgeous, GIA certified, .54ct Fancy Purple-Pink (VS2), oval cut diamond set in a handmade platinum and diamond ring, featuring two chameleon pear shape diamonds.
Zeit Fine Jewelry. 5 South Washash Ave, Chicago, IL, 60603 - Phone: 800.289.7866 - E-Mail: Swisstime@gmail.com
Bowl, porcelain painted in overglaze enamels in the famille rose palette, China, Qing dynasty, Yongzheng mark and period (1723-1735). Height: 5.7 cm, Diameter: 12.4 cm. 677-1907; Given by Mrs. Julia C. Gulland. © V&A Images.
Bowl of porcelain, painted in overglaze enamels in the famille rose palette. Outside with a bird perched on a branch of blossoming peonies and two insects.
Stunning 5.27 Ct. Fancy Light Yellow Diamond Ring. Photo by GOLDIVA by Golda Co.
The center stone is 5.27 Ct. Fancy Light Yellow, SI1 in Clarity, GIA Certified #2111866598. Surrounded by 34 fancy purple pink stones and 1.15 Cts. of whith and fancy light yellow stones in the setting.
GOLDIVA by Golda Co. 29 West 47th Street, New York City, NY, 10036 - Phone: 212.730.5054 - E-Mail: sales@goldajewelry.com
Bowl, porcelain decorated in overglaze enamels of the famille rose palette; China (Jingdezhen), Qing dynasty, Qianlong period (1736-95). Height: 3.8 cm, Diameter: 7 cm. CIRC.1339-1926. Bequeathed by Mr Andrew Burman. © V&A Images.
Radiant Cut Diamond And Pink Sapphire Ring. Photo by Pampillonia
The ring features a center a center radiant diamond weighing 2 carats. The diamond is F color ans SI1 clarity. Set on either side are two pink sapphire weighing 1.38 carats. The ring has is entirely handmade and is a custom design of Pampillonia Jewelers.
Pampillonia. 5300 Wisconsin Ave, Washington, DC, 20015 - Phone: 202.363.6305 - E-Mail: sales@pampillonia.com
Giovanni Domenico Tiepolo (1727 – 1804), The Deer and The Lady, with Punchinello. Photo Sotheby's
black chalk, pen and brown ink, reddish-brown and brown wash; signed in pen and brown ink lower left: Dom.o Tiepolo f; numbered in pen and brown ink, in upper left corner: 89; 11 1/2 by 16 1/4 in. 292 by 413 mm - Estimate 300,000-400,000 USD
PROVENANCE: Sotheby's New York, 6 July 1920, lot 41 (part of an album of 104 drawings by Giandomenico Tiepolo, to Colnaghi for £610)
Richard Owen, Paris
Celia Tobin Clark, San Francisco
Sotheby's London, 1 July, 1971, lot 64
EXHIBITED: Paris, Musée des Arts Décoratifs, 1921 (no catalogue)
LITTERATURE: E. Vetrocq, Domenico Tiepolo's Punchinello Drawings, exhib. cat., Bloomington, Indiana University Art Museum, 1979, no. S45
G. Knox, 'Domenico Tiepolo's Punchinello Drawings, satire, or Labor of Love?,' Satire in the Eighteenth Century, New York, London, 1983, p. 145
A. Gealt, Domenico Tiepolo, The Punchinello Drawings, Verona 1986, p. 188, no. 95, reproduced
NOTE: This delightful and graceful scene is part of the very renowned series of drawings depicting scenes from the life of Punchinello, now scattered in public and private collections. These drawings are the most sought after and collected of all Giandomenico's drawings, and according to Byam Shaw they are the latest in date and the most complete of the artist's surviving series. The subject is based on the Neapolitan character of Pulcinella, first brought to life on stage by Silvio Fiorillo at the begining of the seventeenth century. The character of Punchinello becomes famous quite early on in the Commedia dell'Arte, although he begins to be familiar in Venice only after the middle of the 18th century. He subsequently became one the favourite subjects of both Giambattista and Giandomenico Tiepolo. The series of drawings on this theme, for which no text or source has yet been identified, develops the subjects already painted, in monochrome, by Giandomenico in around 1793, in the so-called Camera dei Pagliacci, at the family villa at
Zianigo. Writing about the series, James Byam Shaw suggested: Perhaps the success which these fascinating scenes must have had, particularly with his more youthful neighbours at Zianigo, inspired the old man, at the very end of his life, to produce the series of drawings...and which he called on the title-page Divertimento per li Regazzi- an Entertainement for Children.' (1)
In the present humourous sheet a group of punchinelli gather around a deer to the left, while an elegant lady watches the scene, hiding behind her skirts two more scared punchinelli. In the meantime a third one carries off a dog, while nearby another punchinello, unperturbed, is kissing a young nymph.
Giandomenico Tiepolo's Punchinello drawings first appeared, from an unrecorded source, in a Sotheby's London sale in 1920 (see Provenance). At the time, it was indicated that there were 102 drawings in the series, but this number did not include the title page, now in the Nelson Atkins Museum of Art, Kansas City, which in turn indicates that the series originally consisted of 104 sheets, meaning that one was missing at the time of Sotheby's sale.(2)
As pointed out by Byam Shaw, the series was possibly finished within the last year or so before Giandomenico's death in 1804. At this point in his life, Giandomenico was borrowing a lot from his earlier compositions, especially from Scenes from Contemporary Life, and also from his father's drawings. The numbering that is generally to be found in the wide margin at the top left may indicate the original sequence for the series, although Byam Shaw suggests that these numbers may have been written on the drawings after the artist's death by one of his family or another executor.(3)
(1) J. Byam Shaw, The Drawings of Domenico Tiepolo, London 1962, p. 54
(2) Idem, The Robert Lehmman Collection, VI, Italian Eighteenth-Century Drawings, New York 1987, p. 203, note 3
(3) Ibid., p. 203
Sotheby's. Property from the Estate of Brooke Astor. New York | 24 sept. 2012 www.sothebys.com
Autumn Paintbrush Jasper
Rich saturated earth tones, a terra cotta feel. Large Oval Cabochon, 82.5 carats; 50 mm x 35 mm x 3.5 mm , appr. 2 inches x 1.4 inches. Price $44,00 (FenderMinerals)
A Chinese Export Parcel-Gilt Black Lacquer Tea Table, Mid-18th Century. Photo Sotheby's
Decorated in tones of gold on a black ground, the rectangular top with circular flowerheads or mons, and with a carved giltwood pierced gallery above a decorated molded edge, above a conforming molded pierced frame, decorated with foliate scrolls, the apron pierced and with a scrolled pendant at the center, on turned cabriole legs with claw-and-ball toes similarly decorated. Height 30 1/4 in.; width 30 3/4 in.; depth 19 in. 76.8 cm; 78.1 cm; 48.3 cm - Estimate 5,000-7,000 USD
Sotheby's. Property from the Estate of Brooke Astor. New York | 24 sept. 2012 www.sothebys.com
A Chinese Export Black And Gilt Lacquer Stand. Second Half 18th Century. Photo Sotheby's
Decorated overall in tones of gold on a black ground, the later rectangular plain top with foliate spandrels and supported on a conforming pierced frame above a molded apron with a shaped pendant at the center and open scroll brackets above turned cabriole legs with claw-and-ball toes, all decorated with foliate scrolls and leaves. Top associated. Height 28 1/2 in.; width 31 1/2 in.; depth 19 in. 72.4 cm; 80 cm; 48.3 cm - Estimate 4,000-6,000 USD
Sotheby's. Property from the Estate of Brooke Astor. New York | 24 sept. 2012 www.sothebys.com
Woodward Ranch Texas Red Plume Dendritic Agate Polished Thin Slice.
From the famous agate location - Woodward Rand: In the heart of the Big Bend - Davis Mountains country featuring Texas Red Plume and Texas Pom-pom agates. 48 grams/240 carats, 125 mm x 85 mm, appr. 4.9 inches x 3.3 inches - Price: $75,00 (FenderMinerals)
An Italian Carved Giltwood Mantel Clock. Late 18th-Early 19th Century. Photo Sotheby's
height 17 in.; width 15 1/2 in.; depth 4 1/2 in. 43.5 cm; 39.5 cm; 11.5 cm - Estimate 5,000-8,000 USD
Sotheby's. Property from the Estate of Brooke Astor. New York | 24 sept. 2012 www.sothebys.com
A George III Giltwood Pier Mirror. Photo Sotheby's
The upright beveled mirror plate within a shaped frame surmounted by a pagoda-form cresting with a leaf-form roof above columns on a rock-work base, the sides with ruffled edges flanked by open leafy trees above Gothic columns ornamented at the top with water pots and with open foliate scrolls, the apron with ruffled edges, pendant icicles and open foliate and C-scrolls. Re-gilt, possibly originally painted, restorations. Height 6 ft. 1 in.; width 39 in. 185.4 cm; 99 cm - Estimation 12,000-18,000 USD
Sotheby's. Property from the Estate of Brooke Astor. New York | 24 sept. 2012 www.sothebys.com
Natural Gold Leaf in Resin.
The black resin background certainly gives this a striking appearance. 40 mm x 30 mm domed cabochon, 1.6 inches x 1.2 - Price: $32,00 (FenderMinerals)
Large vase. China, Guangzhou, ca 1900. Gilded brass and enamel
SINGAPORE.- The Asian Civilisations Museum presents highlights of Islamic arts of Southeast Asia from its own collection, including several recent acquisitions, in the exhibition Islamic Arts from Southeast Asia: Highlights of the Asian Civilisations Museum, on display at the museum through 20 January 2013. The exhibition reveals how artistic ideas from central Islamic lands were adapted in Southeast Asia to create a style that is uniquely our own.
A distinctive art
“This exhibition focuses on objects made with a specific religious purpose or design,” says Dr Pedro Moura Carvalho, chief curator of the museum and curator of the exhibition. “In many cases, these objects were commissioned by a Muslim patron for use in a mosque, school, or other religious contexts. And many of the objects are inscribed in Arabic – the language of the Qur’an – or Jawi, the regional script based on Arabic but adapted to reflect the languages of this region.”
The objects show a wide variety of materials and forms. It is especially noteworthy that a strong Southeast Asian identity remains in objects that have parallels throughout the Islamic world. Local traditions of batik, drums, and wooden sculpture were adapted to Islamic objects. Porcelain and enamel with Arabic inscriptions were specially commissioned from factories in China for use in Southeast Asia.
“The Asian Civilisations Museum has one of the most important collections of Islamic Southeast Asian art,” says Alan Chong, director of the museum. “The Islamic Arts Museum Malaysia in Kuala Lumpur also has a significant collection, but this category is underrepresented in Europe and North America. We hope we will make a contribution to understanding this distinctive iteration of Islamic culture. A series of programmes and lectures will explore this field in depth for our audiences.”
Multicultural influences in Singapore
Islam is integral to the culture of Singapore. The surrounding region is home to some of the largest populations of Muslims. Many of the region’s architectural and artistic forms have their origin in Iran, northern India, Turkey, and North Africa.
Mosques are one of the most visible symbols of Islam. In a special section of the exhibition reflecting the diverse cultural roots of Singapore, an array of photographs highlight some of the many architectural styles used to build local mosques. Some follow Malay and Javanese styles, while others show influences from China, the Indian subcontinent, and the Middle East, and occasionally even reflect Western architectural conventions.
The exhibition includes mosque furnishings from the Wak Sumang Mosque in Punggol, now demolished. Displays will enhance visitors’ understanding of the Islamic arts in Singapore.
Dr Moura Carvalho, curator and a leading scholar of Islamic arts, goes on to explain, “The arts produced by Muslims and for Muslim patrons in Southeast Asia are probably the least studied and understood in the Islamic world. We hope that this exhibition will draw more attention to the richness and variety of Southeast Asian Islamic arts and contribute to a better appreciation of such a unique history.”
Historical background
Islamic art is intrinsically linked to one of the world’s major religions. Founded by Prophet Muhammad (died 632) almost 1400 years ago, Islam expanded rapidly through conquest, commercial contacts, and mass conversions. The expansion of Islam in Southeast Asia has yet to be fully understood. By tradition, Sufi mystics are thought to have played a major role in its spread, but trading contacts with China and the Near East must have had a more decisive impact.
Sireh box and cover. Probably Indonesia, Riau-Lingga Archipelago, 19th century. Brass and gold. This betel nut box is decorated with a technique called niello, in which a black sulphur compound is inlaid into the design. The contrasting pattern is created by hammering.
A multicultural sarong. Indonesia, northern Java, early 20th century. Cotton batik.
