Lot 520. Very fine 6.09 carats Burmese ruby and diamond ring, Harry Winston. Estimate 430,000 — 715,00 CHF. Lot sold 818,500 CHF. Photo Sotheby's 2012

Claw-set with an oval ruby weighing 6.09 carats, between triangular diamond shoulders, size 52, maker's mark.

Accompanied by SSEF report no. 64396 and Gübelin report no. 12080080, stating that the ruby is of Burmese origin, with no indications of heating, the Gübelin report also stating ‘pigeon blood’ colour.

Sotheby's. Magnificent Jewels Geneva | 14 Nov 2012 

Lot 133. Chanel, Collier Bustier, Métiers d‘Art, France, 2008-09. Estimation : 8 000 € / 10 400 €. Photo: Auctionata AG 

Velvet, glass boulders, pâte de verre, rhinestones, gold and silver metal. Manufacturer logo embossed on different gemstones, and 2x as a metal label on both upper velvet ribbons. Black velvet bustier with eight velvet ribbons, which are bind on the back, four ribbons with press buttons. The front stitched with numerours broochs, sudded with numerous gemstones. The original box is enclosed. Dimensions: c. 50 x 38 cm, min. perimeter: c. 112 cm. Very good condition 

The rare exceptional collier bustier was made for the Métiers d’Art collection ‘Chanel Paris – Moscow’ in 2008/ 2009 by Karl Lagerfeld in cooperation with the Chanel subsidiary Ateliers of Desrues and Paraffection.

CHANEL. Gabrielle Bonheur Chanel, also known as Coco Chanel, is one of the most influential fashion designers of the 20th century. Known for her avant-garde and seductive style during the 1920s, her trend setting designs paved the way for what fashion has become today. Coco Chanel became the first great couturière because she adopted a new androgynous style made out of jersey. By the early 20s, Chanel launched her signature cardigan jacket and the following year matched its success with her versatile, semi-formal ‘little black dress’. Both pieces quickly became a Chanel trademark and an enduring fashion standard. To the jacket, she added the luxury Chanel Classic Flapbag 2.55, named after its launch in February 1955. Coco Chanel died on 10 January 1971 at the Hotel Ritz in Paris where she had a residence for more than 30 years. Since 1983, Karl Lagerfeld has been creative director of Chanel's fashion house. His contemporary creations are marked by unconventionality, perfectionism and uniqueness.

Bijoux éblouissants et Accessoires par Chanel & Co, le 11 Août 2016 à 18h00 (6 pm CET) - AUCTIONATA AG, 10719 BERLIN

Lot 74. Jewellery Theatre, Black Diamond-Studded Pendant in Coral Design. Estimation : 10 000 € / 13 000 €. Photo: Auctionata AG 

18 karat white gold, blackened. Hallmarked with fineness, London assay mark, control mark, kokoshnik mark and Cyrillic characters; 1 black diamond of c. 20.49 ct.; 24 diamonds with a total weight of c. 1.505 ct., color: D-G, clarity: VVS1-VS1; 10 black diamonds with a total weight of c. 0.24 ct. Total weight: c. 17.08 g. Length: c. 8 cm. Mint condition.

Jewellery Theatre - luxury jeweler, founded in Moscow in 1998 

It has been common and accepted practice for hundreds of years to enhance color and clarity of colored gemstones by the use of different treatments. Only if such a treatment can unequivocally be excluded the gemstones are stated as “untreated”. (Not applicable to diamonds)

All gemstones were examined by us in mounted condition using different gemological devices. If there is a certificate or an external gemological report available it is stated in the description.

Lot 73.  Jewellery Theatre, Pair of Coral-Shaped Earrings with Diamonds. Estimation : 7 500 € / 9 750 €. Photo: Auctionata AG 

18 karat white gold, blackened. Hallmarked with ‘MV’, fineness and London assay mark; 2 black pear cut diamond of c. 13.46 ct.; 28 diamonds with a total weight of c. 1.747 ct., color: G, clarity: VVS1-VS1; 14 black diamonds with a total weight of c. 0.389 ct. Total weight: c. 19.72 g. Length, each: c. 5.5 cm. Mint condition.

Jewellery Theatre - luxury jeweler, founded in Moscow in 1998 

It has been common and accepted practice for hundreds of years to enhance color and clarity of colored gemstones by the use of different treatments. Only if such a treatment can unequivocally be excluded the gemstones are stated as “untreated”. (Not applicable to diamonds)

All gemstones were examined by us in mounted condition using different gemological devices. If there is a certificate or an external gemological report available it is stated in the description.

Bijoux éblouissants et Accessoires par Chanel & Co, le 11 Août 2016 à 18h00 (6 pm CET) - AUCTIONATA AG, 10719 BERLIN

Lot 6. Jewellery Theatre, Orange Slice Pendant with 219 Diamonds and 146 Sapphires. Estimation : 6 500 € / 8 450 €. Photo: Auctionata AG 

18 karat yellow gold. Hallmarked with maker’s mark, fineness, London assay mark, date letter and traditional mark; 219 diamonds with a total weight of c. 2.14 ct., color: F-G, clarity: VVS; 146 red sapphires of c. 3.250 ct. Total weight: c. 25.14 g - Length: c. 5 cm - Mint condition 

High quality piece of jewelry in a special design of an orange slice.

Jewellery Theatre - luxury jeweler, founded in Moscow in 1998.

It has been common and accepted practice for hundreds of years to enhance color and clarity of colored gemstones by the use of different treatments. Only if such a treatment can unequivocally be excluded the gemstones are stated as “untreated”. (Not applicable to diamonds)

All gemstones were examined by us in mounted condition using different gemological devices. If there is a certificate or an external gemological report available it is stated in the description.

Bijoux éblouissants et Accessoires par Chanel & Co, le 11 Août 2016 à 18h00 (6 pm CET) - AUCTIONATA AG, 10719 BERLIN

Lot 133. A blue-ground image robe and two informal robes, 19th-20th century. Estimation: USD 2,000 - 3,000. Price realised: 1,900 USD. Photo Christie's Image Ltd 2016.

The first robe is decorated with eight four-clawed silvered couched dragons amongst scattered auspicious symbols above foaming waves. The second is a black figured silk-ground robe embroidered with flowers, flower baskets, and auspicious symbols. The third is a blue figured silk-ground robe similarly embroidered. 

Provenance: Property from the Mr and Mrs C. Lefebvre Collection of Chinese Robes.

Christie's on line. The Art of China.

Lot 134. A blue-ground summer gauze 'dragon' robe, jifu, late 19th-early 20th century. Estimation: USD 2,000 - 3,000. Price realised: 2,400 USD. Photo Christie's Image Ltd 2016.

The robe is worked in couched gold threads with nine five-clawed dragons in pursuit of flaming pearls amidst cloud scrolls, bats, shou-roundels and the emblems of the Eight Immortals above lishui stripes. 

Provenance: Property from the Mr and Mrs C. Lefebvre Collection of Chinese Robes.

Note: Gauze robes were favoured during the hot, summer months. Chris Hall writes in Chris Hall et al., Power Dressing: Textiles for Rulers and Priests from the Chris Hall Collection, Asian Civilisation Museum, Singapore, 2006, that the colour blue was used in dragon robes by third and fourth degree princes and nobles down to eleventh degree and officials.

Christie's on line. The Art of China.

Lot 135. A blue-ground kesi `dragon' robe, mangpao, late Qing dynasty. Estimation: USD 2,500 - 3,500. Price realised: 5,000 USD. Photo Christie's Image Ltd 2016.

The blue ground is worked in couched gold thread and satin stitch on the front and back with five-clawed dragons confronting flaming pearls amidst shou characters, bats, cranes and Daoist emblems. The terrestrial diagram and lishui stripe at the hem are tossed with the bajixiang (Eight Buddhist Emblems). 52 ½ in. (133.4 cm.) long. 

Provenance: Property from the Lai Family Collection.

Christie's on line. The Art of China.

Piaget. Sunny Side of Life collection by almakarinastudio

Piaget. Sunny Side of Life collection by almakarinastudio

Piaget. Sunny Side of Life collection by almakarinastudio

Cartier summer. Cactus de Cartier.

A touch of sun. Cactus de Cartier. 

A flower unlike any other. Cactus de Cartier. 

Solar beauties. Cactus de Cartier.

Beach time. Cactus de Cartier.

Sebastiano del Piombo (Sebastiano Luciani), Adoration of the Shepherds, Oil on canvas, height 124.2 cm, width 161.3 cm, 1511 to 1512© The Fitzwilliam Museum, Cambridge.

CAMBRIDGE.- A 10-year research and conservation project at the Fitzwilliam Museum’s Hamilton Kerr Institute on Sebastiano del Piombo’s (1485–1547) Adoration of the S hepherds c . 1510, enabled the masterpiece to go on show at the Fitzwilliam for the first time in 70 years. 

In the 40th anniversary year of the Hamilton Kerr Institute a major research and conservation project with one of the key Renaissance masterpieces from the Founder’s collection of the Fitzwilliam has been completed in time for the Museum’s 200th birthday. 

The physical history of Sebastiano del Piombo’s Adoration of the Shepherds is remarkable and explains why the research and conservation project at the Hamilton Kerr Institute has taken many years to complete. 

The picture was originally painted on a wooden panel, but while owned by the Duc de Orléans in eighteenth century Paris, the paint layers were removed and transferred onto canvas, in a misguided attempt to preserve it. This caused widespread damage to the original paint and the composition was almost completely overpainted in subsequent attempts at restoration. However, critical areas of the original paint remained intact and it was decided to remove all the old overpainting and bring the composition back to life by judicious and specialised restoration of the losses. 

Rupert Featherstone, Director of the Hamilton Kerr Institute explained, ‘We have researched and unravelled the entire history of the painting, uncovering the original, from layers and layers of overpaint and varnish. Then we painstakingly reconstructed the missing areas, to faithfully recreate Sebastiano’s painting.’ 

In order to understand the artist’s technique, a microscopic particle of paint, smaller than the head of a pin, was taken from the Virgin’s blue robe and analysed under a microscope during research. Examination of the paint cross-section demonstrated Sebastiano’s sophisticated system of layering with an application of pink paint beneath the blue, as well as his use of superior and expensive pigments, such as ultramarine blue. This and other forms of state-of-the-art analysis greatly helped to reconstruct the missing areas. Close study of an early full-size copy of Sebastiano’s original painting from The Louvre, Paris, made sometime in the late sixteenth or early seventeenth century, before Sebastiano’s painting was transferred from wood to canvas, was important in reconstructing areas of significant paint loss. 

Rupert Featherstone added, ‘We have conserved over 3,000 pictures in the last forty years at the HKI, but the Sebastiano is one of our biggest projects. Some might have argued to leave the painting as an archaeological relic, but I think we have made the right judgement to restore it so it can be appreciated as the masterpiece it is, aesthetically and historically. The scientific research that was conducted to aid our understanding of the technique of the artist has been key in being able to recreate it.’ 

Sebastiano del Piombo spent his early years in Venice where he learnt the art of painting under Giovanni Bellini (c.1431-1516) and then Giorgione (1477-1510). At the invitation of the prominent patron and Sienese banker Agostino Chigi (1466-1520), Sebastiano moved to Rome in 1511, just as Michelangelo (1475-1564) unveiled the first part of his decoration of the Sistine Chapel ceiling. Michelangelo and Sebastiano developed a close friendship, sharing drawings, ideas and designs. 

The Adoration of the Shepherds was painted soon after Sebastiano moved to Rome, and demonstrates the influence of Giorgione’s The Adoration of the Shepherds (1505/10, National Gallery of Art, Washington) in its overall composition and Venetian colouring but with a sense of Roman form gained from Michelangelo. 

The picture was considered to be by Giorgione when the founder of the Fitzwilliam, Lord Fitzwilliam, bought it after the French Revolution in 1800 at the sale in London of the Duc de Orléans’ collection. In 1913, it was attributed to Sebastiano on the basis of the fusion of elements characteristic of the Roman school – such as the monumental figures – and others more closely associated with Venetian painting, notably the rich colours and lyrical landscape background. 

The Hamilton Kerr Institute is one of the world’s leading centres for teaching and research into the conservation of easel paintings and historical painting techniques and materials. As a department of the Fitzwilliam Museum the Institute has undertaken the conservation of paintings in its collections since its foundation forty years ago, and it also takes on conservation projects for other clients such as the Royal Collection and the National Trust. 

The riverside property was given to the University of Cambridge for the Fitzwilliam Museum by the late Sir Hamilton Kerr (1903-74), previously the MP for Cambridge. The conservation of the painting has been partly funded by the Fitzwilliam Museum’s Marlay Group.

Sebastiano del Piombo’s painting was first damaged after a haphazard transfer from wood to canvas in the 1700s. © The Fitzwilliam Museum.

Lot 552. Very important pair of 12.29 carats and 13.09 carats Kashmir sapphire and diamond ear clips, Cusi. Estimate 400,000 — 600,000 CHF. Lot sold 1,482,500 CHF. Photo: Sotheby's 2012

Each centring on a cushion-shaped sapphire weighing 12.29 carats and 13.09 carats respectively, framed by marquise-shaped diamonds, suspending three pear-shaped stones, Italian assay marks.

Accompanied by SSEF report no. 64245 and Gübelin report no. 12080094 / 1 and 2, stating that the sapphires are of Kashmir origin, with no indications of heating.

Sotheby's. Magnificent Jewels, Geneva, 14 Nov 2012

Lot 548. Sapphire and 8.53 carats D Colour, VS1 Clarity diamond ring, Cusi. Estimate 150,000 — 250,000 CHF. Lot sold 1,482,500 CHF. Photo: Sotheby's 2012

Of crossover design, set with a pear-shaped sapphire and a pear-shaped diamond weighing 8.53 carats, the mount highlighted with baguette diamonds, size 48, signed Cusi, French assay and maker's marks.

Accompanied by GIA report no. 2145866795, stating that the diamond is D Colour, VS1 Clarity.

Sotheby's. Magnificent Jewels, Geneva, 14 Nov 2012

Lot 535. 'Royal Blue' Burmese sapphire and diamond bracelet, Cusi. Estimate 100,000 — 150,000 CHF. Lot sold 278,500 CHF. Photo: Sotheby's 2012

Designed as a series of graduated oval sapphires alternating with oval diamonds, length approximately 182mm, Italian assay mark.

Accompanied by Gübelin reports for the central four sapphires: no. 12070080 and no. 12070077, stating that two of the sapphires are of Burmese origin, with no indications of heating; report no. 12070079, stating that the sapphire is of natural origin, 'Royal Blue' colour, with no indications of heating; and no. 12070078, stating that the sapphire is of natural origin, with no indications of heating.

Sotheby's. Magnificent Jewels, Geneva, 14 Nov 2012

Limosin Léonard (vers 1505-1575), Oreste, vers 1540, Limoges, émail peint. Hauteur : 0.31 m, Largeur : 0.245 m. Inv46-1-96. Blois, château, musée des Beaux-Arts. Photo © RMN-Grand Palais / Gérard Blot

Limosin Léonard (vers 1505-1575), Déjanire, vers 1505-1575, Limoges, émail peint. Hauteur : 0.309 m, Largeur : 0.248 m. ECL2196. Ecouen, musée national de la Renaissance. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / Stéphane Maréchalle

Limosin Léonard (vers 1505-1575), Pâris, vers 1540, Limoges, émail peint. Hauteur : 0.315 m, Largeur : 0.25 m. Collection Pierre Bergé. EC1897. Ecouen, musée national de la Renaissance. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / Stéphane Maréchalle

Lot 544. Impressive Burmese sapphire and diamond brooch. Estimate 200,000 — 300,000 CHF. Lot sold 1,082,500 CHF. Photo: Sotheby's 2012

Set with a cabochon sapphire within a frame of pear- and marquise-shaped diamonds.

Accompanied by Gübelin report no. 12070075, stating that the sapphire is of Burmese origin, with no indications of heating.

Sotheby's. Magnificent Jewels, Geneva, 14 Nov 2012

Lot 530. Fine 14.19 carats Kashmir sapphire and diamond ring, Koenig Design. Estimate 300,000 — 500,000 CHF. Lot sold 914,500 CHF. Photo: Sotheby's 2012

Set at the centre with a sugarloaf cabochon sapphire weighing 14.19 carats, to an open work mount pavé-set throughout with brilliant-cut diamonds, size 53, signed Koenig, fitted case.

Accompanied by SSEF report no. 64324 and Gübelin report no. 12090118, each stating that the sapphire is of Kashmir origin, with no indications of heating.

Note: König Design Inc. was founded in 1985 by Ewald König. Now in its second generation, the company is led by his son Roger, a skilled craftsman and designer. All of the jewellery and art objects are manufactured exclusively in the company’s workshop in St. Moritz. The brand 'Koenig of St. Moritz' was established by father and son in 2009.

Sotheby's. Magnificent Jewels, Geneva, 14 Nov 2012

Lot 237. 14.11 carats Kashmir sapphire and diamond ring, Bulgari. Estimate 140,000 — 190,000 CHF. Lot sold 722,500 CHF. Photo: Sotheby's 2012

The sugar loaf cabochon sapphire weighing 14.11 carats, set between baguette diamond shoulders, size 50, signed Bulgari.

Accompanied by SSEF report no. 65369, stating that the sapphire is of Kashmir origin, with no indications of heating. 

Sotheby's. Magnificent Jewels, Geneva, 14 Nov 2012

Lot 522. Important sapphire and diamond necklace and a pair of sapphire and diamond ear clips, Bulgari, circa 1965. Estimate 375,000 — 650,000 CHF. Lot sold 482,500 CHF. Photo: Sotheby's 2012

Literature: Cf: Amanda Triossi, Bulgari: 125 Years of Italian Magnificence, exhibition catalogue (Paris, Grand Palais), Milan, 2010, page 109.

Sotheby's. Magnificent Jewels, Geneva, 14 Nov 2012