Lot 266. A celadon-glazed slip-decorated 'bamboo' brushpot, Qing dynasty, Kangxi period (1662-1722). Estimate 6,000 — 8,000 USD. Photo Sotheby's

rpotted to resemble a bamboo stem, divided into four sections by raised dots delineating the nodal ridge, with leafy stems painted in white slip issuing from indented buds, some leaves tinted brown, the exterior and countersunk base covered with a celadon glaze, the interior and outside of the foot glazed white, wood stand (2) - Height 5 3/8  in., 13.6 cm

Provenance: E.T. Hall Collection, no. 398.
Offered Christie's London, 7th June 2004, lot 14.

Sotheby's. Important Chinese Art, New York, 13 sept. 2016, 10:30 AM

Lot 264. A yellow and blue Ming-style 'lotus bouquet' dish, Qianlong seal mark and period (1736-1795). Estimate 20,000 — 30,000 USD. Photo Sotheby's

the rounded sides rising from a short tapered foot to a slightly everted lipped rim, well-painted in underglaze cobalt blue against a bright yellow-enameled ground, the interior with a ribboned bouquet of lotus and other water plants, surrounded on the sides by a composite floral scroll, all below a classic scroll border at the rim, the exterior with a composite flower scroll between a band of keyfret and stylized scrollwork, the yellow-enameled base inscribed in underglaze blue with a six-character seal mark within a white square panel - Diameter 8 3/8  in., 21.3 cm

Provenance: Collection of T. Contella (1896-1996), Washington D.C., acquired in the 1930s.

Notes: First produced in blue and white during the Yongle period, 'lotus bouquet' dishes were made by the imperial kilns of subsequent reigns. The yellow and blue palette was also a Ming dynasty innovation first appearing during the famed Xuande period. The striking combination of the two came to fruition during the reign of the Yongzheng emperor and continued its popularity into the Qianlong period. A Qianlong period imperial dish of similar size and design from the Meiyintang Collection was sold in our Hong Kong rooms, 8th April 2013, lot 16.

Sotheby's. Important Chinese Art, New York, 13 sept. 2016, 10:30 AM

From Cartier and Van Cleef & Arpels to David Webb and beyond, the September 22nd sale of Important Jewels in New York is headlined by a vast selection of signed jewels from a variety of celebrated makers. Classic white diamonds, such as this 27.35 carat oval-shaped diamond, and colored stones are also on offer in this first sale of the fall auction season. Whether you are seeking bold gold looks for daytime or diamond-set dazzlers for the evening, the Important Jewels sale will ensure your fall gets off to a fashion-forward start.

Lot 192. Magnificent Platinum and 27.35 carats, D color, VS2 clarity Type IIa Diamond Ring. Estimate 2,000,000 — 2,500,000 USD. Photo: Sotheby's

Centering an oval-shaped diamond weighing 27.35 carats, size 6½.

Accompanied by GIA report no 5171479088 stating that the diamond is D color, VS2 clarity. Together with a letter from the GIA stating that the diamond has been determined to be Type IIa.

Lot 191. Platinum, Moonstone, Lapis Lazuli and Diamond Necklace, Tiffany & Co., Designed by Louis Comfort Tiffany, circa 1915. Estimate 20,000 — 30,000. Photo: Sotheby's

The drop-style necklace of slightly graduated design, composed of variously-shaped moonstone cabochons, each decorated with lapis lazuli segments, further set with round, old European and single-cut diamonds weighing approximately 2.90 carats, length 16 inches, signed Tiffany & Co.; circa 1915.

Lot 190. Platinum, Gold, Kashmir Sapphire and Diamond Ring, Tiffany & Co, circa 1905. Estimate 30,000 — 50,000. Photo: Sotheby's

Centering an oval-shaped sapphire measuring approximately 7.8 by 6.7 by 4.7 mm, within an openwork mounting of scrollwork design, set with old European and single-cut diamonds weighing approximately 1.15 carats, size 5½, signed Tiffany & Co.; circa 1905.

Accompanied by AGL report no. CS 1076323 stating that the sapphire is of Kashmir origin, with no indications of heating.

Lot 87. Platinum and Diamond Brooch, Van Cleef & Arpels, 1942. Estimate 50,000 — 70,000. Photo: Sotheby's

Designed as a curved bow set with numerous baguette, old mine, old European and single-cut diamonds weighing approximately 26.00 carats, signed Van Cleef & Arpels, numbered N.Y. 2051; fitted with pendant loop; 1942. With signed box. 

Lot 151. 18 Karat Gold, Molded Glass and Enamel Ring, René Lalique, France, circa 1900. Estimate 15,000 — 20,000. Photo: Sotheby's.

Designed as a greenish blue glass face of Medusa, with blue and green enamel scales applied to the snake, gross weight approximately 10 dwts, size 8, signed Lalique, with French maker's mark; circa 1900. 

Note: The Art Nouveau style of jewelry (1895-1910) adopted the use of curved or agitated lines, and usually depicted the more menacing or sensual sides of nature, like the tendril of a vine. René Lalique (1860-1945) established himself as one of the leading Art Nouveau designers. He worked as a freelance jeweler for firms like Boucheron and Maison Vever until he started his own eponymous business in 1887. Lalique had the ability to deftly manipulate gold to a sculptural effect. He admired the work of the French sculptor Auguste Rodin (1840-1917) whose pieces were dramatic and displayed a sense of movement.

Sarah Bernhardt (1844-1923), was a French actress and frequent patron of Lalique’s work. In 1894, she reprised her role as Theodora, the Empress of Byzantine. That same year, Lalique sketched her character with a headdress of twisted snakes poised to strike, reminiscent of Medusa. Although this design was never realized, it inspired a large bodice ornament created circa 1898 to 1899 composed of nine coiled snakes with their mouths rendered in blue, green and black enamel. A similar piece, with long strands of baroque pearls suspended from eight of the nine snake’s mouths, was shown at the 1900 Paris Exposition Universelle and at the Turin World’s Fair in 1902. The ring offered here features a blue glass portrait of Medusa framed by a curving snake, with textured gold scales accented by green and blue enamel. This ring references Lalique’s original sketch inspired by Theodora.

Lot 221. 18 Karat Gold, Platinum, Emerald, Colored Stone and Diamond Brooch, Bulgari, circa 1970. Estimate 40,000 — 60,000. Photo: Sotheby's.

Of floral design, centering one oval-shaped cabochon emerald measuring approximately 23.5 by 20.5 mm, the petals set with round and single-cut rubies and pink sapphires, accented by numerous round diamonds weighing approximately 13.95 carats, gross weight approximately 45 dwts, signed Bulgari; circa 1970.

Lot 137. Platinum, Gold, 30.71 carats, VS1 clarity Fancy Intense Yellow Diamond and Diamond Ring. Estimate 675,000 — 775,000 USD. Photo: Sotheby's.

Centering a cushion-cut Fancy Intense Yellow diamond weighing 30.71 carats, accented by round diamonds weighing approximately .80 carat, size 6¾.

Accompanied by GIA report no. 1176440395 stating that the diamond is Fancy Intense Yellow, Natural Color, VS1 clarity.

Lot 219. 24.72 carats Burmese Sapphire and Diamond Ring, Bulgari. Estimate 250,000 — 350,000 USD. Photo: Sotheby's.

Centering a cushion-cut sapphire weighing 24.72 carats, accented by pear-shaped diamonds weighing approximately 9.00 carats, mounted in gilt-platinum, size 3½, signed Bulgari. With signed box. 

Accompanied by AGL report no. CS 1074675 stating that the sapphire is of Classic Burmese origin, with no indications of heating.

Accompanied by Gübelin report no. 16075089 stating that the sapphire is of Burmese origin, with no indications of heating. Together with an Information Sheet on unheated sapphires. 

Lot 78. Two-Color Gold, 12.14 carats Colombian Emerald and Diamond Ring. Estimate 200,000 — 300,000 USD. Photo: Sotheby's

Centering an emerald-cut emerald weighing 12.14 carats, flanked by two trapeze-cut diamonds weighing approximately 2.40 carats, size 3¾.

Accompanied by AGL report no. CS 1075887 stating that the emerald is of Colombian origin, clarity enhancement: minor, type: traditional.

Lot 77. Platinum, 18 Karat Gold, 16.48 carats, VVS2 clarity Fancy Yellow Diamond and Diamond Ring. Estimate 180,000 — 220,000 USD. Photo: Sotheby's

Centering a cut-cornered rectangular modified brilliant-cut Fancy Yellow diamond weighing 16.48 carats, flanked by shield-cut diamonds weighing approximately 1.40 carats, size 5½.

Accompanied by GIA report no. 2171657447 stating that the diamond is Fancy Yellow, Natural Color, VVS2 clarity.

Lot 114. Pair of Platinum, Natural Pearl and Diamond Earclips. Estimate 150,000 — 200,000 USD. Photo: Sotheby's

upporting two drop-shaped natural pearls measuring approximately 14.9 by 12.5 mm and 14.5 by 11.8 mm, the surmounts topped by two old European-cut diamonds weighing approximately 3.60 carats, further set with baguette, old mine and single-cut diamonds weighing approximately 3.60 carats.

Accompanied by SSEF report no. 84090 stating that the pearls are natural, saltwater.

Lot 136. 18 Karat White Gold, Diamond and Onyx 'Serpenti' Wristwatch, Bulgari. Estimate 140,000 — 160,000 USD. Photo: Sotheby's

Designed as a coiled serpent, the mouth opening to reveal a watch dial, set with round diamonds weighing approximately 5.30 carats, the eyes set with onyx, quartz movement, gross weight approximately 165 dwts,internal circumference 5¼ inches, expandable, the dial and caseback signed Bulgari, the caseback numbered SPW4G and BT25, the bracelet signed Cmin, with Italian assay and registry marks. With signed box and papers. 

Lot 123. 18 Karat White Gold, Diamond and Lacquer Cuff-Bracelet, Cartier Paris, circa 1930. Estimate 65,000 — 185,000 USD. Photo: Sotheby's.

The angled design in the form of a highly stylized bow, centering a diamond-set s-shaped motif, the central column set with five old European-cut diamonds weighing approximately 5.90 carats, accented by smaller old European and old mine-cut diamonds weighing approximately 7.00 carats, internal circumference 6 inches, signed Cartier Paris, numbered 93838, with French assay and partial maker's marks; circa 1930. With signed, fitted and numbered box. 

Notes: With simplicity, straight lines, and geometry, the Art Deco era straightened Art Nouveau’s naturalistic curves. It highlighted the ascent of the skyscraper, the machine age, new trends in fashion, and exhibited a fascination with the exotic. At this time, lacquered works of art were very desirable. To capitalize on the fashion craze, Cartier created many small decorative objects accented with the finish such as lipstick holders and vases. By the 1930s, Cartier started using lacquer to fashion jewels such as rings, brooches, and bracelets, of which very few still exist.

By the mid-1930s, Cartier’s clients commissioned the firm to create jewels such as a white gold and black lacquer bracelet accompanied by a detachable diamond clip, featured on page 61 of Judy Rudoe’s Cartier: 1900-1939.  Using stones provided by the patron, Cartier also fashioned a pair of pyramid-shaped and diamond encrusted clip brooches affixed to a white metal and black lacquer band. Most likely, the original owner commissioned Cartier to refashion her antique diamonds into this one-of-a-kind lacquered piece of jewelry. The cuff-bracelet shown here is quite rare and comes with its custom-made fitted box.

Pieces of similar design are illustrated in Cartier: 1900-1939 by Judy Rudoe, pages 61 and 330.

Lot 117. Platinum, 7.66 carats Burmese Sapphire and Diamond Brooch, Harry Winston. Estimate 80,000 — 100,000 USD. Photo: Sotheby's

The stylized floral spray set with an emerald-cut sapphire weighing 7.66 carats, accented by baguette, tapered baguette and pear-shaped diamonds weighing approximately 11.25 carats, signed Winston.

Accompanied by Gübelin report no. 15105181 stating that the sapphire is of Burmese origin, with no indications of heating.

Lot 125. Platinum, 43.22 carats Ceylon Sugarloaf Cabochon Sapphire and Diamond Ring. Estimate 100,000 — 150,000 USD. Photo: Sotheby's.

Centering a cushion-cut sugarloaf cabochon sapphire weighing 43.22 carats, the mounting set with round diamonds weighing approximately 4.30 carats, size 5.

Accompanied by AGL report no. CS 1076215 stating that the sapphire is of Ceylon origin, with indications of heating.

Accompanied by GRS report no. GRS2014-028307 stating that the sapphire is of Ceylon origin, with indications of heating.

Lot 21. 18 Karat Gold, Sapphire, Diamond and Peridot Necklace, Bulgari. Estimate 150,000 — 200,000 USD. Photo: Sotheby's

Set with fourteen cushion-cut yellow and blue sapphires, spaced at intervals by four half cylinder-shaped blue sapphires, the sapphires weighing a total of 156.25 carats, joined by circular motifs set with buff-top calibré-cut peridots, further set with round diamonds weighing approximately 5.65 carats, gross weight approximately 138 dwts, internal circumference 14½ inches signed Bulgari, with maker's and Italian registry marks.

Accompanied by AGL report no. CS 1076058 stating that the fourteen sapphires are of Ceylon origin, eleven with no indications of heating, three with indications of heating.

Lot 218. 18 Karat Gold, Sapphire and Diamond Pendant-Necklace and Earclips, Van Cleef & Arpels. Estimate 150,000 — 200,000 USD. Photo: Sotheby's.

The detachable pendant-brooch centering a square cushion-cut yellow sapphire weighing 84.90 carats, accented by cushion-cut blue sapphires, further accented by round diamonds weighing approximately 7.45 carats, signed Van Cleef & Arpels, numbered N.Y. 37918; the necklace set with seven modified cushion-cut yellow sapphires weighing approximately 145.00 carats, accented by oval-shaped and cushion-cut blue sapphires weighing approximately 40.00 carats, further accented by round diamonds weighing approximately 33.50 carats, length 21 inches; with detachable segments measuring 3, 3 and 7 inches; the earclips set with two modified cushion-cut yellow sapphires weighing approximately 35.00 carats, suspended from two modified cushion-cut blue sapphires weighing approximately 4.00 carats, accented by round diamonds weighing approximately 8.70 carats, signed Van Cleef & Arpels, numbered NY 37918;pendants detachable. 

Accompanied by AGL report no. CS 1074676 stating that the 84.90 carat yellow sapphire is of Ceylon in origin, with no indications of heating.

Lot 40. Pair of Gold, Amethyst, Aquamarine and Ruby 'Lotus' Earclips, Suzanne Belperron, France. Estimate 15,000 — 20,000 USD. Photo Sotheby's.

Set with two pear-shaped amethysts weighing approximately 15.00 carats, accented by round aquamarines and rubies, with French assay and maker's marks for Darde et Fils; 1955-1969. 

Lot 140. Pair of 18 Karat Gold, Platinum, Diamond and Ruby 'Noeud' Earclips, Suzanne Belperron, France. Estimate 15,000 — 20,000 USD. Photo Sotheby's.

Of knot design, composed of old European and single-cut diamonds weighing approximately 3.00 carats, set with baguette rubies weighing approximately 2.90 carats, gross weight approximately 16 dwts, with French assay and workshop marks for Société Groëne & Darde; circa 1940.

Attributed to Francescuccio Ghissi, Acteus and Eugenius Implore St. John the Evangelist to Restore Their Wealth, circa 1370–80, tempera and gold leaf on panel, 13 3/4 x 15 in., Gift of the Samuel H. Kress Foundation.

Charlotte Caspers, after Francescuccio Ghissi, St. John the Evangelist Baptizing Aristodemus, 2014, tempera and gold leaf on panel, 13 15/16 x 15 3/16 in., North Carolina Museum of Art.

RALEIGH, NC.- Beginning September 10, 2016, the North Carolina Museum of Art presents Reunited: Francescuccio Ghissi’s St. John Altarpiece, the first time in more than 100 years that the altarpiece’s eight known panels—and one recreated missing panel—can be seen and appreciated as one magnificent work of art. The free exhibition will be on view through March 5, 2017. 

During the 19th or early 20th century, Ghissi’s St. John Altarpiece was dismantled and sawed apart, and its nine panels were sold separately to art dealers and collectors. Three panels are today in the NCMA’s collection (one panel shown below); one panel is in the Portland Art Museum’s collection; three are in the Metropolitan Museum of Art; and the central Crucifixion panel is at the Art Institute of Chicago. After more than a century of separation, the individual panels travel to the NCMA to be reunited in an exhibition that retells the story of this Renaissance masterwork. 

Because the ninth panel has never been found, the NCMA collaborated with Dutch conservation specialist Charlotte Caspers in taking the extraordinary step to re-create the missing panel using 14th-century materials and techniques. Over the course of several months, Caspers worked with NCMA Curator of European Art David Steel and NCMA Chief Conservator William Brown to determine the probable subject, composition, coloring, and other details; then she created the panel with the same pigments and gilding used by Ghissi 650 years ago. 

Once the panel was complete, Duke University mathematicians, led by Ingrid Daubechies, developed algorithms to digitally age Caspers’s work by matching crack patterns found in the eight original panels; a digital print of this virtually aged ninth panel will be installed with the original panels to complete the St. John Altarpiece. Using Caspers’s panel, the team at Duke calculated algorithms to guide them in digitally removing the crack patterns from the original altarpiece’s panels and used a color-mapping technique to approximate the original pigments—thus creating a version of the completed altarpiece as it would have looked in the 14th century. 

“It was a true collaboration between conservators, curators, and mathematicians,” says Steel. “Everyone learned from each other’s research, and it resulted in this fascinating exhibition that combines art history, mathematics, and technology.” 

In addition to the reunited altarpiece, the exhibition features several conservational, interactive, and educational elements, including: 

· A virtual recreation of the altarpiece showing how it might have appeared when it left the artist’s workshop circa 1370 

· A video documenting the creation of the missing panel 

· A display of pigments similar to those used in the Renaissance with their mineral, insect, and plant sources, as well as brushes and gilding tools 

· A video exploring the mathematical algorithmic processes Duke University researchers used to virtually age and revitalize the panels 

Walking through the gallery, visitors will be able to travel from the 21st century—studying the technology and mathematics used to virtually re-create the panel—back to the 14th century to see the reunited St. John Altarpiece as it originally appeared together with the materials and techniques used by the artist to create it.

Lot 323. A blue and white 'Lotus' dish, Kangxi mark and period (1662-1722). Estimate 5,000 — 7,000 USD. Photo Sotheby's

painted to the interior in rich cobalt-blue tones with three lotus blossoms borne on dense curling foliate stems, all below a band of lotus scrolls around the rim, the underside with a continuous band of scrolling lotus blooms, the base with a six-character mark in underglaze blue within a double circle. Diameter 6 3/8  in., 16.1 cm

Provenance: Beijing collector, acquired in the 1940s.
Gifted to a Canadian missionary family, China, 1970s and thence by descent.

Sotheby's. Important Chinese Art, New York, 13 sept. 2016, 10:30 AM

Lot 324. A blue and white 'Lotus' dish, Kangxi mark and period (1662-1722). Estimate 5,000 — 7,000 USD. Photo Sotheby's

the shallow rounded sides rising to a lipped rim, painted to the interior with a medallion of three stylized lotus heads issuing from scrolling leafy stems and a demi-florette scroll border to the rim, the exterior similarly decorated, the base with a six-character mark in underglaze blue. Diameter 6 in., 15.4 cm

Provenance: Beijing collector, acquired in the 1940s.
Gifted to a Canadian missionary family, China, 1970s and thence by descent.

Sotheby's. Important Chinese Art, New York, 13 sept. 2016, 10:30 AM

Lot 325. A blue and white 'Lotus' dish, Tongzhi mark and period (1861-1875). Estimate 2,000 — 3,000 USD. Photo Sotheby's

the interior painted with three lotus blossoms borne on  undulating stems issuing further blooms and twisting leaves all below a band of demi-flowerheads interspersed with foliate motifs around the lipped rim, repeated around the underside, the base with a six-character mark in underglaze blue. Diameter 6 3/8  in., 16.2 cm

Provenance: Beijing collector, acquired in the 1940s.
Gifted to a Canadian missionary family, China, 1970s and thence by descent.

Sotheby's. Important Chinese Art, New York, 13 sept. 2016, 10:30 AM

Lot 326. A blue and white 'dragon' dish, Guangxu mark and period (1875-1908). Estimate 2,000 — 3,000 USD. Photo Sotheby's

the shallow rounded sides rising from a short tapered foot to a flared rim, painted to the interior with a five-clawed dragon writhing among flame wisps in pursuit of a 'flaming pearl', the exterior similarly decorated with two striding dragons, the base with a six-character mark in underglaze blue. Diameter 6 in., 15.1 cm

Provenance: Beijing collector, acquired in the 1940s.
Gifted to a Canadian missionary family, China, 1970s and thence by descent.

Sotheby's. Important Chinese Art, New York, 13 sept. 2016, 10:30 AM

Lot 2209. Natural pearl necklace, ca. 1900. Estimate CHF 100 000 / 150 000 (€ 92 590 / 138 890). Photo Koller

Clasp platinum, total 59g. Three graduated strands with 245 slightly cream-coloured and cream-coloured natural pearls of 4 to 8,3 mm Ø, joined by an oval clasp set with 2 circular-cut diamonds totalling ca. 1.30 ct. L ca. 42 cm.

With SSEF-Report no. 84093, February 2016.

Koller.  Joaillerie - mardi 20 septembre 2016, 14:00

Lot 2252. Emerald and diamond sautoir, by Suzanne Belperron, ca. 1960. Estimate CHF 85 000 / 120 000 (€ 78 700 / 111 110). Photo Koller

Platinum 950 and white gold 750, total 131g. Comprising three rows of graduated, fine, baroque emerald beads, spaced by 17 diamond-set boules totalling ca. 4.00 ct. Clasp set with 85 brilliant-cut diamonds of ca. 5.00 ct, makers mark "DF" for Darde et Fils. L ca. 63,5 cm.

Koller.  Joaillerie - mardi 20 septembre 2016, 14:00

Lot 2190. Natural pearl and diamond necklace, about 1900. Estimate CHF 70 000/100 000 (€ 64,810 / 92,590). Photo Koller

Silver yellow gold, total 59g. Apartes Collier, showcases 29 bouton-shaped, round and slightly oval, gray natural pearls in the course, of approximately 5.6 to 9.5 mm Ø, or diamond-set intermediate parts. On the face side 5 different sizes Pendentifs, with diamond-attach it and 1 drop-shaped natural pearl of 10 x 7 to 16 x 11 mm. Total weight of the 67 old cut diamonds around 6:00 ct. L 43 cm. 

With GCS Report no. 5776-4632, February 2016

Koller.  Joaillerie - mardi 20 septembre 2016, 14:00

Lot 1703. Pair of lidded vases, Delft, 2nd half of the 18th century. Estimate: CHF3,000 - CHF5,000. Photo Koller

Faience, painted in blue and green in the Oriental style, with peonies, scrolls and birds. Both covers have lion finials. No mark.
H 38.5 cm. Edge of the cover restored. (2)

Provenance: - Lempertz Cologne, 11. December 1990, Lot 1294. - Schmitz-Eichhoff Collection, Cologne.

Literature: Köllmann/Reineking/Schmitz-Eichhoff, Sammlung Europäischer Fayencen des 17. bis 19. Jahrhunderts, Cologne 1991, No. 68.

Exhibition: Museum für Angewandte Kunst (MAK) Köln, „Fayence aus Europa, Kölner Sammler stellen aus“, 9 May - 11 July 1999. Accompanying booklet, illustration on page 13.

Faience Col. Schmitz-Eichhoff by Koller Auctions, September 19, 2016, 1:30 PM CET

Lot 1709. Wall cistern, Delft, signed Gerard Kamm, 2nd half of the 18th century. Estimate: CHF3,000 - CHF5,000. Photo Koller

Faiece, painted blue depicting a bucolic scene. Marked GK in blue. H 40 cm (cover 13 cm). Cover associated and edge of the vessel restored.

Provenance: - Art Dealer, Holland, ca. 1965. - Schmitz-Eichhoff Collection, Cologne.

Literature: Köllmann/Reineking/Schmitz-Eichhoff, Sammlung Europäischer Fayencen des 17. bis 19. Jahrhunderts, Cologne 1991, No. 61a.

Exhibition: Museum für Angewandte Kunst (MAK) Köln, „Fayence aus Europa, Kölner Sammler stellen aus“, 9 May - 11 July 1999.

Faience Col. Schmitz-Eichhoff by Koller Auctions, September 19, 2016, 1:30 PM CET

Lot 1711. Tulip vase with obelisk, probably Delft, De dubbelde Schenkkan, Lambertus van Eenhorn, late 17th century. Estimate: CHF3,000 - CHF5,000. Photo Koller

Faience, glazed white and painted in blue. Two-part structure, obelisk with 8 small nozzles and mascaron on the front and back, mounted on a vase with lizard handles and 10 nozzles. Mark VE ligated, 2 and 3 in blue. H 32 cm. Restorations on the edges, lizard heads and 1 mascaron.

Provenance: - Schmitz-Eichhoff Collection, Cologne. Literature: M.-T. Schmitz-Eichhoff, Sammlung Europäischer Fayencen des 17. bis 19. Jahrhunderts Addendum, Cologne 1999, No. 254.

Exhibition: Museum für Angewandte Kunst (MAK) Köln, „Fayence aus Europa, Kölner Sammler stellen aus“, 9 May - 11 July 1999.

Faience Col. Schmitz-Eichhoff by Koller Auctions, September 19, 2016, 1:30 PM CET

Zhang Daqian (1899 – 1983), Spring Clouds Amidst Autumn Landscape, 1948. Photo Sotheby's.

HONG KONG.- Sotheby's Hong Kong will present a sale of Fine Chinese Paintings on 4 October 2016 during this year’s Autumn Sale Series at Hall 3 of the Hong Kong Convention and Exhibition Centre, offering around 300 works by celebrated artists and calligraphers. Highlights include neverbeen-seen masterpieces by Fu Baoshi from a European collection, a rich array of paintings, calligraphy and seal impressions previously in the M K Lau Collection, as well as an assemblage of works by 20th-century artists from the Cheng Xin Xuan Collection. The sale is estimated at a total close to HK$190 million / US$24 million*.

C.K. Cheung, Head of Chinese Paintings Department, Sotheby’s, said, ‘This season, we are delighted to once again assemble important and fresh-to-the-market works for our discerning clients, leveraging Sotheby’s unparalleled global network and trusting relationship with collectors. The sale will see historically significant masterpieces – many from major private collections – by distinguished modern Chinese painters and calligraphers, among them include the market debut of masterworks by Fu Baoshi from a European collector, as well as a blue-and-green gongbi brushwork landscape painting, Spring Clouds Amidst Autumn Landscape, by the legendary Zhang Daqian. 

Another notable highlight is the first ever presentation of seal impressions at Sotheby’s Hong Kong’s Fine Chinese Paintings auction. The opportunity to present a complete picture of Chinese art with a sale that encompasses Chinese calligraphy, Chinese paintings and seals, together in one place, is truly one not to miss!"

Sale Highlights

Zhang Daqian (1899 – 1983), Spring Clouds Amidst Autumn Landscape, 1948. Ink and colour on paper, framed, 138.5 x 61cm. Est. HK$30 – 50 million / US$3.8 – 6.4 million. Photo Sotheby's.

Spring Clouds Amidst Autumn Landscape is a birthday gift from Zhang Daqian to his confidant, Li Qiujun. Zhang and Li’s brother were best friends, and later developed a very close rapport with the rest of his siblings.

During Zhang’s travel to Sichuan’s Mount Qincheng, he painted eight landscapes using the mountainscape as his subject matter. In celebrating Li’s birthday, Zhang travelled to her hometown in Shanghai and gifted her with this Gongbi brushwork landscape painting.

Masterpieces by Fu Baoshi from a European Collection

Fu Baoshi (1904 – 1965), Warriors on the Night March, 1945. Ink and colour on paper, hanging scroll, 106.2 x 60.7 cm. Est. HK$15 – 20 million / US$1.9 – 2.5 million. Photo Sotheby's.

Making its auction debut this October, Fu Baoshi’s Warriors on the Night March was a work dedicated to the father of French-Vietnamese collector Doan (1914 – 1978), and have been kept in a private European collection ever since. Doan was tracing the path of his ancestry and roots in China, and commissioned Fu to use a piece of history related to his Chinese last name as the key context of this painting. 

Deviating away from the artist’s usual subject matter, Fu drew inspiration and reference from Book of the Later Han, one of the official works documenting the history of the Han Dynasty. He vividly portrayed warriors marching in the night, with their heads solemnly bowed in solidarity. In this work, the artist brilliantly addresses the common issues of traditional Chinese paintings – such as the lack of perspective and distance as well as the relationship between light and shadow – by adding lighter shades and tones to depict an empty space and the moonlight. Fu employs a modern approach through traditional ink medium to express both simplified and intense brushstrokes. Finely detailed, deeply evocative, Warriors on the Night March is a masterful depiction of a 20th-century war scene.

Works by 20th Century Artists from the Cheng Xin Xuan Collection

Jiang Zhaohe (1904 – 1986), Old Women, 1938. Ink and colour on paper, hanging scroll, 116 x 53cm. Est. HK$1.8 – 2.5 million / US$230,000 – 320,000. Photo Sotheby's.

Old Women is created by Jiang Zhaohe during the late 1930s which demonstrates traces of realism by portraying the daily lives of the lowest stratum of social class living in Beijing.

Based in Beijing during and following the Second Sino-Japanese War, Jiang Zhaohe was a teacher at Jinghua College of Fine Arts and painted numerous works depicting war-era devastation. Merging Eastern and Western painting techniques, Old Women portrays a homeless, elderly Manchu woman in ragged clothing, evoking the artist’s compassion for those left in the wake of conflict. The work’s title is translated in Chinese as Fate of the Manchu, referring to the plight of the Manchus following their fall from power after the Qing dynasty.

Calligraphy and Seal Impressions Previously in the M K Lau Collection

Xu Beihong (1895–1953), Seal Impressions of Xu Beihong (partial), 1939, Album. Each album: 21 x 15.2 cm. Est. HK$250,000 – 350,000 / US$32,000 – 45,000. Photo Sotheby's.

In September 1939, Xu Beihong organised an exhibition in Singapore and stayed with Huang Mangshi during his time there. Huang created two sets of impressions from the seals that Xu used often, and the album on offer at this Autumn Sale is one of the two. The album contains a total of 83 seal impressions, each with an annotation written by Xu to explain whether the seal was for his own use or created for someone else. The seals themselves were crafted by a total of 17 individuals, including seal masters such as Chen Shizeng, as well as Xu’s close friends – Qi Baishi, Yang Zhongzi and Chen Zifen.

Calligraphy and Seal Impressions Previously in the M K Lau Collection

Qi Baishi (1864 –1957), Book of Seal Impressions. A Set of three albums (partial). Each album: 19.5 x 13 cm. Est. HK$120,000 – 18,000 / US$15,000 – 23,000. Photo Sotheby's.

A gift from Qi Baishi to his wife, Hu Baozhu, the seals impressed in this set of three albums were all crafted by Qi Baishi, with an annotation on each album. Majority of the seals documented here were carved by Qi for other people, including families and friends, as well as government officials, scholars and painters such as Ma Lian and Takeuchi Seihō. This important collection illustrates Qi’s extensive network and relationships with influential figures from all walks of life.

Lot 1706. Tulip vase with scrolled handles, Delft, ca. 1700. Estimate: CHF2,500 - CHF3,500. Photo Koller Auctions.

Faience, white glazed and painted in blue, contoured in black, in the Oriental Wanli style. Lateral scrolled handles and 5 nozzles. Marked HC and S K in B in black. H 21 cm. Restorations on the edge.

Provenance: - Schmitz-Eichhoff Collection, Cologne.

Literature: Köllmann/Reineking/Schmitz-Eichhoff, Sammlung Europäischer Fayencen des 17. bis 19. Jahrhunderts, Cologne 1991, No. 67.

Exhibition: Museum für Angewandte Kunst (MAK) Köln, „Fayence aus Europa, Kölner Sammler stellen aus“, 9 May - 11 July 1999.

Faience Col. Schmitz-Eichhoff by Koller Auctions, September 19, 2016, 1:30 PM CET

Lot 1704. Two bowls with chinoiserie decoration from a rijsttafel, Delft, de Griekse A, early 18th century. Estimate: CHF2,000 - CHF3,000. Photo Koller Auctions.

Faience, glazed white and painted in blue. Mark 5/R and 7/R in blue. D 23 cm, 29 cm. 1 bowl is glued.

Provenance: - Westphalian private collection. - Lempertz Cologne, 18 November 2005. - Schmitz-Eichhoff Collection, Cologne.

Literature: M.-T. Schmitz-Eichhoff, Sammlung Europäischer Fayencen des 17. bis 19. Jahrhunderts, Köln 1991 Addendum II, Cologne 2006, No. 283.

Faience Col. Schmitz-Eichhoff by Koller Auctions, September 19, 2016, 1:30 PM CET

Lot 1710. Water basin of a wall cistern, Delft, ca. 1700. Estimate: CHF2,000 - CHF3,000. Photo Koller Auctions.

Faience, painted blue, depicting mythological scenes and park landscapes. The front with a mascaron and a round spout. On five spherical feet. Mark VE ligated and 8, 2 in blue. 27.5 x 27 x 16 cm. Bottom restored, hairline crack in the upper edge.

Provenance: - Kunsthandel Stodel, Amsterdam, ca. 1976. - Schmitz-Eichhoff Collection, Cologne.

Literature: Köllmann/Reineking/Schmitz-Eichhoff, Sammlung Europäischer Fayencen des 17. bis 19. Jahrhunderts, Cologne 1991, No. 61b.

Exhibition: Museum für Angewandte Kunst (MAK) Köln, „Fayence aus Europa, Kölner Sammler stellen aus“, 9 May - 11 July 1999.

Faience Col. Schmitz-Eichhoff by Koller Auctions, September 19, 2016, 1:30 PM CET

Five Chinese belt buckles, Warring States period (475-221 BC). Photo Gianguan Auctions. 

NEW YORK, NY.- Men’s fashion has been hooked on the belt ever since warriors tucked weapons into bronze girdles and Chinese emperors elevated elaborate garment hooks to status symbols. 

While today’s luxury item is the $550,000.00 Swiss-made white gold, titanium and diamond buckle, it is not as distinctive as the Fifth Century gilt bronze and jade diagou models coming to auction at Gianguan Auctions in New York on September 17th — just in time for Fashion Week lovers to snag one. 

From the collection of a California gentleman, the ten ancient buckles were made during China’s Warring States period (411-420 AD ), when the kingdoms of Wei and Jin battled with the Zhou and other states for control of the country. At the time, only the royal elite could afford to wrap themselves in luxurious embroidered silk robes fastened with textured sashes secured by artisanal buckles of gold, silver, jade, turquoise and coral. 

The collection at Gianguan Auctions is the stuff of designers’ inspiration. The buckles are in the form of dragons, tigers, birds and exotic and mythical qilin. All are symbols intended to bring the wearer good luck, good fortune, longevity and prosperity, proving, that man’s basics desires have not changed in thousands of years. As often as not, these belt buckles accompanied the well-dressed to the grave, along with a servant and horse, to help the noble establish his status in the underworld. 

To accommodate the bespoke crowd that will have no trouble adding the word diagou to a lexicon that embraces the unique, Gianguan Auctions opens its preview on Friday, September 7th at 10:00 a.m., the day before the official start of Fashion Week. The belt buckles will be on display through Friday, September 16th. 

Listed individually in the Gianguan Auctions catalog, the collection begins at Lot 140 and continues through Lot 155 and are conservatively valued at $2,000 to $3,000. Buyers need look no further than the Metropolitan Museum of Art’s collection of ancient Chinese belt buckles for references to the ancient fashion statements. Gianguan Auctions substantiates age and provenance. 

The Chinese belt buckles come to the podium on Saturday, September 17. Bidding is live in the gallery, by absentee ballot or online at invaluable.com

Lot 140. Gilt Bronze Mask Garment Hook, Daigou, Warring States period (475-221 BC). Estimate: $2,000 - $3,000. Photo Gianguan Auctions.

Plow-shaped, reticulated relief cast with mask in the center adorned with turquoise and agate inlaid. The elongated shaft tapering to a qilin head. Dimensions: Length: 6⅜ in (16.2 cm). Weight: 213 g. 

Lot 141. Gold and Silver inlaid-bronze Tiger with Snake Head Garment Hook, Daigou, Warring States period (475-221 BC). Estimate: $2,000 - $3,000. Photo Gianguan Auctions.

Finely cast, the curved shaft adorned with a writhing mythical beast with the body of a tiger, its musculature expertly rendered and gracefully incised with geometric patterns and a pair of Jade horn, the elongated shaft tapering to a snake head hook, the reverse set with a raised circular knob with geometric design. Dimensions: Length: 5½ in (14 cm). Weight: 208 g

Lot 144. A Gilt-Bronze Mask Garment Hook, Daigou, Warring States period (475-221 BC). Estimate: $4,000 - $5,000. Photo Gianguan Auctions. 

Of extraordinarily large size and superbly cast in relief as a mythical beast with feline features, a tapering dragon-headed hook rising from the top of its head, the concave underside with a circular button. Dimensions: Length: 8⅞ in (22.5 cm). Weight: 830 g

Lot 145. Gold and Silver inlaid-bronze Mythical Beasts Garment Hook, Daigou, Warring States period (475-221 BC). Estimate: $2,000 - $3,000. Photo Gianguan Auctions.

The complex and highly decorative inlay pattern of a mythical beast tapering to a Bird headed hook, the concave underside with a circular button decorated with silver scrolls. Dimensions: Length: 5 in (12.7 cm). Weight: 134 g

Lot 147. Gold and Silver inlaid-bronze Mythical Beasts Qilin Head Garment Hook, Daigou, Warring States period (475-221 BC). Estimate: $3,000 - $4,000. Photo Gianguan Auctions.

The contours of the recumbent beast highlighted with intricate geometric patterns in gold and silver inlay, with a qilin head extending from its mouth as the hook. The reverse cast with a round knob and Dense traces of encrustation. Dimensions: Length: 6⅝ in (16.8 cm). Weight: 316 g.

Lot 148. A Gilt Bronze Kui Dragon Garment Hook, Daigou, Warring States period (475-221 BC). Estimate: $3,000 - $4,000. Photo Gianguan Auctions.

Relief cast in the form of a double Kui dragons adorned with turquoise and agate, the reverse with a circular button for fastening, the terminal cast as a qilin head. Dimensions: Length: 6 in (15.2 cm). Weight: 161 g.

Lot 152. A Rare Gilt Bronze Tiger Garment Hook, Daigou, Warring States period (475-221 BC). Estimate: $3,000 - $4,000. Photo Gianguan Auctions.

The hook superbly cast as a tiger striding on clawed feet, its mouth agape, revealing fearsome teeth, the tail extended and terminating in a dragon head, the contours further highlighted with turquoise agate set flush with the bronze, the reverse cast with a round knob inlaid same. Dimensions: Length: 8¾ in (22.2 cm). Weight: 287 g.

Lot 155. Gilt Silver Inlaid with Jade Bronze Garment Hook, Daigou, Warring States period (475-221 BC). Estimate: $3,000 - $4,000. Photo Gianguan Auctions.

The ‘S’-curved body surmounted by a small phoenix head gracefully curving to a widening contours highlighted with intricate phoenix-zoomorphic patterns in gold and silver inlay set between three jade cabochons, the reverse cast with a round knob. Scattered traces encrustation found in dense patches on the reverse. Dimensions: Length: 8 in (20.3 cm). Weight: 277 g.

PHILADELPHIA, PA.- Freeman's will kick off its fall auction season with Asian Arts on September 10. Boasting an eclectic assemblage of Chinese and East Asian art ranging from China’s bronze age into the 21st century, this sale coincides with Asia Week New York, which starts on September 9. Featured in the auction are a rare Imperial Chinese hunting knife with enameled gold and silver sheath of the Qianlong period, an important Chinese hardstone-embellished huanghuali seal chest, and a rare Chinese cloisonné enamel square form censer and cover bearing the Jingtai six character mark. 

Lot 86 is a rare Imperial Chinese hunting knife, crafted for use as part of the imperial courtly costume. Such knives were a symbol of Manchu ruggedness and self-reliance, added to formal regalia to set themselves apart from their Ming predecessors, who did not cut their own meat. The hunting knife embodied the independent spirit of the Manchu a throwback to their nomadic past. Even the women of the court carried such knives. Few knives of this type have appeared at auction, in fact Asian Arts department head Richard Cervantes remarks that that the example going up for auction on September 10 is the most formal in style he has ever seen offered. It a particularly rare configuration among known Qianlong Imperial hunting knives in that the sheath tapers to a point and the handle is composed of two materials -vibrant blue lapis lazuli and a "hidden" section of white jade only revealed when the knife is unsheathed. It is estimated at $20,000-40,000. 

Lot 86. A rare Imperial Chinese hunting knife with enameled gold and silver sheath, Qianlong four character mark and of the period (1736-1795). Estimate $20,000-40,000. Photo Freeman's

the two-part handle contstructed of lapis lazuli and pure white nephrite capped with a bead inset gold band, the gilded steel blade inset to spine with gold wire Qianlong Nianzhi mark, the unusual tapering sheath decorated with a shaped band of blue enameled repoussé silver between sections of beaded and enameled gold filigree, the tip of the sheath decorated with gilt copper lotus bud. Overall L: 12 1/4 in., 31 cm 

Provenance: Property of a Pennsylvania Gentleman 
Acquired by American world traveler and collector in early 20th century, thence by descent 

Note: Few Imperial hunting knives of the Qing Dynasty bearing four-character reign marks have appeared at auction within the past ten years. A marked Qianlong hunting knife with carved rhinoceros horn sheath and antelope horn handle was sold as Lot 1817 from Sotheby's Hong Kong 's October 8, 2009 auction of imperial artworks from the celebrated Water, Pine and Stone Retreat. The next year, Sotheby's Hong Kong's April 8 auction of Fine Chinese Ceramics and Works of Art featured Lot 1810, a marked Qianlong hunting knife with horn handle and a gold and turquoise sheath. Freeman's Lot 86 appears a particularly rare configuration among known Qianlong Imperial hunting knives in that the sheath tapers to a point and the handle is composed of two materials -vibrant blue lapis lazuli and a "hidden" section of white jade only revealed when the knife is unsheathed. A single knife of similar form with a jade handle and tapering sheath terminating in a gilt bronze lotus bud is part of the Metropolitan Museum of Art's permanent collection, a gift of Heber R. Bishop, 1902 (accession number 02.18.736a, b). 

Such knives were a symbol of Manchu ruggedness and self-reliance. Whereas the aforementioned knives composed largely of organic materials evoke rustic survival, though, our Lot 86 speaks more of formality within Qianlong's court. Its lapis, jade, jewel, gold, silver, steel, bronze and enamel makeup indicate strict ceremonial use.

Inlaid chests like Lot 12, estimated at $150,000 to 250,000 and pictured left, are rarely seen at auction. Because of the glue used to hold the shell and hardstone embellishments to the wood, many pieces of this style lose their decoration over time. To have one largely intact after hundreds of years is extraordinary. Even more remarkable is the chest's provenance. Formerly of the Harry Lawrence Collection, this hardstone-embellished huanghuali seal chest was purchased from the Seaholm Collection, and reputedly acquired from Puyi, The Xuantong Emperor, while ruler of Manchukuo (circa 1935-1945). Puyi (also known as the Last Emperor of China) was believed to have often made such sales of imperial treasures to Western collectors during this time period. In need of money, the puppet emperor used his access to the court's stores of such rare and beautiful items to as a source of income. 

Lot 12. An important Chinese hardstone-embellished huanghuali seal chest, guanpixiang, Qing dynasty. Estimate $150,000-250,000. Photo Freeman's

large and of traditional square form, the top inset with shell and hardstones to show three noblemen hunting geese through rocky terrain, similarly decorated to front panels and sides with immortals and peonies, five interior drawers and with carved base. H: 15 3/4 in., 40 cm

Provenance: Formerly of the Harry Lawrence Collection, Laguna Beach, California, purchased from the Seaholm Collection, San Diego, California, reputedly acquired from Puyi, The Xuantong Emperor, while ruler of Manchukuo (circa 1935-1945) 

Another pieces featured in Freeman's Asian Arts auction is Lot 80, a fine, complete and exceptionally rare cloisonné and gilt bronze square-form censer, estimated at $10,000-15,000. The applied cloisonné enamel to the walls, handles and legs demonstrate the traditional Ming style, incorporating vividly-colored archaistic motifs against the indispensable “Jingtailan” blue ground, pictured left. On the censer’s base is seen a six-character "Da Ming Jingtai Nian Zhi” reign mark, “Made in the period of the Great Ming (Emperor) Jingtai." This particular censer is extraordinary due to its remarkable condition. Despite one minor flaw, the piece remains largely intact. This is a rare find due to the delicacy of the censer's design, the intricacy of the enamel work, and age. The form, condition, and design make Lot 80 an outstanding example of China's golden age of cloisonné. 

Lot 80. A fine and rare Chinese cloisonné enamel square form censer and cover, fangding, Jingtai six character mark, 16th-17th century. Estimate $150,000-250,000. Photo Freeman's

of archaistic form, the rectangular-sectioned body brightly enamelled in blue, yellow, white and red with abstract taotie masks design and various auspicious emblems, each side bordered and centred with a vertical gilt flange, the reticulated gilt and cloisonné enameled cover with kuilong and clouds surmounted by a stylized dragon, all raised on four similarly cloisonné-enameled high splayed legs. 
H: 14 1/2 in., 37 cm 

Provenance: Property from a Philadelphia estate 

Note: For a 16th century censer of dissimilar body form but with comparable archaistic reticulated gilt bronze vent and finial see Sotheby's Paris Lot 42, June 23, 2016