Lot 61. A Chinese silvery bronze circular 'lions and grapevine' mirror, Tang dynasty. Estimate $12,000-20,000. Photo Freeman's.

sculpted to show four lions clambering amidst grapevine, surrounding the beast formed entral knob, all within ruyi decorated rim, patina encrustation around the sides and to reverse. D: 4 1/4 in., 10.8 cm 

Provenance: Property from a Pennsylvania estate

Note: For a similarly decorated mirror from the Tang dynasty, see Christie's New York, September 16th 2010, Sale 2508, lot 915 

Lot 60. A large Chinese silvery bronze circular mirror, Han dynasty. Estimate $8,000-12,000. Photo Freeman's.

decorated twelve bosses near central knob within an octagonal star design, surrounded by a ring of archaic characters, patina encrustation to side and reverse of mirror. D: 7 1/4 in., 18.4 cm 

Provenance: Property from a Pennsylvania estate 

Lot 62. A Chinese bronze hexagonal mirror, Song dynasty. Estimate $8,000-12,000. Photo Freeman's.

cast to top with obscured inscription and central ring handle. D: 6 3/4 in., 17.1 cm 

Provenance: Property from a Pennsylvania estate 

Freeman's. Asian Arts, Sat, Sep 10 2016 10:00 AM

Lot 4A. A finely carved Chinese rhinoceros horn libation cup, 18th century. Estimate $30,000-50,000. Photo Freeman's.

of archaistic form with chilong handle, the body carved with central band showing a scholar in a landscape and with poetic inscription. H: 3 1/2 in., 9 cm 

Provenance: Property from the Estate of Charles V. Swain, Doylestown, PA; thence by family descent. 

Freeman's. Asian Arts, Sat, Sep 10 2016 10:00 AM

Left: Axel Salto 'Sommervase', 1957; Right: Axel Salto Unique and important 'Den Italienske Skaal' large bowl, 1931-'32. Image courtesy of Phillips.

LONDON.- Phillips’ Autumn auctions of Design will be highlighted by an evening sale dedicated to Nordic Masters. Presenting 55 exceptional pieces from the early 20th Century to the present day, the sale is highlighted by two rare works by Axel Johann Salto (1889-1961), which will be offered at auction for the first time and come directly from the family of the artist. Together with the Design auction, which will also be held on 21 September, the auctions are expected to realise a combined total in excess of £3.5 million. 

Alexander Payne, Worldwide Director of Design, Phillips: “Nordic Masters presents an unprecedented offering of Nordic Design to be auctioned in London. Featuring museum-quality pieces by Scandinavian master cabinet makers, ceramicists, glass makers and architects, the sale is led by a curated collection of early works by Poul Henningsen. These are exceptional in age, scale, condition and provenance and symbolise our approach to offering unique and important pieces of design which appeal to the greatest connoisseurs and collectors.” 

Highlights from Nordic Masters include three rare pieces of glazed stoneware by the Danish artist Axel Johann Salto, one of the greatest sculptural potters and designers of the twentieth century. Two of these come directly from the Salto family, ‘The Italian Bowl’, is thought to be the original, made in the Saxbo workshop in 1931-1932 (estimate: £50,000-70,000). The ‘Sommervase’ was first produced by Royal Copenhagen in 1931, and the present example was made in 1957 and presented by Salto to his daughter Naja Salto, the distinguished artist, as a gift for her 14th birthday in 1959 (estimate: £40,000-60,000, illustrated above left). These pieces are full of energy and sensuality, expressing a sense of growth and movement as Salto continued to be inspired by natural forms throughout his lifetime.

Lot 21. Axel Salto, Unique and important 'Den Italienske Skaal' large bowl, 1931-1932. Estimate £50,000 - 70,000. Image courtesy of Phillips.

Stoneware, blue glaze. 26.4 cm (10 3/8 in.) high, 41.8 cm (16 1/2 in.) diameter. Produced by Saxbo, Copenhagen, Denmark. Underside with producer's seal, DANMARK andSALTO. 

Provenance: Axel Salto, 1931-1932
Thence by descent to the present owner

Literature: Axel Salto, Den Spirende Stil, Copenhagen, 1949, p. 72

Note: This rare piece of glazed stoneware by Axel Salto is thought to be the first with the title ‘The Italian Bowl’. Dating from 1931-1932, the piece was produced whilst Salto was collaborating with ceramicist Natalie Krebs in her workshop (SAXBO Denmark); it later went into limited production, in differing glazes, with Royal Copenhagen, Denmark. Lulu Salto Stephensen

Axel Salto
by David Whiting

The Danish artist Axel Salto (1889-1961) was one of the great sculptural potters and designers of the twentieth century. His highly individual, unusually baroque style resisted the plainer functionalist norm in so much contemporary Scandinavian ceramics and design, right through to his death at the beginning of the 1960s, when ‘Danish Modern’ was so in vogue. His powerfully expressive work was inspired by natural forms, by gourd shapes and seed pods, buds and opulent fruits bursting forth, all expressing a sense of growth and movement. It was nature's inner force that intrigued him. As he stated: “It is of greater importance for an artist to create in the spirit of nature than reproduce its outer manifestation”. His work, certainly ahead of its time in the inter-war years, investigated an almost unearthly and preternatural world, and anticipated some of the sculptural developments in European and American ceramics from the late 1950s, work which moved away from traditional shapes to vessels and sculpture that explored new types of organic structure. The originality of his work is all the more remarkable because it was produced largely in small factory-made editions, showing just how open the Danish workshops could be to progressive artistic ideas.

Salto studied at the Royal Danish Academy of Fine Arts in Copenhagen from 1909-1914, before travelling to Paris where he met Pablo Picasso and Henri Matisse, conversations which confirmed Salto’s avant-garde ambitions in art, realised not only in ceramics, but in painting, graphic design and illustration. He soon returned to work in Paris for long periods, and formed a group based there with other experimental Danish artists. Salto also established a short-lived but influential art journal The Blade, which was to pioneer the discussion of Modernist art and theory in Northern Europe. His practice of a variety of different art forms epitomised the interdisciplinary character of Scandinavian art and design, as well as its active collaboration with the factories. In the early 1920s Salto was beginning to concentrate on ceramics, his new direction confirmed by success with pieces made at Bing and Grondahl which were exhibited at the 1925 Paris Fair, and for which he was awarded a silver medal. By the beginning of the 1930s Salto was working in stoneware with Carl Halier and Saxbo. He also began his major collaboration in stoneware with the Royal Porcelain Manufactory in Copenhagen, one that would last for the rest of his life. Salto achieved numerous further honours, including the Eckersberg Medal in 1938, the Grand Prix at the Milan Triennial in 1951 and the Prince Eugen Medal in 1959.

Salto’s production concentrated mainly on mould-made editions with bravura modelling, enlivened by rich opulent glazing that varied in colour and texture as it poured and gathered over the deep relief surfaces. These two important and rare pieces belonged to Salto’s own family, particularly strong forms sprouting and burgeoning with plant growth. This particular example of his ‘Italian Bowl’ (‘Den Italienske Skaal’) is thought to be the original, made in the Saxbo workshop in 1931-1932, while later ones were produced by Royal Copehagen in other glazes. The ‘Summer Vase’ (‘Sommervase’) was first produced by Royal Copenhagen in 1931, but this particular piece was made in 1957, and presented by Salto to his daughter Naja Salto, the distinguished artist, as a gift for her 14th birthday in 1959. He was particularly pleased with this example, and evidently wanted to keep it in the family. Both forms have luxurious dark blue glazes, that on the ‘Summer Vase’ breaking through to a deep underlying iron. These pieces are full of energy and sensuality, expressing well the stylistic connection to Art Nouveau, Jugendstil, and even Classical form in Salto’s earlier designs, but already with a unique boldness that showed Scandinavian art at its most elemental and disquieting, truly work of the dark Northern spirit.

Lot 22. Axel Salto, ‘Sommervase’, 1952. Estimate £40,000 - 60,000. Image courtesy of Phillips.

Stoneware, layered blue mussel over iron glaze. 32.5 cm (12 3/4 in.) high, 32 cm (12 5/8 in.) diameter. Produced by Royal Copenhagen, Copenhagen, Denmark. Underside with Crown and ROYAL COPENHAGEN DENMARK stamp in green under the glaze with painted blue wave mark, 20250 and incised into the body SALTO, paper label handwritten NS. 

Provenance: Gifted by the artist to his daughter, Naja Salto, 1959 

Literature: Axel Salto, Salto's Keramick, Copenhagen, 1930, n.p for a woodblock print of a similar example

Note: Salto’s ‘Sommervase’ was first made in 1931 by Royal Copenhagen, Denmark. The present lot comes from later on in the production and is stamped and marked. The three blue wave marks found on the underside of the vase refer to the model number. Particularly fond of the piece, Salto gifted it to his daughter, the late artist, Naja Salto, on the occasion of her 14th birthday in 1959. Lulu Salto Stephensen

Lot 23. Axel Salto, Unique large vase in 'Den Spirende Stil' (the Sprouting Style), 1945. Estimate £40,000 - 60,000. Image courtesy of Phillips.

Stoneware, layered sung and solfatara glaze. 48.5 cm (19 1/8 in.) high, 27 cm (10 5/8 in.) diameter. Produced by Royal Copenhagen, Denmark. Underside incised SALTO/1945 and painted under the glaze with manufacturer's blue wave mark. 

Provenance: Grønningen, Charlottenborg
Private collection, Denmark, acquired from the above, 1946
Bruun Rasmussen Auctioneers, Copenhagen, 2 December 2015, lot 1170

Exhibited: 'Grønningen 1946', Charlottenborg, Copenhagen, 19 January-10 February 1946 

Literature: 'Mennesket og tiden og kunsten', Grønningen 1946, Charlottenborg, exh. cat., Grønningen, Copenhagen, 1946, illustrated p. 7

Note: Together with facsimile of the original owner’s purchase invoice for the present lot with inventory no. 133, dated 19th February 1946 from Grønningen, Copenhagen, an artist’s cooperative where Salto exhibited annually for a decade from 1936-1946.

This sale features a curated collection of ten early important works by Poul Henningsen, led by one of only three known remaining examples of the ‘Paris’ lamp. The ‘Paris’ lamp, was celebrated for its innovative distribution of light after Henningsen and his manufacturer Louis Poulsen spent years perfecting and experimentating with layered shade design. The ‘Paris’ lamp can be considered the progenitor for the “system of lamp shades that completely surround the source of light so that no radiating rays can meet the eye directly.” 

Lot 31. Poul Henningsen, Rare 'Paris' ceiling light, designed for the Denmark pavillion, L'Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris; designed 1925. Estimate £70,000 - 100,00. Image courtesy of Phillips.

Brass, painted brass, tubular brass. 60 cm (23 5/8 in.) diameter, variable drop. Manufactured by Lauritz Henriksen’s Metalvarefabrik for Louis Poulsen, Copenhagen, Denmark. 

Literature: Tina Jørstian and Poul Erik Munk Nielsen, PH 100 Light&Design, exh. cat., Danish Museum of Art & Design, Copenhagen, 1994, p. 4
Tina Jørstian and Poul Erik Munk Nielsen, eds.,Light Years Ahead: The Story of the PH Lamp, Copenhagen, 2000, pp. 108-10, 112
Erik Steffensen, Poul Henningsen, Denmark, 2005, p. 20

Notes: Poul Henningsen’s ‘Paris’ lamp, originally exhibited under the name Système PH at the Paris Exhibition in 1925, was celebrated for its innovative distribution of light. After a year of perfection and relentless experimentation with layered shade design, Louis Poulsen had the piece produced in German silver by Lauritz Henriksen’s Metalvarefabrik. The piece won a gold medal at the exhibition and the producers, Louis Poulsen, received silver. It has since been known as the ‘Paris’ lamp. Following the lights’ success in Paris, in an attempt to mimic the softer, gas lighting of Henningsen’s childhood, the piece was refined further. The shades were dulled and the voltage of the bulbs was worked upon until they emitted ‘an exceedingly beautiful light’ (Poul Henningsen, Nyt, December 1941). Later on in 1925, Henningsen adapted the ‘Paris’ lamp further when he was commissioned to design the lighting fixtures for the Schucani & à Porta restaurant in Copenhagen. In this revision he continued to reduce the glare by adding lightly matted gold plating. Axel Salto, with whom Henningsen had regularly worked, adorned the upper edges of the shades with leaf decorations. 

The only known remaining examples of the ‘Paris’ lamp are one from the Paris exhibition of 1925, one from the Schucani & à Porta commission and the present lot.

Arne Jacobsen Unique chest of drawers was designed for the villa at Vedbæk Strandvej 464. The villa, built in 1933, is one of the first projects Jacobsen designed in its entirety, working on both the building’s exterior and interior furnishings. The chest of drawers, which stood in the bedroom of the villa, is a rare collaborative work between Rud. Rasmussen and the young architect.

Lot 7. Arne Jacobsen, Unique chest of drawers, designed for Bernard Schepler's villa, Vedbæk, Denmark, 1933. Estimate £70,000 - 100,00. Image courtesy of Phillips.

Cuban mahogany, Cuban mahogany-veneered wood, oak, brass. 125.2 x 120 x 46 cm (49 1/4 x 47 1/4 x 18 1/8 in.). Executed by cabinetmakers Rud. Rasmussen A/S, Copenhagen, Denmark. Reverse with partial manufacturer's paper label RUD. RASMUSSENS/SNEDKERIER/45 NØRREBROGADE/KØBENHAVN and handwritten serial number 11931. 

Provenance: Bernard Schepler, Vedbæk, 1933

Note: Arne Jacobsen designed the present lot for the villa at Vedbæk Strandvej 464. The villa, built in 1933 for Mr Bernard Schepler, is one of the first projects Jacobsen designed in its entirety, working on both the building’s exterior and interior furnishings. The chest of drawers, which stood in the bedroom of the villa (illustrated), is a rare collaborative work between Rud. Rasmussen and the young architect Arne Jacobsen. 

Phillips wishes to thank Niels Howalt Wallem Hvims from Rud. Rasmussen for his assistance with the cataloguing of the present lot.

Patek Philippe, An Exceptional Platinum Tonneau-Shaped Automatic Minute Repeating Perpetual Calendar Wristwatch With Retrograde Date, Moon Phases And Leap Year Indication, REF 5013P, circa2004. Est. HK$ 2,800,000-3,800,000 / US$359,000 – 487,000*. Photo: Sotheby's.

HONG KONG.- Sotheby's Hong Kong Important Watches Autumn Sale 2016 will take place on 5 October at the Hong Kong Convention and Exhibition Centre. Leading the sale is A Ref 5013, Exceptional Platinum Tonneau-Shaped Automatic Minute Repeating Perpetual Calendar Wristwatch with Retrograde Date, Moon Phases and Leap Year Indication, by Patek Philippe. Alongside that, the sale will also present series of rare and complicated pieces from celebrated makers, as well as other cutting-edge modern wristwatches by both established and independent brands alike. Of a special note, a collection of sporty watches from a single owner will also be on offer. The current sale showcasing more than 290 lots totals approximately HK$37,100,000 – 53,400,000/ US$ 4,760,000 – 6,850,000*.

Katharine Thomas, Head of Watches Department, New York and Acting Head of Watches, Asia, commented, “This fall, Sotheby’s is pleased to offer a fine selection of watches representing the best of modern Swiss watchmaking for our most discerning connoisseurs. There are rare and sought-after wristwatches, pocket watches and timepieces spanning over a century of the Patek Philippe’s finest creations; as well as modern watches encompassing a range of breath-taking complications. We are particularly excited to offer a single owner group of pieces curated by a collector with a sporty and rugged aesthetic. Embodying a spirit of classic taste imbued with youth and masculinity, this collection is perfect for today’s gentlemen.” 

AUCTION HIGHLIGHTS

Patek Philippe

Lot 2289. Patek Philippe, An Exceptional Platinum Tonneau-Shaped Automatic Minute Repeating Perpetual Calendar Wristwatch with Retrograde Date, Moon Phases and Leap Year Indication, Ref 5013P, circa 2004. Est. HK$2,800,000 – 3,800,000 / US$359,000 – 487,000. Photo: Sotheby's.

Launched in 1992, Reference 5013 is one of the most complex wristwatches ever made by Patek Philippe, with a total of 515 parts. It was also the first minute-repeating wristwatch to feature an automatic movement combined with perpetual calendar with retrograde date indication. The retrograde date hand moves along a 270 degree arc and flies back to the first of the month at midnight of the last day of each month. The tonneau-form shape hearkens back to the most celebrated vintage minuterepeating wristwatches by Patek Philippe, such as the Henry Graves Minute Repeating Wristwatch, sold by Sotheby’s New York in June 2012 for US$3,000,000. 

Lot 2291. Patek Philippe, A Fine and Rare White Gold Rectangular Tourbillon Wristwatch With 10-Day Power Reserve Indication, Ref 5101G-001, circa 2011. Est. HK$800,000 – 1,200,000 / US$ 103,000 – 154,000. Photo: Sotheby's.

Sporting an impressive triple-stepped case inspired by Patek Philippe’s legendary Art Deco designs, the Ref 5101 carries a combination of two rare complications: a tourbillon and a ten-day power reserve which took the engineers three years to complete. When launched, it was the first of its kind. The tourbillon is showcased on the bridge side as the dominant element of the movement, beautifully revealed through the sapphire crystal display back. The rotating cage alone is composed of 72 miniscule individual parts, yet weighing merely 0.3 grams. It takes a Patek Philippe watchmaker up to three months to produce a Ref. 5101 from beginning to end, and the present lot is precious in that it is one of the only two examples of Ref. 5101 in white gold to be offered at auction.

Modern Wristwatches

Lot 2128. Richard Mille, A Rare And Innovative Carbon Composite And Titanium Skeletonized Tourbillon Chronograph Diver's Wristwatch With Power Reserve And Torque Indication, RM025, circa 2014. Est. HK$1,200,000- 1,600,000 / US$154,000 – 206,000. Photo: Sotheby's.

With distinctive modern and technical designs, RM025, part of the Richard Mille diver’s watch collection, is a testament to Richard Mille’s commitment to innovation in the world of horology. The RM025 is a timepiece that is unlike any other Richard Mille creation, not only in its exterior appearance, but also for its ability to deal with one of the world’s harshest environments with a water resistance of 300 meters, all the while continuing to preserve the values of traditional Swiss watchmaking. The RM caliber RM025 unites the complication of a tourbillon with the prominent complexities of a chronograph movement – a combination extremely difficult and rarely achieved in watchmaking. Another exotic element is the torque indicator complication that is positioned to the right of the barrel, between 12 and 1 o’clock. This indicator shows the tension of the mainspring, ensuring the chronometer function of the movement.

Lot 2052. A. Lange & Söhne, A Fine And Rare Platinum Rectangular Tourbillon Wristwatch With Patented Stop-Seconds Mechanism, Date And Power Reserve Indication, Cabaret Tourbillon, circa 2011. Est. HK$800,000 - 1,200,000 / US$103,000 – 154,000. Photo: Sotheby's.

In 2008, A. Lange & Söhne introduced the new Cabaret Tourbillon with the first stop-seconds feature ever implemented in a tourbillon calibre. This is the first timepiece of its type that can be set precisely to the second, allowing an accurate synchronisation with an external time source. The case in an elegant rectangular shape exudes charismatic perfection of the Art Deco era. When the crown is pulled, an intricate mechanism sets into motion, putting two V-shaped spring arms into contact with the outer rim of the balance wheel, bringing it to an immediate halt. The ends of the two springs are asymmetrically designed so as to ensure that optimal pressure will be exerted onto stopping the balance, hence guaranteeing utmost accuracy when adjusting time. In addition to the patented stop-second mechanics, the twin mainspring barrel also provides the movement with a power reserve of five days when fully wound.

Single-Owner Collection of Sport Watches

Continuing the success of ‘A Private Single-Owner Collection of Important Wines & Watches’ in Spring 2015, this enchanting line-up of sporty watches hailing from the same owner takes the auction stage again, tellingly illustrates the refined and zealous taste of a modern-day gentleman. The collection garners a range of timepieces characterised by their youthfulness and masculine charm, encompassing limited editions by prestigious makers such as Audemars Piguet, Panerai and Jaeger-LeCoultre.

Lot 2127. Audemars Piguet, A Pink Gold And Forged Carbon Tourbillon Chronograph Wristwatch With 10-Day Power Reserve, Case H03575 Royal Oak Offshore, circa 2010. Est. HK$800,000 – 1,200,000 / US103,000 – 154,000. Photo: Sotheby's.

Launched in 1993, Audemars Piguet Royal Oak Offshore series has been at the forefront of robust watch styles. Year after year, the collection evolved alongside the brand, taking this innovative spirit to an extreme by embracing high-tech materials like forged carbon and ceramic. This particular timepiece features an openwork dial revealing twin barrels, offering 10-day power reserve with the column wheel chronograph mechanism and tourbillon fully visible. The ruggedness of forged carbon offers a stark contrast against the luxurious elegance exuded by pink gold material, making this a statement timepiece for collectors pursuing individuality and personal taste.

Henri Fantin-Latour (French, 1836-1904), Roses. Estimate: £200,000-300,000. Photo: Bonhams

LONDON.- Roses, a charming still life painted by Henri Fantin-Latour (1936-1904), and once owned by Sir Harry Veitch, a founding member of the Chelsea Flower Show, is one of the leading works in Bonhams next 19th Century, Victorian and British Impressionist Art sale in London on 28 September. Executed in 1889, it is estimated at £200,000-300,000. 

Born in Exeter, Sir Harry Veitch was one of the leading horticulturalists of the 19th Century. He played a major role in the formation of the Royal Horticultural Society and was responsible for securing a permanent home for the annual Chelsea Flower Show in the grounds of the Royal Hospital. He was the first horticulturist to be knighted. 

Fantin-Latour’s reputation in his native France is largely based on his portraits and symbolist works, but in Britain he is principally known for his flower paintings. The artist made his first visit to England in 1859 and exhibited prolifically at the Royal Academy Summer exhibitions, where he showed 81 works between 1862 and 1900 – most of them flower studies. 

His fellow painter, the American James McNeill Whistler (1834-1903), became a long-standing friend and patron – they met in 1858 – and he introduced Fantin-Latour to British collectors such as Constantine Ionides, who bought several works from the artist. These are now in the collection of the Victoria and Albert Museum. 

Bonhams Director of 19th century paintings, Charles O’Brien said, “Fantin-Latour was once described – with justice – as ‘the 19th century French flower painter par excellence’. His paintings were enormously popular in Britain during his lifetime and they continue to enchant collectors in this country and throughout the world."

Lot 400. A Chinese 'Yaozhou' celadon glazed 'boys' tea bowl, Northern Song dynasty (960–1127). Estimate $3,000-5,000. Photo Freemans.

Lot 391. A Chinese 'Yaozhou' celadon carved 'three fishes' bowl, Northern Song dynasty (960–1127). Estimate $2,000-2,500. Photo Freemans.

Lot 393. A Chinese 'Yaozhou' celadon carved bowl, Northern Song dynasty (960–1127). Estimate $2,000-2,500. Photo Freemans.

Lot 392. A small Chinese moulded 'Yaozhou' celadon glazed 'floral' bowl, Northern Song dynasty (960–1127). Estimate $1,500-2,000. Photo Freemans.

Lot 389. A small Chinese 'Yaozhou' celadon glazed conical bowl, Northern Song dynasty (960–1127). Estimate $1,500-3,000. Photo Freemans.

Lot 401. A small Chinese moulded 'Yaozhou' celadon glazed 'four fishes' bowl, Northern Song dynasty (960–1127). Estimate $1,500-2,000. Photo Freemans.

Carlo Manieri (Taranto ? documentéà Rome de 1662 à 1700), Nature morte au panier de raisins, grenades, coings et poires, branche de figuier, et tonneau de raisins. Huile sur toile. Cm. 145 x 195, c. 1660© Galerie Canesso, Paris.

Carlo Ceresa (San Giovanni Bianco, 1609 – Bergame, 1679) - Portrait d’homme avec une perruque. Huile sur toile. 196,5 x 115,3 cm, 1665-1670. Provenance : Milan, collection Vincenzo Polli. © Galerie Canesso, Paris.

Francisco de Zurbarán (Fuente de Cantos, 1598 – Madrid, 1664), La Vierge enfant endormie. Huile sur toile, 103 x 90 cm. Provenance : Acheté en France au milieu du XXe siècle. © Galerie Canesso, Paris.

Alessandro Varotari, dit Il Padovanino (Padoue, 1588 – Venise, 1648), Hécube et Priam. Huile sur toile, 102 x 126 cm, c. 1630© Galerie Canesso, Paris.

Biennale des Antiquaires 2016. Galerie Canesso / STAND S15. 26 rue Laffitte, 75009 Paris - France - 01 40 22 61 71 - www.canesso.com - contact@canesso.com

Bracelet époque 1930 platine. Diamants totalisant 30 carats. © Bernard Bouisset

Parure or chrysoprase écaillé signée Boucheron, vers 1965. © Bernard Bouisset

Paire de clip d'oreilles or diamants lapis lazuli. Signée Fred paris, vers 1970. © Bernard Bouisset

Broche oiseau - Signée Cartier. Or diamants saphirs turquoises, Vers 1965. © Bernard Bouisset

Bouisset navette - Important solitaire taille navette, 11,80 carats monture platine. © Bernard Bouisset

Biennale des Antiquaires 2016. Bernard Bouisset / STAND SH01. 20 rue du 4 septembre, 34500 Beziers - France - 04 67 28 71 86 - www.bernardbouisset.com - bernardbouisset@wannadoo.fr

Lot 139. A small and rare Chinese 'Jun' light blue glazed footed shallow dish, Southern Song dynasty (1127–1279). Estimate $2,000-2,500. Photo Freemans.

Bulgari. "Snake" bracelet-watch. Yellow gold with white marquise cut diamonds and Jadeite. Piaget movement watch, white diamond bezel. Manufactured in 1960's. © HD Rare and Unique

Biennale des Antiquaires 2016. HD Rare and Unique / STAND SH02. 66/67 Burlington Arcade, W1JOQU Londres - Royaume-Uni - +44 207 409 0356 - www.hdunique.com - info@hdunique.com

Couple d’oiseaux « Amlash » - Nord de l’Iran, Province du Gilan, Kaluraz - Age du Fer II ou III, 9e-7e siècle av. J.C. Récipient double composé de deux oiseaux et d’une figurine d’oisillon en réduction. Terre cuite orangée. ; Hauteur : 12 cm. Longueur : 10,2 cm. Largeur : 16 cm. © Galerie Kevorkian

Grand carreau lustré du sanctuaire d’Abd al-Samad - Céramique à décor moulé et peint en lustre métallique et rehauts bleu turquoise et de cobalt - Iran, art il-khanide, Début du 14e siècle ; 37 x 30 cm. © Galerie Kevorkian

Visite nocturne à une ascète - Inde, Uttar Pradesh, école d’Oudh (Awadh) - 3e quart du XVIIIe siècle. Gouache et rehauts d’or sur papier - Miniature : 29,7 x 21 cm. Cachet de collection du nawab d’Oudh, Asaf ud-Daula (r. 1775-1797) au verso, daté 1190 (1777 ap. J.C.). © Galerie Kevorkian

Biennale des Antiquaires 2016. Galerie Kevorkian / STAND N28. 21 Quai Malaquais, 75006 Paris - France - 01 42 60 72 91 - www.galeriekevorkian.com - contact@galeriekevorkian.com 

Lot 141. A Chinese 'Jizhou''papercut''butterfly and phoenix' bowl, Song-Jin Dynasty. Estimate $2,000 - 4,000. Photo Freemans.

Lot 137. A Chinese 'Jizhou' tortoise-shell glazed tea bowl, Song dynasty (960–1279). Estimate $800 - 1,200. Photo Freemans.

Lot 395. A Chinese 'Cizhou' incised pillow, Northern Song dynasty (960–1127). Estimate $1,500-2,500. Photo Freemans.