Lot 17. Three yellow-glazed incised 'dragon' saucer-dishes. Two with Daoguang seal marks and of the period (1821-1850), one with Guangxu six-character mark and of the period (1875-1908). Estimate £4,000 - 6,000 (€4,400 - 6,700). Photo: Bonhams.

The first two, each with the central medallion incised with a five-clawed dragon in pursuit of a flaming pearl amidst cloud scrolls and flames, the exterior with two incised dragons chasing flaming pearls alternating with cloud scrolls and flames, both covered in a rich mustard-yellow glaze save the base glazed white with seal marks in underglaze blue, both 17.5 cm (6 7/8in) diam., the third dish incised with two writhing dragons in the central medallion, the exterior with a further two dragons chasing flaming pearls above crashing waves, applied overall with a rich egg-yolk-yellow glaze. 19cm (7 1/2in) diam. (3).

Provenance: a distinguished English private collection, and thence by descent

Note: Compare with a similar pair of yellow-glazed dishes, Daoguang seal mark and of the period, similarly incised with dragons in pursuit of flaming pearls, sold at Christie's Hong Kong on 29 November 2012, lot 2143.

Bonhams. FINE CHINESE ART, 10 november 2016, 10:30 GMT, LONDON, NEW BOND STREET

Lot 259. A Makara Kanti, Tamil Nadu, India, circa 1900. Estimate 35,000 — 45,000 GBP. Photo Sotheby's.

composed of linked stylised bird-form elements leading towards a central openwork plaque formed of stylised addorsed peacocks amidst floral elements, with a pendant comprising foliate tendrils around a central rosette, set with foil-backed rock crystals and gemstones, incised details to design of central pendant to reverse; 37.5cm. length

Notes: This necklace derives its name from its resemblance to the tail of the mythical 'makara', or part aquatic/part terrestrial animal important in Hindu mythology. The present example is also dominated by the symbol of the peacock, a popular topos in Indian jewellery production, used on the main pendant and abstracted to form the necklace's chain. 

An almost identical example is published in U.R.B. Krishnan and M.S.Kumar, Dance of the Peacock: Jewellery Traditions of India, India Book House Ltd., 2001, pp.88-9, figs.121a and b. 

Sotheby's. Arts of the Islamic World, London, 19 Oct 2016, 11:30 AM

Lot 260. An enamelled and gem-set torque (hasli), North India, 19th century. Estimate 12,000 — 15,000 GBP. Photo Sotheby's.

of rigid ovoid form with an applied gem-set rosette to centre and hinged and screw-pin clasp for attaching, the upper side decorated with faceted diamond-set flowerheads and leaves on a white and pink enamel ground echoing the floral design, reverse decorated in green, blue, pink and yellow enamels on a gilt ground with scrolling flowerheads, edges with row of strung seed-pearls
16cm. width

Notes: Mughal craftsmen inspired goldsmiths outside the confines of the court to produce jewellery that combined the ornamentation and refinement of the Mughal court with traditional rural forms such as the torque. This type of necklace might have been worn by the wife of a zamindar (landowner) or merchant. For a comparable hasli, see Markevitch 1987, p.44, no.15 and Untracht 1997, p.352, nos.776 & 777. Another example of similar style but with blue and green enamelwork was in the Jean and Krishnâ Riboud collection, now in the Musée des Arts asiatiques - Guimet, Paris, inv. no. MA6773 (A. Okada, L'Inde des Princes: La donation Jean et Krishnâ Riboud, Musée des Arts asiatiques - Guimet, Paris, 2000, p.155). 

Collier rigide (hansuli), Inde, Jaipur, 19e siècle, diamant, or, perle; donation Jean et Krishnâ Riboud (MA6773). Paris, musée Guimet - musée national des Arts asiatiques. Photo (C) RMN-Grand Palais (musée Guimet, Paris) / Thierry Ollivier

Sotheby's. Arts of the Islamic World, London, 19 Oct 2016, 11:30 AM

Lot 223. A large splashed and incised pottery dish, Persia or Central Asia, 11th-12th century. Estimate 5,000 — 8,000 GBP. Photo Sotheby's.

of shallow rounded form with tall, slightly everted rim, with a cream slip ground incised with stylised facing birds in the centre surrounded by bands with geometric motifs and twisted cord design, with green and brown splashed glazes; 39.7cm. diam.

Note: Although the background to the introduction of splashware into Persian pottery-making is unclear, it is often traced back to China, notably in the comparison with Tang wares in which 'sancai' (three-coloured) glazes are used. The present example displays the energy of splashware glazing, particularly when used in conjunction with freehand drawing. Few comparables exist, one is illustrated in Soustiel 1985, pp.42-3, no.22. 

Sotheby's. Arts of the Islamic World, London, 19 Oct 2016, 11:30 AM

Lot 224. A blue-ground lustre pottery jar, Egypt, 11th-12th century. Estimate 10,000 — 15,000 GBP. Photo Sotheby's.

of ovoidal shape with straight neck and slightly everted rim, the turquoise-blue glaze body decorated in lustre with foliate pseudo-Kufic inscription; 12.2cm. height; 10cm. diam..

Note: Blue-ground lustre wares from the Fatimid period are extremely rare. The present example is comparable in terms of shape to other jars in the Al-Sabah collection, Kuwait (inv. no. LNS 293 C, Watson 1985, pp.278-9, Cat.Ja.6.); the Ashmolean Museum, Oxford (Caiger-Smith 1985, p.40, no.16), and the Museo de la Alhambra, Granada (inv. no. 4.304). The intensity of the blue-ground colour with lustre is related only to fragments (for example, also in the Al-Sabah collection, inv. no. LNS 981 C a,b, (Watson 1985, p.282, no.Cat.Ja.10)).  

Sotheby's. Arts of the Islamic World, London, 19 Oct 2016, 11:30 AM

Lot 226. A large Kashan lustre jug, Persia, circa 1200. Estimate 10,000 — 15,000 GBP. Photo Sotheby's.

the body of bulbous form on a gently spreading foot with straight wide cylindrical neck and attached strap handle, the body moulded with entwining geometric shapes, decorated in light honey-coloured overglaze lustre, featuring three seated figures, each in a stellar frame at the front of the body, with vegetal motifs throughout, interior of neck with pseudo-calligraphic inscription; 23.6cm. height.; 15.5cm. diam.

Note: A very close example, also featuring three seated figures within stellar frames, is illustrated in Soustiel 1985, p.104, no.111.  

Sotheby's. Arts of the Islamic World, London, 19 Oct 2016, 11:30 AM

Lot 227. A monumental Kashan ceramic lustre vase, Persia, mid-12th century. Estimate 25,000 — 35,000 GBP. Photo Sotheby's.

of baluster form with tall rim, profusely decorated in honey-lustre, featuring three roundels containing winged birds between lush vegetation, foliate stem to rim; 25.5cm. height.

Provenance: Ex-private collection, France, acquired in the late 1960s/early 1970s from Galerie Jean Soustiel, Paris.

Literature: Maitres Rheims et Laurin, France, 1960s/1970s: 'Céramiques Diverses - Iran, no. 109 bis'.

Note: A very close example, also featuring three seated figures within stellar frames, is illustrated in Soustiel 1985, p.104, no.111.  

Maitres Rheims et Laurin, France, 1960s/1970s: ‘Céramiques Diverses - Iran, no. 109 bis’.

Notes: It has long been conjectured, though there is no proof, that at the end of the twelfth century a group of Egyptian potters fled the rapidly declining Fatimid caliphate and settled in the Persian town of Kashan, bringing with them their prized knowledge in the technique of lustreware. This vase in the so-called 'Monumental'-style represents one of the earliest examples of this technique used in the new workshops of Kashan. The vase would have first been fired using a transparent glaze on a light fritware body, following which the outlines of the three bird figures and foliate motifs were then drawn and the background painted with lustre. In order to lock in the lustre and give it its characteristic metallic finish, the vase would have been fired a second time at a lower temperature.

Due to their fine craftsmanship and unique lustre finish, Kashan ceramics rapidly rose to international fame, and works from its workshops have been found as far afield as Beijing and Belgium. As an exquisite early example of lustreware from Kashan, this vase displays elements of both previous Egyptian lustreware and native Persian ceramics, combining the best qualities of both and heralding the golden age of ceramic art at Kashan. 

The liveliness of the birds on this example are particularly notable, and can be compared to those found on other Kashan-wares, notably on a small bowl in the Louvre Museum, Paris (Caiger-Smith 1985, p.62) and another in the Al-Sabah Collection, Kuwait (Watson 1985, p.349, inv. no. LNS 406C). 

Sotheby's. Arts of the Islamic World, London, 19 Oct 2016, 11:30 AM

Knotted Dragon Pendant, Shang dynasty (ca. 1600–1046 B.C.), 13th–11th century BC. Jade (nephrite). H. 3 1/8 in. (7.9 cm); W. 2 1/16 in. (5.2 cm). Gift of Ernest Erickson Foundation, 1985 (1985.214.99). © 2000–2016 The Metropolitan Museum of Art.

This pendant takes the shape of a dragon with a sinuous body grooved to resemble twisted rope. It illustrates the extraordinary talent and skill of early Chinese jade carvers, in whose hands intractable jade seems a supple and malleable material.

Arc-Shaped Pendant (Huang), late Eastern Zhou (770–256 B.C.), Warring States (475–221 B.C), 5th–4th century B.C.. Jade (Nephrite). L. 5 1/2 in. (14 cm). Purchase, Charlotte C. Weber Gift, 2001 (2001.665). © 2000–2016 The Metropolitan Museum of Art.

Snuff bottle with lion, Qing dynasty (1644–1911), Qianlong period (1736–95). Malachite with pink glass stopper. H. 2 in. (5.1 cm). H. 2 in. (5.1 cm), 21.175.283 a, b.© 2000–2016 The Metropolitan Museum of Art.

Snuff bottle with pomegranates and bat, Qing dynasty (1644–1911), Qianlong period (1736–95). Turquoise with pink glass stopper. H. 2 in. (5.1 cm). Bequest of Edmund C. Converse, 1921 (21.175.276 a, b)© 2000–2016 The Metropolitan Museum of Art.

Enamelled gold pendant in the form of a dragon, set with emeralds and rubies, with pearl drops, ca. 1820-80. Salting Bequest (M.536-1910). © Victoria and Albert Museum, London 2016.

Pendant, 'The Pelican in Its Piety', enamelled gold set with a foiled ruby simulant and hung with pearls, the back with black-and-white moresques, Spain, ca. 1550-1575, 335-1870© Victoria and Albert Museum, London 2016.

Prophylactic pendant, gold, with traces of enamel in black and translucent blue, set with a hessonite garnet and a peridot, and hung with a sapphire, England, 1540-1560. Given by Dame Joan Evans (M.242-1975)© Victoria and Albert Museum, London 2016.

François-Désiré Froment-Meurice (1802-1855), Pendant with a coral cameo depicting Bacchus, the sculpted gold frame decorated with winged mermaids and hung with pearls and diamond sparks, 1854. Given by Dame Joan Evans (M.30-1962)© Victoria and Albert Museum, London 2016.

The Canning Jewel. Pendant in the form of a merman with sword and shield; with a baroque pearl mounted in enamelled gold set with pearls, table-cut diamonds and carved Indian rubies; 1800-1860. Given by Mrs Edward S Harkness (M.2697-1931)© Victoria and Albert Museum, London 2016.

Silver and gilded silver pendant, set with emeralds, rubies and rose- and table-cut diamonds, the back engraved. The central emerald a later addition.Germany, ca. 1700. Given by Dame Joan Evans (M.57-1962). © Victoria and Albert Museum, London 2016.

Lot 579. Gents silk coat, late 18th century. Estimate: $600 - $800. Sold for: $1,045.50. Photo courtesy Charles A. Whitaker Auction Company.

Brown faille having stand collar, large squared pocket flap, wide cuff with two-button tab, pleated back with vent, self buttons, linen and silk linings. Ch-42, Sh-17, Slv-23, L-45. (Large, faint watermarks, small light spots, lining stained) excellent. 

Fall Couture & Textiles, 10/17/2015 10:00 AM EDT. Charles A. Whitaker Auction Company

Gents Shot Silk Frock Coat, 18th century. Estimate:  $400 - $600. Sold for: $984. Photo courtesy Charles A. Whitaker Auction Company.

Blue-gold silk in a woven pattern of tiny diamonds, having stand collar, deep cuff, shaped pocket flap and self buttons, lined in silk and linen. Ch-38, Sh-15, Slv-24, L-36. (Wear to cuffs, underarms and some edges, missing one button) very good.

Adriaen van de Velde, The beach at Scheveningen, 1658, Oil on canvas© Museumslandschaft Hessen Kassel, Gemäldegalerie Alte Meister. 

LONDON.- In collaboration with the Rijksmuseum, Amsterdam, Dulwich Picture Gallery hosts the first-ever exhibition devoted to the painter and draughtsman Adriaen van de Velde (1636 - 1672), one of the finest landscape artists of the Dutch Golden Age. 

Over a career of less than two decades Van de Velde produced a varied body of paintings and drawings that earned him tremendous posthumous fame in the eighteenth and nineteenth centuries, when he was one of the most sought-after names among collectors in Germany, France and England. 

Van de Velde was born in Amsterdam, the son and brother respectively of the marine painters Willem van de Velde the Elder and Willem van de Velde the Younger. Adriaen van de Velde, however, pursued an independent career as a landscape painter to focus on tranquil landscapes that depict both typically Dutch and Italianising views populated by figures in peaceful harmony with animals and the surrounding landscape.  

 Adriaen van de Velde, The Hut, 1671, Oil on canvas, Rijksmuseum, Amsterdam. 

Adriaen van de Velde: Dutch Master of Landscape (12 October 2016 – 15 January 2017) brings together 60 of his most accomplished works, including landscapes and beachscapes as well as an extraordinary selection of exquisite preparatory studies, many of them in red chalk. Displayed alongside the artist’s paintings, these studies offer a rare glimpse of a seventeenth-century landscape painter at work, from conception to completion. The show also includes pen-and-ink drawings and watercolours that stand alone as works of art in their own right, revealing the extent of the young artist’s talent.

Bart Cornelis, curator of the exhibition, commented: This exhibition provides an opportunity for the public to get to know the work of one of those exceptionally gifted and refined artists of the Dutch Golden Age who has more recently slipped through the net of history but who deserves to be rediscovered as the great painter and draughtsman that he is. What’s more, his drawings provide a fascinating opportunity to see a seventeenth-century Dutch artist at work: we can, as it were, look over his shoulder to see how he composed his landscapes. 

Adriaen van de Velde, A carriage on the beach at Scheveningen, 1660. Musee de Louvre.

The exhibition opens with Van de Velde’s most accomplished paintings, made when the artist was still in his early twenties. Blissful scenes such as the masterly Beach at Scheveningen, 1658 (Gemäldegalerie Alte Meister, Kassel)introduce Van de Velde’s highly individual style, in which everything stands out in the pure light of a summer’s day. Especially in his later work Van de Velde succeeded in incorporating the sun-drenched atmosphere of Italianate painters such as Karel Dujardin in his works, but brought a refinement to his subjects that was rarely matched by his contemporaries. Van de Velde probably never travelled outside Holland; the mountainous scenery and Italianate character of some of his landscapes and drawn studies sprung from the imagination and were inspired by the work of fellow artists. Examples include the Pastoral scene from the Museo Thyssen-Bornemisza, Madrid, and the preparatory composition drawing for this painting from the Morgan Library & Museum, New York. 

There are few artists whose working procedures can be illustrated as well as in the case of Van de Velde, making it possible to follow precisely the various phases of his creative process. For the first time Van de Velde’s famous painting of The Hut (Rijksmuseum) is being displayed alongside the drawn studies that the artist made in preparation for the painting, providing insight into the work’s genesis.Such studies include Seated woman with basket and Resting cow with three sheep (both Amsterdam Museum), as well as a drawing from a private collection depicting the hut that lends the picture its name. These and other studies in the exhibition reveal Van de Velde’s almost obsessive attention to detail and how he proceeded from a rough composition sketch in pen and ink to separate studies of animals and figures from life, often executed in the medium of red chalk.

Adriaen van de Velde, Figures in a deer park, c. 1665, Oil on panel, 21.1 x 28.6 cm, The Museum of Fine Arts, Houston, The Edward and Sally Speelman Collection, TR:16442005.

Few seventeenth-century Dutch landscapists devoted so much time and energy to sketching from models in the studio and the exhibition showcases some of the artist’s remarkable figure studies, including a sheet with Two Studies of a Reclining Shepherd (Rijksmuseum), which in its elegance and exquisite use of red chalk prefigures the work of eighteenth-century French artists such as Antoine Watteau and François Boucher. 

Van de Velde excelled in the depiction of the human figure and their integration into a landscape and was frequently asked to paint the staffage in the landscapes of his contemporaries; his figures can be found in works by artists such as Jacob van Ruisdael and Meindert Hobbema, and, for example, in Dulwich Picture Gallery’s Two Churches and a Town Wall (1660s) by Jan van der Heyden, which feature in the exhibition. 

Adriaen van de Velde (1636 - 1672), Portrait of a Couple with Two Children and a Nurse in a Landscape, 1671, Rijksmuseum, Amsterdam, On loan from Amsterdam City Council. 

 The exhibition includes a selection of the artist’s cabinet-sized works and concludes with his larger paintings. Together they illustrate the enormous variety of subject-matter in Van de Velde’s oeuvre, from panoramic views to hunting scenes, pastoral subjects or depictions of winter. The larger works include the monumental Portrait of a Family in a Landscape (Rijksmuseum) and the idyllic Landscape with cattle and figures (Fitzwilliam Museum, Cambridge). Together these works show a Dutch Arcadia as it was imagined by this exceptionally refined artist. 

Adriaen van de Velde: Dutch Master of Landscape is curated by Bart Cornelis, former Deputy Editor of The Burlington Magazine, London, in collaboration with Marijn Schapelhouman, Senior Curator of Drawings at the Rijksmuseum.  

Adriaen van de Velde, Figures on the beach at Scheveningen, 1660. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015

The exhibition includes works from over 20 lending institutions and private collections, including the Royal Collection, Ashmolean Museum, Oxford, Fitzwilliam Museum, Cambridge, Gemäldegalerie Alte Meister, Dresden, The Morgan Library & Museum, New York, Musée du Louvre, Paris, and The National Gallery, London. 

Adriaen van de Velde was baptised in Amsterdam on 30 November 1636. He was the son of the famous marine painter Willem van de Velde the Elder (1611-1693) and brother of the equally renowned marine painter Willem van de Velde the Younger (1663-1707). Adriaen van de Velde was most probably first taught by his father. On 5 April 1657 he married Maria Ouderkerk in Amsterdam, where he most probably remained for the rest of his life. His wife was Catholic and their children were all baptised in clandestine Catholic churches in Amsterdam. He died at the age of 35 and was buried on 21 January 1672 in the Nieuwe Kerk in Amsterdam.

Adriaen van de Velde, Panoramic summer landscape with a horseman and a post wagon, 1661. Private Collection.