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A rare 'Longquan' celadon double-gourd ewer, Song dynasty (960–1127)

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A rare 'Longquan' celadon double-gourd ewer, Song dynasty

Lot 115. A rare 'Longquan' celadon double-gourd ewer, Song dynasty (960–1127). Estimate 40,000 — 60,000 GBP. Photo: Sotheby's

finely potted with a globular lower bulb surmounted by a smaller upper bulb, set to one side with an elegantly curved strap handle, and a delicate slender spout to the other, applied overall with an even sea-green glaze, draining to a paler tone around the edges, the unglazed hand-pared footrim burnt a buff colour in the firing; 14 cm, 5 1/2  in.

ProvenanceSotheby's Hong Kong, 28th October 1992, lot 24.
Sotheby's Hong Kong, 1st November 1999, lot 304. 

NotesLongquan celadon ewers of this charming double-gourd shape include one from the collection of Sir Percival David, now in the British Museum, London, published in Margaret Medley, Illustrated Catalogue of Celadon Wares in the Percival David Foundation of Chinese Art, London, 1997, pl. A205; another sold in our London rooms, 15th/16th October 1973, lot 164; and two sold in our New York rooms, the first, 23rd May 1969, lot 63, and the second, 5th May 1979, lot 125.

Double-gourd-shaped ewer

Double-gourd-shaped ewer. Stoneware, porcelain-type, with celadon glaze, Longquan region, Zhejiang province, Southern Song to Yuan dynasty, AD 1200–1300. Sir Percival David Foundation of Chinese Art (PDF,A.205) © Trustees of the British Museum.

Ewers of this form are more commonly known to be produced in qingbai porcelain; see examples recovered in Southeast Asia, such as one with a cover, splashed with with iron spots and a dragon-shaped handle in the British Museum, illustrated in Stacey Pierson, Qingbai Ware. Chinese Porcelain of the Song and Yuan Dynasties, London, 2002, pl. 68; another, lacking the iron spots, sold in our New York rooms, 4th November 1978, lot 90; and a third sold in our Hong Kong rooms, 21st May 1984, lot 15.

Sotheby's. Important Chinese Art, London, 09 nov. 2016, 11:30 AM


A ‘Longquan’ celadon mallet vase, Southern Song dynasty (1127–1279)

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A ‘Longquan’ celadon mallet vase, Southern Song dynasty (1127–1279)

Lot 116. A ‘Longquan’ celadon mallet vase, Southern Song dynasty (1127–1279). Estimate 100,000 — 150,000 GBP. Photo: Sotheby's

the cylindrical body rising from a low footrim to a canted shoulder sweeping up to a tall cylindrical neck, flanked on each side by a pair of dragon-fish handles, all below a wide everted dished rim with slightly upturned lip, covered overall with a sea-green glaze, draining to a paler tone at the edges, the unglazed hand-pared footrim of a buff colour; 30 cm, 11 3/4  in.

NotesCeladon vases of this 'mallet' shape, which is generally known under the Japanese term kinuta, are among the most sought-after Longquan vessels.  It has been suggested by several scholars that this shape, despite resembling a paper mallet, may in fact have been introduced to China as a glass vase or bottle from the Islamic west, possibly Iran. An Islamic glass bottle vase, probably from Nishapur, North East Iran, was among the treasures found in the tomb of the Princess of Chen, Liao dynasty, dating to no later than 1018 and illustrated in Grand View: Special Exhibition of Ju Ware from the Northern Sung Dynasty, National Palace Museum, Taipei, 2007, cat. no. 25, fig. 2. Fragments of glass vessels of this shape were found in 1997 among the excavated material from the cargo of the Intan shipwreck excavated off the Indonesian coast. This ship is believed to date to the Northern Song period. Furthermore according to the Yi Jian Zhi by the Song scholar official Hong Mai, Emperor Huizong owned a collection of imported glass.

Kinuta vases with dragon-fish, feiyu, handles are rare and particularly so in this large size. The mythological feiyu, considered a good omenwas a popular motif during the Yuan dynasty and may well have travelled along nomadic paths, originating in the ancient Near East through Central Asia into China. A Yuan dynasty gold cup with feiyu handles in the State Hermitage Museum, St. Petersburg, exhibited in The Legacy of Genghis Kahn, Courtly Art and Culture in Western Asia, The Metropolitan Museum of Art, New York, 2002, p. 18, fig. 11, cat. no. 139, attests to the association with fine decorative wares.

A closely related vase, from the collection of Enid and Brodie Lodge, included in several exhibitions such as Exhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat. no. 422, was sold in these rooms, 8th July 1975, lot 91; and one with a crackled glaze, from the collections of Warren E. Cox and Frederick M. Mayer, was sold at Christie’s London, 24th June 1974, lot 61. A slightly smaller vase of this type, in the Tokugawa Art Museum, Nagoya, was included in the exhibition Heavenly Blue. Southern Song Celadon, Nezu Art Museum, Tokyo, 2010, cat. no. 23; together with two further examples, cat. nos 24 and 25, the latter in the Seikado Bunko Art Museum, Tokyo; another from the Carl Kempe collection is illustrated in Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 99; and a further vase, reputedly from the collection of Lord Matsudaira Fumai, was sold at Christies New York, 19th March 2008, lot 561.

An important Longquan celadon 'Kinuta' vase, Southern Song dynasty (1127–1279)

An important Longquan celadon 'Kinuta' vase, Southern Song dynasty (1127–1279). Estimate USD 800,000 - USD 1,200,000. Price Realised USD 2,281,000 at Christies New York, 19th March 2008, lot 561. Photo Christie's Images Ltd 2008.

Cf. http://www.alaintruong.com/archives/2008/03/10/8272411.html

Sotheby's. Important Chinese Art, London, 09 nov. 2016, 11:30 AM

Images of children in Spanish Romantic art on view at the Prado Museum in Madrid

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 Vicente López Portana (1772-1850), Luisa de Prat y Gandiola, subsequently Marchioness of Barbançon, ca. 1845. Oil on canvas, 104 x 84 cm. Madrid, Museo Nacional del Prado. Daniel Carballo Prat legacy, Count of the Pradère, 1933© Museo Nacional del Prado.

MADRID.- The Museo del Prado is showing a group of eight works painted between 1842 and 1855 which have been selected from the numerous portraits of children in its collection dating from the reign of Isabel II with the aim of emphasising two of the most important centres for Romantic art in Spain: Madrid and Seville. The display of this selection will also allow for the first public presentation of an almost unknown work by Esquivel that has recently been added to the Museum’s collection. 

These portraits reveal different interpretations of childhood, a theme that became particularly popular among Romantic painters in a reflection of their clients’ new interests. 

The idea of childhood as a period of life with its own merits rather than a mere preliminary to adulthood emerged in the Enlightenment and achieved its maximum expression with Romanticism, given that childhood embodied qualities highly appreciated by that movement such as innocence, closeness to nature and uncontaminated sensibility. As a result, portraits of children were frequently commissioned by middle-class clients. 

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Rafael Tegeo Díaz (1798- 1856), Young Girl Seated in a Landscape, 1842. Oil on canvas, 111 x 81.5 cm. Madrid, Museo Nacional del Prado. © Museo Nacional del Prado.

During this period the best portraits of children were painted at the court in Madrid. In his portrait of Luisa de Prat y Gandiola, subsequently Marchioness of Barbançon Vicente López adheres to the classicising model, portraying his sitter as a small-scale woman, although his depiction of nature as a setting associated with childhood is notably modern. While this is also the case with Rafael Tegeo, his Seated Girl in a Landscape conveys more of a sense of a child. Federico Madrazo - who refers to models devised by Velázquez in his Portrait of Federico Flórez Márquez – and Luis Ferrant, who looks to the Spanish Golden Age tradition in Isabel Aragón Rey, skilfully adapted this style to the academic formulas of Romanticism. Reflecting European bourgeois fashion, Carlos Luis Ribera and Joaquín Espalter presented their sitters in parks, as in Portrait of a Girl in a Landscape and Manuel and Matilde Álvarez Amorós, respectively. 

Another important artistic centre was Seville where artists such as Antonio María Esquivel and Valeriano Domínguez Bécquer trained. These painters were influenced by the tradition of Murillo and his use of warm, golden backgrounds against which the textures of his child models’ faces and hands stand out, as well as by British portraiture with its preference for graceful poses and outdoor settings.

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Antonio María Esquivel y Suárez de Urbina (1806-1857), Raimundo Roberto and Fernando José, the sons of HRH the Infanta Josefa Fernanda de Borbón Antonio María Esquivel (1806-1857), 1855. Oil on canvas, 145 x 103 cm. Madrid, Museo Nacional del Prado. Acquired in 2016. © Museo Nacional del Prado.

New addition to the Prado’s collections. This almost unknown work is now being presented to the public for the first time since its acquisition in 2016. 

Esquivel’s painting is unique within Spanish Romantic portraiture and constitutes a complete expression of Rousseauesque, liberal ideas on free education (the word “free” appears on the dog’s collar in the painting) championed by the father of the child sitters, the Cuban writer and journalist José Güell (1818-1884). In his book Tears of the Heart, Güell dedicated a poem to his son Raimundo which includes verses that could have inspired the composition of Esquivel’s painting: “Don’t fear to live in poverty / If you can breathe pure air, / And see the sunlight and the grandeur / Of the night that fills the dark sky / […] Nor adorn your brow with laurels, / Nor let the sun ever see you, / Absurdly dressed in finery / Or wearing the livery of power.” 

Dressed only in fur pelts, the two boys are presented as Arcadian shepherds who represent a proclamation of liberalism in their act of freeing goldfinches from a cage. Painted in a clearly sculptural manner characteristic of Esquivel’s final period, this portrait was selected by the artist for inclusion in the first of the National Fine Arts Exhibitions in 1856.

10/18/2016 - 10/15/2017

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Luis Ferrant y Llausás (1806-1868),  Isabel Aragón de Escolar, 1854. Oil on canvas, 79,5 x 65,8 cm. Madrid, Museo Nacional del Prado. © Museo Nacional del Prado.

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Joaquín Espalter y Rull (1809-1880), Manuel y Matilde Álvarez Amorós, 1853. Oil on canvas, 159 x 126 cm. Madrid, Museo Nacional del Prado. © Museo Nacional del Prado.

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Federico de Madrazo y Kuntz (1815-1894), Federico Flórez y Márquez1842. Oil on canvas, 178.5 x 110 cm. Madrid, Museo Nacional del Prado. © Museo Nacional del Prado.

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Carlos Luis de Ribera y Fieve (1815-1891), Portrait of a Young Girl in a Landscape, 1847. Oil on canvas, 116 x 95 cm. Madrid, Museo Nacional del Prado. © Museo Nacional del Prado.

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Valeriano Domínguez Bécquer (1834-1870), Retrato de niña, 1852. Óleo sobre lienzo, 112,5 x 77,5 cm. Madrid, Museo Nacional del Prado. © Museo Nacional del Prado.

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Exhibition galleries © Museo Nacional del Prado. 

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 Exhibition galleries© Museo Nacional del Prado.

An impressive 47.72 carats Colombian emerald and diamond ring, by David Webb

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Lot 208. An impressive 47.72 carats Colombian emerald and diamond ring, by David Webb. Estimate CHF 2,000,000 - CHF 2,500,000 (USD 2,016,474 - USD 2,520,593). Photo Christie's Images Ltd 2016.

Set with an octagonal step-cut emerald, weighing approximately 47.72 carats, set within a graduated marquise-cut and pear-shaped diamond surround, to the pavé-set diamond gallery and shoulders, ring size 5, mounted in platinum and gold, in blue leather David Webb case. Signed David Webb, no.GC11

Accompanied by report no. 16025046 dated 23 February 2016 from the Gübelin GemLab stating that the origin of the emerald is Colombia, with no indications of clarity enhancement, an Information Sheet on 'Untreated emeralds' and an Appendix stating that this emerald 'possesses a saturated and homogeneous colour, combined with an exceptional degree of transparency'. 

Report no. CS1072702 dated 15 January 2016 from the AGL American Gemological Laboratories stating that the origin of this emerald is Colombia, with no clarity enhancement, and a 'Jewel Folio' stating that 'such a combination of quality factors, large size, origin determination and absence of treatment as present in this exceptional Colombian emerald is very rare'. 

Further accompanied by certificate of authenticity dated 18 March 2016 from David Webb. 

Christie's. Geneva Magnificent Jewels, 15 November 2016, Geneva

A superb 10.30 carats, Internally Flawless clarity fancy vivid orangy yellow octagonal step-cut diamond ring

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Lot 155. A superb 10.30 carats, Internally Flawless clarity fancy vivid orangy yellow octagonal step-cut diamond ring. Estimate CHF 2,000,000 - CHF 3,000,000 (USD 2,016,474 - USD 3,024,712). Photo Christie's Images Ltd 2016.

Set with a fancy vivid orangy yellow octagonal step-cut diamond, weighing approximately 10.30 carats, between tapered baguette-cut diamonds, ring size 6, mounted in platinum.

Accompanied by report no. 2171402144 dated 23 December 2015 from the GIA Gemological Institute of America stating that the diamond is Fancy Vivid Orangy Yellow colour, Internally Flawless clarity. 

Christie's. Geneva Magnificent Jewels, 15 November 2016, Geneva

An elegant 32.33 carats, D colour, VVS1 clarity Type IIa rectangular cut-cornered diamond ring, by Bulgari

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Lot 115. An elegant 32.33 carats, D colour, VVS1 clarity Type IIa rectangular cut-cornered diamond ring, by Bulgari. Estimate CHF 2,000,000 - CHF 3,000,000 (USD 2,016,474 - USD 3,024,712). Photo Christie's Images Ltd 2016.

Set with a rectangular cut-cornered diamond, weighing approximately 32.33 carats, between kite-shaped diamond shoulders, ring size 6, mounted in platinum and gold, in black leather Bulgari case. Signed Bvlgari.

Accompanied by report no. 14301319 dated 19 July 2016 from the GIA Gemological Institute of America stating that the diamond is D colour, VVS1 clarity; also with a working diagram indicating that the clarity of the diamond is potentially Internally Flawless, and a Diamond Type Classification letter stating that the diamond has been determined to be Type IIa. 

Christie's. Geneva Magnificent Jewels, 15 November 2016, Geneva

An important two-strand natural pearl and diamond necklace

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Lot 143. An important two-strand natural pearl and diamond necklaceEstimate CHF 2,000,000 - CHF 3,000,000 (USD 2,016,474 - USD 3,024,712). Photo Christie's Images Ltd 2016.

The strands composed of fifty-one and forty-nine natural pearls, measuring approximately 12.80 to 7.50 mm, to the clasp set with two old-cut diamonds, mounted in silver and gold.

Accompanied by report no. 87755 dated 20 September 2016 from the SSEF Swiss Gemmological Institute stating that the 100 pearls are saltwater natural pearls and an appendix letter indicating that '..These pearls of partially remarkable size (...) have been carefully selected and exhibit a beautiful matching fine pearl lustre combined with an attractive colour.'  

Christie's. Geneva Magnificent Jewels, 15 November 2016, Geneva

Bols, Vietnam, dynastie des Trần (13°-14° siècle)

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Bols, Vietnam, dynastie des Trần (1225- 1400)

Lot 32. Bols, Vietnam, dynastie des Trần (13°-14° siècle).  Estimation : 100 € / 150 €Photo Cornette de Saint Cyr.

Grès à couverte brune, D. 12,5 -16 cm.

Bols, Vietnam, dynastie des Trần (1225- 1400)

Lot 33. Bols, Vietnam, dynastie des Trần (13°-14° siècle).  Estimation : 100 € / 200 €Photo Cornette de Saint Cyr.

Grès à couverte brune, D. 12,5 -16 cm.

Bols, Vietnam, dynastie des Trần (1225- 1400)

Lot 34. Bols, Vietnam, dynastie des Trần (13°-14° siècle).  Estimation : 100 € / 200 €Photo Cornette de Saint Cyr.

Grès à couverte brune à l’extérieur et blanc crème à l’intérieur, D. 10,5 - 17 cm 

Bols, Vietnam, dynastie des Trần (13°-14° siècle)

Lot 34. Bols, Vietnam, dynastie des Trần (13°-14° siècle).  Estimation : 80 € / 100 €Photo Cornette de Saint Cyr.

Grès à couverte brune à l’extérieur et blanc crème à l’intérieur, D. 10 cm 

CORNETTE DE SAINT CYR PARIS. Arts d'Asie - Art Tribal - Documentation, le 09 Novembre 2016 à 14h30. 6, Avenue Hoche - 75008 PARIS. Expert : Cabinet Daffos-Estournel (Tel. : +33 6 09 22 55 13). Consultant pour le Vietnam : Monsieur Philippe Truong (Tel. : +33 6 31 34 40 59)


Lot composé d'un bol et d'une assiette, Vietnam, dynastie des Trần (13°-14° siècle)

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deux assiettes, Vietnam, dynastie des Trần (13°-14° siècle)

Lot 38. Lot composé d'un bol et d'une assiette, Vietnam, dynastie des Trần (13°-14° siècle)Estimation : 100 € / 150 €Photo Cornette de Saint Cyr.

Grès à couverte céladon, D. 16,5 cm (bol) – 17 cm (assiette) 
Bol à décor moulé de trois enfants jouant parmi les lotus (dans le style des céladons de Yazhou et des qingbai). Assiette à décor moulé de rinceau de lotus. Traces de pernettes. 

CORNETTE DE SAINT CYR PARIS. Arts d'Asie - Art Tribal - Documentation, le 09 Novembre 2016 à 14h30. 6, Avenue Hoche - 75008 PARIS. Expert : Cabinet Daffos-Estournel (Tel. : +33 6 09 22 55 13). Consultant pour le Vietnam : Monsieur Philippe Truong (Tel. : +33 6 31 34 40 59)

Lot composé d'un bol et d'une assiette, Vietnam, dynastie des Trần (13°-14° siècle)

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Lot composé d'un bol et d'une assiette, Vietnam, dynastie des Trần (13°-14° siècle)

Lot 39. Lot composé d'un bol et d'une assiette, Vietnam, dynastie des Trần (13°-14° siècle). Estimation : 100 € / 150 €Photo Cornette de Saint Cyr.

Grès à couverte, D. 15 - 16 cm 
Décor incisé et peigné d’un motif floral, dans le style des céladons Song du Fujian ou de Dehua. Traces de pernettes. 
Des pièces similaires ont été retrouvées à des fours du Thanh Hóa, des tombes de Thanh Binh (Nông Cống, Thanh Hóa) ainsi que dans les ports Den Huyen et de Vân Đồn

CORNETTE DE SAINT CYR PARIS. Arts d'Asie - Art Tribal - Documentation, le 09 Novembre 2016 à 14h30. 6, Avenue Hoche - 75008 PARIS. Expert : Cabinet Daffos-Estournel (Tel. : +33 6 09 22 55 13). Consultant pour le Vietnam : Monsieur Philippe Truong (Tel. : +33 6 31 34 40 59)

Lot composé de deux assiettes, Vietnam, dynastie des Trần (13°-14° siècle) et Lê (15°-16° siècle)

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Lot composé de deux assiettes, Vietnam, dynastie des Trần (13°-14° siècle) et Lê (15°-16° siècle)

Lot 37. Lot composé de deux assiettes, Vietnam, dynastie des Trần (13°-14° siècle) et Lê (15°-16° siècle). Estimation : 80 € / 150 €Photo Cornette de Saint Cyr.

Grès à couverte, D. 14,5 – 17,5 cm 
Assiette à décor incisé et peigné d’un motif floral datant des Trân tandis que celle à décor moulé de vagues des Lê (15°-16° siècle). Traces de pernettes. 

CORNETTE DE SAINT CYR PARIS. Arts d'Asie - Art Tribal - Documentation, le 09 Novembre 2016 à 14h30. 6, Avenue Hoche - 75008 PARIS. Expert : Cabinet Daffos-Estournel (Tel. : +33 6 09 22 55 13). Consultant pour le Vietnam : Monsieur Philippe Truong (Tel. : +33 6 31 34 40 59)

Pierre-Auguste Renoir retrospective opens in Spain

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Pierre-Auguste Renoir, After the Luncheon. Óleo sobre lienzo, 100,5 x 81,3 cm, Frankfurt am Main, Städel Museum.

MADRID.- Writing about his father, the filmmaker Jean Renoir said: “He looked at flowers, women and clouds in the sky as other men touch and caress.” Renoir: Intimacy, the first retrospective in Spain to focus on the Impressionist painter Pierre-Auguste Renoir (1841-1919), challenges the traditional concept that reduces Impressionism to the “purely visual”. Rather, it emphasises the central role played by tactile sensations in Renoir’s paintings, which are present in all the different phases of his career and are expressed through a wide range of genres including group scenes, portraits, nudes, still lifes and landscapes. 

Curated by Guillermo Solana, Artistic Director of the Museo Thyssen-Bornemisza, the exhibition is sponsored by Japan Tobacco International (JTI) and presents a survey of 78 works by the artist loaned from museums and collections worldwide, including the Musée Marmottan Monet in Paris, the Art Institute of Chicago, the Pushkin Museum in Moscow, the J. Paul Getty Museum in Los Angeles, the National Gallery in London and the Metropolitan Museum of Art, New York. Renoir: Intimacy shows how the artist made use of the tactile qualities of volume, paint and textures as a vehicle to evoke intimacy in its various forms (friendship, the family or erotic ties) and how that imagery connects the work to the viewer through the sensuality of the brushstroke and the pictorial surface. The exhibition will subsequently be shown at the Bilbao Fine Arts Museum from 7 February to 15 May 2017. 

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Pierre-Auguste Renoir, Aline Renoir Nursing her Baby, 1915. Óleo sobre lienzo. 51 x 40,5 cm Berna, Kunstmuseum Bern. Legado Georges F. Keller, 1981.

While the figures in the group portraits of artists such as Manet and Degas tend to maintain their distance with the viewer, Renoir imbued his figures with a palpable closeness. In scenes with two or more, these figures habitually participate in a process of alternation between visual and physical contact: pairs of siblings or mothers and children in which one looks at the other, while the second responds by touching them. 

On occasions these exchanges are constructed around a shared activity such as reading a book. In the case of his individual portraits, Renoir aimed to offer an experience comparable to physical contact by bringing the viewer as close as possible. While Degas surrounded his models with a setting and attributes that represent them, Renoir tended to tighten up the composition, omitting the setting in order to concentrate our gaze on the figure’s face. 

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Pierre-Auguste Renoir,Bathing in the Seine (La Grenouillère), 1869. Óleo sobre lienzo. 59 x 80 cm. Moscú, The State Pushkin Museum of Fine Arts.

Other details that refer to palpable sensations in Renoir’s paintings include the figures’ hair, which they play with and twist around their hands; the dogs held by women in these works; the pieces of cloth or towels that cover their breast or are wrapped round their thighs; the task of sewing; skeins of wool; or the dense texture of a garden. 

Renoir: Intimacy is structured into six thematic sections: Impressionism: public and private; Commissioned portraits; Everyday pleasures; Northern and southern landscapes; Family and environment and Bathers. 

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Pierre-Auguste Renoir,Hills around the Bay of Moulin Huet, Guernsey, 1883. Óleo sobre lienzo. 46 x 65,4 cm Nueva York, The Metropolitan Museum of Art. Legado de Julia W. Emmons, 1956.

The Impressionist phase, from 1869 to 1880, occupies three rooms in the exhibition and features some of Renoir’s most iconic works, including Lunch at the Restaurant Fournaise (The Rowers´Lunch) (1875) After the Luncheon (1879), a life study for Le Moulin de la Galette (18751876), and Bathing in the Seine (La Grenouillère) of 1869, one of the works that Renoir executed in La Grenouillère, a popular area for leisure activities on the outskirts of Paris where he worked with Monet. A selection of female portraits set outdoors or in interiors, including Portrait of Madame Claude Monet (1872-1874), portraits of couples such as La Promenade (1870), in addition to an Impressionist landscape, Woman with a Parasol in a Garden (1875), complete this section. 

By 1881 the Impressionist approach seemed to be exhausted and the group’s members moved apart. Renoir turned his gaze to the classical tradition, from Raphael to Jean-Auguste Dominique Ingres. While maintaining the use of an Impressionist pictorial language, his works now reveal a greater emphasis on drawing.  

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Pierre-Auguste Renoir, The Promenade, 1870. Óleo sobre lienzo. 81,3 x 64,8 cm Los Ángeles, The J. Paul Getty Museum.

From the late 1870s and during the rest of the following decade Renoir gained a growing reputation as a portraitist, becoming one of the most solicited by Parisian high society. His depictions of Madame Thurneyssen and her Daughter (1910), or the series devoted to the Durand-Ruel family are among the examples of this facet of his output on display. 

Among the scenes of everyday life are depictions of young women, either alone or with other women, located in an interior in which they are shown absorbed in activities that isolate them from the viewer. The green Flowerpot (1882) and Young Women reading (1891) allow us to enter this intimate space of everyday pleasures. 

The room devoted to landscapes includes views of the Normandy coast and the Channel Islands, such as Hills around the Bay of Moulin Huet, Guernsey (1883), Provence, where he shared pictorial motifs with his friend Cézanne, among them Mont Sainte-Victoire (ca.1888-1889) and various locations in southern Italy, including The Bay of Salerno (Landscape of the South) of 1881.  

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Pierre-Auguste Renoir,The Pond, Cagnes or Landsape at Cagnes-sur-Mer, 1905-1907. Óleo sobre lienzo. 46 x 55 cm. Saint-Jean-Cap-Ferrat, Villa Ephrussi de Rothschild, Académie des Beaux-Arts.

The exhibition continues with family and domestic scenes featuring the artist’s children, such as Coco eating his Soup (1905) and Jean dressed as a Hunter (1910); the artist’s wife Aline, depicted in Motherhood (1885), painted to mark the birth of their first son Pierre, and in Aline Renoir Nursing her Baby (1915); and other members of his closest circle. The latter included Gabrielle Renard, the family’s nanny and a distant relative of Aline, who became one of Renoir’s favourite models, seen here in Boy with an Apple or Gabrielle, Jean Renoir and a Girl (ca.18951896), and Andrée Heuschling, who would marry Renoir’s son Jean after the artist’s death, seen here in The Concert (1918-1919). 

The nude was among Renoir’s preferred subjects, although with the exception of Degas the Impressionists tended to avoid it as they considered it an academic theme. Engaged in his own stylistic evolution, Renoir achieved one of the high points of his career with his scenes of bathers: a series of nudes set outdoors in which the artist celebrated a type of timeless nature devoid of any reference to the modern world. The result is an idyllic vision characterised by the sensuality of the models, richness of colouring and plenitude of the forms. 

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Pierre-Auguste Renoir, The Source, 1906. Óleo sobre lienzo. 92 x 73 cm. Zurich, Colección Foundation E.G. Bührle.

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Pierre-Auguste Renoir,Jean as a Huntsman, 1910. Óleo sobre lienzo. 172,7 x 88,9 cm. Los Ángeles, Los Ángeles County Museum of Art. Donación debida a la generosidad del difunto Sr. Jean Renoir y la Sra. Dido Renoir.

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Pierre-Auguste Renoir,Young Woman with Raised Arms, hacia 1895. Óleo sobre lienzo. 46,3 x 38,2 cm. Bremen, Kunsthalle Bremen-Der Kunstverein in Bremen.

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Pierre-Auguste Renoir,The Plait, hacia 1886-1887. Óleo sobre lienzo. 57 x 47 cm Baden, Museum Langmatt, Langmatt Foundation Sidney and Jenny Brown.

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Pierre-Auguste Renoir, Le Moulin de la Galette (Study), 1875-1876. Óleo sobre lienzo. 65 x 85 cm. Copenhaguen, Ordrupgaard.

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Pierre-Auguste Renoir, Lise in a White Shawl, circa 1872. Óleo sobre lienzo. 55,9 x 45,7 cm Dallas, Dallas Museum of Art, Colección Wendy y Emery Reves.

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Pierre-Auguste Renoir,Mlle Charlotte Berthier, 1883 Óleo sobre lienzo. 92,1 x 73 cm. Washington, D.C, National Gallery of Art. Donación de Angelika Wetheim Frink.

MadameThurneyssen_GRND

Pierre-Auguste Renoir, Madame Thurneyssen and her Daughter, 1910. Óleo sobre lienzo. 100 x 81 cm. Buffalo, Nueva York, Colección de la AlbrightKnox Art Gallery. Fondos Generales para Adquisiciones, 1940.

MountSainteVictoire_GRND

Pierre-Auguste Renoir, Mount of Saint Victoire, circa 1888-1889. Óleo sobre lienzo. 53 x 64,1 cm New Haven, Yale University Art Gallery. Colección Ordway.

MujerMonet_GRND

Pierre-Auguste Renoir, Portrait of Madame Claude Monet, circa1872- 1874. Óleo sobre lienzo. 53 x 71, 7 cm. Lisboa, Museu Calouste Gulbenkian.

MujerSombrilla_GRND

Pierre-Auguste Renoir, Woman with a Parasol in a Garden, 1875. Óleo sobre lienzo. 54,5 x 65 cm. Madrid, Museo Thyssen-Bornemisza.

Ninfa_GRND

Pierre-Auguste Renoir, A Nymph by a Stream, 1869-1870. Óleo sobre lienzo. 66,7 x 122,9 cm. Londres, The National Gallery. Adquirido en 1951.

NiñoManzana_GRND

Pierre-Auguste Renoir, Child with an Apple or Gabrielle, Jean Renoir and a Little Girl, circa 1895-1896. Pastel sobre papel. 560 x 760 mm. Mrs. Léone Cettolin Dauberville.

Pianista_GRND

Pierre-Auguste Renoir, Woman at the Piano, 1875-1876. Óleo sobre lienzo, 93 x 74 cm. Chicago, The Art Institute of Chicago Colección Mr. y Mrs. Martin A. Ryerson.

Remeros_GRND

Pierre-Auguste Renoir, Lunch at the Restaurant Fournaise (The Rowers’ Lunch), 1875. Óleo sobre lienzo. 55 x 65,9 cm Chicago, The Art Institute of Chicago, Colección Potter Palmer.

A moulded 'Ding' bowl, Jin dynasty (1115–1234)

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A moulded 'Ding' bowl, Jin dynasty (1115–1234)

A moulded 'Ding' bowl, Jin dynasty (1115–1234)

Lot 111. A moulded 'Ding' bowl, Jin dynasty  (1115–1234). Estimate 40,000 — 60,000 GBP. Photo: Sotheby's

the rounded sides rising from a short straight foot to a foliate metal-mounted rim, the interior delicately moulded in shallow relief with a central jardinière of flowers below a wide band of scrolling lotus, with a thin band of keyfret below the rim; 18.2 cm, 7 1/8  in.

Sotheby's. Important Chinese Art, London, 09 nov. 2016, 11:30 AM

A 'Cizhou' painted 'dragon and phoenix' meiping, Jin dynasty (1115–1234)

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A 'Cizhou' painted 'dragon and phoenix' meiping, Jin dynasty (1115–1234)

Lot 112. A 'Cizhou' painted 'dragon and phoenix'meiping, Jin dynasty (1115–1234). Estimate 25,000 — 30,000 GBP. Photo: Sotheby's

the round shouldered tapering body rising from a recessed spreading base to a narrow neck and angled rim, freely painted in dark brown on a creamy-white ground with two large cusped panels, one enclosing a scaly dragon within cloud whorls, the other with a phoenix in flight, all between a leafy foliate scroll at the shoulder and simple scroll bands at the base, Japanese wood box. Quantité: 2 - 37 cm, 14 1/2  in.

ProvenanceCollection of Howard Hollis.
Sotheby's New York, 18th September 1996, lot 184.

ExhibitionChinese Ceramics from the Prehistoric Period through Ch'ien-Lung: A Loan Exhibition from Collections in America and Japan, Los Angeles County Museum, Los Angeles, 1952, cat. no. 216.

Notesmeiping painted with birds in cartouches and with a similar floral motif on the shoulder, from the collection of Milfred R. and Rafi Y. Mottahedeh, included in the Oriental Ceramic Society exhibition The Animal in Chinese Art, London, 1968, cat. no. 439, was sold twice in our New York rooms, 25th May 1944, lot 345, and 20th September 2000, lot 96, and again in these rooms, 12th May 2010, lot 54.

A 'Cizhou' painted meiping, Yuan dynasty (1271–1368)

A 'Cizhou' painted meiping, Yuan dynasty (1271–1368). Lot sold 55,250 GBP at Sotheby's London, 12th May 2010, lot 54. Photo: Sotheby's.

the elongated body with high shoulders boldly painted with a foliate scroll above a cross-hatched background, set between triple line borders, the main band of decoration painted with diamond-like panels enclosing a phoenix with outstretched wings amidst clouds and a crane amongst leafy stems bearing a chrysanthemum blossom, and two fast meanders near the foot, all painted in mottled brown on a cream ground beneath a clear glaze with fine crackle, the recessed base unglazed showing the buff ware; 34.3cm., 13 1/2 in.

ProvenanceSotheby's New York, 25th May 1944, lot 345.
Yamanaka & Co., New York.
Collection of Mildred R. and Rafi Y. Mottahedeh. 
Sotheby's New York, 20th September 2000, lot 96.

ExhibitedThe Animal in Chinese Art, Oriental Ceramic Society, London, 1968, no. 439, pl. 13, fig. B.

NotesSee a meiping formerly in the Howard Hollis collection and included in the exhibition Chinese Ceramics from the Prehistoric Period through Ch'ien-Lung. A Loan Exhibition from Collections in America and Japan, Los Angeles County Museum, Los Angeles, 1952, cat. no. 216; another 'Cizhou' vase of this type boldly painted in dark brown with an animated dragon amidst spiral clouds, sold in our New York rooms, 18th September 1996, lot 184; and a third example, painted with figures, from the collection of Gustaf Hillestrom and included in the exhibition Kina som Hobby, Ostasiatiska Museet, Stockholm, 1968, cat. no. 27b, sold in these rooms, 16 December 1980, lot 533.

The bird and flower motif can be found on a 'Cizhou' guan jar from the collection of Thos. Barlow Walker, sold in our New York rooms, 26th September 1972, lot 696. Compare also a jar painted with phoenix, excavated from the ruins of the Yuan capital Dadu, modern Beijing, included in the exhibition Archaeological Treasures Excavated in the People's Republic of China, Tokyo National Museum, Tokyo, 1973, cat. no. 228.

Related designs of phoenix and dragons in cartouches are more commonly found on guan jars, such as one in the Cleveland Museum of Art, Cleveland, included in the exhibition Freedom of Clay and Brush. Tz’u-chou Type Wares, The Indianapolis Museum of Art, Indianapolis, 1980, cat. no. 93; two sold in our London rooms, the first, 5th July 1977, lot 140, and the second, 7th December 1993, lot 174; and another sold in our Hong Kong rooms, 18th May 1982, lot 83. See also a jar painted with phoenix, excavated from the ruins of the Yun capital Dadu, included in the exhibition Archaeological Treasures Excavated in the People’s Republic of China, Tokyo National Museum, 1973, cat. no. 228. 

Sotheby's. Important Chinese Art, London, 09 nov. 2016, 11:30 AM

An important diamond bracelet

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Lot 222. An important diamond bracelet. Estimate CHF 1,800,000 - CHF 2,500,000 (USD 1,814,827 - USD 2,520,593). Photo Christie's Images Ltd 2016.

Set with nine pear-shaped diamonds, weighing approximately from 9.10 to 4.36 carats, interspersed with pear-shaped diamond graduated clusters, 16.0 cm, mounted in platinum and gold.

Accompanied by nine reports dated July 2016 from the GIA Gemological Institute of America stating:

Carat Colour Clarity Type Report no.
9.10 D VVS2 pot 1172726540
7.20 D VVS1 pot IIa 2175726545
7.13 D VVS1 pot IIa 2175726535
6.11 D VVS1 pot IIa 2171726555
5.90 D VVS1 pot IIa 1172726541
5.58 D VVS1 pot IIa 1172726638
5.12 D IF IIa 2175726538
5.05 D VS1 IIa 1172726534
4.36 D VVS1 pot IIa 2173726533
  

Christie's. Geneva Magnificent Jewels, 15 November 2016, Geneva


An exceptional 7.08 carats 'pigeon blood red' Mogok, Burma ruby and diamond ring

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Lot 186. An exceptional 7.08 carats 'pigeon blood red' Mogok, Burma ruby and diamond ring. Estimate CHF 1,700,000 - CHF 2,200,000 (USD 1,714,003 - USD 2,218,122). Photo Christie's Images Ltd 2016.

Set with an oval-cut ruby, weighing approximately 7.08 carats, between fancy-cut diamond shoulders, ring size 6 ½, mounted in gold.

Accompanied by report no. 87463 dated 29 August 2016 from the SSEF Swiss Gemmological Institute stating that the origin of the ruby is Burma (Myanmar), with no indications of heating, and that the colour may also be called 'pigeon blood red', an Appendix letter and a Premium book.
Report no. 16037100 dated 3 March 2016 from the Gübelin GemLab stating that the origin of the ruby is Burma (Myanmar), with no indications of heating, and that the colour may also be called 'pigeon blood red', an Appendix and two Information sheets on 'Rubies from Mogok, Burma' and 'Unheated rubies'. 
 

Christie's. Geneva Magnificent Jewels, 15 November 2016, Geneva

A set of diamond jewelry, by Cartier

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Lot 214. A set of diamond jewelry, by Cartier. Estimate CHF 1,500,000 - CHF 2,000,000 (USD 1,512,356 - USD 2,016,474). Photo Christie's Images Ltd 2016.

Comprising: a circular, marquise and pear-shaped diamond V-shaped necklace, suspending a detachable pear-shaped diamond pendant, weighing approximately 20.40 carats, 41.0 cm; and a pair of earrings, each similarly-set spray cluster surmount, suspending a detachable pear-shaped diamond pendant, weighing approximately 5.02 and 5.01 carats, 5.0 cm, all mounted in gold. Signed Cartier HSS, nos. 142 (necklace) and 262 (earrings).

Accompanied by report no. 2171055087 dated 27 February 2015 from the GIA Gemological Institute of America stating that the 20.40 carat diamond is G colour, VVS1 clarity; also with a working diagram indicating that the clarity of the diamond is potentially Internally Flawless.

Report no. 1172055259 dated 3 March 2015 from the GIA Gemological Institute of America stating that the 5.02 carat diamond is G colour, VVS1 clarity; also with a working diagram indicating that the clarity of the diamond is potentially Internally Flawless.

Report no. 5171055250 dated 5 March 2015 from the GIA Gemological Institute of America stating that the 5.01 carat diamond is G colour, VVS1 clarity; also with a working diagram indicating that the clarity of the diamond is potentially Internally Flawless.  

Christie's. Geneva Magnificent Jewels, 15 November 2016, Geneva

Pot, Vietnam, dynastie des Lê, 15°-16°siècle

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Pot, Vietnam, dynastie des Lê, 15°-16°siècle

Lot 31. Pot, Vietnam, dynastie des Lê, 15°-16°siècle. Estimation : 100 € / 200 €.  Photo Cornette de Saint-Cyr.

Terre cuite, H. 18 cm.

CORNETTE DE SAINT CYR PARIS. Arts d'Asie - Art Tribal - Documentation, le 09 Novembre 2016 à 14h30. 6, Avenue Hoche - 75008 PARIS. Expert : Cabinet Daffos-Estournel (Tel. : +33 6 09 22 55 13). Consultant pour le Vietnam : Monsieur Philippe Truong (Tel. : +33 6 31 34 40 59)

Exhibition illuminates Syria's contributions to world heritage

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Lion’s Head, Syria, 9th-8th centuries BCE. Ivory, carved© Royal Ontario Museum

TORONTO.- The Aga Khan Museum opened its exhibition Syria: A Living History on October 15, 2016. The exhibition brings together over 5,000 years of art highlighting the contributions that the diverse cultures within Syria — Mesopotamian, Greek, Roman, Byzantine, Persian, Ottoman, and Arab — have made to world heritage. The exhibition, which represents collaboration between seven international museums and private collections, will run through February 26, 2017. 

Many of the works of art are being exhibited together for the first time and will give audiences a unique insight into the marvellous cultural traditions of both ancient and present-day Syria, thereby underscoring the dialogue between these traditions throughout the ages. 

We hope that a better appreciation of Syria’s priceless contributions to the world’s heritage over five millennia will add urgency to the efforts to bring about peace and reconciliation in that country,” says Aga Khan Museum Director and CEO, Henry Kim. “The sheer variety of these artifacts and their cultural breadth reveal Syria’s long and rich history of multiculturalism and how essential that diversity was to the development of so many of the world’s greatest civilizations.” 

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Tomb Relief, Palmyra, Syria, 123 CE. Limestone, carved. © Royal Ontario Museum

Exhibition highlights include: 

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Eye idol , Tell Brak, Syria, gypsum carved around 3,200 BCE, Royal Ontario Museum. Photo Brian Boyle/ROM/Aga Khan Museum

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Stele with  depiction of a prayer, Tell Halaf, Syria, 10th–9th centuries BCE. Basalt, carved. © Vorderasiatisches Museum. Photo Olaf M. Tessmer

still bearing the marks of a Second World War bombing raid in Berlin, Germany. 

 Contemporary works by Elias Zayat (b. 1935) and Fateh Moudarres (1922–99) that merge personal experiences with reflections on modern-day Syria. 

The exhibition represents an unprecedented partnership between several renowned public and private institutions. Institutional partners include the Royal Ontario Museum, Toronto; the Museum of Islamic Art, Berlin; the Vorderasiatisches Museum, Berlin; the Louvre, Paris; the Metropolitan Museum of Art, New York; the Atassi Foundation, Dubai; and the Marshall and Marilyn R. Wolf Collection, Toronto. 

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Bowl, probably Homs, Syria, 25 BCE-25 AD. Glass, mosaic© The Metropolitan Museum of Art

The historians and curators behind the exhibition include Dr. Filiz Çakır Phillip, Curator, Aga Khan Museum; Professor Nasser Rabbat, Aga Khan Program of Islamic Art and Architecture, MIT; and Dr. Ross Burns, a historian based in Sydney, Australia. The exhibition showcases objects carefully chosen by Dr. Çakır Phillip in discussion with each partnering institution. 

Dr. Çakır Phillip observes, “Together, the selected works show a continuously strong and deep interest in both human and animal imagery in the arts of Syria, regardless of their artists’ differing belief systems or ethnic backgrounds, amounting to the rich cultural heritage of the country.” 

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Incense Burner, Syria, 13th century
. Copper alloy, silver, and gold; pierced, engraved, and inlaid. © Staatliche Museen zu Berlin, Museum für Islamische Kunst.

A section of the exhibition highlights work currently underway to document major monuments and sites. Professor Nasser Rabbat provides the interpretive voice for the exhibition. He will also contribute to a two-day symposium at the Aga Khan Museum (October 29–30), in which he will examine Syria from both historical and cultural perspectives. 

Exhibition-related programming includes a lecture by Dr. Ross Burns on the architectural heritage of Syria, a round-table discussion on post-conflict Syria, and performances by Syrian-born artists and musicians such as Lubana Al Quntar and Kinan Azmeh (joined by visual artist Kevork Mourad). The elegant Damascus panels that adorn the interior of Diwan, the Museum’s restaurant, provide the perfect backdrop for a unique series of special concerts and themed events.

“Syria: A Living History” will be on display at the Aga Khan Museum in Toronto, Canada from October 15 through February 26, 2017.

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Inscription Panel, Damascus, Syria, 16th century. Stone, carved. © Vorderasiatisches Museum. Photo Olaf M. Tessmer

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Niche From a Samaritan House (digital), 16th century, Unknown.

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Backgammon or Chess Box, Syria, 19th century. Wood, wood veneers, bone, and mother of pearl inlay© Royal Ontario Museum.

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Fateh Moudarres (1922–99), The Last Supper, 1964, Oil on canvas, 60x90 cm. © Atassi Foundation for Arts and Culture.

A rare Guan-type bottle vase, Yuan dynasty (1279–1368)

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A rare Guan-type bottle vase, Yuan dynasty (1279–1368)

Lot 119. A rare Guan-type bottle vase, Yuan dynasty (1279–1368). Estimate 12,000 — 18,000 GBP. Photo: Sotheby's

 the compressed globular body rising from a short partly recessed foot to a tall cylindrical neck, covered overall in a thick soft bluish-grey glaze suffused with a matrix of crackles, the glaze falling short of the footring to reveal the dark purplish-brown body; 17 cm, 6 3/4  in.

ProvenanceSotheby's London, 12th May 2010, lot 49. 

Sotheby's. Important Chinese Art, London, 09 nov. 2016, 11:30 AM

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