Lot 78. An exceptional 10.10 carats no heat oval-cut Mozambique ruby and diamond ring. Estimate USD 900,000 - USD 1,200,000. Price Realised  USD 1,027,500. © Christie's Images Ltd 2016.

Set with an oval-cut ruby, weighing approximately 10.10 carats, flanked on either side by a half-moon shaped diamond, ring size 6, mounted in 18k gold and white gold 

Accompanied by report no. CS 1078403 dated 6 September 2016 from the AGL American Gemological Laboratories stating that it is the opinion of the Laboratory that the origin of this ruby would be classified as Mozambique, with no gemological evidence of heat 

With report no. 60496 dated 29 August 2011 from the SSEF Swiss Gemmological Institute stating that the analysed properties confirm the authenticity of this transparent ruby, no indications of heating, origin: Mozambique; also accompanied by a letter stating that this natural ruby 'possesses extraordinary characteristics and merits a special mention and appreciation' and attests to the 'very rare and exceptional' quality of the ruby

Christie's. Magnificent Jewels, 7 December 2016, New York, Rockefeller Plaza 

Lot 523. A 'Longquan' celadon vase, Southern Song dynasty (1127–1279). Estimate 50,000 — 70,000 HKD. Lot sold 325,000 HKD.  Photo Sotheby's.

the pear-shaped body rising from a short tapered foot to a tall cylindrical neck and upturned everted rim, covered overall with a soft sea-green glaze thinning at the rim and stopping neatly at the foot, the unglazed foot rim burnt to a light orange in the firing - 14.5 cm, 5 3/4  in.

Note: A vase of this type, from the collections of Mrs Alfred Clarke and Edward T. Chow, was sold in our London rooms, 16th December 1980, lot 299, and is illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 1, London, 1994, pl. 555; one, from the Carl Kempe collection and now in the Museum of far Eastern Antiquities, Stockholm, is published in Oriental Ceramics. The World’s Great Collections, 1982, vol. 8, pl. 146; and another in the Musée Guimet, Paris, is illustrated Terre de Neige, de Glace, et d’Ombre, Taipei, 1999, pl. 33.

Sotheby's. Chinese Art, Hong Kong, 02 Dec 2016

NDB: See also: 

A Longquan celadon vase, Southern Song dynasty (A.D. 1127-1279) in 'Chinese Ceramics A.D. 400–1400: Selections from an American Collection', March 19 - 31, 2007 at J. J. Lally & Co Oriental Art.

with pear-shaped body and wide cylindrical neck rising to a shallow flared mouth with galleried lip, covered inside and out with a light bluish-green glaze of even tone, thinning to a slightly paler hue at the lip and pooling to a deeper bluish color inside the mouth, the glaze continuing over the flat base recessed within a high ring foot, the thin edge of the foot unglazed and the surface of the stoneware showing a dark purplish gray color. Height 6 1⁄4 inches (15.9 cm)

Published: Mowry, ‘Chinese Ceramics from the Collection of Dr. and Mrs. Marvin L. Gordon,’ Orientations, March 2004, fig. 5, p. 118

A Longquan' celadon vase, Southern Song Dynasty. Estimate 150,000 — 200,000 HKD (16,995 - 22,660 EUR). Unsold at Sotheby'sHong Kong, 03 déc. 2015, Lot 241. Photo Sotheby's.

Cf. A Longquan' celadon vase, Southern Song Dynasty

A 'Longquan' celadon vase, Southern Song Dynasty. Sold 93,750 USD at New York, 16 Mar 2016, Lot 251. Photo: Sotheby's.

Cf. A 'Longquan' celadon vase, Southern Song Dynasty

Lot 525. A small 'Longquan' celadon washer, Song dynasty (960–1279). Estimate 30,000 — 40,000 HKD. Lot sold 81,250 HKD.  Photo Sotheby's.

with straight flared sides rising at an angle from a tapered foot to a lipped rim, covered overall save for the footring with a smooth sea-green glaze pooling to a darker tone at the recesses - 9.6 cm, 3 3/4  in.

Sotheby's. Chinese Art, Hong Kong, 02 Dec 2016

Lot 526. A fine 'Longquan' celadon 'Lotus' bowl, Southern Song dynasty (1127–1279). Estimate 100,000 — 150,000 HKD. Lot sold 475,000 HKD.  Photo Sotheby's.

finely potted, the deep rounded sides rising from a slightly tapered foot, the exterior subtly moulded with overlapping lotus petals, covered overall with a sea-green glaze, save for the unglazed footring revealing the grey stoneware body, Japanese wood box - 17.4 cm, 6 7/8  in.

Exhibited: Heavenly Blue: Southern Song Celadons, Nezu Museum, Tokyo, 2010, cat. no. 32.
Celadon Now: Techniques and Beauty Handed Down from Southern Song to Today, The National Museum of Modern Art, Tokyo, 2014, cat. no. I-09.

Notes: A closely related bowl, in the Palace Museum, Beijing, is published in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (II), Hong Kong, 1996, pl. 134; one from the Sir Percival David collection and now in the British Museum, London, included in the Illustrated Catalogue of Celadon Wares in the Percival David Foundation of Chinese Art, Section 7, London, 1997, pl. A211; and another sold at Christie’s Hong Kong, 30th November 2011, lot 3007. Several lotus bowls of this type of various sizes are illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 1, London, 1994, pls. 539-544, where the author notes that the finest Longquan wares were produced in the Southern Song period and that while this type of bowl was produced in large qualities during the Song and Yuan dynasties, the earlier bowls are distinguished by their clarity of glaze and finely carved petals (see p. 290).

A fine moulded Longquan celadon 'Lotus' bowl, Southern Song dynasty (1127–1279). Estimate HKD 200,000 - HKD 300,000 (USD 26,000 - USD 39,000). Price Realised  HKD 200,000 (USD 25,795) at Christie's, Important Chinese Ceramics and Works of Art, 30 November 2011, Hong Kong, lot 3007. © Christie's Images Ltd 2011.

The rounded sides lightly moulded on the exterior with a band of upturned lotus petals, covered overall in a glaze of soft bluish sea-green tone, pooling in the recesses, which ends neatly at the foot, the centre of the base glazed - 5 7/8 in. (14.8 cm.) diam., Japanese wood box 

Provenance: A Japanese private collection

Notes: Bowls of this type were made during the Song and Yuan dynasties, and six are illustrated by R. Krahl, Chinese Ceramics from the Meiyingtang Collection vol. 1, London, 1994, pp. 290-1, nos. 539-44. The present bowl appears to be most similar to nos. 539 and 540, which the author dates Southern Song dynasty, in its rounded shape and the broad, rather than narrow carved lotus petals. No. 539 is larger (20.8 cm. diam.) and no. 540 is smaller (13 cm. diam.) than the present bowl. The author describes these two bowls and others of Southern Song date as being more "carefully potted, carved, glazed and fired", than bowls of this type of later, Yuan date, such as nos. 543 and 544.

Sotheby's. Chinese Art, Hong Kong, 02 Dec 2016

NDB: See also

A fine  'Longquan' celadon bowl, Southern Song Dynasty. Sold for 687,500 HKD at Sotheby's, Hong Kong, 03 déc. 2015, lot 226. Photo Sotheby's.

Cf. A fine 'Longquan' celadon bowl, Southern Song Dynasty

Lot 276. A superb 39.90 carats Colombia no oil cushion-cut emerald and diamond ring. Estimate USD 1,500,000 - USD 2,500,000. Price Realised  USD 1,447,500. © Christie's Images Ltd 2016.

Set with a cushion-cut emerald, weighing approximately 39.90 carats, flanked on either side with a tapered baguette-cut diamond, ring size 6, mounted in platinum 

Accompanied by report no. 16105029 dated 26 October 2016 from the Gübelin Gem Lab stating that gemmological testing revealed characteristics consistent with those emeralds originating from Colombia, with no indications of oil 

With report no. CS 1079375 dated 19 October 2016 from the AGL American Gemological Laboratories stating that it is the opinion of the Laboratory that the origin of this emerald would be classified as Colombia, with no clarity enhancement

 Christie's. Magnificent Jewels, 7 December 2016, New York, Rockefeller Plaza 

Lot317. An Art Deco Colombian octagonal-shaped emerald and diamond ring, Cartier. Estimate USD 50,000 - USD 70,000. Price Realised  USD 1,135,500. © Christie's Images Ltd 2016.

Bezel-set with an octagonal-shaped emerald, to the single and old-cut diamond three-row gallery and shoulders, ring size 4 3/4, mounted in platinum. Signed Cartier 

Accompanied by report no. CS 1079646 dated 31 October 2016 from the AGL American Gemological Laboratories stating that it is the opinion of the Laboratory that the origin of this emerald would be classified as Colombia, with insignificant clarity enhancement, traditional type

Christie's. Magnificent Jewels, 7 December 2016, New York, Rockefeller Plaza 

Lot 275. Formerly the Property of Late Lillian S. Timken. An Art Deco diamond, emerald, enamel and onyx bracelet, by Cartier. Estimate USD 150,000 - USD 250,000. Price Realised  USD 1,135,500. © Christie's Images Ltd 2016.

The three single and old-cut diamond panels, with carved emerald leaves, black enamel and onyx branch detail, joined by single and old-cut diamond open links with black enamel borders, circa 1925, 7 1/4 ins., mounted in platinum. Signed Cartier, no. indistinct 

Provenance: Formerly the Property of Late Lillian S. Timken
Previously sold at Parke-Bernet Galleries, New York, The Lillian S. Timken Collection of Precious Stone Jewelry, 6 April 1960, Lot 108

“A few touches of onyx could lend unusual power to design by underscoring the gemstones.” –Pascale Milhaud

This important Cartier bracelet from the Art Deco period is a stunning example of an exquisite 1920s color combination preferred by the venerable jewelry firm. The first decade of the twentieth century witnessed an explosion of color emanating from two sources; the revolutionary art movement, known as the Fauves, epitomized by the early work of Henri Matisse, and the brilliantly colored stage sets of the Ballet Russes which first appeared in Paris in 1909. Jewelers such as Cartier utilized a new palette where vivid colors replaced muted hues, and juxtaposed precious gemstones with hardstones and enamel for bold color and texture contrast. 

The public’s new interest in color, paired with Jacques Cartier’s personal interest in Indian, Persian, Chinese and Egyptian art and motifs had a profound effect on the jewels produced by the firm throughout the 1920s and 1930s. This sentiment for the exotic was echoed in the increasing public curiosity of the Near and Far East. 

The radiating branch of carved emerald leaves accented with onyx berries and beautiful black enamel connections creatively incorporates emeralds, diamonds and onyx into a cohesive design. From 1913, Cartier began incorporating large numbers of carved emeralds of all forms into their jewelry. The fashion for emeralds and diamonds continued to be popular well into the 1930s. 

This incredible bracelet is a stunning and exquisitely refined example of one of Cartier’s most collectible works from the Art Deco period. It is interesting to note that the first bracelet of this kind, in the form of undulating branches of leaves and berries, incorporating carved gemstones, was made for the Paris Exhibition of 1925. 

This bracelet was purchased at Parke-Bernet Galleries from the Lillian S. Timken Collection in 1960. The current owner’s mother was married to the son of Lillian S. Timken. 

Milhaud, Pascale. Introduction: The Development of an Inimitable Style. Cartier: Innovation through the 20th Century. The Moscow Kremlin Museums. Paris: Flammarion, 2007. Page 32.

Christie's. Magnificent Jewels, 7 December 2016, New York, Rockefeller Plaza 

NDB: 

The Timken necklace, by Cartier, Paris, 1925. Photo: Siegelson, New York

the spring-time of art deco—belonged to Lilian S. Timken, whose husband, William, was one of the founders of the Timken roller-bearing company in Canton, Ohio. They lived in a 24-room apartment on Fifth Avenue, New York and amassed a highly significant art collection as well as some dazzling pieces of jewelry by the top houses. This emerald, sapphire and diamond necklace is one of the most important examples of Cartier jewelry from the 1920s. It includes three rare Mughal emeralds carved with floral designs on the front and reverse weighing 71.91 carats, 30.27 carats and 29.21 carats, there are 18 sapphire beads, 34 buff-top cabochon sapphires, 18 emerald beads and 652 diamonds.

Lot 118. Dutch School, 17th century, Portrait of a moor, half-length, smoking a churchwarden pipe, with his left arm akimbo, oil on canvas, 27 7/8 x 22 ½ in. (76 x 57.4 cm.). Estimate GBP 20,000 - GBP 30,000 (USD 25,280 - USD 37,920). Price Realised GBP 56,250 (USD 70,650). © Christie's Images Ltd 2016.

Note: In the Dutch Golden Age, at a time when trade in the Dutch Republic and its outposts was flourishing, portraits of Moors and African figures were scarce. When they did feature in the art of the time, it was in the most part as servants or slave labourers. This portrait, however, shows an African man of elevated rank, in a stylish pose. His wealth and status are displayed in his rich dress, a kaftan of possibly Turkish origin, and the fashionable accoutrements of the time: namely the expensive, long clay pipe and the prominent pearl earring. Although the attribution is not clear, some Dutch artists are recorded as having painted portraits of Africans and Brazilians, including Albert Eckhout, who travelled to Brazil, and Jasper Becx, who is known to have made portraits for the Count of Sonho.

Christie's. Old Masters Day Sale, 9 December 2016, London, King Street

Fluorite from Denton Mine, Cave-in-Rock, Hardin County, Illinois, USA. 

Quartz cluster with Augelite crystals, Mundo Nuevo Mine, Sanchez Carrion, La Libertad, Peru

Vanadinite, Pure Potential Mine, Silver District, Trigo Mts, La Paz Co., Arizona, USA

Cuprite, Red Dome Mine, Chillagoe, Queensland, Australia© Keys Mineral Collection.

Phantom Fluorite, Okoruso Mine, Otjiwarongo District, Namibia

Frédéric Bazille (1841-1870), Scène d'été, 1869. Huile sur toile. H. 158 ; L. 158 cm. Cambridge, Massachusetts, Fogg Art Museum © President and Fellows of Harvard College

PARIS - Comment regarder l’œuvre de Frédéric Bazille, peintre né en 1841 à Montpellier, et mort au combat en 1870 lors de la guerre franco-prussienne, quelques jours avant son vingt-neuvième anniversaire ? Fils de la bourgeoisie protestante montpelliéraine, jeune homme caricaturé comme indolent par son entourage, esprit éclairé et dandy, pianiste mélomane et amateur de spectacles, républicain tombé sur le champ de bataille, la personnalité de Bazille – accessible par l’abondante correspondance qu’il nous a laissée – ne peut être réduite à celle du dilettante compagnon de route et occasionnel soutien matériel des futurs impressionnistes. «Bazille était le mieux doué, le plus aimable dans tous les sens du mot», dira son ami Edmond Maître au lendemain de sa disparition.

PARIS.- How should we view the work of Frédéric Bazille, an artist born in Montpellier in 1841 and killed in action in 1870 during the Franco-Prussian war, just a few days before his 29th birthday? Born into a bourgeois Protestant family in Montpellier, he was depicted as indolent by his family circle. A dandy with a sharp intellect, a pianist and music lover with a fondness for theatre, a Republican who fell on the battlefield: Bazille’s personality, which is revealed through the abundant correspondence he left behind, cannot be reduced to that of a mere dilettante, companion and sometimes benefactor to the future impressionists. “Bazille was the most gifted and the most pleasant in every sense of the word”, said his friend Edmond Maître after his death.  

Frédéric Bazille (1841-1870), Deux harengs. Huile sur toile, 41 x 28,5 cm, Montpellier, musée Fabre. Photo : Frédéric Jaulmes / Montpellier Méditérranée Métropole.

Si ses premières toiles sont clairement celles d’un peintre en devenir, influencé par les maîtres du réalisme Courbet et Manet ou son ami Monet, l’artiste a néanmoins achevé de nombreux chefs-d’œuvre, dans lesquels s’affirme progressivement son génie singulier (La réunion de famille, La vue de village, Scène d’été etc.). Mue par des désirs parfois opposés – satisfaire une famille qui aurait préféré le voir suivre une autre carrière, se faire remarquer au Salon par des œuvres ambitieuses et modernes – l’œuvre de Bazille est bien « de jeunesse », riche de ses contradictions, où chaque tableau est un défi, un jalon, une victoire ou un échec. Le petit nombre de tableaux que compte l’œuvre de Bazille, une soixantaine tout au plus, nous permet d’être attentifs à la progression du jeune artiste vers l’expression toujours plus personnelle de son « tempérament », selon les mots de l’époque. «J’espère bien, disait-il, si je fais jamais quelque chose, avoir le mérite de ne copier personne». 

Although his first paintings are clearly those of a developing artist influenced by the Masters of Realism Courbet and Manet and by his friend Monet, he nonetheless produced a number of masterpieces in which he gradually asserted his unique talent (Family Reunion, View of the Village, Summer Scene, etc.). Inspired by sometimes contradictory desires (satisfying a family who would have preferred him to follow another path, standing out at the Paris art Salon for ambitious, modern works of art) Bazille’s work is indeed “youthful” with all the associated contradictions, and each painting is a challenge, a milestone, a victory or a failure. The small number of paintings which form Bazille’s body of work (around sixty at the most) allows us to perceive the young artist’s progression towards an ever more personal expression of his “temperament”, in the words of the time.“I hope”, he said“that if I ever achieve anything, I will have had the merit of having copied nobody”. 

Frédéric Bazille (1841-1870), Couvercles de bouillon, 1864. Huile sur toile, 27 x 35 cm, Montpellier, musée Fabre. Photo : Frédéric Jaulmes / Montpellier Méditérranée Métropole

Organisée de façon thématique et chronologique à la fois, l’exposition mêle les œuvres de Bazille à celles d’autres artistes de son temps, comme Delacroix, Courbet, Manet, Monet, Renoir, Fantin-Latour, Guigou, Scholderer ou encore Cézanne. Ces confrontations replacent son travail au cœur des grandes problématiques de la peinture d’avant-garde des années 1860 (la vie moderne, le renouvellement des genres traditionnels comme le portrait, le nu ou la nature morte, le plein air et la peinture claire etc.), auquel Bazille contribua largement, et mettent en relief la profonde originalité de son inspiration. L’exposition est le fruit d’un partenariat entre les trois plus importantes collections d’œuvres de Bazille au monde, le Musée Fabre à Montpellier, le musée d’Orsay à Paris, et la National Gallery of Art de Washington (D.C.).

The exhibition is organised both thematically and chronologically, juxtaposing the works of Bazille with those of other artists of his time such as Delacroix, Courbet, Manet, Monet, Renoir, Fantin-Latour, Guigou, Scholderer and Cézanne. These astute correlations place his work in the context of the great issues addressed by avant-garde painting in the 1860s (modern life, the renewal of traditional genres such as portraiture, the nude and still life, outdoor painting and peinture claire, an impressionistic technique for expressing light) to which Bazille contributed fully, and highlight the great originality of his inspiration. This exhibition is the result of a partnership between the world’s three largest collections of Bazille’s work: the Musée Fabre in Montpellier, the Musée d’Orsay in Paris and the National Gallery of Art in Washington, D.C.  

Frédéric Bazille (1841-1870), L’Atelier de la rue de Furstenberg, 1865. Huile sur toile, 81,5 x 65 cm. Montpellier, musée Fabre. Photo : Frédéric Jaulmes / Montpellier Méditérranée Métropole

Partagée entre l’effervescente vie artistique parisienne l’hiver et la chaleur tranquille des étés montpelliérains, la courte carrière de Frédéric Bazille se devait d’être honorée par le Musée d’Orsay, qui possède plusieurs de ses chefs-d’œuvre, comme la Réunion de famille ou L’atelier de la rue de La Condamine. Il s’agit de la première exposition Bazille organisée par un musée national français.

It is fitting that Frédéric Bazille’s short career, shared between the exuberance of Parisian artistic life in winter and the tranquil heat of summer in Montpellier, be honoured by the Musée d’Orsay, which owns several of his masterpieces including Family reunion and Studio in the Rue de La Condamine. This is the first exhibition devoted to Bazille to be organised by a French national museum.  

Frédéric Bazille (1841-1870), L’Atelier de la rue Visconti, 1867. Huile sur toile, 64 x 49 cm. Richmond, Virginia Museum of Fine Arts. Photo : Virginia Museum of Fine Arts

Elle est l’occasion pour le musée Fabre de fêter plus de dix ans d’acquisitions majeures. Depuis le don en 1898, par la famille de l’artiste, de La Vue de village et de la Nature morte au héron, le musée Fabre n’a cessé d’enrichir sa collection, qui est devenue aujourd’hui la plus importante au monde pour l’artiste (vingt-deux œuvres). Neuf peintures, dont certaines majeures, comme La Macreuse, Petite italienne chanteuse des rues, Jeune homme nu couché sur l’herbe, ou encore Ruth et Booz, dernier chef-d’œuvre laissé inachevé par Bazille, ont ainsi été acquises depuis le début des années 2000. Une étape nord-américaine s’imposait également, compte-tenu de l’intérêt précoce et tout particulier manifesté par les amateurs américains pour ses peintures, et notamment de Chester Dale et Paul Mellon, grands donateurs de la National Gallery of Art de Washington.

It is an opportunity for the Musée Fabre to celebrate 10 years of major acquisitions. Ever since the artist’s family donated View of the Village and Still Life with Heron in 1898, the Musée Fabre has continued to add to its collection, making it the world’s largest with 22 of Bazille’s works. Since the early 2000s they have acquired nine paintings, some of major significance such as The Scoter, Little Italian Street Singer, Young Nude Man Lying on the Grass and Ruth and Boaz, Bazille’s last, unfinished masterpiece. A north-American tour was also essential in view of the strong early interest shown in his paintings by American art lovers, particularly Chester Dale and Paul Mellon, two major donors to Washington’s National Gallery of Art.  

Frédéric Bazille (1841-1870), L’Atelier de Bazille, 9 rue de La Condamine à Paris, 1869-1870. Huile sur toile, 98 x 128,5 cm. Paris, musée d’Orsay. Photo : RMN-GP/Hervé Lewandowski

La préparation de l’exposition a permis ces trois institutions de mettre en commun leurs connaissances et leurs recherches récentes, et de réaliser une campagne inédite et conjointe d’examens scientifiques des œuvres. Ces études ont permis de mieux comprendre la méthode de travail de Bazille, ses liens avec Claude Monet ou Auguste Renoir, avec qui l’artiste partageait aussi bien ses ateliers que ses modèles. L’imagerie scientifique a également révélé un nombre significatif de compositions sous-jacentes et permis de retrouver la trace d’œuvres jusque-là considérées comme disparues, chaînons manquants d’une œuvre rare. 

Preparing the exhibition gave to three organisations the chance to pool recent knowledge and research and to undertake a unique joint operation to scientifically examine the works of art. This research has helped to gain greater understanding of Bazille’s working methods and his links with Claude Monet and Auguste Renoir, with whom the artist shared both a studio and models. Scientific imaging has also revealed a significant number of underlying compositions, making it possible to trace works which had previously been considered lost and which are the missing links in a unique body of work.

Musée d'Orsay. Niveau 5, espace d’exposition temporaire; 15 novembre 2016 – 5 mars 2017

Pierre Auguste Renoir (1841-1919), Frédéric Bazille peignant à son chevalet, 1867. Huile sur toile, 105 x 73,5 cm. Montpellier, musée Fabre. Photo : RMN-GP/Hervé Lewandowski 

Frédéric Bazille (1841-1870), Les Remparts d’Aigues-Mortes, du côté couchant, 1867. Huile sur toile, 60 x 100 cm. Washington, National Gallery of Art. Photo : National Gallery of Art, Washington

Frédéric Bazille (1841-1870), Porte de la Reine à Aigues-Mortes, 1867. Huile sur toile, 80,6 x 99,7 cm. New-York, The Metropolitan Museum. Photo : The Metropolitan of Art

Frédéric Bazille (1841-1870), La Réunion de famille, 1867-68. Huile sur toile, 152 x 230 cm. Paris, musée d’Orsay. Photo : RMN-GP/Hervé Lewandowski 

Frédéric Bazille (1841-1870), Vue de village, 1868. Huile sur toile - 137,5 x 85,5 cm, Montpellier, musée Fabre. Photo : Frédéric Jaulmes / Montpellier Méditérranée Métropole 

Frédéric Bazille (1841-1870), Pots de fleurs, 1866. Huile sur toile, 97 x 88 cm. Collection particulière. Photo : Courtesy of Sotheby’s 

Frédéric Bazille (1841-1870), Négresse aux pivoines, 1870. Huile sur toile, 60,5 x 75,4 cm. Washington, National Gallery of Art. Photo : National Gallery of Art, Washington 

Frédéric Bazille (1841-1870), La Toilette, 1870. Huile sur toile, 130 x 128 cm. Montpellier, musée Fabre. Photo : Frédéric Jaulmes / Montpellier Méditérranée Métropole 

Frédéric Bazille (1841-1870), Le Pêcheur à l’épervier, 1868. Huile sur toile, 137,8 x 86,6 cm. Remagen, Arp Museum. Photo : Remagen, Arp Museum

Frédéric Bazille (1841-1870), Paysage au bord du Lez, 1870. Huile sur toile, 137,2 x 200,7 cm. Minneapolis, The Minneapolis Institute of Art. Photo : Minneapolis Institute of Art 

Frédéric Bazille (1841-1870), Ruth et Booz. Huile sur toile, 138 x 202 cm. Montpellier, Musée Fabre. Photo : Frédéric Jaulmes / Montpellier Méditérranée Métropole

Frédéric Bazille (1841-1870), Jeune-fille au piano, 1865-1866. Huile sur toile, 138 x 202 cm. Radiographie du tableau Ruth et Booz. Photo : Paris, C2RMF

Lot 410. A diamond and platinum bracelet by Van Cleef & Arpels New York. Estimation : 300 000 € / 350 000 €. Photo Hôtel des Ventes de Monte-Carlo.

en platine, centré d'une ligne alternant diamants ronds et navette en chute, retenue entre deux rangs de diamants ronds, il est souligné de motifs navettes diamantés disposés en épi. Signé, numéroté. Longueur : 20,5 cm environ. Poids : 96,8 g.

Bijoux de Prestige chez Hôtel des Ventes de Monte-Carlo, 98000 Monaco, le 12 Décembre 2016 à 14h30

Lot 411. A diamond and platinum ring by Cartier set with a cut-cornered rectangular diamond weighing 5,03 cts.  Estimation : 280 000 € / 350 000 €. Photo Hôtel des Ventes de Monte-Carlo.  

en jonc plat de platine, ornée d'un rare diamant rectangulaire à pans pesant 5,03 cts, l'épaulement agrémenté d'un diamant baguette serti clos. Signée. Dans un écrin de la maison Cartier. TDD : 52/12 - 53/13 (modifiable). Dimensions de la pierre : 12,99 x 7,90 x 5,45 mm. Poids : 8,6 g. 

La pierre accompagnée d'un certificat G.I.A. attestant : couleur D, pureté IF et d'un rapport du G.I.A. attestant : Type IIA (Golconde).

Bijoux de Prestige chez Hôtel des Ventes de Monte-Carlo, 98000 Monaco, le 12 Décembre 2016 à 14h30

Lot 412. A platinum and 18K gold necklace set with 93 oval-shaped diamonds. Estimation : 120 000 € / 150 000 €. Photo Hôtel des Ventes de Monte-Carlo.

Collier rivière en platine et or gris, en chute de 93 diamants ovales. Belle qualité des pierres. Longueur : 39,5 cm environ. Poids total des diamants : 42,90 cts. Poids : 40,5 g. 

Les 5 pierres les plus importantes accompagnées de rapports G.I.A. attestant des couleurs et puretés suivantes : F/SI1 (3,10 cts), D/VS2 (2,02 cts), E/VS2 (2,01 cts), E/VS2 (1,09 ct) et D/SI1 (1,03 ct). 

Bijoux de Prestige chez Hôtel des Ventes de Monte-Carlo, 98000 Monaco, le 12 Décembre 2016 à 14h30

Lot 357. An 18 Karat Yellow Gold and Sapphire Wrap Ring, Jean Vendome, Paris. Estimate $ 10,000-15,000. Sold for: $45,000. Photo Leslie Hindman

consisting of a melon form carved sapphire drop measuring approximately 18.18 x 16.00 x 13.58 mm set within fluted and point terminals above a gold ribbon motif wrap ring. Stamp: J. VENDOME (French assay and maker's mark). 13.10 dwts. 

The ring measures approximately a size 7.50 
20.30 x 16.05 x 12.70 mm 
The estimated weight of the sapphire is approximately 33.10 carats. (Please note that this is based on a formula and not a guarantee) 

Sapphire Characteristics (graded in setting) 
Color: Violet Blue hue with moderate tone and saturation 
Clarity: Transparent with inclusions typical of Corundum 
Overall Condition: Superficial surface abrasions/surface cavities visible under 10X magnification and without magnification. 

The shank exhibits numerous superficial, wear-related surface abrasions/scuffs which are visible without magnification.

Leslie Hindman. Important Jewelry, December 4, 2016

Lot 410. A Fine Platinum, 8.56 carats Burmese Sapphire and Diamond Ring, French. Estimate $ 60,000-80,000. Sold for: $112,500. Photo Leslie Hindman

containing one oval mixed cut sapphire weighing approximately 8.56 carats, 16 round brilliant cut diamonds weighing approximately 1.92 carats total, and eight marquise cut diamonds weighing approximately 1.60 carats total. Stamp: (French assay mark). 

Accompanied by a Swiss Gemmological Institute (SSEF) sapphire identification and origin certificate number 85205, dated March 30, 2016, Stating: Sapphire, Weight: 8.561 Carats, Origin: Burma (Myanmar), Comments: No indications of heating. 7.30 dwts. 

The ring is approximately a size 4.50. All stones intact, there are superficial scratches to the platinum that are eye visible, the shank shows signs of wear/repair. 

Marquise & Round Brilliant Cut Diamond Characteristics (graded in setting) 
Color: G-H 
Clarity: VS1-VS2 
Overall Condition: No obvious damage visible under 10X magnification.

Leslie Hindman. Important Jewelry, December 4, 2016

Lot 54. An Important Renaissance Revival Gold, Platinum, Opal and Multigem Pendant-Brooch, Paulding Farnham for Tiffany & Co. Estimate $ 20,000-30,000. Sold for: $35,000. Photo Leslie Hindman

the sculpted gold setting composed of two intricately detailed Classical female figures at the shoulders surrounding a central heart shape crystal opal measuring approximately 25.15 x 24.10 mm within an engraved and open filigree work surround containing numerous round demantoid garnets surmounted with platinum accents set with one old mine cut diamond weighing approximately 0.51 carat, and 10 old mine cut diamonds weighing approximately 1.20 carats total, the base suspending an oval pearl (origin not tested) measuring approximately 8.70 x 7.70 mm, pin stem of later replacement by Tiffany during documented refurbishment. Stamp: T&CO. (scratchmark a66m). 15.80 dwts. 

Provenance/Literature: The present lot depicted in John Loring's Paulding Farnham: Tiffany's Lost Genius. pp. 142-143. Pictured together with a sketch of a similar design, circa 1901. 

Property of a private collector. 

Larger diamond is approximately 0.51cts. 

Opal Characteristics (graded in setting) 
The stone displays strong color flash in minute to moderately large patches of predominantly orange-red and green with secondary peacock blue and purple, matrix visible on the reverse. 
The stone is NOT crazed, natural internal wispy white lines are present under the surface and visible through the highly translucent opal material....these lines do not correspond to any fractures/crazing.

Leslie Hindman. Important Jewelry, December 4, 2016