Lot 216. A Pair of 18 Karat Yellow Gold, Enamel and Ruby Bead Convertible Bracelets-Necklace, Verdura. Estimate $ 15,000-20,000. Sold for: $21,250. Photo Leslie Hindman

consisting of two matching bracelets composed of 15 and 14 strands of ruby beads respectively, the beads measuring approximately 2.40-4.80 mm in diameter, each bracelet joined with two foliate motif gathers accented with translucent green enamel surrounding central domed clasps studded with post set ruby bead "berries" interspersed with leaf motif divides accented with translucent green enamel. Stamp: VERDURA 18K. 114.20 dwts. 

Provenance: This pair of bracelets was purchased by the consignor in the October 3, 1968 Parke-Bernet Important Precious Stone Jewelry auction, catalogued and photographed in the catalogue on pgs 22-23, Lots 133 and 134. 

Accompanied by a Parke-Bernet Galleries Inc. auction catalog from October 3, 1968.  

Property from the Estate of Robert and Lois Orchard, St. Louis, Missouri

Leslie Hindman. Important Jewelry, December 4, 2016

Lot 420. An 18 Karat Yellow Gold, Citrine, Diamond and Multigem Seashell Motif Articulated Pendant-Brooch, Chanel.Estimate $ 20,000-30,000. Sold for: $21,250. Photo Leslie Hindman

consisting of an articulated fish hiding behind a textured gold shell containing seven pear shape citrine, 49 round brilliant cut diamonds weighing approximately 1.23 carats total, 66 round mixed cut tsavorite measuring approximately 1.55-3.11 mm in diameter, and 68 round mixed cut pink sapphire and rubies measuring between approximately 1.50-2.00 mm in diameter. Stamp: CHANEL 750 14F213 (French assay mark). 36.60 dwts. 

Leslie Hindman. Important Jewelry, December 4, 2016

Lot 501. An 18 Karat Yellow Gold, Diamond and Cultured Pearl Matelassé Necklace, Chanel.Estimate $ 40,000-60,000. Sold for: $60,000. Photo Leslie Hindman

n a graduated collar design with open latticework detail, containing 1,308 round brilliant cut diamonds weighing approximately 43.00 carats total, and 193 pearls measuring approximately 3.50-9.00 mm in diameter, the necklace measuring approximately 18.80-35.00 mm wide. Stamp: CHANEL 10C412 750 (French assay and maker's marks). 215.20 dwts

Accompanied by a copy of a Chanel evaluation certificate dated August 20, 2005. 

Property from the Estate of Wendy Edmonds, Naples, Florida

Leslie Hindman. Important Jewelry, December 4, 2016

Lot 12. A Meissen teabowl and saucer, circa 1723. Estimate £2,000 - 3,000 (€2,400 - 3,600). Photo Bonhams. 

Each painted with a chinoiserie scene within a gilt quatrelobe scrollwork cartouche embellished with Böttger lustre and edged with iron-red scrollwork, gilt foliate scrollwork borders to the rims, the reverse of the teabowl with indianische Blumen issuing from the rim and surrounded by insects, gilt numeral 29. to both (minor wear to gilding) (2) 

Bonhams. FINE EUROPEAN CERAMICS, 14 Dec 2016, starting at 10:30 GMT. London, New Bond Street

Lot 14. A Meissen circular stand, circa 1725-30. Estimate £20,000 - 30,000 (€24,000 - 36,000). Photo Bonhams. 

dense foliage reserved with coloured chrysanthemum heads, enclosed by a broad gilt and Böttger lustre band of diamond-shaped trellis panels enclosed by foliate strapwork, the rim with four chinoiserie scenes, each within a gilt and Böttger lustre cartouche edged with iron-red and purple foliate scrollwork, alternating with an oval floral medallion flanked by foliate scrollwork, the reverse with three trailing branches of indianische Blumen, 21.7cm diam, crossed swords mark in underglaze-blue 

Provenance: Ludwig Darmstädter Collection, Berlin, sold by Rudolph Lepke's, Berlin, 24-26 March 1925, lot 132;
Sold by Hugo Ruef, Munich, June 1981;
Hoffmeister Collection, Hamburg (acquired in 1985)

Literature: D. Hoffmeister, Meissener Porzellan des 18. Jahrhunderts Sammlung Hoffmeister (1999), vol. I, no.

Exhibited: Hamburg, Museum für Kunst und Gewerbe, Sammlung Hoffmeister, 1999-2009

Notes: Six similar circular stands, formerly in the collection of Franz and Margarete Oppenheimer, Berlin - which was acquired in the late 1930s by the Amsterdam-based collector, Fritz Mannheimer - were sold in 1977 from the Maurice de Rothschild Collection (Christie's London, 28 March 1977, lots 22 and 23; 17 October 1977, lots 8 and 9).

Professor Dr. Ludwig Darmstädter (1846-1927) was one of the earliest and most discerning collectors of 18th century German porcelain. His collection was considered one of the finest and most important of the pre-War period.

Bonhams. FINE EUROPEAN CERAMICS, 14 Dec 2016, starting at 10:30 GMT. London, New Bond Street

Mariano Fortuny. Portrait & Textiles

SAINT PETERSBURG.- For the first time in Russia the State Hermitage Museum presents the exhibition of Mariano Fortuny - the great designer of the 20th century, celebrated by his contemporaries as “The Magician of Venice.” Though his heritage has never been exhibited in Russia, the name of Fortuny is widely known here due to two generations of this family. 

Mariano Fortuny y Madrazo (1871, Granada - 1949, Venice) - artist, designer, engineer and photographer, one of the great designers of the first half of the 20th century, who has changed fashion and interior design. Son of the famous Spanish artist Mariano Fortuny y Marsal he inherited from his father not only his artistic talent, but also a passion for the art history studying. His heritage overwhelms by its volume, it is hard to believe that a person could create all this in the course of a lifetime. It seems that he had little interest in anything beyond his work and creativity.  

Fortuny Vase, Spain, Early 15th century. Courtesy: The State Hermitage Museum.

One of the most important masterpieces from the Hermitage collection bears a name of "Fortuny Vase". This Alhambra Hispano-Moresque vase gilded with luster, dating from the second half of the XIV century, is considered one of the best in the world. It was acquired by the Imperial Hermitage Museum in 1885 as a part of the collection of the Parisian antiquary Basilevsky who in his turn purchased it from the Fortuny family. The origin of the vase was so significant, that it came down to us in its name.  

The Fortuny exhibition in the Hermitage is a joint project of the Hermitage with its director Michail Piotrovsky and the Fondazione Musei Civici di Venezia, with its director Gabriella Belli, lending on this occasion 174 works of art, whose works mainly come from the Fortuny Museum, the house and atelier of the genial artist in the Palazzo Pesaro degli Orfei in Venice: one of the twelve Venetian Civic Museums. 

Mariano Fortuny. Courtesy: The State Hermitage Museum.

Besides the museum's objects, the exhibition presents pieces from private collections of Venice and Russia. Still produced in Venice using the innovator’s designs and techniques, Fortuny fabrics also form part of the exhibition, and thus demonstrate the continuity of technologies and creative techniques of Mariano Fortuny. The exhibition shows the fabrics, costumes as well as their designs, Fortuny's theatrical works and a small part of his historical collection, this latter owned by Fondazione Venezia and preserved at the Civic Museums of Venice in Mocenigo Palace. Works of Mariano Fortuny are accompanied by the Hermitage objects to create a historical background and to show the source of the artist's inspiration. The exhibition features Italian medieval and Renaissance fabrics, Coptic fabrics, antique sculptures and oriental ceramics from the Hermitage collections.  

Mariano Fortuny. Courtesy: The State Hermitage Museum.

The event in patronized by Ermitage Italia - that since 2014 has its seat in Venice according to an Agreement between the City of Venice and the Hermitage Museum - and sees the collaboration of Villaggio Globale International, the partner of Ermitage in Italy.  

Curators of the exhibition - Tatyana Lekhovich, senior researcher of the Department of the Western European Applied Art of the State Hermitage, Ph.D., in collaboration with Daniela Ferretti and Chiara Squarcina.

Mariano Fortuny. Courtesy: The State Hermitage Museum.

Mariano Fortuny. Courtesy: The State Hermitage Museum.

Mariano Fortuny. Courtesy: The State Hermitage Museum.

Mariano Fortuny. Courtesy: The State Hermitage Museum. 

Mariano Fortuny. Courtesy: The State Hermitage Museum. 

Affiche de l'exposition

ANGERS - Après les expositions « Sacres royaux, de Louis XIII à Charles X » au palais du Tau à Reims, « Le salon de George Sand »à Nohant, en 2014, et « De Versailles à la Motte Tilly, l’abbé Terray, ministre de Louis XV » au château de la Motte-Tilly en 2015, le quatrième volet du partenariat entre le château de Versailles et le Centre des monuments nationaux (CMN) se tiendra au château d’Angers du 15 octobre 2016 au 15 janvier 2017 grâce au prêt exceptionnel d’une quarantaine d’œuvres des collections du château de Versailles.

Cette nouvelle exposition intitulée « Le goût de la parure. Portraits du château de Versailles » est consacrée aux bijoux dans la peinture du XVII^e au XIX^e siècle et se tiendra dans le logis royal du château d’Angers, résidence des ducs d’Anjou.

Anonyme. XVIIe siècle, Henriette-Anne d'Angleterre, duchesse d'Orléans, dite Madame. © RMN-GP (Château de Versailles), JG Berizzi

L’exposition

Du règne de Louis XIV au Second Empire, vingt-huit tableaux, huit gravures et une gouache permettent d’évoquer la typologie des parures : colliers, bagues, pendants d’oreilles, mais aussi boucles de souliers ou de ceintures, médaillons ornés de brillants et de pierres, ou encore pierres cousues sur des costumes. Leurs différentes fonctions - cadeaux diplomatiques entre la France et les cours européennes ou leurs ambassadeurs, présents pour les étrennes des membres de la famille royale ou encore cadeaux de mariage – sont ainsi mises en évidence.

L’exposition est également l’occasion de plonger dans l’histoire des joyaux de la Couronne. Les portraits des rois et reines sont, en effet, une précieuse source iconographique concernant ce trésor, enrichi par chaque souverain français, et qui a partiellement traversé les péripéties de l’Histoire. Si de nombreuses parures et pierres le composant ont disparu, les œuvres du château de Versailles les font aujourd’hui revivre dans le cadre prestigieux du logis royal au château d’Angers.  

Enfin, admirer la parure dans le portrait revient à s’interroger sur l’image que le modèle a voulu donner de lui-même, alors qu’il se présente dans ses plus beaux atours. À cette analyse s’ajoute une dimension artistique : la parure est l’occasion pour le peintre de montrer son talent et sa virtuosité pour rendre l’éclat des pierreries, perles et diamants.

La scénographie de l’exposition s’articule de façon chronologique en plusieurs sections réparties successivement dans les différents espaces du logis royal du château d’Angers : le XVIIe siècle, le XVIIIe siècle et le XIXe siècle, permettant de mieux saisir l’évolution des usages et des formes des bijoux soumis, comme le costume, à la mode et au goût du temps.. Un film présente un diaporama d’autres œuvres versaillaises.

Première section : Le Grand Siècle

Claude Lefèvre (1632-1675) et atelier, Louis XIV, roi de France (1638-1715). Vers 1660. Huile sur toile © Château de Versailles (dist. RMN-GP) / C. Fouin

Représenté grandeur nature, le roi est assis sur un siège à pattes de lion. Sur la table recouverte d’un drapé fleurdelysé sont posés le casque au panache rouge et la couronne royale tandis qu’un grand rideau s’ouvre sur un navire, au loin, allusion aux victoires sur mer. Insignes du pouvoir, l’épée, l’ordre du Saint-Esprit et la couronne sont ornés de diamants. Roi coquet et habile danseur, Louis XIV aime souligner le galbe de ses jambes par des jarretières à boucles, ornées de pierreries et de perles ainsi que d’élégantes chaussures à noeuds et à boucles de diamants.

Joseph Werner, Marie-Thérèse en costume à la polonaise, 1663-1664. Gouache sur vélin © Château de Versailles (dist. RMN-Grand Palais) / Christophe Fouin

L’épouse de Louis XIV est représentée en costume à la polonaise, costume de théâtre ou de carnaval comme l’indique le masque qu’elle tient à la main. La robe d’une somptueuse étoffe rouge, or et bleuté, est entièrement brodée ; un imposant rang de pierreries descend le long de la jupe. Le devant de corsage est tout entier composé de diamants, tandis que le décolleté est souligné d’un rang de perles et de diamants, agrémentés d’autres diamants en pendeloques. La coiffure est composée d’un casque d’étoffe polychrome orné de diamants et surmonté de plumes rouges, blanches et noires auxquelles se mêle une aigrette de perles. Cette miniature illustre la richesse de certains costumes d’apparat réalisés pour la famille royale.

Attribuéà François de Troy, Louise-Bénédicte de Bourbon, princesse de Condé (1676-1753), huile sur toile© Château de Versailles (dist. RMN-Grand Palais) / Christophe Fouin

Représentée sous les traits de Cléopâtre, la princesse de Condé brandit la perle qu’elle s’apprête à plonger dans une coupe remplie de vinaigre « dont la violente acidité dissout les perles » montrant ainsi son peu d’attachement aux richesses de ce monde. Pourtant, la princesse apprécie le faste. Au château de Sceaux, elle organise des fêtes somptueuses et réunit un cercle littéraire. Vers 1690, période à laquelle on peut situer ce portrait, la parure se fait plus légère : un diadème en or, enrichi au centre d’un rubis, d’où découlent deux guirlandes de perles et quelques diamants.

 Antoine Trouvain (1652-1708), Françoise d’Aubigné, marquise de Maintenon (1635-1719). Gravure à l’eau forte© Château de Versailles (dist. RMN-Grand Palais) / C. Fouin

Madame de Maintenon est représentée en élégante dévote, tenant à la main un livre de prières richement relié, à ses pieds une aumônière. La sobriété toute relative de sa tenue, noir et blanc, est démentie par le luxe des étoffes, de l’hermine, et des pierreries fixées par des agrafes sur la jupe, les manches et les épingles dans la coiffure à la Fontange.

Deuxième section : Le Siècle des Lumières

Augustin-Oudart Justinat ( ?-1743), Louis XV, roi de France et de Navarre (1710-1774), 1717. Huile sur toile @ Château de Versailles (dist RMN-GP) / C. Fouin

La mise du jeune roi frappe par sa somptuosité. Il appuie le sceptre fleurdelysé sur un meuble qui porte la couronne fermée ornée de perles et de diamants. La garniture de l’habit provient des joyaux de la Couronne ; des pierres précieuses et semi-précieuses – saphirs, diamants, grenats – brillent au revers des manches, de la boutonnière et sur le rabat des poches ; elles parsèment la riche étoffe bleu pâle à brocart blanc rebrodée de fils d’or. Une broche de diamants orne le tricorne, bordé de plumes. Paré du ruban bleu de l’ordre du Saint-Esprit, Louis XV porte aussi le noeud rouge et la croix de diamants des chevaliers de Saint-Louis.

Sébastien Antoine (1687- v.1761), Représentation dans sa vraie grandeur de la couronne de pierreries qui a servi au sacre de Louis XV ce 25 octobre 1722. Gravure à l’eau forte et au burin © Château de Versailles

Outre une couronne d’or, Louis XV porte le jour de son sacre une couronne de vermeil, plus légère. La monture ajourée, composée d’un bandeau et de huit arceaux, était ornée d’un décor polychrome, caractéristique du goût de l’époque, de diamants blancs et roses, rubis, émeraudes, saphirs et topaze. Plusieurs diamants célèbres y étaient sertis, en particulier, cinq des Mazarins, légués par le cardinal à Louis XIV, dont le « Sancy », qui ornait le sommet de la couronne, formant le centre de la fleur de lys, et surtout le « Régent ». Avec ses 282 diamants, ses 64 pierres de couleur et ses 200 perles, c’est la plus riche couronne jamais réalisée.

Augustin Duflos, joaillier, Couronne de Louis XV, 1722, Paris. Argent doré, pierres et perles d'imitation. H. : 24 cm. ; D. : 22 cm. © 2010 Musée du Louvre / Martine Beck-Coppola

Alexis Simon Belle (1674-1734), Marie Leszczynska (1703-1765) et le dauphin Louis (1729-1765), Vers 1729. Huile sur toile © Château de Versailles

Le dauphin porte sur sa robe de drap d’argent le ruban bleu céleste de l’ordre du Saint-Esprit, retenu à l’épaule par une barrette fleurdelysée en or et sertie de diamants ; la croix est d’or et d’émaux verts ou blancs ; la plaque est brodée sur l’habit. Ce portrait d’apparat témoigne du goût prononcé de la reine pour les diamants. Ils constellent la magnifique parure de grand corps de la souveraine, brillent aux épingles et au médaillon cerclé de perles, retenant les manches bouffantes. Une aigrette sertie de brillants rehausse sa coiffure tandis qu’une chute de perles court dans ses cheveux.

D’après Paul Bassenge et Charles-Auguste Boehmer, Représentation exacte du grand collier en brillants des sieurs Boehmer et Bassenge, Ap. 1785. Gravure à l’eau forte © Château de Versailles (dist. RMN-GP) / C. Fouin

La passion de Marie-Antoinette pour les bijoux est connue. Pourtant, le fameux collier de la reine, auquel son nom est attaché, ne lui a jamais appartenu. Les joailliers Charles-Auguste Boehmer et Paul Bassenge réalisèrent un exceptionnel collier, composé de 550 diamants et d’une centaine de perles, et tentèrent de convaincre la reine de l’acquérir. Celle-ci refusa en raison de son prix exorbitant. Le complot de la comtesse de Valois pour faire acheter la parure au cardinal de Rohan, l’entrevue de celui-ci avec un sosie de la reine dans un bosquet du château de Versailles, son arrestation à l’issue de la messe du 15 août 1785, et la dispersion des pierres du collier démembré donnèrent des airs de roman à cet épisode, qui eut des conséquences politiques réelles puisque la réputation de la reine s’en trouva profondément ternie. Cette gravure réalisée peu après le scandale permet de se représenter le collier disparu : il était composé d’un ras-du-cou enrichi de plusieurs pendants, et d’un second collier, porté sur le décolleté et les épaules, à deux rangs de diamants séparés par un rang de perles, terminés par quatre glands de diamants et perles inspirés des modèles de passementerie.

Collier de la Reine (reproduction en zircon), Cabinet des trésors, Château de Breteuil Marie Antoinette © DR

Troisième section : Le siècle des monarchies

Joseph Franque, Marie-Louise, impératrice des Français et le roi de Rome, huile sur toile © Château de Versailles (dist. RMN-Grand Palais) / Christophe Fouin 

La jeune impératrice semble avoir interrompu ses devoirs d’État pour venir contempler son enfant endormi. Elle est en grand habit de Cour, robe de soie brodée et manteau de velours cramoisi doublé d’hermine, et porte une riche parure, comprenant un diadème et un peigne, un collier, un ornement de ceinture, des pendants d’oreilles et des bracelets. Elle serre sur son coeur un portrait en médaillon de l’Empereur, serti de diamants. À côté de l’enfant, sur un coussin, est posée une couronne impériale.

Robert Lefèvre, Pauline Bonaparte-Borghèse, duchesse de Guastalla (1780-1825), 1806. Huile sur toile © Château de Versailles (dist. RMN-Grand Palais) / Christophe Fouin

 Pauline Borghèse, la plus coquette des soeurs de Napoléon, symbolise au début de l’Empire le renouveau de la parure. Elle porte ici une coiffure digne de celle des dames romaines, combinant un bandeau, serti de pierres de couleurs et de brillants, et des bandeaux d’étoffe passant sous le menton. Une paire de broches ornées d’un camée serti d’or retient sur les épaules l’attache des manches. La robe est retenue sous les seins par une ceinture tressée de fils d’or.

Jean-Baptiste-Paulin Guérin (1783-1855), Marie-Caroline, duchesse de Berry (1783-1855). Huile sur toile © Château de Versailles (dist. RMN-Grand Palais) / C.Fouin 

La duchesse de Berry, véritable « fashion victim », est passionnée de fêtes en costumes et de bijoux d'inspiration historique ou folklorique.

Il semble qu’elle soit ici représentée dans une tenue de bal, vêtue d’une robe de taffetas ou de soie or, avec de larges manches bouffantes de mousseline, agrémentée d’un important ornement de corsage, mêlant des rangs de perles et des pierres de couleurs entourées de brillants, le tout cousu directement sur la robe. Coiffée en rubans et rouleaux, la jeune femme porte également sur le front une ferronnière, faite d’un diamant et d’une chaîne en or, ainsi que des pendants d’oreilles, formés d’un brillant et d’une perle en forme de goutte d’eau.

Edouard Dubufe (1819-1883), Eugénie de Montijo de Guzman, impératrice des Français (1826-1920), 1854. Huile sur toile © Château de Versailles (dist. RMN-GP) / C. Fouin

L’impératrice est figurée ici dans un cadre officiel dans une robe de bal de soie blanche rehaussée de rubans et de fil d’or. Elle porte peu de bijoux : un collier d’un rang de belles perles et un bracelet à quatre rangs de perles et serti d’un gros saphir entouré de brillants. Sa coiffure et son corsage sont ornés de bouquets de roses naturelles, dans l’esprit naturaliste alors en vogue, qui renouait avec celui de la fin de l’Ancien Régime, cher à Marie-Antoinette, qui fut son modèle.

Logis royal du château d’Angers, du 15 octobre 2016 au 15 janvier 2017 

Plate, Iran, Early 18th Century, faience, painted in cobalt, diam. 21,3 cm. Inventory Number: VГ-2213 © 1998 - 2016 The State Hermitage Museum. 

Dish, Iran, Second Half of 17th Century, faience, painted in cobalt, diameter 45,5 cm. Inventory Number: VГ-408 © 1998 - 2016 The State Hermitage Museum.

 A large Chinese wooden sculpture of a Luohan, Jin-Yuan Dynasty (13th-14th century) and the banknote found inside. Estimate: AUD$40,000-60,000. Sold for: AUD$47,120. Photo Mosgreen

SYDNEY.- The Raphy Star Collection of Important Asian Art achieved a new record for a single-owner collection of Asian Art in Sydney last night with a total of over AUD$2 million ($2,009,700). 

The top selling lot, a rare and beautifully carved Chinese polychrome wood sculpture of a Bodhisattva, Song Dynasty, 11th century sold for $396,800 to an international buyer against a pre-auction estimate of $100,000-150,000. 

Lot 92. A rare Chinese polychrome wood sculpture of a Bodhisattva, Song dynasty, 11th century. Estimate $100,000-150,000. Price realised $396,800. Photo Mosgreen

seated in vajrasana (lotus posture) with the head slightly tilted to one side and the eyes downcast, the hair in curls and trusses around the ushnisha, the right hand originally holding a flower, the robe falling across the high lotus pedestal - 47 cm high

Provenance: A.&J.Speelman Ltd., London, 1999

Published: A.&J. Speelman, Oriental Sculpture and Works of Art, London 1999, cat. no. 6, pp. 14-15

Note: see Osvald Siren, Chinese Sculpture from the Fifth to the Fourteenth Century vol. 11, 1998, pl. 417B for a bronze figure in similar style; also pl. 467C & D for two similar stone heads; also see pl. 404 for a head with very similar hair style, Shanxi Province; also, Hugo Musterburg, Sculpture of the Orient, NY 1973, fig. 98; also see Complete Treasures of Chinese Fine Art, vol. 4, 2006, pl. 56, p. 55 for a very similar example in bronze, date late Tang Dynasty; also Cleveland Bulletin 1987, for a similar dry lacquer figure date late Tang Dynasty.

The catalogue cover lot, a very fine and rare Nepalese parcel-gilt bronze figure of Tara, 9th-10th century sold for $322,400 against a pre-auction estimate of $150,000-200,000.  

Lot 66. A very fine and rare Nepalese parcel-gilt bronze figure of Tara, 9th-10th century. Estimate $100,000-150,000. Price realised $322,400. Photo Mosgreen

the heavily bejeweled figure standing in tribhanga on a round lotus pedestal with a ring for attachment to a shrine, the right hand in varada mudra, the left in kataka mudra holding the stalk of the lotus (Padma) the flower upon the left shoulder, wearing a transparent robe and a three-leaf crown - 25.4cm high

Provenance: Carlo Cristi, 24/10/2007, invoice number: 18/07

Note: see Hugo Munsterburg Scupture of the Orient, NY, 1972, p. 31 for a very similar Tara in the British Museum

Other highlights included the rare Nepalese bronze standing figure of Avalokitesvara, 10th-11th century which sold for $210,800 (estimate: $100,000-150,0000); an important Indian pink sandstone head of Buddha which sold for $148,800 (estimate: $120,000-150,000) and a large Khmer sandstone figure of Vishnu which sold for $136,400 (estimate: $120,000-150,000). 

Lot 8. A rare Nepalese bronze standing figure of Avalokitesvara, 10th-11th century. Estimate $100,000-150,000. Price realised $210,800. Photo Mosgreen

finely cast in tribhanga with a sensuous curved body, the hair in a high chignon behind the three-point crown, a mandorla behind the head, very well patinated - 26.5 cm high

Provenance: Carlo Cristi, 6/7/2006, invoice number: 02-06

Note: see Von Shroeder, Buddhist Sculptures in Tibet, India and Nepal, vol. 1, 2001, cat. no. 159 C, D & E, p. 497; also cat. no. 16Oa, p. 498 for very similar examples

Lot 37. A large Khmer sandstone figure of Vishnu, Baphuon style, 11th century. Estimate $120,000-150,000. Price realised $136,400. Photo Mosgreen

the four-armed deity standing supremely in a long finely detailed sampot with a fishtail sash at the back, secured by a low slung belt, the face with downcast eyes beneath a finely detailed diadem, the hair in a conical chignon - 91.4 cm high

Provenance: William Wolff, New York, 24/3/1989, invoice: 3-1731-89

Note: see Ellen Jessup, Sculpture of Anchor and Ancient Cambodia, Millennium of Glory, cat. no. 65, p. 254; also Jacques Gies, Spiritual Journey: Scared Art from Musée Guimet, Paris, 2004, pl. 70 for similar four-armed figures

Finally, the wooden head of a Luohan and the rare, Ming Dynasty banknote which was discovered hidden inside by Mossgreen specialists as they catalogued the piece, sold for $47,120 (estimate: $40,000-60,000).

Lot 7. A large Chinese wooden head of a Luohan, Jin-Yuan dynasty, 13th-14th century. Estimate $40,000 - $60,000. Price realised $47,120. Photo Mosgreen

the expressive features very well defined, with original textile base attached to the surface, gesso and lacquer absent, consecration material found inside the head cavity, in the form of a rare woodblock printed "bank note", stamped with three official red seals, appears to be dated from the third year of the first Ming emperior Hong Wu, 1368-1398 (dated 1370) reads "Da Ming Tong Xing Bao Chao" (“precious bank note made in Ming dynasty”), "Yi Guan" (about ￥660.8 RMB), the bottom part inscribed "Hu Bu Zou Zhun Ji Zao, Da Ming Bao Chao Yu Tong Qian Tong Xing, Shi Yong Wei Zao Zhe Zhan, Gao Bu Zhe Shang Yin Liang Bai Wu Shi Liang, Reng Gei Fan Ren Cai Chan, Hong Wu, San Nian X Yue X Ri" (Authorized by the Department of Finance, this bank note has the same function as coins, those who use counterfeit bank note will beheaded, the whistle-blower will be rewarded 250 Liang silvers plus all the properties of the criminal. The third year of Hong Wu period.) - 38 cm high

Provenance: A. & J. Speelman Ltd., 1/3/1990, invoice: 1533

Note: similar example please see A & J Speelman, Oriental Art, London, pp.10-11; also see Chinese, Korean and Japanese Sculptures, The Avery Brundage Collection San Franciso, Tokyo, 1974, pl. 142; and Michael Sullivan, The Cave Temples of Maichishan, London, 1969, pl. 80

DALLAS, TX.- Fine jewelry sales surpassed $12 million this season at Heritage Auctions, setting a house record, as bidders chased exquisite diamonds and colored gemstones – some exceeding 11 carats. Cumulative sales were held Dec. 5-6 featuring important single-owner collections, including a special selection of jewelry from the private collection of Shirley Temple Black. 

"I researched and researched and I now know I picked the best house," said the client who consigned an 11.72-carat Kashmir Sapphire, Diamond, Platinum Ring, which took top lot honors at $670,000. "There is no doubt Heritage is a leader in fine jewelry and I'm happy to say there is more coming their way." 

11.72 carats Kashmir Sapphire, Diamond, Platinum Ring. Sold for $670,000. Photo Heritage Auctions

The ring features a cushion-cut sapphire measuring 12.37 x 10.78 x 8.45 mm weighing 11.72 carats, enhanced by baguette-cut diamonds weighing a total of approximately 0.90 carat, set in platinum. An AGL report # CS 1079199, dated October 24, 2016, stating Natural Corundum, Origin Kashmir, No Gemological Evidence of Heat, Clarity Enhancement None. Gross weight 13.80 grams. Size: 7 (sizeable) 

A fresh-to-market Paraiba Tourmaline, Diamond, Platinum Ring for Tiffany & Co. sold for $250,000. A cherished Tiffany & Co. Diamond, Platinum Brooch, worn by both Shirley Temple and her mother Gertrude, sold for $250,000. Temple's 8.43-carat Diamond, Platinum Ring, a gift from her father, sold for $137,500. 

Shirley Temple's 5.39 carats Paraiba Tourmaline, Diamond, Platinum Ring, Tiffany & Co. Sold for $250,000. Photo Heritage Auctions

The ring features an oval-shaped tourmaline measuring 11.84 x 9.54 x 6.98 mm and weighing 5.39 carats, enhanced by triangle-cut diamonds weighing a total of approximately 1.00 carat, set in platinum, marked Tiffany & Co. An AGL report # CS 1079921, dated November 15, 2016, stating Mineral Type: Natural Tourmaline, Variety: Paraiba, Provenance: Classic Brazil, accompanies the ring. Gross weight 8.49 grams. Size: 6 (sizeable)

Personal Collection of Shirley Temple Black. Diamond, Platinum, Double-Clip-Brooch, Tiffany & Co. Sold for $250,000. Photo Heritage Auctions

The brooch features full-cut diamonds weighing a total of approximately 5.25 carats, enhanced by baguette-cut diamonds weighing a total of approximately 1.75 carats, set in platinum, marked Tiffany & Co. Total diamond weight is approximately 7.00 carats. Gross weight 41.90 grams. Individual Clip Dimensions: 1-5/16 inches x 1 inch. Combined Dimensions: 2-3/4 inches x 1 inch

Personal Collection of Shirley Temple Black. 8.43 carats Diamond, Platinum Ring. Sold for $137,500. Photo Heritage Auctions

The ring features an emerald-cut diamond measuring 13.76 x 10.19 x 6.55 mm and weighing 8.43 carats, flanked by baguette-cut diamonds weighing a total of approximately 0.35 carat, set in platinum. A GIA Laboratory Report # 5172185979, dated June 5, 2015, stating J color, VS1 clarity, accompanies the center diamond. Gross weight 5.40 grams. Size: 5 (sizeable) 

The single-owner Twelve Oaks Collection saw intense bidding for lots filled with Platinum, Diamond and Multi-Stone rings, which sold for $162,500. In one case, a dozen bidders competed for a lot of six pounds of Diamond, Multi-Stone, Platinum Semi-Mounts, which pushed the auction price to $137,500. The collection saw a total of eight lots sell for more than six-figures.  

"This auction was a game changer for us," said Jill Burgum, Senior Director of Jewelry at Heritage Auctions. "We have set strategic, aggressive goals to grow this department and we're delighted to hear our many consigners and thousands of bidders are happy with the results." 

Fine designs by Tiffany & Co. brought heavy bidding as a 6.01 carat pair of Diamond, Platinum Earrings sold for $150,000 and a Pink Sapphire, Diamond, Platinum, Gold Ring sold for $125,000. Likewise, Tiffany's Sakura bracelet featuring buff-top Pink Sapphires and weighing a total of 24.57 carats, enhanced by full-cut diamonds weighing a total of 20.26 carats, sold for $112,500. A Pink Sapphire, Diamond, Platinum Ring ended at $87,500.  

Pair of 6.01 carat Diamond, Platinum Earrings, Tiffany & Co. Sold for $150,000. Photo Heritage Auctions

The earrings feature round brilliant-cut diamonds measuring 9.14 - 9.23 x 5.70 mm and 9.19 - 9.27 x 5.75 mm weighing 3.01 carats each, set in platinum, marked Tiffany & Co. Accompanied by GIA Laboratory reports # 5171968135 and # 2173968136, dated October 19, 2016, stating D and E color, VVS2 clarity. Gross weight 6.52 grams. Diameter: 5/16 inch
*Note: earrings are designed for pierced ears

11.43 carats Madagascar Pink Sapphire, Diamond, Platinum, Gold Ring, Tiffany & Co. Sold for $125,000. Photo Heritage Auctions

The ring features a cushion-shaped pink sapphire measuring 13.67 x 12.00 x 7.46 mm and weighing 11.43 carats, set in 18k gold, enhanced by triangle-shaped diamonds weighing a total of approximately 3.64 carats, set in platinum, marked Tiffany & Co. An AGL report # CS 1079919, dated November 16, 2016, stating Natural Corundum, Origin Madagascar, No Gemological Evidence of Heat, Clarity Enhancement None, accompanies the sapphire. Gross weight 10.36 grams. Size: 7-1/2 (sizeable)

Pink Sapphire, Diamond, Enamel, Platinum Sakura Bracelet, Tiffany & Co. Sold for $112,500. Photo Heritage Auctions

The Sakura bracelet features buff-top pink sapphires weighing a total of 24.57 carats, enhanced by full-cut diamonds weighing a total of 20.26 carats, accented by black enamel applied on platinum, marked Tiffany & Co. Gross weight 100.47 grams. Dimensions: 7-3/8 inches x 1-1/8 inche

11.45 carats Ceylon Pink Sapphire, Diamond, Platinum Ring, Tiffany & Co. Sold for $87,500. Photo Heritage Auctions

The ring features a cushion-shaped pink sapphire measuring 14.94 x 11.92 x 7.66 mm and weighing approximately 11.45 carats, enhanced by oval-shaped diamonds weighing a total of approximately 1.60 carats, accented by baguette-cut diamonds weighing a total of approximately 2.30 carats, set in platinum, marked Tiffany & Co. An AGL Laboratory report # CS 1079379, dated November 1, 2016, stating Natural Corundum, Origin Classic™ Ceylon (Sri Lanka), No Gemological Evidence of Heat, Clarity Enhancement None, accompanies the sapphire. Gross weight 13.70 grams. Size: 6 (sizeable)

Glittering, colored diamonds followed this season's trends by garnering multiple bids. An 8.28-carat Unmounted Fancy Yellow Diamond sold for $93,750 and a Fancy Intense Yellow Diamond, Diamond, Platinum Ring by Oscar Heyman Bros., from the personal collection of Shirley Temple, sold for $37,500. 

Personal Collection of Shirley Temple Black. 3.03 carats Fancy Intense Yellow Diamond, Diamond, Platinum Ring by Oscar Heyman Bros. Sold for $37,500. Photo Heritage Auctions

The ring features an oval-shaped fancy intense yellow diamond measuring 10.41 x 7.36 x 4.94 mm and weighing 3.03 carats, flanked by oval-shaped diamonds weighing a total of 0.80 carat, set in platinum. A GIA Laboratory report # 1172186081, dated June 5, 2015, stating Natural Fancy Intense Yellow color, SI1 clarity, accompanies the center diamond. Gross weight 6.30 grams. Size: 5 (sizeable)

Additional highlights include: 

• A Diamond, Platinum Ring weighing a combined 7.70 carats sold for $75,000, against a $10,000 estimate. 

• An 8.10-carat Diamond, Gold Ring sold for $75,000, from a private Texas estate. 

• A Florida estate consigned a Diamond, Platinum Ring, offering 5.80 carats, which ended at $75,000. 

• From the Twelve Oaks Collection, a stunning Diamond, Platinum, Gold Bracelet by Cartier sold for $65,625.

Charles Frederick Kandler, cup and cover (detail), 1736-7 © The Holburne Museum / Tony Gilbert Photography

BATH.- The Holburne Museum presents Silver: Light and Shade, an exhibition that brings together historic and contemporary silver masterpieces to investigate the texture, form and colour of this precious metal. The exhibition, the third and final major presentation in the Holburne’s centenary programme, shows an extraordinary selection of objects on loan from UK museums and private collections which are displayed alongside highlights from the Holburne’s collection. 

Silver: Light and Shade explores the different processes used by silversmiths to create a range of surface textures and patterns, highlighting the continuity between the techniques used for centuries and those used today. Showcasing the work of skilled contemporary makers including Hiroshi Suzuki, Malcolm Appleby, Rod Kelly and Adi Toch alongside some of the finest and rarest pieces in silver to have survived from the last 500 years, the exhibition considers what inspires commissions and how different artists approach them to create exquisite and unusual objects. 

Charles Frederick Kandler, cup and cover, 1736-7 © The Holburne Museum / Tony Gilbert Photography

Catrin Jones, Curator of Decorative Arts at the Holburne said: ‘My aim with this exhibition is to reintroduce people to silver, telling a new and surprising story. What excites me is the science and precision involved in working with silver, and the astonishing skill of makers using experimental techniques to create unique surface effects. By showing modern silver alongside some of the rarest and most artistically important pieces made over the last five centuries, I hope that visitors to museums will be inspired to look differently at historic silver.’ 

The exhibition includes works that illustrate silver’s distinctive qualities, and in particular the way makers throughout history have transformed the surface of the metal. Works span a wealth of eras and styles, from The Cassel Beaker made in 1496, which is the earliest surviving English beaker (on loan from the V&A), to masterpieces of 20th century design by David Mellor and Robert Welch. Visitors can also see Jane Short’s virtuoso enamelled Millennium Dish, a pair of candlesticks made for Liberty, a collection of contemporary commissions on loan from the V&A inspired by historic serving slices, and the Mostyn Ewer and Basin (on loan from the National Museum of Wales), which dates from c.1561 and is embellished with its original enamel coat-of-arms. 

The Cassel Beaker, London, 1496-1497 © Victoria and Albert Museum, London 2016

The pieces in the exhibition also illustrate the role of silver as a demonstration of wealth and status, and its position in history as a display material. A cup and cover presented by Frederick, Prince of Wales to the City of Bath following his visit in 1738 is shown alongside the original leather case in which Richard ‘Beau’ Nash, the flamboyant Master of Ceremonies at the Assembly Rooms, carried it from London. John Flaxman’s Shield of Achilles, a huge silver-gilt piece first seen at George IV’s coronation banquet in 1821, will be displayed lying flat, allowing visitors to follow the intricate stories on its sculptural surface, decorated with scenes from Homer’s Iliad. 

Silver: Light and Shade uncovers the experimental techniques used to transform the colour of silver, including patination, the mixing of chemical compounds and gilding. The colour and patina of silver are affected by the techniques used to work it and the way it has been cared for: silver can be turned black or matt white, it goes red under heat, and it can be combined with base and other precious metals, enamel or precious stones. 

This exhibition celebrates the material’s visual impact, how it is worked and what it means in the history of decorative objects and contemporary design. 

Silver: Light and Shade is curated by Catrin Jones and Vanessa Brett

Elkington & Co, Tray, 1877-78. © Image © The Goldsmiths' Company

 Kevin Grey, Sinew vessel, 2011. © Image © The Goldsmiths' Company

Malcolm Appleby, 'Tectonic' Beakers I and II, 2014. Image © The Goldsmiths' Company

Theresa Ngugen, 'Spiritus' Centrepiece, 2010. Image © The Goldsmiths' Company

Mark Paillet (active 1696-c.1714), Tea-bowl and saucer, 1700-01 ©The Holburne Museum / Tony Gilbert Photography

Alastair McCallum (b. 1953), Beaker, c.2006. Silver, copper and mokumé gané. Private Collection.

Angela Cork, 'Frame' Vase, 2007. Image © The Goldsmiths' Company

Jane Short, 'Millennium Dish', 1999. Image © The Goldsmiths' Company

Rauni Higson, Persephone' Vase, 2012. Image © The Goldsmiths' Company

Junko Mori, 'Pine Cone', 2007. Image © The Goldsmiths' Company

William Lee, Vase, 2012. Image © The Goldsmiths' Company

Sheila McDonald, 'Shetland Bird' Vase, 2013. Image © The Goldsmiths' Company 

Malcolm Appleby, 'The Millennium Casket', 1999. Image © The Goldsmiths' Company

Michael Lloyd, Bowl, 2009. Image © The Goldsmiths' Company

Hiroshi Suzuki, 'Aqua-Poesy VII' Vase, 2003. Image © The Goldsmiths' Company

Lot 860. A crackle-glazed birdfeeder, Yuan–Ming dynasty. Estimate 30,000 — 40,000 HKD. Lot sold 500,000 HKD. Photo: Sotheby's.

the gently tapering deep 'U'-shaped vessel set with a small loop to one side for suspension, covered overall with a greyish-green glaze with a network of golden-beige crackles - 5.3 cm, 2 in..

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

Lot 658. A 'Longquan' celadon 'dragon' dish, Yuan dynasty (1279–1368). Estimate 180,000 — 250,000 HKD. Lot sold 275,000 HKD. Photo: Sotheby's.

with rounded sides rising to a flat everted rim, the interior centred with a coiling dragon looking at a 'flaming pearl' with its mouth held agape, encircled by curling scrolls, the exterior decorated with a lappet of chrysanthemum petals, applied overall save for the unglazed footring with a sea-green glaze - 35.5 cm, 14 in.

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

Lot 659. A ‘Shufu’ white-glazed ‘dragon’ bowl, Yuan dynasty (1279–1368). Estimate 50,000 — 70,000 HKD. Lot sold 212,500 HKD. Photo: Sotheby's.

with a flared rim and a splayed foot, the interior moulded with a central flower head, surrounded by two striding dragons around the cavetto, each embracing a character reading shu and fu, covered overall in an opaque white glaze with a slight tinge of blue, Japanese wood box - 17.9 cm, 7 in.

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

Lot 626. A moulded ‘Crane and Clouds’ ‘Shufu’ bowl, Yuan dynasty (1279–1368). Estimate 20,000 — 30,000 HKD. Lot sold 75,000 HKD. Photo: Sotheby's.

moulded on the interior of the rim with the two characters Shu and Fu - 18.9 cm, 7 3/8  in.

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

Lot 618. A large ‘Jun’ purple-splashed bowl,Yuan dynasty (1279–1368). Estimate 35,000 — 50,000 HKD. Lot sold 43,750 HKD. Photo: Sotheby's.

well potted on a neatly cut splayed foot, applied with thick pale blue glaze splashed with a patch of purple and transmuting to a mushroom tone at the rim, the glaze stopping short above the foot revealing an orange burnt stoneware - 20.5 cm, 8 1/8  in.

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

Lot 770. A rhinoceros horn 'pine' libation cup, Qing dynasty, 17th - 18th century. Estimate 350,000 — 450,000 HKD. Lot sold 375,000 HKD. Photo: Sotheby's. 

the flared body well carved on one side in openwork with gnarled branches forming the handle, rendered issuing twigs extending across the knotted and burled vessel and bearing prunus blossoms, the patina of a warm reddish-brown colour - h. 11.5 cm, 4 1/2  in. 

Notes: For examples of rhinoceros horn cups decorated with the pine motif see one in the Chester Beatty Library, Dublin, included in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, pl. 229, where the craftsman has used both a plain background and a small area of bark background against which a life-like pine branch with numerous needles is portrayed. Compare also a cup from the collection of Dr. Ip Yee, published in 'Chinese Rhinoceros Horn Carvings', International Asian Antiques Fair, Hong Kong, 1982, pl. 38; one, from the collections of Edward T. Chow and Franklin Chow, sold in these rooms, 8th April 2011, lot 2724; another sold at Christie's New York, 25th March 2010, lot 819, from the estate of Nils Nessim, Stockholm; and one sold at Christie's London, 12th May 2009, lot 29.

A 'Pine' rhinoceros horn libation cup. 17th century. Sold 3,380,000 HKD at Sotheby's Hong Kong, from the collections of Edward T. Chow and Franklin Chow, 8th April 2011, lot 2724. Photo Sotheby's.

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

Lot 764. A rhinoceros horn 'chilong' libation cup, Qing dynasty, 18th century. Estimate 200,000 — 300,000 HKD. Lot sold 275,000 HKD. Photo: Sotheby's. 

the flaring vessel skilfully carved on the exterior with gnarled branches and bamboo shoots forming the handle on one side, further rendered with lingzhi blooms of varying sizes and clambering chilong, the patina of a warm reddish-brown colour - h. 7.5 cm, 3 in. 

Notes: A rhinoceros horn cup similarly carved in low relief, but with two chilong clambering amongst stems of leafy bamboo and lingzhi fungus, was sold in our London rooms, 11th May 2011, lot 24.

A carved rhinoceros horn 'chilong' libation cup, 17th century. Lot sold 91,250 GBP at Sotheby's London, 11th May 2011, lot 24. Photo: Sotheby's. 

Cf. my post Rhinoceros horn carving @ Sotheby's. Fine Chinese Ceramics & Works of Art, 11 May 11

The chilong is possibly one of the most important and widely used animals in the horn carvers’ repertoire. Compare a cup in the Chester Beatty Library, Dublin, illustrated in Jan Chapman, The Art of Rhinoceros horn Carving in China, London, 1999, p. 178, pl. 234, where the author notes that the dragon would act as the beneficent ‘bringer of rain’. 

Lot 3045. An exquisitely carved archaistic 'chilong' rhinoceros horn libation cup, Ming dynasty, early 17th century. Estimate HKD 3,500,000 - HKD 4,500,000 (USD 460,000 - USD 580,000). Price Realised HKD 5,060,000 (USD 652,619). © Christie's Images Ltd 2011

The generously sized cup with an elegantly proportioned tapering body raised on a splayed foot, carved around the mid-section with a band of stylised phoenix and dragons in shallow relief, one end with five sinuous chilong clambering up the S-shaped handle and peering over the rim, the front with two further chilong, the interior rim with a key-fret band above a conforming stepped well, the underside of the interior foot carved with two characters, Shuli, denoting the name of the carver or the collector, the material of a dark amber tone - 7 1/8 in. (18 cm.) wide, wood stand, box

Provenance: The Fowler Museum Collection, California
The Songzhutang Collection

Literature: T. Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, p. 80, no. 33
Lu Jianchuan, Ivory and Rhinoceros Horn Carvings, Shanghai shuchan chubanshe, 2005, fig. 121

Exhibited: Hong Kong Museum of Art, Metal, Wood, Water, Fire and Earth: Gems of Antiquities Collections in Hong Kong, 2002-2005

Note: The two characters Shuli probably refer to the name of an, as yet, unidentified carver or collector. 

Christie's. Important Chinese Ceramics and Works of Art, 30 November 2011, Hong Kong