HB-IV Continuum Attelage Céleste pink opal pendant. 

Named after the golden chariot that in Greek myths draws the sun across the sky, Hermès expresses the passage of time in gems with this impressive pendant from the HB-IV Continuum Haute Bijouterie collection, made up of 400 different parts with a rosy pink 32 carat opal at its centre. The celestial glow is further enhanced with an imperial topaz and 2,074 diamonds all set in sunshine-bright yellow gold. 

HB-IV Continuum Feux du Ciel coloured gemstone choker.

The soft colours of dawn have inspired this choker from the HB-IV Continuum Haute Bijouterie collection, designed by Pierre Hardy, who has been creating Hermès fine jewellery over the past 15 years. 1,460 iolites, garnets, tourmalines and topazes have been meticulously set into seven flexible lines of white gold, creating the rippling effect of colour.

HB-IV Continuum Feux du Ciel coloured gemstone bracelet. 

From Hermès' dramatic HB-IV Continuum Haute Bijouterie collection, the colours of a perfect dawn are captured for eternity in this Feux de Ciel bracelet – French for light of the sky – thanks to hundreds of iolites, garnets, tourmalines and topazes. Set into white gold, the stones are meticulously cut and positioned in seven rows to create the illusion of light and colour flowing over the skin.

HB-IV Continuum Ombres et Lumière pearl bracelet. 

Hermès' fourth Haute Bijouterie collection, HB-IV Continuum, explores the dynamics of time and the different shades of reflected light through gems. One of the most-impressive pieces in the collection is this one-of-a-kind Ombres et Lumière bracelet, which reflects designer Pierre Hardy’s philosophical stance as white Akoya and grey South Sea pearls echo the fading of day into night.

HB-IV Continuum Ombres et Lumière pearl necklace.

This dramatic necklace from the HB-IV Continuum Haute Bijouterie collection captures the flow of time, from light to dark and light again, through a subtle graduation of white Akoya and South Sea pearls. Made of rose gold, it was designed by Pierre Hardy who has created all of Hermès' fine jewels for the past 15 years. 

HB-IV Continuum Ombres et Lumière double pearl ring.

The passing of time is the central theme in Hermès new HB-IV Continuum Haute Bijouterie collection so it is no coincidence that the figure-of-eight shape of this ring mimics the symbol of eternity. Made of rose gold, it it is designed to be worn across two fingers and is set with white Akoya and South Sea pearls. 

Portrait of Pierre Hardy, who has been designing jewellery for Hermès for 15 years.

A limestone block-form Buddhist stele. Tang Dynasty, 8th Century, 22 x 19 ½ x 10 inches (55.9 x 49.5 x 25.4 cm). Courtesy of J.J. Lally & Co.

NEW YORK, NY.- The Asia Week New York Association announces that 51 international galleries and 5 auction houses will participate in Asia Week New York 2017, the ten-day celebration of Asian art and culture that spans the metropolitan region from March 9 through 18, 2017.  

"We are thrilled to announce the 2017 roster of international galleries - our largest and most diverse to date," says Lark Mason, chairman of Asia Week New York. "The ongoing participation by these notable galleries is a testament to how firmly entrenched this annual event has become." 

According to Mason, a record-breaking 13 new galleries have joined the roster: The Art of Japan (Issaquah WA, Japanese prints); Egenolf Gallery Japanese Prints (Burbank CA, Japanese prints) Robert Hall Asian Art Ltd (London, Chinese snuff bottles and modern paintings); HK Art & Antiques (New York, classical, modern and contemporary Korean art); Tina Kim Gallery (New York, contemporary Korean and Asian art); Littleton & Hennessy Asian Art (London, Chinese porcelain and works of art); 19th Century Rare Book & Photograph Shop( New York, non-selling exhibition of Chinese photographs); Pace Gallery (New York, featuring contemporary ceramics by Lee Ufan); Priestley & Ferraro (London, early Chinese art); Alexis Renard (Paris, Indian art); Samina Inc. (London, Indian and Islamic jewelry from the 17th to 20th centuries); Runjeet Singh (Warwickshire, UK, Indian arms and armor); and Yewn (Hong Kong, contemporary jewelry). 

Kong Tsen Demo Dorje, China, Reign of Kangxi (1661-1722). Gilt Lacquer, 75 cm. Courtesy of Walter Arader Himalayan Art

The following galleries will return to the fold with their museum-quality treasures representing countries from across the Asian continent: 

Indian, Himalayan, and Southeast Asian Art 
Walter Arader Himalayan Art (United States), Dr. Robert R. Bigler (Switzerland); Prahlad Bubbar (England), Buddhist Art (Germany), Carlo Cristi (Italy), DAG Modern (United States); Oliver Forge & Brendan Lynch Ltd (England), Francesca Galloway (England), Galerie Christophe Hioco (France), Nayef Homsi Ancient Art of Asia (United States), Kapoor Galleries (United States), Navin Kumar (United States) Susan Ollemans (England), and Tenzing Asian Art. 

Ancient and/or Contemporary Chinese Art 
U.S. galleries include Ralph M. Chait Galleries, Inc., China 2000 Fine Art, FitzGerald Fine Arts, Michael C. Hughes LLC, Andrew Kahane, Ltd., Kaikodo LLC, 
Alan Kennedy (Santa Monica), J.J. Lally & Co., M. Sutherland Fine Arts, Ltd., Phoenix Ancient Art, Nicholas Grindley Works of Art Ltd, and Zetterquist Galleries. 

Ancient and/or Contemporary Japanese Art 
Carole Davenport, Dai Ichi Arts, Ltd., Joan B. Mirviss, Ltd., Laurence Miller Gallery, Onishi Gallery, Scholten Japanese Art, Erik Thomsen (all from the United States), Hiroshi Yanagi Oriental Art (Japan), BachmannEckenstein JapaneseArt (Switzerland), and Giuseppe Piva Japanese Art (Italy). 

Ancient and contemporary Korean specialists Kang Collection Korean Art and Koo NewYork, both from the United States, complete the list of contributors presenting their extraordinary array of Asian art treasures. 

Lu Shoukun, Zen Lotus , 1974. Ink on Paper, 84 cm x 153 cm. Courtesy of Robert Hall Asian Art

 Concludes Mason, "Asia Week New York is nothing less than an absolute must-attend destination for not only the trade, but for all serious and dedicated collectors, museum curators, interior designers and all Asian-art lovers." 

The 2017 edition of Asia Week New York continues to offer a non-stop schedule of gallery open houses, auctions at Bonhams, Christie's, Doyle, iGavel, and Sotheby's, exhibitions, lectures, symposia and special events. To celebrate the week's festivities, a private, invitation-only reception, jointly hosted with the Department of Asian Art of The Metropolitan Museum of Art will once again take place there on March 13. 

A comprehensive guide with maps will be available at participating galleries, auction houses and cultural institutions, starting February 2016 and online at asiaweekny.com. Emphasizing the strength of interest from Chinese-speaking buyers, a Chinese version of the website is available at cn.asiaweekny.com

Jongsook Kim, Utopia 10, 2012. Mixed Media on canvas, made with Swarovski’s cut crystals, 51 1/4 x 64 in (130.2 x 162.6 cm). Courtesy of Kang Collection Korean Art.

A Wedgwood black ‘basaltes’ encaustic-decorated ‘First Day’s Vase’, 1769, 10 in (25.4 cm) high. © Christie's Images Ltd 2016.

LONDON.- One of only four vases known to have been made by Josiah Wedgwood on the opening day of his world-famous factory is at risk of being exported from the UK unless a buyer can be found to match the asking price of £482,500 (plus VAT of £16,500). 

Culture Minister Matt Hancock has placed a temporary export bar on the Black “Basaltes” First Day’s Vase to provide an opportunity to keep it in the country. 

Wedgwood - known as one of the most famous and pioneering potters of the Industrial Revolution - treasured the First Day’s Vases and said that they should not be sold. He made them himself when his new factory Etruria opened on 13th June 1769.

Two of the other vases are owned by the V&A and displayed in the Wedgwood Museum in Staffordshire. The third vase is on a long-term loan to the British Museum. 

The vase is based on ancient Greek pottery and is believed to have been hand painted by renowned enamel painter William Hopkins Craft. The Etruria factory was the result of a partnership between Wedgwood and Thomas Bentley and remained in operation for 180 years. It greatly influenced the Stoke-on-Trent area and the industrialisation of pottery manufacturing. 

Minister of State for Digital and Culture Matt Hancock said: This beautiful vase has an extraordinary history. It was created by the hand of one of the most influential potters of all time, on the day his world famous factory opened. It is a unique piece and a reminder of the pioneering work of Wedgwood during the Industrial Revolution. I hope a buyer comes forward so we can keep all four First Day’s Vases in the UK for the public to enjoy. 

The decision to defer the export licence follows a recommendation by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA), administered by The Arts Council. 

RCEWA member Philippa Glanville said: “This beautiful First Day vase has a monumental quality which belies its relatively small size. Burnished to a delicate sheen, it glows as an embodiment of the pride of Wedgwood and Bentley in their collective achievement, a key day and event in the British technical and commercial revolution of the 18th century.” 

The RCEWA made its recommendation on the grounds of the vase’s close connection with our history and national life and its outstanding aesthetic importance. 

The decision on the export licence application for the vase will be deferred until 14th March 2017. This may be extended until 14th July 2017 if a serious intention to raise funds to purchase it is made at the recommended price of £482,500 (plus VAT of £16,500). 

Organisations or individuals interested in purchasing the vase should contact the RCEWA on 0845 300 6200.

Lot 2427 Magnificent Unenhanced Classic Columbian Emerald Approx. 29 cts. Sold for: $1,030,000. Courtesy of Rago Auctions.

Lambertville, NJ: An unenhanced Colombian emerald weighing some 29 carats brought $1,030,000 in Rago’s $4.25 million dollar jewelry auction on December 4, 2016.  A pear-shaped diamond of approximately equal size, suspended as a pendant, followed closely at a sale price of $850,000. In all, it was an auction in which the flashiest prices were achieved by serious gemstones and pieces by renowned makers like Cartier and David Webb.

“Property from many fine homes, collectors and estates provided us with beautiful material across a wide spectrum," said Sarah Churgin, Director of the Jewelry Department, "From Imperial jade to museum quality Ottoman era Armenian jewelry, from top designers such as Cartier to diamonds and gemstones significant in their own right, this was a benchmark sale for us." 

Katherine Van Dell, the jewelry specialist who will head the department as of 2017, when Sarah Churgin transitions to a Rago consultant, agreed. “This auction, to me, marked new territory in terms of what we have offered and what we are capable of achieving for our consignors.”

Highlighted Lots 

Lot 2427. Magnificent Unenhanced Classic Columbian Emerald Approx. 29 cts. Sold for: $1,030,000

Lot 2428. Highly Important Diamond Necklace 28.67 cts. Sold for: $850,000. Courtesy of Rago Auctions

Lot 2030. Cartier, Paris, Enameled Gold & Agate Table Box. Sold for: $75,000. Courtesy of Rago Auctions

Lot 2456. 7.70 Cts. Unmounted Pear Shaped Diamond. Sold for: $68,750. Courtesy of Rago Auctions

Lot 2432. Important Tiffany & Co. Ruby & Diamond Ring. Sold for: $62,500. Courtesy of Rago Auctions

Lot 2433. Predominantly Natural Pearl Necklace. Sold for: $56,250. Courtesy of Rago Auctions

Lot 2440. Art Deco Diamond & Platinum Pendant. Sold for: $38,750. Courtesy of Rago Auctions

Lot 2418. Fine Jadeite "A" Jade Pendant Earrings. Sold for: $37,500. Courtesy of Rago Auctions

Lot 2444. 4.01 Cts. Fancy Light Yellow Diamond & Platinum Ring. Sold for: $28,750. Courtesy of Rago Auctions

Lot 2160. David Webb Gold & Diamond "Princess Lillian" Cuff. Sold for: $27,500. Courtesy of Rago Auctions

Lot 2442. Fancy Vivid Yellow & White Diamond Pendant. Sold for: $27,500. Courtesy of Rago Auctions

Lot 2449. Cartier Diamond & Platinum Link Bracelet. Sold for: $27,500. Courtesy of Rago Auctions

Lot 2431. Natural Saltwater Pearl & Platinum Belle Epoque Ring. Sold for: $23,750. Courtesy of Rago Auctions

Lot 2441. Art Deco Diamond & Platinum Chandelier Earrings. Sold for: $23,750. Courtesy of Rago Auctions

Lot 2000. Marcus & Co. Phantom Fire Opal Art Nouveau Brooch. Sold for: $10,625. Courtesy of Rago Auctions

Lot 2178. Fine Ruby & Sapphire Bow Hinged Victory Bracelet. Sold for: $11,250. Courtesy of Rago Auctions

Lot 2115. Chinese Gold Filigree Pendant, 18th-19th C. Sold for: $13,750. Courtesy of Rago Auctions

Tsherin Sherpa (b. 1968), OMG (Oh My Godness), 2016. Digital giclée print withgold leaf on Somerset paper. Edition of 25. H. 81 x W. 67 cm. Courtesy Rossi & Rossi

HONG KONG.- INK ASIA, the first-ever art fair devoted to contemporary ink, returns to the Hong Kong Convention and Exhibition Centre for its second edition from 16-18 December 2016. As the hub of art business in Asia, Hong Kong is the best place to establish an art fair specialising in modern and contemporary ink art, heralding a new era of ink. Ink Asia 2016 will present exquisite ink works in a variety of media, as well as a series of academic lectures by renowned experts and artists. 

Strong line-up of 50 participating galleries 
Ink Asia 2016 will host 50 leading international galleries and academic institutions from Hong Kong, Mainland China, Taiwan, Japan and Korea, presenting works in a variety of media related to ink art, from traditional through to contemporary. This year, the fair has attracted new international galleries: from Hong Kong - Pearl Lam Galleries, Kwai Fung Hin Art Gallery and Galerie Ora-Ora; from Beijing - Ink Studio and Amy Li Gallery; also, Whitestone Gallery from Tokyo, Space Namu from Seoul, and Rossi & Rossi from London and Hong Kong. Three renowned Taiwanese galleries in the Taiwan Pavilion: Xizhitang Gallery, My Humble House Art Gallery and Jia Art Gallery. And the returning Taiwanese galleries include Loftyart Gallery, Capital Art Center and Da Xiang Art Space. Returning Hong Kong galleries include 3812 Gallery, Hanart TZ Gallery, Alisan Fine Arts, Grotto Fine Art, Rong Bao Zai (Hong Kong) Ltd. and Rasti Chinese Art. 

Fung Ming Chip (b. 1951), Day/Night Script Heart Sutra, 2001. Ink on paper. H. 60 x W. 60 cm. Courtesy of The Ink Society

100 Ink Artists from Mainland China, Taiwan and Hong Kong 
INK ASIA features almost 100 outstanding artists from Mainland China, Taiwan and Hong Kong. From Mainland China, there are works by Wang Huangsheng, the Director of Beijing Central Academy of Fine Arts; Wang Tiande, Pan Gongkai, Zhang Yu Lan Zhenghui, among others. Leading Taiwanese artists include Li Yihong, Liu Kuo-sung who is known as “the father of ink art” and his students Chiang Li-hsiang, Wu Pui-wah and Hsu Hsiu-lan. Hong Kong artists, Leung Kui Ting, Chu Hing Wah, Wong Hau Kwei, Raymond Fung Wing Kee, Chan Kan Tin and Water Poon will also attend the fair. INK ASIA has become the best platform for the ink artists from over the world.  

Chen Qiuzhi (b. 1965), Natural Law, 2016. Ink on rice paper. H. 300 x W. 210 cm. Courtesy of Sunrise Art Center

China Pavilion: Contemporary Chinese Calligraphy 
INK ASIA has invited renowned curator, Dr Xia kejun, to curate the China Pavilion: Contemporary Chinese Calligraphy. The exhibition will explore the transformation from traditional brush strokes to contemporary calligraphy, and from being a calligrapher to being an artist. Five artists have been selected: Gu Weida, Wang Dongling, Chen Guangwu, Jin Feng, and Zhang Hao.  

Tong Kam Tang (b.1960)n Couplet in Cursive Script, 2011. Ink on silk. H. 135 x W. 34 cm x 2. Courtesy of The Chinese University of Hong Kong - Department of Fine Arts

Taiwan Pavilion: Exceptional Ink Art – Transitional Innovation in the Future Past 
In the 1960s, ink art in Taiwan was modernised and abstract ink began to develop. There was another group of artists, positioned in between the masters and new ink artists, who created ink art based on their personal life experience and exploration of non-traditional ink. The academic host of the Taiwan Pavilion, Kao Chien Hui, says, “Those participated artists inherited and respected the literati painting of the masters; yet enlightened future generations with their innovative work.” 

Lee Yih-Hong (b. 1941), White Waves, 2016. Gold paper from Morita. H.103 x W.60 cm. Courtesy of Xizhitang Gallery

The Director of INK ASIA 2016, Mr. Calvin Hui said, “INK ASIA is a professional and open platform for art exchange and art trade. A host of artists, museums, art institutions, galleries, collectors and foundations will join us at the fair, to exchange views, discover our cultural heritage, and explore the spirit of ink art. Furthermore, they will have the opportunity to discuss current and future trends of ink art, and understand the global view, including similarities and differences of cultural values between East and West, opening up new possibilities for the art market.”

Shen Qin (b. 1958), Imitation of Song Dynasty Landscape Painting, 2014. Ink on paper. H. 138 x W. 42 cm. Courtesy of No. 55 Art Space

Shanhu Hou (b. 1962), Dynamic & Phenomenon SeriesTB06, 2014. Ink on paper. H.120 x W.250 cm. Courtesy of Taihe Art Gallery

Hong, Purume (b. 1967), Ours Himalayas, 2016. Ink on paper. H.74 x W.142 cm. Courtesy of Space NAMU

Zhao Wumian (b. 1977), 眾流浩天際系列 (River Series), 2015. Ink on paper; H. 96 x W. 89 cm. Courtesy of Shanying Art Gallery.

Wong Chau Tung (b.1944), Ink colour of Hong Kong (1), 2016. Ink on paper. Signed with a seal of the artist, 68 x 68 cm. Courtesy of Rong Bao Zhai (HK) Co., Ltd.

Nina Pryde (b. 1945), Cross Road, 2016. Ink, mixed media on paper; H. 134 x W. 203 cm. Courtesy of Studio Pryde.

Wang Lixing (b. 1957), Ink in Colour No. 3, 2016. Ink on paper. H. 162 × W. 82 cm. Courtesy of Peng Bao Xuan.

Mao Lizi (b. 1950), Reconstructed Landscape Series No. 7 and No. 8, 2015. Oil on canvas. H. 65 x W. 195 cm each. Courtesy of Pékin Fine Arts.

Shen Qin (b. 1958), Ink Village 11.15, 2015. Ink on paper. H. 139 x W. 267 cm. Courtesy of Amy Li Gallery.

Liao Pei (b. 1977), Illusions, 2016. Acrylic on canvas. H. 50 x W. 50 cm. Courtesy of Galerie Koo.

Yu Cheng-Yao (1898-1993), Landscape (Hanging scroll). High period (1967~1972). Ink on paper. H.119 x W.59 cm. Courtesy of Jia Art Gallery. 

Huang Zhiyang (b. 1965), Zoon-Beijing Bio Spring No.1, 2013. Ink on silk. 475 x 120 cm x 5 panels. Courtesy of Ink Studio.

Chan Shing Kau (b. 1952), Tracing series (011), 2016. Ink and colour on paper. H. 96 x W. 58 cm. Courtesy of Hong Kong Modern Ink Painting Society.

Shum Kwan Yi (b. 1995 ), Reciprocation, 2016 . Ink on paper; H. 55 x W. 262 cm. Courtesy of Hong Kong Baptist University - Academy of Visual Arts.

Liu Kuo-sung (b. 1932), The Sun No. 81, 2015. Ink and colour on paper. H. 84 x W. 78 cm. Courtesy of Hanart TZ Gallery.

Hung Fai (b.1988) & Wai Pong-yu (b. 1982), Same Line Twice 3; 2016. Pigmented ink on paper. H. 97 x W. 97 cm. Courtesy of Grotto Fine Art.

Fan Lee, Morning Glimpse, 2012. Ink on paper. H. 70 x W. 70 cm. Courtesy of Fan Art.

Lee Chi Ching (b.1963), Yi Ink #2, 2016. Ink and colour on paper. H. 160 x W. 92 cm. Courtesy of Cawah Arts Gallery.

Tu Yu Shou (b. 1987), Lost, 2011. Pigment, ink on silk scroll. H. 180 x W. 100 cm. Courtesy of Art Experience Gallery.

Qian Zhongping (b. 1966), Portrait, 2015. Ink on paper. H. 37 x W. 24 cm. Courtesy of Karin Weber Gallery.

Lot 3057. A rare large Ming-style blue and white moonflask, Qianlong six-character sealmark and of the period (1735-1796). Estimate HKD 10,000,000 - HKD 15,000,000 (USD 1,293,462 - USD 1,940,193). Price Realised HKD 20,820,000 (USD 2,692,032). © Christie's Images Ltd 2010.

Superbly painted around the flattened circular body with a broad band of scrolling lotus, between a band of pendent ruyi-heads encircling the shoulder and a lappet border above the gently tapered oval foot ring, decorated with a band of crested waves, repeated under the everted mouth rim, the cylindrical neck with upright leaves and flanked by a pair of archaistic dragon handles - 17 7/8 in. (45.4 cm.) high 

Provenance: Previously sold:
Sotheby's Hong Kong, 17 May 1988, lot 183
Christie's Hong Kong, 30 October 1995, lot 668A 

Note: This shape is derived from early Ming prototypes usually painted with dragons on the circular body. Compare with two examples, the first illustrated in Chinese Porcelain: The S.C. Ko Tianminlou Collection, 1987, pl. 65; and a flask sold at Sotheby's Hong Kong, 2 May 2005, lot 650. Compare also two related moonflasks of this same form but the first decorated a full-faced dragon within a medallion, illustrated in Blue and White Porcelain with Underglaze Red (III), The Complete Collection of Treasures of the Palace Museum, Commercial Press, 2000, p. 146, no. 132; and another designed with confronted dragon and phoenix within a medallion was sold at Sotheby's Hong Kong, 2 May 2005, lot 510. Vases of this type were recorded in the Qianlong Jishi Dang, 'A Record of Qianlong's Memorandum' where is is mentioned that in the third year of Qianlong (1738), a number of 'Imperial Xuande large blue and white moonflasks' were reproduced for palace decoration, ibid., 2000, p. 146. 

Christie's. Important Chinese Ceramics and Works of Art, 1 December 2010, Hong Kong

Lot 3054. A fine and very rare blue and white double-gourd vase, Qianlong six-character sealmark and of the period (1735-1796). Estimate HKD 9,000,000 - HKD 12,000,000 (USD 1,164,116 - USD 1,552,154). Price Realised HKD 24,180,000 (USD 3,126,481). © Christie's Images Ltd 2010.

Well painted around the globular body with a lotus scroll betweenruyi-heads encircling the shoulder and lotus lappets around the foot, the collared neck with further formal borders, all below the bulbous mouth decorated with further scrolling lotus within a trefoil border, flanked by a pair of strap-shaped handles with ruyi-head terminals - 9 1/8 in. (23.3 cm.) high, box  

Provenance: Previously sold at Sotheby's Hong Kong, 12 May 1976, lot 111
The T.Y. Chao Family Collection, sold at Sotheby's Hong Kong, 19 May 1987, lot 274 

Literature: Sotheby's Hong Kong - Twenty Years, Hong Kong, 1993, p. 157, no. 186

Exhibited: Ming and Ch'ing Porcelain from the Collection of the T. Y. Chao Family Foundation, Hong Kong Museum of Art, 1978, illustrated in the Catalogue no. 88  

Notes: Only one other Qianlong-marked blue and white vase of this form and decoration appears to be known, and was sold at Sotheby's Hong Kong, 3 May 1994, lot 174. Earlier Yongzheng-marked vases of this same shape but with different decorations are published, the first in the National Palace Museum Collection, Taipei, included in the Porcelain in the National Palace Museum, Blue-and-White Ware of the Ch'ing Dynasty, Book I, 1968, pl. 5; and the other is illustrated by D. Macintosh, Chinese Blue and White Porcelain, pl. 56, and was sold at Christie's Hong Kong 29 April, 2001, lot 559.

This interesting double-gourd shape also appears in monochromes of the Qianlong period, cf. the Ge-type glaze flask included in the Exhibition of Important Chinese Ceramics from the Robert Chang Collection, Christie's London, 1991, illustrated in the Catalogue, no. 61. 

Christie's. Important Chinese Ceramics and Works of Art, 1 December 2010, Hong Kong

Lot 3053. A fine Ming-style blue and white pear-shaped vase, yuhuchunping, Qianlong six-character sealmark and of the period (1735-1796). Estimate HKD 1,800,000 - HKD 2,500,000 (USD 232,823 - USD 323,366). Price Realised HKD 3,140,000 (USD 406,003). © Christie's Images Ltd 2010.

The globular body painted in vivid blue tones in imitation of 'heaping and piling' with plantain and bamboo growing beside rocks on grassy mounds, below a band of foliate scroll in-between upright leaves and a pendent ruyi collar at the waisted neck, the base with a band of lotus lappets encircling the splayed foot, decorated with a band of demi-florettes - 11 1/4 in. (28.6 cm.) high, box   

Provenance: An Asian private collection, previously sold at Christie's Hong Kong, 23 March 1993, lot 801 

Notes: A similar Qianlong example in the National Palace Museum, Taipei is illustrated in The National Palace Museum: Blue and White Ware of the Ch'ing Dynasty, Book II, Taipei, 1968, pl. 12; another vase with Qianlong mark sold at Christie's Hong Kong, 29 May 2007, lot 1468.  

Christie's. Important Chinese Ceramics and Works of Art, 1 December 2010, Hong Kong

Lot 2954. A fine small blue and white leys jar, zhadou, Qianlong six-character sealmark and of the period (1736-1795). Estimate HKD 300,000 - HKD 400,000 (USD 39,000 - USD 52,000). Price Realised HKD 1,100,000 (USD 141,874). © Christie's Images Ltd 2011.

The bulbous body supported on a short slightly splayed foot and surmounted by a wide flaring neck, the exterior painted with meandering lotus scrolls above a lappet band around the base, the shoulder encircled with ruyi heads below a keyfret band, the neck with composite flower scrolls, below a ruyi band encircling the rim - 3 3/8 in. (8.5 cm.) high, box  

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

Lot 3927. A blue and white 'dragon' dish, Qianlong six-character sealmark and of the period (1736-1795). Estimate HKD 30,000 - HKD 50,000 (USD 3,874 - USD 6,457). Price realised HKD 112,500 (USD 14,529). © Christie's Images Ltd 2010.

Painted to the interior well with an upright dragon rising in a sinuous curl in pursuit of a 'flaming pearl' amidst flames, the exterior similarly decorated with a pair of dragons among clouds striding in pursuit of flaming pearls - 6 3/4 in. (17 cm.) diam. 

Christie's. Important Chinese Ceramics and Works of Art. 1 June 2011, Hong Kong, HKCEC Grand Hall

Lot 2958. A fine blue and white 'dragon' dish, Qianlong six-character sealmark and of the period (1736-1795). Estimate HKD 30,000 - HKD 50,000 (USD 3,900 - USD 6,500). Price Realised HKD 187,500 (USD 24,183). © Christie's Images Ltd 2011.

Painted to the interior well with an upright dragon rising in pursuit of a 'flaming pearl' amidst flames, the exterior similarly decorated with a pair of dragons among clouds striding in pursuit of 'flaming pearls' - 6½ in. (16.5 cm.) diam. 

Notes: Compare with an identical pair of dishes sold at Christie's New York, 26 March 2010, lot 1376; and another example sold at Christie's Hong Kong, 1 June 2011, lot 3927.   

A pair of blue and white 'dragon' dishes, Qianlong six-character sealmarks and of the period (1736-1795). Sold USD 15,000 at Christie's New York, 26 March 2010, lot 1376. © Christie's Images Ltd 2010.

A blue and white 'dragon' dish, Qianlong six-character sealmark and of the period (1736-1795). Sold HKD 112,500 (USD 14,529) at Christie's Hong Kong, 1 June 2011, lot 3927. © Christie's Images Ltd 2010.

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

Diego Velázquez, Portrait of King Philip III (detail), 1627. Courtesy Museo Nacional del Prado, Madrid.

MADRID.- The first donation received by American Friends of the Prado Museum, on this occasion made by the art historian William B. Jordan, has entered the Museo del Prado as a long-term deposit. This is a previously unpublished Portrait of Philip III, which exhaustive research and technical analysis have confirmed to be an autograph painting by Velázquez. It is being exhibited at the Prado as a temporary, renewable deposit.  

The work is a preparatory painting for the face of Philip III executed by Velázquez in relation to his composition The Expulsion of the Moriscos, executed in 1627 but destroyed by the fire in the Real Alcázar in Madrid in 1734 and only known from written descriptions as no copy of it has survived. 

The addition of this work to the Museum’s collections as a long-term deposit will contribute to completing its representation of Velázquez as a royal portraitist, given that it is a work of outstanding quality and previously unpublished in the scholarly literature. As such, it will help to cast light on one of the key works of the artist’s early period at court. 

This donation and its deposit at the Museo del Prado marks the launch of American Friends of the Prado Museum, a project supported by a group of American patrons with the aim of contributing to the dissemination and conservation of the collections housed in the Museo del Prado. It offers a wide-ranging programme of membership benefits, including tax advantages, free entry to the Museum and guided tours in English. 

Portrait of Philip III by Velázquez The painting was acquired by William B. Jordan on the London art market, where it was catalogued as a Portrait of don Rodrigo Calderón due to a false inscription at the top. Following its restoration, Dr Jordan studied the painting, leading him to consider the idea that it is a work by Velázquez, specifically a preparatory painting for the face of Philip III in The Expulsion of the Moriscos. 

Among the reasons that have led Dr Jordan to defend this attribution are: Philip III appears to be aged around 40 in the painting, his age in 1609 when the moriscos were expelled from Spain. 

Stylistically, the work necessarily dates from later than 1609. It must have been produced between 1623, when Velázquez arrived at court and introduced a new style of royal portrait that corresponds to that of this work, and 1631, when he returned from Italy and adopted a notably different portrait style. 

The fact that Philip III is in profile and looking up indicates that this is not a portrait (in which the sitter normally looks straight ahead) but an image to be included in a narrative scene. 

The fact that the work’s characteristics are not comparable to the styles of the other portraitists working at the court in the 1620s, such as Van der Hamen, Maíno, Diricksen, etc. 

A study of written descriptions of The Expulsion of the Moriscos suggest that the portrait of Philip III in that scene had a similar expression to this one and was looking in the same direction. 

Again, a study of those descriptions led Dr Jordan to consider the idea that The Expulsion of the Moriscos was conceived as a pendant to Titian’s painting of Philip II offering the Infante don Fernando to Victory (Museo del Prado), which hung in the same room (the Salón Nuevo in the Alcázar) for which Velázquez’s work was painted. This idea led him to compare the portrait of Philip II in Titian’s work with that of Philip III in the present painting; a comparison that revealed numerous points of comparison with regard to the size and pose of the portraits. 

Once in the Prado, a technical study of the work and comparison with other works by Velázquez have confirmed that he is undoubtedly the principal reference point for an understanding of this painting, in particular his portraits of the second half of the 1620s. An analysis of the support, X-radiography and infra-red radiography have provided technical information on the canvas, the preparation and the manner of constructing the work, which are similar to those found in paintings by Velázquez of around 1627 and in all cases prior to his return from his first trip to Italy. 

Secondly, a comparison between paintings such as Philip IV in Armour, Philip IV standing and The Infante don Carlos, painted around 1627-1628, in other words at the same time as The Expulsion of the Moriscos, shows similarities in the modelling, particularly in the lower part of the faces, a similar approach to the anatomical construction of the noses and foreheads and a comparable use of stylistic resources.

Kendi pouring vessel, Wan Li period (1573–1620). Mounts, England, c. 1600. Porcelain, underglaze cobalt blue painting silver, gilt, England; height 25 cm; Inv.-No. PO2531 © Lichtenstein, The Princely Collections

Louis Masreliez, Blyberg porphyry vase belonged to Princess Sofia Albertina (1753–1829), sister of Gustav III. Photo: Linn Ahlgren/Nationalmuseum

STOCKHOLM.- Nationalmuseum has added several artefacts made from Swedish porphyry to its collection. Porphyry was one of Sweden’s most coveted exports in the late 18th and for most of the 19th century. The museum recently purchased a pair of magnificent Medici-style vases with Swedish royal provenance at auction in the United States. In addition, the museum has acquired a table clock in granitell and an interesting specimen collection of various types of Swedish porphyry. 

Deposits of porphyry in the Älvdalen region of central Sweden were discovered as far back as the 1730s, but it would be another half-century before quarrying started. The driving force behind the project, which to a large extent was socially motivated, was Count Niels Adam Bielke, president of the Swedish Board of Mines. The government’s goal was to create a sustainable industry that would bring prosperity to impoverished communities in Älvdalen. The porphyry works was officially established in 1788, a year after the first product, an urn, was presented to King Gustav III. 

Porphyry, which takes its name from the Greek porphyros, a type of sea snail, has been a highly prized material since the time of the pharaohs. There were few known deposits, and for centuries Egyptian porphyry dominated the market. During and after the Renaissance it became common practice to turn fragments of porphyry from ancient buildings into ornaments. This igneous rock is extremely hard, so working with it requires special skill. A lot of time-consuming grinding and polishing is needed to achieve a high-gloss finish. Carl Fredrik Fredenheim, who had visited Italy as Gustav III’s representative, proposed trying to sell Swedish porphyry to the domestic market. But sales failed to take off, and it was to be several decades before large-scale production could begin in Älvdalen. 

In fact, business did not pick up until King Karl XIV Johan took ownership of the bankrupt porphyry works in 1818, but even then it relied directly on the king for support. Karl Johan himself was the works’ biggest customer, ordering numerous ornaments as official gifts for foreign dignitaries or as tokens of royal favour bestowed on individuals. 

Table clock. Photo: Stockholms Auktionsverk

An example is the pair of magnificent Medici-style vases in Blyberg porphyry recently purchased by Nationalmuseum at Sotheby’s in New York. They once belonged to Princess Sofia Albertina (1753–1829), sister of Gustav III, and probably adorned the interior of her residence on Gustaf Adolfs torg in Stockholm. Designed by Louis Masreliez, an artist employed by the porphyry works, the vases were bequeathed by the princess to her companion Lolotte Stenbock (1766–1840), whose descendants handed them down through the generations until 2001. 

As well as showpieces, the porphyry works produced smaller artefacts, which were sold through its shop in Stockholm. From the outset, the objective was to bolster the prestige of Swedish porphyry, for instance by fitting ormolu (gilt bronze) mounts imported from France. The recently acquired table clock in the shape of a column on a square base, crowned by an urn, is made from granitell, a related material. Finished with bronze mounts and a clock mechanism from the late Karl Johan era, it is a superb example of the efforts made to move Swedish products upmarket. 

The last of the three acquisitions during the past year was a unique collection of 30 specimens of porphyry and several closely related rock types from Älvdalen. Each specimen has a printed, numbered label specifying the rock type. The specimens are preserved in their original mahogany box and once belonged to Ludvig Bäärnhielm (1828–99), a student at the mining college in Dalarna. 

When Nationalmuseum opened in 1866, several large porphyry pieces were donated to the museum by Dowager Queen Josefina, but smaller-scale artefacts have long been unrepresented. Thanks to their provenance and unique nature, the latest porphyry acquisitions constitute important additions to the collection. Nationalmuseum has no budget of its own for new acquisitions, but relies on gifting and financial support from private funds and foundations to enhance its collections of fine art and craft. These acquisitions were made possible by a generous endowment from Ulla & Gunnar Trygg and a generous donation from the Axel Hirsch Foundation.

Porphyry sample collection, ca 1850. Photo: Linn Ahlgren/Nationalmuseum.

Lot 8147. A Longquan celadon censer, Ming dynasty (1368–1644). Estimate US$ 4,000 - 6,000 (€3,800 - 5,700).  Photo Bonhams.

Thickly potted with a flared rim, short waist and compressed globular body raised on three lion-mask legs, the walls carved with leafy floral designs and raised bosses, the base unglazed displayed a warm cinnamon brown clay body, inscribed with Jinyu mantang in ink. 10 3/4in. (27.3cm) diameter

Bonhams. FINE ASIAN WORKS OF ART AND PAINTINGS, 10:00 PST - SAN FRANCISCO

Lot 8152. A large Longquan celadon jar, guan, Ming dynasty (1368–1644). Estimate US$ 3,000 - 5,000 (€2,900 - 4,800).  Photo Bonhams.

Of globular form, the thick walls carved in shallow relief with flowering branches above a band of ascending flower petals, the bowl-shaped base separately molded and applied before the olive green glaze was applied, leaving cinnamon-burnt unglazed areas, exterior foot and base area. 13 3/4in (35cm) diameter 

Lot 8154. A celadon glazed censer, 18th century. Estimate US$ 2,000 - 3,000 (€1,900 - 2,900).  Photo Bonhams.

Thickly molded with a cupped rim, the flared strap handles rising along the waisted neck and canted shoulder of a globular body raised on a tall waisted foot, the olive green glaze covering most surfaces but burnt cinnamon brown where thinly applied on the inside and outside edges of the unglazed foot pad. 9 1/4in (23.5cm) length across censer handles

Property from the Portland Art Museum, Portland, Oregon, sold to benefit the Museum Acquisition Fund

19th century Ottoman Turkish Fruit Sherbet Spoons

19th century Turkish Ottoman Sherbet Spoon

19th century Ottoman Turkish Fruit Sherbet Spoons

19th century Ottoman Turkish Fruit Sherbet Spoons

19th century Turkish Ottoman Sherbet Spoon

19th century Ottoman Turkish Fruit Sherbet Spoons

19th century Ottoman Turkish Fruit Sherbet Spoons

A rare pair of Ottoman ruby- and emerald-set marine ivory spoons, Turkey, 18th-19th Century. Photo Sotheby's

19th century Ottoman Turkish Fruit Sherbet Spoons

19th century Ottoman Turkish Fruit Sherbet Spoons

19th century Ottoman Turkish Fruit Sherbet Spoons

Amarna King, circa 1352-1336 B.C.E. Limestone, paint, gold leaf, 21.3 x 4.8 cm. Gift of the Egypt Exploration Society, 29.34. (Photo: Brooklyn Museum).

BROOKLYN, NY.- The ancient Egyptians believed that to make rebirth possible for a deceased woman, she briefly had to turn into a man. In A Woman’s Afterlife: Gender Transformation in Ancient Egypt, the Brooklyn Museum presents new research—inspired in part by feminist scholarship—to tell this remarkable story of gender transformation in the ancient world. The exhibition showcases 25 works from the Museum’s celebrated Egyptian collection to explore the differences between male and female access to the afterlife. The exhibition is part of A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a yearlong project celebrating a decade of feminist thinking at the Brooklyn Museum.  

Shawabti of the Lady of the House Sati, circa 1390-1352 B.C.E. Faience, Height 25 cm. Charles Edwin Wilbour Fund, 37.124E. (Photo: Brooklyn Museum).

Egyptian medicine taught that an entombed woman faced a biological barrier to rebirth. The ancient Egyptians believed that in human reproduction it was the man who created the fetus, and transferred it to the woman during intercourse. This ultimately made rebirth impossible for a woman alone. To overcome this perceived problem a priest ritually transformed a woman’s mummy into a man long enough to create a fetus. The ritual for this transformation required representing a woman with red skin on her coffin—the color normally assigned to a man. Furthermore, artisans inscribed the coffin with spells that addressed the woman in masculine pronouns for a priest to recite. The use of “male” color and strategically inflected language had the power to change her gender in the coffin. A woman later returned to her original female state and incubated herself for rebirth into the afterlife as a woman.  

Coffin of the Lady of the House, Weretwahset, Reinscribed for Bensuipet Containing Face Mask and Openwork Body Covering, circa 1292–1190 B.C.E. Wood, painted (fragments a, b); Cartonnage, wood (fragment c; cartonnage (fragment d) , 37.47Ea–b Box with Lid in place: 64.5 x 50 x 193.5 cm. Charles Edwin Wilbour Fund, 37.47Ea–d. (Photo: Sarah DeSantis, Brooklyn Museum)

This exhibition was sparked by fresh research, published by scholars Professor Kathlyn M. Cooney (University of California Los Angeles), Dr. Heather McCarthy (New York University), Professor Gay Robins (Emory University), and Professor Ann Macy Roth (New York University). “This research has led to a better understanding of the logic behind this unexpected gender transformation by discovering that women were intentionally represented with red skin and with masculine pronouns. Previously, these representations were regarded as mere mistakes,” said Edward Bleiberg, Curator of Egyptian Art. “Feminism has changed the questions we ask of ancient history as well as the answers we offer. This is a striking example of how feminism has provided a basis for new scholarship that reinterprets an ancient puzzle.”  

The centerpiece of the exhibition, a painted coffin box and mask of the woman known as Weretwahsut, is a prime representation of a deceased woman with gendered red skin. The exhibition also features objects representing women with elaborate wigs and closefitting dress, to indicate a subsequent return to their female state in the afterlife.

Mummy Mask of Bensuipet, Deir el-Medina, Egypt, circa 1292–1190 B.C.E. Cartonnage, 18.4 x 36.2 x 62 cm. Charles Edwin Wilbour Fund, 37.47Ec. (Photo: Sarah DeSantis, Brooklyn Museum)

Statuette of a Woman, circa 1390–1353 B.C.E. Wood, 25.6 x 7 x 4.8 cm. Charles Edwin Wilbour Fund, 54.29. (Photo: Jonathan Dorado, Brooklyn Museum)

Mirror with Handle in Form of Umbel with Two Ibex Heads, circa 1539–1292 B.C.E. Bronze, Other (handle): 10.7 x 9 x 2 cm. Charles Edwin Wilbour Fund, 75.168a–b. (Photo: Jonathan Dorado, Brooklyn Museum)