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Pair of fine gem set and diamond clips, Cartier, circa 1930

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Lot 469. Pair of fine gem set and diamond clips, Cartier, circa 1930Estimate 69,000 — 98,000 CHF. Lot sold 466,000 CHF. Photo Sotheby's.

Each set with a carved emerald leaf, within a frame of cabochon rubies, ruby beads and baguette and single-cut diamonds, the clip fittings backed with mother-of-pearl, each signed Cartier, numbered, French assay marks, fitted case stamped Cartier.

Formerly in the collection of Lydia, Lady Deterding.

BiliographyCf: Alexandra Rhodes and Stefano Papi, 20th Century Jewelry & The Icons of Style, London, 2013, pg. 38 for an illustration of these clips.

Sotheby'sMagnificent Jewels and Noble Jewels, Genève, 12 mai 2015, 10:30 AM 


A large Chinese famille rose armorial dish for the Italian market, Yongzheng period (1723-1735), circa 1722

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A large Chinese famille rose armorial dish for the Italian market, Yongzheng period (1723-1735), circa 1722© Galerie Nicolas Fournery 2016

Painted in the center with the magnificent arms of Visconti and Cusani, both of Milan, within a demi-ruyi-head border around the well and a cell diaper border around the cavetto, the rim with two sprays of fans and peonies and two sprays of iris and fungi, all alternating with four shaded rose hibiscus blossoms within a brown and gilt whorl band on the edge. 12.20 in. (31,5 cm). Price upon request (Reference :B243

Related worksSeverals pieces from this service, from famous Chinese Export porcelain collections are repertoried.

A plate, illustrated by Howard and Ayers in Chinese Armorial Porcelain (1978, T. II, p. 452, pl. 458), was in the collection of Mr. and Mrs. Rafi Y. Mottahedeh (sold at Sotheby’s NYC, january 30, 1985, lot 272).

A piece from this service is in the collection of the Fondation Gulbenkian in Lisboa.

An identical dish, describe with “Visconti-Borromeo-Arese” arms, is in the collection of The Bowes Museum (U.K.).

A large dish of the dimension of our, from the F. Gordon Morill Collection, was sold by Doyle in New-York (16 september 2003, lot 20).

A pair of large dishes from this service, from the Khalil Rizk collection, was sold at Sotheby’s NYC (April 25, 2008, lot 15).

A large dish, from the collection of Elinor Gordon, was sold at Sotheby’s NYC (23 janvier 2010, lot 186).

NoticeThe arms are those of Giulio Visconti (Milan), who was created a Knight of the Golden Fleece (1721) and that of his second wife, Teresa Cusani. This service may have been commisioned for the wedding of the Milanese couple, when Giulio was living in the Low Countries (he spent seven years in the Low Countries at this time).

Galerie Nicolas Fournery

Natural pearl and diamond necklace

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Lot 316. From a noble family. Natural pearl and diamond necklace. Estimate 39,000 — 58,000 CHF. Lot sold 454,000 CHF. Photo Sotheby's.

Designed as a graduated line of natural pearls measuring from approximately 4.95 to 14.05mm, the clasp accented with two circular-cut diamonds, length approximately 410mm.

Accompanied by an SSEF report no. 79542, stating that the forty-three pearls were found to be natural, saltwater.

Sotheby'sMagnificent Jewels and Noble Jewels, Genève, 12 mai 2015, 10:30 AM 

A very large famille rose dish, Yongzheng period (1723-1735)

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Lot 305. A very large famille rose dish, Yongzheng period (1723-1735). Estimate USD 20,000 - USD 30,000 © Christie's Images Ltd 2016.

Richly enameled with the farewell scene from The Dream of the Western Chamber - 21 ¼ in. (53.3 cm.) diameter 

The Popowich Collection.

Christie's. Chinese Export Art, 18 January 2017, New York, Rockefeller Center

Colombian emerald and diamond pendant, 19th century

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Lot 371. Colombian  emerald and diamond pendant, 19th century. Estimate 146,000 — 245,000 CHF. Lot sold 430,000 CHF. Photo Sotheby's.

Set with a step-cut emerald weighing 9.24 carats, within a frame of cushion-shaped diamonds, suspending a detachable briolette emerald drop, brooch fitting deficient.

Accompanied by SSEF report  no. 77072, stating that the step-cut emerald is of Colombian origin, with a minor amount of oil in fissures; and by SSEF report no. 77071, stating that the drop shaped emerald is of Colombian origin, with a moderate amount of oil in fissures.

Sotheby'sMagnificent Jewels and Noble Jewels, Genève, 12 mai 2015, 10:30 AM 

A large Chinese dish decorated in the famille rose palette for the Persian market, Qianlong period (1736-1795), circa 1740

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A large Chinese dish decorated in the famille rose palette for the Persian market, Qianlong period (1736-1795), circa 1740© Galerie Nicolas Fournery 2016

Of octogonal form, painted in the famille rose palette, the wide rim moulded in eight planes sloping inwards, with angles clearly showing where they radiate towards the points on the rim. Decorated with eight sepia roundels, each gilded with one of two alternating flowers and set within an irregular border of sepia scrollwork, heightened with thick icy-pink scrolls. The eight roundels are separated by heavily-enameled formal flowers in blue. Lotus-petals with sepia whorls and blue  enamel clouds surround the central motif of a quatrefoil lotus in sepia with gilt decoration. 32 cm. Price: 620 US dollars (Reference :B306)

Related worksFor a plate with this pattern, see Howard and Ayers, China for the West, TII, p. 463, no. 471.

NoticeSuch considerable patterns of considerable  complexity are typically of the Persian or Turkish taste towards the middle of the eighteenth century, and this dish would have been part of an important dinner service for this market.

Galerie Nicolas Fournery

Ground-breaking display on garniture/vase sets on view at the Victoria & Albert Museum

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Chinese export porcelain garniture with moulded panels, c. 1700, Kangxi reign, Qing dynasty© Victoria & Albert Museum

LONDON.- Organised in partnership with the National Trust, this display explores the history of the garniture; a set of ornamental vases unified by their design and a specific context. Complete sets of garnitures are exceptionally rare. A status symbol between the 17th and 19th centuries, garnitures later fell out of fashion. Sets were damaged or broken up and individual pieces sold off; few complete sets now exist, and even fewer survive in their original settings. This display brings together garnitures loaned from 13 different National Trust houses. These are complimented by objects from the V&A’s collection as well as two private loans to present an overview of this overlooked ceramic phenomenon. Highlights include a set reconstructed especially for the display, a garniture made in miniature for a dolls house, an extremely rare seventeenth-century silver set of jars, a striking Rococo set and Wedgwood ceramics. 

Garnitures are usually made up of an odd number of vessels and arranged symmetrically. Displayed on top of furniture, on the mantelpiece, or over doorways, garnitures enhanced the interior and expressed the wealth and taste of their owners. Early in the 17th century, the first sets were assembled from imported Chinese porcelain. Later, complete sets with matching decoration were made for the European market in both China and Japan. As the fashion spread around Europe, British and European potters made their own versions.  

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Five-piece garniture, China, 1690, saved from the fire at Clandon Park. © National Trust Images/James Dobson.

The display recreates for the first time, an early type of garniture made up of pairs of jars, bottles and beakers from different collections. This reconstruction, based on seventeenth-century engravings, is assembled from Chinese porcelain vessels of about 1640, from historic houses Ickworth, Suffolk and Scotney Castle, Kent, as well as pieces from the V&A’s own collection. The show also includes a five-piece garniture, also of Chinese porcelain and dating to about 1685-95, which was rescued from Clandon Park following a fire which significantly damaged the property in April 2015. Also on display is a rare collection of Chinese porcelain painted in iron-red enamels, usually on display at Petworth House and previously belonging to Charles Seymour, 6th Duke of Somerset (1662 – 1748), known as ‘The Proud Duke’. 

 

The most celebrated and controversial English garniture, a set of seven jars and vases in different shapes designed to hold potpourri and painted with avant-garde, highly erotic mythological scenes on the front and bucolic peacocks on the reverse, are on show. Their extreme form of Rococo design was intended to rival French luxury goods. Dating to c. 1762-4, the history of the set can be traced back to the 1850s to Knole house in Kent. It is now usually shown in the interior of Upton House in Warwickshire.  

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Five-piece Imari-style garniture from Dunham Massey, Cheshire, about 1700 – 20, porcelain, Arita, Hizen province, Japan. Dunham Massey, Cheshire. © National Trust. Photograph: Robert Morris.

When imports of Chinese porcelain were interrupted, porcelain forms were imitated in Dutch, French and Japanese ceramics and in English silver. The display includes a five-piece silver garniture made in London between 1670 – 80, an elaborately decorated five-piece set of Japanese porcelain (1700- 20) and a tin-glazed earthenware three-piece set manufactured in Delft, The Netherlands (about 1695). This particular set was bought new for Kingston Lacy in Dorset in 1698 and has never before left the house. Once the secret of porcelain was mastered in Europe in the early 18th century, many local factories produced their own versions of garnitures. In the hands of Josiah Wedgwood and his partner Tomas Bentley, garnitures took a new direction influenced by the shapes of ancient Greek vases recently discovered at Herculaneum and Pompeii. In 1769 Wedgwood described the public’s insatiable appetite for vases as a ‘violent Vase Madness’ and by 1775 he made over 500 shapes available. The display includes a garniture of four covered urns and three vases in black stoneware decorated in imitation of antique red-figure vase painting, manufactured in Wedgwood’s factory.  

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Three-piece Kakiemon-style garniture from Dunham Massey, Cheshire, about 1680, porcelain, Arita, Hizen province, Japan. © National Trust. Photograph: Robert Morris

Reiono Liefkes, Senior Curator of Ceramics at the V&A, said: “It is stunning to see these pieces from all over the country together here for the first time. Many have been cleaned and restored especially for the show, and you can see them close up, in all their glory.” Patricia F. Ferguson, the National Trust's External Adviser on Ceramics, said: "This display promises to change the way you see historic vases; they were almost always designed to be part of a set". 

To coincide with the exhibition, V&A publishing and the National Trust have published the richly illustrated catalogue Garnitures: Vase Sets from National Trust Houses by Patricia F. Ferguson. The book explores exceptional examples of surviving garnitures and traces their history. It reveals an early use of the term in relation to Chinese porcelain on display in the palace of Versailles under Louis XIV, whose son the Grand Dauphin had over 100 vessels arranged over a bedroom fireplace. Extraordinary massed displays placed on shelves with mirrors behind them were also created by Mary II in her palaces in the Netherlands and England, and are documented in engravings from the period.

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Pair of vases from Tatton Park, Cheshire, porcelain, about 1755, Jingdezhen, Jiangxi province, China. © National Trust. Photograph: Robert Morris

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Three-piece cabinet garniture from Kingston Lacy, Dorset, tin-glazed earthenware, about 1695, Delft, the Netherlands. © National Trust. Photograph: Robert Morris

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Covered pot-pourri vase from Upton House, Warwickshire, soft-paste porcelain, 1762–64, Chelsea factory, London, England. © National Trust. Photograph: Robert Morris

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Three-piece ‘Hamilton’ vases from Saltram, Devon, about 1770–80, black basalt, Wedgwood and Bentley, Etruria, Staffordshire, England. © National Trust. Photograph: Robert Morris

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Five-piece chimney garniture from Blickling Hall, about 1804–7, soft-paste porcelain, Barr, Flight and Barr factory, Worcester, England. © National Trust. Photograph: Robert Morris

Winnipeg Art Gallery opens exhibition of works by Rodin

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Auguste Rodin - (French  (born in France), 1840–1917), Danaïd, 1889, bronze, 30.5 x 61.6 x 44.5 cm. Collection of the Winnipeg Art Gallery, Gift from The Salgo Trust for Education, 2015-179. Photo: Ernest Mayer.

WINNIPEG.- The Winnipeg Art Gallery is celebrating Auguste Rodin with an exhibition of work by the 19th-century French sculptor and other artists he inspired. Starting with Rodin brings together nearly 30 works of art from the WAG’s permanent collection to reflect on the significant presence of Rodin in art history, his adaptation of earlier classical themes, and impact on later modernists. The exhibit runs until Spring 2017.  

Starting with Rodin highlights several recent donations to the WAG, chiefly the major bronze Danaïd (1889-90) from the Salgo Trust for Education, New York. Danaïd was initially modeled for inclusion in Rodin’s monumental Gates of Hell (1880-1917), but ultimately was left freestanding and unincorporated. The bronze depicts, with a frank eroticism that is still shocking, a femme fatal who, according to Greek mythology, murders her husband.  

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Auguste Rodin - (French, 1840–1917), Tȇte de Danseuse, c. 1880. bronze. 11 x 9.5 x 10.8 cm. Collection of the Winnipeg Art Gallery, Gift of an anonymous donor, 2015-20. Photo: Ernest Mayer

Auguste Rodin is one of the most recognized names in the art world and is widely considered the father of modern sculpture,” states Stephen Borys, WAG Director & CEO. “We are honoured by the donation made by the Salgo Trust for Education to the WAG, and what better way to mark 176 years of Rodin than with an exhibition celebrating his lasting impact!” 

Rodin’s work is rife with classical references, and this exhibition brings together a wide range of experiences: artists and artisans from antique Rome, the Austrian Baroque (Paul Strudel), and French Neo-Classicism (Jean-Bertrand Andrieu), who through their rendering of the human form, anticipate the French artist’s singular approach. However, through his emphasis on the fragment, the erotic, and an aesthetic of the “unfinished,” Rodin is largely credited as initiating modern sculpture. Visitors will also encounter the work of artists such as André Kertész, Henry Moore, Elizabeth Wyn Wood, Caroline Dukes, and other examples of European and Canadian Modernism.  

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André Kertész, (American (born in Hungary), 1894–1985), Satiric Dancer, Paris, 1926, silver print on paper, 25.2 x 20.3 cm.  Image: 24.6 x 19.7 cm. Collection of the Winnipeg Art Gallery, Gift of an anonymous donor, G-85-249. Photo: Ernest Mayer

Given the WAG’s relative strength in modern sculpture and Rodin’s importance to its development, now is the perfect occasion to organize an exhibition concerning Rodin’s influence on modern sculpture from a Classical-Academic ideal towards the various modalities of Modernism,” states Oliver Botar, guest curator and Professor of Art History at the University of Manitoba and Curator of the Salgo Trust for Education.

November 12, 2016 to February 5, 2017

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Auguste Rodin, FrenchLe Penseur (The Thinker), 1902. Bronze. On loan from a private collection, 2778.001. Photo: Ernest Mayer


"Chefs-d’oeuvre de la Collection Leiden, Le siècle de Rembrandt" au Musée du Louvre

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Rembrandt van Rijn (1606–1669), Autoportrait au regard plongé dans l'ombre, 1634, Huile sur panneau, 71,1 x 56 cm. © New York, The Leiden Gallery

PARIS - Dans le cadre de sa saison dédiée au Siècle d’or hollandais, le musée du Louvre présente une sélection des principaux chefs-d’œuvre des peintres du XVIIe siècle hollandais, issue de la collection de Thomas Kaplan et son épouse Daphné Recanati Kaplan. Rassemblée pour la première fois dans un grand musée international, cette sélection met à l’honneur la plus importante collection d’œuvres de Rembrandt aujourd’hui en mains privées. Le public découvrira ainsi une trentaine de peintures et de dessins des plus grands peintres du Siècle d’or originaires de la région de Leyde (Leiden aux Pays-Bas), au premier rang desquels dix œuvres de Rembrandt et une onzième, récemment attribuée.

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Rembrandt van Rijn (1606–1669), Minerve, 1635, Huile sur toile, 137 x 116 cm© New York, The Leiden Gallery

Parmi les peintures de Rembrandt rassemblées en son sein, la Leiden Collection possède en particulier la Minerve, un grand format spectaculaire, issu d’une série représentant des femmes fortes et des déesses de la mythologie. La sélection présentée au Louvre compte aussi des tableaux de « rembranesques » et met en lumière les « peintres fins » de Leyde qui constituent le cœur de cette collection. L’ensemble est ainsi composé de peintures de très grande qualité réalisées par les plus grands peintres (Jan Steen, Jan Lievens, Frans van Mieris, Gerard Dou) et illustre les spécialités de l’art hollandais. L’accrochage thématique permet de montrer qu’un seul et même artiste peut pratiquer différents genres et entend également rappeler que la peinture hollandaise s’appuie sur un répertoire mêlé pratiquant tous les modes, du satirique au solennel. 

Jan Steen

Jan Steen (1626-1679), Le Bénédicité, 1660, Huile sur panneau, 54,3 x 46 cm© New York, The Leiden Gallery

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Jan Lievens (1606-1674), Garçon à la cape et au turban (Portrait du Prince Rupert du Palatinat), vers 1631, Huile sur panneau, 66,7 x 51,7 cm© New York, The Leiden Gallery.

Gerrit Dou

Gerrit Dou, Un chat à la fenêtre d'un artiste, 1657, Huile sur panneau, 34 x 26,9 cm© New York, The Leiden Gallery.

A l’occasion de cette exposition, sera officiellement donné par Thomas Kaplan et Daphné Recanati Kaplan au musée du Louvre le grand format Éliézer et Rébecca au puits, peint par Ferdinand Bol (1616-1680) un des plus brillants élèves de Rembrandt. Acquise par les Kaplan en 2009, l’œuvre est prêtée par le collectionneur dans les galeries hollandaises du Louvre depuis 2010.

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 Ferdinand Bol (1616-1680), Eliézer et Rebecca au puits, vers 1645-1646, Huile sur toile, 171 x 171,8 cm© New York, The Leiden Gallery.

Après l’exposition Chefs-d’œuvre de la collection Leiden, le siècle de Rembrandt, une soixantaine de chefs-d’œuvre de la collection sera présentée au Long Museum de Shanghai et au musée national de Pékin en 2017 et 2018 puis au Louvre Abu Dhabi avant de retourner en Europe puis en Amérique.

Commissaires de l’exposition : Blaise Ducos, conservateur au département des Peintures, musée du Louvre. 

22 février - 22 mai 2017

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Rembrandt van Rijn (1606–1669), Le Patient inconscient (allégorie de l'Odorat) , vers 1624-1625, Huile sur panneau, 21,6x17,8cm © New York, The Leiden Gallery

Imperial yellow glaze porcelain deep cup, Ming dynasty, Jiajing six-character mark and period (1522-1566)

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Imperial yellow glaze porcelain deep cup, Ming dynasty, Jiajing six-character mark and period (1522-1566)

Imperial yellow glaze porcelain deep cup, Ming dynasty, Jiajing six-character mark and period (1522-1566)

Imperial yellow glaze porcelain deep cup, Ming dynasty, Jiajing six-character mark and period (1522-1566), China, Jingdezhen, Jiangxi province. H. 2 in x W. 4 in. The Avery Brundage Collection, B60P2336. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture

Jar with lotus scrolls, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566)

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Jar with lotus scrolls, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566)

Jar with lotus scrolls, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566), China, Jiangxi province. Porcelain with underglaze-blue and overglaze enamel decoration. H. 4 1/4 in x Diam. 4 3/8 in, H. 10.8 cm x Diam. 11.1 cm.  The Avery Brundage Collection, B60P2361. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture

This piece is a clear emulation of the Chenghua style, closely following its color scheme, green enamel over underglaze-blue in this case. While akin to doucai wares in its blue outlines, the green was filled with wider passages of sinuous leaves. The borders of cloud heads on the shoulder and the lotus panels and scrolls below were simplified during the Jiajing. The famous quality visible in this piece is its achievement of the forest green color, a hue that other potters sought to re-create in later periods.

Cup with a scene of Taoist temples, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566)

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Cup with a scene of Taoist temples, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566)

Cup with a scene of Taoist temples, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566), China, Jingdezhen, Jiangxi province. Painted and glazed porcelain. H. 4 in x Diam. 4 1/2 in, H. 10.2 cm x Diam. 11.5 cm.  The Avery Brundage Collection, B60P2374. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

The shape of this cup, resembling an upside-down bell, was commonly reproduced throughout the Qing period. The interior creates an atmosphere of immortal lands, with clouds on both the lip and the base. The outside is painted with four open panels on a cloud-and-crane background, each embracing an image of a sacred building borrowed from architecture and contemporary paintings. The light blue color, typical of the period, was an attempt to imitate the Chenghua underglaze-blue.

Fish bowl, Ming dynasty (1368-1644), probably reign of the Jiajing emperor (1522-1566)

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Fish bowl, Ming dynasty (1368-1644), probably reign of the Jiajing emperor (1522-1566)

Fish bowl, Ming dynasty (1368-1644), probably reign of the Jiajing emperor (1522-1566)

Fish bowl, Ming dynasty (1368-1644), probably reign of the Jiajing emperor (1522-1566), China, Jingdezhen, Jiangxi province. Porcelain with blue and white glaze. H. 20 1/2 in x Diam. 24 3/4 in. The Avery Brundage Collection, B61P19. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Jar, Ming dynasty, Jiajing six-character mark within double-circles and of the period (1522-1566)

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Jar, Ming dynasty, Jiajing six-character mark within double-circles and of the period (1522-1566)

Jar, Ming dynasty, Jiajing six-character mark within double-circles and of the period (1522-1566)

Jar, Ming dynasty, Jiajing six-character mark within double-circles and of the period (1522-1566), China, Jingdezhen, Jiangxi province. Porcelain with underglaze blue decoration. The Avery Brundage Collection, B62P88. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Fahua style glaze porcelain jar with lid, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566)

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Fahua style glaze porcelain jar with lid, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566)

Fahua style glaze porcelain jar with lid, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566). H. 15 1/2 in x W. 14 1/2 in. The Avery Brundage Collection, B60P75+.a-.b. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.


Jar with fish in lotus pond, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566)

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Jar with fish in lotus pond, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566)

Jar with fish in lotus pond, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566), China, Jingdezhen, Jiangxi province.Porcelain with underglaze blue and overglaze polychrome decoration. H. 11 1/2 in x Diam. 13 5/8 in, H. 29.2 cm x Diam. 34.6 cm. The Avery Brundage Collection, B60P79. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Fish in a lotus pond, symbolic of eternal prosperity, had been a widespread motif in Yuan porcelain and became repopularized in the Xuande and later periods. With charming naturalism, fish-in-lotus-pond motifs commonly adorned daily wares, particularly blue-and-white and polychromedecorated porcelain. From the sixteenth century onward, fishpond vessels increased in size, the primary subject varying in composition and components. The round, generous shapes of large jars were an especially suitable format for suggesting the fluid world of a fishpond. Along with their practical functions as fishbowls, display pieces, warmers, or storage containers, jars with such auspicious motifs satisfied clients' demands for intergenerational symbolism.

The exterior of this large jar is decorated with golden red fish swimming through layers of blue water plants in a deep pond. This vessel is an example of a method developed by the Xuande imperial kiln. On high-stemmed cups, bowls, and plates, potters depicted red dragons or mythic beasts against a blue ocean, or conversely blue creatures against red seas, by combining two processes: over a prefired blue-andwhite piece, red pigment was applied in empty areas drawn by the blue, and then fired again at a temperature of 700 to 800°c. This method was employed for broader subjects from the sixteenth century onward. Attesting to the level of potters' skill during this period, the red color with tints of orange and yellow served to express the glittering scales of the fish.

A large Famille Rose punch bowl, Early Qianlong period

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Lot 303. A large Famille Rose punch bowl, Early Qianlong period. Estimate USD 20,000 - USD 30,000 © Christie's Images Ltd 2016.

A continuous palace garden scene on the exterior, a deep floral border above a large central floral cluster inside - 15 ½ in. (38.1 cm.) diameter 

The Popowich Collection.

Christie's. Chinese Export Art, 18 January 2017, New York, Rockefeller Center

Pair of fine gem set and diamond clips, Cartier, circa 1930

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Lot 469. Pair of fine gem set and diamond clips, Cartier, circa 1930Estimate 69,000 — 98,000 CHF. Lot sold 466,000 CHF. Photo Sotheby's.

Each set with a carved emerald leaf, within a frame of cabochon rubies, ruby beads and baguette and single-cut diamonds, the clip fittings backed with mother-of-pearl, each signed Cartier, numbered, French assay marks, fitted case stamped Cartier.

Formerly in the collection of Lydia, Lady Deterding.

BiliographyCf: Alexandra Rhodes and Stefano Papi, 20th Century Jewelry & The Icons of Style, London, 2013, pg. 38 for an illustration of these clips.

Sotheby'sMagnificent Jewels and Noble Jewels, Genève, 12 mai 2015, 10:30 AM 

A large Chinese famille rose armorial dish for the Italian market, Yongzheng period (1723-1735), circa 1722

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A large Chinese famille rose armorial dish for the Italian market, Yongzheng period (1723-1735), circa 1722© Galerie Nicolas Fournery 2016

Painted in the center with the magnificent arms of Visconti and Cusani, both of Milan, within a demi-ruyi-head border around the well and a cell diaper border around the cavetto, the rim with two sprays of fans and peonies and two sprays of iris and fungi, all alternating with four shaded rose hibiscus blossoms within a brown and gilt whorl band on the edge. 12.20 in. (31,5 cm). Price upon request (Reference :B243

Related worksSeverals pieces from this service, from famous Chinese Export porcelain collections are repertoried.

A plate, illustrated by Howard and Ayers in Chinese Armorial Porcelain (1978, T. II, p. 452, pl. 458), was in the collection of Mr. and Mrs. Rafi Y. Mottahedeh (sold at Sotheby’s NYC, january 30, 1985, lot 272).

A piece from this service is in the collection of the Fondation Gulbenkian in Lisboa.

An identical dish, describe with “Visconti-Borromeo-Arese” arms, is in the collection of The Bowes Museum (U.K.).

A large dish of the dimension of our, from the F. Gordon Morill Collection, was sold by Doyle in New-York (16 september 2003, lot 20).

A pair of large dishes from this service, from the Khalil Rizk collection, was sold at Sotheby’s NYC (April 25, 2008, lot 15).

A large dish, from the collection of Elinor Gordon, was sold at Sotheby’s NYC (23 janvier 2010, lot 186).

NoticeThe arms are those of Giulio Visconti (Milan), who was created a Knight of the Golden Fleece (1721) and that of his second wife, Teresa Cusani. This service may have been commisioned for the wedding of the Milanese couple, when Giulio was living in the Low Countries (he spent seven years in the Low Countries at this time).

Galerie Nicolas Fournery

Natural pearl and diamond necklace

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Lot 316. From a noble family. Natural pearl and diamond necklace. Estimate 39,000 — 58,000 CHF. Lot sold 454,000 CHF. Photo Sotheby's.

Designed as a graduated line of natural pearls measuring from approximately 4.95 to 14.05mm, the clasp accented with two circular-cut diamonds, length approximately 410mm.

Accompanied by an SSEF report no. 79542, stating that the forty-three pearls were found to be natural, saltwater.

Sotheby'sMagnificent Jewels and Noble Jewels, Genève, 12 mai 2015, 10:30 AM 

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