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Verger Freres-LaCloche-Golay Fils & Stahl, Two timepieces, circa 1925

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Lot 111. Verger Frères-LaCloche-Golay Fils & Stahl,  Two timepieces, circa 1925. Estimate 30,000-40,000 USD. Lot sold 37,500 USD. Photo: Sotheby's.

• the first: 10''' rectangular manual-winding nickel lever movement, 18 jewels, silver dial with Arabic numerals, outer minute track, 18k yellow gold case, with red lacquer bezel with gold chinoiserie design, onyx borders, one diamond at the 6, the enamel pattern running through the 2 pieces attached via gold cord, the middle with diamond set accents • dial signed LaCloche, case signed Verger Frères • the second: 15.5''' jeweled rectangular gilt manual-winding nickel lever movement, silver dial with applied gilt indexes, silver case, the front, side and top panels with gold Chinoiserie motif in red lacquer, case signed Golay Fils - the first: length 97 cm, width 21 mm, the second: height 44 mm, width 26 mm

Sotheby's. Important Watches Including the Titanium Collection, New York, 10 jun 2014


Carnelian and lacquer bracelet, Lacloche Frères, 1930s

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Lot 236. Carnelian and lacquer bracelet, Lacloche Frères, 1930s. Estimate 6,000 — 8,000 GBP. Lot sold 11,250 GBP. Photo: Sotheby's.

Composed of a series of tonneau links set with oval carnelian cabochons, joined by square black lacquer links, length approximately 185mm, signed Lacloche Fres, numbered, French assay and maker's marks, case stamped Lacloche Frères.  

Sotheby's. Fine Jewels, Londres  13 déc. 2016

Diamond Brooch, LaCloche Frères, France

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Lot 540. Diamond Brooch, LaCloche Frères, France. Estimate 6,000 — 8,000 USD. Lot sold 11,250 USD. Photo: Sotheby's.

Of openwork design, the circular motif with milligrain-set old European-cut diamonds, flanked by curved and geometric forms, accented by single-cut and baguette diamonds, mounted in platinum, signed LaCloche Frèreswith French assay and workshop marks.  

Sotheby's. Fine Jewels, New York,  9 déc. 2016

Platinum and Diamond Brooch, Lacloche, Paris, circa 1915

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Lot 453. Platinum and Diamond Brooch, Lacloche, Paris, circa 1915. Estimate 15,000 — 20,000 USD. Lot sold 22,500 USD. Photo: Sotheby's.

The oval-shaped plaque depicting two roses, set with old European, single and rose-cut diamonds weighing approximately 7.50 carats, signed Lacloche Paris, numbered 70885, with French assay and workshop marks; circa 1915.  

Sotheby's. Magnificent Jewels Including Property From the Collection of Marjorie S. Fisher, Palm Beach, New York,  8 déc. 2016

Emerald and diamond brooch, Lacloche Frères, 1930s

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Lot 221. Emerald and diamond brooch, Lacloche Frères, 1930s. Estimate 25,000 — 35,000 USD. Lot sold 62,500 USD. Photo: Sotheby's.

Designed as a fountain, set with calibré-cut emeralds, circular- and single-cut diamondssigned Lacloche, numbered, French maker's mark, case stamped Lacloche Frères.  

Sotheby's. Magnificent Jewels and Noble Jewels, Geneva,  16 nov. 2016

Platinum, Moonstone, Diamond, Enamel, Onyx and Pearl Lapel-Watch, Lacloche Frères, Paul Brandt, France, circa 1910

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Lot 67. Platinum, Moonstone, Diamond, Enamel, Onyx and Pearl Lapel-Watch, Lacloche Frères, Paul Brandt, France, circa 1910. Estimate 7,000 — 9,000 USD. Lot sold 23,750 USD. Photo: Sotheby's.

Anchored by an oval-shaped watch case set with an oval-shaped moonstone cameo of a Greek maiden dancing with a theater mask, framed by single-cut diamonds and calibré-cut onyx, bordered by black enamel and accented by two pearls, suspended from a black cord with diamond-set rondelles, topped by a hexagon-shaped moonstone cameo of a dancing maiden, framed by single-cut diamonds, calibré-cut onyx and two seed pearls, the oval-shaped cameo signed Brandt, the dial signed Lacloche Freres, numbered 66469, with French assay marks; circa 1910.  

Please note the pearls have not been tested for natural origin.

Sotheby's. Magnificent Jewels and Noble Jewels, Geneva,  16 nov. 2016

Art Deco Coloured Stone, Diamond and Enamel 'Bird' Brooch, Lacloche Frères, Paris, circa 1930

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Lot 1730. Art Deco Coloured Stone, Diamond and Enamel 'Bird' Brooch, Lacloche Frères, Paris, circa 1930. Estimate 600,000 — 750,000 HKD (67,756 - 84,695 EUR). UnsoldPhoto: Sotheby's.

The openwork circular plaque depicting a calibré-cut ruby, sapphire, emerald and onyx bird amidst similarly-set floral blossoms, enhanced by black enamel branches and diamond collet details, to the old-cut diamond border together weighing approximately 3.00 carats, mounted in platinum, circa 1930, signed Lacloche, Paris, numbered 67697.  

Provenance: Always in Style: 150 Years of Artistic Jewels, sold by Sotheby’s New York on 20 April 2010, lot 105;

About Lacloche. 
Founded in Madrid in the late 19th century by four brothers, Lacloche Frères is best known for their Art Deco designs, especially their elaborate jeweled vanity and cigarette cases using bright and colourful gemstones with decorative motifs. This intricate brooch is a perfect example that demonstrates the maison’s supreme artistry and meticulous craftsmanship at the height of their success.

Sotheby's. Magnificent Jewels and Noble Jewels, Geneva,  16 nov. 2016

Venice by Ron Gessel


An Ottoman gem-set brooch bearing the tughra of Sultan Abdülhamid II (r.1876-1909), Turkey, circa 1900

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Lot 240. An Ottoman gem-set brooch bearing the tughra of Sultan Abdülhamid II (r.1876-1909), Turkey, circa 1900. Estimate 30,000 — 40,000 GBP. Photo: Sotheby's.

designed with a central diamond between two gem-set flags (one emerald and the other ruby), with miniature copper roundel above with tughra within diamond-set crescent moon emanating rays, fastening pin to reverse, in bespoke velvet-lined box with initial 'A' surmounted by a crown. Quantity: 2 - brooch: 8.5 by 7.5cm. box: 3.5 by 14.5 by 11.5cm.

NoteThis gem-set brooch was designed according to carefully chosen symbols of Ottoman power. Crowned by the tughra of Sultan Abdülhamid II (r.1876-1909), his calligraphic signature was evidence of his power and authority. The arrows on either side can be traced back to the period of Sultan Mahmud II (r.1808-39), and were symbolic of his administrative reforms in government and Westernisation of the Ottoman system. The red flag (set with pink gemstones) represents the Sultanate and the green flag the Caliphate. The other symbols include weapons for the army and navy, books for justice and scales for law.

We are grateful to Dr. Baha Tanman for his assistance in cataloguing this lot.

Sotheby's. Arts of the Islamic World, London, 26 Apr 2017, 10:30 AM

A highly-important imperial Mughal spinel, India, dated 1024 AH/1615 AD and 1070 AH/1659 AD

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Lot 191. A highly-important imperial Mughal spinel, inscribed with the names of emperors Jahangir, Prince Khurram and ‘Alamgir (Aurangzeb), India, dated 1024 AH/1615 AD and 1070 AH/1659 ADEstimate 60,000 — 80,000 GBPPhoto: Sotheby's.

the pinkish stone weighing approximately 54.5 carats, incised with nasta'liq calligraphy, pierced through the centre and set with a later gold chain and hanging seed-pearl and metal-thread pendant, in bespoke velvet-lined box, with accompanying type-written letter; spinel: 2cm. on chain, with pendant: 38.3cm.  54.5 carats.

ProvenanceEx-collection Mrs David Graham Pole, early 20th century, 
possibly via her daughter Dorothy, married to Hugh Ruttledge, Deputy Commissioner of Lucknow and Almora, 1921-29.
Private collection, UK.

Noteinscriptions

‘Jahangir [son] of Akbar Shah’ 
‘Khurram [son] of Jahangir Shah 1024 AH(1615-16 AD)’
‘Alamgir [pad] sh [ah] (?) 1070 AH (1659-60 AD)’

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Jahangir and Prince Khurram inscriptions.

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Alamgir Inscrpition.

From the fabled treasury of the Mughal emperors to the hands of a private collector in rural England, the storied history of this precious stone documents the genealogy of the imperial family at the height of their power and prestige.

Inscribed with the names of three royal patrons, and embodying concepts of identity, legitimacy and authority, this most coveted of gemstones, whose wine-dark hues evoke the light of dusk (shafaq), offers a rare insight into the private lives and dynastic preoccupations of India's greatest ruling house.

Whilst the practice of engraving precious stones with royal titles was certainly an ancient one, it was probably introduced to the Mughals through their ancestors the Timurids. Spinels were mined in Badakhshan, the region between Afghanistan and Tajikistan which came under Timurid control in the thirteenth century. Not actually recognised as spinels until the nineteenth century, these gemstones were originally considered to be rubies. A number of spinels erroneously made their way into famous collections as rubies, for example the magnificent ‘Timur Ruby’ in the Queen’s crown jewels. Passing through the hands of Tamerlane, Shah 'Abbas, five Mughal emperors, and Nadir Shah before entering Queen Victoria’s collection in 1850, it was subsequently discovered to be a spinel.

The present spinel illustrates the practice amongst Mughal emperors of inscribing their names and dates on the precious stones in their possession and of passing them on to descendants. Inscribed with three royal titles, this spinel is particularly rare, and can be compared to another renowned spinel, the ‘Carew Spinel’ in the Victoria and Albert Museum (inv. no. IM.243-1922). Both examples were inscribed with the names of three generations of Mughal rulers, emperor Jahangir, Prince Khurram (the future emperor Shah Jahan) and emperor Alamgir (Aurangzeb).

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The Carew spinel engraved with the titles of Jahangir (r.1605-27), Shah Jahan (dated 1629-30) and 'Alamgir (Aurangzeb) (dated 1666), Mughal empire, 17th century. Spinel, drilled and set on a gold pin, with a diamond at top and bottom. Height: 4 cm, Width: 2.3 cm, Weight: 133.5 ct. Bequeathed by the Rt. Hon. Julia Mary, Lady Carew, IM.243-1922 © Victoria and Albert Museum, London 2017.

Many of the surviving gemstones are attributed to the period of emperor Jahangir (r.1605-27) who was particularly fond of this tradition. When Jacques de Coutre, a Flemish gem-cutter and jewel merchant visited Jahangir’s court, he described the emperor as covered with so many precious stones that he looked ‘like an idol… and had more jewels than all the monarchs of Europe put together’ (Stronge 2010, p.172).

Spinels of this quality, with royal provenance, rarely appear on the market. An imperial Mughal spinel necklace inscribed multiple times with the names of Jahangir, Shah Jahan and Alamgir (Aurangzeb) sold for a record $5.2 million at Christie’s, Geneva, on 18 May 2011. Further comparable examples are in a number of institutions and collections worldwide, including at least twenty-two in the Al-Sabah collection, Kuwait (Keene 2001, pp.134-140, nos. 12.1-12.22), The Baharat Kala Bhavan in Benares, India (Welch 1963, p.170, no.49), the Khalili Collection, London (inv. no. JLY 1790), the Museum of Islamic Art, Doha (inv. no. JE.170.2003) and others in the al-Thani collection (Jaffer 2013, pp.97-8, nos.18-20). An imperial Mughal emerald inscribed with the name of Emperior Jahangir was sold in these rooms, 28 April 2004, lot 162.

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An imperial Mughal spinel necklace, Three of the spinels are engraved. Two with the name of Emperor Jahangir, one with the three names of Emperor Jahangir, Emperor Shah Jahan and Emperor Alamgir, also known as Aurangzeb. Sold CHF 4,579,000 (USD 5,214,348) at Christie's Geneva Magnificent Jewels, 18 May 2011© Christie's Images Ltd 2011

 

Sotheby's. Arts of the Islamic World, London, 26 Apr 2017, 10:30 AM

Lisbon, Portugal by Ron Gessel

A gem-set and enamelled gold necklace, North India, 19th century2

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Lot 194. A gem-set and enamelled gold necklace, North India, 19th century. Estimate 30,000 — 40,000 GBPPhoto: Sotheby's.

comprising facet-cut white sapphires set in gold with foil backing, on flexible openwork chain surrounded by seed-pearl borders, hanging flowerhead-shaped pendant with spinel drop, enamelled on the reverse in red, green and white with floral details on each setting, rows of pearl-strings leading to square clasp - 32.5cm. max. unclasped - 20.5cm width.

Note: Commissioned by a wealthy patron, this finely executed necklace is set with white sapphires, cut and foil-backed so as to bring out their maximum brilliance, as was the custom in nineteenth-century India. It is entirely covered with fine polychrome enamel on the reverse, interspersed with miniature seed pearls and a hanging spinel.

A further diamond-set and enamelled necklace of comparable form and technique was sold in these rooms, 8 October 2014, lot 303.

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An important diamond-set and enamelled gold parade necklace (Khanti), North India, circa 1850-75. Sold  236,500 GBP at Sotheby's London, 8 October 2014, lot 303. Photo Sotheby’s

(Cf. An important diamond-set and enamelled gold parade necklace (Khanti), North India, circa 1850-75)

Sotheby's. Arts of the Islamic World, London, 26 Apr 2017, 10:30 AM

An emerald and diamond-set enamelled turban ornament (sarpech), North India, 19th century

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Lot 198. An emerald and diamond-set enamelled turban ornament (sarpech), North India, 19th centuryEstimate 20,000 — 30,000 GBPPhoto: Sotheby's.

gently curved jewel featuring a central hexagonal-cut emerald carved with flowerheads, between two oval carved emeralds, a drop-shape carved emerald above with diamond-set petalled border, two hanging spinels and seed pearls, polychrome floral enamelling to reverse, clasps on either side with metal-thread cord - main jewel: 7 by 7.6cm.

Sotheby's. Arts of the Islamic World, London, 26 Apr 2017, 10:30 AM

A pair of enamelled and gem-set bracelets, North India, 19th century

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Lot 193. A pair of enamelled and gem-set bracelets, North India, 19th century. Estimate 15,000 — 20,000 GBPPhoto: Sotheby's.

each set with lasque diamonds and rubies in floral-shaped settings on an emerald-green ground, the interior enamelled with green floral motifs on a white engraved wave ground. Quantity: 2 - 9.9cm. diam. each.

Sotheby's. Arts of the Islamic World, London, 26 Apr 2017, 10:30 AM

A gem-set jade pendant, India, mid-19th century

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Lot 200. A gem-set jade pendant, India, mid-19th century. Estimate 4,000 — 6,000 GBPPhoto: Sotheby's.

the light jade plaque set in the kundan technique with diamonds, emeralds and rubies designed as a fine floral spray, the top with horizontal drill hole, mounted with gold chain, fitted in a bespoke, velvet-lined box with 'Hamilton & Co.' insignia.

ProvenanceBy repute, James Andrew Broun-Ramsay (1812-60), 1st Marquess of Dalhousie, Governor-General of India (1848-56).
Thence by descent.

NoteThis charming pendant was carved in the nineteenth century, drawing on an earlier Mughal style, and is characterised by a floral design composed of colourful gemstones set in gold mounts on a piece of carved jade. Later fitted with a gold chain, the pendant and chain both fit into a custom-made box containing the insignia of 'Hamilton & Co.', which had been founded by English silversmith Robert Hamilton (1772-1848) upon his arrival in India in 1808. The company became one of the best known and celebrated British silversmiths working in India, and is known to have supplied a number of works to Lady Dalhousie, further attesting to the provenance of the present piece. One of the most famous gemstones in the Crown Jewels at the Tower of London is the 105 carat 'Koh-i-Noor' diamond, sent to Queen Victoria in 1849 by Lord Dalhousie. 

Sotheby's. Arts of the Islamic World, London, 26 Apr 2017, 10:30 AM


An Ottoman jade and gem-set silver-gilt casket, Turkey and China, 18th-19th century

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Lot 210. An Ottoman jade and gem-set silver-gilt casket, Turkey and China, 18th-19th century. Estimate 20,000 — 30,000 GBPPhoto: Sotheby's.

of octagonal form standing on eight columnar feet, each side of the exterior decorated with a jade plaque set with silver-mounted gemstones, the surrounding area similarly and densely inset with gemstones and semi-precious stones, each corner with a vertical ridge set with diagonal bands of turquoise half-beads, the Chinese jade cover with dragons flanking a shou emblem and gemstones, surmounted by a gem-set jade finial, the underside of the cover fitted with a gold coin of Abdülhamid I, dated 1187 AH/1773 AD. Quantity: 2 - 7.5cm. height - 13.3cm. diam..

NoteThis impressive casket belongs to a well-known group of octagonal, jade and gem-set metal boxes produced in the Ottoman world and generally ascribed to the eighteenth/nineteenth century. Characterised by an abundant use of multi-coloured gemstones, some of which were set directly onto the metal body or onto the jade plaques which adorn it, this casket would have been considered an object of luxury rather than practicality. 

The carved jade lid of this box is attributable to Qing-dynasty China, and was most probably produced with the intent of export. In this instance, the craftsman has creatively filled the recessed spaces in the carved jade lid with cabochon and flat-cut gemstones. Inlaying hardstones such as jade was practised for centuries, but became particularly popular in the Ottoman court from the end of the fifteenth century. The earliest known jades inlaid with gold are a selection of cups listed in an inventory for the Treasury of Bayezid II dated to 1505 (Rogers 1995, p.196, no.132). So popular was this technique that it can be noted on all manner of objects including vessels, jewellery and weapons. At that time, the jade-producing areas around Khotan came under control of the neighbouring Timurid dynasty which controlled its diffusion. This vessel demonstrates the continued popularity for Far Eastern jade objects retaining characteristically Chinese motifs worked into Ottoman settings.   

Sotheby's. Arts of the Islamic World, London, 26 Apr 2017, 10:30 AM

An Ottoman jade and gem-set silver-gilt casket, Turkey and China, 19th century

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Lot 209. An Ottoman jade and gem-set silver-gilt casket, Turkey and China, 19th centuryEstimate 10,000 — 15,000 GBPPhoto: Sotheby's.

of rectangular form on four applied gem-set cusped feet, the exterior set with rubies, emeralds, amethysts and sapphires against a ground of engraved floral motifs, the lid mounted with an openwork carved Chinese jade plaque - 8.9 by 10 by 8cm.

NoteThe present casket, as with the previous lot, is a product of the Ottoman taste for Chinese artefacts, in this case, carved jade. The jade piece itself is worked in a manner that could potentially ascribe it to the Ming or Qing dynasty, and may have originally been presented as a diplomatic gift as suggested by the prominent position that it occupies on the box. The choice of a pale jade harks back to the preference of Chinese emperors for white jade. The casket itself was designed around this piece which was mounted into a petalled setting and further worked with a foliate trellis border, the sides engraved with floral designs on a punched ground and set with large gemstones. Stylistically, it is reminiscent of the reliquary containing the tooth of the Prophet (Dendan-i Saadet), which was made for Sultan Mehmed IV (r.1648-87), now in the Topkapi (Akşit 1986, p.175, no.5).   

Sotheby's. Arts of the Islamic World, London, 26 Apr 2017, 10:30 AM

A Chinese porcelain cup with Ottoman tombak mounts set with a coral finial, China and Turkey, 18th century

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Lot 208. A Chinese porcelain cup with Ottoman tombak mounts set with a coral finial, China and Turkey, 18th century.  Estimate 20,000 — 30,000 GBPPhoto: Sotheby's.

the body comprising a blue porcelain cup set in tombak mounts, including a splayed foot with incised floral details, with a hinged lid featuring three cartouches with foliate openwork design, surmounted by coral finial and curved handle - 17.5cm. height.

NoteThis tombak incense burner is distinguished by the inclusion of a Chinese blue ceramic bowl, most probably attributable to the sixteenth/seventeenth century, possibly Ming dynasty. Although numerous examples of Ming ceramics with Ottoman additions are recorded, it is rare to find this on incense-burners as exemplified by the present example. An interesting comparison can be drawn with a jewelled censer in the Topkapi Palace Museum composed of a porcelain body from the Ming Dynasty and set with Ottoman additions, including gemstones on gold mounts and an openwork finial and cup (inv. no. 15/2771, illustrated in D. Roxburgh (ed.), Turks: A Journey of a Thousand Years600-1600, London, Royal Academy of Arts, 2005, p.359, no.348).   

Sotheby's. Arts of the Islamic World, London, 26 Apr 2017, 10:30 AM

A fahua meiping, Ming dynasty, 16th century

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A fahua meiping, Ming dynasty, 16th century

Lot 654. A fahuameiping, Ming dynasty, 16th century. Estimate 20,000 — 30,000 USD. Lot sold 56,250 USD. Photo: Sotheby's.

glazed in aubergine, turquoise and yellow reserved against a deep blue ground, depicting a sage drifting towards a pavilion enshrouded in clouds approached by an attendant carrying a wrapped qin, between a ruyi-collar enclosing lotus blossoms at the shoulder and a lappet band below, the interior applied with a yellow glaze, Japanese wood box (2). Height 11 1/4  in., 28.6 cm 

ProvenanceCollection of Edson Bradley (1852-1935).
Collection of J. Insley Blair (1870-1939). 

LiteratureThe J. Insley Blair Collection of Chinese Porcelain, New York, 1925, pl. VIII, cat. no. 25.

NoteAnother vase of this type and subject from the Qing court collection, now housed in the Palace Museum, Beijing, is illustrated in Gugong bowuyuan cang wenwu zhenpin daxi: za you cai, su sancai / The Complete Collection of Treasures in the Palace Museum: Miscellaneous Enameled Porcelains, Plain Tricolored Porcelains, Shanghai, 2009, cat. no. 234.

Sotheby's. Important Chinese Art New York, 15 Mar 2017

A molded and reticulated fahua jar, Ming dynasty (1368-1644)

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A molded and reticulated fahua jar, Ming dynasty (1368-1644)

A molded and reticulated fahua jar, Ming dynasty (1368-1644)

Lot 655. A molded and reticulated fahua jar, Ming dynasty (1368-1644). Estimate 20,000 — 30,000 USD. Lot sold 15,000 USD. Photo: Sotheby's.

of baluster form, the openwork outer layer carved with the Eight Immortals paying court to Shoulao, the God of Longevity, amid pines, clouds, cranes, and other auspicious animals, all between a band of upright lappets with inverted lotus buds on the foot and an openwork peony scroll along the shoulder, a narrow band of petals beneath detached clouds on the short neck, the exterior glazed principally in turquoise with aubergine, yellow, and cream glazes applied to the figural and ornamental features, the faces reserved in unglazed biscuit, the interior and base glazed grass-green. Height 13 1/2  in., 34.3 cm 

NoteA very similar jar in the collection of George Eumorfopoulos is illustrated in R. L. Hobson and A. L. Hetherington, The Art of the Chinese Potter: An Illustrated Survey, London, revised ed., New York, 1982, pl. 111.

Sotheby's. Important Chinese Art New York, 15 Mar 2017

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