Because of the stable political situation and prosperous economy during the Emperor Chenghua's reign, the porcelain manufacturing started to revive again after the stagnation in the three former reigns. Chenghua imperial porcelains have their unique features among various kinds in the Ming Dynasty. The blue-and-white ceramics in Chenghua period mainly use domestic blue cobalt and therefore have elegant color, which is different from the bright colors in Yongle and Xuande periods and signifies the shift of style of the royal kilns in the Ming Dynasty. In this period, the technique for clashing color was greatly improved and many new patterns and designs were created, for example, mother hen and baby chicken, scholars, butterflies among flowers and grapes on the clashing-color cups, sea and legendary animals on the jar with "Tian" mark. This period boasts of many small-sized vessels, including cups, plates and jar.

Blue-and-white palace bowl with the design of playing kids, Chenghua period (1465-1487). Diameter of mouth 15.4cm; diameter of bottom 5.25cm; height 7cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white palace bowl with the design of plants, Chenghua period (1465-1487). Diameter of mouth 15.5cm; diameter of bottom 5.4cm; height 6.9cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white palace bowl with the design of plants, Chenghua period (1465-1487). Diameter of mouth 14.6cm; diameter of bottom 5.4cm; height 7cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white bowl with lotus flowers and Sanskrit scripts, Chenghua period (1465-1487). Diameter of mouth 14.35cm; diameter of bottom 6.05cm; height 7.25cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white bowl with the design of flowers, Chenghua period(1465-1487). Diameter of mouth 12.1cm; diameter of bottom 4.35cm; height 5.65cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white bowl with the design of flowers and the inscription of Xuande. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white bowl with the design of flowers, Chenghua period (1465-1487). Diameter of mouth 15.51cm; diameter of bottom 5.15cm; height 6.4cm; Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white bowl with the design of interlocking gingko leaves, Chenghua period (1465-1487). Diameter of mouth 15.2cm; diameter of bottom 5.1cm; height 6.7cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white bowl with the design of clustered flowers and fruits, Chenghua period (1465-1487). Diameter of mouth 17.1cm; diameter of bottom 7cm; height 7.8cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white bowl with the design of lions playing ball, Chenghua period (1465-1487). Diameter of mouth 17.8cm; diameter of bottom 7.3cm; height 7.5cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white bowl with the design of waves and ocean animals, Chenghua period (1465-1487). Diameter of mouth 18.5cm; diameter of bottom 7.5cm; height 8.5cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white bowl with the design of lotus flowers and water grass, Chenghua period (1465-1487). Diameter of mouth 8.9cm; diameter of bottom 3.6cm; height 4.9cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white bird feeder jar with the design of plucked flowers, Chenghua period (1465-1487). Diameter of mouth 3.9cm; diameter of belly 7.4cm; height 3.9cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white rectangular flower pot with the design of pines, bamboos and prune flowers, Chenghua period (1465-1487). Length 43.8cm; width 23.9cm; height 15.6cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white drum-like censer with interlocking eight-treasure patterns, Chenghua period (1465-1487). Diameter of belly 7.6cm; height 9cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white tripod censor with the design of clouds and cranes, Chenghua period (1465-1487). Diameter of mouth 6.5cm; height 9.3cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white plate with Sanskrit inscriptions, Chenghua period (1465-1487). Diameter of mouth 20.7cm; diameter of bottom 13cm; height 5.2cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white plate with the design of double lions playing ball, Chenghua period (1465-1487). Diameter of mouth 41.8cm; diameter of bottom 26.4cm; height 8.4cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white plate with the design of phoenix and dragon, Chenghua period (1465-1487). Diameter of mouth 23.9cm; diameter of bottom 15.2cm; height 4.5cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white plate with the design of legendary animals, Chenghua period (1465-1487). Diameter of mouth 33.2cm; diameter of bottom 21.9cm; height 6.6cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white plate with the design of dragons, Chenghua period (1465-1487). Diameter of mouth 30.6cm; diameter of bottom 22.6cm; height 6.2cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white plate with the design of iron-red waves and blue dragon, Chenghua period (1465-1487). Diameter of mouth 15.1cm; diameter of bottom 9cm; height 3.6cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color plate with the birds in lotus pond, Chenghua period (1465-1487) but an imitation of Xuande’s style. Diameter of mouth 17.1cm; diameter of bottom 10.4cm; height 3.9cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Blue-and-white long-neck vase with the design of dragons, Chenghua period (1465-1487). Height 55.8cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color covered round box with the design of flowers and birds, Chenghua period (1465-1487). Diameter of mouth 26cm; diameter of bottom 17.4cm; height 13cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color long-belly jar with the design of clouds (half finished), Chenghua period (1465-1487). Diameter of bottom 6.5cm; height 18.3cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color cup with the design of dragons, Chenghua period (1465-1487). Diameter of mouth 5cm; diameter of bottom; height 3.5cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color cup with the design of flowers falling in streams, Chenghua period (1465-1487). Diameter of mouth 5.7cm; diameter of bottom 2.8cm; height 3cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color cup with the design of butterflies among flowers, Chenghua period (1465-1487). Diameter of mouth 9.1cm; diameter of bottom 3.3cm; height 4.9cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color cup with the design of clustered branches and birds, Chenghua period (1465-1487). Diameter of mouth 8.1cm; diameter of bottom 3cm; height 5.7cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color cup with the design of clustered fungus, Chenghua period (1465-1487). Diameter of mouth 7.2cm; diameter of bottom 3cm; height 4.1cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color cup with the design of plucked flowers and fruits, Chenghua period (1465-1487). Diameter of mouth 6.9cm; diameter of bottom 3cm; height 4.1cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color high-stemmed cup with single stand and the design of plucked grapes, Chenghua period (1465-1487). Diameter of mouth 8cm; diameter of bottom 3.5cm; height 6.8cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color high-stemmed cup with the design of interlocking lotus flowers, Chenghua period (1465-1487). Diameter of mouth 7.5cm; diameter of bottom 3.6cm; height 8.7cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color high-stemmed cup with the design of birds and trees, Chenghua period (1465-1487). Diameter of mouth 6.8cm; diameter of bottom 3.5cm; height 7.9cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color covered jar with 'Tian' mark and the design of heavenly horse, Chenghua period (1465-1487). Diameter of mouth 5.65cm; diameter of belly 11.2cm; diameter of bottom 7.45cm; height 11.75cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color covered jar with 'Tian' mark and the design of green vines and blue dragon, Chenghua period (1465-1487). Diameter of mouth 8.1cm; diameter of belly 17.2cm; diameter of bottom 11.35; height 17.45cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Clashing-color covered jar with 'Tian' mark and the design of ocean animals, Chenghua period (1465-1487). Diameter of mouth 6.4cm; diameter of belly 12.9cm; diameter of bottom 8.7cm; height 14.9cm. Collected by Jingdezhen Ceramics Archaeology Research Institute.

Lot 3207. A finely carved Qingbai'Boys' bowl, Southern Song dynasty (1127-1279), 20.8 cm, 8 1/8  in. Estimate 100,000 — 150,000 HKD. Lot sold 125,000 HKD. Photo: Sotheby's.

of conical form, the thinly-potted vessel with wide flaring sides rising from a slightly tapered foot to an everted rim, exquisitely carved to the interior with two boys dressed in loose robes, amongst a lush ground of scrolling peonies, the petals with furled edges and freely incised with stylised wavy veins, applied overall with a transparent glaze with a bluish tinge pooling to a deeper tone in the recesses, the glaze stopping neatly at the foot, the unglazed base fired to a buffed tone at the centre

Provenance: Susan Chen, Hong Kong, 1988.

Note: Qingbai bowls decorated with the popular 'boys' motif can be found in many important museums and private collections. Compare a larger bowl, carved with the design of boys among vines, in the Seattle Art Museum, illustrated in Basil Gray, Sung Porcelain and Stoneware, London, 1984, pl. 124; two examples excavated at the Hutian kiln site in Jingdezhen, Jiangxi province, published in Chai Kiln and Hutian Kiln, Nanning, 2004, pp. 94 and 95; and a fourth bowl in the Avery Brundage Collection, Asian Art Museum of San Francisco, illustrated in Stacey Pierson, ed., Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties, London, 2002, pl. 7.

A bowl of this design, excavated from a tomb in Yihuang county, Jiangxi province, dated in accordance with 1201 AD, and now preserved in the Jiangxi Provincial Museum, is illustrated in Peng Shifan, ed., Dated Qingbai Wares of the Song and Yuan Dynasties, Hong Kong, 1998, pl. 65; and another in the Palace Museum, Beijing, is published in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (II), Hong Kong, 1996, pl. 182. A similar bowl, but also larger in size, from the Eugene Bernat Collection, was sold in these rooms, 7th November 1980, lot 78; another from the Lindberg Collection was sold in our London rooms, 12th December 1978, lot 208; and a third from the Pilkington Collection recently sold in these rooms, 6th April 2016, lot 81.

Pierson, op. cit., p. 40, notes that the motif of two boys playing amid stylised floral scrolls symbolises the wish for many sons. It is also mentioned (p. 40) that for the decoration of this type of bowl a stencil was used which led to uniformity in the replication of the broad, undecorated rim and is reasonable to assume that the design was popular and manufactured in some quantity.

Sotheby's. Song Ceramics from a Distinguished Private Collector, Hong Kong, 05 Apr 2017 

Lot 3232. A 'Cizhou' black-glazed 'oil spot' bowl, Northern Song dynasty (960-1179), 15.3 cm, 6 in. Estimate 40,000 — 60,000 HKD. Lot sold 118,750 HKD. Photo: Sotheby's.

well potted with shallow rounded sides resting on a short foot, covered overall with a lustrous black glaze densely infused with russet-toned speckles, the glaze stopping short of the lower body and foot, the unglazed part applied with a dark brown slip to conceal the pale grey body

Provenance: Galaxie Company, Hong Kong, 16th May 1988.

Sotheby's. Song Ceramics from a Distinguished Private Collector, Hong Kong, 05 Apr 2017 

Lot 3223. A 'Cizhou' russet-splashed black-glazed bowl, Northern Song-Jin dynasty (960-1234), 18.1 cm, 7 1/8  in. Estimate 60,000 — 80,000 HKD. Lot sold 75,000 HKD. Photo: Sotheby's.

with deep sloping sides supported on a short foot, the interior covered in a lustrous black glaze splashed with five russet streaks radiating from the white rim covered with a white slip band beneath a clear glaze, the exterior with black glaze and russet-brown slip falling short of the foot and revealing the buff body

Provenance: Galaxie Company, Hong Kong, prior to 1988.

Note: The present bowl belongs to a group of Northern blackwares of Cizhou type with distinctive russet-brown streaks to the glaze, reminiscent of the markings on hare’s fur. Compare a bowl of similar glaze and form included in the exhibition Hare's Fur, Tortoiseshell, and Partridge Feathers. Chinese Brown- and Black-Glazed Ceramics, 400-1400, Arthur M. Sackler Museum, Harvard University Art Museums, Cambridge, 1996, cat. no. 42.

Sotheby's. Song Ceramics from a Distinguished Private Collector, Hong Kong, 05 Apr 2017 

Lot 3206. A rare marbled bowl, Liao-Jin dynasty (907-1234), 12.4 cm, 4 7/8  in. Estimate 300,000 — 500,000 HKD. Unsold. Photo: Sotheby's.

well potted from marbled clays of pale buff and dark brown tone forming an dense pattern of irregular whorls, the marbled ware with deep rounded sides supported on a gently countersunk base and rising to a broad straight rim applied with a creamy-white slip

Provenance: Galaxie Company, Hong Kong, prior to 1990.

Note: Compare a marbled bowl from the Lindberg Collection sold in our London rooms, 12th December 1978, lot 154; and a bowl, also with a plain white rim but with a more regulated marbled pattern, from the Fuller Collection, sold at Christie's London, 28th/29th June 1965, lot 264. See also a bowl in the Museum of East Asian Art, Bath, included in The Museum of East Asian Art Inaugural Exhibition, Bath, 1993, cat. no. 72; and one included in the Kau Chi Society of Chinese Art exhibition Ancient Chinese Ceramics, Art Gallery, Chinese University of Hong Kong, Hong Kong, 1981, cat. no. 29.

Sotheby's. Song Ceramics from a Distinguished Private Collector, Hong Kong, 05 Apr 2017 

Lot 3212. A rare 'Xing''Lion'-handled ewer, Five Dynasties (907-960), 19.5 cm, 7 5/8  in. Estimate 200,000 — 300,000 HKD. Unsold. Photo: Sotheby's.

well potted with a baluster body rising from a short splayed foot to a broad rounded shoulder, surmounted by a trumpet neck and flared rim, decorated to one side with a short gently tapering spout and to the other with a strap handle modelled in the form of a lion, the beast rendered clambering onto the inner rim and skilfully detailed with a striated mane and tail, covered overall with a translucent creamy-white glaze stopping short of the unglazed foot to reveal the white body

Provenance: Galaxie Company, Hong Kong, 19th January 1989.

Note: CWhite-glazed ewers of this type were made in north China, where the kilns specialised in high-fired white wares. Using kaolin-rich clays the potters were able to produce vessels for the home that blended in harmoniously with more expensive silver objects. A closely related white ware ewer with similar lion handle, formerly in the Eurmorfopoulos Collection, now preserved in the Victoria and Albert Museum, London, is illustrated by Stacey Pierson, Chinese Ceramics, London, 2009, pp. 19-18, no. 18.

Sotheby's. Song Ceramics from a Distinguished Private Collector, Hong Kong, 05 Apr 2017 

Lot 3230. A 'Cizhou' white-glazed ewer, Northern Song dynasty (960-1179), 29.5 cm, 11 5/8  in. Estimate 200,000 — 300,000 HKD. Unsold. Photo: Sotheby's.

the well-proportioned ewer potted with a sturdy ovoid body rising from a spreading foot to a tall neck and flaring rim, modelled with a gently curved spout on one side and a strap handle on the other extending from neck to the shoulder, applied with an egg-white slip beneath a clear glaze stopping short of the foot showcasing the pale greyish-buff body

Provenance: Galaxie Company, Hong Kong, 1st December 1987.

Note: A closely related example is illustrated in Hasebe Gakuji, ed., Sekai tōji zenshū/Ceramic Art of the World, vol. 12: Sō/Sung Dynasty, Tokyo, 1977, pl. 115.

Sotheby's. Song Ceramics from a Distinguished Private Collector, Hong Kong, 05 Apr 2017 

Lot 3224. A rare Dingyao moulded 'Phoenix and Fish' dish, Jin dynasty (1115-1234), 17.2 cm, 6 3/4  in. Estimate 200,000 — 300,000 HKD. Unsold. Photo: Sotheby's.

with shallow sides resting on a short foot, crisply moulded to the cavetto with a keyfret band below the rim enclosing a frieze depicting a pair of phoenix soaring with outstretched wings, interrupted with stylised scrolls bearing large floral blooms and foliage, encircling the central medallion enclosing two fish and tempestuous waters, covered overall save for the unglazed rim in a translucent silky ivory-coloured glaze

Provenance: Galaxie Company, Hong Kong, prior to 1990.

Note: Another Jin dynasty Dingyao dish of larger size in the National Palace Museum, Taipei, moulded at the centre with a similarly composed design of a phoenix, was included in the Museum’s exhibition Decorated Porcelains of Dingzhou. White Ding Wares from the Collection of the National Palace Museum, Taipei, 2014, cat. no. II-133.

Production of Ding ware consisted mostly of small utilitarian wares such as dishes and bowls initially left undecorated or hand carved in the 10th to 12th centuries. From the late Northern Song period, craftsmen moved away from incised decoration to using mushroom-shaped moulds which were similar to those used for casting gold and silver vessels. The clay was pressed onto the relief-decorated mould before the edges were trimmed down, to ensure the piece retained the form as well as the thinness and lightness of precious materials. This technique allowed for the manufacture of a large number of vessels, thereby satisfying the demand of the market. 

Sotheby's. Song Ceramics from a Distinguished Private Collector, Hong Kong, 05 Apr 2017 

Lot 3208. A rare Qingbai 'Phoenix-head' ewer,  Northern Song dynasty (960-1179, 14.8 cm, 5 3/4  in. Estimate 120,000 — 180,000 HKD. Unsold. Photo: Sotheby's.

the gently tapered body rising to a broad rounded shoulder and surmounted by a tall slender neck rising to a flaring lobed rim, the lower section of the neck bordered with two concave grooves, the upper section modelled with a phoenix head detailed with a curved beak and shapely slender eyes below the stylised rim, the body of the ewer flanked by a short curved spout and a strap handle issuing from the neck to the shoulder, covered overall with a clear blue-tinged glaze falling short of the countersunk base revealing the white body

Provenance: Galaxie Company, Hong Kong, prior to 1990.

Note: It is rare to find a qingbai ewer of this complex form, potted with a ferocious phoenix head. The phoenix head is reminiscent of the famous qingbai phoenix-head ewer, created without a handle, in the British Museum, illustrated in R.L. Hobson, The George Eumorfopoulos Collection, vol. 1, London, 1926, pl. LXXIII. Compare also a qingbai bottle vase with phoenix head from the Manno Art Museum, sold at Christie's Hong Kong, 28th October 2002, lot 519.

Sotheby's. Song Ceramics from a Distinguished Private Collector, Hong Kong, 05 Apr 2017 

Lot 3227. A large 'Cizhou' white-ground black-painted 'floral' jar, Yuan–Ming dynasty, 32.3 cm, 12 5/8  in. Estimate 100,000 — 150,000 HKD. Unsold. Photo: Sotheby's.

sturdily potted with a robust ovoid body rising from a short spreading foot to a gently tapering neck and lipped mouthrim, the exterior freely painted in black over the even white slip with a dense frieze of four lobed cartouches, each enclosing a large blooming floral blossom wreathed by foliage, interrupted by scrolling motifs and a flower, above a striated band encircling the foot, all below two bands detailed with stylised fish-shaped motifs and classic scrollwork, the interior glazed black and splashed with russet

Provenance: Tony Omura, Hong Kong, 22nd January 2000.

Note: Compare a Yuan dynasty Cizhou jar of this type from the Arthur M. Sackler Collection, exhibited at 3500 Years of Chinese Art: Ceramics from the Arthur M. Sackler Collections, Israel Museum, Jerusalem, 1987, and sold at Christie's New York, 14th September 2009, lot 81.

Sotheby's. Song Ceramics from a Distinguished Private Collector, Hong Kong, 05 Apr 2017 

George Rickey (190-USA-2002), Two Lines Up, New York, 1967. Silver, unique pair of large kinetic earrings, each with two long pointed triangular blades, on sliver stand. Length of blade 14.8 cm. Height of earrings 18 cm. Height including stand 22.8 cm. Unsigned. Photo courtesy 

Provenance: Gift to the artist's wife, Edie; Diane Venet, Paris

Literature: Renée Sabatello Neu, 'Moderner Schmuck von Malvern und Bildhauern / Moderne Juwelen' door Schilders en Beeldhouwers - Jewelry by Contemporary Painters and Sculptors, New York 1967, no. 90; Maxwell Davidson III, George Rickey. The Early Works, Atglen 2004, p. 269; Diane Venet (ed.), From Picasso to Jeff Koons. The Artist as Jeweller, New York 2011, p. 218

Exhibition: New York, circulating exhibiting organised by MoMA, Jewelry by Contemporary Painters and Sculptors, 1967; New York, traveling exhibition, Museum of Art and Design, From Picasso to Jeff Koons. The Artist of Jeweller

Gio Pomodoro (Orciano di Pesaro 1930-2002 Milan), Necklace, Italy, 1964. Pure 24ct gold, 18ct white and yellow gold, emeralds. Width max. of front 15.5 cm. Height max. of front 9 cm. Diameter 14.5 cm. Signed 'G. Pomodoro '64'.

Made up from five irregular textured placquettes, further decorated with 18ct yellow gold kinetic armatures, kinetic ball, melted granules, and white gold highlights, and set with circular-cut emeralds including one on the elaborate clasp.

Provenance: Marlborough-Gerson Gallery, New York

Literature:MoMA 67, no. 88, necklace dated 1964

Exhibition: New York, circulating exhibition organised by the Museum of Modern Art, Jewelry by Contemporary Painters and Sculptors, 1967-1968; Hessisches Landesmuseum in Darmstadt and Boijmans van Beuningen, Rotterdam

Lot 3717. A superb inscribed Suzhou white jade 'Zigang' pendant, Qing dynasty, 18th century, 5.7 cm, 2 1/4  in. Estimate 200,000 — 300,000 HKD. Lot sold 250,000 HKD. Photo: Sotheby's.  

the oval pebble exquisitely worked in low relief, one face depicting a seated lady playing the flute in a fenced garden with a phoenix dancing on the rocky ledge above, the reverse inscribed with a poetic inscription and signed Zigang, pierced with a small aperture at the top for attachment, the stone of an attractive white colour

Provenance: An English private collection, acquired in Hong Kong from 1967-89, and thence by descent.

Lot 3715. A white jade figure of a mythical beast, Ming dynasty (1368-1644), 7 cm, 2 3/4  in. Estimate 150,000 — 200,000 HKD. Lot sold 187,500 HKD. Photo: Sotheby's.  

worked recumbent with legs tucked underneath its body and the tail curled alongside its rear haunches, the single-horned head turned sharply backwards looking at its knopped spine, the face detailed with large rounded eyes beneath curled eyebrows, funnel-shaped ears, flaring nostrils and a wide grinning mouth, the stone of an even white tone with traces of russet along the front

Sotheby's. Important Chinese Art, Hong Kong, 05 Apr 2017

Lot 3711. A white jade 'Double Gourd' ink palette, 17th century, 9.8 cm, 3 7/8  in. Estimate 80,000 — 100,000 HKD. Lot sold 100,000 HKD. Photo: Sotheby's.  

well worked in the form of a flattened double gourd, the walls of the vessel with shallow incurved sides, depicted borne on gnarled branches issuing leaves and two small double gourds, the branches rendered extending along the sides and reverse of the palette, the stone of a pale greyish-white colour with light beige inclusions concentrating to the lower section, wood stand

Provenance: Roger Keverne Ltd, London.

Sotheby's. Important Chinese Art, Hong Kong, 05 Apr 2017

Lot 3712. A white jade 'Toad and Crab' brush washer, Qing dynasty (1644-1911), 6.5 cm, 2 1/2  in. Estimate 50,000 — 70,000 HKD. Lot sold 62,500 HKD. Photo: Sotheby's.  

of rectangular section, the shallow flaring sides resting on four bracket-shaped feet, worked to the interior in high relief with a crab confronting a crouching toad, the stone of an even white tone, wood stand

Provenance: Christie's Hong Kong, 1st December 2009, lot 2028 (part lot).

Sotheby's. Important Chinese Art, Hong Kong, 05 Apr 2017

A Large Nose Apouema Mask Said To Represent The Deceased High Chief, Kanak, North New Caledonia, Melanesia, Oceania, 19th century. Wood, human hair, bamboo, cane, vegetable fiber and trade cloth, the face of the mask is stained black with a concoction made from the burnt nut of the Bancoul tree (Aleurites moluccana), the Candle Nut. Height 42 cm. Photo courtesy Galerie Meyer Oceanic & Eskimo Art.

This type of mask was first recorded by the French botanist and explorer Jacques-J.H. de Labillardiere in 1792. When the first missionaries met the Kanak, they thought the masks were representations of devils and tried to stop their use. As a result, few were made after French colonization in 1853. Masks were used in the north and central part of New Caledonia at the time of European contact, by which time their use had diminished in the south. Southern masks are usually carved with small noses and those from North with big extended curved ones like the example here.

Provenance: Collection of Admiral William Oswald Story, C.B.E., 18 April 1889 - 14 January 1938, UK & Canada

Galerie Meyer Oceanic & Eskimo Art at TEFAF New York Spring 2017

Lot 74. Gold, citrine, pearl and enamel pendant-necklace, Tiffany & Co., Designed by Louis Comfort Tiffany, circa 1915–1920. Estimate $75,000–100,000. Photo: Sotheby's.

Supporting an oval-shaped pendant centering a cushion-cut citrine within a pearl frame, bordered by leaves and grape clusters highlighted in autumnal hues of orange, gold, green and purple, the reverse of the pendant designed as a bird's nest decorated with enameled leaves, suspended from a foliate chain of similar design, accented by two additional pearls, length 19 inches, signed Tiffany & Co.; circa 1915-1920.

Exhibited: Shelburne Museum, Natural Beauties: Jewelry From Art Nouveau to Now, Shelburne, Vermont, 15 November 2014 - 8 March 2015.

Shelburne Museum, Louis Comfort Tiffany: Nature by Design, Shelburn, Vermont, 20 June - 25 October 2009.

Literature: Alice Cooney Frelinghuysen, et al., Louis Comfort Tiffany: Nature by Design, page 38.

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

Sotheby's. Magnificent Jewels Including the Legendary Stotesbury Emerald, New York, 25 Apr 2017, 10:00 AM

Lot 79. Gold and Coloured Diamond Necklace, Tiffany & Co., Designed by Louis Comfort Tiffany, circa 1910. Estimate $40,000–60,000. Photo: Sotheby's.

The pear-shaped pendant centering an articulated antique pear-shaped diamond of yellow hue weighing approximately 3.15 carats, the borders decorated with gold wirework and beadwork, topped by a larger openwork gold bead, suspended from a chain spaced at intervals with smaller gold beads, length 16 inches, signed Tiffany & Co.; circa 1910. 

Note: Accompanied by GIA report no. 5181206685 stating that the diamond is of Natural Color.

For pieces with similar wirework motifs made under the direction of Julia Munson, see Louis Comfort Tiffany at Tiffany & Co. by John Loring, pages 48-49.

Sotheby's. Magnificent Jewels Including the Legendary Stotesbury Emerald, New York, 25 Apr 2017, 10:00 AM

Lot 75. 18-karat gold, amethyst and lapis lazuli brooch, Tiffany & Co., Designed by Louis Comfort Tiffany, circa 1914–1920. Estimate $10,000–15,000. Photo: Sotheby's.

Centering a cabochon amethyst within a gold wirework mounting accented by gold leaves and clusters of lapis lazuli beads, gross weight approximately 9 dwts, signed Tiffany & Co.; circa 1914-1920.

Exhibited: Shelburne Museum, Natural Beauties: Jewelry From Art Nouveau to Now, Shelburne, Vermont, 15 November 2014 - 8 March 2015.

Literature: Illustrated in Tiffany Colored Gems by John Loring, pages 58-59.

Illustrated in Louis Comfort Tiffany at Tiffany & Co. by John Loring, page 69.

Sotheby's. Magnificent Jewels Including the Legendary Stotesbury Emerald, New York, 25 Apr 2017, 10:00 AM