Gilded Silver Inkstone Container with Enamel Inlays, Qianlong reign (1736-1795), Qing dynasty (1644-1911), gilded silver, length: 27.2 cm, width: 22.1 cm, height: 22.5 cm © The Palace Museum. 

Made of silver, the rectangular container has a cover and eight feet in the form of heads of ruyi scepters. The bottom bears a six-character Qianlong reign mark in seal script (zhuan shu). Both the body and the cover are gilded with gold floral patterns and inlaid with blue enamel panels depicting two dragons playing with a pearl. Under the lid, the container has a silver tray with two ink wells. Inside the container is a drawer-like semi-circular indentation for holding inksticks.

Ritual Basin Inlaid with Two Flying Phoenixes, Qing dynasty (1644-1911), gold, undated, mouth diameter: 43 cm, bottom diameter: 32.7 cm, height: 9 cm © The Palace Museum.

Item used in the Qing court The basin is made of metal alloy which is eighty percent pure gold. The artists hammered and embossed twelve auspicious patterns along the rim, which include a pair of rhinoceros horns, auspicious vases, silver ingots, pomegranates, auspicious clouds, pearls, wheels of Dharma, double coins, double scrolls, canopies, pestles, and fish. The interior of the bottom is hammered into two phoenixes raising their heads among three stylized lotus.   

The Collective Rituals of the Great Qing Dynasty (Daqing huidian) has a description of a ritual basin displayed in the honor guard of the Empress or the Empress Dowager as follows: The ritual basin is made of cast gold and takes a round form. The rim has twelve facets. The body measures three cun and nine fen [about 13 centimeters]. The mouth diameter is one chi two cun and nine fen [about 10 centimeters], its rim is carved with patterns of the Eight Treasures [wish-granting pearl, double lozenges, stone chime, pair of rhinoceros horns, double coins, ingot, coral, and ruyi scepter]. The bottom diameter is one chi and one cun [about 36 centimeters]. The center of the basin is set with two phoenixes raiding their heads.   

Because the form and patterns of this ritual basin do not agree with the above description, it was not made in the Qianlong reign. Close inspection reveals that it was originally a plain basin cast in the Ming dynasty. In the Shunzhi reign (1644-1661) of the Qing dynasty, it was inlaid with two phoenixes and auspicious patterns, and displayed in the honor guard of the Empress or the Empress Dowager. The basin made in one dynasty and decorated in another is a rarity in the imperial collection, revealing that the early Qing dynasty imperial honor guard was lacking certain ritual paraphernalia.

Lot 144. An aubergine and turquoise-glazed fahua-type baluster vase, Wanli period (1573-1620), 46.2cm (18 1/4in) high. Estimate £6,000 - 8,000 (€7,100 - 9,500). Photo: Bonhams.

Of elegant baluster form, flanked by a pair of handles moulded in the form of feathery peony flowers and leaves, the bulbous body decorated with large chrysanthemums and leaves enamelled in turquoise and white on a lustrous purple-aubergine ground.

Provenance: Lady Ward, possibly Irene Mary Bewick, Baroness Ward of Tyneside (1895-1980), by repute.

Note: A very similar vase decorated with chrysanthemums and with peony handles, 16th century, removed during the sacking of the yuanming yuan is included in the collection of Empress Eugénie at the Château de Fontainbleau, illustrated in Château de Fontainebleau: Le Musée Chinois de l'impératrice Eugénie, Paris, 2011, p.35. Another similar vase, Wanli, is in the British Museum and illustrated by J.Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p.415.

 Détail du Musée chinois de l'impératrice Eugénie au château de Fontainebleau © ACF

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

A Magnificent Imperial Tang-Style Celadon-Glazed Amphora, Yongzheng Mark and of the period (1723-1735). 20 3/8 in. (51.8 cm.) high. Estimate on request. ©  Christie's Images Ltd 2017

Lot 109. A rare and large gilt-bronze figure of Dharmapala Begtse Chen, 18th century, 36.8cm (14 1/2in) high (2). Estimate £150,000 – 200,000.  Photo: Bonhams.

LONDON - The Fine Chinese Art sale, to be held at New Bond St, London on Thursday 11 May, will include many rare Chinese ceramics and works of art from European and Asian private collections. Following on The Jongen-Schleiper Collection of Fine Thangkas, this sale offers a diverse selection of Buddhist bronze figures from the Ming to the Qing dynasty, highlighted by the rare and large gilt-bronze figure of Dharmapala Begtse Chen, 18th century, estimated at £150,000 – 200,000, Lot 109.

Lot 109. A rare and large gilt-bronze figure of Dharmapala Begtse Chen, 18th century, 36.8cm (14 1/2in) high (2). Estimate £150,000 – 200,000.  Photo: Bonhams.

 The Lord of War robustly cast and gilt standing boldly with feet apart above eight snakes on a lotus pedestal, wearing armoured chainmail and robes fastened in place with a ferocious lion mask, kirttimukha, across his bulging belly, a belt of human heads hanging loosely around the waist, the fearsome facial expression and powerful stare of the three bulging eyes framed by a crown of five skulls and flaming red hair. 

Provenance: Sotheby’s New York, 20 March 1997, lot 126

Note: Begtse Chen, also known as Chamsing, is one of the eight famous Dharmapala (Dharma protector) in Tantric Buddhism.

The origin of Begtse Chen can be traced to a pre-Buddhist deity in 16th century Mongolia. Begtse Chen reputedly battled Sonam Gyatso,
the Third Dalai Lama, who was travelling en route to Mongolia in 1575. Begtse Chen was defeated and he converted to Buddhism in a dramatic move, marking the advent of Buddhism in Mongolia.

The dissemination of Buddhism in the region was further facilitated by a pivotal episode in history. In 1577, Sonam Gyatso, leader of the Gelug School of Tibetan Buddhism, formed an alliance with Altan Khan, ruler of the Tümed Mongols, which resulted in the active promotion of Buddhism in Mongolia. Following the proselytisation of Altan Khan to Buddhism and the Gelug School, temples and monasteries were commissioned and built. In the process, Begtse Chen, a deity of alien origin, was incorporated into the pantheon of Tibetan Buddhism as a protector of the Dharma, with its cult subsequently disseminated and popularised to a wider diaspora. The rise of Begtse Chen and his cult in Tibetan Buddhism are therefore evidence of the gradual localisation of the religion in Mongolia since late 16th century, as well as testifying to the vigorous integration of Tibet and Mongolia in both political and cultural dimensions of the contemporary period. The phenomenon spread much more widely when Qing China (ruled by the Manchurians) adopted Tibetan Buddhism and increasingly exerted its political influence in Tibet throughout the 18th century.

The present lot is exceptionally rare in many respects. The naturalistic modelling of the swaying body; its casually raised and bent right arm, held in vitarka mudra representing the transmission of the teachings by the Buddha, has subtly emphasised the benevolence of the Buddhist faith with its gracious body gesture. In contrast, the dramatically sculpted facial features: the bulging eyes, precisely cast fang teeth and rolled tongue under fiery hair, with its robust chainmail breastplate and skull tiara, have successfully portrayed a powerful and threatening imagery of the deity in its wrathful incarnation. Together, the exquisite quality of modelling and casting, as described above, testifies to the fine craftsmanship of 18th century Tibet; whilst the passive iconographies displayed by the present lot serve as a statement of its faithful devotion to defending the orthodoxy of Buddhist faith. For a comparable but smaller gilt-bronze figure of Begtse, Qianlong, made by the Imperial workshop in Beijing, see Classics of the Forbidden City: Tibetan Buddhist Sculptures, Beijing, 2011, pp.273-274, no.171.

An exceptionally rare cloisonné enamel cup stand, incised and blue-enamelled Xuande mark and of the period (1425-1435), estimated at £20,000 – 30,000, Lot 128, is one of only four known of this type with this Imperial mark, with similar examples in the British Museum and private collections. It would have been specially commissioned most probably for the use of the Emperor.

 Lot 128. An exceptionally rare cloisonné enamel cup stand, incised and blue-enamelled Xuande mark and of the period (1425-1435), 19.3cm (7 5/8in) diam. Estimate £20,000 – 30,000 (€24,000 - 36,000). Photo: Bonhams.

The interior with a domed countersunk central boss finely enamelled with a solitary lotus flowerhead, encircled by lappets on the sloping flange, the well with scattered florets borne on leafy scrolls, all in blue, yellow, red, green and white enamel against a turquoise ground, retaining some gilding and with the four pins visible on the underside used to secure the applied central boss above, the incised mark on the base infilled with blue enamel. 

Provenance: an English private collection and thence by descent 

Note: The present lot represents one of the rarest and amongst the earliest cloisonné enamel wares made for the Imperial court during the early Ming dynasty. Other than the present lot, only seven other Xuande mark and period cloisonné enamel and gilt-bronze cup stands appear to have been published. These are all of similar form and size with certain variations in the decorative registers and marks.

The small number of extant examples indicate that very few were produced; however, these were made using three different types of Xuande marks:

First, the double-outlined incised six-character mark of which three examples are known (see the Compendium of Collections in the Palace Museum: Enamels, 1, Beijing, 2010, pp.138-139; the one in the Museum Rietberg, Zurich, H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, London, 1989, pls.23a and 23; and the third which was sold at Sotheby’s London on 7 November 2012, lot 433).

Second, the cast gilt-bronze four-character mark of which one example is known (see the Compendium of Collections in the Palace Museum: Enamels, 1, Beijing, 2010, pp.138-139).

Third, the incised and blue-enamelled encircled six-character mark (as on the present lot), of which three other examples appear to have been published: the Sir Harry and Lady Garner example in the British Museum, is illustrated by H.Garner, Chinese and Japanese Cloisonné Enamels, London, 1962, pls.B and 95a; the second from the McLaren Collection, was sold at Sotheby’s London, 16 June 1999, lot 704 and was also illustrated by G.Eskenazi and H.Elias, A Dealer’s Hand: The Chinese Art World through the Eyes of Giuseppe Eskenazi, London, 2012, p.242, pl.174; and the third example of this type was sold at Phillips London, 9 June 2000, lot 234.

Image courtesy of the Trustees of the British Museum © The Trustees of the British Museum.

Phillips L McLaren collection; image courtesy of Eskenazi Ltd., London.

Philips London, 9 June 2000, lot 234.

Sir Harry Garner, Chinese and Japanese Cloisonné Enamels, London, 1962, pp.53-54, wrote that ‘the cloisonne dish [cup stand] has a six character Hsuan-te mark incised on the base, the incision being filled in with dark blue enamel. The presence of the enamel makes it certain that the mark is contemporary with the piece.’

Furthermore, images of incised and blue-enamelled cup stands all show the same structural characteristic of the four pins visible at the
base around the mark securing the upper boss to the dish. 

However, even within the ten-year reign of the Xuande emperor, the quality of the enamels could vary significantly; see for example a cloisonné enamel stem cup, early Ming dynasty, illustrated in the Compendium of Collections in the Palace Museum: Enamels, 1, Beijing, 2010, p.120, which shows a similar floral design to that found on the present lot.

A very rare and large turquoise glazed fish bowl, Yongzheng seal mark and of the period (1723-1735), estimated at £30,000 – 50,000, Lot 147, is possibly the one of this glaze to have survived, with other related examples known in different glazes and extant in the Qing Court Collection in the Palace Museum, Beijing.

Lot 147. A very rare and large turquoise glazed fish bowl, Yongzheng seal mark and of the period (1723-1735), 35.9cm (14 1/8in) high (2). Estimate £30,000 - 50,000 (€36,000 - 60,000). Photo: Bonhams.

Heavily potted, the body of compressed globular form with rounded sides curving to a lipped rim, the exterior under a lustrous glaze of turquoise colour suffused with a network of fine crackles, wood stand.

Provenance: A distinguished European private collection, and thence by descent

Note: The present lot is very rare for its size and use of the turquoise glaze; however, related examples, Yongzheng seal mark and of the period, from the Qing court collection, exist in other glazes such as teadust, ru, guan, lazurite-blue, and carved dragon design in light greenish-blue glaze, illustrated in The Complete Collection of the Treasures of the Palace Museum: Monochrome Porcelain, Beijing, 1999, pls.135, 195, 206, and 214. See also a turquoise glazed melon-shaped jar, Yongzheng seal mark and of the period, from the Qing court collection, illustrated ibid., pl.150. 

Compare a ru-type glazed jardinière, Yongzheng seal mark and period, which was sold at Christie's Hong Kong, 1 June 2011, lot 3735. 

An English private collection comprising a diverse collection of ceramics, bronzes and cloisonné enamel, Lots 160 – 181, includes two rare Imperial Ming dynasty porcelain vessels: a massive blue and white 'lotus jar, guan, Jiajing mark and of the period (1522-1566), estimated at £50,000 – 80,000, measuring 50.8cm high, Lot 162; and a very rare wucai 'dragon' vase, gu, Wanli mark and of the period, estimated at £30,000 – 50,000, Lot 167.

 Lot 162. A massive blue and white 'lotus' jar, guan, Jiajing six-character mark and of the period (1522-1566), 50.8cm (20in) high. Estimate £50,000 - 80,000 (€60,000 - 96,000). Photo: Bonhams.

Heavily potted, the ovoid body painted in vibrant cobalt-blue around the shoulders with jewelled strings suspending stylised chimes, above a continuous scene of lotus blossoms borne on an undulating scroll issuing curling leaves, all above a band of upright lotus leaves.

Provenance: a British private collection, and thence by descent

Note: The shoulders of the present lot are decorated with the yingluo (瓔珞) pattern. The yingluo pattern derives from the jewellery of stringed pearls and ornaments worn around the neck, chest, wrist or ankles by the Indian aristocracy and commonly seen on Buddhist sculpture. It was a particularly popular design on ceramics from the mid to late Ming dynasty. 

It is rare for such large jars from the Jiajing period to have survived. However, a jar of similar size and near identical design, Jiajing mark and of the period, belonged to the Safavid Shahs of Persia and was housed in the Ardebil Shrine; see J.A.Pope, Chinese Porcelains from the Ardebil Shrine, London, 1981, pl.79. See another very similar jar with the same motif, Jiajing mark and of the period, illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl.702.

Lot 167. A very rare wucai'dragon' vase, gu, Wanli mark and of the period (1573-1619), 40cm (15 3/4in) high. Estimate £30,000 - 50,000 (€36,000 - 60,000). Photo: Bonhams.

Modelled in the form of an archaistic gu vessel supported on a tall spreading foot with decorated leafy peach sprays and perching by magpies, the bulbous central section enamelled in vivid tones with four foliate cartouches each enclosing a writhing five-clawed dragon striding in pursuit of the flaming pearl amidst billowing clouds, separated by lotus heads on a dense ground of scrolling foliage, raising to a flaring trumpet neck with lotus scrolls above upright stiff leaves and beneath a geometric band on the rim, the interior similarly decorated with a band of lotus foliage.

Provenance: a British private collection, and thence by descent

Note: The dynamic forms of the coiling five-clawed dragons with their sharp powerful claws, as well as the lithe floral scrolls, all reveal the superb artistry, elegance and quality of Imperial Wanli porcelain at its best. 

Compare with a very similar wucai 'dragon' vase, Wanli six-character mark and of the period, from the Qing court collection and illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, 2007, Hong Kong, p.36, no.33.

A wucai'dragon' vase, Wanli six-character mark and of the period, Palace Museum, Beijing. Image courtesy of the Palace Museum, Beijing

Wanli-era wucai pieces attracted particularly high valuations in Japan where they were used at tea ceremony utensils and handed down in former daimyo and aristocratic families. A related wucai zun vase, with dragon and phoenix design, in the Museum of Oriental Ceramics, Osaka, is illustrated in A Jiajing and Wanli Exhibition, Tokyo, 2016, fig.6. 

The form of the present vase is rare amongst wucai vases of the Wanli period, which are more typically of partial square or faceted form. See, however, a smaller wucai gu vase, Wanli mark and of the period, of related design, which was sold at Christie's Paris, 7 June 2011, lot 240.

Made for a scholar's desk, a rare early blue and white brush pot, bitong, Kangxi (1662-1722), estimated at £60,000 – 80,000, Lot 194, is vividly painted with a narrative depicting the female generals of the Yang Family, a story imbued with loyalist feelings to the previous Ming dynasty.

 Lot 194. A rare early blue and white brush pot, bitong, Kangxi (1662-1722), 19.7cm (7 3/4in) diam. Estimate £60,000 - 80,000 (€72,000 - 96,000). Photo: Bonhams.

Exquisitely painted around the exterior in vibrant blue with a continuous scene of ladies on horseback amidst willow trees, overseen by a dignitary and his entourage standing beneath a parasol, the dignitary's arms raised and holding a fan in his right hand signalling to the ladies on horseback, all between decorative borders at the rims, raised on a channelled foot encircling the countersunk base. 

Provenance: T.Gordon Little
Christie's New York, 30 March 2005, lot 359

Note: The scene of ladies on horseback derives from stories and folklore surrounding the female generals of the Yang family. The male members of the military Yang family had all died defending the Northern Song dynasty against the Khitan-ruled Liao dynasty in the north; and the Tangut ruled Western Xia dynasty in the north-west. 

As the Tanguts invaded, the twelve women in the family participated in the campaign against the Tangut Xia. The women generals of the Yang family not only proved their martial skill and bravery, but their supreme loyalty to the Song dynasty. 

The subject matter of the Yang family fighting foreign invaders, which was popular during the 'Transitional' and early Kangxi periods, is an illustration of how even during the early Kangxi reign, many Chinese scholars still viewed the Manchu Qing dynasty with aloofness. 

A large blue and white baluster vase decorated with this scene is illustrated in The Taft Museum: Chinese Ceramics and Works of Art, New York, 1995, pp.587, no.1931.138; the same scene of the female generals of the Yang was depicted on a famille verte plate, Kangxi, which was sold at Sotheby's, London, 12 May 2010, lot 71.

A superbly enamelled Imperial famille rose twelve-leaf screen, Jiaqing (1796-1820), estimated at £100,000 – 150,000, Lot 214, would have graced one of the Imperial halls, offering the beholder auspicious wishes associated with the Daoist Immortals colourfully enamelled on each leaf. It is likely it would have been commissioned for a special Imperial celebration such as an Imperial birthday.

 Lot 214. A superbly enamelled Imperial famille rose twelve-leaf screen, Jiaqing period (1796-1820). Overall 362cm (142 1/2in) wide x 152cm (59 3/4in) high. Estimate £100,000 - 150,000 (€120,000 - 180,000). Photo: Bonhams.

Each leaf enclosing five famille rose porcelain plaques; the main famille rose panels superbly enamelled with groups of Immortals and sages, each with his attribute, engaged in various pursuits in a mountainous river landscape with trees, flowers and bamboo; the smaller rectangular top, middle and bottom famille rose panels colourfully decorated with a pair of confronted chi dragons clawing at a foliate lotus blossom, each panel framed by a floral scroll on a lime-green ground; the square famille rose plaques each finely enamelled with a flower representing one of the twelve months, all set within a hardwood and possibly zitan frame.

Note: Screens were commonly used in ancient China to keep out draughts, shut out light and partition rooms. Apart from practical functions however, screens also had an essential social and decorative function. In the Imperial halls, they were often used as backdrops to thrones, reinforcing the Imperial eminence and stature behind the throne. The importance of such screens is further demonstrated in that no cost was spared in their production, using precious materials generously, such as zitan and huanghuali woods, cinnabar lacquer, gilt on black lacquer and embellishments with porcelain panels, hardstones, and cloisonné and painted enamels.  

The twelve leaves are resplendently inset with 64 famille rose porcelain plaques. These are superbly enamelled with mythical imagery of Daoist Immortals, auspicious flowers and birds, laden with puns, rebuses and symbolic significance. 

Taking the main panels on the screen from left to right:

Panel 1

The first panel on the far left depicts Liu Hai tempting his three-legged toad with strings of gold coins. Together, they are symbolic of wealth and prosperity. The Chinese word for 'toad' is chan (蟾); and in some dialects, the character chan is a homophone to the character for 'money' or qian (錢). Thus, in a dialect, one could easily hear 'Liu Hai playing with the toad' as 'Liu Hai playing with gold coins'. Hence the present plaque bears the auspicious wish for wealth and good fortune.

Panel 2

The second panel depicts two sages pointing up at two red bats flying in the sky; a pair (shuang 雙) of bats (fu 蝠), is a rebus for 'double blessings' (shuangfu 雙福). Beside the sage is a deer (lu 鹿) which is a homophone for 'emolument' (lu 祿) and represents success in office. It is possible, therefore, that the sage next to the deer is a representation of the Star God of Lu. Across the stream another grey-bearded sage proffers a peach, a symbol of longevity. 

Panel 3

The third panel depicts three female immortals, probably Guanyin flanked by Buddhist lion, Magu carrying the jar containing the elixir of immortality, and the Spirit of the Well holding a ruyi sceptre, descending from a palace shrouded in wispy clouds.

Panel 4 

The fourth panel depicts two sages by a stream with an attendant carrying a red-headed crane, one gentleman points at the sky to the crane in the next panel; in the foreground an elderly sage with a staff is followed by a child carrying a basket of flowers, possibly representing Lan Caihe. 

Panel 5

The fifth panel depicts the God of Longevity, Shoulao, with a prominent cranium and a long staff, surrounding him are children, one riding a deer and holding a peach, further symbols of longevity and prosperity, two boys pointing to a flying crane in the sky. 

Panel 6

The sixth panel depicts Magu, the Goddess of Longevity, on a log raft with He Xiangu steering it. Magu (literally meaning 'Hemp Maiden') is portrayed wearing a cape of hemp leaves, beside a basket of flowers and a jar of fungus longevity wine. He Xiangu is distinguishable from the lotus she is wearing. Magu points up towards the shore where a Buddhist lion treads behind another female Immortal. 

Panel 7

The seventh panel depicts three wizened old sages standing together, one holding a melon above his head. 

Panel 8

The eighth panel depicts the Hehe Erxian floating on the clouds, the twin Immortals carrying a lotus (he 荷) and a box (he 盒), both homophones with harmony (he 和) and union (he 合). Beneath them, a young boy beside a man, possibly the Star God Fu, the God of good fortune, proffers a floral sprig to the Star God Lu, holding a ruyi sceptre beside a child, and attendant carrying a vase with a halberd arrow (ji 戟), which is a homophone for 'grade' (ji 級). The theme of the panel is thus the wish for attainment of good fortune, prosperity, rank and influence.

Panel 9

The ninth panel depicts four of the 'Eight Daoist Immortals'. Seated in a raft is the Immortal Lan Caihe beside a basket of flowers with the Immortal He Xiangu steering the vessel. The latter was said to have had a divine revelation in a dream, and ate powdered mica to prolong her life. The two Immortals gaze from the raft across the stream to the Immortal Cao Guojiu holding castanets, said to have the power to purify his surroundings. In the foreground, the Immortal Han Xiangzi plays the flute beside a crane, a symbol of longevity and immortality. 

Panel 10

The tenth panel depicts the other four of the 'Eight Daoist Immortals'. Atop a mountain terrace, Zhongli Quan proffers a peach. Below on the river, Li Tieguai, or Iron-crutch Li, rides atop the waves on a magical double-gourd said to be filled with medicine to heal the sick. Further down the stream, standing atop a carp, is Zhang Guolao carrying his 'fish drum', a bamboo cylindrical tube that carried iron mallets dispelling evil. Beside Zhang Guolao is Lu Dongbin, with his sword and fly whisk that dispels evil, standing atop a lotus leaf. 

Panel 11

Flying above in the sky on a phoenix is the Queen Mother of the West, Xiwangmu. According to legend, the Queen Mother of the West lives in the mythical Western Kunlun Mountains near the legendary Orchard of Immortality Peaches. These peaches would ripen only once every three thousand years, and she would hold a large banquet for all the Immortals to eat these peaches so that they could prolong their life for another six thousand years. Beneath her are three sages gesticulating wildly around three bats, symbols of fortune. 

Panel 12

The twelfth panel depicts a sage carrying on his shoulder a sprig of peaches as he gazes up at Xiwangmu in the previous panel. He could perhaps be a representation of Dongfang Shuo, who was a 'banished Immortal' for stealing Xiwangmu's peaches. 

Twelve floral panels

Twelve square panels are finely enamelled with a variety of floral sprays. The blossoms include peony, lotus, chrysanthemum, camellia, prunus, apricot, poppy, rose, morning glory, wintersweet, aster, and nandina as well as lingzhi fungus and bamboo. The flowers are probably a symbolic representation of the twelve months.

Further symbolism is represented by the top and bottom panels, each enamelled with a bat suspending a cluster of peaches above a lotus blossom. These symbolise the wish for blessings and longevity whilst the lotus, one of the Eight Buddhist Emblems is also representative of purity. The set of panels decorated with a pair of confronted chi dragons.

Compare with a magnificent Imperial twelve-leaf screen, Jiaqing, which was sold in these rooms on 15 May 2014, lot 88.

An Imperial very rare famille rose and huanghuali twelve-leaf screen, Jiaqing period (1796-1820). Sold for £782,500 (€937,912) at Bonhams London, 15 May 2014, lot 88. Photo: Bonhams.

Amongst one of the most charming jade carvings is a rare pale green and russet jade carving of a bear, Song dynasty or earlier, estimated at £10,000 – 15,000, Lot 226. The carving is one of a number of jade carvings offered from collection of the painter John Christopherson.

Lot 226. A rare pale green and russet jade carving of a recumbent bear, Song Dynasty or earlier, 9cm (3 1/2in) long. Estimate £10,000 - 15,000 (€12,000 - 18,000). Photo: Bonhams.

The stout animal finely carved with its head resting on its front paws, its small ears tucked back, its tail wrapped around its right haunch, the smoothly-polished stone of pale green tone streaked with russet skin. 

Provenance: John Christopherson (1921-1996) collection of Chinese jades, acquired from William Clayton Ltd., London on 21 June 1967
An English private collection

Note: John Christopherson is known for his later career as an artist, which only began in 1950, when he met Jacob Epstein and started to visit West End Galleries in London. In 1959 he resigned from the Civil Service and became a full-time painter, known for small townscapes, exhibiting at the Leicester Galleries, the Marjorie Parr Gallery, Agnews and England & Co. His last exhibition was a retrospective held in 1995 at the Woodlands Art Gallery in Blackheath. Christopherson was an avid letter writer, corresponding with a wide group of dealers and fellow-collectors who shared his interest in art and indeed in jade carvings. He visited the London auction rooms as well as visiting Portobello Market regularly on Saturdays and was known to produce his most recent purchase, often a Chinese early jade carving. By 1994 his illness prevented him from visiting central London.

Bears inhabited the forests of North China and were frequently depicted in burials probably to protect their dead from harmful influences. The world for bear, xiong 熊, is a homophone with brave and powerful, xiong 雄.

According to the 'Rites of Zhou', Zhou Li (周禮), edited during the Han dynasty, bears were employed in exorcism rituals, their skin worn over the head of the performer who, holding a lance and a shield, led the officials to perform the Seasonal Exorcism by searching through houses and driving away pestilences. See J.Lagerway, Early Chinese Religion. Part One. Shang through Han (1250 BC-220 AD), Boston, 2008, p.287.

A related jade carving of a recumbent bear, Song/Jin dynasty, was sold at Sotheby's Hong Kong, 8 April 2013, lot 3094.

A large and fine selection of snuff bottles, many bearing extensive provenance, is offered from an Asian private collection, Lots 276 – 293, including a rare white jade 'double-melon' snuff bottle, 18th/19th century, estimated at £5,000 – 8,000, Lot 276.

Lot 276. A rare white jade 'double-melon' snuff bottle, 18th-19th century, 5cm (2in) high. Estimate £5,000 - 8,000 (€6,000 - 9,600). Photo: Bonhams.

Carved with nine melon lobes and joined on both sides by a butterfly displaying finely-incised wings, the stone of even greenish-white tone with faint cloudy and russet inclusions. 

Provenance: Eric Young, by repute
An Asian private collection of snuff bottles

Note: The wish for ceaseless generations of descendants, Guadie mianmian (瓜瓞綿綿), which the design invokes, appears to have originated from the 'Book of Odes', compiled between the 11th and the 7th century BC. The verses contained in this anthology in fact make abundant use of plant and animal analogies to describe female beauty and human accomplishments. Butterflies die (蝶) are a homophone with the character making up the word for little gourds die (瓞), symbolic of fertility because of the multitude of their seeds.

Conjoined bottles shaped as melons are rare. Compare with a similar jade snuff bottle, carved as a melon, Qianlong, illustrated in The Complete Collection of Treasures in the Palace Museum. Snuff Bottles, Hong Kong, 2003, n.185, p.129.

A very impressive selection of rhinoceros horn libation cups, Lots 294 – 310, is offered from a number of distinguished European private collection.

A testament to the superb craftsmanship achieved during the 18th century, is a very rare lacquer and bamboo two-part centre-table, Yongzheng/ Qianlong (1723-1795), estimated at £100,000 – 150,000, Lot 324. The exceptional table is shaped as two shaped leaves, which when joined form a yinyang. Related lacquered furniture can be found in the Qing Court Collection in the Palace Museum, Beijing.

Lot 324. A very rare lacquer and bamboo two-part centre-table, Yongzheng-Qianlong period (1723-1795), 87cm (37 1/4in) high x 160cm diam (63in). (2). Estimate £80,000 - 120,000 (€96,000 - 140,000). Photo: Bonhams.

The top formed as two conjoined leaves, exquisitely carved and lacquered in various levels of relief with ruyi-clouds and flowers in red and green on a gilt ground, the bamboo supports with key fretwork, supporting an undertier in brown lacquer richly decorated with scrolls and foliage.  

Provenance: an Italian private collection

Note: Elegantly modelled to resemble two adjoining leaves, this exceptional table is a rare example of remarkable furniture that was likely to have been manufactured during the reign of the Yongzheng emperor. However, the Imperial demand for lacquered furniture continued on into the Qianlong period.

The wispy lingzhi-shaped clouds, decorating the surface of the table, were very popular during the Yongzheng period. Clouds, yun (雲), form a visual pun on the word 'yun' (運), meaning 'fortune', 'luck' or 'fate'. In an agricultural society, the rain-bearing clouds would have been perceived as a benevolent omen, for the necessary irrigation of the crops. This would also have been read as a sign that the emperor, the 'Son of Heaven', held the mandate to rule. 

After the Yongzheng emperor's disputed ascent to the throne, he seemed to have had a particular fondness for the physical as well as symbolic appearance of auspicious clouds. Scenes of auspicious five-coloured clouds appearing above the sky were recorded several times in the Palace memorials presented to the emperor and legitimised his rule. The Imperial archives also recorded that paintings depicting such particular type of clouds were ordered by the Yongzheng emperor in 1730, see Lin Lina, 'Auspicious symbols and scenes of the Yongzheng period', in Feng Mingzhu, Harmony and Integrity: The Yongzheng Emperor and His Times, Taipei, 2009, pp.374–399.

A related lacquered circular table, decorated with floral scrolls, Yongzheng, in the Palace Museum, Beijing, is illustrated in Caihui jiaju, Beijing, 2009, p.107, pl.67. Another table that uses bamboo to form the decorative aprons and supports, Yongzheng period, is also illustrated in Ibid., p.97, pl.58.

A French private collection of huanghuali furniture, Lots 327 – 330, includes a rare huanghuali 'Southern Official 'S Hat' Yokeback armchair, nanguanmaoyi, 17th/18th century, estimated at £100,000 – 120,000, Lot 328.

Lot 328. A rare huanghuali'Southern Official's Hat' yokeback armchair, Nanguanmaoyi, 17th-18th century, 118cm high (46 1/2in) high x 61cm (24in) wide x 45.6cm (18in) deep. Estimate £100,000 - 120,000 (€120,000 - 140,000).

With a narrow crest-rail supported on slender, gracefully tapered and curved rear posts flanking the S-shaped splat, above the mat seat set within the beaded frame with rounded edges, the elegantly curved and slender arm rails supported by vertical posts and terminating in outswept front rails, all above plain aprons and spandrels, the legs of rounded square section joined by a front footrest and back stretchers, the wood of a rich honey-brown tone.

Provenance: a French private collection

Note: Characterised by remarkable elegance and linearity of forms, yoke-back armchairs, like the present lot, were associated with the status and authority of the scholarly elites of Imperial China. A woodblock print in the 1616 edition of 'The Golden Lotus' Jing Ping Mei, for instance, depicts the main male figure and his spouse seated on guanmaoyi chairs, with the others sitting on stools. For a discussion about guanmaoyi chairs, see C.Evans, 'From the Ornate to the Unadorned', in Journal of the Chinese Classical Furniture Society, Spring 1993, pp.24-33.

Compare with a huanghuali guanmaoyi armchair illustrated by Wang Shixiang in Classical Chinese Furniture, Hong Kong, 1986, pl.45. 

A pair of similar chairs, dated to the 17th century, was sold at Sotheby's London, 6 November 2013, lot 52.

Lot 223. Platinum, 18 Karat Gold, 6.02 carats  Indian Alexandrite and Diamond Ring. Estimate 75,000 — 100,000 USD. Photo: Sotheby's.

Centering a cushion-cut alexandrite weighing 6.02 carats, accented by trapeze-cut and bullet-shaped diamonds weighing 1.38 carats, size 6½.

Accompanied by AGL report no. 1082483 stating that the alexandrite is of Indian origin, with no indications of clarity enhancement, degree of color change: prominent to strong, quality of color change: excellent to very good.

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

Lot 80. Gold and Colored Stone Choker, Designed by Paulding Farnham, circa 1908. Estimate 50,000 — 75,000 USD. Photo: Sotheby's.

The collar composed of an openwork ground of collet-set variously-cut colored stones including faceted citrines, amethysts and topazes, accented by cabochon pink and green tourmalines, the central motif with a cabochon pink tourmaline atop a cabochon green tourmaline atop a faceted citrine platform, gross weight approximately 129 dwts, length 13½ to 13 inches, with a removeable section measuring ½ inch; circa 1908.

Provenance: Formerly From the Collection of Lucia James Madill, sister-in-law of Paulding Farnham (pictured above).

Note: The international acclaim Paulding Farnham garnered during his tenure as Tiffany & Co.’s head designer can be attributed not only to the novelty of his collections, but also to the broader dialogue between fine and decorative arts revealed by his work at the turn of the twentieth century. An artist who used jewelry as his primary expressive platform, Farnham first achieved recognition for the realistically rendered enamel orchids he created for the Paris Exposition in 1889. His leadership strengthened Tiffany & Co.’s position as a forerunner in both design and craftsmanship, enabling the company to compete and succeed commercially as jewelers on a global scale.

The choker-form necklace shown here, however, was never intended for sale. A prime embodiment of the Arts and Crafts style, it was made as a gift for Farnham’s sister-in-law, Lucia James Madill. Designs such as this effectively placed Farnham among the creative leaders of his time. That is, he was among those who integrated the whimsical with the objective, breaking free from the neoclassical hold of the preceding generation. Similar to Gustav Klimt’s Art Nouveau masterpiece Blumengarten, Farnham’s work was inspired by a natural landscape that, far from being stagnant and cold, was blooming and vibrant.

Like Klimt, Farnham expressed interest in not only the physical beauty of the earthly world but also the science that sustained it, and was able to communicate an understanding of both in his jewelry. Working with gemologist George Frederick Kunz to source the unusual stones that would become a trademark of Tiffany & Co.’s art-jewelry aesthetic, Farnham borrowed from nature’s pictorial geometry and color schemes to weave together the graceful matrix of form and hue shown here. This harmonious composition of gemstones was a marked departure from the garland style’s monochromatic palette, demonstrating Farnham’s foresight into the creative developments that would span the decorative and fine arts alike. One of his final known works, this necklace manifests his desire to experiment with the effects of light and texture within gemstones, anticipating the celebrated style of his successor Louis Comfort Tiffany.

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

Lot 233. Pair of 18-karat gold and 6.79 and 6.56 carats fancy yellow diamond earstuds. Estimate $130,000–150,000. Photo: Sotheby's.

Set with two cut-cornered square modified brilliant-cut Fancy Yellow diamonds weighing 6.79 and 6.56 carats. 

Accompanied GIA report no. 2105359881 stating that the 6.79 carat diamond is Fancy Yellow, Natural Color, VS1 clarity.

Accompanied by GIA report no. 6177920916 stating that the 6.56 carat diamond is Fancy Yellow, Natural Color, VVS2 clarity. 

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

Lot 34. Platinum and 12.54 carats emerald-cut diamond ring. Estimate $180,000–220,000. Photo: Sotheby's.

Set with an emerald-cut diamond weighing 12.54 carats, size 6½. 

Accompanied by GIA report no. 5172973380 stating that the diamond is J color, VS1 clarity. 

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

Lot 203. Pair of platinum, 18-karat gold, Madagascar pink sapphire and diamond earclips. Estimate $40,000–60,000. Photo: Sotheby's.

Accompanied by AGL report no. CS 46709 A and B, dated October 26, 2011, stating that the sapphires are of Madagascar origin, with indications of low temperature heating.

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

Lot 200. 18-karat white gold, tanzanite and diamond necklace. Estimate $40,000–60,000. Photo: Sotheby's.

Accompanied by AGL report no. CS 46709 A and B, dated October 26, 2011, stating that the sapphires are of Madagascar origin, with indications of low temperature heating.

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

Lot 57. A marble bust of Venus dating from the 1st and 2nd century AD. Estimate of €300,000– 400,000 / $330,000 – 440,000. Photo Artcurial.

PARIS.- On 16th May 2017, Artcurial will hold its first sale of the year dedicated to Furniture and Works of Art. Comprising more than 300 jewellery, furniture, sculpture and tapestry lots, the sale will create an overview of 14th to 19th century Decorative Arts, alongside an exceptional antiquity: a marble bust of Venus dating from the 1st and 2nd century AD. Sculpted during the Roman era from a Greek model of the Hellenistic period, it belonged to the famous Parisian antiquarian dynasty, Bernheim-Jeune family. It carries an estimate of €300,000– 400,000 / $330,000 – 440,000. 

The auction will commence with a section dedicated to scientific instruments, namely a Spanish 14th century astrolabe. This is the only example known, built by an Arab craftsman in a Christian city (estimate: €30,000 – 50,000 / $33,000 -55,000). This set will also include the Georges Baptiste collection (1920-1989), who was president of the Belgium Antiquarian Chambers and passionate about measuring instruments.  

Furthermore, the section dedicated to Furniture and Art objects will present several pieces from the Baroque period, such as a Flemish tapestry from the end of the 16th century, depicting grotesque motifs and garden scenes, from the Mège collection, and a white marble sculpture by Filippo Parodi circa 1680 representing l’Enfant Jésus endormi (Sleeping Baby Jesus).  

«This sculpture of Venus is of exceptional quality. The delicacy, the accuracy and the extreme sensitivity of the modelled anatomy are remarkable. It is a symbol of idealized Feminine Beauty. Of human size, it is comparable to the most celebrated models kept in museums. » - Isabelle Bresset, Director Furniture and Works of Art department, Artcurial.

The Bernheim-Jeune Antique Venus 
The start of the auction will be dedicated to the dispersion of an antique sculpture of exceptional quality. Torse d’Aphrodite, du type de Tauride (lot 57) was photographed in 1925, in the salons of the private residence of the Bernheim-Jeune family, famous dynasty of Parisian art dealers. The white marble representing a bust of Venus is dated from the 1st and 2nd century AD. It was created in the Roman era, from a Greek model of the 4th-3rd BC Hellenistic period. 

With an estimate of €300,000– 400,000/ 330,000 – $440,000, the sculpture represents the goddess Venus walking out of the water. A multifaceted female goddess, she simultaneously symbolises love and fertility but also war and death. She is represented here with her arms raised, revealing her sex, leaning on her right leg and slightly twisting to the left.  

Lot 57.  A Roman marble torso, depicting an Aphrodite of the Tauride type, 1st-2nd century A.C., after an Hellenistic model from the 4th-3rd century B.C. Estimate of €300,000– 400,000 / $330,000 – 440,000. Photo Artcurial.

Marbre blanc à légères veinesgrises, probablement d’Italie ; léger repolissage postérieur sur le bas de la cuisse droite et comblement d’un trou sous le bras gauche Dimensions sans le socle : H. : 73 (28 ¾ in.), l. : 40 cm (15 ¾ in.). Présentée sur un socle pivotant en chêne

Provenance : Collection Bernheim-Jeune à Paris en 1924.
Collection privée, Paris.

Bibliographie comparative : S. F. Schröder, Catalogo de la escultura clasica del Museo del Prado, Madrid, 2004, fig. 123 et 154.
M. Moltesen, Imperial Rome II Statues NY Carlsberg Glyptotek, Copenhague, 2002, n° 3160 p. 66.
M. B. Comstock et C.C. Vermeule, Sculpture in stone, the Greek, Roman and Etruscan Collections of the Museum of Fine Arts Boston, Boston, 1976.
J. Marcade, Au musée de Delos, étude sur la sculpture hellénistique en ronde bosse découverte sur l’ile. B.E.F.A.R. 215, Paris, 1969, pl. XLV à XLVII.

Publication : G. Patrice, M. Dauberville, Renoir 1858-1881, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Edition Bernheim-Jeune, Paris, 2007, Vol. 1, p.3 (voir ci-dessous)

Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Guy-Patrice et Michel Dauberville, Éditeur Bernheim-Jeune, Paris, 2007, pp.2-3. © D.R.

Note: Ce buste représente la déesse Vénus sortant de l’eau (modèle dit anadyomène). Elle était certainement représentée sous l’aspect impudique c’est-à-dire les bras levés laissant découvrir son sexe. Elle est en appui sur la jambe droite et en légère torsion vers la gauche. Le traitement anatomique est très fin et soucieux des détails afin d’approcher un certain réalisme et surtout rendre un sentiment de grâce et de sensualité.

Pour ces raisons esthétiques, cette statue rentre totalement dans la mouvance stylistique des productions de la période hellénistique. Au milieu du IVe siècle avant J.-C., à Cnide, fut placée par le sculpteur Praxitèle, une statue de Vénus nue qui deviendra l’archétype de
la représentation de la déesse Aphrodite. On retrouvera de nombreux modèles directement copiés ou librement interprétés dans les temples, les édifices publics et les riches villas. Ce thème assez érotique de la femme sortant du bain était un sujet plaisant et très décoratif. Il eut une fortune jusqu’à la fin de la période romaine. De nombreux artistes comme Lysippe ou Skopas, tous deux concurrents de Praxitèle, créèrent des modèles proches mais dont les corps sont fléchis différemment et l’appui de la jambe peut varier. À la différence de Praxitèle à qui on attribue la Vénus de Cnide, de Dresde et celle d’Arles, entre autres, ici le contrapposto (c’est à dire le déhanchement et le mouvement du corps qui le contrebalance), sont différents. Par cette position où la jambe d’appui est à droite et le bras légèrement levé aussi du même côté, on peut faire la corrélation avec l’Aphrodite de Tauride du musée de l’Hermitage à Saint Petersburg. Bien que particulièrement bien réussi par la finesse du rendu de l’anatomie, ce rare modèle n’a pas encore reçu d’attribution à un artiste antique connu.

On remarque à la base de la cuisse gauche un léger repolissage. On peut supposer qu’il existait à l’origine un élément colléà la statue (tel qu’un drapé ou une colonne) qui subsistait partiellement mais qui fut gommé postérieurement car inesthétique. L’exemple du musée de Copenhague, très poche par le style et les volumes, avait à son coté la figuration d’un tissu drapé.

Aphrodite (ou Venus) est la déesse féminine aux multiples facettes. D’origine très ancienne et en grande partie Orientale, elle règne non seulement sur l’Amour (Apostrophia, “qui fait oublier les amours malheureux”, Urania, “Amour céleste”, Hétaïra, protectrice des courtisanes, ymphia, “Déesse des mariages”, Pothon, “mère du désir”, etc) mais intervient aussi dans la guerre (Doliophron, “rusée”, Androphanos, la “Tueuse d’hommes”, Nikêphoros, “Qui donne la victoire”), et dans le domaine funéraire (Epithymbia, “Celle des funérailles”, Tymborychos, “qui creuse les tombes”).

La production de statuettes à son effigie débute tôt au IIe millénaire mais s’intensifie à la période classique et surtout hellénistique. Les grands modèles - plus grands que taille humaine - que l’on retrouve dans les musées et les grandes collections privées, comme celle que nous proposons à la vente, sont tous des copies romaines de modèles du IVe - IIe siècle av. J.-C.

Ses formes généreuses et sa plastique très féminine seront appréciées jusqu’à la période romaine, et resteront le canon féminin idéal de la Renaissance jusqu’au XIXe siècle.

Scientific instruments collection 
This auction will present an important chapter dedicated to scientific instruments, including a 19th century Chinese gilded automaton clock, lot 45 (estimate: €30,000– 50,000/ $33,000 – 55,000). In the mid eighteenth century, a significant trade of high-end clocks is established between England and China. Dazzled by the productions of manufacturers such as James Cox, William Carpenter or Henry Borrel, Chinese mechanics, first in the imperial workshops and then in southern ports such as Canton, endeavoured to understand the maintenance and the manufacture of such parts. The manufactured clocks are all derived from the English models such as the one offered at auction. These clocks are often a mixture of parts imported from Europe and manufactured on site. 

Lot 45. A quarter striking table clock with carillon, signed ‘Coeng Sing Canton 粵東省 祥盛號’, with animated dials, first quarter of the 19th century. Estimate €30,000– 50,000/ $33,000 – 55,000. Photo Artcurial.

En bronze ciselé et doré, verre et verres colorés, le cadran en émail blanc, chiffres romains pour les heures, arabes pour les quarts d'heures, aiguilles en laiton ajouré, trotteuse pour les secondes au centre en acier bleui, pièces de coin en verre clair, bleu et rouge, lunette sertie de verres rouge et blanc en alternance ; mouvement rectangulaire à deux corps de rouage, fusées, échappement à verge horizontal, court balancier simple avec poids en forme de poire, sonnerie des quarts sur deux timbres, carillon de huit timbres (démonté) actionné par un barillet picoté, platine arrière gravée de la signature en caractères chinois et latins, décor gravé sur les bords et le coq de suspension, mise à l'heure par bouton de réglage à ressort arrière ; caisse élaborée en trois niveaux : la base rectangulaire contenant le mouvement porté sur quatre pieds appliqués à la caisse en bronze doré ciselé en relief de fleurs et feuillages, au deuxième niveau quatre dragons portent l'étage supérieur duquel tombe une cascade simulée par des colonnes de verre torsadées tournant sur elles-mêmes ; au deuxième étage est placée à la verticale une rosette centrale entourée de dix rondeaux tournant ensemble pendant que la cascade tombe, cet ensemble est surmonté par une pièce en forme de vase incrusté des caractères 'Da ji' (bonne fortune) ; avec sa clé originale à tête ovale gravée d'une fleur centrale et un cercle de cercles circonférentiels à restaurer.
H. : 95 cm (37 1/2 in.) - L. : 37 cm (14 1/2 in.) - P. : 30 cm (11 3/4 in.)

Bibliographie comparative : Ian White, "English Clocks for the Eastern Markets…", 1580-1815, Ticehurst, 2012, ch. 8. 
Catherine Pagani, "Eastern Magnificence & European Ingenuity : Clocks of Late Imperial China", Ann Arbor, 2001, 154-57. 

Note: Au milieu du XVIIIe siècle, un commerce important d'horloges d'exception s'établit entre l'Angleterre et la Chine. Éblouis par les productions de fabricants comme James Cox, William Carpenter ou Henry Borrel, des mécaniciens chinois, d'abord dans les ateliers impériaux, puis dans les ports du sud comme Canton, oeuvraient pour comprendre l'entretien et la fabrication de telles pièces. Les horloges qu'ils fabriquent sont toutes dérivées des modèles anglais comme montre l'exemple ici présenté. Caisses très élaborées, cadrans en émail blanc à chiffres européens, lunettes ornées de pierres en verres de plusieurs couleurs, cascades, fleurs et figures à rotation, sont tous les éléments caractéristiques de cette production. Ces pendules présentent souvent un mélange de pièces importées d'Europe et fabriquées sur place. L'exemple présenté ici, d'une relative sobriété, signé par un fabricant à Canton peut être rangé dans la première génération de ces horloges chinoises basées sur les modèles anglais dont la production a été stimulée par la description qui en a été faite dans l'encyclopédie de Xu Chaojun, Gaohou Mengqiu (Dimensions de l'univers) de 1809. 

Amongst the key elements at the auction, a 14th century astrolabe created in 1336 in Tudela, Spain, signed by Ahmad ibn Abu Adb Allah al-Qurtubi al-Yamani, lot 56 (estimate: €30,000– 50 000 / $33,000 – 55,000). 

Lot 56. A gilt-brass astrolabe, signed 'Ahmad ibn Abû'Abd Allâh al-Qurtûbî al-Yamani in Tuleda year 737 Hijra', 14th century. Estimate €30,000– 50 000 / $33,000 – 55,000. Photo Artcurial.

En laiton doréà l'exception de l'intérieur de la mère et le revers de l'araignée, écrit entièrement en coufique occidental et numéroté en abjad (alpha-numéreaux), le limbe de l'instrument fondu en une seule pièce avec le trône (kursî) et soudé au dos pour former la mère, le trône, très bas, percé de deux trous au centre et à quatre lobes de chaque côté, la mère est sans inscription 
 Sur la face : 
- un graphique de tous les horizons d'Ibn Baso, utilisé pour résoudre les questions du temps du levé et couché du soleil et des étoiles et la durée du jour 
- l'araignée marque la position de trente étoiles (quinze à l'intérieur et quinze à l'extérieur de l'écliptique), par des indexes droites ou légèrement courbées ; quatre petites caboches (mudir) permettent de tourner l'araignée, l'index du signe du Capricorne (al-murî) est rectangulaire avec une ligne indicatrice centrale, chaque signe du zodiaque est divisé en 6° sur le rebord biseauté du cercle écliptique ; la barre droite est-ouest doublement rompue 
Vingt-neuf étoiles sont nommées : 
Cygni
 Aquilae 
Lyrae 
Ophiuchi 
Scorpionis 
Serpentis 
Coronae Borealis 
Bootis 
Ursae Maioris 
Virginis 
Corvi 
Sagittarii 
Leonis
 Hydrae 
Geminorum 
Canis Minoris
 Canis Maioris
 Orionis 
Orionis 
Aurigae 
Tauri
 Persei
 Ceti
 Un tympan fixé sur la latitude de Qurtaba (38° 30') avec des lignes pour les prières de midi (al-zuhr) et de l'après-midi (al-'asr) et des lignes pour les heures inégales (1 à 12) 
Le dos gravé des échelles suivantes : 
- une échelle de degrés en quadrants de 90° divisés et numérotés par groupes de 6°, la lecture inversée de quadrant en quadrant 
- un calendrier zodiacal julien excentrique (0° Aries = 15 mars) 
- les seigneurs et les largeurs des termes représentant les planètes qui contrôlent une partie d'un signe du zodiaque et sa largeur 
Au centre, un carréà ombres doubles 
 et la signature 
Manquent l'alidade, l'étrier et l'anneau de suspension 
D. : 9,3 cm (3 1/2 in.) 

Bibliographie : David A. King, The Quatrefoil as decoration on astrolabe retes', in In Synchrony with the Heavens : Studies in astronomical Timekeeping and Instrumentation in Medieval Islamic Civilisation, ii Instruments of mass Calculation, Leiden & Boston 2005, 
 part XVII. 
David Pingree, Eastern Astrolabes (Historic Instruments in the Adler Planetarium & Astronomy Museum, vol II), Chicago 2009, N° 10, pp. 38-41. 

Note: Inconnu dans toute la littérature de l'astrolabe, l'instrument présenté ici est du plus grand intérêt artistique et historique : il s'agit du seul astrolabe actuellement connu fabriqué par un artiste musulman dans une ville chrétienne. Tudela (latitude 43° 3'), a fait partie de l'Andalousie musulmane de 802 à 1119 ; en 1119, la ville fut prise par le roi chrétien, Alfonso I d'Aragon. La ville est alors divisée en trois quartiers - chrétien, musulman et juif - chacun gardant ses propres systèmes juridiques et rituels. C'est ainsi qu'Ahmad ibn Abû'Abd Allâh al-Qurtûbî al-Yamani put fabriquer des astrolabes arabes sous un régime chrétien. 

Cet astrolabe est à la fois traditionnel et original : l'al-Andalus semble indiqué par la valeur du 15 mars (aberrant pour l'époque), pour marquer le début d'Aries, alors que les symboles utilisés pour les seigneurs des termes semblent dérivés de l'est de l'Islam, d'Iraq ou de la Syrie, comme c'est le cas sur un astrolabe de Badr ibn 'Abdallah de 525 de l'hégire (1130/31). Néanmoins, l'instrument est doté d'un tympan relativement récent, le 'tympan de tous les horizons' d'Abû'Alî al-Husayn ibn Baso (m. 716/1316), et d'une araignée assez originale avec deux barres droites à la position normalement occupée par un arc de l'équateur. Il est également doté d'une décoration de cercles lobés, ouverts ou fermés, qui s'alignent avec un décor de trèfles et quatrefeuilles utilisé sur plusieurs astrolabes des pays de l'est et l'ouest des terres d'Islam du Xe au XVIIe siècles, comme sur l'astrolabe de Badr déjà cité, ainsi que sur les astrolabes de l'Occident chrétien du Moyen Âge et même après. 

Le motif de quatrefeuille, qui trouve probablement son origine dans l'art byzantin, fut spécialement prisé durant l'ère hispano-mauresque. Notre astrolabe offre un témoignage important de l'engouement pour ce motif et son développement. Son araignée est décorée d'enlobements de trois et six demi-cercles sans parallèle sur les instruments d'Andalousie et du Maghreb. Ils peuvent, cependant, être confrontés au décor d'un astrolabe Catalan vers 1300 (IC N° 162) et d'autres astrolabes latins. Ainsi notre astrolabe semble se situer au carrefour de la transmission des éléments décoratifs entre l'Islam et l'Occident Chrétien. 

D'Ahmad ibn Abû'Abd Allâh al-Qurtûbî al-Yamani rien n'est connu.

Closing this chapter, 10 pieces from the Georges Baptiste collection (1920-1989), a Belgium antiquarian of great renown, and president of the Belgium Antiquarian Chamber. Passionate about instruments of measure, his name remains linked with the 1984 Brussels exhibition La Mesure du Temps dans les collections belges.  

A selection of 5 Baroque and classical works 
Belgium will also be honoured with a Flemish wool tapestry from the end of the 16th century, made in the Brussel workshops. (lot 143). It is composed of grotesque motifs and mythological scenes including humans and animals. (estimate: €40,000– 60,000 / $44,000 – 66,000). Several centres in the Flanders produced grotesque tapestries, such as Brussels, Bruges or Anvers. These were part of the Charles Mège collection.  

Lot 143. A Brussels Grotesque tapestry, late 16th-early 17th century. Estimate €40,000– 60,000 / $44,000 – 66,000. Photo Artcurial.

En laine, à décor de grotesques sur un fond cramoisi, le décor rythmé par trois portiques, deux personnages élevés sur un piédestal, l'homme tenant un glaive, la femme une croix, de part et d'autre d'une arche surmontée d'une treille et laissant apercevoir un paysage de verdure animé d'un homme tentant de dompter un cerf, parmi des vases fleuris, putti, animaux, draperies et trophées ; les bordures manquantes 
Dimensions : 260 x 445 cm (102 1/4 x 175 1/4 in.)

Publications : Gaston Migeon, Les Arts, revue mensuelle des Musées, Collections, Expositions, "collection de M. Ch. Mège", n°86, février 1909, pp. 2-19. 

Expositions : Exposition d'art rétrospectif au Palais du Trocadéro, 1889

Bibliographie comparative : Guy Delmarcel, La Tapisserie Flamande, Paris, 1999 
La Revue du Louvre et des Musées de France, n°3, 1961, pp. 97-116.

Note: Cette tapisserie combine des motifs de grotesques d'inspiration italienne et les décors de verdures ou de jardins à pergola dans lesquels se déroulent des scènes mythologiques créées à Bruxelles aux XVIe et XVIIe siècles. 
La mode des grotesques se répandit à la suite de la découverte vers 1480 du Daumus Aurea de l'empereur Neron. De nombreux artistes descendirent dans les " grottes " abritant le palais de Neron et purent admirer ses décors foisonnant de fantaisie, de lyrisme, leur liberté de construction et de formes ne correspondant à aucun mode d'ornementation connu jusqu'alors, nourrissant alors ainsi leur imagination. Raphael (1483-1520) s'en inspira pour les logge du Vatican tandis que ses disciples tels que Perino del Vaga (1501-1547) ou Giulio Romano (1499-1546), les diffusèrent, notamment dans le domaine de la tapisserie en fournissant des modèles aux ateliers bruxellois. Ainsi Giulio Romano créa une tenture des Douze mois Grotesques dont un exemple tissé par Cornelis de Ronde (d. 1569) est conservéà Vienne (L. Baldass, Die Wiener Gobelinssammlung, Vienna, 1920, vol. I, cat. 126). Cette tenture servit encore plus d'un siècle plus tard de modèle à la manufacture des Gobelins quand celle-ci la copia en 1686-87 pour le Trianon. 
 Le thème des grotesques apparut tout d'abord sur les bordures de tapisserie et prit rapidement place dans le décor principal. Plusieurs centres en Flandres produisirent des tapisseries à grotesques, tels que Bruxelles, Bruges ou Anvers. 
Les exemples connus exécutés par les ateliers de Bruges dans la seconde moitié du XVIe siècle reprennent le principe de décor rythmé de portiques et de grotesques de part et d'autre d'une scène centrale. Nous pouvons citer la tapisserie conservée au Musée des Beaux Arts de Besançon(1), une tapisserie passée en vente chez Christie's en 1990(2) ou encore une autre vendue à Drouot en 1996(3). Toutes trois sont ornées d'une bordure à motif de vases de fleurs et fruits et rinceaux de végétaux animés d'animaux et grotesques. 
Notre tapisserie fit partie de la collection Charles Mège. Elle est reproduite dans un article de la revue Les Arts en 1909(4). Elle y est alors dite italienne, datée du début du XVIIIe siècle, et est munie de ses bordures aujourd'hui manquantes. Elles représentent les quatre éléments et furent créées pour Philippe II d'Espagne pour une tenture de la Vie de Noéà partir de 1563. Ces fameuses bordures " zoologiques ", les animaux symbolisant les éléments, seront utilisées pendant un demi-siècle. 
Elles sont dues au peintre Michel Coxcie (1499-1592) qui après un apprentissage auprès de Bernard Van Orley (vers 1488-1541) séjourna longuement en Italie où il est mentionné par Vasari. Peintre de patrons et de cartons, il quitta Malines en 1543 pour s'installer à Bruxelles où il résida jusqu'en 1577. Son style imprégné d'art italien lui valut le surnom de " Raphael flamand ". 
Plusieurs tisserands bruxellois vinrent s'installer à Anvers dans la deuxième moitié du XVIe siècle. Ce fut le cas de Josse van Herzelle à qui l'on doit les Grotesques aux scènes bibliques, ornées des mêmes bordures, datées vers 1585, dont une pièce est conservée au Rijskmuseum à Amsterdam(5). 

Collection Charles Mège 
Saluée par Gaston Migeon dans un article de la revue Les Arts en 1909(4), la collection de Charles Mège fut jugée suffisamment importante par les amateurs pour être exposée en 1889 à l'Exposition d'art rétrospectif au Palais du Trocadero : elle se présente ici à peu près en son entier, et prouve que, sans nulle défaillance, le choix a été fait avec une sureté de goût, une intelligence, un sentiment du caractère et de la beauté des choses tout à fait rares […] résultat des flâneries dans les bons coins de Paris, des voyages en Allemagne il y a trente ans, soit dans les années 1870-80. Composée de quelques tableaux, mais essentiellement de sculptures des écoles italiennes, allemandes, flamandes et françaises du Moyen Age et de la Renaissance, elle comporte également plusieurs très beaux exemples de tapisserie des XVe et XVIe siècles dont fait partie la nôtre, mais pas seulement. 
 En effet, la donation que fit 
 Melle Elisabeth Mège au Louvre en 1958 illustre son éclectisme, venant enrichir non seulement les collections de peintures et de sculptures mais aussi les départements d'art égyptien, des antiquités grecques et romaines, des objets d'art et des dessins. 
C'est ainsi que, par exemple, le célèbre groupe en ivoire représentant l'arrestation du Christ, vers 1320-1330, entrât dans les collections nationales. Plusieurs musées à l'étranger possèdent des œuvres provenant de la collection Mège, tels que le Metropolitan Museum ou le Detroit Institute of art. 

1. Illustrée dans Guy Delmarcel, La Tapisserie Flamande, Paris, 1999, p. 182 
2. Christie's New York, le 1er novembre 1990, lot 214 
3. Vente à Paris, Hôtel Drouot, Million Robert, le 6 décembre 1996 
4. Gaston Migeon, Les Arts, revue mensuelle des Musées, Collections, Expositions, collection de M. Ch. Mège, n°86 février, 1909, p 19. 
5. Illustrée dans Guy Delmarcel, La Tapisserie Flamande, Paris, 1999, p. 177 

Filippo Parodi’s sculpture, Enfant Jésus endormi, dating from around 1680 (lot 158), is a major work by the celebrated 17th century Genoese artiste, formed in Bernini’s studio. In white marble, it remained out of the spectrum of art historians for a long period of time. All the virtuosity of his art is expressed in this rough-edged, imposing bloc of marble, representing his personal vision of the Nativity, (estimate: €180,000– 220,000/ $198,000 – 242,000) which is reminisce of a sleeping cupid iconography. While the influences of Bernini and Puget are present, the particular writing and Parodi’s maestri legitimize the considerable place occupied by the Genoese artist at the turn of the seventeenth and eighteenth century, in the dissemination of Roman baroque in Liguria.  

Lot 158. A white marble group depicting a sleeping Jesus, by Giacomo Filippo Parodi (1630-1702), circa 1680. Estimate €180,000– 220,000/ $198,000 – 242,000. Photo Artcurial.

Marbre blanc. Signé" J.F. Parodi " sur le devant ; à l'avant sur le drapé : un petit éclat et une fissure, liée à un défaut du marbre. H. : 102 cm (40 in.) - l. : 42 cm (16 1/2 in.) -P. : 63 cm (24 3/4 in.) 

Provenance : Famille Durazzo, Gênes ; 
Marquis Gerolamo-Serra (1837) ; 
Achat en 1844 par le Vicomte Hippolyte Vilain XIIII, ambassadeur de Belgique à Rome ; 
Collection particulière belge ; 
Par descendance jusqu'au propriétaire actuel.

Expositions :  Exposition de tableaux et d'objets d'art et de haute curiosité ouverte au profit des pauvres, tenue au Palais du Duc de Brabant à Bruxelles, 1855. 

Bibliographie : Carlo Giuseppe Ratti, Vite dè pittori, scultori e architetti genovesi, Gênes, 1769, II, p.58. 
Société Saint Vincent de Paul, Exposition de tableaux et d'objets d'art et de haute curiosité ouverte au profit des pauvres, Palais du Duc de Brabant, Bruxelles, 1855, seconde partie Objets d'art, numéro 118, p.20. 
Paola Rotondi Briasco , Filippo Parodi, 1962, Università di Genova, Gênes, p.103. 
Luca Leoncini, Da Tintoretto a Rubens. Capolavori della Collezione Durazzo, catalogue de l'exposition tenue à Gênes au Palazzo Reale du 14 juilllet au 3 octobre 2004, Skira, Notice 53 par Carlo Milano, p.310-311. 

Bibliographie comparative :  Ezia Gavazza, Documenti per Filippo Parodi. L'altare del Camine e la specchiera Brignole, in Arte Lombarda. Nuova Serie. 58/59. 1981, pp.29-37. 
Lauro Magnani, Un'esperienza contraddittoria, la prima produzione scultorea del Parodi, La scultura a Genova e in Liguria, vol.II, Genoa, 1988, pp.143-9. 
Lauro Magnani, La Scultura delle forme della tradizione alla libertà dello spazio barocco, Sous dir. Ezia Gavazza, Genova nell'étà Barocca, Genova, Galleria nazionale di Palazzo Spinola, Galleria del Palazzo Reale, 2 mai-26 juillet 1992, Nuova Alfa Editoriale, 1992, pp.291-302. 
Ezia Gavazza, Geneviève Bresc-Bautier, Pierre Puget (Marsiglia 1620-1694), un artista francese e la cultura barocca a Genova, catalogue de l'exposition tenue à Marseille, Centre de la Vieille Charité (30 octobre 1994-30 janvier 1995) et Palazzo Ducale de Gênes, 4 mars-4 juin 1995, Electa 1995, pp.52-61. 
Cristiano Giometti Accenti di barocco maturo nell'Ecce Homo già in Santa Chiara Una proposta per Filippo Parodi, in F. Leverotti, a cura di, I tesori di Santa Chiara, Pisa 2012, pp.129-136. 
-Davide Gambino and Lorenzo Principi, Filippo Parodi 1630-1702 Genoa's Bernini. A bust of Vitelllius., Baccarelli & Botticelli , 2016. 

Note: Cette sculpture, non localisée pendant plus d'un siècle et demi par la sphère scientifique, est une œuvre majeure du célèbre artiste génois du 
 XVIIe siècle, Filippo Parodi(1). Fils de charpentier, il apprit à maîtriser toute la haute technicité du travail du marbre lors de deux séjours à Rome de 1661 à 1667, puis au début des années 1670. Il y fut, d'après des sources anciennes non attestées, formé dans l'atelier de Gian-Lorenzo Bernini (1598-1680) ou du moins dans celui d'Ercole Ferrata (1610-1686)(2). Il fut également fortement influencé par le génie du sculpteur Pierre Puget (1620 -1694) . L'artiste français séjourna en effet à Gênes de 1661 à 1668 et Parodi eût l'occasion d'observer son travail lors de nombreuses commandes communes. 

Toute la virtuosité de son art se déploie dans cet imposant bloc de marbre aux contours irréguliers représentant une vision personnelle de la Nativité. Si les influences du Bernin(3) et de Puget sont bien présentes, l'écriture particulière et la maestria de Parodi légitiment à travers ce chef-d'œuvre la place considérable qu'occupa l'artiste génois au tournant des XVIIe et XVIIIe siècle dans la diffusion du baroque romain en Ligurie. 
En reprenant dans sa composition l'archétype antique du Cupidon endormi, l'artiste présente l'Enfant Jésus allongé sur un vaste drapé dont les plis à la fois amples et anguleux synthétisent les influences du maître du baroque romain et les particularismes du style de Puget. Sous ce drapé enveloppant, voluptueux et protecteur, quelques épis de blé et brins de paille s'échappent et viennent avec pudeur évoquer la précarité de la crèche de Bethléem. Parodi réinterprète ici le thème de l'Enfant endormi, thème cher à la tradition picturale locale, ainsi que le dépeignent les peintres Giovanni Benedetto Castiglione (1609-1664) ou Valerio Castello (1624-1659). Alors que cette scène est sans doute une préfiguration de la Passion, il y évacue toute idée de morbidité : dans une attitude de confiance absolue - bras écartés, mains ouvertes, une paume tournée vers le ciel - l'enfant Jésus, nous est présenté abandonné dans un sommeil profond et apaisé. Les chairs potelées du nourrisson sont représentées avec une tendresse sincère et un naturalisme discret, le petit corps endormi se confondant et semblant naître des plis du drapé. Le calme de l'expression de son visage - dont les lèvres très ourlées et le nez légèrement retroussé sont une constante dans l'œuvre de Parodi - illustre avec justesse et dévotion l'idée de la béatitude. Le bras gauche et les deux jambes s'alignent dans un beau parallélisme, qui contraste avec la position du bras droit. Ce dernier, plié, semble pendre lourdement, accentuant le sentiment d'abandon de l'Enfant Roi, serein dans l'impénétrable léthargie du sommeil du juste. Au-delà du terrible épisode de sa Passion, le nimbe qui couronne sa petite tête de poupon prédit déjà sa victorieuse résurrection. 
 Cette thématique de l'humanisation du Christ dans un contexte plus global de Préfiguration de la Passion, ainsi que la composition générale et le rendu obtenu, font écho à un petit groupe d'œuvres que l'artiste réalisa au début des années 1680. Il s'agit, comme le rappelle l'auteur Carlo Milano, des quatre sculptures du Christ mort réalisées respectivement, pour l'église San Luca di Genova et des Carmélites de Santa Teresa di Savona - toutes deux réalisées en bois polychromé - et des deux marbres, l'un exécuté pour l'hôpital de San Carlo Voltri, et l'autre, pour la basilique de Santa Giustina à Padoue. 
 A l'instar du Cristo morto qui fut commandé vers 1680-1681 par l'un des membres de la puissante famille Spinola, cette œuvre fut probablement exécutée à la demande d'une autre famille dirigeante de la République génoise, la famille Durazzo(4). C'est en tout cas dans la plus importante de ses résidences, le Palazzo Reale, ancien palais Balbi racheté par Eugenio Durazzo (1630-1705) en 1677, au faîte de la puissance de cette famille, que l'œuvre est attestée en 1767(5). Il est probable qu'Eugenio Durazzo, qui avait fait appel à Parodi en même temps que l'architecte Carlo Fontana (1638-1714) pour transformer le palais selon la mode romaine, lui ait commandé cette œuvre(6). Pour une autre sculpture de l'artiste, représentant un Christ à la colonne, dimensions 90 x 43 x 22 cm, conservé au Palazzo Reale de Gênes) et attestée en 1677 dans la chapelle privée du palais, il est généralement admis qu'elle a été commandée vers 1677 -1680 par Eugenio ou son épouse(7). 
Après avoir été conservé jusqu'au début du XIXe siècle dans la famille Durazzo, l'Enfant Jésus endormi passa dans les mains de la famille Serra, sans doute grâce à un jeu d'alliances matrimoniales(8). Il fut en effet conservé dans les collections du marquis Gerolamo-Serra (1761-1837), grand homme politique défenseur de l'indépendance de Gênes et auteur d'une volumineuse histoire de la Ville-Etat publiée en 1834. Après sa mort en 1837, l'œuvre fut vendue par ses descendants puis rachetée en 1844 par le grand amateur d'art belge, le vicomte Charles Hippolyte Vilain XIIII (1796-1873). Ce diplomate et membre du congrès national, longtemps en poste, en tant qu'ambassadeur, en Italie, offrit la possibilité au public de découvrir cette sculpture remarquable lors d'une exposition tenue à Bruxelles en 1855. La localisation de l'œuvre semble ensuite avoir été perdue jusqu'en 2004, date à laquelle l'historien d'art Carlo Milano l'a présenté dans le catalogue de l'exposition sur la Collection Durazzo au Palazzo Reale(9). 
 L'Enfant Jésus endormi pose un jalon des plus importants dans la carrière de Parodi. Sa datation, autour des années 1680 marque une véritable transition entre une production encore pétrie des influences des grands maîtres baroques, et un style propre, fougueux et plus indépendant. 

1. Voir la notice de l'historien d'Art Carlo Milano à qui l'on doit la redécouverte de cette œuvre et son exposition lors de l'exposition Da Tintoretto a Rubens. Capolavori della Collezione Durazzo, tenue à Gênes au Palazzo Reale du 14 juillet au 3 octobre 2004. L'auteur de la première monographie de l'artiste, Paola Rotondi Briasco l'indiquait comme perdu en 1962. 
2. Voir article de Cristiano Giometti, p.130. 
3. Les spécialistes de Parodi, Cristiano Giometti et Lauro Magnani s'accordent pour voir dans les deux anges sculptés par le Bernin en 1669, désormais conservés dans l'église Sant'Andrea delle Fratte, des sujets d'inspiration de grande importance dans l'œuvre de Parodi : on retrouve ainsi cette inspiration dans le traitement des chevelures aux boucles en spirales profondément travaillées, entourant des visages inclinés aux lèvres sensuelles légèrement entrouvertes et exprimant une indolence manifeste. 
4. Cf. Cristiano Giometti, op cit et Giovanni Assereto , I "Durazzo di Palazzo Reale". Breve storia di una grande famiglia Patrizia dans le catalogue de l'exposition de 2004. 
5. Carlo Giuseppe Ratti, Vite dè pittori, scultori ed architetti genovesi, Gênes, 1769, II , p.58 : "In questo Palazzo dell' Eccellentissimo Marcello Durazzo del fu Gio Luca sono del Parodi alcuni preziosi marmi. In un salotto del prefato Sig. Durazzo v'ha un bambino, che dorme". 
 6. Aucun document n'atteste de cette commande à Parodi. Pour rappel, Eugenio commanda un ensemble de quatre sculptures représentant les figures mythologiques Vénus, Clytie, Adonis et Hyacinthe. 
 7. Filippo Parodi.Cristo alla colonna. Notice 56, p.232, in Pierre Puget. Un artista francese e la cultura barocca a Genova. 
8. Il est à noter que le superbe marbre de Vitellius, tout récemment réattribuéà Parodi, était également passé, par voie d'alliance, aux mains d'un membre d'une autre branche de la famille Serra. Cf Davide Gambino et Lorenzo Principi, Filippo Parodi. 1630-1702. Genoa's Bernini. A bust of Vitellius, Bacarelli & Botticelli, 2016. 
9. Luca Leoncini, Da Tintoretto a Rubens. Capolavori della Collezione Durazzo, catalogue de l'exposition tenue à Gênes au Palazzo Reale du 14 juilllet au 3 octobre 2004, Skira, Notice 53 par Carlo Milano, p.310-311. 

Another remarkable piece at the auction, attributed to Nicolas Sageot, is a Louis XIV dresser in tortoise shell, brass and tinted horn inlay, lot 145 (estimate: €70,000– 100,000 / $77,000 – 110 000).  

Lot 145. A Louis XIV ormolu-mounted, Boulle marquetry commode, attributed to Nicolas Sageot, circa 1710-1715. Estimate €70,000– 100,000 / $77,000 – 110 000. Photo Artcurial.

En marqueterie en première partie de laiton, incrustations de corne polychrome et de nacre sur fond d'écaille brune, cuivre et bronze doré, le dessus de marbre brèche violette mouluré en bec de corbin, de forme bombée et ouvrant en façade par deux petits tiroirs à la partie supérieure et par deux autres grands tiroirs, disposés en trois rangs à traverses, les montants arrondis, le décor composé de doubles volutes à rinceaux supportant un vase, disposé symétriquement sur les tiroirs face à un petit panneau médian d'aspect carré, de bandes sur les montants, à riches cartels à fleurons, volutes et médaillons polylobés ornés d'un motif réticuléà losanges ponctués de rosaces quadrilobées en laiton sur fond de nacre, enfin, de deux panneaux sur les côtés ornés de cartels renfermant une ample rosace de palmettes et rinceaux d'acanthe, le tout entouré de rinceaux à feuilles et fleurs également d'acanthe, les tiroirs ainsi que les montants et les côtés de la commode sont ceints de bandes de cuivre guilloché, les mains à poignées torsadées et supports en rosace, les entrées de serrure à masque de Pomone posé sur un cartel à volutes et chutes à fleurons, les pieds à doubles volutes en console disposées de part et d'autre d'une palmette surmontant une réserve réticulée. H. : 83 cm (32 1/2 in.) l. : 129 cm (50 1/2 in.) P. : 65 cm (25 1/2 in.) 

Note: Selon Pierre Grand, notre meuble appartient à un groupe de commodes très similaires, caractérisées par leur façade bombée, par les trois rangs de tiroirs et par les montants arrondis. Les différences sont constituées par leurs plateaux, soit marquetés, soit recouverts d'une dalle de marbre, par l'aspect des décors sur les panneaux latéraux, par la présence ou l'absence d'un tablier en ceinture, et enfin, par de petites variations dans leurs parures en bronze(1). 
 Ce modèle décliné soit avec un revêtement en marqueterie de cuivre et d'écaille, soit recouvert en bois de placage, fut attribuéà tour de rôle à Aubertin Gaudron et à Noël Gérard. La première attribution est àécarter. 
Une commode vendue par Christie's en 1997(2), portant une estampille AG, vraisemblablement celle d'un marchand de bois ou d'un menuisier, fut attribuée à Aubertin Gaudron comme une seconde, sur laquelle on a cru voir la même marque dans une estampille AC renfermée dans un médaillon ovale, en réalité celle de l'ancienne collection Albin Chalandon(3). Il faut cependant écarter d'emblée l'attribution de ces meubles à Aubertin Gaudron, lequel décéda en 1684(4), moment où la commode comme pièce de mobilier n'avait pas encore été inventée. 
L'attribution à Noël Gérard repose, quant à elle, sur la présence de son estampille abréviative NG, identifiée par Alexandre Pradère(5), sur une commode du même type recouverte en placage de bois de rapport, autrefois dans la collection de Madame Camoin(6). L'analyse de quelques unes des commodes de ce modèle conservées permet d'affiner encore cette seconde attribution, l'orientant plutôt vers un rattachement à l'œuvre de Nicolas Sageot qu'à celle de Noël Gérard. L'une d'entre elles, aussi en première partie mais sur un fond d'écaille teintée en rouge, vendue par Sotheby's à Londres(7), est en tout identique. Comme notre commode, elle ne présente pas de tablier et est coiffée d'une dalle de marbre. Une seconde, également sans traverse mais avec les montants d'un modèle différent, est passée en vente à Paris(8). La commode de Sotheby's, ainsi que quatre autres, dont trois en contrepartie(9), et une en première partie, provenant de Clumber Park(10), munies de tabliers, sont décorées sur les côtés de panneaux marquetés identiques à ceux de notre commode. Or, la commode de Clumber Park porte l'estampille de Nicolas Sageot. Par ailleurs, sur l'une des autres commodes, passée pour la première fois chez Christie's à Monaco en 1992, le plateau marqueté est orné en son milieu d'un médaillon ovale représentant une scène avec Bacchus, Pan, Apollon et un roi assis, dans un paysage arboré et architecturé, au bord d'un bassin oùévoluent deux cygnes. Ce thème iconographique, repris sur une seconde commode(11), ainsi que d'autres motifs, tels que ceux de la Naissance de Vénus(12), d'Hercule combattant l'Hydre(13), du Triomphe de Pallas ou de l'Amour(14), de scènes de chasse(15), etc., de même que les grandes compositions à panneaux décorés d'un danseur à la Berain, sur les côtés d'une commode du même modèle de la Résidence d'Ansbach(16), sont communs à plusieurs meubles à revêtement en marqueterie de cuivre et d'écaille, portant l'estampille ou attribués à Nicolas Sageot. 

Nicolas Sageot 
En effet, dans un état des marchandises de Sageot, joint à la vente que celui-ci avait conclue le 26 juillet 1720 en faveur de Léonard Prieur, marchand joaillier suivant la cour, sont mentionnées hormis des armoires, bibliothèques et bureaux, dix commodes de quatre pieds [129,92 cm], dont quatre " sans dessus, aussi de marqueterie de cuivre et d'escaille et pareillement garnies de bronzes ", ces dernière estimées à 2 500 livres, également " quatre commodes de trois pieds huit pouces [119,10 cm] de long, aussi de marqueterie de cuivre et escaille et pareillement garnies de bronze " et de deux autres " corps de commodes " de la même dimension, enfin, une dernière, également marquetée dont les dimensions ne sont pas précisées, évaluée à 300 livres. 
 Il semble donc vraisemblable de penser que des commodes du modèle de la nôtre ont été fabriquées aussi par l'atelier de Nicolas Sageot. Leur revêtement marqueté répétitif, doit être mis en rapport avec la présence d'un même marqueteur, en l'occurrence Toussaint Devoye (†1753), comme l'a découvert Pierre Grand(17). Or, Devoye fournissait aussi en marqueteries un autre ébéniste, Pierre Moulin, qui avait épousé en 1712 la belle-sœur du marchand ébéniste Noël Gérard, avec lequel tous les deux entretenaient des relations de travail. 
 Rappelons qu'à son décès en 1736, Noël Gérard possédait l'un des plus importants commerces d'ébénisterie et d'objets de luxe de Paris, qu'il avait installé dans les années 1720, à l'enseigne du Magasin Général, dans l'ancien hôtel du collectionneur Jabach, rue neuve Saint-Merry. Pendant les dernières années de sa vie, il concentrait tout son effort sur son activité de marchand, ayant vraisemblablement réduit considérablement le travail d'ébéniste. Hormis quelques pièces, l'inventaire ne fait ainsi état ni d'autres meubles recouverts de cuivre et d'écaille, ni d'outils de marqueterie. Plusieurs commodes y sont inventoriées, mais elles sont toutes recouvertes en bois de placage ou en bois noirci. Cependant, rien n'empêche de penser que Gérard avait déjàécoulé par le biais de son commerce des commodes en marqueterie de cuivre et d'écaille, soit livrées par Sageot avant sa cessation d'activité en 1720, soit produites par Pierre Moulin, soit, enfin, exécutées dans son propre atelier et recouvertes de décors marquetés par Toussaint Devoye lui-même, que ce dernier produisait en nombre.

1. Pierre Grand, " Le mobilier Boulle et les ateliers de l'époque ", L'Estampille-l'Objet d'art, 266, février 1993, p. 48-70. 
2. New York, 21 octobre 1997, n°31 ; une autre commode de la même famille, non estampillée, attribuée aussi à Aubertin Godron, Christie's, Londres, 11 juin 1998, n°40. 
3. Vente, Paris, Me Tajan, 25 juin 1996, n°183, voir pour la discussion de cette commode et de la précédente C. Demetrescu, " Les Gaudron, ébénistes du temps de Louis XIV ", BSHAF, année 1999, Paris, 2000, p. 33, p. 34-35, fig. 1-3 et note 2, p. 52. 
4. Arch. nat., Min. cent., CXVII, 123, inventaire après décès d'Aubertin Gaudron du 6 mars 1684. 
5. Les ébénistes français de Louis XIV à la Révolution, Paris, Eds. du Chêne, 1989. 
6. Vente, Paris, Drouot, 2 avril 1987, n°133. 
7. 3 décembre 1997, n°79. 
8. Vente, Paris, Me Ader, 11 juin 1965, n°80. 
9. Christie's, Londres, 7 décembre 1989, n°74 ; Christie's, Monaco, 5 décembre 1992, n°50, puis Christie's, Monaco, 1er juillet 1995, n°212 et enfin, Christie's, Londres, 12 juin 1997, n°125 ; une troisième, Sotheby's, Zurich, 27 novembre 2000, n°341. 
10. Christie's, Londres, 16 décembre 1999, n°50. 
11. Vente, Cologne, Lempertz, 18 novembre 2016, n°994. 
12. Christie's, Londres, 5 juillet 2013, n°46. 
13. Christie's, Londres 11 juin 1998, n°40. 
14. Sotheby's, Monaco, 24-25 juin 1984, n°3053 ; Sotheby's, New York, 21 mai 1992, n°69 ; Sotheby's, Londres, 6 juillet 2016, n°12. 
15. Sotheby's, Londres, 13 juin 2001, n°253. 
16. Reproduite par Christoph von Pfeil, Die Möbel der Residenz Ansbach, Munich, Londres, New York, Prestel, 1999, cat. 5, p. 63-67. 
17. Pierre Grand, art. cit., p. 64 et suiv.

For the classic furniture, a Louis XVI half-moon dresser marked by Charles Topino (lot 252) with floral decor marquetry, symbolises the inventiveness of the craftsmen of the time, mingling naturalism and Neoclassicism (estimate: €40,000- 60,000 / $44,000 – 66,000). 

Lot 252. A Louis XVI gilt-bronze mounted, tulipwood, satinwood and floral marquetry commode, stamped Charles Topino. Estimate €40,000- 60,000 / $44,000 – 66,000. Photo Artcurial.

En placage de bois de rose, à décor de marqueterie florale sur fond de satiné, ornementation de bronze ciselé et doré, dessus de marbre blanc, la ceinture ornée de tournesols dans une frise d'entrelacs ouvrant par trois tiroirs, la façade ouvrant par deux tiroirs et deux vantaux, reposant sur des pieds fuselés à cannelures simulées, estampillée C.TOPINO et poinçon de jurande JME sur le montant avant droit ;  le marbre restauré, une étiquette sur le desous inscrite "151 / commode / LXVI / Petit salon"; H. : 88 cm (34 1/2 in.) l. : 113 cm (44 1/2 in.) P. : 52 cm (20 1/2 in.) 

Charles Topino, reçu maître en 1773 

Provenance : Ancienne Collection Madame Christian Heidsieck Delepouille, 
 Vente à Paris, George V, le 21 juin 1989, lot 186. (FF 680. 000). 

Bibliographie comparative : S.Barbier Sainte Marie, Charles Topino, Les Éditions de l'Amateur, Paris, 2005, p. 132, fig. 61. 
P.Kjellberg, Le Mobilier Français du XVIIIe siècle, les Éditions de l'Amateur, p. 885. 

Cette élégante commode demi-lune est typique de l'œuvre de Charles Topino à la fin des années 1770. 
On y retrouve en effet plusieurs éléments caractéristiques de sa production à cette époque : la structure de la façade, la ceinture ornée d'une frise d'entrelacs en bronze, souvent centrés de tournesols, 
 enfin un décor alliant marqueterie florale et cannelures simulées sur les montants et pieds fuselés. 
La pièce que nous présentons appartient à un corpus de commodes, dont une quinzaine d'exemplaires sont aujourd'hui répertoriés : 
 - Musée d'Art de Baltimore. 
- Vente à Paris, Hôtel Drouot, 
 le 16 juin 2010, lot 398. 
- Collection Garbisch, vente Christie's Paris, le 13 décembre 2006, lot 298 (Une paire). 
- Ancienne collection Alice de Rothschild, puis Fred Stettenheim, puis vente Christie's New York, le 23 octobre 1998, lot 116 (Une paire). 
- Ancienne collection Earls of Rosebery au Château de Mentmore, puis Sotheby's New York, le 22 mai 1997, lot 245 
 (Une paire). 
- Collection Mlle Broadway, vente Christie's Londres, le 03 juillet 1986, lot 126. (Une paire ; une des deux commodes reproduite dans P. Kjellberg, Le Mobilier Français du XVIIIe siècle, les Éditions de l'Amateur, p. 885.) 
- Collection Hillingdon, Christie's Londres, le 29 juillet 1972, lot 85. 
- Collection Mortimer Schiff, vente Christie's Londres, le 22 juin 1938, lot 62 (Une paire). 
- Collection Moise de Camondo, vente Christie's Londres, le 17 juin 1937. 

An Empire wool carpet from the manufacture de la Savonnerie (lot 262) will also be offered for auction. Founded by Henri IV at the beginning of the 17th century, the Savonnerie produced carpets which were housed at the royal palaces or used as diplomatic gifts. A rarity on the market, they embody France’s grandeur (estimate: €40,000- 60,000 / $44,000 – 66,000).

Lot 262. An Empire Savonnerie wool carpet. Estimate €40,000- 60,000 / $44,000 – 66,000. Photo Artcurial.

En laine, à fond crème et vert, orné au centre d'une rosace feuillagée dans un entourage de guirlandes de fleurs nouées et rinceaux d'acanthe, la bordure ornée d'une guirlande de fleurs au naturel entre une double frise de feuilles de laurier ; petits accidents et déchirures. Dimensions : 645 cm x 590 cm (254 x 232 1/4 in.) 

Note: La manufacture de la Savonnerie fut fondée par Henri IV qui, au début du XVIIe siècle, accorda à Pierre Dupont le privilège d'installer ses ateliers de tapis "façon du Levant et façon de Turquie", selon la technique du point noué, dans les galeries du Louvre. Très vite les tapis s'affranchirent du goût oriental pour incarner le classicisme à la française. Pendant près de deux siècles les tapis de la Savonnerie meublèrent exclusivement les palais royaux et servirent de cadeaux diplomatiques. En 1680, la commande de Louis XIV de quatre-vingt-dix tapis pour la grande Galerie du Louvre fut l'une des plus ambitieuses de son règne. Louis XV, tout comme Louis XIV, s'impliqua directement dans la création des tapis, déterminant leurs thèmes et leurs décors qui devaient caractériser la grandeur de la dynastie des Bourbons. Pierre-Josse Perrot (1700-1750) en fut l'artisan. 
Interrompue pendant la Révolution, la production fut relancée par Napoléon Ier grâce à sa politique de remeublement des Palais impériaux, destinée à soutenir l'économie et la primauté culturelle de la France. Les décors emprunts de néoclassicisme suivirent l'esthétique promue par Percier et Fontaine dans leur Recueil de décorations intérieures (1801) dans un style toujours aussi majestueux. 
Les tapis de la Savonnerie sont rares à apparaître sur le marché. Cependant, citons l'exemplaire provenant du grand salon de l'Hôtel de Bourrienne, vendu à Paris, Hôtel Drouot, le 12 octobre 2015. 

Jean Michel-Basquiat, Untitled, 1982. Oilstick, acrylic and spraypaint on canvas, 72 1/8 by 68 1/8 in. Estimate in excess of $60 million© 2017 The Estate of Jean-Michel Basquiat / ADAGP, Paris / ARS. Courtesy Sotheby’s.

NEW YORK, NY.- Sotheby’s Contemporary Art Evening Auction will be led by Jean-Michel Basquiat’s Untitled from 1982, a monumental masterpiece that has been virtually unseen since it last appeared on the market in May 1984. The landmark canvas is one of a number of iconic American post-war paintings in a sale that also features Roy Lichtenstein, Andy Warhol, Robert Rauschenberg and Cy Twombly, as well as European masters including David Hockney, Rudolf Stingel and Gerhard Richter. The pre-sale exhibition opens in New York on 5 May ahead of the sale on 18 May. 

Grégoire Billault, Head of Sotheby’s Contemporary Art Department in New York, commented: “It is an enormous pleasure to bring a Basquiat of this magnitude to the market. The scale, subject matter, date and freshness, combined with recent record prices and increased demand for the artist’s work, make May the ideal time to present a masterpiece of this caliber – a truly outstanding achievement of recent art history – to the market.”  

Jean-Michel Basquiat completed Untitled in 1982 at a time when he was virtually unknown to the art world. Exhibited only in a small group exhibition called Fast at Alexander Milliken Gallery in New York from June to July of that year, Untitled entered the distinguished private collection from which it is being offered just two years later in 1984, when it was purchased at auction for $19,000. Never loaned for public exhibition since its acquisition 33 years ago, the appearance of the painting to market is made all the more remarkable given that it has been known only from a small thumbnail picture in the artist’s catalogue raisonné.  

Untitled is among the most important paintings by the artist still in private hands. The vast 72 1/8 by 68 1/8-inch canvas marks a critical moment in the artist’s career, executed in the same year that the artist had his seminal first solo exhibitions at Annina Nosei Gallery in New York and Gagosian Gallery in Los Angeles. Intricate layers of forcefully applied and impastoed oilstick, acrylic, and spraypaint in a spectrum of electric color coalesce in an intensely worked, rich surface that exemplifies Basquiat’s singular command as a master colorist and draftsman. Exploding in a torrent of irrepressible gestural energy that reflects Basquiat’s early beginnings in graffiti, the painting further inaugurated the beginnings of a new mode of figurative painting that took hold of the New York art world in downtown Manhattan in the early 1980s.  

Basquiat’s exceptional rendering of a single skull-like head draws many parallels with the artist’s most celebrated works, perhaps most significantly Untitled from 1981 in the collection of The Broad, Los Angeles. The canvas is populated with a range of Basquiat’s greatest icons: most remarkably dominated by the complexly detailed anatomical head, the three-pointed crown and all-over scrawled typography. The work is estimated to fetch in excess of $60 million.  

Roy Lichtenstein’s larger-than-life Nude Sunbathing from the last major series completed before the artist’s death, uses vibrant red Benday dots and bold, graphic, black lines to depict his signature subject matter – the female form. Purchased at Gagosian Gallery in 1996, a year after it was completed, the work comes to auction for the first time and is expected to fetch in excess of $20 million. 

Roy Lichtenstein (1923 - 1997), Nude Sunbathing, signed and dated 95 on the reverse, oil and Magna on canvas, 58 1/8 by 60 in. 147.6 by 152.4 cm. Estimate in excess of $20 million. Photo: Sotheby's

The first painting in the catalogue for the momentous 1999 exhibition, Andy Warhol: Hammer and Sickle at Thomas Ammann Fine Art in Zurich, Hammer and Sickle occupies a lofty place in Andy Warhol’s oeuvre. Dated 1976-77, the present work was acquired by renowned gallerist and founder of the Dia Art Foundation Heiner Friedrich and his wife Philippa de Menil the year after it was painted (estimate $6/8 million). The finest work of Andy Warhol’s late 1970s series and notable for its pristine paint application, this composition is one of four known large-format paintings that match the icon on the Soviet Flag, of which two are held in museums: the Museum of Modern Art in New York and the Museum Brandhorst in Munich. 

Andy Warhol (1928 - 1987), Hammer and Sickle, signed, dated 1976 and inscribed Heiner Friedrich on the overlap, acrylic and silkscreen ink on canvas, 71 3/4 by 86 1/8 in. 182.2 by 218.8 cm. Estimate $6/8 million. Photo: Sotheby's.

The large-scale Untitled #13 from 1980 is quintessential Agnes Martin. Enveloping the viewer with stunningly soft and muted colors, and mesmerizing patterns, the work is reminiscent of the artist’s full-scale works from 1968, when she moved to New Mexico. Previously exhibited in San Francisco, New York, Amsterdam, Paris, and many other locations, the acrylic, gesso, and graphite on canvas comes to auction this season with a pre-sale estimate of $5/7 million. 

Agnes Martin (1912 - 2004), Untitled #13, signed and dated 1980 on the reverse, acrylic, gesso and graphite on canvas, 72 by 72 in. 182.9 by 182.9 cm. Estimate $5/7 million. Photo: Sotheby's.

With gestural brushwork and a beautiful combination of bold and pastel tones, Silex Scintillans is an energetic and vibrant work that highlights many of the most celebrated aspects of Cy Twombly’s creative output in a rare triptych format (estimate $5/7 million). Titled after Henry Vaughan’s Silex scintillans – a collection of religious poems published in 1650 – the present work embodies the artist’s newfound interest in the late 1970s and 1980s of classical themes and inspirations, including religion, love and fate.  

Cy Twombly (B.1928), Silex Scintillans, signed with initials, dated July 14, 81 and numbered on the center sheet; titled and numbered on the left sheet; numbered on the right sheet, oil, wax crayon, colored pencil and graphite on paper, in 3 parts; left sheet: 39 1/4 by 27 3/4 in. 99.7 by 70.5 cm.; center sheet: 58 5/8 by 52 in. 148.9 by 132.1 cm.; right sheet: 39 1/4 by 27 3/4 in. 99.7 by 70.5 cm. Estimate $5/7 million. Photo: Sotheby's.

Gerhard Richter’s Abstraktes Bild utilizes the artist’s signature spatula technique to scatter accents of red, yellow and blue across a 78 3/4 by 63-inch canvas painted in luminous ivory. Acquired in the year it was painted from Galerie Liliane & Michel Durand-Dessert in Paris, and having remained in the same distinguished collection for over twenty-five years, Abstraktes Bild makes its auction debut on 18 May with an estimate of $12/18 million.  

Rudolf Stingel’s Untitled is an exceptional paradigm of the artist’s electroplated copper reliefs. The 2012 work, estimated to fetch $5/7 million, is particularly rare in its monumental configuration of six joined panels, measuring 94 1/2 by 141 3/4 by 1 1/2 inches overall. 

Rudolf Stingel (B.1956), Untitled, electroformed copper, plated nickel and gold, stainless steel frame, in 6 parts; each 47 1/4 by 47 1/4 by 1 1/2 in. 120 by 120 by 4 cm.; overall 94 1/2 by 141 3/4 by 1 1/2 in. 240 by 360 by 4 cm. Executed in 2012. Estimate $5/7 million. Photo: Sotheby's.

Building, Pershing Square, Los Angeles is a critical early landmark of David Hockney’s era-defining painted visions of Los Angeles, encapsulating the very genesis of his lifelong enchantment with the magnetic allure of Southern California (estimate $6/8 million). Significantly regarded as one of the very first paintings Hockney made after arriving in the city in January of that year, the work was included in his first American exhibition at Charles Alan’s gallery. Acquired in April 1974 by the pioneering Los Angeles dealer Paul Kantor, Building, Pershing Square, Los Angeles has remained in the same family collection until the present day.  

Also by the artist, Gauguin’s Chair has been shown in major exhibitions around the world including David Hockney: Espace/Paysage at the Centre Pompidou, Paris, in 1999 and David Hockney: Maleri 1960-2000 at the Louisiana Museum of Modern Art, Humlebaek from 2001-2001. Estimated to fetch $2.5/3.5 million, the work is an outstanding example of the artist’s mastery of color and form.

David Hockney (B.1937), Gauguin’s Chair, signed, titled, and dated 1988 on the reverse, acrylic on canvas, 48 by 36 in. 121.9 by 91.4 cm. Estimate $2.5/3.5 million. Photo: Sotheby's.

Large Chinese Huanghuali Recessed Leg Table, 17th-18th Century. Estimate $150000-250000. Lot sold $ 876,248.75. Photo: Lark Mason Associates.

NEW BRAUNFELS, TX.- Lark Mason Associates’ online auction of Asian Works of Art concluded on April 18th with an impressive result totaling over $1,650,000 for 66 lots selling out of 84 offered. The sale was previewed in their New Braunfels, Texas and New York City showrooms during Asia Week New York and was open for bidding in March and April on the iGavelauctions platform.  

Asia Week New York, which attracts a wide spectrum of bidders from around the world, had record results in sales topping over $420,000,000. This enthusiasm for Chinese art during Asia Week carried forward in the online auction offered by Lark Mason Associates, one of the auction house partners of Asia Week New York, has long been associated with realizing top prices for Asian art at auction. Said Lark Mason, who just ended his two-year position as Chairman of Asia Week New York: “The Asian art market is robust, wide, and deep. Our results and the records set during Asia Week indicate not just significant strength in this market, but a new benchmark for Asian art.”  

A fine and rare Large Huanghuali Recessed Leg Table, particularly notable because of the solid board top, blew past the presale estimate of $150,000-250,000 realizing $876,000. Bidding was strong from Asia and the table sold to a notable Chinese dealer. Large-size tables of Huanghuali rarely appear on the market and the results were not unexpected. Mason, a well-known authority on Chinese furniture remarked: “The strong price for the table was not a surprise. The market is sorting between the very best objects and those of lesser quality and the best items such as this table are extremely scarce and desirable and reaching astounding price levels.”  

Large Chinese Huanghuali Recessed Leg Table, 17th-18th Century; length: approximately 212 cm, width: approximately 52 cm, height: approximately 79 cm. Estimate $150000-250000. Lot sold $ 876,248.75. Photo: Lark Mason Associates.

altered and restored in the 20th Century, the solid top with minor patches, stains and discoloration, underside of the top at one end with two long patches on the sides where the tree trunk tapered secured by pegs, the base with three solid legs, and one veneered leg, which appears to be original to the construction, the apron possibly reduced in depth, the feet of later date and of rosewood, table likely slightly reduced in height.

Other furniture excelled in the auction including a pair of Chinese Huanghuali Horseshoeback Armchairs, dating to the 17th century, that fetched $237,500 and an exquisite 17th century Chinese Huanghuali Low Table, Kangji, which realized $58,750. The sale had a very good selection of ancient Chinese bronze vessels and archaic jade ritual objects. The highlight of the archaic bronzes was a Chinese Archaic Bronze Cooking Vessel, Yan, Western Zhou Dynasty which went into extended bidding with interest from Asia, Europe, and the United States, finally selling after 44 bids to an Asian buyer. The group of Archaic Chinese Jade Ritual Objects was also highly sought after and realized a total of nearly $100,000 for the group. Critical to these results was the solid provenance of the objects and reputation of Lark Mason Associates.

Pair of Chinese Huanghuali and Hardwood Horseshoe Back Armchairs, 17th-18th Century; height: 97.7 cm, width: 69.8 cm at the widest point, depth: the seat 46.9 cm. Estimate $40000-60000. Lot sold $ 237,500.00. Photo: Lark Mason Associates.

each with several supporting brackets likely replaced, shrinkage of joinery; one with split and repaired crest rail; both with likely replaced flanges and replaced hard panel seat, formerly caned; joinery loose and will require re-gluing; surface requires re-polishing.

Chinese Archaic Bronze Cooking Vessel, Yan, Western Zhou Dynasty; Height: 17 1/2 inches. Estimate $12000-18000. Lot sold $ 78,193.75. Photo: Lark Mason Associates.

Interior inscription partially reads, "Bao Ding... Zuo... Yan" Yan vessel made (blank) (blank) precious tripod (blank); Appraisal from S. Bernstein & Co. Jade & Oriental Art, valued at $85,000, based on information available appraisal was likely completed circa 1999; with restoration to the legs, with restoration to the loop holding the strainer in place; the surface oxidized.

Chinese Archaic Jade Bi Disk, Shang dynasty, c. 1600 BC, diameter: approximately 10 cm. Estimate $1000-2000. Lot sold $17,126.25. Photo: Lark Mason Associates.

scattered nicks and chips, natural fissures or imperfections in the stone, with red encrustations on the surface.

with receipt of purchase from S. Bernstein & Co. Jade & Oriental Art, San Francisco, CA, reference no. 2622, August 15, 2000, purchased for $8,000
with corresponding label on object.

Chinese Archaic Jade Bi Disk, Neolithic, Liangzhu Culture, c. 3400-2250 BC, diameter: approximately 16 cm. Estimate $1000-2000. Lot sold $15,750.00. Photo: Lark Mason Associates.

some chips and losses to the stone.

with receipt of purchase from S. Bernstein & Co. Jade & Oriental Art, San Francisco, CA, reference no. 2621, August 15, 2000, purchased for $9,500 
with appraisal S. Bernstein & Co. Jade & Oriental Art, San Francisco, CA, August 15, 2000, valued at $9,500 
with corresponding label on object .

Chinese Archaic Jade Bi Disk, Han dynasty, diameter: approximately 18 cm. Estimate $2000-3000. Lot sold $10,313.75. Photo: Lark Mason Associates.

scattered nicks or chips, with a fissure along the edge.

Chinese Archaic Jade Bi Disk, Han dynasty, diameter: approximately 23 cm. Estimate $2000-4000. Lot sold $7,187.50. Photo: Lark Mason Associates.

with some chips and losses to one area of the edge approx. 2 1/2 inches long, with one chip in this area glued approx. 3/8 inch long, scattered nicks along the edge, with scattered fissures, one with some flaking to the stone along the line of the fissure.

with receipt of purchase from S. Bernstein & Co. Jade & Oriental Art, San Francisco, CA, reference no. 2687, December 1, 2000, valued at $21,000 with corresponding label on object.

Chinese Russet and Yellow Jade Dragon Plaque, Warring State, length: 5 cm. Estimate $4000-6000. Lot sold $6,812.50. Photo: Lark Mason Associates.

mounted on metal brooch.

Chinese Archaic Jade Bi Disk, Western Zhou-Han Dynasty, diameter: approximately 23 cm. Estimate $3000-5000. Lot sold $6,500.00. Photo: Lark Mason Associates.

some scattered chips or flaking to the stone, scattered nicks, some calcification.

Chinese Archaic Jade Bi Disk, Eastern Zhou period (770-220 BC), diameter: approximately 15 cm. Estimate $1500-2500. Lot sold $4,875.00. Photo: Lark Mason Associates.

with scattered chips, natural fissures.

Ex-Collection: Mr. Gerald Godfrey, Hong Kong 

Exhibited: Pacific Asia Art Museum, Pasadena, California, 1986 
San Antonio Museum of Art, San Antonio, Texas, 1986 
Daytona Art Institute, Dayton, Ohio, 1989, no. 22 

Published: “Chinese Jade, The Image from Within,” Pacific Asia Art Museum, 1986, Catalogue no. 8, illustrated 
with appraisal S. Bernstein & Co. Collection, San Francisco, CA, reference no. 2921, valued at $8,500 
with corresponding label on object 

Chinese Archaic Jade Bi Disk, Shang dynasty, c. 1600 BC, diameter: approximately 13 cm. Estimate $1500-2500. Lot sold $4,507.50. Photo: Lark Mason Associates.

with scattered chips, some calcification.

with receipt of purchase from S. Bernstein & Co. Jade & Oriental Art, San Francisco, CA, reference no. 2624, August 15, 2000, purchased for $12,000
with corresponding label on object.

Chinese Archaic Glass Disk, Han dynasty, 2nd - 4th Century A.D., diameter: approximately 14 cm. Estimate $1500-2500. Lot sold $4,000. Photo: Lark Mason Associates.

the edge rough, possible small nicks, with encrusted dirt on the surface.

Published: Ancient Chinese Art, S. Bernstein, University of Washington Press, Seattle, 1999, plate 21
with receipt of purchase from S. Bernstein & Co. Jade & Oriental Art, San Francisco, CA reference no. 2465, dated October, 2000, purchase price $6000
with corresponding label on object.

Chinese Archaic Jade Three Part, Eastern Zhou dynasty, ca 8th-5th century BC. Estimate $2000-4000. Lot sold $3,875. Photo: Lark Mason Associates.

each piece approximately 5 3/4 inches (14.6 cm) at the widest point, when put together the diameter is approximately 6 1/2 inches (16.5 cm), small chips and losses along the edge of the stone.

with receipt of purchase from Ralph M. Chait Galleries, New York, NY, September 8, 2000, purchased for $9,500.

Lot 331. An exceptional 3.02 carats fancy intense pink diamond and diamond ring. Estimate USD 1,500,000 - USD 2,000,000. © Christie’s Images Limited 2017.

Horizontally-set with a cut-cornered rectangular modified brilliant-cut fancy intense pink diamond, weighing approximately 3.02 carats, flanked on either side by a tapered baguette-cut diamond, ring size 6, mounted in platinum and 18k rose gold.

Accompanied by report no. 2175700871 dated 9 January 2017 from the GIA Gemological Institute of America stating that the diamond is fancy intense pink, natural color, Internally Flawless clarity

Christie's. Magnificent Jewels, 26 April 2017, New York, Rockefeller Center

Lot 142. A pair of carved celadon-glazed 'chilong' vases, zun, Kangxi period (1662-1722). Estimate £10,000 - 15,000 (€12,000 - 18,000). Photo: Bonhams.

Lot 143. A green-glazed bowl, Yongzheng six-character mark and of the period (1723-1735), 10cm (4in) diam. Estimate £8,000 - 10,000 (€9,600 - 12,000). Photo: Bonhams.

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

Lot 145. A celadon-glazed 'gourd and butterfly' wall vase, Qianlong seal mark and of the period (1736-1795),5.3cm (6in) high (2). Estimate £8,000 - 12,000 (€9,600 - 14,000). Photo: Bonhams.

Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET

Lot 151. A magnificent 22.03 carats Type IIa diamond ring, by Van Cleef & Arpels. Estimate USD 2,200,000 - USD 2,700,000. © Christie’s Images Limited 2017.

Set with a rectangular-cut diamond, weighing approximately 22.03 carats, flanked on either side by a triangle-shaped diamond, ring size 6 1/4, mounted in platinum, in a Van Cleef & Arpels green suede box and white outer box. Signed Van Cleef & Arpels, no. SL953.

Accompanied by report no. 11466586 dated 19 January 2017 from the GIA Gemological Institute of America stating that the diamond is D color, Internally Flawless clarity, with excellent polish and symmetry

With a supplemental letter from the Gemological Institute of America stating that the diamond has been determined to be a Type IIa diamond. Type IIa diamonds are the most chemically pure type of diamond and often have exceptional optical transparency. Type IIa diamonds were first identified as originating from India (particularly from the Golconda region) but have since been recovered in all major diamond-producing regions of the world. Among famous gem diamonds, the 530.20 carat Cullinan I and the 105.60 carat Koh-i-noor, are examples of Type IIa

Property from an Important American Collection 

Christie's. Magnificent Jewels, 26 April 2017, New York, Rockefeller Center