Lot 139. A cinnabar lacquer quatrelobed dish, Ming dynasty, 16th century; 21.5 cm, 8 1/2 in. Estimate 4,000 — 6,000 GBP. Photo: Sotheby's.
with shallow rounded sides supported on a short straight foot, deeply carved through the red and black lacquer layers to the interior with ruyi-shaped cloud scrolls, the exterior similarly carved, the base lacquered dark brown, Japanese wood box. Quantité: 2
Sotheby's. Important Chinese Art, Londres, 10 mai 2017, 02:00 PM
Lot 140. A carved cinnabar lacquer square tray, Ming dynasty, 16th century; 17.4 cm, 6 7/8 in. Estimate 6,000 — 8,000 GBP. Photo: Sotheby's.
with canted incurved corners and shallow rounded sides, supported on a straight foot of corresponding shape, the interior elaborately carved with a scene depicting a group of scholars on horseback riding to a pavilion with their assistants, the landscape laden with verdant vegetation and rocky cliffs, the exterior with four sinuous writhing dragons above a petal lappet band, the base lacquered black.
Sotheby's. Important Chinese Art, Londres, 10 mai 2017, 02:00 PM
Lot 321. A black tixi lacquer two-tiered box and cover, 16th century; 14cm (5 1/2in) high. Estimate £2,000 - 3,000 (€2,400 - 3,600). Photo: Bonhams.
Deeply carved around the exterior with continuous pommel scrolls, a central quatrefoil floret on the flattened cover, the interiors and base lacquered dark brown.
Note: Compare with a similar circular two-tiered box and cover with slightly different pommel-head design and of predominantly red colour, mid-Ming dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Ware of the Yuan and Ming Dynasties, Hong Kong, 2006, pl.76.
Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET
Lot 323. A rare Tianqi and Qiangjin lacquer rectangular cabinet, Late Ming Dynasty; 39.5cm (15 1/2in) wide x 23cm 9in) deep x 40cm (15 6/8in) high. Estimate £15,000 - 20,000 (€18,000 - 24,000). Photo: Bonhams.
The cabinet with a detachable front panel concealing a shelf; the top, rear, two sides and front panels each carved through layers of red and black lacquer with a barbed cartouche enclosing magpies hovering over convoluted and pitted rocks issuing sprigs of blossoming lotus flowers and peonies, the base decorated with a vine and lotus scroll border band of lotus petals.
Note: Lacquer chests of similar design and dating to the Ming dynasty are rare. Compare a similarly-shaped lacquer cabinet, Ming dynasty, engraved with polychrome dragon and phoenix designs, in the Victoria and Albert Museum, illustrated by N.De Bisscop in Chinees Lakweerk, Zutphen, 1982, p.92, fig.102. Another cabinet, decorated with dragons and phoenixes, Jiajing mark and of the period, is illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Shanghai, 2006, pp.202-203, no.160. A third related chest of similar form decorated with red, green, ochre and brown phoenix design, sold in our Hong Kong rooms, 29 November 2016, lot 26.
Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET
Lot 322. A very rare Tianqi and Qiangjin lacquer lobed table and stand, Late 16th-early 17th century; 42cm (16 1/2in) wide (2). Estimate £30,000 - 35,000 (€36,000 - 42,000). Photo: Bonhams.
The table of lobed six-sided form, the top panel painted with elaborate pavilions and rocks amidst wispy clouds and foaming waves within a leiwen border, all above a diaper waist gilt with flower heads, resting on a bombe apron carved with interlocking barbed cartouches enclosing the 'Auspicious Emblems' alternating with lotus flowers and acanthus leaves also on the cabriole legs in conjunction with bats and lotus buds, the waisted base supported on ruyi feet and carved with further lotus and bats reserved on a gilt ground of rolling waves.
Note: Polychrome painted lacquer was highly popular in the late Ming dynasty. The Xiushi lu, a manual for lacquer manufacture compiled during the early 17th century, mentions two types of filled-in lacquer: the 'carve and inlay' type, loukan, according to which certain areas were cut out of the otherwise finished lacquer surface and inlaid with variously coloured lacquer, and the 'filled-in' or 'polish-reveal' method, moxian, when certain portions of the design were raised through multiple layers of lacquer as the ground was filled with additional lacquer and the boundaries between the different colour fields defined by engraved and gilt lines.
The highly auspicious designs on this stand suggest religious associations concerning the attainment of Immortality. The floating landscape may have been conceived as the Daoist realm of Kunlun.
The blossoming lotus flowers may have also evoked the transmutation of lacquer into gold, a Daoist process aimed at driving away malignant spirits and acquiring immortality.
As a flower emerging from mud, however, the lotus was regarded by Buddhists as symbolic of enlightenment and purity and may have also evoked the rebirth in the wondrous Pure Land of Buddha Amitabha.
Lacquer stands dating to the Ming dynasty and combining carving and filling techniques are rare. A similarly-shaped stand, Ming dynasty, is illustrated by Lee Yu-kuan, Oriental Lacquer Art, Tokyo, 1972, pl.244, p.319.
Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET
Designed by G. Paulding Farnham for Tiffany & Co., Renaissance revival neck ornament, 1900–04. Platinum, gold, enamel, diamond, ruby, emerald, cat’s eye, chrysoberyl, sapphire, and pearl. Gift of Susan B. Kaplan. © 2017 Museum of Fine Arts, Boston.
BOSTON—Exploring more than 4,000 years of jewelry history, a new exhibition organized by the Museum of Fine Arts, Boston (MFA), traces the long-standing tradition of drawing design inspiration from the past—whether by directly copying earlier styles or reinterpreting ancient motifs. Past Is Present: Revival Jewelry includes 80 objects by jewelers such as Castellani, Tiffany & Co., Cartier and Bulgari, ranging from antiquity to today and showing that the revivalist narrative did not end in the early 20th century. In nearly every instance, the design of the ornament highlights the tension between progress and the desire to engage with the past, in both traditional and unexpected ways. Drawn largely from the Museum’s collection and featuring 17 stunning loans from private collections, Past Is Present: Revival Jewelry opens on Valentine’s Day, February 14, 2017 and is on view through August 19, 2018 in the Rita J. and Stanley H. Kaplan Family Foundation Gallery. MFA members are the first to see the exhibition during Member Preview days, Saturday, February 11 through Monday, February 13. Sponsored by Cartier. Presented with support from the Rita J. and Stanley H. Kaplan Family Foundation Inc. / Susan B. Kaplan and Jean S. and Frederic A. Sharf.
“History fuels the creative imagination. The dazzling jewels in this exhibition were made by designers who found inspiration from the past—reviving and reinterpreting antique styles for a new age,” said Emily Stoehrer, Rita J. Kaplan and Susan B. Kaplan Curator of Jewelry. “Today, as technology continues to advance and life’s pace continues to accelerate the traditions of the past, from ancient Egypt to the Renaissance, continue to provoke and inspire.”
Ernesto Pierret, Etruscan Revival Bracelet, Italian, about 1860. Gold. Museum purchase with funds donated by the Rita J. and Stanley H. Kaplan Family Foundation, Jean S. and Frederic A. Sharf, and Monica S. Sadler. © 2017 Museum of Fine Arts, Boston.
Revival jewelry became fashionable in the 19th century, as opportunities for travel increased; archaeological digs unearthed ancient treasures and newly founded museums (including the MFA) and international expositions showcased discoveries from antiquity. Surrounded by this history, jewelers were among the many artists who found inspiration in the myriad of freshly available visual resources, incorporating them into their work. While jewelry from the 19th and early 20th centuries explored many revival styles, the exhibition largely focuses on four: archaeological (inspired by newly excavated art and artifacts), as well as Renaissance, Egyptian and Classical. Additionally, contemporary pieces demonstrate how the revival jewelry tradition continues today as artists are once again drawn back in time, focusing on hands-on craftsmanship and the exploration of timeless themes that first presented themselves hundreds, or, in some cases, thousands of years ago.
Four loans from the Cartier Collection are a highlight of the exhibition. After the discovery of King Tutankhamen’s tomb in 1922, Louis Cartier, like many other jewelers at the time, bolstered his collection of ancient artifacts and incorporated them into his work. A 1924 Scarab Brooch, which can be converted into a belt buckle, is paired with a Winged Scarab (740–660 BC) from the MFA’s collection. The 20th-century brooch features gold, platinum and diamonds in addition to ancient faience (glazed ceramic) fragments; and the holes, meant to secure the Egyptian ornament to linen mummy wrappings, have been hidden behind emeralds. A Bracelet (1928) created for composer Cole Porter’s wife Linda integrates a replica of an ancient Eye of Horus—a protective amulet thought to have healing properties—offering another example of Cartier’s celebrated Egyptian revival designs. The Head of Medusa Pendant (1906) and Chimera Bracelet (1929) set with diamonds, meanwhile, draw inspiration from ancient mythology.
Bulgari, Necklace with coins of Heracles, Italian, 1980s. Gold and silver. William Francis Warden Fund and Morris and Louise Rosenthal Fund. © 2017 Museum of Fine Arts, Boston.
Connections among travel, politics and nostalgia in 19th-century jewelry are explored through examples of pieces that would have been bought as mementos on the Grand Tour. Regarded as a rite of passage and a critical component of classical education, a trip across Europe was a luxury that could be drawn out for years. As travelers collected souvenirs along the way, cities became known for particular types of jewelry. A Coral Suite (1850s) from Naples comprises a necklace, earrings and brooch, featuring carved depictions of Bacchus—the ancient Roman god of wine—rams and female figures, surrounded by delicate gold leaves and grapes. Referencing classical life, imagery of jovial gods and goddesses appeared often in ornaments acquired in Italy, which was seen as the birthplace of modern civilization and the essential stop on the Grand Tour.
As 19th-century archaeologists unearthed ancient treasures from the Mediterranean world, nationalism was also sweeping through Europe. Both long-established and newly independent countries—and their jewelers—sought a national vernacular that evoked the glorious past. In England, designers like Charlotte Newman (known as Mrs. Philip Newman) explored Renaissance themes, as seen in her Cameo Necklace of Elizabeth I (about 1890). Carved by Georges Bissinger, the pendant shows a profile image of the 16th-century monarch, whose reign was often compared at the time with that of Queen Victoria.
Possibly by Castellani, Necklace, brooch, and earrings in the archaeological revival style, Italian, about 1880. Gold and amber. Bequest of William Arnold Buffum. © 2017 Museum of Fine Arts, Boston.
In Italy, amidst advocacy for unification, Castellani—the most famous jeweler in Rome at the time—established itself as the premier retailer of revival jewelry. The shop, founded in 1814 by Fortunato Pio Castellani, sold high-style imported jewelry from Paris until around 1850, when Castellani’s sons Alessandro and Augusto, who were outspoken in their desire for Italian unification, resolved to specialize in archaeological revival jewelry that celebrated the early gold work that was being excavated just outside Rome. One example is the gold Castellani Brooch (about 1858) that copies the design of an Etruscan original, excavated in 1836 from a tomb in Cerveteri, Italy and now part of the Campana Collection at the Louvre.
A selection of paintings in the exhibition, including Dante Gabriel Rossetti’s Bocca Baciata (Lips That Have Been Kissed) (1859) and the recent acquisition Belcolore (1863), additionally illustrate fashions that were popular in 19th-century jewelry. Typical of the artist’s work of this period, they present close-up views of beautiful women adorned with ornaments. The necklace of gold rosettes in Bocca Baciata was inspired by ancient jewelry, exemplifying the archaeological impulse that was popular at the time.
Dante Gabriel Rossetti, Bocca Baciata (Lips That Have Been Kissed), 1859. Oil on panel. Gift of James Lawrence. © 2017 Museum of Fine Arts, Boston.
Revival jewelry can also be classified by technique—including cameo carving, polychrome enamel, granulation and micromosaic. These methods, which have fascinated artists since antiquity, were heavily revived in the 19th century and continue to be employed by jewelers today.
Traditionally carved from shells or hard stones, cameos have been prized since their development in ancient Greece and Rome, when they were worn as symbols of wealth. A mass-produced cameo by Josiah Wedgwood seen in the “Slave-in-Chains” Medallion (1786–87) became a highly visible indicator of one’s support for the abolitionist movement in the 18th century. Designed for the British Society for the Abolition of the Slave Trade and worn as women’s jewelry or set into men’s accessories, the cameo shows a manacled slave on bended knee below the words “Am I Not a Man and a Brother?” Other examples of revivalist cameos include a Cameo Bracelet (about 1840) by William Morris Hunt, featuring portraits of the Boston painter and his three brothers, and the Peace Brooch (2011) by Japanese jeweler Shinji Nakaba, a recent acquisition made from helmet shell, gold and stainless steel that shows a crying or sleeping face and decorative carving inspired by ancient Greek art.
Cartier, Head of Medusa pendant, 1906. Platinum, gold, enamel, diamond, pearl, and coral. Photo: Nick Welsh, Cartier Collection. © Cartier.
Jewelers working with enamel used a variety of techniques to achieve different results. The red-and-blue enamel background of Fuset y Grau’s Girl Blowing Bubbles Pendant (about 1910) simulates a stained glass window using an elaborate plique-à-jour technique, which forgoes backing to allow light to shine through. Later jewelers were also seduced by the challenge of borrowing older techniques—in the 1950s, Margret Craver began to research and perfect émail en résille. The American jeweler’s Pendant (about 1981) demonstrates the complicated technique, in which designs are etched into glass and colored foils and gold leafs are heated above, falling into the partially melted surface.
Sophisticated metalwork by ancient Etruscans included granulation—a delicate process in which tiny balls of pure gold are fused to a gold surface. During the second half of the 19th century, the technique was mastered by Alessandro Castellani, who produced highly praised examples that were sold at the family’s shops in Rome, Paris and Naples—such as the Pair of Earrings (about 1870–80) composed of rosettes and amphora-shaped pendants. Another Pair of Earrings and an accompanying Brooch from the same time period show finely crafted cupids riding doves with silken cords. They were likely made by Castellani’s star pupil Giacinto Melillo, who managed the family’s Naples workshop after 1870. More recent examples of the granulation technique include the Polyp Colony Necklace (1995) by John Paul Miller and the Chort Pendant (2002) by Andrea Cagnetti, known as Akelo. While Castellani revived the long-forgotten technique, he wrote very little about the process, leaving contemporary jewelers to experiment in recreating his methods.
Mrs. Philip Newman and Georges Bissinger, Necklace with a cameo of Elizabeth I, about 1890. Gold, silver, diamond, emerald, pearl, agate, and glass. Museum purchase with funds donated by Susan B. Kaplan. © 2017 Museum of Fine Arts, Boston.
Castellani also played a central role in igniting 19th-century taste for micromosaic jewelry, which incorporated miniature examples of mosaics that were abundant in ancient art. While much of the firm’s work focused on Etruscan styles, an Egyptian Revival Necklace and Brooch (before 1888) features 15 ancient scarabs and a palette of colors that were popular in Egyptian art—red represented the desert, green evoked the fertile lands of the Nile Valley, blue symbolized the sky and water, and yellow signified the sun. The necklace and brooch’s micromosaic elements were likely completed by the mosaicist Luigi Podio, who joined the Castellani workshop in 1851.
The symbolic nature of jewelry can be observed through popularity of themes that were seen repeatedly in designs from the 19th to the 21st centuries, such as currency. Coins have been fashioned into jewelry since antiquity—acting as commemorative or artistic ornaments, they served as emblems of wealth and power. In the 19th century, jewelers like Ernesto Pierret and Castellani began incorporating ancient coins—both real and replicas—into their designs. At Castellani, while Alessandro excelled at mastering the granulation technique, his brother Augusto is credited for the firm’s coin jewelry—such as the Pendant with Coin of Corinth (about 1870–80). A collector and expert numismatist, he reportedly treated the coins with sulfur to create a uniform grey finish. A more recent gold Necklace with Coins of Heracles (1980s) by Bulgari features a coin design that dates to 350–300 BC, struck in the name of Alexander III. The obverse shows an image of Heracles, while Zeus, enthroned and holding an eagle and scepter, appears on the reverse. While such jewelry celebrates ancient life, the contemporary jeweler Kathy Buskiewicz questions materialism and value in her work. Her Savior Bracelet (1996) uses shredded currency obtained from the US Department of Treasury.
Necklace and brooches, French, about 1840. Shell, gold. Gift of the Misses Cornelia and Susan Dehon in memory of Mrs. Sidney Brooks. © 2017 Museum of Fine Arts, Boston.
Animals have also long been viewed as symbols of power, incorporated into jewelry as a way for the wearer to appropriate the creatures’ qualities. One motif that spans centuries and continents features “confronted animals”—two animals of the same species facing each other in a symmetrical pose. Confronted lions can be seen in the Anatolian Bracelet with Lion Head Finials (about 2400 BC), while a traditional Indian Bracelet with Confronting Makaras (19th century) and the Cartier Collection’s Chimera Bracelet (1929) feature mythical beasts. Beginning in the 1960s, American designer David Webb borrowed the style and created a menagerie of bracelets featuring confronted animals, including the Aztec Serpent Bracelet (1969), based on the double-headed design of an Aztec pectoral at the British Museum.
Snakes have been an especially popular animal motif in jewelry—considered at once wise and deceitful, prudent and cunning, their incorporation into ancient ornaments signified power and protection. Popular with the firm’s celebrity clients, a version of Bulgari’s gold, diamond and enamel Serpenti Bracelet-Watch (before 1978) slithered around Elizabeth Taylor’s wrist on the set of her 1962 film Cleopatra. More recently, contemporary jeweler David Bielander borrowed the ancient form for his nine-foot Python Necklace (2011). Taking a fresh approach by employing an unexpected—and startlingly lifelike—scale, Bieldander’s piece is among the selections in the exhibition that invite visitors to reconsider historical revivalism through a 21st-century lens.
Designed by G. Paulding Farnham for Tiffany & Co., Renaissance revival neck ornament, 1900–04. Platinum, gold, enamel, diamond, ruby, emerald, cat’s eye, chrysoberyl, sapphire, and pearl. Gift of Susan B. Kaplan. © 2017 Museum of Fine Arts, Boston.
Cartier, Brooch, 1924. Faience, diamond (round old-cut), emerald, smoky quartz, and enamel. Vincent Wulveryck, Cartier collection. © Cartier.
Louis Comfort Tiffany, Egyptian revival necklace, about 1913. Gold, lapis lazuli, amber, and turquoise. Private Collection. © 2017 Museum of Fine Arts, Boston.
Lot 187. A 'Longquan celadon' tripod censer, Song dynasty (960-1279); 8 cm, 3 3/4 in. Estimate 3,000 — 4,000 GBP. Photo: Sotheby's.
the cylindrical ribbed body rising from three short feet to an inverted dished rim, covered overall in an olive-green glaze save for an unglazed medallion on the base.
Sotheby's. Important Chinese Art, Londres, 10 mai 2017, 02:00 PM
Lot 188. A 'Jian' russet-brown glazed bowl, Song dynasty (960-1279); 12.8 cm, 5 in. Estimate 4,000 — 6,000 GBP. Photo: Sotheby's.
the flared sides rising from a short straight foot to an indented and everted rim, covered overall in a rich lustrous russet-brown glaze mottled with darker flecks, the glaze darkening to a matte texture around the rim and falling just short of the foot revealing the dark grey body.
Provenance: Sotheby’s Parke Bernet, New York, 24th April 1975, lot 263.
Sotheby's. Important Chinese Art, Londres, 10 mai 2017, 02:00 PM
Lot 189. A 'Yaozhou' carved bowl, Song dynasty (960-1279); 8.2 cm, 3 3/8 in. Estimate 6,000 — 8,000 GBP. Photo: Sotheby's.
the rounded sides rising from a short tapered foot to an incurved rim, freely carved to the exterior with a floral scroll below a curved border at the rim, covered overall in a translucent olive-green glaze, the foot rim unglazed revealing the greyish-brown body, Japanese wood box.
Provenance: Mayuyama & Co., Ltd., Tokyo.
Sotheby's. Important Chinese Art, Londres, 10 mai 2017, 02:00 PM
Lot 190. A 'Henan' black-glazed russet-splashed vase, yuhuchunping, Northern Song-Jin dynasty (960-1234); 22.6 cm, 8 7/8 in. Estimate 6,000 — 8,000 GBP. Photo: Sotheby's.
the pear-shaped body rising from a short foot to an everted rim, covered overall with a lustrous black-brown glaze, liberally applied with russet streaks, the glaze stopping above the foot to reveal the buff coloured body, Japanese wood box.
Sotheby's. Important Chinese Art, Londres, 10 mai 2017, 02:00 PM
Lot 191. A 'Yaozhou' carved ewer, Northern Song dynasty (960-1127); 21.5 cm, 8 7/16 in. Estimate 40,000 — 60,000 GBP. Photo: Sotheby's.
the cylindrical body supported by a spreading foot, with canted shoulders set with a loop handle opposite a curved spout and flanked by two small strap loops, the long waisted neck rising to an everted rim, the exterior carved all around with scrolling peony, covered overall with a thin olive-green glaze stopping at the base.
Note: A ewer of similar cylindrical form and two loop handles on the shoulder, in the Yaozhou Ware Museum at Huangpu in Tongchuan, Shaanxi province, was included in the exhibition The Masterpieces of Yaozhou Ware, The Museum of Oriental Ceramics, Osaka, 1997, cat. no. 73, together with a jar carved with a similar floral motif, cat. no. 74; two ewers are illustrated in Jan Wirgin, Sung Ceramic Design, Stockholm, 1970, pl. 3a-b, the first in the Baur collection in Geneva, and the second, of slightly broader proportions, from the Avery Brundage collection in the Asian Art Museum of San Francisco; and a third example of similar form but carved with a different floral motif, in the Meiyintang collection, is illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 1, London, 1994, pl. 423. Compare also a jar decorated with large blooms, included in the exhibition Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 79.
Sotheby's. Important Chinese Art, Londres, 10 mai 2017, 02:00 PM
Lot 192. A 'Jun' bowl, Song-Jin dynasty (960-1234); 19 cm, 7 1/2 in. Estimate 7,000 — 9,000 GBP. Photo: Sotheby's.
with gently rounded sides rising to a slightly incurved rim, applied overall with a bubble suffused, opaque glaze of milky lavender-blue draining at the rim to a pale mushroom colour, and terminating unevenly above the short unglazed footring.
Sotheby's. Important Chinese Art, Londres, 10 mai 2017, 02:00 PM
Lot 193. A fine 'Jian''hares-fur' tea bowl, Song dynasty (960-1279); 12 cm, 4 3/4 in. Estimate 15,000 — 25,000 GBP. Photo: Sotheby's.
the deep rounded sides rising from a short straight foot to an indented flaring rim, covered overall with a lustrous blackish-brown glaze suffused with vertical lighter brown streaks, the glaze falling short of the foot to reveal the dark grey body, the base inscribed Gongyu.
Provenance: Oxfordshire Private Family Collection.
Note: A related bowl similarly inscribed with a Gongyu mark, in the Arthur M. Sackler collection and included in the exhibition Hare's Fur, Tortoiseshell, and Partridge Feathers, Harvard University Art Museums, Cambridge, Massachusetts, 1996, cat. no. 76.
Sotheby's. Important Chinese Art, Londres, 10 mai 2017, 02:00 PM
Lot 194. Two 'Jian''hares-fur' tea bowls, Song dynasty (960-1279); 12.4 cm; 4 7/8 in., 12.1 cm; 4 3/4 in. Estimate 15,000 — 25,000 GBP. Photo: Sotheby's.
each with deep rounded sides rising from a short slightly tapered foot to a narrow groove below the rim, one covered overall with a lustrous black glaze, thinning at the rim with russet streaks extending downwards, the other covered with a brown glaze thinning at the rim with radiating black streaks (2). Quantité: 2.
Provenance: Right: Sotheby's London, 10th June 1986, lot 153.
Sotheby's. Important Chinese Art, Londres, 10 mai 2017, 02:00 PM
Emeralds found on shipwreck are worth millions. ©2017 Guernseys.com
Guernsey’s, the New York City-based auction house, is delighted to announce the auction of the Marcial de Gomar Collection of rare emeralds on April 25th. The event will be conducted live at the Americas Society at 680 Park Avenue with online bidding at www.liveauctioneers.com.
The Marcial de Gomar Emerald Collection consists of more than twenty loose emeralds (both cut and rough) plus thirteen pieces of emerald jewelry. These spectacular emeralds were collected by Manuel Marcial de Gomar over a 62 year long career spent both in the United States and in the jungles of Colombia, where he started at the Chivor mines as an interpreter for Russ Anderton and then proceeded to independently mine the Guavio, Gachalá, Somondoco, Boyacá and Muzo regions on horseback, widely known for producing the world's finest emeralds. Mr. Marcial's firsthand knowledge and experience with rare emeralds including shipwreck origin emeralds, has placed him in demand as an author, lecturer and consultant, and while his family continues in their involvement with rare emeralds, it is Manuel's lifelong personal collection that is being sold.
Featured lots in the Marcial de Gomar Collection include La Gloria, which, at 887 carats, is one of the largest museum-quality emeralds in the world; the Marcial de Gomar Star, the largest recorded star emerald (among only eleven in the world, according to experts) and perhaps the first of its kind as a double-sided star emerald; and the Tears of Fura, an impressive matched pair of extremely large teardrop-shaped Muzo emeralds. Importantly, the Collection also includes the largest assemblage of cut emeralds from the famed Nuestra Señora de Atocha sunken galleon and, among these, the single largest cut emerald recovered from that ship, considered the most important wreck site yet discovered.
Decades ago, Mr. Marcial was selected from many experts by Mel Fisher, the famed treasure hunter, to be the independent appraiser of all emeralds recovered from the Atocha. As payment for his expert services, Marcial received a selection of these fine stones from the world-famous wreck. Collectors and enthusiasts of sunken treasure will also be excited to learn that the Collection features, in addition to this unprecedented assemblage of Atocha emeralds, a number of historic gold coins from the 1715 Fleet. All of these items were privately owned and will be presented to the public for the very first time at the auction of the Marcial de Gomar Collection.
Lot 0004. Corona de Muzo. A stunning 24.34 carat emerald cut Muzo emerald from the Nuestra Senora de Atocha set in a 22 karat and 18 karat gold necklace with crown details, featuring additional baguette and round cut diamonds and round cut emeralds. Estimate $5,000,000-$6,000,000. © 2017 Guernseys.com
Lot 0016. La Gloria, 887 carats. Incredibly large and fine museum-quality rough emerald from Muzo. Estimate $3,000,000-$5,000,000. © 2017 Guernseys.com
La Gloria is a queen of gems. This stunning 887 carat gem emerald comes from none other than the world's most famous emerald mine - the Muzo mine (also the source of the emeralds recovered from the sunken Atocha galleon). Larger than the famed specimen in the Smithsonian from the Gachala mine, she is believed to be the largest rough gem quality Colombian emerald in the United States. With her classic blue green Colombian hues and identifying matrix material, she bears all the looks and qualities of royal beauty, splendor and grace suited to crown any museum or discerning private collection.
La Gloria has a small surface calcite matrix, which not only evidences its provenance but can further indicate with general specificity the area of the mine in which it originated. The Muzo mine is well-known for producing some of the largest crystals of emeralds found anywhere in Colombia. La Gloria is larger than the Colombian emerald from Gachala in the Smithsonian, which is 857 carats, and also larger than the "Patricia" emerald from the Chivor mine, now in the Museum of Natural History in New York (632 carats).
This remarkable emerald is most impressive as a rough stone of unbelievable weight; should it ever be cut and polished, however, it should yield a gem of about 300 to 400 carats.
Accompanied by GIA Report 1186154010 of February 21, 2017
Lot 0019. The Marcial de Gomar Star. Superb one-of-a-kind 25.86 carat cabochon double star emerald—largest known specimen in the world. Estimate $2,000,000-$3,000,000. © 2017 Guernseys.com
There were no recorded specimens of asterism in emerald beryls until the late 20th century; up until the publication of John Sinankas'"Emeralds and other Beryls" in 1981, it was noted that there was no record of any such specimens even after a ten year investigation undertaken at that time by GIA. The 25.86 carat "Marcial de Gomar Star Emerald" represents an almost unknown phenomena in the world of emeralds, making gem history as an incredibly large and double sided star emerald.
This museum quality specimen was featured recently by GIA in their prestigious "Gems & Gemology" publication and has been noted by some experts as the largest and the eleventh known recorded specimen to date. This mesmerizing gem has a story as unique as its gemological properties. Selected from a parcel of rough purchased in 1997 from an African emerald dealer from Madagascar, the uncut emerald was finally pulled from the safe sometime in 2001 to be examined for possible faceting by Marcial de Gomar. Recognizing that there might be some chatoyancy, possibly in the form of a cat's eye, Marcial sent the stone for cutting to his longtime expert emerald cutter with instructions to cut the stone in a double cabochon style instead of the typical style, which features a single curved dome only. Once returned, the result was a remarkable specimen that was at first baffling, as it did not behave optically in the typical manner of the cat's eye phenomena in gems (a defined solid line moving laterally from side to side). Instead, this specimen had a play of light that moved in all directions under the same lighting conditions as used when viewing cat's eye gems.
Having never seen a star emerald before, and with the gem's chatoyant properties not showing a clear star (as would be well known in ruby or sapphire and other beryls), Marcial therefore never considered it to be present in this particular specimen, and assuming it may have just been an unusual form of cat's eye phenomena, decided to place it away safely in his personal safe until a further opportunity to re-examine it more closely was warranted. The star emerald lay untouched in the far corner of a McGunn safe for another nine years until the decision was made to assemble a one-of-a-kind collection representing the 60 years of Marcial's life in the emerald and precious gem industry, to be made available for collectors and the world. Over the next three years as this project was developed, the gem was re-examined closer by renowned gemologist and appraiser Martin Fuller of Martin Fuller & Associates. Having examined such famous gems as the Hope Diamond in the Smithsonian, he immediately recommended the gem be sent to Gemological Institute of America for identification after realizing that it had asterism which only showed up under specific lighting conditions.
On July 16th 2013, the star emerald was certified and took its place in gem history as the largest recorded of perhaps less than a dozen other known star emeralds. From the Star's initial journey in 1997 to its certification in 2013 and subsequent exposure to the world in 2015 in the journals of GIA, the 18-year journey marks a crowning achievement in the life of Manuel Marcial de Gomar and in the history of rare gems. The Marcial de Gomar star was recently sent back to GIA for re-examining the reverse side of the gem and it has now been confirmed to be a double sided star emerald – a first in the world we believe! This further adds to its uniqueness already as perhaps one of the rarest specimens in the world to date!
The GIA Notable Letter that accompanies this remarkable lot notes that “the exceptional color and the further distinction of being one of the largest star emeralds in the world, makes it a truly notable gemstone.”
Accompanied by GIA Report 2185154008 of February 24, 2017 and GIA Notable Letter of February 24, 2017.
Lot 0026A. The Eyes of Muzo. At 74.52 carats, this stunning pair of Colombian trapiche cat’s eye emeralds have been described as quite possibly the world’s largest. Estimate $2,000,000-$3,000,000. © 2017 Guernseys.com
The Marcial de Gomar Collection is proud to offer to the world this one-of-a-kind pair of matching cat’s eye emeralds. These remarkable gems are a befitting addition to what is already an irreplaceable collection of some of the rarest emeralds in the world.
Originally cut from a single 370 carat trapiche emerald from the world renowned Muzo region, these two remarkable stones with a combined weight 74.52 carats (36.17 and 38.36 carats respectively) possess fascinating and eye-catching cat’s eyes. They are believed to be the largest existing matched pair of Colombian cat’s eye emeralds in the world. The emerald from which they were cut is found only in the Trapiche mine in the Muzo region of Colombia. Even trapiche emeralds bereft of the elusive cat’s eye phenomenon in sizes of even only a few carats have become highly coveted collectibles – how much more so this extraordinarily large pair with prominent cat’s eyes, now a part of Marcial de Gomar’s legacy. The cutting process of these gems has been carefully documented and featured by GIA in an article describing the process of unveiling the cat’s eye phenomenon in these two emeralds. The Eyes of Muzo present a rare opportunity to possess a significant pair of emeralds of unprecedented size and exceptional beauty.
Accompanied by GIA Report 5182296049 of April 7, 2017 and GRS (GemResearch Swisslab) Report GRS2015-108671 of October 28, 2015.
Lot 0005. The Tears of Fura. 95.51 carats (total weight). Extremely large and well-matched pair of gem-fine teardrop shaped Colombian emeralds from Muzo mines. Estimate $2,000,000-$3,000,000. © 2017 Guernseys.com
The name of these breathtaking twin gems (and the title of Marcial de Gomar's autobiography), honors the two Colombian mountain peaks of Fura and Tena, considered sacred by the Muzo people and named after the two progenitors of humanity, Fura (woman) and Tena (man). Muzo belief states that, at their death, Fura's tears became emeralds that took on the green of the jungles and the fire of the lightning bolt.
In the Bogota emerald market, it has always been accepted that a fine quality emerald over one carat and as much as three carats is a very large emerald, unlike other precious and semi-precious stones which are frequently found in large sizes. Emeralds usually do not occur in large crystals, and when they do, they often lack a deep green color or have little or no fire. Additionally, even when a long sought after larger rough emerald is finally recovered, the average loss in faceting it into an emerald cut is 66 percent. The loss will be even greater if a different cut, such as a pear shape or a round, is desired.
For all of these aforementioned challenges, the presentation here of not only one, but two unusually large emeralds is a treasure for the eyes. A visually matching pair of teardrop shapes such as these Tears of Fura is an occurrence that may take many centuries to replicate. The largest emerald recoveries from the Muzo mines went from the Spanish Crown in the 16th and 17th century to the grand collections of Catherine the Great in Russia, and the Shah of Iran. According to Mr. Marcial, who has personally seen both Collections, splendid as they are, neither has a pair of teardrop shaped emeralds to equal the exquisitely matched Tears of Fura, in which the intense green of the Muzo jungles and the fiery lightning of the Andes are ever present. Adding further to their unique status, this pair was chosen to receive the standard clarity enhancement (a common practice for Type III gems, employed as far back as the reign of Cleopatra) using the patented Excel process, considered by many to be a lasting and more stable yet reversible clarity enhancement, perfected by Arthur Groom & Co.
The GIA Notable Letter that accompanies this lot notes that “the exceptional color and size of these emeralds are distinctive. The further distinction of being a well-matched pair of considerable size makes these two Colombian emeralds a rarity.”
Accompanied by GIA Report 2185154015 of February 24, 2017 and GIA Notable Letter of February 24, 2017.
Lot 0015. The Empress of Spain. Estimate $200,000-$300,000. © 2017 Guernseys.com
A beautiful and elaborate 20in. necklace of 18 karat and 14 karat gold featuring at its center a large 9.48 carat teardrop cabochon emerald and five smaller briolette teardrop emeralds of a combined 12.76 carats. Framed by 74 round brilliant diamonds and three tapered baguette diamonds, plus 60 round brilliant diamonds in the chain, collectively weighing 7.44 carats. Chain further includes 120 prong set round cut emeralds of 7.25 carats (total weight), finishing with a lovely oval cabochon Colombian cat's eye emerald of 2.03 carats, set in the 18 karat white gold clasp and framed by 16 round brilliant diamonds of 0.50 carats (total weight). Total combined gem weight (emeralds and diamonds) of approximately 39 carats.
This 20in. 18 karat and 14 karat gold necklace created by Marcial de Gomar is an original showpiece inspired by his fusion of Spanish and Native American art. With personally selected fine natural Colombian emeralds directly from the Muzo region of Colombia, "The Empress of Spain" centers the eye on an uncommonly large, fine quality teardrop cabochon emerald (9.48 carats), as is sometimes found in the royal jewelry of the Habsburgs, Romanovs, or Pahlavi's, accompanied by five beautiful swaying briolette teardrop emeralds enjoying a combined approximate weight of 12.76 carats. The center emerald is framed by 74 prong set round brilliant diamonds plus three tapered baguette diamonds in the crown and a further 60 round brilliant diamonds in the chain for an estimated total weight of 7.44 carats. The gold wave necklace is inspired by the sea wave at the foot of the "Plus Ultra" sign of the Pillars of Hercules, heralding the sea distances to be encountered during the Spanish voyages of discovery.
The necklace further contains 120 prong set round cut natural emeralds with an approximate total weight of 7.25 carats that culminate in yet another splendor of this necklace, the extremely rare, fine quality oval cabochon cut natural Colombian cat's eye emerald, weighing 2.03 carats. This well-defined cat's eye emerald is set within an 18 karat white gold clasp embraced by sixteen round brilliant diamonds in the halo weighing approximately 0.50 carats. In total, this creation contains 127 natural emeralds mined in Colombia and 153 diamonds with a combined gem weight of nearly 39 carats all together. This marriage of New and Old World design thinking yields a flowing harmony that is regal and unique, and will only enhance the beauty and grace of its wearer.
Accompanied by GIA Report 1182154585 of February 23, 2017
Lot 0010. Reina del Mar. Large 4.39 carat round cut emerald from Muzo via the Nuestra Señora de Atocha. Estimate $250,000-$350,000. © 2017 Guernseys.com
The "Queen of the Sea" is a name that befits this 4.39 carat fine, round-cut treasure emerald from Muzo, initially discovered in the largest find of emeralds ever recovered by the Spaniards during the years between 1620 and 1622. Selected by Marcial as payment for services rendered to Mel Fisher almost 30 years ago, this gem was originally cut from a 13.63 carat rough emerald in 1997.
Whosoever wins this emerald, which lay on the bottom of the sea for almost 400 years, will become the possessor of a treasure that was intended for King Felipe IV of Spain. This "Queen" has the unique distinction of being the largest round cut emerald among those cut from the rough emeralds recovered from the sunken galleon Nuestra Senora de Atocha. There is no larger fine quality round Colombian emerald from the wreck of any Spanish galleon that we know of to date. To put into perspective the unique size and shape of this gem: Even in non-treasure emeralds, a 1.00 carat round cut emerald is considered large. Incomparable then, is one over four times that size of fine quality, from the most famous treasure galleon, lost to the world in not one but two hurricanes in 1622.
Accompanied by GIA Report 1182154024 of February 17, 2017 and Mel Fisher’s Motivation, Inc. Certificate of Authenticity (Emerald Number 95A-26360).
Lot 0007. Muzo Marino. 2.98 carat emerald cut Colombian Muzo emerald recovered from the Nuestra Señora de Atocha. Estimate $200,000-$300,000. © 2017 Guernseys.com
This 2.98 carat long, large emerald cut emerald, represents some of the finest gem material Colombia has to offer. It has the typical shape referred to as "Canutillo" in Colombia, cut from an elongated C-axis crystal. Lost deep within ocean sands for 363 years, it was recovered from the remains of the Spanish galleon Nuestra Senora de Atocha in the Marquesas Keys, Florida, and cut from a 12.01 carat rough crystal revealing the highly treasured green fire typical of Colombian emeralds from the world renowned Muzo mine.
In gem cutting, particularly when working with such rare material, a good measure of risk is often taken to produce the right cut and reveal the emerald's beauty. It has been a source of great delight that each of the historic Atocha rough emeralds selected for cutting by Marcial de Gomar (under his supervision) have been successfully and beautifully cut, maintaining the classic Spanish style of the time, and doing great justice and honor to these treasures'remarkable history.
Accompanied by GIA Report 6187154028 of February 17, 2017 and Treasure Salvor's, Inc. Certificate of Authenticity (Emerald Number A85-E25).
Lot 0020. Conquistadora.A splendid tiara that converts into an elegant and regal necklace, featuring 14.27 carats (total weight) of pear shape and emerald cut Muzo emeralds and 7.86 carats (total weight) of round brilliant diamonds, set in 18 karat white gold. Estimate $150,000-$250,000. © 2017 Guernseys.com
Marcial de Gomar is proud to offer this incredible work of wearable art in celebrating his life's work. This natural Colombian emerald and diamond tiara that transforms beautifully into a necklace is masterfully crafted in 18 karat white gold and features 889 round brilliant diamonds of VS/SI and F/G quality, weighing 7.86 carats total weight, and 35 mixed cut natural Colombian emeralds of pear shape and emerald cut from the Muzo region, weighing 14.27 carats total weight.
The concept of a tiara that converts into a necklace has existed since the late 18th century, and was eventually realized by a new approach in mastering the construction of the tiara. This design, it is believed, will be the first of this kind in the Americas. Because of the delicate and complicated nature of the convertible tiara, it took 13 months to complete this masterpiece, in addition to the time it took to collect and acquire the matching emeralds from the Muzo and Chivor regions of Colombia.
Accompanied by GIA Report 6183148231 of January 31, 2017.
Lot 0027. The Lady. Elegant necklace of two queen conch pearls at 45.71 carats (total weight) and a fine quality 1.00 carat trillion cut Colombian emerald in 18 karat gold setting and chain. Estimate $75,000-$100,000. © 2017 Guernseys.com
Inspired by Marcial de Gomar's wife of 53 years, Inge, "The Lady" beautifully captures the elegance and grace of the feminine and the harmony of the emerald and conch pearl, the two rare gems that are intimate partners in Marcial's life. The speedily diminishing numbers of queen conch, which presently leaves about one pearl in every fifteen thousand conchs, portents an even greater paucity of these gems in the marketplace of the near future. This incredibly rare, one-of-a-kind suite of snow and lavender color queen conch pearls adds further to the uniqueness of the Marcial de Gomar Collection at an extraordinary combined size of 45.71 carats accented with a fine quality 1.00 carat trillion cut Colombian emerald with marvelous green-fire, all artfully set in a simple contemporary 18 karat yellow gold Marcial de Gomar design that truly shows off these magnificent and rare pearls.
Accompanied by GIA Report 1186154012 of February 21, 2017 (Emerald) and GIA Report 2185154011 of February 21, 2017 (Pearls)
Lot 0026. Luz de las Marquesas. 2.03 carat round cut Muzo emerald from the Nuestra Senora de Atocha set in a 22 karat gold ring. Estimate $90,000-$120,000. © 2017 Guernseys.com
The "Light of the Marquesas" is beautifully captured in the third largest round cut emerald from the world-famous Nuestra Senora de Atocha. This fine quality emerald, weighs 2.03 carats and has been set by Manuel Marcial de Gomar in a 22 karat gold mounting inspired by the classic Spanish Mudéjar style. The appellation "Mudéjar" sends us back into a time of great civilizing advancements when, for 700 years, Islamic Spain was a light to the world prior to Queen Isabela. This fusion of Christian and Islamic art evolved from a pattern of religious and racial harmony that fostered new thinking.
The ring features a magnificent emerald from Muzo, Colombia, saved from the peril of extinction in the ocean depths by famed treasure diver Mel Fisher. Phillip IV, the King of Spain, was entitled by Crown law to keep only 20% of all gems and gold recovered, known as "el Quinto Real," or the Royal Fifth. The new owner of the "Luz de Las Marquesas," by virtue of historical occurrence, will luckily enjoy one hundred percent of this treasure! As with all her sister gems wrested from the remains of the Atocha galleon and brought to the designing hand and eye of Marcial de Gomar, the fortunate owner will enjoy the richness of its matchless splendor.
Accompanied by GIA Report 6187154220 of February 17, 2017 and photocopy Treasure Salvors, Inc. Certificate (Emerald Number A85-E380)
Lot 0025. La Reina. 1.38 carat round cut Colombian emerald from Nuestra Senora de Atocha set in 22 karat gold ring. Estimate $50,000-$70,000. © 2017 Guernseys.com
Designed in the classic Spanish Mudéjar style, this original design by Marcial de Gomar features a 1.38 carat fine quality round cut Colombian emerald originally cut from a 3.40 carat rough crystal recovered by divers from the sunken Atocha galleon. It is crafted in 22 karat gold in the cire perdue method. From anecdotal revelations of family history relating to his Spanish background, Marcial became familiar with the art and design of Spain during its period of Islamic rule of some seven hundred years. The contributions resulting from this fusion of Christian and Islamic art known as Mudéjar have largely gone unrecognized. Since both gold and emeralds from Colombia filled the treasure coffers of Spanish Kings, Marcial wished to restore in some measure this unique and beautiful style, incorporating both those elements into this unduplicated and exceptionally singular ring.
Accompanied by GIA Report 2185154549 of February 17, 2017 and Mel Fisher's Motivation, Inc. Certificate of Authenticity (Emerald Number 94A-29313).
Lot 0009. Epiphany. A contemporary style platinum cross designed and set by Marcial de Gomar featuring seven fine quality rare fancy kite cut Colombian emeralds with an approximate weight of 5.25 carats, accented by round brilliant and tapered baguette cut diamonds with an approximate combined weight of 1.00 carat. Estimate $30,000-$50,000. © 2017 Guernseys.com
The shape of these cut emeralds reflects a geological aspect of the natural irregular shapes of the majority of rough emeralds recovered from the Buena Vista mine. Their faceting lends itself to this particular shaping, which allows the natural beauty and color to stand out while also retaining maximum size. All seven have the exceptional brilliance typical of emerald bearing areas in the Chivor Region. Here however, it is important to note that achieving the type of parity of color and fire present in this cross, in a single emerald recovery, is a rare, heavens-opening occurrence that gives this piece its name "Epiphany."
It is at that precise moment of discovery that the imagination unfolds the ultimate design in which to place the stones, the emeralds voicing to Marcial de Gomar the manner in which they should be set. The symbol of the cross into which these stones have been set celebrates the unity within mankind's many faiths through the words "Universality is of God and all limitations earthly." It can, thus, be worn in all its splendor by a person of any belief system.
Accompanied by GIA Report 2181154030 of February 16, 2017
Lot 0028. Gold Coin Pendant. A fine-grade 22 karat gold eight escudo coin in an 18 karat gold pendant with 22 karat gold baht chain, featuring 1 carat Colombian emerald. Estimate $25,000-$35,000. © 2017 Guernseys.com
This 18 karat gold pendant and 22 karat gold baht chain are a handmade Marcial de Gomar design with a fine quality emerald cut Colombian emerald weighing approximately 1 carat set in the bail. The pendant's coin is framed on a precise angle so that it swivels to show both sides in a vertical position, showcasing the cross and the pillars in upright positions (these markings vary from coin to coin).
This coin was given to Marcial de Gomar personally by Mel Fisher; it is a fine-grade 22 karat gold 1711 eight escudo coin, minted in Lima during the reign of Philip V. Weight: 26.8g. Assayer: M.
Accompanied by original Treasure Salvors, Inc. Certificate (Coin Number GS 965)
Lot 0008. Emerald Dragon. Elaborate 18 karat green gold belt buckle with Imperial Dragon design, featuring a 2.69 carat Colombian oval cabochon emerald and diamond accent. Buckle measures 2 ½ x 1 ¾in. Estimate $20,000-$25,000. © 2017 Guernseys.com
In his days of military service in the U.S. Coast Guard while stationed in Hawaii, a young Marcial de Gomar designed and incorporated dragon motifs into the concealable cuffs of his military tunic sleeves. This truly one-of-a-kind Marcial de Gomar Emerald Dragon captures the mystical symbolism he so appreciates in dragon imagery. A solid 63.7 grams of 18 karat green gold, this belt buckle design features a fabulous 2.69 carat fine quality Colombian oval cabochon emerald, with a diamond accent in the dragon's eye. Worthy of note is that, far from just any dragon, this buckle is decorated with an Imperial Dragon distinguishable by its five toes instead of four, as lesser dragons are known to display.
The buckle is very stable and strong, with no moving parts, and works very securely. In place of the conventional pearl in the Dragon's grip, Marcial de Gomar placed a fine, dark green cabochon emerald from Muzo mine, making it perhaps the first time the Imperial Dragon has ever been depicted with an emerald rather than a pearl.
Accompanied by GIA Report 6187154244 of February 17, 2017.
Lot 201. A blue and white baluster vase, Chenghua six-character mark, Kangxi period (1662-1722); 48.2cm (19in) high. Estimate £12,000 - 15,000 (€14,000 - 18,000). Photo: Bonhams.
The body raising on an elegantly-tapering foot, painted in vivid shades of cobalt blue with an audience scene, depicting a scholar holding a hu tablet arriving at a pavilion, received by a dignitary unfolding and announcing the Imperial edict, accompanied by martial generals and anticipated by further scholar-officials in the fenced garden beside pitted Taihu rocks, all framed within cloud scrolls, the waisted neck with two leafy sprigs issuing prunus and lily blossoms.
Note: Compare with a similarly-shaped blue and white vase, painted with scholars engaging in leisurely pursuits, which sold at Sotheby's London, 5 November 2014, lot 113.
Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET
Lot 202. A pair of blue and white 'hawthorn' baluster jars and covers, Kangxi period (1662-1722); (17 2/8in) high. (4). Estimate £5,000 - 6,000 (€5,900 - 7,100). Photo: Bonhams.
Painted all over with flowering sprays of prunus reserved on a blue 'cracked-ice' ground, between a dentil border around the foot and ruyi-head band encircling the neck, the domed cover with lotus-bud finial similarly painted.
Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET
Lot 203. A pair of powder-blue-ground blue and white rouleau vases, Kangxi period (1662-1722); 54.5cm (21 1/2in) high. (2). Estimate £18,000 - 25,000 (€21,000 - 29,000). Photo: Bonhams.
Painted with variously shaped panels enclosing insect and birds amid rocks and flowers, children and ladies, various antiques and scholarly items, all reserved on powder-blue-grounds.
Note: A related pair of blue and white rouleau vases, decorated with panels reserved on a blue ground is illustrated by C.J.A.Jörg in Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, London, 1997, fig.152, pp.142 and 143.
Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET
Lot 208. A pair of blue and white baluster jars and covers, Kangxi period (1662-1722); 61cm (24in) high (4). Estimate £18,000 - 25,000 (€21,000 - 29,000). Photo: Bonhams.
Both painted around the exterior with circular panels of an elegant lady gazing out of her window, double-gourd panels of antiquities and archaic bronze vessels, all reserved on a honeycomb-pattern ground, the domed cover with lotus-bud finials.
Provenance: an Italian private collection
Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET
Lot 209. A pair of blue and white beaker vases, gu, Kangxi period (1662-1722). The largest 46cm (18 1/8in) high. (2). Estimate £9,000 - 12,000 (€11,000 - 14,000). Photo: Bonhams.
Both with channelled rims and deftly painted around the exteriors in vibrant hues of cobalt-blue with various scenes, the upper register of one vase with armed soldiers, the middle section with gentleman drinking around a board game, the lower register with elegant ladies in a garden and pavilion playing chess, the other vase decorated on the upper register with court musicians accompanying a court lady and phoenix, the middle register with ladies engaged in the four scholarly arts, the lower register with scholars and attendants amidst gnarled pine trees.
Provenance: an Italian private collection
Note: During the Kangxi period it was fashionable to depict warriors and scenes from popular novels such as The Romance of the Three Kingdoms, or Outlaws of the Marsh. The majority of the images on porcelain are derived from woodblock illustrations. Compare with a related motif on a vase, Kangxi, illustrated in Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collections, Shanghai, 2005, pp.270-271, no.97.
Bonhams. FINE CHINESE ART, 11 May 2017, 11:00 BST, LONDON, NEW BOND STREET
