Lot 171. A gilt-bronze figure of Padmasambhava, Qing dynasty, 18th century, 23 cm, 9 in. Estimate 20,000 — 30,000 GBP. Lot sold 30,000 GBP. Photo: Sotheby's.

seated in dhyanasana on a double lotus base, holding a vajra in the right hand and a skull cap in the left, wearing a dhoti, a shawl around the shoulders and a monk's cap, the face with a contemplative expression framed by pendulous ears

Provenance: Acquired in China between 1900-1936.
Thence by descent to the present owner. 

Sotheby's. Important Chinese Art, Londres, 10 mai 2017, 02:00 PM 

22nd December, 1969: Jackie Kennedy Onassis (Photo by David Cairns/Stringer/ Hulton Archive/Getty Images)

NEW YORK, NY.- Christie’s New York Watches announced The Jacqueline Kennedy Onassis Cartier Tank as a sale highlight of its June 21st Rare Watches and American Icons New York sale. 

Originally given to Jackie from her brother-in-law Prince Stanislaw “Stas” Radziwill in 1963, she wore this Cartier Tank for decades, which can be seen on her wrist in many iconic photos. (Estimate: $60,000 – $120,000). The watch features the engraving: "Stas to Jackie 23 Feb. 63 2:05 am to 9:35 pm.” The times refer to the start and stop times of the famous 50-Mile Hike in Palm Beach in 1963. 

In the June 21st NY auction, the watch will also be accompanied by an original painting that Jackie made in 1963 as a gift for Stas Radziwill celebrating the hike with the dedication “February 23, 1963 2:05 am to 9:35 pm / Jackie to Stas with love and admiration”. 

The Jacqueline Kennedy Onassis Cartier Tank. Estimate: $60,000 - $120,000 © Christie’s Images Limited 2017.

The 50-mile hike became a short-lived fad in early 1963 after President Kennedy publicly asked the American people to accept the mentally and physically grueling challenge of walking this long distance. His inner circle of family and friends were some of the first to attempt the hike including his friends Stas Radziwill and Chuck Spalding, featured in the painting. 

This watch and the accompanying painting, previously unknown to the public, are two of the most important historic artifacts to surface in recent years from the golden era of the Kennedy Presidency. 

John Reardon, International Head of Christie’s Watches: “The Jacqueline Kennedy Onassis Cartier Tank is a watch full of emotion, love and history. Together with Jackie’s painting, these two objects capture the spirit of another era, a time where friendship and the “can-do” optimism of the generation seemed to make anything possible. In this spirit, the consignor has offered to donate a portion of the proceeds to the National Endowment for the Arts. Christie’s Watches proudly offers this truly iconic timepiece and painting on June 21 in our New York Rockefeller Center Saleroom.” 

Further June 21st Rare Watches Live Auction details and property highlights to come.

The Jacqueline Kennedy Onassis Cartier Tank. Estimate: $60,000 - $120,000 © Christie’s Images Limited 2017.

LONDON.- Leading highlights by Egon Schiele and Vincent van Gogh are now on display at Christie’s New York until 17 May 2017 ahead of London’s Impressionist & Modern Art Evening Sale in June. Schiele’s Einzelne Häuser (Häuser mit Bergen) (1915, estimate: £20,000,000-30,000,000) was painted in the middle of the First World War and exemplifies the artist’s visionary understanding of landscape, which he used as an allegory of human emotion. Van Gogh’s Le Moissonneur (d’après Millet) (1889, estimate: £12,500,000-16,500,000), was painted in 1889, the same year that he left Arles and admitted himself into an asylum. The auction will take place on 27 June 2017 as part of 20th Century at Christie’s, a series of sales that take place from 17 to 30 June 2017. The works will tour to Hong Kong from 25 to 29 May 2017 and will be on view in London from 17 to 27 June 2017. 

Egon Schiele, Einzelne Häuser (Häuser mit Bergen) (recto); Mönch I (fragment; verso), signed 'EGON SCHIELE 1915' (centre right), oil on canvas, 43 1/4 x 55 in. (109.8 x 139.7 cm.). Painted in 1915. Estimate: £20,000,000-30,000,000. © Christie’s Images Limited 2017.

Egon Schiele: Schiele created landscapes filled with melancholy, charging the natural world with a deeper spiritual meaning. The autumnal setting of Einzelne Häuser (Häuser mit Bergen) can be seen as a metaphor for mortality; the crumbling facades of the townscape and surrounding trees used as an alternate physical expression of the elemental forces of growth, death and decay. As with almost all of Schiele’s townscapes, the buildings in Einzelne Häuser (Häuser mit Bergen) appear to represent his mother’s hometown, Krumau, a medieval Bohemian town on the Moldau River, known today as Český Krumlov on the Vltava in the Czech Republic. Schiele painted Einzelne Häuser (Häuser mit Bergen) on the reverse of a fragment of an older picture known as Monk I that dates from 1913. It is believed to have formed part of one of his largest attempted projects, Bekehrung (‘Conversion’), and is linked to the two monumental allegories that he produced the same year, of which only fragments, sketches and photographic evidence are now known.  

Vincent van Gogh, Le moissonneur (d’après Millet), oil on canvas, 17 x 9 5/8 in. (43.3 x 24.3 cm.). Painted in 1889. Estimate: £12,500,000-16,500,000. © Christie’s Images Limited 2017.

Vincent van Gogh: Painted in September of 1889 Le Moissonneur (d’après Millet) is one of ten paintings that Van Gogh made after a series of drawings by Jean-François Millet entitled Les Travaux des Champs (1852), seven of which now reside in the Van Gogh Museum, Amsterdam, with the other two in private hands. The work of Millet became a major focus for Van Gogh during this period, following the gift of a set of engravings of Millet’s Les Travaux des Champs by Jacques-Adrien Lavielle that was sent to Van Gogh from his brother Theo van Gogh the same year. Le Moissonneur (d’après Millet), employs the composition of Millet but is filled with Van Gogh’s own dramatic and intense use of colour. With his back to the viewer, bent over as he works the fields, the male figure is illuminated against the deep blue sky and golden yellow fields.

Ex-collection d'Anna Gould. Collier Belle Epoque diamants par Cartier. Estimation 500.000 et 700.000 euros. © Christie’s Images Limited 2017.

Paris– Christie’s présentera sa vente de bijoux le 6 juin prochain dans laquelle figurent 180 pièces estimées de 2.000 à 500.000 euros.
Amateurs et collectionneurs trouveront certainement leur bonheur parmi ces bijoux de grande qualité d’époques et de styles très différents.

Parmi eux, Christie’s a l’honneur de présenter un collier diamants Belle Epoque ayant appartenu à Anna Gould, femme emblématique du début du siècle dernier et épouse de Boni de Castellane.
Ce collier réalisé par Cartier au début du siècle est entièrement serti de diamants taille ancienne et coussin pesant au total environ 100 carats. 

Anna Gould, riche américaine de la Belle Époque était l’épouse de Boni de Castellane. Personnalités légendaires de la fin du XIXe siècle et de la première moitié du XXe siècle, ce couple reste célèbre pour avoir décoré le majestueux Palais Rose des plus beaux chefs-d’oeuvre qui soient, principalement de peintures et dessins anciens, de porcelaine, d’orfèvrerie et de mobilier Boulle. Christie’s a organisé la vente de la collection de Boni de Castellane & Anna Gould le 7 mars dernier qui a totalisé€14,2M, réalisant notamment le prix le plus élevé pour un tableau ancien vendu aux enchères en France ces vingt dernières années.
De nombreux bijoux seront offerts par Boni de Castellane après leur mariage dont un superbe diadème de diamants et un collier de perles acheté chez Boucheron. En plus d’être une grande cliente de Cartier, Anna Gould était également une très fidèle cliente de la maison Boucheron.
Ce collier formé d’une ligne de diamants ronds de taille ancienne retenant en pampille des motifs de forme poire ajourés et ornés de diamants coussins et ronds est estimé entre 500.000 et 700.000 euros.

Ex-collection d'Anna Gould. Collier Belle Epoque diamants par Cartier. Estimation €500.000-700.000. © Christie’s Images Limited 2017.

Marie-Laurence Tixier, Directrice du département des bijoux : «C’est un véritable honneur de présenter aux enchères ce somptueux collier lors de notre prochaine vente. Il est rare de découvrir encore en mains privées des pièces aussi spectaculaires réalisées par Cartier au début du siècle dernier. L’achat de ce collier a probablement été effectué avant 1909 car il est présenté dans son écrin d’origine sur lequel seules l’adresse de Paris, 13 rue de la Paix et celle de Londres, New Burlington Street sont mentionnées. La provenance prestigieuse de ce collier ajoutéà sa qualité exceptionnelle saura certainement convaincre les amateurs internationaux d’acquérir cet objet remarquable».

Autre provenance prestigieuse, l’écrin de SAR Isabelle de Bourbon-Parme. Composée d’une quinzaine de pièces, cette jolie collection comporte des bijoux d’une grande diversité. Les grandes maisons parisiennes y sont bien sûr représentées telles que Belperron, Cartier, Chaumet et Van Cleef & Arpels. Fille de Sixte de Bourbon, prince de Bourbon-Parme (1886-1934) et d’Hedwige de la Rochefoucauld (1896-1986), Isabelle de Bourbon-Parme sera élevée dans le souvenir d’un homme illustre. Son père, membre de la maison Bourbon, se distingue pendant la première guerre mondiale. La France lui ayant refusé de rejoindre les rangs de son armée car récusant tout membre de ses anciennes dynasties, il s’engage dans l’armée belge, la reine Elisabeth épouse d’Albert Ier étant sa cousine. En 1917, il sera chargé par son beau-frère, l’Empereur d’Autriche-Hongrie, Charles Ier époux de sa soeur Zita, d’être l’intermédiaire pour négocier secrètement un processus de paix entre l’empire austro-hongrois et les Alliés. Cette tentative échouera, sabotée par le comte Czernin, ministre des affaires étrangères austro-hongrois. En 1919, Sixte de Bourbon-Parme épouse Edwige de La Rochefoucauld (1896-1986) qui lui donne une fille, Isabelle de Bourbon-Parme. Une paire de pendants d’oreilles composée de perles fines et diamants par Chaumet sera proposée pour une estimation de €40.000-60.000.

Ex-collection de SAR Isabelle de Bourbon-Parme. Paire de pendants d’oreilles perles fines et diamants par Chaumet. Estimation €40.000-60.000. © Christie’s Images Limited 2017.

Une petite collection originale de cinq bijoux réalisés par Jean Després sera également mise à l’honneur. Artisan du métal, formé initialement par un orfèvre parisien avant de devenir dessinateur dans les ateliers de l’aviation militaire pendant la Première Guerre Mondiale, Jean Després se rapproche de certains artistes modernes et se passionne pour le cubisme. Ce n’est que naturellement qu’il contribuera au renouveau de la joaillerie aux côtés de Gérard Sandoz et Raymond Templier. Parmi ces bijoux, les amateurs pourront découvrir une broche en laque, or et argent estimée €7.000-10.000 ou encore une boucle de ceinture réalisée lors de sa collaboration avec Etienne Cournault entre les années 1930 et 1933. Elle est estimée €4.000-6.000.

Broche laque et argent par Jean Després. Estimation €7.000-10.000. © Christie’s Images Limited 2017.

Enfin, une section de bijoux contemporains intitulée Creation Now : Cosmos sera également présentée par le département des bijoux. Gerd Rothmann sera notamment mis en en avant avec un bracelet très original « Von Ihm Fur Sie (De lui à elle)». De forme manchette en or jaune travaillé pour prendre l’apparence de la peau, ce bracelet réalisé en 1990 est estimé€30.000-40.000 euros. Du même créateur, un autre bracelet en or gris martelé orné d’une trace de lèvres sera quant à lui proposé pour €20.000-30.000.

Bracelet "Von Ihm Fur Sie (De lui à elle)" par Gerd Rothmann. Estimation €30.000-40.000. © Christie’s Images Limited 2017.

Interior view of the Roger Belanich Collection of Longquan Celadon Ceramics © Christie’s Images Limited 2017.

‘Where do these exquisite porcelains come from? These heavenly products are greatly loved.
With their lustrous, glossy appearance they are the equal of jade. With these green-glazed censers standing here,
big bronze tripod censers hold no attraction.’
－14th century Japanese monk-poet
窯瓷精緻何處來，括蒼所產良足愛，滑潤光生與玉侔，青爐峙立厭鼎鼐」。（日本十四世紀的詩僧）

Longquan celadons are prized for the refined beauty of their glazes, which combine a range of subtle green colours with delicate translucency and soft texture. The name applied to these celadons does not come from a specific kiln site. Instead Longquan is the market town in southern Zhejiang province to which the ceramics were brought for sale and distribution. To a large extent Longquan celadons inherited the legacy of the stonewares produced at the Yue kilns in the same province, and in the Northern Song period the Longquan kilns produced wares very similar to Yue. However, in the Southern Song period, no doubt influenced by the refined tastes of members of the elite, who accompanied the new Southern Song court when it settled at Hangzhou, the Longquan kilns began to develop a high-quality soft green celadon glaze, that was to prove hugely popular both in China and overseas. This classic Longquan ware has a lime-alkaline glaze – in contrast to the Yue and Yaozhou glazes which were lime glazes, which is more viscous than the Yue glaze, and is usually thicker and richer in appearance. Some of the components in the Longquan glaze are less soluble than those in the Yue glaze, and remain intact after firing. These, together with gas bubbles, cause the delicate translucence typical of Longquan glazes.

The Longquan glaze was perfected during the Southern Song period, but the wares expanded in production in the Yuan dynasty. Indeed, as the Yuan dynasty progressed, production rose to such an extent that some 300 kilns were active in the Longquan region. These kilns ranged across a significant area from the Dayao 大窯, Jincun 金村 and Xikou 溪口 kiln complexes in the west, which had been prominent in the Southern Song dynasty, to those further east on the Ou甌江and Songxi 松溪 rivers. These rivers facilitated the transportation of the ceramics to other parts of China as well as to the ports of Quanzhou泉州and Wenzhou温州, for shipment abroad.

New shapes and styles of decoration were introduced, and pieces of impressive size began to be made at the Longquan kilns. While some of the larger pieces, such as the large dishes, were probably initially inspired by the requirements of patrons from Western Asia, these and other large forms came to be appreciated by patrons in both West and East Asia. Fine Longquan celadons were especially popular in Japan, and a Longquan lidded celadon jar was found in the grave of Kanazawa Sada-aki (金沢貞顕1278-1333) in the grounds of the Shomyo-ji称名寺Temple. The Shomyo-ji the temple itself, which is believed to have been set up by H Sanetoki (北条実時1224-76) during the Kamakura period, still has in its collection two large Longquan celadon vases and a large incense burner with applied relief decoration. Other major Japanese temples, such as the Engaku-ji 円覚寺and Kencho-ji 建長寺at Kamakura also still use celadon vases preserved in the temples since the Kamakura (AD 1185-1333) and Muromachi (AD 1333-1573) periods. 

In the early Ming dynasty the celadon-glazed wares from the Longquan kilns remained popular, both within China and as export wares to other parts of Asia. It is also clear that some of the ceramics made at the Longquan kilns were being made for the court, under the supervision of government officials sent from the capital. Significantly, juan 194 of the大明會典Da Ming Huidian states that in the 26th year of the Hongwu reign [AD 1393] some imperial wares were fired at the Rao and Chu kilns – i.e. at Jingdezhen in Jiangxi and at the Longquan kilns of Zhejiang. 

洪武二十六年定 , 凡燒造供用器皿等物 , 須要定奪樣制 , 計算人工物料 ‘ 如果數多 , 起取人匠赴京置窯興工 , 或數少 , 行移饒 , 處等府燒造. 

In volume one of the明憲宗實錄Ming Xianzong Shilu it is noted that Emperor Xianzong ascended the throne in the eighth year of the Tianshun reign [AD 1464] and after the Chenghua reign began in the following year, an amnesty was declared. It was also noted that the officials sent by the government to supervise ceramic production at the Raozhou kilns of Jiangxi province and the Chuzhou kilns of Zhejiang province were required to return to the capital as soon as they received the imperial edict. Of the ceramics in production, those which had been completed should be registered, and work on those which had not been completed should cease. Failure to comply with the edict would be regarded as a crime. This makes it clear that there was official production at the Longquan kilns as late as 1464 - the beginning of the Chenghua reign. 

The Longquanxian zhi 龍泉縣志 (Gazetteer of Longquan County) noted that: ‘After the Cheng[hua] and [Hong]zhi reigns [1465-1506], the form [of Longquan wares] became so crude and the colour so unappealing, that they were no longer fit for those of elegant tastes.’ 

成治以後 , 質粗色惡 , 難充雅玩矣. 

The highpoint of production for post-Song Longquan celadons may therefore be seen as ending in the latter part of the 15th century. 

In the Southern Song period the two most popular forms of decoration on Longquan wares were the carving of overlapping petals around the exterior of bowls and dishes, and the application of sprig-moulded elements under the glaze on the interior of open wares. The translucent glaze softens the features of this sprig-moulded decoration, which is usually in the form of fish or dragons, while also providing a suggestion that they are in water. These decorative techniques and themes were continued into the Yuan dynasty, as can be seen from the large (D: 42.3 cm.) dish in the current sale, which bears two sprig-moulded dragons on the interior (Lot 3007). It is rare to have two sprig-moulded dragons, rather than a single dragon with clouds. However, a smaller (D: 37.3 cm.) Yuan dynasty dish, similarly decorated with two sprig moulded dragons is illustrated by Zhu Boqian in Celadons from Longquan Kilns, Taipei, 1998, p. 222, no. 204. The illustrated dish is, however, decorated with winged dragons and lacks the sprig-moulded flaming pearl of the current dish. It also lacks the fluently carved scrolling decoration in the cavetto of the current dish. 

A Yuan dynasty Longquan celadon dish (D: 35.7 cm.) with carved scrolling in the cavetto and a single sprig-moulded dragon and flaming pearl is also in the current sale (Lot 3005). The dragon is particularly crisply moulded and has a dynamic pose, suggesting that it is turning to grasp the flaming pearl. This was a popular theme on such celadon dishes in the Yuan period, and a slightly smaller (D: 34.8) Yuan dynasty dish of very similar design, although missing the sprig moulded flaming pearl, is illustrated by Zhu Boqian in Celadons from Longquan Kilns, op. cit., p. 223, no. 205. Further smaller dishes of this type with the same carved and sprig-moulded decoration were excavated from the cargo of the Sinan 新安 wreck, which foundered off the Korean coast off Sinan-gun, South Cholla province, in AD 1323 on its way from Ningbo宁波 in China to Fukuoka福岡 in Japan. One of the examples (D: 34.2 cm.) from this famous cargo was illustrated in the catalogue of the 2012 exhibition of items from the Sinan wreck 大元帆影：韓國新安沈船出水文物精華 Sailing from the Great Yuan Dynasty: Relics Excavated from the Sinan Shipwreck, Beijing, 2012, pp. 216-7. Further similar dishes were included in the catalogue of the original 1977 exhibition of pieces from the Sinan wreck - 新安海底文物, Seoul, 1977, exhibit 114 (D: 25.7) colour and black and white plates, and 115 (D: 33.4). Dishes of this design also found favour in Iran and Turkey, and similar dishes were amongst the Longquan celadons in the Ardebil collection - illustrated by T. Misugi, Chinese Porcelain Collections in the Near East – Topkapi and Ardebil, vol. 3, Hong Kong, 1981, no. A231 (D: 36.8 cm). Longquan dishes with variants of this design – some with additional clouds and some without a flaming pearl, and ranging in size from D: 27 cm. to D: 42 cm. - are in the collection of the Topkapi Saray – illustrated by J. Ayers and R. Krahl in Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol. I, London, 1986, nos. 58-62.

A slightly smaller dish of this type (D: 33.5 cm.) from the Eurmorfopoulos collection is illustrated by G. Manginis in China Rediscovered – The Benaki Museum Collection of Chinese Ceramics, Athens and London, 2016, pp. 72-3, no. 38. Two slightly larger dishes of this type are in the Percival David Collection, illustrated in Illustrated Catalogue of Celadon Wares in the Percival David Foundation, London, Revised edition 1997, no. PDF A219 (D: 38.1), which has two sprig-moulded clouds in addition to the dragon and flaming pearl, and PDF 248 (D: 37), which has two extended clouds, but no flaming pearl. 

A further Yuan dynasty Longquan celadon in the current sale accords in terms of form with items in the cargo of the Sinan wreck. This is a bowl which stands on a small foot ring and has sides which flare widely before constricting towards an in-turned mouth rim (Lot 3001). This form was popular in the Near Eastern in pottery from Sultanabad, but was also made in metalwork (see a12th-13th century Iranian bronze bowl of similar form in the collection of the Victoria and Albert Museum, London, illustrated by M. Medley in Metalwork and Chinese Ceramics, Percival David Foundation Monograph Series No. 2, London, 1972, plate 15a). It is almost certainly the metalwork version of this form which provided the inspiration to the Chinese potters of both Longquan and Jingdezhen in the late Southern Song and Yuan dynasty. The bowl in the current sale is undecorated on the exterior, but has a flowering branch impressed on its interior. Bowls of this form with carved petals on the exterior are also known. 

As noted above, bowls of this form were excavated from the cargo of the Sinan wreck. Examples with undecorated exteriors are illustrated in the 1977 exhibition catalogue, op. cit., exhibit 20, colour and black and white plates, and reference plate 300, and in the 2012 exhibition catalogue, op. cit., p. 116 Similarly shaped bowls with carved petals on the exterior and carved scrolling on the interior were also found in this cargo. Illustrated in the 1977 exhibition catalogue, these include exhibits, 107, 108, 109 and reference plate 323, and in the 2012 exhibition catalogue, p. 187. A similarly shaped Southern Song dynasty bowl with petals around the exterior was excavated in 1960 at the site of the Longquan Dayao kiln (illustrated by Zhu Boqian in Celadons from Longquan Kilns, op. cit., p. 163, no. 134. A smaller, undecorated, bowl of this type, was excavated in 1974 from a Southern Song tomb dated to AD 1274 in Juzhou city Illustrated Zhu Boqian, ibid., p.167, no. 138. A late 13th century bowl of this form with carved petals on the exterior and carved scrolls on the interior is in the Percival David Collection (illustrated in Illustrated Catalogue of Celadon Wares, London, 1977 edition, plate VII, no. 70). The Percival David collection also has a small (D: 10.8) undecorated bowl of this type with crazed glaze, illustrated in Illustrated Catalogue of Celadon Wares in the Percival David Foundation, London, Revised edition 1997, no. PDF 252. Interestingly, the shards of a bowl of this type with carved petals on the exterior were found at the Egyptian site of Fustat (illustrated by Tatsuo Sasaki in Chuimei Ho (ed.) New Light on Chinese Yue and Longquan Wares, Hong Kong, 1994, p.330, fig. 1). 

One of the rarest Longquan celadons in the current sale is the Ming, Hongwu reign, cup stand (Lot 3003). A similarly sized Hongwu Longquan cup stand is illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, no. 612, while another, purchased in Kyoto in 1959, was sold by Christie’s New York on 22 March, 2007, lot 291. A Longquan cup stand of the same shape and size, also dating to the Hongwu reign, is in the collection of the British Museum, London, and is illustrated by J. Harrison-Hall in Ming Ceramics in the British Museum, London, 2001, p. 486, no. 16:62. The British Museum example bears the same decoration as the current cup stand. The shape and carved decoration of these Longquan cup stands mirror that seen on underglaze painted porcelain cup stands excavated from Hongwu strata at Jingdezhen. A Hongwu cup stand with underglaze cobalt blue decoration was excavated in 1994 at Dongmentou, Zhushan, Jingdezhen (illustrated in Chang Foundation, Imperial Hongwu and Yongle Porcelain excavated at Jingdezhen, Taipei, 1996, no. 17). Like the Longquan cup stands, the one from Jingdezhen has a classic scroll around the flattened rim and has a similar floral scroll encircling the central ring, which is also decorated with a narrow petal band. Inside the central ring, the Jingdezhen cup stand has a single peony flower, rather than the single chrysanthemum bloom seen on the Longquan examples. The Jingdezhen example was found in association with a relatively shallow, straight-rimmed cup (illustrated ibid., no. 18), and it is probable that the Longquan cup stands were intended to be used with cups of a similar form. Such cups could have been used for either wine or tea. 

While the basic form of these cup stands appears to have endured into the Yongle reign at the Jingdezhen kilns, excavated examples from the Yongle strata lack the raised central ring, while the cups that accompany them are fluted, rather than straight-rimmed as in the Hongwu reign. One each of these underglaze blue decorated cups and cup stands, excavated from the Yongle strata at Jingdezhen in 1994, is illustrated in Chang Foundation, Imperial Hongwu and Yongle Porcelain excavated at Jingdezhen, Taipei, 1996, nos. 55 and 56. 

The provenance of a massive and exceedingly fine Ming Hongwu Longquan celadon dish or charger, with bracket-lobed rim, in the current sale, (Lot 3006) emphasises the admiration for these impressive Chinese celadon wares in Japan. This charger was in the Kuroda Family Collection from the 16th century, and was passed down through the generations until the 20th century. The large dish dates to the second half of the 14th century, during the reign of the Hongwu emperor, when this bracket lobed form was at its height of popularity. 

In the mid-14th century, during the period when the Mongols ruled China as the Yuan dynasty, the kilns producing Longquan celadons and those producing porcelain at Jingdezhen adapted some of their finest ceramics to accommodate the tastes of patrons from the west of China’s borders - either those currently resident in China or those who received Chinese ceramics as gifts or as part of the export trade. One of the shapes that appeared at both kiln sites was the large dish with bracket-lobed rim. In the Yuan dynasty the large dishes with bracket-lobed rims made at the Jingdezhen kilns did not have lobed sides, although a small number of those from the Longquan kilns did. A large Yuan dynasty dish with bracket-lobed rim and lobed sides from the collection of the Longquan Celadon Museum 龍泉青瓷博物館 is illustrated in Longquan Celadon of China 中國龍泉青瓷, Hangzhou, 1998, pl. 120. It is notable, however that the lobes are not so well defined as those on the current dish. Towards the end of the Yuan dynasty the large dishes made at both the Longquan and the Jingdezhen kilns were more frequently made with simple flattened rims, without lobing. However, with the advent of the new Ming dynasty and the new impetus for ceramic production in the Hongwu reign bracket-lobed rims reappeared at both kilns, and with the added feature of lobing to the sides that conformed to the shape of the rims. 

Smaller Yuan dynasty versions of this form with central decoration are amongst the Longquan dishes in the Ardebil collection (D: 37.6) illustrated by T. Misugi, Chinese Porcelain Collections in the Near East – Topkapi and Ardebil, vol. 3, Hong Kong, 1981, no. A 232, which has a moulded central motif; and also in the cargo of the Sinan wreck illustrated in the 1977 exhibition catalogue, op. cit., exhibit 117 (D: 33.6 cm.). 

A large early Ming dish of this form, but with carved decoration, from the collection of the Topkapi Saray Museum, Istanbul is illustrated by R. Fujioka and G. Hasebe in Ceramic Art of the World, vol. 14, Ming Dynasty, Tokyo, 1976, no. 131 (D: 55.5 cm). It is arguable, however, that the rich glaze and fine potting of the current dish is better appreciated due to the lack of additional decoration. 

It may be that the size, elegant form and colour of another massive dish in the current sale (Lot 3008) can also be better appreciated without the distraction of decoration. While the flattened rim of the previous dish would have offered some protection against warping, the straight rim of this magnificent dish would not, and only the potter’s skill in throwing the dish so evenly allowed successful firing. A large dish of similar form and size, but with carved decoration, is in the collection of the British Museum, London. It is illustrated by J. Harrison-Hall in Ming Ceramics in the British Museum, London, 2001, no. 16:64, where the author also notes that the firing of such large dishes posed a great challenge for the potters, as firing them without warping would have been very difficult. She also notes that these extremely large dishes were used a serving dishes at banquets in Western Asia and because of their size would have been excessively heavy when laden with food. 

It seems probable that this massive Longquan dish was made at the kilns at Chuzhou, which produced ceramics for the imperial court in the early Ming dynasty. Similar vessels have been excavated at the imperial kilns at Chuzhou (illustrated in Da Ming Chuzhou Longquan guanyao, Hangzhou, 2005, p. 254, no. 6. A similarly massive and undecorated Longquan dish of this type from the collection of the National Palace Museum is illustrated in Green – Longquan Celadon of the Ming Dynasty, Taipei, 2009, pp. 90-1, no. 41. A further large Longquan dish of this type is illustrated in Wenwen yu se zhao ci ou: Longquan yao qingci yishu 温温玉色照瓷甌—龍泉窯青瓷藝術, Beijing, 2012, no. 112. Another massive undecorated Longquan celadon dish of this type from the collection of the Idemitsu Museum of Arts is illustrated in Gen Min no Toji, Tokyo, 1977, no. 157. A further undecorated large dish of this type was sold by Christie’s Hong Kong on 29 May, 2007, lot 1478. One of the large early Ming dishes of this form, but bearing carved decoration, from the collection of the Topkapi Saray, Istanbul, is illustrated by R. Fujioka and G. Hasebe in Ceramic Art of the World, vol. 14, Ming Dynasty, Tokyo, 1976, no. 130. 

A particularly elegant vertical form in the current sale is the early Ming dynasty pear-shaped vase yuhuchunping with carved gardenia梔子decoration (Lot 3002).
More generously proportioned pear-shaped vases with slender necks and trumpet mouths became popular at the Longquan kilns in the latter part of the Yuan dynasty, but were usually undecorated. A plain pear-shaped vase of this type was excavated in 1985 from a Yuan dynasty hoard at Gongren Road, Yiwu city (illustrated in Complete Collection of Ceramic Art Unearthed in China, vol. 9, Zhejiang, Beijing, 2008, no. 229), while an undecorated Yuan dynasty pear-shaped vase of slightly narrower profile was excavated in 1984 from a hoard at Hecheng, Qingtian County (illustrated in Complete Collection of Ceramic Art Unearthed in China, vol. 9, Zhejiang, Beijing, 2008, no. 211). Indeed, this pear-shaped vase form was very popular during the Yuan dynasty, and it is interesting to note that not only blue and white and copper red and white porcelain vases of this type made at Jingdezhen, but qingbai-glazed yuhuchunping were found amongst the vessels in the cargo of the Sinan wreck, and illustrated in the 1977 exhibition catalogue, op. cit., exhibits 158, 159, 160, 161. Interestingly, a bronze yuhuchunping was also found in the cargo of the Sinan wreck (illustrated ibid., exhibit 291). 

In the early Ming dynasty the centre of gravity of vases of this form moved fractionally lower down the body, which developed more generous proportions, and a number of pear-shaped vases from this period bear carved decoration. An early Ming dynasty Longquan yuhuchunping of similar size and shape as the vessel in the current sale, but with grape vines in the major decorative band, is in the collection of the British Museum, London (illustrated by J. Harrison-Hall, Ming Ceramics in the British Museum, op. cit., no. 16:36). A further vase with identical decoration to that in the British Museum is in the Meiyintang collection (illustrated by R. Krahl, Evolution of Perfection: Chinese Ceramics from the Meiyintang Collection, London, 1996, vol. 1, cat. No. 94). A similar celadon vase decorated with floral scrolls from the Ardebil collection is illustrated by J. A. Pope in Chinese Porcelains from the Ardebil Shrine, Washington, 1956, pl. 129, cat. No. 29.652. A similar vase, which was later adapted to serve as a ewer and is still embellished with Ottoman silver-gilt handle and foot mount, as well as having a hole drilled for a spout, and has lotus as the main decorative motif around the body, is in the collection of the Topkapi Saray, Istanbul (illustrated by J. Ayers and R. Krahl in Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol. I, op. cit., no. 223. A Longquan pear-shaped ewer of similar profile to the current vase is in the collection of the Palace Museum, Beijing. The ewer is illustrated in 中國文物精華大全 – 陶瓷卷 Zhongguo wenwu jinghua daquan - Taoci juan, Taipei, 1993, p. 406, no. 812, where it is dated to the Yongle reign. Two early Ming undecorated pear-shaped Longquan vases in the National Palace Museum are illustrated by Tsai Mei-fen (ed.) in Green - Longquan Celadon of the Ming Dynasty, Taipei, 2009, pp. 102-105, nos. 49 and 50. Further early Ming pear-shaped Longquan celadon vases, with various floral scrolls or fruiting branches or vines in the main decorative band, from the collection of the National Palace Museum, Taipei, are also illustrated by Tsai Mei-fen, op. cit., pp. 106-121. 

The floral decoration on the current vase, however, is of an especially rare type, as it appears to depict a flowering gardenia in the main decorative band, and no other Longquan pear-shaped vase decorated with this flower appears to have been published. This particular flower did not come to prominence at the Jingdezhen kilns until a little later in the 15th century, when it appeared on underglaze blue decorated dishes with yellow ground in the Xuande and Changhua reigns. A Xuande example was excavated in 1984 from the Xuande stratum at Zhushan Jingdezhen (illustrated by the Chang Foundation in Xuande Imperial Porcelain excavated at Jingdezhen, Taipei, 1998, p. 89, no. 88). A Chenghua example in the collection of the National Palace Museum, Taipei is illustrated in Catalogue of the Special Exhibition of Ch’eng-hua Porcelain Ware, Taipei, 2004, p. 106, no. 88. 

Another rare early Ming dynasty Longquan vessel in the current sale is the large lobed bowl with bracket lobed rim (Lot 3004). While the majority of the decoration on this bowl is carved, the centre of the interior has a moulded four-petalled flower with a Chinese character in each petal reading: jinyu mantang (May you have a prosperous household). Smaller bowls of this form with carved decoration were made in the 14th century during the Yuan dynasty. A 14th century bowl of this form with carved decoration on the exterior and on the interior walls, and with an impressed floral medallion in the centre of the interior is in the Percival David Collection, illustrated in Illustrated Catalogue of Celadon Wares in the Percival David Foundation, London, Revised edition 1997, no. PDF 274 (D: 17.3 cm). A Yuan dynasty petal-lobed bowl, decorated with carved landscape) (D: 22.8 cm.) is in the collection of the Beijing Palace Museum, illustrated in 中國文物精華大全 – 陶瓷卷 Zhongguo wenwu jinghua daquan - Taoci juan, Taipei, 1993, p. 357, no. 630.

An early Ming dynasty bowl of the same shape and larger size as the current vessel, and also decorated with carved floral sprays on the exterior, is in the collection of the National Palace Museum, Taipei and is illustrated in Green - Longquan Celadon of the Ming Dynasty, op. cit., pp. 70-71, no. 28, while a slightly smaller example from the same collection is illustrated ibid., pp. 72-73, no. 29. A further bowl of this size, shape and decoration in the collection of the Topkapi Saray, is illustrated by J. Ayers and R. Krahl in Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol. I, op. cit., p. 360, no. 493. A similar, if slightly smaller, bowl is in the collection of the Asian Art Museum, San Francisco and is illustrated by He Li in Chinese Ceramics, New York, 1996, p. 202, no. 357. 

The final rare Longquan celadon vessel in the current sale to be discussed here is the rare early Ming dynasty pomegranate-shaped vase with turned-down mouth rim (Lot 3009). This shape may have appeared in Chinese ceramics at the end of the Yuan dynasty or at the beginning of the Ming dynasty, and is probably linked to the rise in popularity of Tibetan Buddhism. A smaller (H: 20 cm), undecorated, vase of this form, formerly in the Franks Collection, is now in the British Museum, London, illustrated by J. Harrison-Hall, Ming Ceramics in the British Museum, op. cit., no. 16:33. Harrison-Hall notes that the shape of the mouth with applied bosses relates to a number of Tibetan brass and copper vessels in the museum’s collection. It does seem probable that the Longquan form was developed due to inspiration from Tibetan metalwork. 

A Longquan vase of this form in the collection of the Palace Museum Beijing shares with the current vase the feature of having a floral scroll around the body of the vessel. In the case of the Beijing vase this is a chrysanthemum scroll – in contrast to the peony scroll on the current vase – but otherwise the decorative scheme is very similar. The Beijing vase is illustrated by Ye Peilan in Yuandai ciqi, Beijing, 1998, p. 259, no. 447. Two Longquan vases of this form, but with their decoration divided into panels, are in the collection of the National Palace Museum, Taipei, and illustrated in Green - Longquan Celadon of the Ming Dynasty, op. cit., pp. 148-151, nos. 75 and 76. A vase of this form, also with its decoration divided into vertical panels alternately filled with flowers and fruit, is illustrated in Toji Taikei (Heibonsha series), Tokyo, 1978, no. 88. 

This is a particularly interesting group of Yuan and early Ming dynasty Longquan celadons, which includes pieces which are not only rare, but were also most probably made for the court of the early Ming emperors. 

Lot 3009. An important and extremely rare Longquan celadon pomegranate-form vase, shiliu zun, detail, Ming dynasty, 14th-early 15th century, 14 ¼ in. (36 cm.) high. Estimate HKD 3,000,000 - HKD 5,000,000 (USD 386,971 - USD 644,952) © Christie’s Images Limited 2017.

Lot 3001. A rare Longquan celadon bowl, Yuan dynasty (1279-1368), 7 1/8 in. (18.1 cm.) diam. Estimate HKD 320,000 - HKD 480,000 (USD 41,277 - USD 61,915) © Christie’s Images Limited 2017.

The bowl is thickly potted with rounded sides flaring from a foot ring to an inverted rim, the centre is impressed with a blossoming, leafy branch within a single line border, covered overall with an even glaze of sea-green tone. Japanese metal cover, Japanese wood box

Provenance: Sold at Christie’s New York, 19 March 2008, lot 558

Note: The distinctive shape of this bowl, with a small foot ring and a wide, inturned mouth rim, is based on a Middle Eastern prototype common to both pottery and metalwork. For a Persian bronze bowl dating to the 12th-13th century, shown alongside a Longquan bowl of corresponding form, see M. Medley, Metalwork and Chinese Ceramics, London, 1972, p. 45, pl. 15 a and b. 

A Longquan bowl of very similar shape, but subtly carved with vertical petals on the exterior, is illustrated in Celadons from Longquan Kilns, Taipei, 1998, p. 163, no. 134. A number of Longquan bowls of this form, also carved with petals on the exterior, were excavated from the wreck of a merchant ship that foundered off the coast of Korea in AD 1323 on its way to Japan. See Special Exhibition of Cultural Relics Found off the Sinan Coast, Seoul, 1977, nos. 107-9.  

This bowl is particularly elegant, as the plain, uncarved sides show off the sea-green colour of the glaze to its best advantage. 

Lot 3002. A very rare carved Longquan celadon bottle vase, yuhuchunping, Hongwu period (1368-1398), 13 in. (33 cm.) high. Estimate HKD 900,000 - HKD 1,500,000 (USD 116,091 - USD 193,486) © Christie’s Images Limited 2017.

The globular body is carved with blossoming gardenia branches above a band of upright overlapping petals and below bands of gardenia and hibiscus scrolls at the neck interspersed by sets of horizontal parallel lines. The vase is covered overall with an even glaze of pale olive tone with the exception of the foot rim. 

Provenance: Ralph M. Chait Gallery, New York
Eskenazi Ltd., London, 2008

Exhibited: The Seattle Art Museum, 2009-2017

Note: The present vase is one of the finest examples of early-Ming Longquan celadon wares probably produced at the Imperial kilns in Chuzhou. Although a few other similar Longquan yuhunchunping are known, the present vase is distinguished by its generously-proportioned body and the fluid carving, and its decoration appears to be unique.

The majority of similar examples follow a standard arrangement of motifs, carved from top to bottom with bands of upright plantain leaves, key frets, classic scroll, pendent-ruyi collar, floral scroll, upright petals, and key frets again. Dominating the decoration is the wide register of floral scroll, with peony and lotus being the two most frequently depicted. For examples of the former, compare to a vase in the National Palace Museum, Taipei, illustrated in Green-Longquan Celadon of the Ming Dynasty, Taipei, 2009, pp. 106-7, no. 51, and four other vases in the same institution carved in a more cursory manner, see ibid., pp. 108-113, pls. 52-5; and another in the Palace Museum, Beijing, illustrated in Celadons from Longquan Kilns, Taipei, 2014, p. 188, no. 161; and two sold at auctions, one at Christie’s Hong Kong, 1 October 1991, lot 732, the other at Sotheby’s Hong Kong, 5 November 1996, lot 635. Examples of the later include a vase in the National Palace Museum, Taipei, ibid, pp. 114-5, no. 56; a second in the Topkapi Saray Museum, illustrated by Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. I, p. 295, pl. 223; and a third illustrated in Chinese Ceramics, Bronzes and Jades in the Collection of Sir Alan and Lady Barlow, London, 1963, pl. 95b. Compare also to a vase with blossoming pomegranate scroll as the major band in the Palace Museum, Beijing, illustrated by Huang Wenwen in Qinggong jiucang Mingdai Longquan qingci yanjiu, The Research of Porcelain of Longquan Kiln, Beijing, p. 247, fig. 3, and one with grapevines in the Meiyintang Collection, illustrated in Chinese Ceramics from the Meiyintang Collection, vol. three (II), London, 2006, pl. 1582.  

Lot 3003. A carved and moulded Longquan celadon barbed-rim cup stand, Hongwu period (1368-1398), 7 3/8 in. (18.7 cm.) diam. Estimate HKD 160,000 - HKD 220,000 (USD 20,638 - USD 28,378) © Christie’s Images Limited 2017.

The interior is carved in the centre with a chrysanthemum spray surrounded by a raised ring incised with mini lappets, and a ring of lotus scroll and foliate band at rim. The stand is covered overall with an even glaze of pale sea-green tone with the exception of the unglazed circle on the slightly convex base. 

Provenance: Sold at Sotheby’s London, 14 December 1976, lot 84

Exhibited: The Seattle Art Museum, 2009-2017

Note: Compare to a similar cup stand in the British Museum, illustrated by Jessica Harrison-Hall in Ming Ceramics, p. 486, pl. 16.62, and closely related blue and white and copper-red examples from Jingdezhen, such as a blue and white stand recovered from the Hongwu stratum, Dongmentou, Zhushan, illustrated in Imperial Hongwu and Yongle Porcelain excavated at Jingdezhen, Taipei, 1996, pp. 100-1, no. 17, and a copper-red stand also from the Hongwu period in the Palace Museum, illustrated in Blue and White Porcelain with Underglaze-Red (I), The Complete Collection of Treasures of the Palace Museum, Shanghai, 2000, p. 243, pl. 224.

Lot 3004. A rare carved large Longquan celadon barbed-rim bowl, Hongwu period (1368-1398), 12 5/8 in. (32.2 cm.) diam. Estimate HKD 900,000 - HKD 1,500,000 (USD 116,091 - USD 193,486) © Christie’s Images Limited 2017.

The bowl is heavily potted with deep sides carved as eight petals rising to a barbed rim, the interior is moulded in the centre with a four-petalled flowerhead enclosing the characters, jinyu mantang (May you have a prosperous household), within a combed quatrefoil reserve below various fruit or flower sprays in the well and a cloud border at the rim, the petals on the exterior enclosing lotus sprays below a border of overlapping petal tips at the rim. The bowl is covered overall with a glaze of sea-green tone which also covers the foot and the centre of the base within a wide unglazed ring. 

Provenance: J.T. Tai & Co., New York
Sold at Christie’s New York, 30 March 2005, lot 332

Exhibited: The Seattle Art Museum, 2009-2017

Note: Compare to a large barbed-rim bowl with similar fruit and flower sprays on the interior and lotus sprays on the exterior illustrated by R. Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. I, 1986, p. 360, no. 493. See, also, the bowl of this form with the same unusual border of overlapping petal tips at the exterior rim in the Asian Art Museum of San Francisco, illustrated by He Li, Chinese Ceramics, New York, 1996, p. 175, no. 357; and another bowl carved with lotus sprays on the interior and exterior included in the Illustrated Catalogue of Chinese Government Exhibits for the International Exhibition of Chinese Art London, vol. II, Shanghai, 1948, p. 100 (top).

Lot 3005. A rare carved and moulded ‘dragon’ charger, Yuan dynasty (1279-1368), 13 ¾ in. (35.7 cm). Estimate HKD 400,000 - HKD 600,000 (USD 51,596 - USD 77,394) © Christie’s Images Limited 2017.

The charger is well potted with shallow rounded sides rising from a short tapered foot to an everted rim. The centre of the interior is sprig-moulded with a ferocious four-clawed dragon chasing a flaming pearl, surrounded by a register of foliate scroll at the well. The exterior is carved and moulded with a band of upright petals. It is covered overall with a translucent glaze of sea-green tone with the exception of the foot. 

Provenance: Sold at Christie’s New York, 20 March 2001, lot 209

Note: Though similar chargers are known in museums and private collections worldwide, the present charger distinguishes itself by the recision in the moulding of the dragon, imbuing it with a powerful sense of movement. Compare to a charger with the same motif in the British Museum, illustrated in Oriental Ceramics: The World’s Great Collection, vol. 5, Tokyo, 1981, no. 132; another with the dragon facing the opposite direction in the Topkapi Saray Museum, illustrated by Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. I, p. 256, no. 62, where four further variants are also illustrated, including one surrounded by three clouds, one by two clouds, one by a single cloud, and one without a flaming pearl, see ibid., nos. 58, 59, 60, 62, respectively.

Lot 3006. A massive and very rare Longquan celadon barbed-rim charger,Hongwu period (1368-1398), 24 ½ in. (62.2 cm.) diam. Estimate HKD 3,000,000 - HKD 5,000,000 (USD 386,971 - USD 644,952) © Christie’s Images Limited 2017.

The charger is sturdily potted with a tapered foot ring rising to the cavetto carved into sixteen bracket lobes below an everted rim of conforming shape, covered overall with an even translucent glaze of soft sea-green tone with the exception of the wide ring on the recessed base. inscribed Japanese wood box

Provenance: The Kuroda Family Collection, Japan, acquired in the 16th century
Mayuyama & Co. Ltd., Tokyo
Eskenazi Ltd., London, 2008

Note: The present dish is from the Kuroda Family Collection. The Kuroda clan originated in Harima Province, and served first the Ota and then the Toyotomi clans. For his service as a strategist, Kuroda Yoshitaka (1546-1604) was granted the lordship of Nakatsu Castle in 1587. Not only was Kuroda Yoshitaka the chief strategist to Toyotomi Hideyoshi, he also became a friend of the famous tea master Sen no Rikyu (1522-1591), and wrote a treatise on the principles of tea.

Longquan chagers exceeding 60 cm. in diametre are extremely rare, and it is even more exceptional to find one with a barbed-rim. Five similar examples of comparable size are known, four of which are in museums worldwide: one in the National Museum of China, published in Zhongguo Guojia Bowuguan guancang wenwu yanjiu congshu: ciqi juan (Mingdai), Shanghai, 2007, pl. 112, another in the Nezu Art Museum, illustrated in Nezu Bijutsukan zohin shirizu 4: Seiji, Tokyo, 1977, and two in the Idemitsu Museum of Arts, included in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pls. 594 and 595; and one formerly in the Meiyintang Collection, was sold at Sotheby’s Hong Kong, 5 October 2011, lot 7. Compare also to a slightly smaller (57 cm.) dish in the Topkapi Saray Museum, illustrated in Chinese Ceramics in the Topkapi Saray Museum, Istanbul, London, 1986, vol. 1, no. 245. 

Lot 3007. A very rare large carved and moulded ‘double-dragon’ Longquan celadon charger, Yuan dynasty (1279-1368), 16 5/8 in. (42.3 cm). Estimate HKD 500,000 - HKD 700,000 (USD 64,495 - USD 90,293) © Christie’s Images Limited 2017.

The charger is sturdily potted with shallow rounded sides rising from a short foot ring to an everted rim. The centre of the interior is sprig-moulded with two scaly four-clawed dragons contesting a flaming pearl, below a band of freely carved foliate scroll on the cavetto, while the exterior is carved and moulded with a band of upright petals. The dish is covered overall with an even translucent glaze of lake green tone with the exception of the foot ring.

Provenance: Priestley and Ferraro, London, 1999

Exhibited: The Seattle Art Museum, 2009-2017

Note: It is extremely rare to find a Longquan charger moulded with a pair of dragons, as most other examples are moulded with a single dragon or fish. For slightly smaller chargers moulded with a single dragon, compare to an example (36 cm.) in the Topkapi Saray Museum, Istanbul, illustrated by Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. I, p. 256, no. 62, another (36.8 cm.) in the British Museum, illustrated in Oriental Ceramics: The World’s Great Collection, vol. 5, Tokyo, 1981, no. 132, and lot 3005 (35.7 cm.) in this sale. Compare also to a rare Longquan charger (37.3 cm.) moulded with two winged dragons with a plain cavetto in the Capital Museum, illustrated in Celadons from Longquan Kilns, Taipei, p. 222, no. 204. Two chargers moulded with fish in the Topkapi Saray Museum are illustrated op. cit. pl. 64 (36 cm.) and pl. 65 (44 cm.). 

Lot 3008. A fine and massive Longquan celadon charger, Yongle period (1402-1425), 23 1/8 in. (58.7 cm.) diam. Estimate HKD 1,500,000 - HKD 2,500,000 (USD 193,486 - USD 322,476) © Christie’s Images Limited 2017.

The charger is heavily potted with gently curved sides rising from a tapered foot ring to a rounded rim, covered overall with an even translucent glaze of sea-green tone except for the wide ring on the recessed base. 

Provenance: Tony Carter, London, 2000

Exhibited: The Seattle Art Museum, 2009-2017

Note: The present charger belongs to a small group of massive Longquan dishes probably made by the imperial kilns at Chuzhou, Zhejiang province, which were left undeocrated to highlight the luminosity of the soft even glaze. Imperial patronage of this type of chargers can be supported by a similar reconstructed example found at the imperial kilns at Chuzhou, Longquan, illustrated in Faxian-Da Ming Chuzhou Longquan guanyao, Hangzhou, 2005, p. 254, pl. 6. Other similar chargers of smaller size include one (57.7 cm.) in the National Palace Museum, Taipei, illustrated in Green-Longquan Celadon of the Ming Dynasty, Taipei, 2009, pp. 90-1, pl. 41; another (56.3 cm.) sold at Christie’s Hong Kong, 29 May 2007, lot 1478; a third (56 cm.) included in the Capital Museum exhibition Wenwen yuse zhaociou, and illustrated in the Catalogue, Beijing, 2012, pl. 112; and a fourth (54.5 cm.) illustrated in Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 174, no. 515, and later sold at Sotheby’s Hong Kong, 7 April 2015, lot 3632. Compare also to larger examples of this type, such as the one (68.5 cm.) in the Idemitsu Museum of Arts, illustrated in Selected Masterpieces from the Idemitsu Collection, vol. 1, Tokyo, 1986-1891, no. 135; another (68 cm.) sold at Christie’s New York, 26 March 2010, lot 1346; a third (68 cm.) sold at Sotheby’s New York, 8 May 1981, lot 254; a fourth (64.9 cm.) sold at Christie’s New York, 17 September 2010, lot 1313; a fifth (63.8 cm.) sold at Christie’s Hong Kong, 26 September 1989, lot 555; and a sixth (63.5 cm.) sold at Sotheby’s Hong Kong, 5 October 2016, lot 3639.

Lot 3009. An important and extremely rare Longquan celadon pomegranate-form vase, shiliu zun, Ming dynasty, 14th-early 15th century, 14 ¼ in. (36 cm.) high. Estimate HKD 3,000,000 - HKD 5,000,000 (USD 386,971 - USD 644,952) © Christie’s Images Limited 2017.

The vessel is sturdily potted with a globular body applied and carved with a broad band of peony scroll bearing four large blooms and arched leaves reserved on a combed ground, between a border of upright petals rising from the foot and another of cross-hatched leaves at the shoulders. The waisted neck is interrupted by a thick horizontal rib carved with a band oflingzhi scroll below and a band of stylised flowers above, with a further narrow band of cross-hatched leaves surrounding the flat mouth rim above the canted everted lip with a wide register of classic scroll bordered by a band of raised bosses. The vase is covered overall with an even translucent glaze of meadow-green tone with the exception of the foot rim, Japanese wood box.

Provenance: A Japanese private collection
Sold at Christie’s Hong Kong, 29 May 2007, lot 1472
Eskenazi Ltd., London, 2014

Note: The peony scroll on the primary band is achieved by a combinative technique of sprig-moulding and carving, and it is very likely that the difficulty and time required of such process had contributed to the rarity of this type of vases. No other vase of the same design appears to have been published and only a small group of similar examples are known. The closest example is a vase in the collection of the Palace Museum, Beijing, which is decorated with a chrysanthemum scroll as the primary band, illustrated by Ye Peilan, Yuandai ciqi, Beijing, 1998, p. 259, no. pl. 447 (fig. 1). 

fig. 1 Collection of the Palace Museum, Beijing

Compare also to three other examples decorated with panels enclosing alternating fruiting and flowering sprigs around the globular body, the first is illustrated in op. cit., p. 259, pl. 446 and in Sekai Toji Zenshu, Shogakukan Series, vol. 13, Japan, 1981, p. 181, pl. 150; and the other two are in the National Palace Museum, Taipei, and illustrated in Green-Longquan Celadon of the Ming Dynasty, Taipei, 2009, pp. 148-151, pls. 75 (fig. 2) and 76.  

fig. 2 The National Palace Museum Collection, Taipei

It is also interesting to compare to a smaller Longquan shiliu zun without appliques and carved decorations in the Palace Museum, Beijing, illustrated by Huang Weiwen in ‘Qinggong jiucang Mingdai Longquan qingci yanjiu’, The Research of Porcelain of Longquan Kilns, Beijing, 2013, p. 252, fig. 14, and col. pl. 31 (fig. 3).

fig. 3 Collection of the Palace Museum, Beijing

The Roger Belanich Collection of Longquan Celadon Ceramics, interior view. © Christie’s Images Limited 2017.

Christie's. The Imperial Sale / Important Chinese Ceramics and Works of Art, 31 May 2017, Convention Hall, Hong Kong

Lot 358. Attractive Colombian emerald and diamond necklace, late 19th century and later. Estimate 510,000 — 810,000 CHF. Photo: Sotheby's

Composed of a line of pinched collet-set circular-cut and cushion-shaped diamonds, and step-cut emeralds, length approximately 385mm, case signed Janesich.  

Lot 320. Fine 11.03 carats Colombian emerald and diamond ring. Estimate 205,000 — 305,000 CHF. Photo: Sotheby's

Set with a step-cut emerald weighing 11.03 carats, between triangular diamond shoulders, size 481/2, Harry Winston, unsigned, maker's marks for Jacques Timey.  

Accompanied by SSEF report no. 89012, stating that the nine emeralds are of Colombian origin, three with a minor amount of oil in fissures and six with a moderate amount of oil in fissures. 

Lot 352. Two Russian emerald and diamond necklaces. Estimate 205,000 — 305,000 CHF. Photo: Sotheby's

One composed of two rows of emerald beads measuring from approximately 5.90 to 17.75mm, embellished with barrel motifs set with baguette diamonds, the clasp highlighted with rose diamonds, length approximately 555mm; the other composed of three rows of graduated emerald beads measuring from approximately 5.80 to 14.60mm, length approximately 425mm.  

Lot 315. Very fine 21.34 carats Colombian emerald and diamond ring, Harry Winston. Estimate 165,000 — 225,000 CHF. Photo: Sotheby's

Set with a step-cut emerald weighing 21.34 carats, between triangular diamond shoulders, size 48, signed Winston, maker's marks for Jacques Timey.  

Accompanied by SSEF report no. 90973, stating that the emerald is of Colombian origin, with no indications of clarity modifications, together with an appendix letter.

Note: "The described emerald exhibits a remarkable size and weight of 21.346 ct, combined with an attractive and homogeneous green colour and a fine purity... In addition to these qualities, this emerald shows no indications of clarity modification in fissures at the time of testing, which is a further sign of rarity".

Excerpt from the SSEF appendix letter

Lot 311. Pair of 8.80 and 9.10 carats Colombian emerald and diamond pendants. Estimate 105,000 — 155,000 CHF. Photo: Sotheby's

Accompanied by SSEF report no. 90975, stating that the emeralds are of Colombian origin, with a minor amount of oil in fissures.

Lot 348. Colombian Emerald and diamond pendant, circa 1910. Estimate 105,000 — 155,000 CHF. Photo: Sotheby's

Accompanied by SSEF report No. 90070 stating that the emerald is of Colombian origin, with a minor amount of oil in fissures.

Lot 347. Pair of 8.92 and 9.73 carats emerald and diamond ear clips. Estimate 72,000 — 125,000 CHF. Photo: Sotheby's

Lot 314. Pair of 3.29 and 3.94 carats Colombian emerald and diamond ear clips. Estimate 42,000 — 62,000 CHF. Photo: Sotheby's

Each set with a step-cut emerald weighing 3.29 and 3.94 carats, within a frame of pear-shaped diamonds, Harry Winston, unsigned, maker's marks for Jacques Timey. 

Sotheby's. Magnificent Jewels and Noble Jewels, Session 3, Geneva, 16 May 2017, 07:00 PM

Lot 3010. A rare blue and white ‘lotus’ dice bowl, Xuande six-character mark in underglaze blue in a line and of the period (1426-1435), 10.5 in. (26.7 cm.) diam., box. Estimate HKD 2,600,000 - HKD 3,500,000 (USD 335,375 - USD 451,466) © Christie’s Images Limited 2017.

The bowl is well potted with thick rounded sides, the exterior painted with a continuous band of undulating lotus meander bearing eight large blossoms and above a band of petal lappets rising from a foot ring encircled by a border of detached scrolling clouds between double-line borders.

Note: Compare to other examples of similar lotus scroll pattern in public and private collections, including two in the National Palace Museum, Taipei, one published in the Illustrated Catalogue of Ming Dynasty Porcelain, pl. 60, and the other in the Catalogue, Blue and White Ware of the Ming Dynasty, Book II, pt. II, pl. 46; one illustrated in Chinese Porcelain, The S.C. Ko Tianminlou Collection, pl. 25; one in the Ashmolean Museum, Oxford illustrated in Sekai Toji Zenshu, Shogakukan Series, vol. 15, pl. 150; one in the Idemitsu Collection, illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, no. 171 and another from the J.M. Hu Collection, sold at Sotheby’s New York, 4 June 1985, lot 6. 

A bowl of this same pattern also with the floral scroll on the exterior foot ring, in the National Palace Museum, Taipei, is illustrated in Catalogue of the Special Exhibition of Selected Hsuan-te Imperial Porcelains of the Ming Dynasty, Taipei, 1998, p. 151, 48.  

A number of similar thickly potted bowls variously decorated with flowers or composite flowers, borne on undulating vines, are published. Compare to two bowls designed with composite floral blooms included in the Philadelphia Museum of Art 1949, Exhibition of Ming Blue-and-White, illustrated in the Catalogue, pls. 60 and 62; and two other examples in the National Palace Museum, illustrated op cit., 1998, p. 145, no. 45, with lingzhi fungus scroll; and p. 153, no. 49, rose scrolls.

Christie's. The Imperial Sale / Important Chinese Ceramics and Works of Art, 31 May 2017, Convention Hall, Hong Kong

Lot 312. Important 45.74 carats Mogok Burmese 'royal blue' sapphire and diamond ring, Van Cleef & Arpels. Estimate 810,000 — 1,410,000. Photo: Sotheby's

Set with a step-cut sapphire weighing 45.74 carats, between tapered baguette diamond shoulders, size 49, sizing band, signed Van Cleef & Arpels, numbered, assay mark. 

Accompanied by SSEF report no. 90968, stating that the sapphire is of Burmese origin, with no indications of heating, 'royal blue' colour, together with an appendix letter.

Sotheby's. Magnificent Jewels and Noble Jewels, Session 3, Geneva, 16 May 2017, 07:00 PM 

Lot 3011. An extremely rare carved yellow and red lacquer ‘dragon’ dish, Wanli period (1573-1619), 8 7/8 in. (22.3 cm.) diam. Estimate HKD 1,500,000 - HKD 2,500,000 (USD 193,486 - USD 322,476) © Christie’s Images Limited 2017.

The shallow dish is superbly carved on the interior through the gold-flecked brownish-yellow outer layer to the red ground with a large central medallion depicting two powerful dragons, one ascending, one descending amidst clouds on either side of a flaming pearl. The dragons’ scales are finely detailed contouring their bodies, and they are depicted above turbulent waves breaking against jagged rocks emerging from the sea, all against undulating sea diaper and geometric sky diaper, contained within a lobed quatrefoil border surrounded by peony sprays. The cavetto is deeply carved with four shaped panels, each enclosing three lotus blooms, separated by beribboned lozenges containing wan symbols. The exterior is similarly carved with continuous, dense flowering lotus meander. The base is lacquered red. Some of the digits on the claws of the dragons were later removed. Japanese wood box

Provenance: A Japanese private collection, acquired in the 1970s

Note: The Japanese wood box is inscribed with two names, Kyogetsu-an and Shohu-an, which appear to be pseudonyms for tea ceremony masters during the Edo period (1603-1867).

The present dish belongs to an extremely rare group of dishes dating to the late Ming period predominantly decorated in brownish-yellow lacquer. All known examples from this group display the very highest standard of workmanship and for centuries have been held in extremely high regard among collectors of lacquer. Most extant examples of this group are either in the Palace Museum Collection, Beijing, or the National Palace Museum, Taipei. Three yellow and red lacquer pieces in the National Palace Museum Taipei were included in the exhibition, Carving the Subtle Radiance of Colors: Treasured Lacquer Ware in the National Palace Museum, Taipei, 2008, nos. 91, 97 and 100. These include a circular dish with a dragon and phoenix, a circular dish with a single dragon, and a rectangular tray with a pair of confronted dragons, respectively. Also in the exhibition is a red lacquer dish of very similar design to the present example, carved with one dragon in ascent, the other in descent, see no. 96. A nearly identical dish to no. 91 from the aforementioned exhibition is in the Palace Museum, Beijing, illustrated in Lacquer Wares of the Yuan and Ming Dynasties, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2006, p. 211, no. 168; and one very similar to no. 97 is in the Sir Harry and Lady Garner Collection, and included in the 1957 Oriental Ceramics Society Exhibition, Arts of the Ming Dynasty, pl. 264, and in the 1973 British Museum exhibition of Chinese and Associated Lacquer from the Garner Collection, London, illustrated, pl. 32a, no. 73.   

Yellow lacquer is also very highly prized in Japan, and a number of examples of similar design to the present dish were preserved in private collections, including a dish with a single ascending dragon from the Kaisendo Museum Collection, sold at Christie's Hong Kong, 1 June 2011, lot 3572. Compare also to a similar three-coloured cinnabar lacquer box of Wanli period from the collection of Sakamoto Goro, sold at Sotheby’s Hong Kong, 8 October 2013, lot 160, and a yellow lacquer rectangular tray with similar decoration from the Kenzo Hasegawa Collection, sold at Sotheby’s New York, 16-17 September 2014, lot 548. 

An important three-coloured cinnabar lacquer 'dragon' box and cover, mark and period of Wanli, dated to the renchen year (in accordance with 1592), from the collection of Sakamoto Goro. Sold 4,840,000 HKD at Sotheby’s Hong Kong, 8 October 2013, lot 160. Photo: Sotheby's. 

Cf. my post An important three-coloured cinnabar lacquer 'dragon' box and cover, mark and period of Wanli, dated to the renchen year)

An extremely rare 'imperial-yellow dragon' polychrome lacquer box and cover, Wanli mark and period, dated to the yiwei year, corresponding to 1595. Lot sold 329,000 USD at Sotheby's New York, 16th/17th September 2014, lot 548. Photo Sotheby's.

(Cf. my post An extremely rare 'imperial-yellow dragon' polychrome lacquer box and cover, Wanli mark and period, dated to the yiwei year)

Christie's. The Imperial Sale / Important Chinese Ceramics and Works of Art, 31 May 2017, Convention Hall, Hong Kong

Lot 328. Attractive 45.34 carats fancy yellow diamond necklace, W.A. Bolin, 1960s. Estimate 355,000 — 455,000 CHF. Photo: Sotheby's

Of foliate design, composed of a line of gold leaves highlighted with brilliant-cut diamonds, the front set with a old European-cut fancy yellow diamond weighing 45.34 carats, length approximately 390mm, maker's mark for W. A. Bolin, Swedish assay marks, case stamped W.A. Bolin.

Accompanied by GIA report no. 2183284076, stating that the diamond is Fancy Yellow, Natural Colour, VS2 Clarity.

Sotheby's. Magnificent Jewels and Noble Jewels, Session 3, Geneva, 16 May 2017, 07:00 PM 

Lot 3012. A fine peachbloom-glazed beehive waterpot, taibai zun, Kangxi six-character mark in underglaze blue and of the period (1672-1722), 4 15/16 in. (12.5 cm.) diam., box. Estimate HKD 800,000 - HKD 1,200,000 (USD 103,192 - USD 154,788) © Christie’s Images Limited 2017.

The rounded sides rising to a short, slightly flaring neck, incised with three archaistic dragon roundels beneath a glaze of even, crushed strawberry tone suffused with mottled areas of copper-green, the rim, interior and base white. 

Provenance: Sold at Christie’s New York, 6 June 1985, lot 441
A private collection, Milan, Italy
Property from a European Collection
Sold at Christie’s Hong Kong, 30 November 2011, lot 2924 

Note: Waterpots of this form are known as Taibai zun, after the Tang dynasty poet Li Bai who was also named Li Taibai (701-762). In later imageries Li Bai, a renowned drinker of wine, is often depicted leaning against a large wine vat of this shape. The vessel's shape is also known as jichao zun because their shape resembles that of a basketwork chicken coop that is woven with a small opening at the top through which the chicks are fed.

Peachbloom-glazed vessels were highly treasured by the Kangxi Emperor, and were primarily fired as small-sized scholar's objects for the Emperor's table. Beehive water pots belong to a group of peachbloom-glazed vessels for the scholar's table known as Badama, 'Eight Great Numbers'. This group was previously thought to comprise a total of eight differing shapes. John Ayers identified a possible ninth form of the Badama by pointing out the existence of two slightly different globular water pots. The first is termed as a pingguo zun, 'apple jar' modelled with a gently inward curving mouth rim; and the other with a raised, low, neck (similar to a stalk) that maybe referred to as a Shiliu, or 'pomegranate jar'. See, J. Ayers, 'The 'Peachbloom Wares of the Kangxi Period (1662-1722), Transactions of the Oriental Ceramic Society, vol. 64, 1999-2000, p. 49.  

The firing of peachbloom-glazed wares involved a complex procedure which required colourants to be blown onto a surface covered with transparent glaze, which was then applied with an additional layer of transparent glaze before being fired in high temperature. 

Similar peachbloom-glazed waterpots are found in various museums and collections worldwide, including one in the Percival David Foundation of Chinese Art, illustrated in Earth, Fire and Water: Chinese Ceramic Technology, London, 1996, no. 24, p. 34; one in the Baur Collection, Catalogue, vol. III, Geneva, 1999, nos. A305, A310 and A313-A316; a full set of the eight vessels in the Metropolitan Museum of Art, New York, illustrated by S.G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p. 237, pl. 236; and one in the British Museum, Oriental Ceramics, The World's Great Collections, vol. 5, Tokyo, 1981, no. 230.  

Compare also to a similar waterpot of the same size, from the J. Insley Blair Collection and sold at Christie's Hong Kong, 28 November 2012, lot 2112; and one from the YC Chen Collection, sold at 29 May 2013, lot 1904.

A peachbloom-glazed beehive waterpot, Kangxi six-character mark and of the period (1672-1722) from the J. Insley Blair Collection. Price realised HKD 1,940,000 (USD 251,540) at Christie's Hong Kong, 28 November 2012, lot 2112. © Christie’s Images Limited 2013.

A fine peachbloom-glazed beehive waterpot, Kangxi six-character mark and of the period (1672-1722)from the YC Chen Collection. Price realised HKD 2,310,000 (USD 298,969) at Christie's Hong Kong, 29 May 2013, lot 1904. © Christie’s Images Limited 2013.

Christie's. The Imperial Sale / Important Chinese Ceramics and Works of Art, 31 May 2017, Convention Hall, Hong Kong

Lot 374. Attractive and rare ruby, onyx and diamond bracelet, Lacloche, circa 1925.   Estimate 310,000 — 510,000 CHF. Photo: Sotheby's

Of open work design, decorated with rose motifs set with cabochon rubies and onyx, and millegrain-set with circular-, single-cut and rose diamonds, length approximately 180mm, signed Lacloche, French assay mark.

Accompanied by a photocopy of the original drawing, stamped Anc. Etabts LACLOCHE and dated 27 Oct. 1925.

Note: By family tradition, this bracelet was purchased at the Exposition internationale des arts décoratifs et industriels modernes in Paris in 1925 by the grandfather of the present owner. 

Sotheby's. Magnificent Jewels and Noble Jewels, Session 3, Geneva, 16 May 2017, 07:00 PM 

Lot 3013. A fine carved celadon ‘cloud’ waterpot, Kangxi six-character mark in underglaze blue and of the period (1662-1722), 2 7/8 in. (7.3 cm.) high, box. Estimate HKD 800,000 - HKD 1,200,000 (USD 103,192 - USD 154,788) © Christie’s Images Limited 2017. 

The gently incurving sides are finely carved to depict billowing clouds ofruyi form rising in columns and trailing wispy tips beside similar detached clouds, covered overall with a pale even celadon glaze of lustrous tone, the countersunk base with a transparent glaze. 

Provenance: The Estate of Diana D. Ashcroft Collection
Sold at Sotheby’s Hong Kong, 2 May 2000, lot 609

Note: A number of these celadon-glazed waterpots are in public and private collections, including one in the Victoria and Albert Museum, London, illustrated by W. B. Honey, Later Chinese Porcelain, pl. 7a; in the Beijing Palace Museum, illustrated in Kangxi, Yongzheng, Qianlong, Hong Kong, 1989, p. 147, pl. 130; in the Metropolitan Museum of Art, illustrated by S. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 245; in the National Palace Museum, Taipei, included in The Illustrated Catalogue of Ch’ing Dynasty Porcelain, no. 58; in the Percival David Foundation exhibition, Elegant Form and Harmonious Decoration, London, 1992, and illustrated in the Catalogue, no. 118; and in the Nanjing Museum, included in the exhibition of Imperial Porcelain from the Kangxi, Yongzheng and Qianlong Reigns, Chinese University of Hong Kong, 1995, and illustrated in the Catalogue, no. 9. Two waterpots from the collection of K. S. Lo were included in the Min Chiu Society Exhibition, An Anthology of Chinese Ceramics, Hong Kong, 1980, illustrated in the Catalogue, nos. 122 and 123; and another from The Jingguantang and the Greenwald Collections, sold at Christie's Hong Kong, 1 December 2010, lot 2815.

A fine carved celadon waterpot, Kangxi six-character mark and of the period (1662-1722), from The Jingguantang and the Greenwald Collections. Price realised HKD 4,220,000 (USD 545,647) at Christie's Hong Kong, 1 December 2010, lot 2815. © Christie’s Images Limited 2010. 

Christie's. The Imperial Sale / Important Chinese Ceramics and Works of Art, 31 May 2017, Convention Hall, Hong Kong