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An important 20.33 carats unmounted Type IIa diamond

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Lot 2072. An important 20.33 carats unmounted Type IIa diamond. Estimate HKD 21,500,000 - HKD 25,500,000 (US$2,750,000-3,250,000)© Christie's Images Ltd 2017

The circular-cut diamond, weighing approximately 20.33 carats

Accompanied by report no. 1172356599 dated 24 January 2017 from the GIA Gemological Institute of America stating that the diamond is D colour, Flawless clarity, with excellent cut, polish and symmetry; and a Diamond Type Classification letter stating that the diamond has been determined to be Type IIa

Christie'sHong Kong Magnificent Jewels, 30 May 2017, Convention Hall


The Jonker V. An exclusive 25.27 carats Type IIa diamond ring, by Harry Winston

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Lot 2073. The Jonker V. An exclusive 25.27 carats Type IIa diamond ring, by Harry Winston. Estimate HKD 17,500,000 - HKD 28,000,000 (US$2,200,000-3,500,000) © Christie's Images Ltd 2017

Set with a rectangular-cut diamond, weighing approximately 25.27 carats, mounted in gold, ring size 4 with ring sizer, in blue leather Harry Winston case. With maker's mark for Harry Winston, no. 74149

Accompanied by report no. 11924246 dated 1 February 2017 from the GIA Gemological Institute of America stating that the diamond is D colour, VVS2 clarity; and a Diamond Type Classification letter stating that the diamond has been determined to be Type IIa  

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Note: The Jonker V. 

Found on January 17th, 1934, the extraordinary 726 carats Jonker rough was discovered and named after Jacob Jonker. At the time, the Jonker was the fourth largest gem quality diamond ever unearthed. The stone was subsequently purchased by Joseph Bastiaenen of the Diamond Corporation Ltd., a company owned by Sir Ernest Oppenheimer. In 1935, it was purchased by Harry Winston and was displayed during the Silver Jubilee Celebrations of the Coronation of King George V and Queen Mary.

Lazare Kaplan was chosen to cut the important diamond. He studied the Jonker for months and after painstaking calculating and examining the piece, the stone was ultimately cleaved and sawed into 13 pieces. The largest diamond weighed 142.90 carats and retained the name of Jonker. It was later recut to 125.35 carats and is one of the most perfectly-cut diamonds in the world. Jonker Diamond V, a rectangular- cut diamond, originally weighed 25.78 carats and was subsequently recut to 25.27 carats to produce an extraordinary diamond. Although larger stones have since been owned and cut by Harry Winston, the Jonker Diamonds are greatly esteemed and sought after by important diamond collectors throughout the world.

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Reference: Thompson, R. (2016 November 21). The World of Famous Diamonds. Retrieved from http://famousdiamonds.tripod.com/

Christie'sHong Kong Magnificent Jewels, 30 May 2017, Convention Hall

"A New Light on Bernard Berenson: Persian Paintings from Villa I Tatti" on view at Harvard Art Museums

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Chess versus Backgammon, illustrated folio from an Anthology of Persian Treatises, Afghanistan, Herat, Timurid period, 1427. Ink, colors, silver, and gold on paper. Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. Photo: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies; © President and Fellows of Harvard College.

CAMBRIDGE, MASS.- This focused exhibition features illustrated Persian manuscripts and detached folios that were collected in the early 20th century by Harvard alumnus Bernard Berenson (1865–1959), the famous American art historian and connoisseur of Italian Renaissance painting. Berenson prized these works at his home in Florence, Villa I Tatti, which he bequeathed to Harvard and which now serves as the Harvard University Center for Italian Renaissance Studies. The exhibition offers the first opportunity to see these works outside Villa I Tatti. 

Works in the exhibition are grouped according to the style in which each was created between the 14th and 17th centuries in Iran and Central Asia. Berenson’s important 15th-century Timurid manuscript will be displayed in an unbound state as part of an ongoing conservation and rebinding process. The show will also include additional related works from the Harvard Art Museums, the Morgan Library and Museum, the Museum of Fine Arts, Boston, and the Isabella Stewart Gardner Museum. These works were collected by close associates of Berenson who shared his enthusiasm for Persian painting, at a time when this area of art was gaining considerable prestige among collectors. 

The exhibition sheds important new light on Berenson’s little-known and understudied Persian collection, highlighting current research from various scholars on Berenson’s collecting interests and the artistic and cultural significance of the objects. 

Curated by Aysin Yoltar-Yildirim, Assistant Curator for Islamic and Later Indian Art at the Harvard Art Museums.

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Prince Isfandiyar Challenges His Father, King Gushtasp, Illustrated folio from the Great Ilkhanid Shahnama by Firdawsi, Iran, Tabriz, Ilkhanid period, 1330's. Ink, colors, gold and silver on paper. Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, FlorencePhoto: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies; © President and Fellows of Harvard College.

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Kay Kavus Crowns His Grandson Kay Khusraw, cut miniature from a folio of a Shahnama (Book of Kings) of Firdawsi, Iran, Shiraz, Turkman Period, 1480s. Ink, colors, and gold on paper. Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. Photo: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies; © President and Fellows of Harvard College.

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Portrait of Sultan Husayn Mirza, folio from an album, Attributed to Bihzad, Islamic (15th -16th century), Afghanistan, Herat, Timurid period, c. 1500-1525. Ink, color and gold on paper. Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. Photo: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies; © President and Fellows of Harvard College.

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Vittore Crivelli, Italian (c. 1444 - c. 1501), Saint JeromeVenetian, 15th century. Tempera and (oil?) on panel. Harvard Art Museums/Fogg Museum, Gift of Mr. and Mrs. Bernard Berenson, 1920.18 © President and Fellows of Harvard College

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Timur Receiving Guests at the Wedding of His Son, Illustrated folio from the Zafarnama by Yazdi, Iran, Shiraz, Timurid period, 1436. Ink, colors, and gold on paper. Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. Photo: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies; © President and Fellows of Harvard College.

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Illustrated manuscript of an Anthology of Persian Treatises for Prince Baysunghur, Fol. 30r, Hunting with a FalconAfghanistan, Herat, Timurid period, 1427. Ink, colors, and gold on paper. Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. Photo: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies; © President and Fellows of Harvard College.

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Rashnavad Battles the Rumis (painting, verso; text, recto), illustrated folio from the Great Ilkhanid Shahnama (Book of Kings), Iran, Tabriz, Ilkhanid period, c. 1330-1340. Ink, opaque watercolor and gold on paper. Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. Photo: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies; © President and Fellows of Harvard College.

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Child Showered with Money, folio from a manuscript inserted in an album page, Iran, Qara Qoyunlu period, 15th century. Ink, opaque watercolor and gold on paper. Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. Photo: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies; © President and Fellows of Harvard College.

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 Iskandar's Iron Cavalry Battles King Fur of Hind (text, recto; painting, verso), illustrated folio from the Great Ilkhanid Shahnama (Book of Kings), Iran, Tabriz, Ilkhanid period, c. 1330-1340. Ink, colors, gold, and silver on paper. Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. Photo: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies; © President and Fellows of Harvard College.

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Sarah Choate Sears, Bernard Berenson, c. 1903. Platinum print. Harvard Art Museums/Fogg Museum, Gift of Montgomery S. Bradley and Cameron Bradley, P1984.58.© President and Fellows of Harvard College

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Timur Celebrates His Conquest of Delhi (painting, verso; text, recto), illustrated folio from the Zafarnama (Book of Victory) of Sharaf al-Din 'Ali Yazdi, Iran, Shiraz, Timurid period1436. Ink and opaque watercolor on paper. Harvard Art Museums/Arthur M. Sackler Museum, Bequest of Abby Aldrich Rockefeller, 1960.198 © President and Fellows of Harvard College

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Attributed to Bihzad, Islamic (15th -16th century), Assault on a CastleAfghanistan, Herat, Timurid period, c. 1475-1500. Opaque watercolor and gold on paper. Harvard Art Museums/Arthur M. Sackler Museum, Bequest of Abby Aldrich Rockefeller, 1960.199 © President and Fellows of Harvard College

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The Assembly of Sages, Folio from an album of the Mughal Emperor Jahangir, Uzbekistan, Bukhara, Mughal period, 17th century. Ink and colors on paper. Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. Photo: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies; © President and Fellows of Harvard College.

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Illustrated Manuscript of the Shahnama by Firdawsi, Fol. 329v, Luhrasp enthroned, Iran, Shiraz, Safavid period, 1520-40. Ink. colors, silver, and gold on paper, gilded and tooled leather. Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. Photo: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies; © President and Fellows of Harvard College.

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Illustrated Manuscript of Farhad and Shirin by Vahshi, Fol. 23v, Khusraw leaves Shirin in his palace, Iran, Isfahan, Safavid period, c. 1600. Ink, colors, silver and gold on paper, lacquered leatherVilla I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. Photo: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies; © President and Fellows of Harvard College.

 

Tokyo Chuo Hong Kong to offer rare imperial ceramics, Chinese paintings and tea wares

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HONG KONG.- Following the success of its 3rd Anniversary Sales last year, Tokyo Chuo Hong Kong will hold its Spring 2017 Sales on 28 & 29 May 2017 at the Four Seasons Hong Kong, presenting nearly 600 lots of Imperial Chinese ceramics and works of art, classical and modern Chinese paintings, scholar’s objects and Japanese tea wares. Of note are important private collections from Europe, America and Japan of exceptional quality and excellent provenance. All the sale items will be on view at the Four Seasons Hong Kong on 26 & 27 May. 

Fine Chinese Modern Paintings and Calligraphy | 28 May, 10 am 

The star lot in the Modern Chinese Paintings sale is Landscape after Ancient Masters by Wu Hufan (1894-1968), estimated at HK$6,500,000-10,500,000/ US$845,000-1,365,000. 

The four archaic landscapes are rendered in the styles of four old masters, namely Juran of the Five Dynasties period, Zhao Dainian of the Northern Song dynasty, Wu Zhen of the Yuan dynasty and Wen Zhengming of the Ming dynasty. The meticulous usage of colours and fine brushwork enhance the depth and distance between the magnificent peaks, conveying a sense of clarity and purity. The novel composition and consummate painting skill make it one of Wu’s most impressive works. What makes these paintings even more special is that they were repainted 25 years after they were first executed. 

Lot 32: Zhang Daqian (1899-1983), Lotus, ink and colour on paper, hanging scroll Dated wu xu (1958) Estimate: HK$5,800,000–8,800,000/ US$754,000–1,144,000. Provenance: An important European and American private collection 

The lotus was one of Zhang Daqian’s favourite subjects, that featured countless times in his paintings throughout his career. The current lot marks the epitome of his mature lotus works, characterised by a sublime fusion of calligraphy and painting. A variety of different calligraphic techniques and the use of thick ink for the tips of the petals on the otherwise subdued tones of the work as a whole, bring out the spirit, delicacy and vigour of the lotus. The strength and consistency of the brushstrokes are also a manifestation of Zhang Daqian’s unique technique. In this work, Zhang captures the dignified grace of the lotus, making it a tour de force that has found favour with connoisseurs and art lovers alike. 

 

Fine Chinese Classical Paintings and Calligraphy | 28 May, 2 pm 

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Lot 277. Gong Xian (1618-1689), Recluse’s Life in Mountains, ink on silk, a set of four hanging scrolls each painting measures 316 × 80 cm. Estimate: HK$8,500,000–12,500,000/ US$1,105,000–1,625,000. Provenance: An important European and American private collection  

The highlight of the Chinese Classical Paintings sale is Recluse’s Life in Mountains by Gong Xian (Estimate: HK$8,500,000–12,500,000/ US$1,105,000–1,625,000). Painted with Gong’s signature brushwork and use of ink washes, all four hanging scrolls feature magnificent portrayals of landscapes in different seasons, with the same typical three-section composition of traditional Chinese paintings. Recurrent motifs in classical landscapes, such as cottages hidden amongst pines, waterfalls and streams shrouded in mist, rolling hills and deep valleys, are all present to convey the lofty concept of an idyllic life in nature pursued by the literati. The signatures on the paintings, “Banmu”, were used by the artist after he was 50, when he was selling paintings and giving lessons in Nanjing. It was in this seminal period that he experienced drastic changes in life and reached the climax of his artistic creation. 

Lot 315. Shen Zhou (1427-1509), Visiting Friends along the Stream, ink on paper, hanging scroll, 103 × 31 cm. HK$5,000,000–8,000,000/ US$650,000 – 1,040,000. Provenance: Collections of Mou Yuezao and Pang Yuanji 

This spectacular work by Shen Zhou features a typical composition in classical Chinese paintings, “one river, two shores”. In the foreground is a clump of towering trees, painted with different shades of ink and fine brushwork, on a shore lined with rocks. On the other side of the river are lofty hills, partly shrouded in mist, against a blank background. Meanwhile, a person is enjoying this scenery on his little boat in the peaceful river. Although the subject of idyllic country life is common in literati painting, the present lot is particularly charming in its simplicity. Looking at this work, viewers will no doubt experience the tranquil state of mind Shen Zhou was in when he was painting it. 

Ichigo Ichie— The Art of Tea Ceremony | 29 May, 10 am  

Lot 573; A Jian “hare’s fur” tenmoku tea bowl, Northern Song dynasty (960-1127). H: 3.5cm; D: 13.5cm. Estimate: HK$1,800,000-2,400,000/ US$234,000- 312,000 

This delicate tea bowl is remarkable for its fine hare’s fur pattern, its firm and strong potted body, as well as the vibrant navy blue infused in the otherwise jet-black glaze. Its qualities of outward-extending mouth, deep belly, and circular foot make the current lot a rare piece within the genre. When used, the amber-coloured tea would reflect the hare’s fur pattern within the tea bowl, creating a captivating fusion of taste and visual experience. Highly-prized, Tenmoku tea bowls not only enjoy an exceptionally high status among utensils used in the Japanese tea ceremony, they are also a manifestation of the prestige and importance of the owner. 

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Lot 645; A pair of gold and silver teapots with dragon-shaped spouts by Zoroku II (with Tomobaku) 1. H: 16cm; W: 814 g 2. H: 17cm; W: 468 g. Estimate: HK$800,000-1,200,000/ US$104,000-156,000 

This pair of gold and silver teapots are finely decorated with wave patterns on the exterior. Both their spouts are crafted in the shape of a beast, a signature of the Zorokus, while. the interior of the lids is decorated with an auspicious design symbolising longevity and happiness. In both design and craftsmanship, the teapots are shining examples of the superb technique and refined aesthetics of the famed Zoroku workshop. 

Important Chinese Ceramics and Works of Art| 29 May, 2 pm 

A pair of famille-rose “flowers and butterflies” plates, Yongzheng, six-character mark and period (1723-1735)

Lot 716; pair of famille-rose “flowers and butterflies” plates, Yongzheng, six-character mark and period (1723-1735) H: 4.5cm;D: 20.5cm × 2. Estimate: HK$4,000,000-6,000,000/ US$520,000 -780,000. Provenance: The J.R. Watkins Family Collection, USA, acquired by family members in Shanghai in the early 20th century. 

Among the Ming and Qing porcelain pieces in the sale, the highlight is no doubt the pair of famille rose “flowers and butterflies” plates from the Yongzheng period (1723-1735). It has close ties with the family of the eminent American industrialist J. R. Watkins, who was particularly passionate about cultural pursuits. He was also a keen traveller, and was interested in collecting objects of local heritage and art wherever he went. Brought up under Watkins’ influence, his granddaughter Mariel King acquired a firm foundation of taste and knowledge, becoming a collector later in her life. The current pair of plates was bought in the early 20th century by Mariel King and her husband when they were travelling in Shanghai, and has remained in the family collection ever since. 

The crescent-shaped composition of these delicately potted plates consists of famille rose hydrangeas in full bloom with flowering branches bearing prunus blossoms; while the blank space in the top right is adorned with butterflies fluttering above the plants. The design continues over the rim to the exterior. Hydrangeas and prunus symbolise perseverance, a favourite motif of the emperors. It is extremely rare to find famille rose porcelain of this design decorated with hydrangeas and the present pair are in excellent condition with impeccable provenance. 

Lot 730. An octagonal guan-type vase, Yongzheng mark and period (1723-1735). H: 47.8cm. Estimate: HK$4,500,000-6,500,000/ US$585,000-845,000. Provenance: Koga Family Collection 

For the first time ever, Tokyo Chuo is honoured to present the family collection of the Koga family. One of the most esteemed families in Japanese history, the Kogas are famed literati and collectors. The precious items featured in the current sale were bestowed to the Koga family by the Japanese emperor, who received them as gifts from the Qing court. 

Within the treasured collection is a large Yongzheng mark and period octagonal Guan-type vase made by the imperial kilns to imitate Guan vases from the Song dynasty. The dignified design not only manifests the taste of the Imperial family, but also its solemnity. The delicate body is coated in a rich light turquoise glaze featuring fine and natural crackles that crisscross all over the vase, resembling the simple elegance of porcelain pieces from the Song dynasty. The technique of recreating Song porcelain illustrates the superb craftsmanship of the Imperial kilns in Yongzheng’s reign. 

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Lot 734. An imperial carved polychrome lacquer chest of drawers, Qianlong period (1736-1795) L: 41.5cm; W: 27cm; H: 37.5cm. Estimate: HK$250,000 -350,000/ US$32,500- 45,500. Provenance: Koga Family Collection 

Another highlight from the Koga family collection is an Imperial carved polychrome lacquer chest of drawers from the Qianlong period (1736-1795). The piece is carved throughout, displaying auspicious patterns in red, yellow and green. The sumptuousness of the decoration is accentuated by the gilded handles of chilong pattern and locks in the shou character and ruyi designs. Blossoms and peaches symbolising longevity form the overall theme of the carving, whilst the edges of each of the four sides are adorned by ruyi patterns. The two sides have a carved gourd motif, within which are various plants and flowers; while the top features a cloud motif, with peonies in full bloom and a pair of birds. Following the Ming tradition of chun boxes from Emperor Jiajing’s reign, the back of the chest of drawers bears a large shou character as an allegory for riches and long life. The current lot marks the epitome of Qianlong lacquer carving in its well-executed patterns, thoughtful design, and excellent technique. 

Fine Scholar’s Objects | 29 May‧Following the sale of Important Chinese Ceramics and Works of Art

 

Lot 811.tianhuang stone seal carved by Wu Changshuo, Qing dynasty. L: 2cm; W: 2cm; H: 4cm. Weight: 38g. Estimate: HK$400,000-600,000/ US$52,000-78,000 

This rectangular plain Tianhuang stone seal, finely carved by the master Wu Changshuo, tapers at the upper section and displays a golden sheen. Wu Changshuo mastered the unique Chinese art of seal carving first through studying the styles and techniques of the Zhejiang School. Afterwards he turned his direction to imitating the skills of the bronze vessel craftsmen and seal carvers of the Zhou, Qin and Han dynasties. He succeeded in combining different styles into his own and was renowned for creating seal characters rich in connotations with antiquity. 

Lot 842. An imperial Songhua“Gourd” Inkstone, Qianlong period (1736-1795) L: 9.3cm; W: 7.7cm; H: 1.7cm. Estimate: HK$280,000-380,000/ US$ 36,400-49,400 

This notable inkstone was made from Songhua rock found on the banks of the famed Songhua River in northeast China. The muted shades of pale green on a brownish violet background resemble patterns of radiating ripples, echoing the riverbank origin of the rock. Crafted with first-class artistry, the inkstone is in two parts. The top half of the gourd is carved hollow to hold ink, often known as the ‘ink pond’. The ‘ink pond’ is surrounded by arabesques of vines and decorated with motifs of insects, plants and small gourds. The lower half of the gourd, known as the ‘ink hall’, is only slightly concave. The plain and unadorned back of the inkstone follows the outline of the gourd, with a shallow depression at the bottom. The inkstone comes with its original black lacquer case, an exquisite work of art in itself, embellished with floral designs as well as delicate engravings. The current lot is believed to have been created by the Imperial workshops.

Exhibition at Cleveland Museum of Art features works from the recent bequest of medieval Japanese art

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Reeds and Geese (detail), c. 1314–17. Inscription by Yishan Yining (Chinese, 1247–1317). Japan, Kamakura period (1185–1333). Hanging scroll, ink on paper; mounted: 158.5 x 42.2 cm; painting: 80.4 x 32.2 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.464.

CLEVELAND, OH.- Reeds and Geese: Japanese Art from the Collection of George Gund III celebrates the 2015 bequest to the Cleveland Museum of Art of significant works of Japanese art from the collection of Cleveland native George Gund III. Gund’s bequest has significantly expanded the museum’s holdings of important 14th-to 17th-century Japanese ink paintings and calligraphies and added to the collection a group of early Japanese ceramics from the 12th to 16th centuries. The exhibition features 20 works from the bequest, including a diverse selection of light-sensitive ink paintings, the majority of which are on view at the museum for the first time since the 2000 exhibition Ink Paintings and Ash-Glazed Ceramics. Reeds and Geese: Japanese Art from the Collection of George Gund III explores the ways in which Japanese art from these periods has been appreciated and reinterpreted in later eras. Complementing the rarely seen works on view will be 15 related paintings and tea ceramics. Reeds and Geese: Japanese Art from the Collection of George Gund III is on view May 21 through September 3, 2017, in the Kelvin and Eleanor Smith Foundation Exhibition Gallery. 

George Gund III maintained a wonderful relationship with the Cleveland Museum of Art throughout his life, and we are pleased to present a selection of important works from his notable collection,” said William Griswold, director of the Cleveland Museum of Art. “Gund’s bequest has allowed the museum to expand its holdings of Japanese art, and we are thrilled to share these works with our visitors.” 

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Chinese Literatus in an Autumn Landscape, late 1400s. Josui Sōen (Japanese, active about 1489–1500). Japan, Muromachi period (1392–1573). Hanging scroll, ink on paper; mounted: 111 x 56.2 cm; painting: 29.8 x 44.5 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.467.

Beginning in the 1200s Chinese Chan (Zen) Buddhist monks brought calligraphy, poetry, ink paintings, and aesthetically compelling useful objects to Japan, transforming the Japanese visual landscape in ways that still impact Japanese culture today. From the 1300s through the 1500s, paintings inscribed with poems became important in the gift-giving culture of Japan’s ruling elites. From the 1500s onward, tea ceremonies, Japanese rituals of preparing and serving green tea, provided a setting in which prized works could be appreciated along with specially selected works in stoneware and porcelain, or metal and lacquer. Reeds and Geese: Japanese Art from the Collection of George Gund III highlights the importance of preserving and presenting these works of art, especially in the context of tea culture. 

In contemporary life, many of us encounter calligraphies and paintings like these in museums and galleries where they are on view for weeks or months at a time. But they were originally brought out to be seen for only a matter of hours in private settings,” said Sinéad Vilbar, curator of Japanese art. “Later on, a handful of guests might be gathered to drink tea together and would view a hanging scroll in a display alcove. The owner, usually the host of the gathering, would likely also share the scroll’s boxes and associated commentary, made and collected over the centuries to tell the story of the scroll. This exhibition gives people the chance to see both works of art and a sampling of the associated items that create these stories.” 

 

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Landscape (detail), 1500s. Japan, Muromachi period (1392–1573). Six-panel folding screen, ink on paper; framed: 145.5 x 366.8 cm; painting: 129.5 x 350.8 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.483.

Chinese Literature and the Zen Monastic System presents a work inscribed by one of the most important figures of the medieval period’s earliest era, Yishan Yining (1247–1317), who disseminated classical Chinese literature—especially poetry—in both Kamakura in Kanto in the east and to the west in Kyoto, the former capital city of Japan. Some of the earliest ink painting and Chinese-style poetry was produced in Kyoto, and the Ashikaga military regime amassed an important collection of Chinese paintings that served as references for eminent Japanese painters in their employ. Inscribed ink paintings and calligraphies were later paired with prized ceramics and seasonal floral arrangements in the practice of tea culture. Works in the gallery attest to the diversity of regional ink painting that developed over the course of the medieval period. 

The final gallery, The House of Kano, pays homage to the Kano school of painters who were active across Japan for 400 years, with major practitioners of the house style in both the east and west. Beginning with its founder, Kano Masanobu (1434–1530), to its final master, Kano Hōgai (1828–1888), the house of Kano developed into a vast professional network. Originally based solely in Kyoto, the Kano school was famous for its fan paintings. Stretching from the Muromachi period (1392–1573) to the Edo period (1615–1868) the Kano became the official painters of the Ashikaga shoguns, or Japanese military government, and later the Tokugawa shoguns. They also handled important commissions for the imperial family, as well as for regional rulers. While different branches of the school had different stylistic signatures, all were founded in the studious copying of all manner of Song and Yuan dynasty Chinese prototypes, as well as later Ming dynasty models.

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Pan Lang, mid-1500s. Shikibu Terutada (Japanese, active mid-1500s). Japan, Muromachi period (1392–1573). Fan-shaped paintings mounted as a hanging scrolls, ink and gold on paper; mounted: 99.4 x 65.5 cm; painting: 25 x 50 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.591.

Visitors also have the opportunity to enjoy the Japanese art of flower arranging. In collaboration with Ikebana International Chapter 20 and the Womens Council of the Cleveland Museum of Art, a special Ikebana flower arrangement will be on view at the entrance of the exhibition. Each week, Ikebana artists will create an original arrangement that will highlight the 600-year-old floral art form while enhancing the visual experience of the exhibition. 

Gund’s bequest includes several rare Korean ink paintings ranging from the 16th through the 19th century. As a parallel presentation, these works will be on view beginning July 28 in the Korea Foundation Gallery.

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Hanshan and Shide, mid-1500s. Shikibu Terutada (Japanese, active mid-1500s). Japan, Muromachi period (1392–1573). Fan-shaped painting mounted as a hanging scroll, ink and gold on paper; mounted: 124.2 x 68.4 cm; painting: 25 x 49.7 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.592.

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Bamboo and Plum, 1500s. Sesson Shūkei (Japanese, active about 1504–about 1589). Japan, Muromachi period (1392–1573). Hanging scroll, ink on paper; mounted: 198.1 x 60.4 cm; painting: 105 x 48.2 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.503.

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Returning Home, mid-1500s. Japan, Muromachi period (1392–1573). Hanging scroll, ink and color on paper; mounted: 165.1 x 55.9 cm; painting: 57.9 x 41.9 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.513.

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Landscape, mid-1500s. Kano Motonobu (Japanese, about 1476–1559), inscription by Gesshū Jukei (Japanese, 1470–1533). Japan, Muromachi period (1392–1573). Hanging scroll, ink on paper; mounted: 104.7 x 48.9 cm; painting: 22.2 x 37.7 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.518.

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Reeds and Geese, c. 1314–17. Inscription by Yishan Yining (Chinese, 1247–1317). Japan, Kamakura period (1185–1333). Hanging scroll, ink on paper; mounted: 158.5 x 42.2 cm; painting: 80.4 x 32.2 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.464.

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Reeds and Geese, c. 1314–17. Inscription by Yishan Yining (Chinese, 1247–1317). Japan, Kamakura period (1185–1333). Hanging scroll, ink on paper; mounted: 158.5 x 42.2 cm; painting: 80.4 x 32.2 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.464.

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Chinese Literatus in an Autumn Landscape, late 1400s. Josui Sōen (Japanese, active about 1489–1500). Japan, Muromachi period (1392–1573). Hanging scroll, ink on paper; mounted: 111 x 56.2 cm; painting: 29.8 x 44.5 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.467.

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Pan Lang, mid-1500s. Shikibu Terutada (Japanese, active mid-1500s). Japan, Muromachi period (1392–1573). Fan-shaped paintings mounted as a hanging scrolls, ink and gold on paper; mounted: 99.4 x 65.5 cm; painting: 25 x 50 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.591.

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Hanshan and Shide, mid-1500s. Shikibu Terutada (Japanese, active mid-1500s). Japan, Muromachi period (1392–1573). Fan-shaped painting mounted as a hanging scroll, ink and gold on paper; mounted: 124.2 x 68.4 cm; painting: 25 x 49.7 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.592.

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Bamboo and Plum, 1500s. Sesson Shūkei (Japanese, active about 1504–about 1589). Japan, Muromachi period (1392–1573). Hanging scroll, ink on paper; mounted: 198.1 x 60.4 cm; painting: 105 x 48.2 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.503.

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Returning Home, mid-1500s. Japan, Muromachi period (1392–1573). Hanging scroll, ink and color on paper; mounted: 165.1 x 55.9 cm; painting: 57.9 x 41.9 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.513.

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Landscape, mid-1500s. Kano Motonobu (Japanese, about 1476–1559), inscription by Gesshū Jukei (Japanese, 1470–1533). Japan, Muromachi period (1392–1573). Hanging scroll, ink on paper; mounted: 104.7 x 48.9 cm; painting: 22.2 x 37.7 cm. The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.518.

Canaletto exhibition reunites two of the Venetian master's greatest series of paintings

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Canaletto (Venice 1697-Venice 1768), The Bacino di San Marco on Ascension Day, c.1733–4. Oil on canvas, 76.8 x 125.4 cm, RCIN 404417Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

LONDON - A new exhibition at The Queen's Gallery, Buckingham Palace reunites two of Canaletto's finest sets of paintings, displayed side by side for the first time in almost 40 years.  Canaletto & the Art of Venice, opening tomorrow (19 May),  shows six views of Venice produced early in the artist's career in the 1720s, alongside the painter's series of five Roman views from over 20 years later.  Both sets were commissioned from Canaletto by Joseph Smith, the artist's agent and the greatest patron of art in Venice at the time.  Smith's collection was bought almost in its entirety by George III in 1762 to furnish the newly purchased Buckingham House (later Buckingham Palace). 

Smith probably intended both series of paintings to decorate particular rooms in his palazzo  on the Grand Canal in Venice.  Six drawings relating to the Venetian views, also in the exhibition, are likely to have been the basis of initial discussions between patron and artist.  Smith commissioned works from Canaletto not only to add to his own collection, but also to advertise Canaletto's skills to the wealthy British who visited his home.

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Canaletto (Venice 1697-Venice 1768), A Regatta on the Grand Canal, c.1733-4. Oil on canvas, 77.1 x 125.7 cm, RCIN 404416Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

The son of a leading theatrical scene-painter, Canaletto followed the family trade.  As a youth he had travelled with his father to Rome to paint opera scenery, but abandoned the theatre to paint and draw the city’s classical ruins.  Rome was the high point of the Grand Tour of the European continent, and Canaletto's views include some of the sites most popular among English Grand Tourists.

Canaletto's most famous views of the Grand Canal are also shown in the exhibition.  These 12 precise and powerfully real paintings, executed over several years in the late 1720s, create a near-complete journey down the waterway.  From the quayside houses and workshops on the Grand Canal’s upper reaches to the bustling festivities around St Mark’s Square, he brilliantly captures the effects of light on stone and water, and fills each work with a snapshot of Venetian daily life.  Canaletto returned frequently to the subject of the Grand Canal, including in a series of six meticulously detailed pen and ink drawings.

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Canaletto (Venice 1697-Venice 1768), Piazza San Marco looking East towards the Basilica and the Campanile, c.1723–4,  part of a set of six views of Venice. Oil on canvas, RCIN 405934Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

Rosalba Carriera, whose pastels were highly prized by European collectors, was one of the first artists to develop a commercial relationship with Joseph Smith.  On display together for the first time are Carriera's personifications of the Four Seasons. Winterc.1726, a female figure wrapped in furs, was one of the most admired works in Smith's collection and later hung in George III's bedchamber at Buckingham House alongside Carriera's pastel Summer.

Drawn entirely from the Royal Collection, Canaletto & the Art of Venice presents one of the most important collections of 18th-century Venetian art in the world.  Through over 200 paintings, drawings and prints, the exhibition explores how artists captured the allure of this thriving city, from its burgeoning theatre and opera scene to the grand public entertainments and religious spectacles.

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Canaletto (Venice 1697-Venice 1768), Piazza San Marco looking west towards San Geminiano, c.1723–4, part of a set of six views of Venice. Oil on canvas, RCIN 405935Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

On 26 September 2017, Exhibition on Screen will broadcast a documentary film of Canaletto & the Art of Venice in cinemas around the world.  This first feature-length film of an exhibition from the Royal Collection includes interviews with Royal Collection Trust curators and behind-the-scenes footage of preparations for the exhibition.

Canaletto & the Art of Venice is at The Queen’s Gallery, Buckingham Palace, 19 May – 12 November 2017.

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 Canaletto (Venice 1697-Venice 1768)The Piazzetta looking towards Santa Maria della Salute, c.1723–4, part of a set of six views of Venice. Oil on canvas, RCIN 405073Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

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Canaletto (Venice 1697-Venice 1768)The Pantheon, 1742, part of a set of five Roman view. Oil on canvas, 183.5 x 105.7 cm, RCIN 405073Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

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Canaletto (Venice 1697-Venice 1768)The Arch of Titus, 1742, part of a set of five Roman view. Oil on canvas, 180.7 x 105.9 cmRCIN 401002Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

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Canaletto (Venice 1697-Venice 1768)The Arch of Septimus Severus, 1742, part of a set of five Roman view. Oil on canvas, 192.2 x 106.5 cm, RCIN 400700Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

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Canaletto (Venice 1697-Venice 1768)The Mouth of the Grand Canal looking West towards the Carità, c.1729–30, from a set of 12 paintings of the Grand Canal. Oil on canvas, 47.7 x 79.1 cmRCIN 400519Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

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Canaletto (Venice 1697-Venice 1768)The Grand Canal from Campo S. Vio towards the Bacino, c.1729–30, from a set of 12 paintings of the Grand Canal. Oil on canvas, 47.6 x 79.5 cmRCIN 400518Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

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Canaletto (Venice 1697-Venice 1768)Venice: The Central Stretch of the Grand Canal, c.1734. Pen and ink, over ruled pencil and pinpointing, 27.0 x 37.5 cmRCIN 907471Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

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Rosalba Carriera (Venice 1675-Venice 1757), 'Winter', c. 1726, 61.6 x 49.5 cm, RCIN 400647, Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

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Rosalba Carriera (Venice 1675-Venice 1757), 'Summer', c. 1744, Pastel on blue paper laid on a strainer, 59.8 x 50.01 cm, RCIN 400648, Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

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Marco Ricci (Belluno 1676-Venice 1730), Caprice View with Roman Ruins, 1729. Oil on canvas, 104.1 x 138.4 cm, RCIN 404141, Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

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Marco Ricci (Belluno 1676-Venice 1730), Farinelli in walking dress, c.1729-30. Pen and brown ink over black chalk, 31.8 x 11.8 cm, RCIN 907293, Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

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Antonio Visentini (Venice 1688- Venice 1782), Album of prints and drawings by Antonio Visentini, circa 1730 - circa 1740; Leather-bound in brown sheepskin with gold tooling,| 55.0 x 44.0 cm, RCIN 970137, Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016

A Ding carved ‘lotus’ dish, Northern Song dynasty (960-1127)

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A Ding carved ‘lotus’ dish, Northern Song dynasty (960-1127)

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Lot 3124. A Ding carved ‘lotus’ dish, Northern Song dynasty (960-1127), 6 3/4 in. (16.2 cm.), diam., boxEstimate HKD 1,300,000 - HKD 2,600,000 (USD 167,863 - USD 335,726) © Christie's Images Ltd 2017

The shallow dish is delicately potted with angled flaring sides rising from the foot ring to the circular rim, and fluidly carved on the interior with a lotus flowerhead on a stem of scrolling leaves at the centre. All is covered in a translucent ivory-tinted glaze. The rim bound in copper. 

Property from the Dexinshuwu Collection

Note: Similar Ding dishes include one in the Meiyintang Collection and illustrated by Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994, vol. 1, p. 205, no. 362, and another illustrated in A Dealer’s Hand: The Chinese Art World through the Eyes of Giuseppe Eskenazi, London, 2012, p. 284, no. 273; and two examples with carved lotus spray meandering towards the left formerly in the Collections of Edward T. Chow and Linyushanren, sold at Christie’s Hong Kong, 2 December 2015, lot 2816, and Christie’s New York, 15 September 2016, lot 705.

A rare and finely carved Ding 'lotus' dish, Northern Song dynasty, 11th-12th century, from the Linyushanren Collection

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A rare and finely carved Ding 'lotus' dish, Northern Song dynasty, 11th-12th century, from the Linyushanren Collection, 6 1/2 in. (16.5 cm.)Price realised HKD 3,400,000 (USD 440,762) at Christie’s Hong Kong, 2 December 2015, lot 2816. © Christie's Images Ltd 2016 

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A rare and finely carved Ding 'lotus' dish, Northern Song dynasty, 11th-12th century, from the Linyushanren Collection, 6 ½ in. (16.5 cm.) diamPrice realised USD 317,000 at Christie’s New York, 15 September 2016, lot 705© Christie's Images Ltd 2016 

Compare, also, a related Ding dish of slightly later date carved with a peony spray on the interior and peony scroll on the exterior, illustrated by Tsai Meifen, Decorated Porcelains of Dingzhou: White Ding Wares from the Collection of the National Palace Museum, Taipei, 2014, pp. 86-87, no. II-41. 

It is interesting to note that excavations at the Silongkou Yue kiln site have revealed dishes of similar form and design from the Southern Song stratum (see Silongkou yueyao zhi (Silongkou Yue Ware Kiln Site), Beijing, 2002, pp. 108-113). In order to assert his legitimacy to the throne, the Southern Song Emperor Gaozong made huge efforts to re-establish the Northern Song imperial rites and court life after fleeing to Hangzhou. According to the Southern Song official book, Zhongxing lishu (Book of Rites in the Age of Revival), in the 1st and 4th year of the Shaoxing reign (1131 and 1134), the Southern Song court ordered Yuezhou and Shaoxingfu Yuyaoxian to produce ceramic ritual vessels for the imperial sacrificial hall. Gaozong not only ordered local Yue kilns to make ritual vessels but also to produce wares for daily use in the Northern Song imperial style. A shard of a Southern Song Yue ware dish of very similar form and design bearing a yuchu (Imperial Kitchen) mark, found at Hangzhou, is illustrated by Jin Zhiwei, ‘Yuchu zikuan yueci zaitan’ (Study of Yue Wares Bearing Yuchu Marks), Palace Museum Journal, 2001, no. 1, pl. 8.

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

An exceptional natural pearl and diamond necklace, by Paspaley

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Lot 2079. An exceptional natural pearl and diamond necklace, by Paspaley. Estimate HKD 9,500,000 - HKD 14,000,000 (USD 1,200,000-1,800,000)© Christie's Images Ltd 2017

The three-strand necklace composed of two hundred thirty-seven natural pearls, measuring approximately 6.05 to 12.55 mm, gathered by a button-shaped natural pearl, measuring approximately 13.10 - 13.35 x 8.90 mm, within a circular-cut diamond surround, extending to the similarly-cut diamond links, terminating in two natural pearl drops, measuring approximately 7.85 - 7.90 x 9.80 and 8.35 - 8.40 x 9.70 mm, mounted in gold, 74.0 cm (length adjustable), in blue Paspaley case. Signed and with maker's mark for Paspaley

Accompanied by premium report no. 91020 dated 17 March 2017 from the SSEF Swiss Gemmological Institute stating that the analysed properties confirm the authenticity of these two hundred forty saltwater natural pearls; also accompanied by an appendix stating that the natural pearl necklace possess extraordinary characteristics and merits special mention and appreciation. The described necklace consists of 237 natural pearls of partly remarkable size, which are strung on three regularly graduated strands. The colour of these natural pearls ranges from white to slightly cream, partly with attractive rosé and green overtones, poetically also referred to as the ‘orient of pearls’. Such overtones are due to an iridescence effect caused on the surface of pearls and greatly contribute to their beauty. Assembling a matching selection of natural pearls of this size and quality is rare and exceptional

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Christie'sHong Kong Magnificent Jewels, 30 May 2017, Convention Hall


A unique pair of natural pearl and diamond ear pendants, by Etcetera for Paspaley

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Lot 2078. A unique pair of natural pearl and diamond ear pendants, by Etcetera for Paspaley. Estimate HKD 4,000,000 - HKD 6,400,000 (US$500,000-800,000) © Christie's Images Ltd 2017

Each of chandelier design, the undrilled button-shaped natural pearl surmount, measuring approximately 10.71 x 9.32 and 10.86 x 10.66 x 8.94 mm, suspending two reverse-set triangular-cut diamonds and a undrilled button-shaped natural pearl, measuring approximately 11.57 - 11.67 x 10.15 and 11.86 x 9.12 mm, terminating in two reverse-set triangular-shaped diamonds and three undrilled natural pearl drops, measuring approximately 9.38 x 5.55 x 5.54 to 10.66 x 6.55 x 6.55 mm, 14.94 x 9.69 - 9.70 and 16.06 x 9.56 - 9.57 mm, to the circular-cut diamond caps, each undrilled natural pearl and diamond framed with similarly-cut diamonds, mounted in gold, 7.2 cm, in blue Paspaley case. With maker’s mark for Paspaley

Accompanied by report no. 91584 dated 6 April 2017 from the SSEF Swiss Gemmological Institute stating that the analysed properties confirm the authenticity of these saltwater natural pearls; also accompanied by an appendix stating that ear pendants possesses outstanding characteristics and merits special mention and appreciation. These pearls have been carefully selected and exhibit a perfectly matching shape, combined with a very fine pearl lustre. Their colour subtly ranges from white to slighty cream, with subtle rosé and green overtones, poetically also referred to as the 'orient of pearls'. These overtones are an iridescence effect caused on the surface of pearls and contribute greatly to their beauty. Assembling of a matching selection of saltwater natural pearl of this size and quality is very rare and exceptional 

Report no. 1235077497 dated 18 July 2016 from the GIA Gemological Institute of America stating that the pearls are natural saltwater. The tested pearls show no indication of treatment

Note: Paspaley’s Perfect Pearls

Natural pearls are among the rarest of gemstones. Only a fraction of the world’s wild oysters produce natural pearls and the great majority of these are very small or of poor quality. In 1908 the celebrated gemologist George Kunz wrote that a natural pearl of 100 grains was rarer than a diamond of 100 carats. With the reduction of natural pearl fishing, the discovery of important natural pearls is rarer today than ever before. 

The largest and rarest of all pearl oysters is the Pinctada maxima or South Sea pearl oyster. Unlike Gulf oysters that thrive in large communities, Pinctada maxima is a solitary creature sparsely scattered over the seabed. This accounts for their relative rarity just as their large size accounts for their ability to create larger pearls.

A century ago, natural pearls from these oysters were regarded as among the most beautiful and valuable in the world. Over time this has been largely forgotten because, historically, pearl traders mixed together pearls of similar quality from different fisheries. Pearls became known according to where they were traded (usually in India or the Arabian Peninsula) rather than by the fishery that produced them. In fact, many important gems in collections of oriental pearls would have come from the South Seas irrespective of their putative origin.

Today, pollution and over-fishing have decimated South Sea oyster populations. The isolated, pristine waters of Northern Australia are the last significant source of wild South Sea pearl oysters.

Since the 1920’s, one family has been intimately involved in the Northern Australian pearling industry - the Paspaleys. Beginning as fishers dealing in natural pearls and mother of pearl, they diversified into culturing pearls in the 1950’s. Today, Paspaley fishes the overwhelming majority of the world’s annual catch of wild South Sea pearl oysters. These wild oysters are sustainably harvested within a strict quota system. In addition to having the thickest fine quality pearl nacre of any oyster, they occasionally yield extraordinary natural pearls.

The finest natural pearls discovered by Paspaley over the years have been accumulated into an important collection. Every so often the company offers some significant specimens from the collection to the market.

The extraordinary triple strand necklace contains pearls collected over three generations. The strand is perfectly graduated and each pearl is round and of outstanding quality and colour. Perhaps the most extraordinary feature of this necklace, however, is the exceptional match of the pearls.

Natural pearls come in an infinite variety of colours, lustres and orient, and to find this number of matched gems is unprecedented. It is undoubtedly one of the finest natural pearl necklaces known.

The earrings are also representative of the exceptional quality of pearls from the collection. Exquisitely matched for shape, lustre, and size, they have been left un-drilled to display their unspoiled perfection.

Paspaley director and grandson of the company’s founder, Michael Bracher, says: “These jewels have been collected over generations, and it is unlikely that we will be able to produce another necklace of this size and quality in my lifetime. Edmond Chin of Etcetera Ltd was selected to design the settings as only an artist of his caliber would do the pearls justice”.

Only a company as dedicated to uncompromising perfection as Paspaley could have produced these extraordinary jewels, and Christies is honoured to have been chosen to offer them for sale.

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Natural pearls collected in 1981 from the Paspaley family collection

Christie'sHong Kong Magnificent Jewels, 30 May 2017, Convention Hall

A Qingbai ‘chilong’ cup, Southern Song dynasty (1127-1279)

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A Qingbai ‘chilong’ cup, Southern Song dynasty (1127-1279)

Lot 3125. A Qingbai ‘chilong’ cup, Southern Song dynasty (1127-1279), 5 3/ 4 in. (14.5 cm.), diam., box. Estimate HKD 150,000 - HKD 260,000 (USD 19,369 - USD 33,573)© Christie's Images Ltd 2017

The cup is potted with a deep rounded sides, flanked on the sides with a pair of modelled clambering chilong with long bifurcated tails curling around the vessel forming the handles. It is covered overall with a glaze of pale sky-blue tone with the exception of the unglazed mouth rim revealing the fine white body. 

Property from the Dexinshuwu Collection

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

An important pair of Type IIa diamond ear studs

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An important pair of diamond ear studs

Lot 2070. An important pair of 7.88 and 7.04 carats Type IIa diamond ear studs. Estimate HKD 12,000,000 - HKD 15,000,000 (US$1,500,000-1,900,000) © Christie's Images Ltd 2017

Each set with a circular-cut diamond, weighing approximately 7.88 and 7.04 carats, mounted in platinum

Accompanied by report no. 5101674964 dated 1 March 2017 from the GIA Gemological Institute of America stating that the 7.88 carat diamond is D colour, VVS1 clarity, with excellent cut, polish and symmetry; also with a working diagram indicating that the clarity of the diamond is potentially Internally Flawless, and a Diamond Type Classification letter stating that the diamond has been determined to be Type IIa

Report no. 2105820308 dated 1 March 2017 from the GIA Gemological Institute of America stating that the 7.04 carat diamond is D colour, internally flawless clarity, with excellent cut, polish and symmetry; and a Diamond Type Classification letter stating that the diamond has been determined to be Type IIa

Christie'sHong Kong Magnificent Jewels, 30 May 2017, Convention Hall

A fine and rare Longquan celadon ‘kinuta’ vase, Southern Song dynasty (1127-1279)

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A fine and rare Longquan celadon ‘kinuta’ vase, Southern Song dynasty (1127-1279)

Lot 3126. A fine and rare Longquan celadon ‘kinutavase, Southern Song dynasty (1127-1279), 6 3/4 in. (17 cm.) high, box. Estimate HKD 800,000 - HKD 1,000,000 (USD 103,300 - USD 129,126) © Christie's Images Ltd 2017

The mallet-shaped body rising to a wide everted rim, set to the neck with a pair of stylised phoenix handles with detailed crown and wings, covered overall with a glaze of pea-green tone stopping at the foot rim.

ProvenanceSold at Christie’s Hong Kong, 31 October 1994, lot 530

Property from the Dexinshuwu Collection

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

A fine Longquan celadon ‘lotus’ bowl, Southern Song dynasty (1127-1279)

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A fine Longquan celadon ‘lotus’ bowl, Southern Song dynasty (1127-1279)

Lot 3136. A fine Longquan celadon ‘lotus’ bowl, Southern Song dynasty (1127-1279), 5 1/4 in . (13.1 cm.) diam. Estimate HKD 200,000 - HKD 400,000 (USD 25,825 - USD 51,650) © Christie's Images Ltd 2017 

The bowl is moulded to the exterior with a band of slender lotus petals, emanating from the foot. It is covered in a glaze of soft bluish sea-green tone, pooling in the crevices of the decoration and stopping neatly at the foot, inscribed Japanese double wood boxes

ProvenanceCollection of Umegami Songyu (1881-1945), Kyoto

NoteThe Japanese wood box accompanying this tea bowl is inscribed with the signature Seian, which is the studio name of Umegami, Songyu (1881-1945), a renowned Buddhist monk as well as a tea master based in the Honganji Temple in Kyoto.

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

A fine small Longquan celadon fish-handled censer, Southern Song-Yuan dynasty (1127-1368)

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A fine small Longquan celadon fish-handled censer, Southern Song-Yuan dynasty (1127-1368)

Lot 3137. A fine small Longquan celadon fish-handled censer, Southern Song-Yuan dynasty (1127-1368), 4 1/4 in. (10.8 cm.) wide, box. Estimate HKD 180,000 - HKD 260,000 (USD 23,243 - USD 33,573)© Christie's Images Ltd 2017 

The censer is flanked on either side with a stylised fish-form handle, covered overall with a thick, satiny glaze of sea-green tone, leaving the foot ring unglazed revealing the fine brown body. 

ProvenanceSold at Christie’s London, 10 December 1990, lot 115
Harmony of Form, Serenity of Colour: Private Collection of ‘Song’ Ceramics, sold at Sothey’s New York, 23 Mach 2011, lot 535

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

A very rare guan-type Longquan celadon foliate vase, Southern Song dynasty (1127-1279)

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A very rare guan-type Longquan celadon foliate vase, Southern Song dynasty (1127-1279)

A very rare guan-type Longquan celadon foliate vase, Southern Song dynasty (1127-1279)

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Lot 3138. A very rare guan-type Longquan celadon foliate vase, Southern Song dynasty (1127-1279),  9 ½ in. (24 cm.) high. Estimate HKD 5,000,000 - HKD 8,000,000 (USD 645,628 - USD 1,033,004) © Christie's Images Ltd 2017 

 The vase is pear-shaped with a flaring mouth and a splayed foot, and moulded with eight lobes along the length of its body. It is covered overall with a greyish celadon glaze and suffused with crackles, especially along the moulded ridges. The unglazed foot rim has a dark brown dressing. 

ProvenanceJohn Sparks, London, early 1980s
A Japanese Private Collection, acquired from the above, 8th July, 1983

NoteThe current vase belongs to a group of fine Longquan celadon pieces made in the form and style of Guan ware prototypes, and are most likely to have been commissioned by the court. A few related pieces are recorded, such as the lobed vase excavated in Jinyucun, Sichuan Province, illustrated in The Research of Porcelain of Longquan Kiln, Beijing, 2013, col pl. 8 (fig. 1); and a lobed wall vase excavated in Hangzhou, illustrated in Study of Song Xiuneisi Imperial Kilns Hangzhou, Hangzhou, 2006, p. 148, no. 112 (fig. 2).

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fig. 1

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fig. 2

 

While the Jinyucun example has a lozenge-shaped cross-section, the current vase is more rectangular in form. Its shape is perhaps influenced by earlier Longquan vases with rectangular cross-section, such as the one dated to the Northern Song period illustrated by Zhu Boqian in Celadons from Longquan Kilns, Taipei, 1998, p. 110, no. 71. The so-called ‘Longquan Guan’ wares normally have a dark body, while the current vase has a greyish body applied with a dark dressing to achieve a similar visual effect. Compare a Longquan celadon cong vase (故瓷017700N000000000) in the National Palace Museum, Taipei, which also has similar dressing applied to the body material.

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


Paintings of Flowers by Yun Shouping in Qing Dynasty (1636-1912)

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Painting on Tricolour Amaranth with an Inscription Paintings of Flowers,

Depicted on the Paintings of Flowers are twelve kinds of flowers, namely, water lily, pear blossom, narcissus, peach blossom, alumroot, poppy, camellia, guava, morning glory, double phoenix, cinnamomum ramulus and tricolour amaranth. The painter adopted a new painting skill, that is, stippling directly without sketching the outline in depicting these flowers, giving rise to a novel and unique style of each one. Through such free and elegant painting skills, twelve flowers, each with distinctive beauty, vividly and brightly bloom on the paintings. Either signatures or poems are inscribed on these scrolls, which are perfectly harmonious with the flowers, bringing out the best effect of the paintings and making the pictures more appealing.

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Painting on Sweet Osmanthus with an Inscription from Paintings of Flowers, by Yun Shouping, Qing Dynasty (1636--1912). Painting on silk, 32.5 x 25.5cm, Hunan Museum.

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Painting on Pomegranate Blossom and Homiat from Paintings of Flowers, by Yun Shouping, Qing Dynasty (1636--1912). Painting on silk, 32.5 x 25.5cm, Hunan Museum.

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Painting on Narcissus with the Painter’s Signaturfrom Paintings of Flowers, by Yun Shouping, Qing Dynasty (1636--1912). Painting on silk, 32.5 x 25.5cm, Hunan Museum.

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Painting on Poppy Flower with an Inscription from Paintings of Flowers, by Yun Shouping, Qing Dynasty (1636--1912). Painting on silk, 32.5 x 25.5cm, Hunan Museum.

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Painting on Symplocos Anomala with an Inscription from Paintings of Flowers, by Yun Shouping, Qing Dynasty (1636--1912). Painting on silk, 32.5 x 25.5cm, Hunan Museum.

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Painting on Double Color Balsamine with an Inscription from Paintings of Flowers, by Yun Shouping, Qing Dynasty (1636--1912). Painting on silk, 32.5 x 25.5cm, Hunan Museum.

20110801_08

Painting on Morning Glory with a Poem from Paintings of Flowers, by Yun Shouping, Qing Dynasty (1636--1912). Painting on silk, 32.5 x 25.5cm, Hunan Museum.

20110801_09

Painting on Water Lily with an Inscription from Paintings of Flowers, by Yun Shouping, Qing Dynasty (1636--1912). Painting on silk, 32.5 x 25.5cm, Hunan Museum.

20110801_10

Painting on Rosa Rubus with an Inscription from Paintings of Flowers, by Yun Shouping, Qing Dynasty (1636--1912). Painting on silk, 32.5 x 25.5cm, Hunan Museum.

20110801_11

 

Painting on Peach Blossom from Paintings of Flowers, by Yun Shouping, Qing Dynasty (1636--1912). Painting on silk, 32.5 x 25.5cm, Hunan Museum.

20110801_12

Painting on Pear Flower with a Poem from Paintings of Flowers, by Yun Shouping, Qing Dynasty (1636--1912). Painting on silk, 32.5 x 25.5cm, Hunan Museum.

Yun Shouping, the Master Painter

Yun Shouping (1633—1690), styled Mingge, also known by his literary name Nantian, born in Wujin (now Changzhou in Jiangsu Province), was one of the six “Master Painters” in the early Qing Dynasty.

He led a life by selling pictures. He was good at painting landscape and flowers, with his so-called "boneless" painting technique on flowers being most widely admired.

Besides the paintings on the theme of maintain- and-river-landscape and flowers, he was also renowned as an extraordinary outstanding poet and calligrapher. His poems were elegant, while his calligraphy represented his masculine character.

'Adorning the Inner Court: Jun Ware for the Chinese Palace' at Harvard Art Museums

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Flower Vase in the Form of an Archaic Bronze 'Zun' Wine Beaker with Dragon-and-Wave Decor, perhaps Chenghua period (1465-1487), Ming dynasty, 1368-1644

Flower Vase in the Form of an Archaic Bronze 'Zun' Wine Beaker with Dragon-and-Wave Decor, perhaps Chenghua period (1465-1487), Ming dynasty, 1368-1644. Blue-and-white ware: porcelain with decoration painted in underglaze cobalt blue. Harvard Art Museums/Arthur M. Sackler Museum, Bequest of David Berg, Esq., 1999.230.7 © President and Fellows of Harvard College

The Harvard Art Museums hold the largest and finest collection in the West of a rare and strikingly beautiful type of ceramic ware used in the private quarters of the Forbidden City, the Chinese imperial palace in Beijing. These numbered Jun wares—so named because each is marked on its base with a single Chinese numeral—have long been admired for their fine potting, distinctive shapes, and radiant purple and blue glazes. Opinions on these vessels’ dates of origin vary widely, and given the scarcity of numbered Jun in most museum collections, a comprehensive study of this unusual ware has never been undertaken outside the imperial collections in China and Taiwan.

Drawn entirely from the museums’ permanent collections, this exhibition introduces the typology, technical characteristics, collecting history, and controversies surrounding numbered Jun ware. It features approximately half of the museums’ 60 numbered Jun, all of which were given to Harvard in 1942 by Boston-area collectors Ernest B. Dane (Harvard College Class of 1892) and his wife Helen Pratt Dane. This exhibition marks the 75th anniversary of the Danes’ extraordinary gift of nearly 300 Chinese ceramics and later jades. It is also the first focused exhibition of their unique collection of palace Jun ware since it came to Harvard. The exhibition will be complemented by an online special collections feature that provides further contextualization and analytical research on Harvard’s entire numbered Jun collection.

Curated by Melissa A. Moy, the Alan J. Dworsky Associate Curator of Chinese Art at the Harvard Art Museums.

The exhibition and online special collections feature are funded in part by the Gregory and Maria Henderson Fund and by generous support from Terry and William Carey.

May 20, 2017–August 13, 2017. University Teaching Gallery, Harvard Art Museums.

Cylindrical Censer with Three Small Cabriole Legs, Northern Song to Jin period, 12th century

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Cylindrical Censer with Three Small Cabriole Legs, Northern Song to Jin period, 12th century. Jun ware: light gray stoneware with robin's-egg blue glaze. Harvard Art Museums/Arthur M. Sackler Museum, Alpheus Hyatt Purchasing Fund and Leslie Cheek, Jr. Fund, 1997.126 © President and Fellows of Harvard College

Zhadou-Shaped Flowerpot with Globular Body and Flaring Mouth, Ming dynasty, 1368-1644, probably 15th century

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Zhadou-Shaped Flowerpot with Globular Body and Flaring Mouth, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 5 (wu) inscribed inside the footring before firing and incised on the base after firing. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.40 © President and Fellows of Harvard College

Flower Vase in the Form of an Archaic Bronze 'Zun' Vessel with Flanges, Ming dynasty, 1368-1644, probably 15th century

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Flower Vase in the Form of an Archaic Bronze 'Zun' Vessel with Flanges, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze, the domed base with a turquoise blue glaze, the rim banded with metal. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.58 © President and Fellows of Harvard College

Lobed Flowerpot with Bracketed Foliate Rim, Ming dynasty, 1368-1644, probably 15th century

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Lobed Flowerpot with Bracketed Foliate RimMing dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated blue glaze; with Chinese numeral 3 (san) inscribed on base before firing. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.4 © President and Fellows of Harvard College

Lobed Flowerpot with Bracketed Foliate Rim, Ming dynasty, 1368-1644, probably 15th century (1)

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Lobed Flowerpot with Bracketed Foliate RimMing dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated blue glaze; with Chinese numeral 1 (yi) inscribed on base before firing; "Hall of Mental Cultivation" (Yangxin dian) inscription incised on base at a later dateHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.1 © President and Fellows of Harvard College

Rectangular Flowerpot with Four Small Feet, Ming dynasty, 1368-1644, probably 15th century

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Rectangular Flowerpot with Four Small Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 10 (shi) inscribed on base before firing; "Hall of Mental Cultivation" (Yangxin dian) inscription incised on base at a later date. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.27 © President and Fellows of Harvard College

Circular Basin with Drum-Nail Decor and Three Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century

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Circular Basin with Drum-Nail Decor and Three Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 1 (yi) inscribed on base before firing. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.42 © President and Fellows of Harvard College

flowerpot 1942

flowerpot 1942.185.36 and basin 1942.185.42 © President and Fellows of Harvard College

Rectangular Basin with Notched Corners and Four Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century

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Rectangular Basin with Notched Corners and Four Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated blue glaze; with Chinese numeral 10 (shi) inscribed on base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.29 © President and Fellows of Harvard College

Flowerpot (1942

Flowerpot (1942.185.26) and matching basin (1942.185.29) © President and Fellows of Harvard College

Small Censer in the Form of an Archaic Bronze 'Ding' Tripod Vessel, Jin dynasty, 1115-1234, 12th-13th century

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Small Censer in the Form of an Archaic Bronze 'Ding' Tripod Vessel, Jin dynasty, 1115-1234, 12th-13th century. Jun ware: light gray stoneware with robin's-egg blue glaze. Harvard Art Museums/Arthur M. Sackler Museum, Ernest B. and Helen Pratt Dane Fund for the Acquisition of Oriental Art, 1995.59 © President and Fellows of Harvard College

Lobed Flowerpot with Foliate Rim, Ming dynasty, 1368-1644, probably 15th century

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 Lobed Flowerpot with Foliate Rim, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 1 (yi) inscribed on base before firing; "Hall of Mental Cultivation" (Yangxin dian) inscription incised on base at a later date. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.15 © President and Fellows of Harvard College

Elongated Hexagonal Flowerpot with Six Small Feet, Ming dynasty, 1368-1644, probably 15th century

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Elongated Hexagonal Flowerpot with Six Small Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated blue glaze; with Chinese numeral 9 (jiu) inscribed on base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.32.1 © President and Fellows of Harvard College

Lobed Flowerpot with Foliate Rim, Ming dynasty, 1368-1644, probably 15th century (1)

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Lobed Flowerpot with Foliate Rim, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 1 (yi) inscribed on base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.8 © President and Fellows of Harvard College

Lobed Flowerpot with Bracketed Foliate Rim, Ming dynasty, 1368-1644, probably 15th century, 1942

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Lobed Flowerpot with Bracketed Foliate Rim, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 3 (san) inscribed on base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.5 © President and Fellows of Harvard College

Rectangular Flowerpot with Four Small Feet, Ming dynasty, 1368-1644, probably 15th century (10)

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Rectangular Flowerpot with Four Small Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated magenta and blue glaze; with Chinese numeral 10 (shi) inscribed on base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.24 © President and Fellows of Harvard College

Lobed Quatrefoil Basin with Four Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century

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Lobed Quatrefoil Basin with Four Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated magenta and blue glaze; with Chinese numeral 10 (shi) inscribed on base before firing. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.24 © President and Fellows of Harvard College

Lobed Quatrefoil Flowerpot with Four Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century

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Lobed Quatrefoil Flowerpot with Four Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated magenta and blue glaze; with Chinese numeral 1 (yi) inscribed on base before firing; "Palace of Double Glory (Chonghua gong) inscription incised on base at a later dateHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.56.1 © President and Fellows of Harvard College

Flowerpot (1942

Flowerpot (1942.185.56.1) and matching basin (1942.185.56.2) © President and Fellows of Harvard College

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Openwork Cover with Chrysanthemum Design for Compressed Globular Perfumer (1942.185.60.A), Japan, late Edo to Meiji period, 19th century. Silver. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.60.B © President and Fellows of Harvard College

vessel 1942

vessel 1942.185.60.A and lid 1942.185.60.B (paired later) © President and Fellows of Harvard College

Small Circular Wine Bowl with Purple Splashes, Jin dynasty, 1115-1234, 12th-13th century

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Small Circular Wine Bowl with Purple Splashes, Jin dynasty, 1115-1234, 12th-13th century. Splashed Jun ware: light gray stoneware with robin's-egg blue glaze enlivened with purple suffusions from copper filings. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.63 © President and Fellows of Harvard College

Lobed Flowerpot with Bracketed Foliate Rim, Ming dynasty, 1368-1644, probably 15th century (9)

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Lobed Flowerpot with Bracketed Foliate Rim, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated magenta and blue glaze; with Chinese numeral 9 (jiu) inscribed on base before firing; "Palace of Established Happiness" (Jianfu gong) inscription incised on base at a later dateHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.7 © President and Fellows of Harvard College

Lobed Basin with Bracketed Foliate Rim and Three Cloud Scroll Feet, Ming dynasty, 1368-1644

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Lobed Basin with Bracketed Foliate Rim and Three Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 3 (san) inscribed on base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.1 © President and Fellows of Harvard College

Flowerpot (1942

Flowerpot (1942.185.5) and matching basin (1942.185.51) © President and Fellows of Harvard College

Lobed Quatrefoil Basin with Four Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century (1)

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Lobed Quatrefoil Basin with Four Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated magenta and blue glaze; with Chinese numeral 1 (yi) inscribed on base before firing; "Palace of Double Glory (Chonghua gong) inscription incised on base at a later dateHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.56.2 © President and Fellows of Harvard College

Flowerpot (1942

Flowerpot (1942.185.56.1) and matching basin (1942.185.56.2) © President and Fellows of Harvard College

Inverted Bell-Shaped Flowerpot with Flaring Lip, Ming dynasty, 1368-1644, probably 15th century

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Inverted Bell-Shaped Flowerpot with Flaring Lip, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated blue glaze; with Chinese numeral 4 (si) inscribed on base before firing; “Palace of Double Glory” (Chunghua gong) inscription incised on base at a later dateHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.57 © President and Fellows of Harvard College

Circular Basin with Drum-Nail Decor and Three Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century (1)

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Circular Basin with Drum-Nail Decor and Three Cloud Scroll Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 1 (yi) inscribed on base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.43 © President and Fellows of Harvard College

Perfumer or Incense Burner Cut Down from a Zhadou-Shaped Flowerpot, Ming dynasty, 1368-1644, probably 15th century

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Perfumer or Incense Burner Cut Down from a Zhadou-Shaped Flowerpot, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated dark purple and blue glaze with metal fitting at the mouth; originally a 'zhadou'-shaped flower pot with the Chinese numeral 10 (shi) impressed into the base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.60.A © President and Fellows of Harvard College

vessel 1942

vessel 1942.185.60.A and lid 1942.185.60.B (paired later) © President and Fellows of Harvard College

Small Circular Wine Bowl with Purple Splashes, Jin dynasty, 1115-1234, 12th-13th century (2)

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Small Circular Wine Bowl with Purple Splashes, Jin dynasty, 1115-1234, 12th-13th century. Splashed Jun ware: light gray stoneware with robin's-egg blue glaze enlivened with purple suffusions from copper filings. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.65 © President and Fellows of Harvard College

Circular Flat Dish with Everted Lip and Purple Splashes, Jin dynasty, 1115-1234, 12th-13th century

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Circular Flat Dish with Everted Lip and Purple Splashes,  Jin dynasty, 1115-1234, 12th-13th century. Jun ware: light gray stoneware with robin's-egg blue glaze enlivened with purple suffusions from copper filingsHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.72 © President and Fellows of Harvard College

Circular Flat Dish with Everted Lip and Purple Rim, Jin dynasty, 1115-1234, 12th-13th century

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Circular Flat Dish with Everted Lip and Purple Rim,  Jin dynasty, 1115-1234, 12th-13th century. Jun ware: light gray stoneware with robin's-egg blue glaze enlivened with purple suffusions from copper filingsHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.71 © President and Fellows of Harvard College

Lobed Flowerpot with Foliate Rim, Ming dynasty, 1368-1644, probably 15th century, 1942

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Lobed Flowerpot with Foliate Rim, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated magenta and blue glaze; with Chinese numeral 1 (yi) inscribed on base before firing; "Hall of Mental Cultivation" (Yangxin dian) inscription incised on base at a later dateHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.16 © President and Fellows of Harvard College

Lobed Flowerpot with Foliate Rim, Ming dynasty, 1368-1644, probably 15th century, 1942

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Lobed Flowerpot with Foliate Rim, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 3 (san) inscribed on base before firing; "Palace of Double Glory" (Chonghua gong) inscription incised on base at a later dateHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.9 © President and Fellows of Harvard College

Rectangular Flowerpot with Four Small Feet, Ming dynasty, 1368-1644, probably 15th century, 1942

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Rectangular Flowerpot with Four Small Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 10 (shi) inscribed on base before firing; "Hall of Mental Cultivation" (Yangxin dian) inscription incised on base at a later dateHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.21 © President and Fellows of Harvard College

Rectangular Flowerpot with Four Small Feet, Ming dynasty, 1368-1644, probably 15th century, 1942

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Rectangular Flowerpot with Four Small Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 10 (shi) inscribed on base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.22 © President and Fellows of Harvard College

Zhadou-Shaped Flowerpot with Globular Body and Flaring Mouth, Ming dynasty, 1368-1644, probably 15th century, 1942

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Zhadou-Shaped Flowerpot with Globular Body and Flaring MouthMing dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 1 (yi) inscribed on base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.36 © President and Fellows of Harvard College

flowerpot 1942

flowerpot 1942.185.36 and basin 1942.185.42 © President and Fellows of Harvard College

Elongated Hexagonal Basin with Six Small Feet, Ming dynasty, 1368-1644, probably 15th century

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Elongated Hexagonal Basin with Six Small Feet, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated blue glaze; with Chinese numeral 7 (qi) inscribed on base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.32.2 © President and Fellows of Harvard College

Zhadou-Shaped Flowerpot with Globular Body and Flaring Mouth, Ming dynasty, 1368-1644, probably 15th century, 1942

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Zhadou-Shaped Flowerpot with Globular Body and Flaring MouthMing dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 3 (san) inscribed on base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.37 © President and Fellows of Harvard College

Lobed Flowerpot with Foliate Rim, Ming dynasty, 1368-1644, probably 15th century, 1942

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Lobed Flowerpot with Foliate RimMing dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated blue glaze; with Chinese numeral 7 (qi) inscribed on base before firing; "Hall of Mental Cultivation" (Yangxin dian) inscription incised on base at a later dateHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.13 © President and Fellows of Harvard College

Rectangular Flowerpot with Four Small Feet, Ming dynasty, 1368-1644, probably 15th century, 1942

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Rectangular Flowerpot with Four Small FeetMing dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated blue glaze; with Chinese numeral 10 (shi) inscribed on base before firingHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.26 © President and Fellows of Harvard College

Flowerpot (1942

Flowerpot (1942.185.26) and matching basin (1942.185.29) © President and Fellows of Harvard College

Lobed Flowerpot with Foliate Rim, Ming dynasty, 1368-1644, probably 15th century, 1942

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Lobed Flowerpot with Foliate Rim, Ming dynasty, 1368-1644, probably 15th century. Numbered Jun ware: light gray stoneware with variegated purple and blue glaze; with Chinese numeral 6 (liu) inscribed on base before firing. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.11 © President and Fellows of Harvard College

Small Circular Wine Bowl with Purple Splashes, Ming dynasty, 1368-1644, probably 15th century, 1942

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Small Circular Wine Bowl with Purple Splashes, Jin dynasty, 1115-1234, 12th-13th centurySplashed Jun ware: light gray stoneware with robin's-egg blue glaze enlivened with purple suffusions from copper filingsHarvard Art Museums/Arthur M. Sackler Museum, Gift of Ernest B. and Helen Pratt Dane, 1942.185.68 © President and Fellows of Harvard College

Zhadou-Shaped Vase with Dragons and Scrolling Flower Decor, Zhengde period, 1506-1521, Ming dynasty, 1368-1644

Zhadou-Shaped Vase with Dragons and Scrolling Flower Decor, Zhengde period, 1506-1521, Ming dynasty, 1368-1644

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Zhadou-Shaped Vase with Dragons and Scrolling Flower Decor, Zhengde period, 1506-1521, Ming dynasty, 1368-1644. Enameled blue-and-white ware: porcelain with decoration in underglaze cobalt blue, the background areas embellished later with overglaze red enamel; underglaze cobalt blue mark reading "Zhengde nian zhi" within a double circle on the base. Harvard Art Museums/Arthur M. Sackler Museum, Bequest of Samuel C. Davis, 1940.246 © President and Fellows of Harvard College

Million euro castle-find Mercedes leads the pack at Bonhams Spa Classic Sale

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Lot 62. 1958 Mercedes-Benz 300SL Roadster. Chassis no. 198.042.8500327. Sold for €1,127,000. Photo: Bonhams

STAVELOT.- Today, 21 May, saw Bonhams triumph once again at its fourth Spa Classic Sale, held at the legendary Circuit de Spa Francorchamps, Belgium. The deafening roar of 250 GTOs, McLaren F1s and 300SLs at full throttle around the track provided the perfect background for the sale, which saw an impressive 80% of lots sold. 

German motor cars proved particularly popular today, with half of the top ten lots coming from the Mercedes and Porsche marques. The star of the show was the perennially popular 1958 Mercedes-Benz 300SL Roadster, which achieved an astonishing €1,127,000 against a pre-sale estimate of €600,000-800,000. After a lengthy duel between two keen bidders, the hammer finally fell to an international buyer on the phone to a tremendous round of applause. 

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Lot 62. 1958 Mercedes-Benz 300SL Roadster. Chassis no. 198.042.8500327. Sold for €1,127,000. Photo: Bonhams

No Bonhams sale would be complete without a barn find, but the Spa Classic auction offered an even more exciting opportunity – a ‘castle find’ collection of twelve of the most iconic motor cars ever created, all of which were offered at no reserve. The temptation of such a unique offering was too strong for the crowd, and all 12 cars found new owners. The 1969 Maserati Ghibli SS 4.9-Litre Coupé sold to a telephone bidder for €174,800 against a pre-sale estimate of €100,000-150,000, the 1980 Aston Martin V8 Volante Convertible achieved €172,500 against €90,000-140,000 and the 1933 Rolls-Royce 40/50hp Phantom II Roadster realised €111,550. The collection achieved a total of €2,026,300. 

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Lot 61. 1969 Maserati Ghibli SS 4.9-Litre Coupé. Coachwork by Carrozzeria Ghia. Chassis no. AM115/49 1082. Sold for €174,800Photo: Bonhams

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Lot 60. 1980 Aston Martin V8 Volante Convertible. Chassis no. V8COL15180. Sold for €172,500Photo: Bonhams

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Lot 57. 1933 Rolls-Royce 40/50hp Phantom II Roadster. Chassis no. 100PY. Sold for €111,550. Photo: Bonhams

Bidding throughout the sale was keen and exchanges prolonged, as was the case with the 1958 Porsche 356A Super Speedster, which eventually achieved €322,000 after auctioneer Rupert Banner presided over a lengthy three-way bidding war with aplomb. Indeed, Porsches were popular throughout the sale: the 1989 Porsche 911 3.2-Litre ‘Narrow-body’ Speedster realised €280,000 and the 1993 911 Turbo 3.6-Litre Type 964 Coupé sold for €195,500.  

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Lot 46. 1958 Porsche 356 A 1600 Super Speedster. Chassis no. 84185. Engine no. 810267. Sold for €322,000Photo: Bonhams

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Lot 72. 1989 Porsche 911 3.2-Litre 'Narrow-body' Speedster. Chassis no. WPOZZZ91ZKS152253. Sold for €276,528Photo: Bonhams

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Lot 77. 1993 Porsche 911 Turbo 3.6-Litre Type 964 Coupé. Chassis no. WPOZZZ96ZPS470303. Sold for €195,500Photo: Bonhams

Ferraris were as popular as ever, with three entering in to the Top 10 lots and all those offered selling on the day. The 2006 Ferrari 575 Superamerica F1 had just one owner from new and had covered a mere 21,000km, which was reflected by its final price of €293,250. An example of ‘the finest GT in the world,’ a 2003 Ferrari 456 Modificata GT Coupé with, aptly, only 456km on the odometer, achieved €120,750 and, perhaps inspired by the roar of the track outside the saleroom, a beautiful race-ready 1996 Ferrari F355 Challenge Coupé sold for €158,500. 

 

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Lot 83. 2006 Ferrari 575 Superamerica F1. Chassis no. ZFFGT61B000146669. Sold for €293,250Photo: Bonhams

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Lot 45. 2003 Ferrari 456 Modificata GT Coupé. Coachwork by Pininfarina. Chassis no. ZFFWP44B000130512. Sold for €120,750Photo: Bonhams

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Lot 67. 1996 Ferrari F355 Challenge Coupé. Chassis no. ZFFPR42B000104539. Sold for €158,700Photo: Bonhams

Bonhams Head of Motoring Europe, Philip Kantor, commented: ‘Holding a sale at such an adrenaline-fuelled location is always a privilege, and we were delighted to bring such a varied selection of motor cars to Spa once again. Bonhams proved its expertise in offering significant single-owner collections, indicated by the 100% sell rate of the Swiss schloss collection.’ 

Rupert Banner, Group Motoring Director and the auctioneer of the sale, added: ‘There was a lively atmosphere in the packed saleroom - the broad range of collectors' motor cars proved very popular with the assembled crowd. Our European sales continue to go from strength to strength and illustrate the global reach of the Bonhams motoring department.'

A rare 13.77 carats Type IIa diamond ring, by Cartier

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Lot 2048. A rare 13.77 carats Type IIa diamond ring, by Cartier. Estimate HKD 12,000,000 - HKD 18,000,000 (US$1,500,000-2,300,000) ©Christie's Images Ltd 2017

The pear-shaped diamond, weighing approximately 13.77 carats, flanked by tapered baguette-cut diamonds, mounted in platinum, ring size 4. Signed Cartier, no. 61-71576

Accompanied by report no. 14139041 dated 26 October 2015 from the GIA Gemological Institute of America stating that the diamond is D colour, internally flawless clarity

Report no. 0501005 dated 10 January 2005 from the belin GemLab stating that the diamond is D colour, internally flawless clarity; also accompanied by a note and appendix stating that based on its infrared spectrum, the 13.77 carat diamond is classified as Type IIa. Additionally this 13.77 carat diamond was examined by the Gübelin GemLab prior to re-polishing, when the diamond weighed 14.19 carat. This diamond presently possesses a pear-shape brilliant cutting style consistent with the former antique cutting style which the diamond had when it was originally submitted. Diamonds of this type, exhibiting a fine quality, are rare and will most certainly evoke references to the historic term of "Golconda"

Please note that one report is more than 3 years old and might require an update

Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall

A diamond necklace

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Lot 1975. A diamond necklace. Estimate HKD 12,000,000 - HKD 18,000,000 (US$1,500,000-2,300,000) © Christie's Images Ltd 2017

The front designed as five swags of graduated vari-cut diamonds, extending to the two row backchain, mounted in platinum, 42.5 cm 

Accompanied by thirty-six reports dated from 28 June 1995 to 7 November 2012 from the GIA Gemological Institute of America stating that the diamonds range from H to L colour, internally flawless to SI1 clarity

Please note that thirty-five reports are more than 5 years old and might require an update

Christie's. Hong Kong Magnificent Jewels, 30 May 2017, Convention Hall

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