Lot 3603. A rare relief-carved white-glazed 'Dragon' bottle vase, seal mark and period of Qianlong (1736-1795), 28.7 cm, 11 1/4  in. Estimate 900,000 — 1,200,000 HKD. Lot sold 2,000,000 HKD. Photo: Sotheby's.

superbly potted with a compressed globular body supported on a splayed foot, sweeping up to a waisted cylindrical neck surmounted by a flared rim, the body decorated in relief with a ferocious five-clawed dragon, its head with a pair of long horns emerging from a long flowing mane, the eyes with a penetrating gaze above a protruding nose and long curled whiskers, its scaly body intricately carved with naturalistic detail and prominently executed in bold relief, the muscular limbs terminating in sharp claws reaching for a flaming pearl, the beast dynamically striding amongst flames and dense scrolling clouds interspersed with seven flying bats, incised with a keyfret band at the foot, covered overall save for the unglazed footring with a smooth milky-white glaze, the base incised with a six-character seal mark.

Provenance: A French private collection, and thence by descent.

Note: This vase is exceptional for its crisply carved motif of ferocious five-clawed dragons amongst clouds, and belongs to a select group of carved porcelain wares made during the Qianlong reign. Vases of this type are often referred to in Chinese as ‘fang Dingyao’ or ‘in imitation of Ding ware’ after the deep opaque white glaze reminiscent of the much celebrated official Ding wares of the Song dynasty. Among the vessels of this group the present piece is particularly notable for its lively carving with the dragons rendered in a highly dynamic manner flying through ruyi-shaped clouds.

A slightly larger pair of vases of this form, carved with dragons above waves, from the collection of A.E. Hippisley, was sold at the Anderson Galleries, New York, 20th January 1925, lot 248; a vase was sold in these rooms, 20th May 1980, lot 91; another pair was sold at Christie’s London, 10th July 1978, lot 55; and a pair of vases of this form but carved with a flower scroll, was sold in our New York rooms, 23rd March 2004, lot 644, and again in these rooms, 8th April 2007, lot 725. Additional vases from this group, but of various forms and designs, in the Palace Museum, Beijing, are illustrated in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pls 239-242; and two further vases were included in the exhibition Monochrome Ceramics of Ming and Ch’ing Dynasties, Hong Kong Museum of Art, Hong Kong, 1977, cat. nos 140-141.

Sotheby's. Important Chinese Art, Hong Kong, 03 Oct 2017

Lot 3665. A fine teadust-glazed bottle vase, incised seal mark and period of Qianlong (1736-1795), 33.8 cm, 13 3/8  in.. Estimate 800,000 — 1,200,000 HKD. Lot sold 1,687,500 HKD. Photo: Sotheby's.

superbly potted with a compressed globular body supported on a splayed foot, sweeping up to a broad cylindrical neck and a rounded mouthrim, covered overall with an olive-coloured glaze flecked with a fine yellow mist, the glaze stopping neatly above the foot, the base incised with a six-character seal mark beneath a brown glaze, the rounded footring left unglazed and dressed in a brown wash, wood stand.

Provenance: Mayuyama & Co., Tokyo.
Sotheby's Hong Kong, 8th April 2013, lot 3067.

Note: A pair of vases of this type in the Seikado Bunko Museum, Tokyo, was included in the Museum's exhibition Seikado zo Shincho toji. Keitokuchin kanyo no bi [Qing porcelain collected in the Seikado. Beauty of the Jingdezhen imperial kilns], Tokyo, 2006, cat. no. 109; one from the Meiyintang collection is published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, 1994, pl. 936; another, but with a pale rim, in the Victoria and Albert Museum, London, is illustrated in Rose Kerr, Chinese Ceramics. Porcelain of the Qing Dynasty 1644–1911, London, 1986, pl. 25; and a fifth example is included in John Ayers, Chinese Ceramics in the Baur Collection, vol. 2, Geneva, 1999, pl. 297.

Lot 3612. A Guan-type 'Three rams' vase, zun, seal mark and period of Qianlong (1736-1795), 23.4 cm, 9 1/4  in. Estimate 500,000 — 700,000 HKD. Lot sold 1,062,500 HKD. Photo: Sotheby's.

 the tapering body rising to rounded shoulders applied with three ram heads, sweeping up to a waisted neck and a flared rim, covered overall in a thick opaque greyish-blue glaze suffused with a network of dark grey and golden crackles, save for the unglazed footring dressed in a dark brown slip, the base inscribed with a six-character seal mark in underglaze blue

Exhibited: Sekai kobijutsu tenrankai [Antiques of the World exhibition], Yamanaka & Co. and Tokyo Art Club, Osaka and Tokyo, 1932, cat. no. 688.

Lot 3659. A rare clair-de-lune glazed vase, seal mark and period of Qianlong (1736-1795), 13.8 cm, 5 3/8  in. Estimate 800,000 — 1,200,000 HKD. Lot sold 1,000,000 HKD. Photo: Sotheby's.

elegantly potted with a compressed globular body supported on three tapering foot, rising to a slender cylindrical neck and sweeping up to a garlic-form mouth, unctuously applied overall with a clair-de-lune glaze in a pale sky-blue tone, the base inscribed with a six-character seal mark in underglaze blue, wood stand.

Provenance: Collection of Edward T. Chow (1910-1980)
Sotheby's Hong Kong, 11th April 2008, lot 2991.

Note: Notable for its elegant silhouette and attractive luminous glaze, known as tianlan (‘sky blue’), this vase draws on celebrated traditions and reinterprets them to result in an innovative and engaging piece. In form it is reminiscent of bronze hu of the Han period; see a bronze vase with a similar squat globular body, tall slender neck and garlic mouth in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures in the Palace Museum. Bronze Articles for Daily Use, Hong Kong, 2006, pl. 50.

Lot 3654. A copper-red glazed vase, yuhuchunping, seal mark and period of Qianlong (1736-1795), 30 cm, 11 3/4  in. Estimate 300,000 — 500,000 HKD. Lot sold 600,000 HKD. Photo: Sotheby's.

well potted with a pear-shaped body rising from a splayed foot to a tall waisted neck flaring at the rim, the exterior covered in a rich dark red glaze pooling to a deeper tone around the foot, the interior and base left white, the base inscribed with a six-character seal mark in underglaze blue.

Provenance: Sotheby's London, 17th December 1996, lot 134.

Lot 3716. A rare turquoise-ground white-enamelled wall vase, seal mark and period of Qianlong (1736-1795), 20.6 cm, 8 1/8  in. Estimate 450,000 — 550,000 HKD. Lot sold 562,500 HKD. Photo: Sotheby's.

the flattened pear-shaped body rising from a short foot to a waisted cylindrical neck flaring at the rim, flanked by a pair of iron-red and gilt phoenix handles in openwork, the front painted in a white slip with a pair of addorsed kui dragons clambering amongst scrolling lotuses, above a band of lappets, the rim encircled by a spearhead border and the foot with keyfret, all against an opaque pale turquoise ground save for a square at the base inscribed with an iron-red four-character seal mark, the rim and the footring gilt.

Provenance: Sotheby's Paris, 15th December 2011, lot 175.

Note: It is rare to find the delicate lace-like decoration of white enamel over a turquoise ground on Qianlong vessels. A shallow bowl decorated with bats amongst a lotus scroll, in the Nanjing Museum, Nanjing, is illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 265; a double vase, adorned with shou characters and lotus scrolls and similarly inscribed with four-character iron-red reign marks, was sold in our rooms, 8th April 2013, lot 3031; and a tall ovoid vase, with a six-character iron-red Qianlong reign mark and of the period, was offered at Christie's Hong Kong, 29th April 2002, lot 671.

A rare white enamel turquoise-glazed double vase, seal marks and period of Qianlong, 18.3 cm., 7 1/4  in. Sold for 1,480,000 HKD at Sotheby's Hong Kong, 8th April 2013, lot 3031. Photo: Sotheby's.

Jean Honoré Fragonard, Young Girl Reading, c. 1769, oil on canvas, National Gallery of Art, Washington, Gift of Mrs. Mellon Bruce in memory of her father, Andrew W. Mellon.

WASHINGTON, DC.- Combining art, fashion, science, and conservation, the revelatory exhibition Fragonard: The Fantasy Figures brings together—for the first time—a newly discovered drawing by Jean Honoré Fragonard (1732–1806) and some 14 of his paintings that have been identified with it including the National Gallery of Art's Young Girl Reading (c. 1769). Fragonard is considered among the most characteristic and important French painters of his era, and this series casts light on the development of his career, the identity of his sitters and patrons, and the significance of his innovative imagery. Fragonard: The Fantasy Figures and the fully illustrated catalog that accompanies it not only present new art-historical and scientific research into this series but also examine the 18th-century Parisian world in which these paintings were created. The exhibition may be seen only at the National Gallery of Art, Washington, in the West Building, from October 8 through December 3, 2017. 

Jean Honoré Fragonard, Sketches of Portraits, c. 1769, drawing, Private collection, Paris.

Covered with 18 thumbnail-sized sketches and apparently annotated in the rococo artist's own hand, the drawing now known as Sketches of Portraits emerged at a Paris auction in 2012 and upended several long-held assumptions about the fantasy figures—a series of rapidly executed, brightly colored paintings of lavishly costumed individuals. 

Jean Honoré Fragonard, Woman with a Dog, c. 1769, oil on canvas, Lent by The Metropolitan Museum of Art, Fletcher Fund, 1937. Image © The Metropolitan Museum of Art. Image Source: Art Resource, NY

"The first exhibition to unite the fantasy figures with the recently discovered drawing focuses on this aspect of Fragonard's production in a powerful and intimate way," said Earl A. Powell III, director, National Gallery of Art, Washington. "We are grateful to the public and private collections, both here and abroad, that have generously lent to this exhibition, as well as to Lionel and Ariane Sauvage whose gift supported the catalog's publication." 

Jean Honoré Fragonard, The Vestal, c. 1769–1771, oil on canvas, Private Collection, courtesy Etienne Breton, Saint Honoré Art Consulting, Paris.

Fragonard: The Fantasy Figures explores the many interpretations of this series in the context of the artist's career. Fragonard strove to create a specific portrait type that showcased the painterly skill for which he was renowned. The fantasy figures also enabled him to experiment and to refine his ideas of artistic reference and emulation. Created within the competitive atmosphere of the Parisian art world, these works were influenced by a range of events, artworks, and visitors to his studio.  

Jean Honoré Fragonard, The Writer, c. 1769, oil on canvas, Musée du Louvre, Département des Peintures, Paris. © RMN-Grand Palais / Art Resource, NY

The fantasy figures depict men and women posed at leisure or employed in various pursuits, such as acting, reading, writing, playing instruments, or singing. Wearing extravagant attire, these figures are dressed in what was known in 18th-century France as à l'espagnole (Spanish style)—plumed hats, slashed sleeves, ribbons, rosettes, ruffs, capes, and accents of red and black. Shaped by artistic imagination, these paintings pushed the boundaries of accepted figure painting at the time.  

Jean Honoré Fragonard, M. de La Bretèche, c. 1769, oil on canvas, Musée du Louvre, Département des Peintures, Paris. © RMN-Grand Palais / Art Resource, NY

Exhibited for the first time is the newly discovered Sketches of Portraits (c. 1769), a thin sheet of paper with three rows of 18 small sketches—all but one are annotated with a name, 14 have been identified with one of Fragonard's painted fantasy figures, and four remain unknown. The emergence of Sketches of Portraits prompted a two-year investigation of Young Girl Reading, conducted as a collaborative effort by the Gallery's Yuriko Jackall, assistant curator of French paintings, John K. Delaney, senior imaging scientist, and Michael Swicklik, senior conservator of paintings. Published in the April 2015 issue of Burlington Magazine, the findings established Young Girl Reading as a part of the fantasy figure series and shed light upon Fragonard's approach to the ensemble as a whole.  

Jean Honoré Fragonard, The Actor, c. 1769, oil on canvas, Private collection.

Other works in the exhibition include the rarely lent, privately held portraits of the Harcourt brothers François-Henri, duc d'Harcourt (c. 1770) and Anne-François d'Harcourt, duc de Beuvron (c. 1770)—which are on view together for the first time since the 1987 exhibition Fragonard at the Metropolitan Museum of Art and the Musée du Louvre—as well as The Vestal (c. 1769–1771), The Actor (c. 1769), and The Singer (c. 1769). Also on view is the Louvre's M. de La Bretèche (c. 1769), which depicts the wealthy brother of one of Fragonard's most devoted patrons, Jean-Claude Richard, abbé de Saint-Non. 

The exhibition is curated by Yuriko Jackall, assistant curator, department of French paintings, National Gallery of Art.

Jean Honoré Fragonard, The Singer, c. 1769, oil on canvas, Private Collection.

Jean Honoré Fragonard, Portrait of a Man, c. 1769, oil on canvas, Musée du Louvre, Département des Peintures, Paris. © RMN-Grand Palais / Art Resource, NY

 Jean Honoré Fragonard, The Warrior, c. 1769, oil on canvas, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. Image © Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA (photo by Michael Agee)

Jean Honoré Fragonard, Cavalier Seated by a Fountain, c. 1769, oil on canvas, Museu Nacional d’Art de Catalunya, Barcelona, Bequest of Francesc Cambó, 1949. Museu Nacional d'Art de Catalunya, Barcelona, Bequest of Francesc Cambó, 1949

Jean Honoré Fragonard, Man in Costume, c. 1767–1768, oil on canvas, The Art Institute of Chicago, Gift of Mary and Leigh Block in honor of John Maxon.

Jean Honoré Fragonard, Anne‑François d’Harcourt, duc de Beuvron, c. 1770, oil on canvas, Private collection.

Jean Honoré Fragonard, François‑Henri, duc d’Harcourt, c. 1770, oil on canvas, Private collection.

Jean Honoré Fragonard, Portrait of a Man, c. 1775, Petit Palais, Musée des Beaux‑Arts de la Ville de Paris. © Petit Palais / Roger-Violet

Lot 3662. A peachbloom-glazed beehive waterpot, Mark and period of Kangxi, 12.5 cm, 4 7/8  in. Estimate 150,000 — 200,000 HKD. Lot sold 437,500 HKD. Photo Sotheby's.

of classic domed 'taibai zun' form, with a rounded shoulder and short waisted neck, the exterior evenly applied overall save for the rim and base with a pale greyish-red glaze suffused with sprinkles imitating the skin of a peach, the body further incised with three stylised archaistic dragon roundels.

Note: Waterpots of this glaze and form are known in important museums and collections around the world, including one in the Palace Museum, Beijing, published in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 142, pl. 125; one in the Shanghai Museum, illustrated in Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl. 206; another in the Metropolitan Museum of Art, New York, included in Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p. 237; and a fourth example from the Sir Percival David collection and now in the British Museum, London, published in Illustrated Catalogue of Ming and Qing Wares, London, 1989, pl. 580, and also illustrated on the front cover. 

Sotheby's. Important Chinese Art, Hong Kong, 03 Oct 2017

Lot 3663. A white-glazed 'rice-grain' bowl, seal mark and period of Qianlong (1736-1795), 13.3 cm, 5 1/8  in. Estimate 80,000 — 120,000 HKD. Lot sold 375,000 HKD. Photo Sotheby's.

the deep rounded sides pierced and veiled with a translucent glaze with eight evenly spaced eight-petalled florets, all resting on a short foot, the base inscribed in underglaze blue with a six-character seal mark.

Provenance: Collection of Dr Ip Yee.
Sotheby's Hong Kong, 19th November 1984, lot 217.
Sothebys Hong Kong, 20th/21st May 1987, lot 514. 

Sotheby's. Important Chinese Art, Hong Kong, 03 Oct 2017

Lot 3656. A pair of anhua-decorated white-glazed winecups, Qing dynasty, Kangxi period (1662-1722), 9.3 cm, 3 5/8  in. Estimate 300,000 — 400,000 HKD. Lot sold 375,000 HKD. Photo Sotheby's.

each delicately potted with thin conical sides rising from a short foot to a slightly flared rim, the interior decorated with a thin white slip in the anhua technique, depicting stylised lotus blooms borne on a meandering scroll, covered overall in a transparent glaze, the central interior incised with a four-character Yongle seal mark within a circle.

Provenance: Collection of Alfred E. Hippisley (1848-1939).
Collection of Mrs Yale Kneeland.
Anderson Galleries, New York, 30th January 1925, lot 201 (two of four).
J.J. Lally & Co., New York.

Note: Notable for its milky white glaze and carefully executed floral scroll, closely related cups of this form with apocryphal Yongle mark include one from the collection of Mr and Mrs Alfred Clark, included in the Oriental Ceramic Society Exhibition of Monochrome Porcelain, London, 1948, cat. no. 32; another from the collection of Edward T. Chow, sold in these rooms, 25th November 1980, lot 56; and a slightly smaller bowl from the Oppenheim collection, now in the British Museum, London, illustrated in Soame Jenyns, Later Chinese Porcelain, London, 1951, pl. XLIII, no. 1a, together with one lacking the apocryphal mark, no. 1b. Compare also a cup of similar form and size, but decorated with the bajixiang, sold in our New York rooms, 25th October 1973, lot 198.

Sotheby's. Important Chinese Art, Hong Kong, 03 Oct 2017

Lot 3660. A white-glazed carved 'mallow' cup and saucer, marks and period of Yongzheng (1723-1735). Estimate 300,000 — 400,000 HKD. Lot sold 375,000 HKD. Photo Sotheby's.

Note: Finely potted with fluently incised petals, the present lustrously glazed cup and saucer demonstrate the daintiness of Yongzheng porcelain. A similar white-glazed cup was sold together with a saucer in our rooms, 23rd October 2005, lot 515. Mallow-shaped wares appeared as early as in the Song dynasty, when the sublime of plain lacquered foliate dishes was highly admired. The love of this simple yet elegant form was also found in later dynasties.

Sotheby's. Important Chinese Art, Hong Kong, 03 Oct 2017

Lot 3692. A copper-red 'dragon' bowl, mark and period of Kangxi (1662-1722), 14.8 cm, 5 7/8  in. Estimate 280,000 — 380,000 HKD. Lot sold 650,000 HKD. Photo Sotheby's.

the deep rounded sides rising from a short foot to a gently flaring rim, painted to the exterior in underglaze copper-red tones with two five-clawed dragons striding amongst flame wisps in pursuit of flaming pearls above two rows of lappets, the base inscribed with a six-character reign mark within a double circle.

Note: A Kangxi bowl of the same design, based on an early Ming original, is in the Palace Museum, Beijing, published in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglazed Red (III), Shanghai, 2000, no. 169; another was included in the exhibition Ch'ing Porcelain from the Wah Kwong Collection, the Chinese University of Hong Kong, Hong Kong, 1973-1974, cat. no. 53.

Sotheby's. Important Chinese Art, Hong Kong, 03 Oct 2017

Lot 3691. A copper-red 'Phoenix Medallion' bowl, seal mark and period of Daoguang (1821-1850), 14.6 cm, 5 3/4  in. Estimate 100,000 — 150,000 HKD. Lot sold 125,000 HKD. Photo Sotheby's.

the deep rounded sides rising from a slightly tapered foot to a flared rim, painted to the interior with a central medallion formed from a phoenix, its wings outstretched and detailed with plumage, the exterior with five further phoenix roundels, the base with a six-character seal mark in underglaze blue.

Sotheby's. Important Chinese Art, Hong Kong, 03 Oct 2017

La Grande Pietà ronde, Johan Maelwael, c. 1400© 2009 Musée du Louvre, Erich Lessing

AMSTERDAM - From 6 October 2017 until 7 January 2018 the Rijksmuseum honors the first Northern Netherlandish painter: Johan Maelwael (Jean Malouel, Nijmegen, c. 1370 - Dijon, 1415). This uncle of the legendary Limbourg Brothers was active as a versatile, pioneering and productive artist at the courts of the Dukes of Guelders and Burgundy around 1400. Johan Maelwael became one of the most successful and best paid artist of the Western Europe in the Middle Ages. The show is organized with the exceptional support of the Musée du Louvre that lends Maelwael’s most famous painting 'La Grande Pietà ronde' that has never left Paris since 1962.

La Grande Pietà ronde (achterzijde), Johan Maelwael. (Nijmegen, c. 1370 - Dijon, 1415), c. 1400. © 2009 Musée du Louvre / Erich Lessing

Anoniem, Calvarie van Hendrik van Rijn, Utrecht 1363. Koninklijk Museum voor Schone Kunsten Antwerpen

Gebroeders Van Limburg, Petites Heures de Bourges, c. 1408, Paris. Bibliotheque nationale de France

6 October 2017 - 7 January 2018 - Rijksmuseum Amsterdam

Jean de Beaumetz, Kruisigingstaferelen, c. 1389-1395, Cleveland Museum of Art / Paris Musee du Louvre.

Claus Sluter en Claes de Werve, Drie pleurants van het praalgraf van Filips de Stoute, 1404-1410, Cleveland Museum of Art.

Gebroeders Van Limburg, Tres Belles Heures de Notre Dame, Paris en Bourges, 1389-1405-c. 1412, Bibliotheque nationale de France.

Gebroeders Van Limburg, Tres Belles Heures du Duc de Berry, Bourges, 1405-c. 1408, NewYork, The Metropolitan Museum of Art.

Getijdenboek van Margaretha van Kleef, Holland, c. 1395-1400, Lissabon, Museo Galouste Gulbenkian.

Johan Maelwael, Henry Bellechose, Madonna met Kind engelen en vlinders, Dijon, c. 1415, Berlijn, Gemäldegalerie.

Exhibition view ' Johan Maelwael'. Photo Kelly Schenk

Exhibition view ' Johan Maelwael'. Photo Kelly Schenk

Exhibition view ' Johan Maelwael'. Photo Kelly Schenk

Exhibition view ' Johan Maelwael'. Photo Kelly Schenk

Exhibition view ' Johan Maelwael'. Photo Kelly Schenk

Exhibition view ' Johan Maelwael'. Photo Olivier Middendorp

Exhibition view ' Johan Maelwael'. Photo Olivier Middendorp

Exhibition view ' Johan Maelwael'. Photo Olivier Middendorp

Exhibition view ' Johan Maelwael'. Photo Olivier Middendorp

Exhibition view ' Johan Maelwael'. Photo Olivier Middendorp

Lot 9196. 9.01 carats Emerald-cut Diamond Ring, Graff. Estimate 3,000,000 — 4,000,000 HKD. Photo: Sotheby's

Set with an emerald-cut diamond weighing 9.01 carats, flanked on each side by a shield-shaped diamond, mounted in platinum, signed Graff. Ring size: 5¾

Accompanied by GIA report numbered 2175349927, dated 21 January 2016, stating that the 9.01 carat diamond is F Colour, VVS2 Clarity.

Lot 9197. 6.77, 5.30 and 3.01 carats Square Emerald-cut Diamond Pendent Necklace. Estimate 2,500,000 — 3,500,000 HKD. Photo: Sotheby's

Suspending a line of three square emerald-cut diamonds weighing 6.77, 5.30 and 3.01 carats respectively, to the oval-link chain decorated with collet-set circular-cut diamonds, mounted in platinum, length approximately 415mm.

Accompanied by three GIA reports numbered 2181099387, 5172537020, 5181522342, dated 9 January 2017, 8 December 2016 and 14 June 2017 respectively, stating that the 6.77, 5.30 and 3.01 carat diamonds are all E Colour, VVS2 Clarity; 6.77 and 5.30 carat diamonds with Excellent Polish and Symmetry..

Lot 9208. 8.31 carats Fancy Vivid Yellow Diamond and Diamond Ring. Estimate 2,300,000 — 3,000,000 HKD. Photo: Sotheby's

Set with a square emerald-cut fancy vivid yellow diamond weighing 8.31 carats, to the gallery embellished with diamonds of yellow tint, enhanced by circular-cut diamond-set shoulders, mounted in 18 karat white and yellow gold. Ring size: 5½, illustrated unmounted.

Accompanied by GIA report numbered 6187413711, dated 30 May 2017, stating that the 8.31 carat diamond is natural, Fancy Vivid Yellow Colour, VS1 Clarity.

Lot 9210. Diamond, Onyx, Ruby and Emerald Pendent Necklace, 'Panthère', Cartier. Estimate 1,600,000 — 2,200,000 HKD. Photo: Sotheby's

Designed as a pavé-set circular-cut diamond panther with onyx spots and emerald eyes, resting on an onyx hoop, to a link-chain set with circular-cut diamonds and cabochon rubies, the diamonds and rubies weighing approximately 10.00 and 4.00 carats in total respectively, mounted in platinum, signed Cartier, numbered, with French assay and maker's marks, length approximately 410mm, case stamped Cartier Paris.

Accompanied by a Cartier certificate of authenticity.

Lot 9200. Jadeite and Diamond Pendent Necklace. Estimate 1,800,000 — 2,200,000 HKD. Photo: Sotheby's

Set with a highly translucent jadeite hoop of bright emerald green colour, suffused with intense emerald green streaks, to the circular-cut diamond-set boule surmount and black cord, mounted in white gold. Hoop approximately 22.61 x 4.30 x 6.73mm.

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 96125, dated 1 August 2017, stating that the jadeite is natural, known in the trade as "A Jade".