Lot 137. Lot de trois pots à chaux en forme d'oiseau, Khmer, 12°-13°siècle. Estimation: 300 / 400 €. Photo Cornette de Saint-Cyr. 

Ces pots à chaux en forme d’oiseaux, en céramique à couverte en oxyde de fer, sont propres à l’art khmer. H. 9 – 8 – 8 cm. Parfait état.

Arts d’Asie chez Cornette de Saint Cyr Paris, 75008 Paris, le 31 Octobre 2017 à 14h30. Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13. Consultant pour le Vietnam : Monsieur Philippe Truong. Tel. : +33 6 31 34 40 59

Lot 136. Lot de trois pots, Champa, fours de Gò Sành, 14°-15°siècle. Estimation: 200 / 300 €. Photo Cornette de Saint-Cyr. 

Lot composé de deux bols (H. 9,5 – 7,8 cm) et d’un pot (H. 9 cm), en grès à couverte en oxyde de fer brun.

Arts d’Asie chez Cornette de Saint Cyr Paris, 75008 Paris, le 31 Octobre 2017 à 14h30. Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13. Consultant pour le Vietnam : Monsieur Philippe Truong. Tel. : +33 6 31 34 40 59

Lot 138. Lot de trois statuettes, Thailande, Sawankhalok, 15°-16°siècle. Estimation: 80 / 150 €. Photo Cornette de Saint-Cyr. 

Lot composé de trois statuettes en terre-cuite à couverte brune : un oiseau perché sur le dos d’un éléphant (6,5 x 7 x 4 cm) et de deux zébus (4,5 x 6,5 x 3,5 cm et 5 x 7 x 4,5 cm). 

Arts d’Asie chez Cornette de Saint Cyr Paris, 75008 Paris, le 31 Octobre 2017 à 14h30. Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13. Consultant pour le Vietnam : Monsieur Philippe Truong. Tel. : +33 6 31 34 40 59

Lot 8. Alberto Giacometti, Grande Femme II. signed, inscribed and with the foundry mark ‘Alberto Giacometti Epreuve d’artiste Susse Fondeur Paris’ (at the back of the base); with the foundry mark again ‘SUSSE FONDEUR PARIS CIRE PERDUE’ (inside the base), bronze with dark brown patina. Height: 108 7/8 in. Conceived in 1960; this bronze cast in 1980-81 in an edition of 7 plus 2 artist's proofs plus one for the Fondation Maeght. Estimate On Request. Sold for: €24,907,500/ £22,167,675 /$29,390,850. © Christie’s Images Limited 2017.

PARIS.- Christie’s FIAC week sales opened with the second edition of Christie’s Paris Avant-Garde auction which realised a strong €38,6M/£34,4M/$45,6M. Christie’s France’s President, François de Ricqlès, held the hammer in a packed room selling 27 lots to international buyers from 12 countries. The highly-expected Grande Femme II by Alberto Giacometti achieved an impressive €24,907,500/£22,167,675/$29,390,850, becoming the most expensive work of art sold in France in 2017. This sculpture was first conceived by Giacometti in 1960 when he was asked to realise a project for the Chase Manhattan Bank’s public plaza in New York. 

Pierre Martin-Vivier, Director, Chairman’s Office: “We are thrilled with the very good results achieved tonight and especially for the new high for any work of art sold in France in 2017 with Grande Femme II and it was a great honor to be entrusted with the sale of this prestigious work of art”. 

Lot 8. Alberto Giacometti, Grande Femme II. signed, inscribed and with the foundry mark ‘Alberto Giacometti Epreuve d’artiste Susse Fondeur Paris’ (at the back of the base); with the foundry mark again ‘SUSSE FONDEUR PARIS CIRE PERDUE’ (inside the base), bronze with dark brown patina. Height: 108 7/8 in. Conceived in 1960; this bronze cast in 1980-81 in an edition of 7 plus 2 artist's proofs plus one for the Fondation Maeght. Estimate On Request. Sold for: €24,907,500/ £22,167,675 /$29,390,850. © Christie’s Images Limited 2017.

The first edition of Facile by Paul Eluard and Man Ray was sold for €823,500 to Jean-Baptiste Proyard bidding in the room on behalf of a private client, establishing a new auction record for any 20th century French editioned book. A world auction record was achieved for Claude Cahun’s photograph that sold for €223,500 against a pre-sale estimate of €100,000-150,000.  

Lot 23. Paul Eluard (1895-1952) - Man Ray (1890-1976). Facile. Poèmes de Paul Eluard. Photographies de Man Ray. Paris : Editions GLM, [22 juin] 1935. 12 photographies en noir et blanc de Man Ray en héliogravure. In-8 (245 x 183 mm). Edition originale. Un des 5 exemplaires hors-commerce sur Japon impérial, celui-ci non numéroté, signé par l’éditeur Guy Lévis Mano. Estimate EUR 500,000 - EUR 700,000. Price realised EUR 823,500. © Christie’s Images Limited 2017.

Jean Dubuffet was well represented in the sale with two drawings and an exceptional painting, realised in 1964 from the Hourloupe series, which was acquired by international collector Mr. Samir Traboulsi for €1,927,500. 

Lot 7. Jean Dubuffet (1901-1985), J'accours, signed and dated 'J. Dubuffet 64' (lower left); signed, dated again and titled 'J'accours (vinyl) mars 64 J. Dubuffet' (on the reverse), vinyl on canvas, 76 ½ x 51 in. Painted on the 27th of March 1964. Estimate EUR 1,500,000 - EUR 2,000,000. Price realised EUR 1,927,500.  © Christie’s Images Limited 2017.

A strong result was also realised for Through the Dusk (Homage to the square) by Josef Albers which sold for €631,500, three times its presale estimate and the mobile sculpture by Alexander Calder from the personal collection of Tal Coat was sold for €1,327,500.  

Lot 13. Josef Albers (1888-1976), Through the Dusk (Homage to the square), signed, dated and titled '"Through the dusk" (Homage to the square) Albers '54' (on the reverse), oil on masonite, 32 x 32 in. Painted in 1954. Estimate EUR 250,000 - EUR 350,000. Price realised EUR 631,500. © Christie’s Images Limited 2017.

Lot 11. Alexander Calder (1898-1976), Sans titre, signed with the artist’s monogram and dated ‘CA 61’ (on the horizontal element), mobile – sheet metal, wire and paint, 33 ½ x 50 ¾ x 13 ¾ in. Executed in 1961. Estimate EUR 800,000 - EUR 1,200,000. Price realised EUR 1,327,500. © Christie’s Images Limited 2017.

Tudor Davies, Co-Head of Sale: “The second edition of our Paris Avant-Garde sale was a real success and we are pleased to have seen so much interest from international collectors present in Paris for FIAC. In addition to the great result achieved by the Giacometti’s sculpture, may more artworks realised strong results such as Sonia Delaunay’s oil on canvas created in 1913 and originally from the Bing gallery which was sold for €1,567,500”.

Lot 15. Sonia Delaunay (1885-1979), Prismes électriques, signed and dated 'Sonia Delaunay 1913' (lower right), oil on canvas, 31 ¾ x 25 ½ in. Painted in 1913. Estimate EUR 1,000,000 - EUR 1,500,000. Price realised EUR 1,567,500. © Christie’s Images Limited 2017.

Lot 11. A fine and rare 'Yue' jar and cover, Northern Qi Dynasty (550-577), 13 1/4 in., 33.6 cm. Estimate 25,000 — 35,000 USD. Lot sold 21,600 USD. © Sotheby's.

 the well-potted, elegantly balanced globular vessel standing on a flat foot rising to rounded sides set with eight squared lug handles around the shoulder separated by four sections of a raised filet, above a band of impressed circles interspersed with lobed leaves on a trefoil base and larger molded leaves each impressed at the top of a sharply cut lotus petal flaring out from the waist, the short cylindrical neck surmounted by a domed cover crowned with lotus petals rising up around the rim, all beneath a glassy pale olive-green glaze stopping neatly above the foot.

Note: This jar is remarkable for its large size and incised floral decoration on the bands of the pendant lotus petals covering the upper-half of the body. For an example of a related lotus petal jar, but lacking any incised decoration on the body, see one in the Tokyo National Museum illustrated in Oriental Ceramics. The World's Great Collections, vol. 1, Tokyo, 1982, pl. 2. Compare also a green-glazed jar of related form, incised with flower roundels but without the raised lotus petal border on the body, illustrated in Zhongguo taoci quanji, vol. 4, Shanghai, 2000, pl. 229. See also the famous lead-glazed stoneware jar of related form, from Puyang, Henan province, illustrated ibid., pl. 249.

Lot 26. A rare small persimmon-glazed 'Yaozhou' vase, Northern Song Dynasty (960-1179), 7 1/2 in., 19 cm. Estimate 25,000 — 35,000 USD. Lot sold 26,400 USD. © Sotheby's.

the ovoid body set between a short straight neck rising to an everted lip and a knife-pared foot exposing a dense body material, the exterior covered in a russet-colored glaze slightly thinning around the shoulders revealing a black undertone.

Provenance: The collection was formed in China between the 1920s and 50s.

Note: It is rare to find a persimmon-glazed vase of this shape, although a similar larger meiping was sold in our London rooms, 9th June 1992, lot 124. Compare also a vase in the Idemitsu Museum of Art, Tokyo, with a globular body and flat rim, but similarly covered with a persimmon glaze, illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl. 112; and another in the National Museum of Korea, Seoul, included in Sekai tôji zenshe  vol. 12, Tokyo, 1977, pl. 123.

Lot 27. A persimmon-glazed 'Yaozhou' bowl, Song Dynasty  (960–1127), 5 1/2 in., 14 cm. Estimate 5,000 — 7,000 USD. Lot sold 7,800 USD. © Sotheby's.

of conical form with shallow sides rising to the a slightly everted rim, applied overall with a russet colored glaze with light patches of black undertones, all supported on a knife-pared foot revealing a buff colored body.

Note: A persimmon-glazed yaozhou bowl of similar shape and size was sold in these rooms, 28/29th November 1994, lot 260; and another slightly smaller bowl of this type was sold at Christie's New York, 21st September 2001, lot 449.

Lot 43. Masque cimier, Cameroun. Estimation: 4 000 / 6 000 €. Photo Cornette de Saint-Cyr. 

Bois. H. 28 cm 
Rare et beau masque cimier figurant un personnage aux traits d’un exceptionnel réalisme portant une coiffure caractéristique des hauts dignitaires des divers royaumes du Grassland. Belle patine attestant d’une bonne ancienneté. 

Provenance : - Collection privée Européenne

Arts d’Asie chez Cornette de Saint Cyr Paris, 75008 Paris, le 31 Octobre 2017 à 14h30. Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13.

Lot 22. Masque Dogon, Mali. Estimation: 3 000 / 5 000 €. Photo Cornette de Saint-Cyr. 

Bois. H. 32 cm 
Masque « singe noir » Dege classique au front marqué de quatre bandes horizontales. Il apparaitrait dans les danses telles que les dama et celles du sigui. On notera la dureté du bois et la patine croûteuse. Petits accidents visibles. 

Provenance : - Ancienne collection privée, aurait été acquis chez Christie’s Amsterdam dans les années 1990 
- Collection privée Européenne

Arts d’Asie chez Cornette de Saint Cyr Paris, 75008 Paris, le 31 Octobre 2017 à 14h30. Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13.

Lot 82. Rare et ancien masque Isan / Ishan, Nigeria. Estimation: 3 000 / 5 000 €. Photo Cornette de Saint-Cyr. 

Bois. H. 29 cm 
Avec ses formes géométriques particulières, cet ancien masque orné de cauris sur le front emprunte des éléments aux groupes voisins, tels les Yoruba et les Igbo, au point que l’attribution des objets aux Isan est parfois délicate au point de partager les spécialistes du sujet. On notera la belle patine d’usage qui recouvre cet objet. 

Provenance : - Ancienne collection Française 
- Collection privée Européenne 

Référencesbibliographiques : - Collectif : « Arts du Nigeria – Collections du musée des Arts d’Afrique et d’Océanie » Paris 1997, 162,163, pages 271, 272.

Arts d’Asie chez Cornette de Saint Cyr Paris, 75008 Paris, le 31 Octobre 2017 à 14h30. Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13.

Zeng Fanzhi and Axel Rüger (Director of the Van Gogh Museum) in front of Zeng's version of Wheatfield with Crows. 

AMSTERDAM - In 'Zeng Fanzhi | Van Gogh', the Van Gogh Museum presents five works by Zeng Fanzhi (born 1964), one of the best-known contemporary Chinese artist and a fervent admirer of Vincent van Gogh.

Zeng has already exhibited in the Metropolitan Museum of Art, the Musée d’Art Moderne de la Ville de Paris, the National Art Museum of China and Musée du Louvre and – especially for the Van Gogh Museum – has now made a set of six paintings inspired by Van Gogh’s self-portraits.

Three of these portraits are on display in the Van Gogh Museum, along with a painting of Zeng’s shoes (Boots) and a huge, impressive work measuring 200 x 350 cm inspired by Van Gogh’s masterpiece Wheatfield with Crows. Zeng’s new work will be shown to the public for the first time in the feature exhibition on the third floor of the Van Gogh Museum from 20 October 2017 to 25 February 2018.

We experience Van Gogh’s self-portraits, shoes and wheatfields in a different way through Zeng’s eyes. He combines his own style with the work of Vincent van Gogh in a swirling pattern of lines that reflects the tradition of Chinese calligraphy. Zeng Fanzhi gets us to look at and think about Van Gogh’s work, about his brushstrokes, his use of colour and his artistic vision. Zeng says of Van Gogh, ‘he has become a legend in my heart’.

Axel Rüger says, ‘Zeng Fanzhi | Van Gogh fits into a series of feature exhibitions of modern and contemporary art in the Van Gogh Museum that show the influence Van Gogh had on the generations that followed him. This exhibition shows that Van Gogh is still a source of inspiration to this day. We are extremely honoured that Zeng Fanzhi has made these works for the museum and we are particularly proud of the end result.’

Zeng Fanzhi, Wheatfield with Crows, 2017. © Zeng Fanzhi Studio

Self-Portraits as the Connecting Thread

Van Gogh made dozens of self-portraits during his short career. Self-portrait as a genre also plays an important role for Zeng Fanzhi in his oeuvre as a whole. Zeng explains: ‘With each major change in my life I always feel a strong craving to paint a self-portrait. All these self-portraits have now become a kind of documentary of my life.’

Zeng Fanzhi made a set of six portraits especially for the Van Gogh Museum, all inspired by Van Gogh’s self-portraits, three of which are now being exhibited in the Van Gogh Museum. Zeng continues: ‘I try to re-experience Van Gogh’s self-image when I paint his face on the canvas. As the process progresses I get the feeling that I’m getting to know this stranger better and better.’

Vincent van Gogh is known for his powerful, inimitable touch – the very touch that Zeng has replaced with a hand that comes from Chinese calligraphy, a totally different culture. In Zeng’s versions, he employs swirling lines to link his own style and identity to the life and work of Van Gogh. Zeng’s approach has given Van Gogh a ‘Zeng signature’ and immersed him in a different oeuvre and a different culture.

Zeng Fanzhi, Van Gogh II, 2017. © Zeng Fanzhi Studio

Zeng Fanzhi, Van Gogh III, 2017 © Zeng Fanzhi Studio

Zeng Fanzhi, Van Gogh IV, 2017 © Zeng Fanzhi Studio

Two Pairs of Cornfields and Shoes

Alongside the self-portraits the feature exhibition showcases an impressive painting measuring 200 x 350 cm inspired by Van Gogh’s masterpiece Wheatfield with Crows. In his version, however, the Chinese artist covered the field with a sea of lines. Zeng’s wheatfield hangs in sight of Van Gogh’s so that visitors can discover the similarities.

There is also one of Zeng’s older paintings, which he made in 2009. This work, Boots, likewise has a strong link with Van Gogh: it is a clear allusion to Van Gogh’s famous still lifes of shoes. But whereas Van Gogh painted old, worn-out work shoes, Zeng took his new boots as his subject. In both cases, the shoes reflect the way Van Gogh and Zeng Fanzhi saw themselves at that point in their lives and what they identified themselves with. These two paintings of shoes hang side by side in the exhibition.

Vincent van Gogh (1853 - 1890), Shoes, 1886, oil on canvas, 38.1 cm x 45.3 cm. © Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

Zeng Fanzhi, Boots, 2009 © Zeng Fanzhi Studio

Van Gogh Inspires

This feature exhibition of Zeng Fanzhi’s work is one of a series of exhibitions of modern and contemporary art in the last room of the museum. The Van Gogh Museum is using these displays to show the way many generations of artists have been inspired by Van Gogh’s work. Since 2014 there have been exhibitions featuring paintings by Francis Bacon, Edvard Munch, Frank Auerbach, Willem de Kooning and Expressionist works from the Merzbacher Collection.

These modern and contemporary artists were not just inspired by Van Gogh himself; they were also influenced by the way Van Gogh’s work is looked at now and will be looked at in the future. Zeng Fanzhi contributes to this process in an entirely individual way, giving Van Gogh’s work his own meaning. A comprehensive book is being published to accompany the Zeng Fanzhi | Van Gogh exhibition, in which the artistic links between the two artists are discussed in detail.

This presentation was made in close collaboration with the Fanzhi Foundation and the artist’s studio team. It was made possible thanks to the exclusive and generous support of Mr. Chung-kiu Cheung and Mrs. Cecilia Cheung, members of The Yellow House.

from 20 October 2017 until 25 February 2018

This file photo taken on September 21, 2016 shows Chinese artist Zeng Fanzhi in his studio in Beijing. It's hard to imagine that any artist would take on the daunting task of re-inventing some of Vincent Van Gogh's most iconic self-portraits and paintings. But in a new exhibition opening on October 20 in Amsterdam, one of China's best known contemporary artists, Zeng Fanzhi, has done just that, and in a unique fusion presents a series of striking paintings that lend fresh energy and vibrancy to the Dutch artist's works. WANG ZHAO / AFP. 

Cane, England, circa 1890. Handle in garnet and mounted silver. © Galerie Delalande Paris

Provenance: Private collection, UK.

G. M. Seutter (1678-1756), Pair of terrestrial and celestial globes, Augsburg, 1710. Old coloured table globes, they are both mounted on wooden eccentric colored stands for a special order from Italy. Diameter each 20.3 cm (8 in.) © Galerie Delalande Paris

Two globes fabricated by G. M. Seutter, a eighteenth-century publisher, cartographer and engraver. The terrestrial globe bears in red the île de Fer meridian, reference of the time until 1792 and a cartouche 'Globus Terrestris jux la recentissimas observation et navigationes perissimor : Geograpch. aécuritissime delineato. cura et sirmtibu Matth. Seutteri Chaleogr. August'. The celestial globe mentions in cartouche 'Globus Coeslestis in quo omnes Alterismi accurate delineati cura et m.pensis Matthaei Seutteri Chalcogr. August'. It also bears a scale of magnitudes from 1 to 6.

Provenance: Private collection, Europe.

Scientific instruments, 16th & 17th century sundials, 17th century dividers, 17th century hourglasses, a 17th century astrolabe, 18th century microscopes, 18th century telescopes, ring dials, marine chronometers, etc. © Galerie Delalande Paris

A standing mechanical universal equinoctial ring dial, Circa 1760. Giltered and silvered steel. Height 40.6 cm (16 in.). Signed 'Heath & Wing, Strand, London' © Galerie Delalande Paris

Over 100 names of cities all over the world are engraved with their latitude on the meridian ring which is supported by pillars above a rack-and-pinion-geared horizontal circle that surrounds a magnetic compass equipped with a pair of bubble levels and adjustable by screws. Pivoting to brackets fixed to the ring, a bar, with declination scale, months and zodiac, bears a hole through which the sunlight can fall on the hour scale, giving then the local solar time.

Provenance: Private collection, Europe.

Literature: Thomas Heath was a leading London maker who trained notable apprentices, the last one being Tycho Wing whom he took into partnership with, in 1753.

Islamic Celestial Globe (Lahore). Dated '1035 H', or 1625/1626 AD. Brass. Signed 'Qa^im Muhammad (ibn Isa ibn Allahdad Asturlabi Lahuru Humayuni). © Galerie Delalande Paris

Globe made of brass using the 'cire perdue' (lost wax) technique with one round plug missing at the equator between the constellations of the Eagle and the Snake. The 48 constellations are present, well engraved and named. The positions of the 1018 stars are indicated by inlaid silver points. The size of the silver points is proportional to the magnitude (brightness) of the stars.Tilt of the Ecliptic: 23.5°. The Equator’s circle is divided into degrees and numbered by 5°. The Ecliptic is divided into 12 parts of 30°, graduated from 5 to 5°, with the names of the 12 signs of the zodiac and their representation. The circle and the zodiacal belt are indicated. The large circles passing through the beginning of the signs of the zodiac as well as the poles of the ecliptic and their circles are engraved. Presence of the 28 Lunar mansions with their names. Presence of two holes near the poles for fixing the globe on a support and for the rotation. 

Provenance: Private collection, France; collection Alain Brieux; collection Bahari (Tehran).

Literature: Emilie Savage-Smith Islamicate Celestial Globes, edited by the Smithsonian, exh. cat., p. 224, no. 12, ill. 36, p.92.

Cane, England, circa 1900. Rock crystal, engine turned enameled, gold and silver handle representing a duck © Galerie Delalande Paris

Provenance: Private collection, UK.

Travelling hourglass, France, circa 1620-1630. Silver. Height 6.7 cm (2.6 in.). Diameter 2.8 cm (1.1 in.) © Galerie Delalande Paris

Precious travel hourglass in silver made of two openwork cylinders pivoting into one another and allowing the opening and closing of windows revealing the flask. The outer part is made of silver filigree. The inner cylinder is formed of a solid silver sheet with partially erased hallmarks. Inside is a flask made of two cylindrical bulbs in slightly smoked 'bubbled' glass and filled with a very fine lead sand of about 50 microns. The bulbs are joined by wax covered with a beige fabric and bound over with a silvery thread.

Provenance: Private collection, France.

Literature: A similar hourglass is reproduced in photo in our book Hourglasses of the Past, p. 95

Galerie Delalande Paris at TEFAF New York Fall 2017, Stand 54. Primary Address: 35 rue de Lille, 75007 Paris, France. T  +33142601935 - domdelalande@hotmail.com - www.delalande-antiques.com

Lot 172. A rare carved jade powder horn with brass leopard mount, India, Jaipur, 18th century. Estimate 15,000 — 20,000 USD. © Sotheby's.

the jade body carved as an ibex with brass and enamelled mounts designed as a leopard in an attack position with two hinged hooks, custom stand, 12cm.  

Provenance: Ex-collection Daniel Pasgrimaud, Paris.

Note: This finely carved jade powder horn, or priming flask, delicately uses the two natural tones of the jade to enhance its design. The tapering, darker end features the head of an ibex, recognizable by its two long twisted horns, from whose mouth the powder would pour. It is being attacked by a leaping leopard activated by a lever to open and close. Derived from similar models made of natural horn or ivory, jade examples are rarer. Comparables are in the National Palace Museum of Taipei, lieh 359.34 and kuyu 2743 (Taipei 1983, nos. 69 and 70), the Louvre Museum, Paris (inv.nos. R437 and R436), the Victoria and Albert Museum, London (inv. no. 02585(IS)), as well as the Al Thani collection (Jaffer 2013, no .26, p.100).

Corne à poudre, Inde, 17ème siècle. Jade. Paris, musée du Louvre, R436. Photo © RMN-Grand Palais (musée du Louvre) / Franck Raux

Corne à poudre, Inde, 17ème siècle. Jade. Paris, musée du Louvre, R437. Photo © Musée du Louvre, Dist. RMN-Grand Palais / Hughes Dubois.

A priming flask, greenish grey nephrite jade, lion's and ibex's heads, gold and rubies, Mughal empire, 18th century, formerly in the Guthrie collection, 02585(IS) © Victoria and Albert Museum, London 2017.

Sotheby's. Arts of the Islamic World, London, 25 oct. 2017, 10:30 AM

Lot 190. A gold, enamelled, and gem-set box, North India, 18th-19th century.  Estimate 12,000 — 18,000 USD. © Sotheby's.

composed of gold, the underside with red and green enamelled flowers on a white ground, lid and edges set with emeralds and rubies, large central carved emerald, interior of lid with enamel lining - 2.4 by 5.5 by 4.5cm. 

Sotheby's. Arts of the Islamic World, London, 25 oct. 2017, 10:30 AM

Lot 191. A Mughal gem-set and enamelled gold archer's ring, North India, circa 18th-19th century. Estimate 8,000 — 12,000 USD. © Sotheby's.

beveled edge, polychrome enamels, set in the kundan technique with turquoise, diamonds and pearls; 4.7cm. 

Sotheby's. Arts of the Islamic World, London, 25 oct. 2017, 10:30 AM

Lot 189. A diamond and emerald pendant depicting an Indian prince, France for the export market, circa 1930. Estimate 7,000 — 10,000 USD. © Sotheby's.

central medallion depicting an Indian prince in painted enamel, with a diamond and emerald-set frame, with French assay silver marks, mounted to reverse as pin; 4.6 by 3.2cm. 

Provenance: Ex-French private collection. 

Note: The prince depicted is possibly H.H Thakore Saheb Dharmendrasinhji Jadeja of Rajkot (r.1930-40).

Lot 217. A parrot-form enamelled and gem-set gold turban ornament, India, Benares, 19th century. Estimate 6,000 — 8,000 USD. © Sotheby's.

decorated in the characteristic gulabi (rose-pink) and white enamel with green, diamond-set flowerhead above, large natural pearl hanging from beak; 11.2cm. height 

Sotheby's. Arts of the Islamic World, London, 25 oct. 2017, 10:30 AM

Lot 187. A pair of enamelled and diamond-set bracelets, North India, 19th century. Estimate 5,000 — 7,000 USD. © Sotheby's.

each set in the kundan technique with lasque diamonds, the insides with bright polychrome enamels, screw pin to open. Quantité: 2 - each: 6.6cm. diam. 

Sotheby's. Arts of the Islamic World, London, 25 oct. 2017, 10:30 AM

Lot 220. An enamelled and gem-set gold bracelet, India, Benares, 19th century. Estimate 5,000 — 7,000 USD. © Sotheby's.

set with a navaratna sequence of various coloured stones including heggonite garnet, coral, maybe pearl, turquoise, cat's eye, opal, divided by diamond-inset leaves, the interior decorated in characteristic gulabi (rose-pink) and white enamel with green; 9cm. diam. 

Sotheby's. Arts of the Islamic World, London, 25 oct. 2017, 10:30 AM