Collier de cent-trente-quatre perles fines en chute. Photo Fraysse & Associés
le fermoir navette en platine et or gris serti de diamants taillés en rose. Longueur: 52 cm - Diamètre: 2,5 à 7,3 mm - Poids brut: 11,3 g - Poids des perles: environ 205,32 g. Estimation : 3 000 - 4 000 €
Accompagné d'un certificat du laboratoire L.F.G
Fraysse & Associés. Jeudi 18 avril à 14h15. EMail : contact@fraysse.net - Tél. : 01 53 45 92 10
Broche en platine et or gris. Signée Boucheron Paris. Exécuté vers 1930. Photo Fraysse & Associés
formée d'un anneau large octogonale retenant deux bandeaux souples accolés, l'un orné en pampille d'un diamant taillé en poire, l'ensemble serti de diamants taillés en brillant.Hauteur: 6,5 cm - Poids brut: 13,5 g. Estimation : 2 000 - 3 000 €
Fraysse & Associés. Jeudi 18 avril à 14h15. EMail : contact@fraysse.net - Tél. : 01 53 45 92 10
A fine celadon-glazed basin. Seal mark and period of Qianlong - Sotheby's
the shallow rounded sides slightly flaring out from a protruding foot, encircled by a single raised fillet, very finely incised on the interior with a wide roundel centred with a lotus blossom wreathed by four interlocked archaistic chilong, two with incurved horns and two others with bifid tails, surrounded on the walls by five further lotus blossoms flanked by angular scrolls, repeated around the exterior below an archaistic border at the rim, applied overall with an even pale sea-green glaze pooling to a darker tone within the incised decorations, the footring and recessed base glazed, save for a round circle left in the biscuit and dressed in an orange wash in imitation of the Song dynasty Longquan ware, the latter centred in underglaze blue with a six-character seal mark; 26 cm. 10 1/4 in. Estimation: 900,000 - 1,200,000 HKD - Lot. Vendu 1,480,000 HKD
PROVENANCE: Collection of Baron Denzaburo Fujita (1841-1912).
Fujita family collection.
NOTE: A closely related example was sold twice in these rooms, 20th May 1980, lot 77, and again, 24th November 1987, lot 117. Basins of this type were inspired by celadon saucer dishes made in the Ming dynasty and were first revived in the Yongzheng period; compare a large fifteenth century saucer dish illustrated in Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. I, London, 1986, pl. 318; and a Yongzheng mark and period basin freelyengraved with a Ming-style peony spray, sold at Christie’s London, 12th December 1988, lot 332.
A plain washer of this form with a Qianlong mark and of the period, but of smaller dimensions and covered in a Rutype glaze, from the J.M. Hu collection, was sold in our New York rooms, 4th June 1985, lot 47, and again at Christie’s New York, 20th September 2005, lot 291, from the Rodriguez collection.
The Fujita Museum in Osaka houses over 5000 pieces of Chinese and Japanese works of art collected by Baron Denzaburo Fujita (1841-1912) and opened to the public in 1954. Of these, nine pieces have been designated as National Treasures, including the famous Yohen Tenmoku Tea Bowl, and fifty are designated as important culturalassets. Baron Denzaburo Fujita was a leading industrialist, politician and one of the greatest tea masters of the Meiji period and was acclaimed to have the best private collection in the Kansai region. Following his death, part of his collection was sold at auction.
Sotheby's. Fine Chinese Ceramics and Works of Art. Hong Kong | 08 avr. 2013 - www.sothebys.com
A peachbloom beehive waterpot, taibo zun. Mark and period of Kangxi - Sotheby's
well potted, of classic domed 'taibo zun' form, the rounded sides contracting to a narrow waisted neck below a short lipped mouthrim, incised around the exterior with three medallions formed of the curled bodies of archaistic kuidragons, all beneath a rich crimson-red glaze characteristically mottled with shades of lighter pink and dots of emerald green imitating the skin of a ripening peach, the recessed base and interior left white, the base inscribed in underglaze blue with a six-character reign mark in three lines; 12.3 cm., 5 1/8 in. Estimation: 500,000 - 700,000 HKD. Lot. Vendu 1,360,000 HKD
PROVENANCE: Collection of William B. Jaffe, New York.
Collection of Evelyn Annenberg Hall.
Christie's New York, 29th March 2006, lot 110.
NOTE: Waterpots of this attractive 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 thePalace 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. See also a waterpot of this type from the collections of Edward T. Chow and the British Rail Pension Fund, sold twice in our Hong Kong rooms, 25th November 1980, lot 66, and again, 16th May 1989, lot 61, and now in the Meiyintang collection; and another sold in these rooms, 23rd October 2005, lot 311.
The Tang dynasty poet Li Bai (701-762), known as a notorious drinker, is often depicted leaning against a wine jar of this form, for example, in a porcelain sculpture of the same period which shows the poet seated with closed eyes and a cup in hand, illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, op. cit. , p. 106, pl. 89. It is also referred to as a qizhao zun because its shape resembles that of a chicken coop. These
vessels belong to a group of eight ‘peachbloom’ wares for the scholar’s desk, a complete set of which is illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 4, London, 2010, p. 328.
Sotheby's. Fine Chinese Ceramics and Works of Art. Hong Kong | 08 avr. 2013 - www.sothebys.com
Boîte en agate, la monture en or uni. Travail allemand ou anglais de la deuxième moitié du XVIIIe siècle. Photo Fraysse & Associés
Chaque face, sauf celle du fond, est décorée en relief de scènes de chasse, d'animaux et d'un voilier en mer (restauration dans un angle). Sans poinçon. Longueur: 6,8 cm - Largeur: 5 cm - Hauteur: 3,3 cm - Estimation : 3 000 - 3 500 €
Fraysse & Associés. Jeudi 18 avril à 14h15. EMail : contact@fraysse.net - Tél. : 01 53 45 92 10
Boîte en or de deux couleurs de forme ronde. Maître orfèvre Melchior René Barre, reçu en 1768. Paris, 1782-1783. Photo Fraysse & Associés
Le couvercle mobile est bordé de fleurs, feuilles et perles identiques sur chaque élément de la boîte. Elle est guillochée de pastilles sur un fond de filets concentriques. Diamètre: 6 cm - Poids: 84 g. Estimation : 2 500 - 3 500 €
Fraysse & Associés. Jeudi 18 avril à 14h15. EMail : contact@fraysse.net - Tél. : 01 53 45 92 10
Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, 1599–1660), Duke Francesco I d'Este, 1638. Oil on canvas. Galleria Estense, Modena© su concessione del Ministero per i Beni e le Attività Culturali.
NEW YORK, NY.- Velázquez’s Portrait of Duke Francesco I d’Este, one of the great portraits of the 17th century from one of the most prestigious regional museums in Italy, will be on view at The Metropolitan Museum of Art from April 16 through July 14. This special loan, which has never before traveled to the United States, will also coincide with and celebrate the May opening of the Metropolitan Museum’s renovated New European Paintings Galleries, 1250–1800. The painting is temporarily leaving its home during the closure of the Galleria Estense in Modena due to damages sustained during the severe earthquake in the Emilia Romagna region in May 2012.
The exhibition, Velázquez’s Portrait of Duke Francesco I d’Este: A Masterpiece from the Galleria Estense, Modena, is organized by The Metropolitan Museum of Art in collaboration with the Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici di Modena e Reggio Emilia and the Galleria Estense.
Support is provided by the Consulate General of Italy in New York and Ferrero USA Inc. as part of the 2013 Year of Italian Culture in the United States, an initiative held under the auspices of the President of the Italian Republic, organized by the Ministry of Foreign Affairs and the Embassy of Italy in Washington with the support of the Corporate Ambassadors Eni and Intesa Sanpaolo.
Diego Velázquez’s depiction of Francesco I d'Este (1610–58), the Duke of Modena, is one of the artist’s most distinctive portraits. Authoritative and sophisticated, the Duke of Modena appears in Velázquez’s portrait as the quintessential 17th-century ruler and aristocrat. Painted while the duke was visiting Madrid in 1638 to secure the support of King Philip IV, the work conveys the duke’s air of arrogance and sensuality, and is a high watermark in the history of baroque portraiture, while also illustrating the importance of Velázquez's portraits to Spanish diplomacy.
Francesco I d’Este became Duke of Modena and Reggio Emilia in 1629 and his rule was shaped by the Thirty Years’ War (1618-48). Caught between France and Spain and those countries’ interests in the Italian peninsula, he tried to steer his small state effectively through the perilous waters of international politics. In the fall of 1638, Francesco traveled to Spain, trying to forge a stronger alliance with King Philip IV and to garner financial support for Modena. Philip IV was keen to please and impress his Italian ally, and upon his arrival in Madrid, Francesco was given quarters in the new royal residence of the Buen Retiro, where he could admire some of the king’s extraordinary art collections. Philip appointed him Viceroy of Catalonia, Admiral of the Fleet, and a member of the Council of State. The king then bestowed on Francesco the most prestigious honor in Spain, the order of the Golden Fleece.
While the duke was in Spain, the king’s court artist, Diego Rodriguez de Silva y Velázquez (1599–1660), painted his portrait. Originally from Seville, Velázquez had moved to Madrid in 1622 and worked for the royal court. Over the years, he produced magnificent portraits of the king and members of the royal family. Philip commissioned an equestrian portrait of the duke and, while the large portrait was never finished, Velázquez must have completed the head of the duke soon after he was given the Golden Fleece—which Francesco sports in the painting. The portrait, therefore, must date between October 24 and November 4, 1638, when the duke left to return to Italy. This work may have been preparatory for the equestrian portrait and could have been brought back to Italy by Francesco. In 1843 the painting was acquired by the Galleria Estense in Modena, Italy.
The Galleria Estense in Modena
One of the most prestigious museums in Italy, the Galleria Estense owes its outstanding collections to centuries of collecting by the famous Este family. Originally the rulers of Ferrara, they moved their capital to Modena in 1598. There they displayed their collections in a new ducal palace that was rebuilt from 1630 around a medieval nucleus. The collections were enriched through the energy and ambition of Duke Francesco I d’Este, who reigned from 1629 to 1658. The gallery opened to the public in 1854 and the last duke, Francesco V d’Austria-Este, bequeathed the collection to the city in 1859. Today, the collection is strong in paintings from the 14th to the 18th century, including outstanding works by Cosmè Tura, Correggio, Dosso Dossi, Annibale Carracci, Guercino, Guido Reni, Veronese, Tintoretto, Bassano and El Greco. Among the sculptures are terracotta masterpieces by the local Renaissance sculptor Antonio Begarelli. The museum’s holdings also include a significant graphic collection, an important group of decorative works and musical instruments, archaeological material, and one of the most conspicuous numismatic collections in the world.
In May 2012 a series of violent earthquakes struck the region of Emilia-Romagna, in northeastern Italy, affecting the cities of Ferrara, Mantua, and Modena. In addition to the considerable human toll, historic towns were gravely damaged. Among the 1,295 architectural complexes that sustained damage were churches, abbeys, oratories, castles, and civic and aristocratic palaces. Many buildings were almost completely destroyed and important works of art, especially those in churches, were badly harmed. Altars, frames, stuccowork, organs, tombs, and monuments—entire decorative complexes—were buried under collapsed roofs and walls and some still lie under ruins. Restoration has begun, but will require years of work and vast expenditure. A center for conservation and restoration has been established in the Ducal Palace at Sassuolo, not far from Modena, where more than 1,200 works dating from the Middle Ages to the 19th century have been deposited. They will be returned to their original locations following the completion of the reconstruction that is already underway.
Seatted Buddha, Goryeo dynasty, 11th-12th century. Cast iron. Height: 25 1/4 in. Gift of the 2013 Collectors Committee. ©Photo 2013 Museum Associates/LACMA.
LOS ANGELES, CA.- The Los Angeles County Museum of Art announces the acquisition of nine artworks through the museum’s 28th annual Collectors Committee fundraiser. A diverse range of objects have been added to the museum’s permanent collection, including one of the oldest surviving wood sculptures from Africa, carbon dated to the 15th century. The acquisition, made possible in part by LACMA trustees Kelvin Davis and Bobby Kotick, emphasizes the museum’s newly invigorated African art program which launches this summer with new permanent gallery space. Six additional artworks—a 10th-century Korean Buddha and 12th-century Japanese Mountain Avatar, as well as modern and contemporary pieces by Thomas Demand, Susan Hefuna, Julio Le Parc, and James Turrell—rounded out the objects acquired by the committee.
Topping off the gala event, sponsor JPMorgan announced gifts of a photograph from Robert Frank’s series The Americans and a portfolio of seventy-five works on paper by Ed Ruscha, Stains.
“The legacy of Collectors Committee Weekend continues to measurably strengthen the museum’s diverse collections,” commented Michael Govan, LACMA CEO and Wallis Annenberg Director. “The acquisition of the 15thcentury Mother and Child Figure for the Gwan Association, from the Republic of Mali, gives particular emphasis to our growing commitment to the arts of Africa.” He continued, “The acquisition of all of these impressive artworks is made possible with the invaluable support of the Collectors Committee members, led by Collectors Committee Chair Ann Colgin and Acquisitions Chair, Lynda Resnick. We are also grateful to sponsor JPMorgan for their support of the event.”
Spanning two days, Collectors Committee Weekend is one of the museum’s most significant fundraising events of the year and has played an essential role in acquiring important works of art for every area of its encyclopedic collection. Throughout its twenty-eight-year history, this event has made 193 acquisitions through donations totaling more than $28 million. At the 2013 Collectors Committee Weekend, the seventy-seven voting members raised more than $3.2 million—a Collectors Committee record. For the fifth consecutive year, LACMA Trustee Ann Colgin led the weekend efforts as Chair of Collectors Committee, along with fellow Trustee and Acquisitions Committee Chair, Lynda Resnick.
The 2013 festivities began on Friday, April 12, with exclusive dinners for Collectors Committee members in the homes of seven LACMA trustees, each prepared by celebrity chefs and paired with wines presented by renowned California vintners (see below for full list). On Saturday, LACMA curators presented artworks proposed for acquisition; at the annual Collectors Committee Gala on Saturday night, members enjoyed a dinner prepared by chef Joachim Splichal (Patina Group) and voted on which artworks to acquire.
“I am thrilled with the results from the 28th annual Collectors Committee Weekend,” said Ann Colgin. “The commitment and support for the event grows each year, and it is unbelievable to see so many talented and generous people come together for such an important cause. I’m grateful to the chefs and vintners for preparing exquisite dining experiences on Friday evening, to the LACMA curators who dedicate their expertise toward building the museum’s collection, and to the many members of Collectors Committee who made this weekend such a success.”
“JPMorgan has a long legacy in the arts and a deep appreciation for the power art has to inspire,” said Lee Hutter, Managing Director at J.P. Morgan Private Bank. ”We are immensely proud to support LACMA and to donate works by Robert Frank and Ed Ruscha to its permanent collection.”
Funds for the acquisitions were raised by Collectors Committee membership dues with additional funds provided by individual members (noted below); prior to voting, another $484,000 was raised by a live auction featuring artworks, trips, and one-of-a-kind experiences (see below for details). LACMA Trustee Viveca Paulin-Ferrell served as auctioneer.
Acquired Artworks
Artworks acquired through the 2013 Collectors Committee include:
· The first African sculpture to be acquired in Collectors Committee history is a Mother and Child Figure for the Gwan Association, Republic of Mali, Bamana Peoples (1432-1644). Carbon-dated to the 15th century, this work is one of the oldest surviving wood sculptures from Africa. The figure embodies continuity of generations and represents the strength and resilience of motherhood. This important acquisition marks the launching of LACMA’s new African art gallery and related educational and outreach programming. The gallery’s inaugural exhibition will be Shaping Power: Luba Masterworks from the Royal Museum for Central Africa, on view from July 7, 2013 to January 5, 2014. Gift of the 2013 Collectors Committee with additional funds provided by Kelvin Davis and Bobby Kotick.
Mother and Child Figure for the Gwan Association, Republic of Mali, Bamana Peoples, 1432-1644 (carbon 14 testing), gift of the 2013 Collectors Committee with additional funds provided by Kelvin Davis and Bobby Kotick.
· Mountain Avatar (Zaō Gongen) (c. 1180), a Japanese sculpture in wood of a Shinto deity with three crystal eyes that retains its original colors and surface from the late twelfth century: it is the oldest and finest sculpture of its type in existence. Gift of the 2013 Collectors Committee.
Mountain Avatar (Zaō Gongen), Japan, late Heian period, c. 1180, gift of the 2013 Collectors Committee.
· A rare Korean cast iron Buddha sculpture from the tenth century Goryeo dynasty depicting the historical Buddha Shakyamuni’s Enlightenment at Bodha Gaya in India; this acquisition makes this the largest example of Goryeo Buddhist sculpture outside of Asia. Gift of the 2013 Collectors Committee.
Seated Buddha, Korea, Goryeo dynasty, 10th century, gift of the 2013 Collectors Committee.
· Julio Le Parc, Mural: Virtual Circles (Mural Cercles Virtuelles, 1964–66), a visually complex geometric sculpture. Seen from the front, the work is deceptively static, but with just a slight displacement from the viewer it becomes fully activated. The work is paradigmatic of Le Parc’s visual experimentations with kinetic and optical effects, as well as his life-long interest in viewer participation. Purchased with funds provided by Debbie and Mark Attanasio, Jane and Marc Nathanson, Jane and Terry Semel, the Loreen Arbus Foundation, Alyce Woodward Oppenheimer, Janet Dreisen Rappaport and Herb Rappaport and an anonymous donor through the 2013 Collectors Committee.
Julio Le Parc, Mural: Virtual Circles (Mural Cercles Virtuelles), 1964–66, purchased with funds provided by Debbie and Mark Attanasio, Jane and Marc Nathanson, Jane and Terry Semel, the Loreen Arbus Foundation, Alyce Woodward Oppenheimer, Janet Dreisen Rappaport and Herb Rappaport and an anonymous donor through the 2013 Collectors Committee ©Julio Le Parc. Photo 2013 Museum Associates/LACMA.
· Roden Crater Model (Large Overall Site)(1985-87), a full scale model of James Turrell’s ongoing project, Roden Crater. This model is made from plaster as well as elements from the crater itself and includes details of the geologic contours, textures, and colors of the Arizona site in relation to the exterior of artist’s planned transformations. LACMA will present a major retrospective of the artist’s work this summer, James Turrell: A Retrospective, May 26, 2013—April 6, 2014. Purchased with funds provided by Suzanne Deal Booth and David G. Booth, Paul Fleming, Suzanne and Ric Kayne, and Pamela and Jarl Mohn through the 2013 Collectors Committee.
James Turrell, Roden Crater Model (Large Overall Site),1985-87, purchased with funds provided by Suzanne Deal Booth and David G. Booth, Paul Fleming, Suzanne and Ric Kayne, and Pamela and Jarl Mohn through the 2013 Collectors Committee.
· Thomas Demand's Control Room (2011) shows the interior of the Daiichi power plant in Fukushima following the East Japan earthquake and tsunami, based on a cell-phone snapshot, recreated by the artist as a full-size paper model, and then photographed. Purchased with funds provided by Willow Bay and Bob Iger and Steve Tisch through the 2013 Collectors Committee.
Thomas Demand, Control Room, 2011, purchased with funds provided by Willow Bay and Bob Iger and Steve Tisch through the 2013 Collectors Committee.
· Woman behind Mashrabiya I (1997) by Egyptian-German artist Susan Hefuna depicts the elusive silhouette of a woman in full hejab behind a mashrabiya, a latticed wood window screen characteristic of traditional Islamic architecture. Hefuna’s use of the mashrabiya not only reflects her own personal East-West dichotomy, but also serves as a reminder that our visual perceptions are often culturally encoded. Gift of Ann Colgin and Joe Wender, Kelvin Davis, John and Carolyn Diemer, Andy Gordon and Carlo Brandon, Deborah McLeod, and David and Mary Solomon through the 2013 Collectors Committee.
Susan Hefuna, Woman behind Mashrabiya I, 1997, gift of Ann Colgin and Joe Wender, Kelvin Davis, John and Carolyn Diemer, Andy Gordon and Carlo Brandon, Deborah McLeod, and David and Mary Solomon through the 2013 Collectors Committee.
· A photograph by Robert Frank, St. Francis and Gas Station, and City Hall—Los Angeles (c. 1955, printed 1977), an exemplary work from Frank’s iconic series The Americans, taken during the photographer’s tour of the United States during the 1950s. Gift of JPMorgan Chase through the 2013 Collectors Committee.
· Ed Ruscha’s Stains (1969), a portfolio of seventy-five distinct mixed-media stains on paper, plus one on the inside cover of the portfolio case. Gift of JPMorgan Chase through the 2013 Collectors Committee.
Maharana Ari Singh of Mewar Seated on a Swing, Mewar, c. 1760-1770. Opaque watercolour heightened with gold on paper. Image : 13.5 x 11 in (34.3 x 27.9 cm). $ 16,000 - 20,000.
MUMBAI.- As the demand for classical Indian art and jewelry continues to grow, Saffronart announces ‘Treasures from the Past’, a month of events focusing on Indian miniature paintings, antiquities and period jewelry. Throughout April, India’s leading auction house will showcase a significant selection of art and objects dating back several centuries, as part of exhibitions and an auction at its locations in Mumbai, New Delhi and London.
Exhibition of Indian Period Jewelry. New Delhi
Saffronart hosts Indian Period Jewelry showcasing approximately 30 pieces of exquisite hand crafted jewelry from various regions of India renowned for their intricate design work and skilled craftsmanship. The exhibition features necklaces, ear pendants, nose ornaments and arm bands set with precious stones in gold, highlighting traditional techniques like jadau, kundan and meenakari.
The pieces also include several jewels that were originally part of Indian Royal collections, such as a beautifully carved emerald pendant with rose cut diamonds, a stunning neckpiece accented with large pearls with a surmount of rubies and emeralds, and a large nose ring set with pearls and pin
Exhibition of select Indian antiquities. Mumbai
Collectibles Antiques India will host an exhibition of Select Indian Antiquities starting April 18, 2013, at the Saffronart gallery in Mumbai. The exhibition will feature approximately 30 pieces, including sculptures in stone and metal dating from the 2nd to 18th century.
Online auction of Indian Miniature Paintings and works of art. London
On April 24-25, 2013, Saffronart will host an online auction of Indian Miniature Paintings and Works of Art. The auction will feature 20 lots including miniatures from many important Indian schools of painting like Mewar, Kishangarh, Murshidabadad and the Mughal school, alongside works of art including a group of Company School figures depicting life in India in the 19th century, and a 17th century bronze votive Ganesh. The auction will take place online at www.saffronart.com and will be accompanied by a print catalogue of highlights, a complete online catalogue, and a preview event along with a talk introducing Indian miniatures by Dr. Malini Roy, Visual Arts Curator at the British Library, in London on April 17, 2013.
Ceremonial Horseback Portrait of Prince Lakhpatji of Kutch with Four Attendants. Kutch or Nagaur, c.1750. Opaque watercolour heightened with gold on paper. Image : 12.5 x 9.5 in (31.8 x 24.1 cm). $ 20,000 - 25,000. Rs 10,40,000 - 13,00,000.
A half-length portrait by Cornelis Jonson (1593-1661) of Elisabeth Campion, from Danny Park, Sussex. Estimate: £40,000-60,000. Photo: Christie's Images Ltd 2013.
LONDON.- On 2 May, Christie’s sale East & West will offer works of art from two private collections - from Eaton Square & Anouska Hempel - both formed with passion, connoisseurship and a discerning eye for quality. Including items originating from China and the Indian subcontinent, through the Middle East, Russia, the Baltic states, Western Europe and to the Caribbean, the extensive range of ages, geographical origins and media presented over 347 lots will delight collectors and decorators around the world. In total, the sale is expected to realise in excess of £2.5 million.
A Private Collection from Eaton Square (Lots 1 – 265)
The interiors formed by this anonymous collector over a period of almost forty years in his Eaton Square residence comprise 264 lots including a diverse array of furniture, pictures and works of art, ceramics, furnishings and garden statuary. Acquired at some of the most famous and important country house sales of the late 1970s and 1980s - including North Mymms Park, Wateringbury Place, Reddish House and West Dean - provenance was paramount in the formation of this collection. Royal pieces include an ormolu-mounted mahogany armoire made for the Queen of Spain - Doña Maria Cristina de Borbón, wife of King Fernando VII - in 1830 (estimate: £30,000-50,000) and an important bureau plat by Bernard II van Risenburgh (BVRB) which belonged to Louis XV’s mistress Madame de Pompadour (estimate: £70,000-100,000). Among the many curiosities is a pair of tole peinte, opaque glass and giltwood pineapple jardinière ornaments, circa 1950, which belonged to the photographer Henry Clarke, Cecil Beaton’s younger contemporary (estimate: £20,000 – 30,000).
A Spanish Ferdinando VII ormolu-mounted mahogany inverted breakfront armoire by Francesco Lopez De La Llare, circa 1830. Photo: Christie's Images Ltd 2013.
The projecting cornice carved with acanthus and egg-and-dart, above panelled doors with beaded and stiff-leaf borders, centred by stylised foliate S-shaped escutcheons and flanked by columns, the interior fitted with drawers, on a moulded plinth base, the original key with a gilded coronet marked with 'MC' and futher inscribed 'MADRID AÑO 1830 FC. LOPEZ DE LA LLARE'; 87 in. (221 cm.) high; 51¼ in. (130 cm.) wide; 27 in. (68.6 cm.) deep. Estimate: £30,000-50,000
Provenance: Supplied to the Queen of Spain, Doña Maria Cristina de Borbón, wife of King Fernando VII in 1830.
Thence by descent to her daughter, Queen Isabel II.
Presented by Queen Isabel II to General Caradoc, Lord Howden (d.1873), appointed Envoy Extraordinary and Minister Plenipotentiary at the Spanish Court by Queen Victoria between 1850-1858, the Castillo de Caradoc, Bayona.
Acquired by Sr. Emanuel Bocher.
Inherited by the Marqés de Fuente Hermosa and sold by his wife in 1942.
Acquired in Paris in the 1950s and thence by descent.
Anonymous sale; Christie's London, 2 December 1997, lot 70.
Notes: This armoire was commissioned in Madrid in 1830 by the Queen of Spain, Doña Maria Cristina de Borbón, the wife of King Fernando VII. Inherited by her daughter, Queen Isabel II, it was subsequently presented by the latter to General Caradoc, Lord Howden, Queen Victoria's Envoy Extraordinary. Appointed Minister Plenipotentiary at the Spanish Court between 1850-1858, Lord Howden transferred the armoire to the Castillo de Caradoc in Saint-Esprit, Bayona, which he had built in 1857 on the ancient lands of the Merignac in the 'Edad Media', where the Orden de San Juan de Jerusalem had been founded in the 12th Century.
At the death of Lord Howden in 1873, the Castillo and its contents were acquired by Sr. Emmanuel Bocher, who bequeathed them in turn to the Marqés de Fuente Hermosa. It was his wife who sold the armoire in 1942.
A Royal Louis XV ormolu-mounted tulipwood, marquetry and parquetry table àécrire by Bernard II Van Risen Burgh, called BVRB, circa 1750. Photo: Christie's Images Ltd 2013.
The serpentine top inlaid with end-cut or bois-de-bôut marquetry flowers, above a shaped frieze fitted with a gilt-tooled green leather- lined slide and drawer to either end, on cabriole legs and stylised hoof sabots, stamped BVRB twice and JME four times, branded three times with the mark of the Château de Bellevue, inscribed three times Du No. 40 and once '2734', branded EHB, possibly previously with mount to the edge of the top (see below), the handles probably original, the angle mounts Régence and conceivably original (see below); 27¼ in. (69.5 cm.) high; 38 in. (96.5 cm.) wide; 20¼ in. (51.5 cm.) deep. Estimate: £70,000-100,000
Provenance: Supplied to Jeanne-Antoinette Poisson d'Etiolles, marquise de Pompadour (1721-64) for the château de Bellevue.
Louis XV (1710-74), the château de Bellevue and then presumably by descent to Mesdames Adelïade and Victoire, the King's sisters, at the château de Bellevue, until the Revolution.
The Trustees of a Nobleman; sold Christie's London, 2 July 1981, lot 59.
Notes: Bernard II van Risenburgh (BVRB) (d. 1765), maître before 1730.
This elegant table àécrire is branded BV beneath a crown, the mark of the château de Bellevue. The château was built for Madame de Pompadour by Louis XV to the designs of A.-J. Gabriel, commencing in 1748. Finished by Lassurance, Bellevue was inaugurated by the favourite in the presence of the King and the court on 25 November 1750, although the interior decoration continued until 1752. The Royal scale of the furnishing of this and her other residences is revealed in the pages of the Livre-Journal of Lazare Duvaux, themarchand-mercier through whom Madame de Pompadour made most of her purchases and from whom, in all probablility, she purchased this table. The copious entries of the Livre-Journal (ed. Louis Courajod, Paris, 1873) in Madame de Pompadour's name (upwards of 350 between 1748 and 1762) are generally too brief to allow positive identification, though the variety and luxury of Duvaux's supplies to the favourite - commodes and tables of lacquer and marquetry, enormous quantities of Vincennes, porcelaine de Saxe and lacquer, both mounted and unmounted, and a choice variety of bibelots, as well as the infinite attention given to the repair and maintenance of her possessions, give a vivid picture of her refined and civilised existence. Among these many entries, the only one of any substance which might correspond to this table is No. 650 (22 November 1750)...'Une table à ecrire de trois pieds de long plaquée en bois de rose avec des fleurs & ornemens dorées d'or moulu, les cornets en argents, 890 l.'
The table next appears in an inventory drawn up in 1763 for the King following his repurchase of Bellevue and its contents from Madame de Pompadour in 1757 (Archives Nationales 013317, folio 241 vo):
'No 40 Une Table a écrire de bois de Rose a fleurs de Bois violet a placcages, aïant par devant une tablette à coulisse couverte de velours vert encastré de même bois, et a chaque bout un tiroir fermant a clef doublé de moire verte encadrée d'un petit passepoil d'or faux. celue du côté droit garni d'Encrier, poudrier et Boëte a Eponge d'argent placés dans une Ecritoire ambulante de bois de roze. la Table ornée d'Entrées de serrures, quarts de ronds, encoignures et pieds de biche de bronze doré d'or moulu. longue de 2: pieds 11 pouces sur 18 pouces de large et 26 pouces de haut'.
The dimensions and description correspond so closely as to allow no doubt of its identification. As mentioned above, the mounts, or at least some of them, are conceived in the Régence style, apparently predating the manufacture of the table. The hoof feet, however, are clearly listed as pieds de bîche in the 1763 inventory. The asymmetric handles are typical of BVRB's mounts and these also appear to be original, although perhaps just slightly moved at a certain date. The pierced angle mounts, listed as 'encoignures' in the inventory, are less sculpturally cast and not as precisely chased as the other mounts and almost certainly date from the earlier 18th Century. There are some signs of other small plugged holes to the reverse, but these are not consistent on each leg and do not necessarily correspond to an earlier group of angle mounts. BVRB may have used an older mount made available to him, especially as the pieds de bîche continue the somewhat 'antiquarian' fashion on this piece. The quarts de ronds listed in the inventory probably either refer to a border framing the top or stringing to the edges of the legs which is visible on the Dutasta table, sold in Paris 3-4 June 1926, lot 144.
BVRB
This beautiful writing-table is an exceptionally elegant example of the early floral marquetry furniture of one of the greatest Parisian ébénistes of the 18th Century, Bernard II van Risen Burgh (after 1696- circa1766). This maker, whose work epitomises the early pittoresque Louis XV style and who used the stamp BVRB, developed such a personal style that there can rarely be any doubt regarding the attribution of his pieces.
The son of a cabinet-maker of Dutch origin, van Risen Burgh established his workshop independently of his father's in the Faubourg-Saint-Antoine, where he began to produce furniture distinguished principally by the extraordinary quality of its conception, construction and innovative ormolu mounts. Throughout his career, BVRB worked almost exclusively for the marchands-mercier and, unlike many of his contemporaries, he had almost no direct contact with his illustrious private clientele. In this respect, he is singularly a product of themarchand-mercier system. It was through the intervention of the well-known marchands for whom BVRB worked, therefore, particularly Thomas-Joachim Hébert and, subsequently from the 1750s Lazare Duvaux and Simon-Philippe Poirier, that his furniture was delivered to the principal patrons of the day - foremost among them being the Garde-Meuble de la Couronne.
BVRB is perhaps most celebrated not only for his employment of innovative materials in his furniture, particularly panels of Chinese and Japanese lacquer and Sèvres porcelain plaques, but additionally his masterful bois-de-boût floral marquetry. BVRB has been credited with reviving the fashion for floral marquetry decoration on furniture, a taste which had been out of favour since the Régence period. Indeed, the first deliveries of floral marquetry furniture to the Garde-Meuble were by the marchand-mercier Thomas-Joachim Hébert in 1745 for the Dauphin and the Dauphine at Versailles and these were almost entirely by BVRB, embellished with his characteristic bois-de-boût marquetry of end-cut floral trails in kingwood on abois satiné and, subsequently, on a tulipwood ground (D. Meyer, Le Mobilier de Versailles, vol. I, Dijon, 2002, no. 29, pp. 108-111). BVRB is also renowned for the extraordinary design, burnishing and chasing of his ormolu mounts, which are uniquely found among his oeuvre and do not recur, as was typically the case, on furniture by other makers. It is assumed, therefore, that he either designed and cast his own mounts - a rare practice in direct contravention of the strict guild regulations - or that they were reserved by the bronzier for his exclusive use.
On most of BVRB's pieces decorated in bois-de-boût marquetry, stylised foliate scrolls entirely cover all sides, only interrupted by framing scrolls in dark woods or mounts. On the present table, however, the foliate cartouche is framed by a geometric cube pattern, reminiscent of his work of the 1730s and early 1740s and this would suggest an early execution date in this new development, around 1750 or even slightly before. This is substantiated by some of the mounts, notably the pierced angle mounts but also the hoof feet, which have a decidedly Régence appearance. In the following years, BVRB executed numerous related writing-tables, embellished with bois-de-boût marquetry and of differing sizes, but only very few of this very large scale, which is wider and deeper than most of his tables àécrire, but smaller than his bureaux plats. One other example is known to exist, which was sold from the collection of Paul Dutasta, Paris, 3-4 June 1926, lot 144. This was almost certainly executed slighly later than the present example: the geometric pattern has been replaced by plain veneers framing the cartouche and the mounts have evolved into more small-scalepittoresque 'jewels'.
EDWARD HOLMES BALDOCK
This table bears the stamp of Edward Holmes Baldock or EHB. The English marchand-mercier Edward Holmes Baldock (d. 1845), 'Purveyor of China, Earthenware and Glass to William IV' (1832-7) and 'Purveyor of China to Queen Victoria' (1838-45), was both a retailer of 'antique' French furniture as well as a manufacturer of furniture and objets de luxe in the French taste. Established in Hanway Street, London, he often employed the brand 'EHB' and was responsible for the formation of many of the greatest early 19th century collections of French furniture in England, including those of George IV, the Dukes of Buccleuch and Northumberland, William Beckford and George Byng, MP.
A pair of French tole peinte, opaque glass and giltwood pineapple jardiniere ornaments, circa 1950. Photo: Christie's Images Ltd 2013.
Each simulated porphyry base on paw feet and mounted with ball finials, issuing serrated tole branches each supporting two orange-painted glass pineapples; 26¾ in. (68 cm.) high; 13¾ in. (35 cm.) wide (2). Estimate: £20,000 – 30,000)
Provenance: The Collection of Monsieur Henry Clarke; sold Christie's Monaco, 20 June 1998, lot 164.
Demonstrating how to recreate the essence of an English country house in Belgravia, or anywhere in the world, beautiful Chinese export reverse-painted mirror pictures - including an example dating to circa 1770 which retains its original mother-of-pearl inlaid zitan frame (estimate: £8,000-12,000) - were hung alongside Georgian mirrors such as a George II giltwood example circa 1755 (estimate: £40,000-60,000) and early George III walnut seat furniture attributed to William Vile, circa 1760 (estimate: £40,000-60,000). A collection of giant clam shells (with estimates starting at £400 up to £1,200, examples below centre) are offered alongside Venetian grotto furniture (with estimates starting at £2,000 up to £6,000) and an Anglo-Indian ivory-inlaid rosewood pedestal dining-table, circa 1820-30 (estimate: £50,000 – 80,000), collectively lending delight and exotic charm to the group.
A Chinese export reverse-painted mirror picture, circa 1770. Photo: Christie's Images Ltd 2013.
The bevelled plate painted with two European ladies, one playing a cello, the other a harpsichord, in a pavilion framed by blue drapery beside a palm tree, a rocky landscape beyond, in original moulded zitan frame with bronze handle, inscribed to the reverse in red chalk 'over fireplace'; 36¾ x 22¾ in. (93.5 x 58 cm.) overall. Estimate: £8,000-12,000
Provenance: Mr. and Mrs. Walter Hayes Burns, sister of J.P. Morgan, North Mymms Park, Hertfordshire.
Thence by descent to Major-General Sir George Burns, KCVO, CB, DSO, OBE, MC, North Mymms Park, Hertfordshire; sold Christie's house sale, 24-26 September 1979, lot 66.
A Chinese export reverse-painted mirror picture, circa 1770. Photo: Christie's Images Ltd 2013.
Depicting a pregnant young lady with a flower and feather hat and holding a basket of fruit, standing beside a tree and a lake, with a house beyond, in original moulded rosewood frame, inscribed to the reverse with a Chinese character, in red chalk 'over bed (left)' and with paper label inscribed 'Nro: 62' and '5'; 26¼ x 21 in. (66.5 x 53.5 cm.) overall. Estimate: £8,000-12,000
Provenance: Mr. and Mrs. Walter Hayes Burns, sister of J.P. Morgan, North Mymms Park, Hertfordshire.
Thence by descent to Major-General Sir George Burns, KCVO, CB, DSO, OBE, MC, North Mymms Park, Hertfordshire; sold Christie's house sale, 24-26 September 1979, lot 63.
A Chinese export reverse-painted mirror picture, circa 1770. Photo: Christie's Images Ltd 2013.
The bevelled plate painted with two European ladies leaning on a gnarled tree-trunk and a girl emerging from a curtained doorway, with woodland, a coast and pagoda beyond, in original mother-of-pearl and satinwood-inlaid zitan moulded frame with bronze handle, inscribed to the reverse with a Chinese character and in red chalk 'over bed'; 36 5/8 x 26½ in. (93 x 67 cm.) overall. Estimate: £8,000-12,000
Provenance: Mr. and Mrs. Walter Hayes Burns, sister of J.P. Morgan, North Mymms Park, Hertfordshire.
Thence by descent to Major-General Sir George Burns, KCVO, CB, DSO, OBE, MC, North Mymms Park, Hertfordshire; sold Christie's house sale, 24-26 September 1979, lot 67.
A pair of Chinese export reverse-painted mirror pictures, circa 1750, in later giltwood frames. Photo: Christie's Images Ltd 2013.
Each depicting a pair of exotic birds in the foreground perched on rocks and foliage, with lake scenes and mountains beyond and bamboo and other trees to either side, within a later pierced C-scroll, rockwork and rush-wrapped frame with water-dripping urns to the lower corners and arched pagoda cresting, re-gilt. 50¼ x 30 7/8 in. (127.5 x 78.5 cm.) (2). Estimate: £40,000-60,000
Provenance: H.J. Joel, Esq., Childwick Bury, St. Albans, Hertfordshire; sold Christie's London, 15 May 1978, lot 56.
Notes: A virtually identical depiction of two pheasants to those featured in one of this pair of mirrors is illustrated in Graham Child's World Mirrors 1650-1900 (London, 1990), pp. 350 & 377, fig. 817, who dates the pair as Qianlong period, circa 1750.
An Anglo-Indian ivory-inlaid rosewood pedestal dining-table, circa 1820-30 (estimate: £50,000 – 80,000. Photo: Christie's Images Ltd 2013.
The rounded rectangular top with geometrically inlaid rectangular panels engraved with scrolling entwined foliage and flowers, a vine-engraved moulded border and inlaid with ivory and rosewood lines, on an octagonal spreading and moulded support with further foliate engraved ivory bands, on a concave-sided quadripartite base with ribbon-tied stylised palmettes and on channelled moulded scrolling feet with ivory paterae and castors, re-supported with a new frame to the underside and restorations to the underframe; 29¾ in. (75.5 cm.) high; 67 in. (170.5 cm.) wide; 57 in. (145 cm.) deep.
Provenance: Mrs. Milne.
Anonymous sale, Christie's New York, 20 April 1985, lot 170.
The Mermaid House Collection, St. John's Wood, London; sold Christie's London, 12 November 1998, lot 377.
Notes: Vizagapatam, a port to the north of the Eastern Coromandel Coast of India, was renowned from the late 17th century for its craftsmen's skilled inlaying and veneering of ivory over wooden carcasses. Inspired by Indian chintz and textile patterns, the intricate designs produced there were aligned to Western forms and often engraved with Western scenes. Furniture and objects manufactured in Vizagapatam were considered luxury goods and retailed in Madras and Calcutta. Their popularity spread further by examples brought back to England by leading officials of the East India Company such as Clive of India and Warren Hastings. A group of furniture brought back by Alexander Wynch, an official of the East India Company who served as Governor of Fort St. George from 1773-5, comprising two small bureau-cabinets, two settees, two corner armchairs and fourteen side chairs, was bought by George III at the sale of Wynch's estate at Christie's in 1781 and is now at Buckingham Palace.
The plaques of densely scrolling foliage re-used in this table relate to several pieces dated to the mid-18th century and illustrated in A. Jaffer, Furniture from British India and Ceylon, London, 2001, pp. 187-193, nos. 40-42. Whilst furniture and objects produced in the early 18th century were wholly inlaid with complex patterns and designs in ivory, fashions and techniques evolved and items produced in the late 18th century were often veneered in their entirety in engraved ivory. The ivory veneers employed on this table almost certainly were re-used from a transitional piece of furniture from the mid-18th century, such as a small bureau or commode, which possibly would have had its drawers and surfaces bordered with such veneers.
Works of Art from the Private Collection of Anouska Hempel (Lots 270-352)
The collection of Early Portraits formed by Anouska Hempel at her home was dramatically displayed in a triple-hang on the staircase. The rich dark tones of the paintings – both austere and charming in turn – were perfectly offset by her signature red and black furnishings which combined luxurious lacquer from China, such as a pair of 19th century centre tables (estimate: £6,000-10,000), with whimsical ‘Sailor’s Valentines’ made of shells from Barbados (estimates range from £800 to £4,000), in a quirky, eclectic and very ‘English’ look.
Comprising 82 lots, her collection includes a group of six portraits dating to 1626 which are known as the “Shafto” paintings, due to their Bavington Hall provenance, a house in Northumberland which belonged to the Shafto family and immortalised in the famous northern song ‘Bobby Shafto’ (lots 306-311 from left to right illustrated above, estimates range from £7,000 to £25,000). Further highlights include an English School portrait of Frances Marbury, aged 27, and her daughter, aged 4, of Marbury Hall Cheshire, dated 1613 (estimate: £30,000 – 50,000) and a half-length portrait by Cornelis Jonson (1593-1661) of Elisabeth Campion, from Danny Park, Sussex (estimate: £40,000-60,000).
A pair of Imperial Mughal red sandstone pierced screens (jaalis) dating to North India in the second half of the 17th century (estimate: £6,000-8,000) is offered alongside a Mughal marble fountain, circa 1700 (estimate: £5,000-7,000); these lots are among a small group of very attractive Indian items which would be marvellous additions to inspired garden design.
An emerald, diamond and pearl pendant. Photo courtesy Saffronart
This pendant centers on a beautifully carved square shaped emerald, with a surround of rose cut diamonds, set in gold, and suspending a single baroque pearl drop. The stunning carved sugar loaf cut emerald weighs approximately 25 carats, and the total diamond weight is approximately 9.50 carats. The emerald is rare for its size and color.
Saffronart. http://www.saffronart.com
A magnificient pair of diamond 'Kadas'. Photo courtesy Saffronart
Set with table-cut 'polki diamonds, weighing approximately 35.00 carats in total, these 'kadas' or bangles have finials designed as stylized tiger's heads, and bear an intricate foliate design in green, red and orange enamel. Diameter: 6.50 cms (2.40 inch)
Saffronart. http://www.saffronart.com
Tapisserie d’Aubusson, XVIIIe siècle. Photo ALAIN BRISCADIEU SVV eurl
à décor de sous-bois avec un château dans le fond ; la bordure à décor de feuillages et grappes de raisins. Haut. : 295 cm, Larg. : 370 cm env. (petites restaurations). Estimation 2 500 € - 3 500 €
ALAIN BRISCADIEU SVV eurl. Samedi 27 avril à 14h30 à Bordeaux. Maître Alain BRISCADIEU. 12 rue Peyronnet 33800 Bordeaux. Contact : Tél. : 05 56 31 32 33 - Fax : 05 56 31 32 00 - contact@briscadieu-bordeaux.com
Pair of 18 Karat White Gold, Titanium and Tsavorite Garnet Pendant-Earclips, Michele della Valle - Sotheby's
Of openwork design, set with numerous round tsavorite garnets weighing 27.56 carats, signed MdV. With signed pouch. Estimation: 6,000 - 8,000 USD. Unsold
Sotheby's. Magnificent Jewels/ New York | 17 Apr 2013 www.sothebys.com
18 Karat Gold, Diamond and Ruby Brooch, France - Sotheby's
Designed as a perched bird with outstretched wings and entwined scrollwork tailfeathers, set with single-cut and baguette diamonds weighing approximately 5.50 carats, with two small round ruby eyes, with French assay mark. Estimation: 9,000 - 12,000 USD - Lot. Vendu 12,500 USD
Sotheby's. Magnificent Jewels/ New York | 17 Apr 2013 www.sothebys.com
Grand plat en porcelaine bleu blanc. Arita, Japon, fin du 17ème siècle. Photo ALAIN BRISCADIEU SVV eurl
Dans le style des plats chinois «kraak» du 16ème siècle, orné au centre d’un médaillon décoré d’une jardinière plantée de trois fleurs épanouies, la bordure alternant un décor rayonnant de panneaux personnages et oiseaux dans des paysages Diamètre : 52,2 cm. Estimation 800 € - 1 200 €
A LARGE BLUE AND WHITE ARITA «KRAAK» STYLE CHARGER JAPAN, LATE 17TH CENTURY
ALAIN BRISCADIEU SVV eurl. Samedi 27 avril à 14h30 à Bordeaux. Maître Alain BRISCADIEU. 12 rue Peyronnet 33800 Bordeaux. Contact : Tél. : 05 56 31 32 33 - Fax : 05 56 31 32 00 - contact@briscadieu-bordeaux.com
Médaillon en marbre blanc représentant un homme de profil, probablement un pape. Travail italien de la fin du XVIIème siècle. Photo ALAIN BRISCADIEU SVV eurl
avec une inscription au revers difficilement lisible «SIG. AGAIES» (?) Haut. : 49 cm - Larg. : 36 cm Dans un cadre en bois peint en faux marbre. Estimation 1 500 € - 2 500 €
ALAIN BRISCADIEU SVV eurl. Samedi 27 avril à 14h30 à Bordeaux. Maître Alain BRISCADIEU. 12 rue Peyronnet 33800 Bordeaux. Contact : Tél. : 05 56 31 32 33 - Fax : 05 56 31 32 00 - contact@briscadieu-bordeaux.com
Platinum, Diamond, Onyx and Pearl Brooch. Photo Sotheby's
Depicting a crane holding a pearl measuring approximately 5.3 mm, set with old European and single-cut diamonds weighing approximately 2.00 carats, with onyx accents. Estimation: 6,000 - 8,000 USD. Lot. Vendu 10,000 USD
Please note the pearl has not been tested for natural origin
Sotheby's. Magnificent Jewels/ New York | 17 Apr 2013 www.sothebys.com
Platinum, Star Ruby and Diamond Ring, Raymond Yard. Photo Sotheby's
Centered by a cabochon star ruby weighing approximately 26.00 carats, flanked by two baguette diamonds weighing approximately 1.00 carat, size 4½, signed Yard Inc. Estimation: 5,000 - 7,000 USD. Lot. Vendu 50,000 USD
PROPERTY FROM THE DESCENDANTS OF ROBERT E. AND KATHERINE CHEW TOD
Sotheby's. Magnificent Jewels/ New York | 17 Apr 2013 www.sothebys.com
The Princie Diamond; Most valuable diamond ever sold at Christie's and at auction in the United States. Photo: Christie's Images Ltd 2013
NEW YORK, NY.- An extraordinary 34.65 carat Fancy Intense Pink diamond set a new record high at Christie’s New York on April 16, selling for $39,323,750 (£25,560,438 / €29,886,050) with premium, or $1,135,000 per carat. The diamond – a cushion-cut sparkler that originated from the ancient Golconda mines in South Central India -- was purchased by an anonymous collector bidding by phone.
The sale price represents a new record for any jewel sold at Christie’s, surpassing the previous house record of $24.3 million set in December 2008 with the sale of the Wittelsbach Diamond. Among important large diamonds, the Princie possesses all of the most desirable qualities today’s collectors seek in diamonds: large size, desirable shape and polish, exceptional color and quality, Golconda origins, and a noble history. It was first recorded in the holdings of the Royal family of Hyderabad, rulers of one of the wealthiest provinces of the Mughal Empire. First offered at auction in 1960 as “Property of a Gentleman” (later revealed to be the Nizam of Hyderabad himself) the diamond was purchased by the London branch of Van Cleef & Arpels for £46,000, which corresponds to US$1.3 million today and highlights the tremendous investment opportunities in the world of diamonds. The diamond’s unique name was bestowed at a party at the firm’s Paris store, where it was christened the “Princie” in honor of the 14-year-old Prince of Baroda, who attended the party with his mother Maharani Sita Devi.
Further highlights of the day-long auction at Christie’s included top-quality white diamonds and natural pearls. The second highest price of $4,435,750 was achieved for a rectangular-cut D color diamond of 30.32 carats, or $146,300 per carat. A superb marquise-cut D color diamond ring by Harry Winston fetched $3,259,750, and a three-strand natural pearl necklace was purchased by a Middle East buyer for $1,131,750. The total sale of over 290 jewels realized a combined total of $81,358,700 (£52,883,155/ €61,832,612), marking the highest various owner jewelry sale total in the United States.
Rahul Kadakia, Head of Jewelry, Christie’s Americas and Switzerland, commented: “A major event took place in the global auction industry with the record breaking sale of The Princie Diamond at Christie’s New York. Aside from Christie’s sale of the legendary Collection of Elizabeth Taylor, this was the most successful jewelry auction ever held in the United States and Christie’s was proud to have orchestrated the sale of such an historic gemstone.”
Christie’s next major jewels auctions will take place in Geneva on May 15 and in Hong Kong on May 28.
The Princie Diamond, a rare 34.65-carat fancy-intense pink, fetched over 39 million at Christie's New York. Photo: Christie's Images Ltd 2013
