Lot 70. A rare Longquan celadon-glazed 'Tale of the Pipa' bowl, Hongwu period (1368-1398). 17.5cm (6 7/8in) diam. Estimate £3,000 - 5,000. Sold for £3,125 (€3,536). Photo: Bonhams.

The heavily-potted bowl moulded on the interior with figures from the Ming dynasty drama within interior settings beside captions, all beneath a key-fret band below the rim, covered with a thick green olive-glaze.

Provenance: Francesco Maria, Marchese Taliani de Marchio (1887 - 1968), Grand Officer of the Italian Crown, Commander of the Order of St Maurice and Lazarus, and Commander of the Order of Pius IX (Ordine Piano), and his wife Archduchess Maragaretha d'Austria Toscana, Marchesa Taliani de Marchio (1894 – 1986). 
Acquired from K. D. Lu, Shanghai, 13 June 1941. 

Note: The Tale of the Pipa (琵琶記) is a southern play originating during the late Yuan dynasty by Gao Ming 高明 (circa 1305–1370) and was the most popular drama of the Ming period. The play was highly regarded by the Hongwu emperor, who had it performed at Court regularly. 

Compare two bowls from the British Museum, London, with impressed figural designs and captions, but of a different pattern, illustrated by J.Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, pls.16:52 and 16:53.

Porcelain bowl with impressed design beneath a green glaze, Longquan ware, Ming dynasty, circa 1450-1500. 18.3  cm. The Seligman Collection of Oriental Art, 1973,0726.327 © The Trustees of the British Museum

Porcelain bowl with impressed design of figures with inscriptions beneath a green glaze, Longquan ware, Ming dynasty, circa 1450-1500. 17.5 cm. 1927,0714.2 © The Trustees of the British Museum 

Harrison-Hall 2001:
This bowl tells the story of Su Qin (died 317 BC). He was a native of Luoyang who was repulsed when first he attempted to join the Qin state and had to return home in rags. 'His wife would not spin for him; his sister-in-law would not cook for him; and his very parents disowned him'. He then studied the Daoist "Yin Fu Sutra", stabbing his leg to keep himself awake. He federated the six states as a means of opposing the state of Qin. He became a celebrated leader in the Warring States period. Later he returned to Luoyang and forgave all his former critics.
A bowl of this type was unearthed in 1982 in the tomb of the scholar Wang Zhen (1424-95) and his wife Mme Liu (1425-1503) in Huai'an, Jiangxi province. This elderly couple, who died at the ages of seventy-two and seventy-nine respectively, were buried individually with the man on the left and the woman on the right. Wang Zhen's tomb contained twenty-five Ming paintings and examples of calligraphy, clothes and textiles, two bamboo-strip baskets, a pottery jar, a bowl of the present type, a green-glazed lotus-petal bowl, bamboo chopsticks, five gold token coins, one gold earring and two wooden beads. A further example of the present type of bowl was discovered in the ruins of Saya Castle, Komatsu-shi, Ishikawa prefecture, Japan, built in the sixteenth century, and it is now in the Tokyo National Museum. Such bowls are called "Ningyo'ude" bowls in Japan because of their figural decoration.
Several other examples of this type of bowl, with different impressed figural designs and captions, are known. Two are ln the Museum of Fine Arts in Boston; and one is in each of the following collections: the British Museum (BM 1973.0726.327); the Victoria and Albert Museum, London; the Barlow Collection, Sussex University; the Copenhagen Kinesisk Kunstindustrimuseet; the Princessehof Museum, Leeuwarden; the Baur Collection, Geneva; the Buffalo Museum of Science, New York state; the Lee Kong Chian Museum, National University of Singapore; and the private South-east Asian collection of Mr and Mrs D. Robinson.
More than seventy years ago Hobson suggested that bowls of this type were made in Jiangsu or Anhui, but we now know from recent work by the Zhejiang Provincial Cultural Relics Office that they were in fact made at Longquan. An example of this type of bowl with different inscriptions and figures is in the Longquan Qingci Museum, Zhejiang province.

François Marius Granet, Travaux de construction sur un toit, vue d’une fenêtre, 1836, graphite, aquarelle et lavis d’encre sur papier vergé, H. :18 cm, L. : 29,3 cm. Musée du Louvre, département des Arts graphiques© RMN-Grand Palais (musée du Louvre) / Thierry Le Mage

PARIS.- L’exposition entend montrer la diversité de la pratique du dessin “sur le motif” ou “sur nature” en France dans la première moitié du XIX^e siècle et s’attache à des figures majeures de l’art français : Delacroix, Corot, Chassériau, Valenciennes, Daubigny, ou d’autres moins connues comme le graveur Bléry…

Réalisée avec le concours exceptionnel de la Bibliothèque nationale de France et le soutien du musée d’Orsay, elle réunit plus d’une centaine de dessins et eaux-fortes et permet de présenter une trentaine de carnets de croquis, instruments par excellence du dessin de plein air.

La pratique du dessin en plein air, sur le motif, est bien attestée en France (comme en Europe) au XVII^e siècle et devient courante au XVIII^e siècle. Au XIX^e siècle, jugée indispensable à la formation des jeunes artistes, elle ne cesse d’évoluer et prend une place capitale dans l’histoire du dessin. Les expressions “sur nature”, “d’après nature”, “sur le motif”… ont cependant une signification très fluctuante, incertaine, désignant aussi bien le dessin d’observation ou d’étude scientifique que le croquis d’étude, l’exercice d’élève, le relevé d’architectec, le dessin militaire, le dessin de mémoire, les notes de voyage ou le rendu à peine esquissé d’une impression fugitive.

Le dessin sur nature se définit progressivement comme une œuvre en soi, une œuvre achevée ayant sa propre justification, sa propre finalité. Charles Daubigny peut ainsi publier en 1861 les eaux-fortes du Voyage en bateau à partir de ses croquis pris sur le vif en relatant ses excursions sur la Seine et l’Oise à bord du Botin, bateau-atelier qui lui permettait de travailler sur le motif.

L’espace de l’atelier et le plein air ne sont pas toujours des mondes distincts, et les artistes se situent souvent dans un va-et-vient entre les deux, l’œuvre de paysagiste de Corot étant au cœur de cette indétermination. Si le sujet est bien différent de celui de la peinture de plein air, la question de la couleur, prise directement sur le motif ou retravaillée en atelier à partir de notes de plein air, s’impose aussi au dessinateur.

Du 16 octobre au 29 janvier 2018. 

Achille Bénouville, Vue de Frascati, 1840, graphite, plume et encre brune, lavis brun et rehauts de gouache blanche sur papier beige, H. : 27,4 cm, L. : 37,6 cm. Musée du Louvre, département des Arts graphiques© Musée du Louvre / Arts graphiques

PARIS.- This exhibition showcases the heterogeneity of French “from the motif” or “from nature” drawing in the first half of the 19th century, with a particular focus on leading figures of French art (Delacroix, Corot, Chassériau, Valenciennes and Daubigny), as well as lesser-known individuals such as the engraver Bléry. 

Organized with special support from the Bibliothèque Nationale de France and the cooperation of the Musée d’Orsay, the exhibition puts on display over 100 drawings and etchings, and some thirty sketchbooks—the “plein-air’ painter’s quintessential tool. 

The practice of drawing “en plein air” or “in the open air”, “from the motif”, first recorded in 17th-century France (and Europe), became common in the 18th century, and was considered an integral part of every young artist’s training in the 19th. The constantly evolving art movement eventually came to be seen as exceptionally important in the history of drawing. The meaning of expressions such as “from nature”, “after nature” and “from the motif” was fluid, vague: just as easily referring to observational and scientific drawings, as to studies, students’ practice drawings, architectural surveys, military sketches, drawings from memory, travel notes or the faint outlines of a fleeting impression. 

Drawings from nature gradually came to be viewed as artworks in their own right; finished pieces with their own justification and purpose. This change in perception led to the 1861 publication of Charles Daubigny’s Voyage en bateau, a collection of rapid sketches depicting his outings on the rivers Seine and Oise aboard his studio-boat the Botin, which provided an ideal setting for drawing from nature. 

The line between the studio and the outdoors was not always clear, with artists often swinging back and forth between the two. A prime example of this vague state: the work of landscape painter Corot. While his subject matter was significantly different to that of “plein-air” artists, he shared their preoccupation with color, which could either be applied directly “from the motif”, or reworked at the studio with the help of notes taken on site. 

Curator: Marie-Pierre Salé, in collaboration with Exhibition Officer Hélène Grollemund, Musée du Louvre Department of Prints and Drawings.

Eugène Bléry, L’Angélique en fleur, eau-forte sur chine appliqué sur vélin, H. : 12,3 cm, L. : 16,6 cm. Bibliothèque nationale de France, département des Estampes et de la Photographie© BnF

Charles François Daubigny, Le déjeuner à Asnières, plume et encre brune (encre métallogallique) sur papier vergé satiné, H. : 11 cm, L. : 16,3 cm, musée d’Orsay© RMN-GP (musée d'Orsay) / Michel Urtado

Camille Corot, Ruisseau à Civita Castellana avec un artiste portant son matériel sur le dos, 1827, graphite, plume et encre métallogallique sur papier vélin, H. : 31 cm, L. : 42 cm, musée du Louvre, département des Arts graphiques© RMN-Grand Palais (musée du Louvre) / Thierry Le Mage

Camille Corot, Deux artistes sur le motif, graphite, plume et encre brune sur papier vergé, H. : 32, 4 cm, L.: 51,8 cm, musée du Louvre, département des Arts graphiques© RMNGrand Palais (musée du Louvre) / Jean-Gilles Berizzi

Narcisse Diaz de la Peña, Paysage, crayon noir et aquarelle sur papier vélin, page d’album, H. : 21,4 cm, L.: 27,5 cm, musée du Louvre, département des Arts graphiques© RMN-Grand Palais (musée d'Orsay) / Jean-Gilles Berizzi

Eugène Delacroix, Etude de fleurs avec une branche de fuchsias, crayon noir et aquarelle sur papier vergé, H. : 15 cm, L. : 19,6 cm, musée du Louvre, département des Arts graphiques© RMN-Grand Palais (musée du Louvre) / Adrien Didierjean

Adrien Dauzats, Vue du grand théâtre de Bordeaux, album, 1832, graphite, plume et encre brune, lavis d’encres brune et grise, H. : 8,8 cm, L. : 12,2 cm. Musée du Louvre, département des Arts graphiques© musée du Louvre, dist. RMN - Grand Palais / Marc Jeanneteau

Paul Huet, Les Bords de l’Orne, près de Pont-des-Verres, album, 1860, traits de crayon noir et aquarelle, H. : 22 cm, L. : 36,9 cm, musée du Louvre, département des Arts graphiques© RMN-Grand Palais (musée du Louvre) / Michel Urtado

Eugène Delacroix, Carnet des Pyrénées, Torrent du Valentin dans la gorge de la villa Castellane, 1845, crayon graphite et aquarelle, H. : 11,6 cm, L. : 19,5 cm (chaque feuillet), musée du Louvre, département des Arts graphiques© RMN-Grand Palais (musée du Louvre) / Philippe Fuzeau

Lot 233. A Balenciaga couture pink slubbed satin evening gown, Spring-Summer, 1961. Estimate:£3000 - £5000. Courtesy Kerry Taylor Auctions

A Balenciaga couture pink slubbed satin evening gown, Spring-Summer, 1961. Eisa labelled, the bias-cut front bodice panels forming a point, the rear sack-back draped and held in a bow above the trained hem, bust approx 92cm, 36in.

Kerry Taylor Auctions. Passion for Fashion, 20th November 2017

Lot 220. A Balenciaga couture grey moss crêpe dinner dress, 1953. Estimate:£1500 - £2000. Courtesy Kerry Taylor Auctions

A Balenciaga couture grey moss crêpe dinner dress, 1953. Eisa labelled, of complex construction, the cross-over rear bodice and skirt fastened by buttons to the front left hip, culminating in front waist ties with fringed taffeta sash-ends, bust approx 92cm, 36in

Provenance: Previously on loan to the Balenciaga Foundation, Getaria.

Kerry Taylor Auctions. Passion for Fashion, 20th November 2017

"I never hated a man enough to give him diamonds back", Zsa Zsa Gabor, 1957.

NEW YORK - A magnificent diamond rivière necklace formerly owned by Zsa Zsa Gabor – the women who stated she had never met a diamond she didn't like – is up for auction at Bonhams New York this December (4th December 2017).

The necklace, created by legendary American jeweler Harry Winston in 1964, features 45 graduated round brilliant-cut diamonds weighing a total of 66 carats, and is estimated at US$1,200,000-1,500,000.

Zsa Zsa Gabor was a self-confessed jewelry lover, just about every photograph taken of the actress features her wearing magnificent earrings, bracelets and necklaces, all dripping in diamonds. These sent the jewelry world buzzing with excitement with people asking how many carats she was wearing and the designer behind each piece.

Susan Abeles, Head of Jewelry for Bonhams US, said: "Zsa Zsa Gabor's life was all about 'more is more fabulous' and when it came to jewelry, it was always 'more, more, more'. She was the definition of Old Hollywood glamor, a rare breed of fabulous, and this necklace epitomizes the starlet's personality to a tee: it's not just gorgeous, it is over-the-top gorgeous!

"This necklace is the quintessential center of any collection. Only this necklace takes the classic diamond necklace, which goes with everything, to another level of superior quality, signature and provenance; it is absolutely breathtaking. As a result, we're anticipating that there will be a lot of interest in it given the wonderful provenance of its original owner."

As well as her expensive jewelry habit, the Hungarian-born actress, who died in 2016 aged 99, was known for her razor-sharp wit. She once reportedly said: "Diamonds are a girl's best friend and dogs are a man's best friend. Now you know which sex has more sense!" And one of the most famous lines attributed to her came after one of her divorces when Zsa Zsa was asked whether a lady should give back the ring. Her answer? "Of course dahlink, but first, you take out all the diamonds."

Fortunately for Bonhams, this necklace remained a much-loved piece in her collection and the diamonds are very much in tact with the five central diamonds weighing 8.07, 6.34, 6.33, 5.35 and 4.88 carats respectively. It was worn frequently by the actress at the many glamorous events she attended and features in numerous photographs of her from the early Sixties and throughout her public life.

The actress was cast in dozens of films over the years. One of her most famous was Moulin Rouge in which she out-dazzled the rest of the cast in the sumptuous costumes designed for her by Elsa Schiaparelli.

Outside her acting career, Gabor was known for her extravagant Hollywood lifestyle, her glamorous personality, and her many marriages. In total, Gabor had nine husbands, including hotel magnate Conrad Hilton, and actor George Sanders.

The necklace will be previewed at Bonhams in New York, Geneva, Los Angeles and Bonhams Hong Kong during November and December before the auction which will take place on Monday 4 December at 3pm EST at Bonhams New York in Madison Avenue.

Bids can be placed online on Bonhams' website www.bonhams.com, via telephone, in writing, and also in person on the day of the sale.

Bonhams sells more jewelry lots each year than any other international house and has more dedicated jewelry auctions annually.

Lot 185. Formerly the Property of Zsa Zsa Gabor. A magnificent diamond rivière necklace, Harry Winston, 1964. Estimate US$ 1,200,000 - 1,500,000 (€1,000,000 - 1,300,000). Courtesy Bonhams.

composed of forty-five graduated round brilliant-cut diamonds, the five central diamonds weighing 8.07, 6.34, 6.33, 5.35 and 4.88 carats, to an invisibly set clasp; unsigned, no5512; remaining total diamond weight: 66.21 carats; mounted in platinum; length: 14 13/16in.

Accompanied by GIA report # 5151838478, dated January 6, 2014, stating the 8.07 carats diamond as: G color, VVS2 clarity.

Accompanied by GIA report # 1152838447, dated January 6, 2014, stating the 6.34 carats diamond as: F color, VVS2 clarity.

Accompanied by GIA report # 1152838450, dated January 6, 2014, stating the 6.33 carats diamond as: G color, VVS1 clarity.

Accompanied by GIA report # 1152838468, dated January 6, 2014, stating the 5.35 carats diamond as: H color, VVS2 clarity.

Accompanied by GIA report # 2155838453, dated January 6, 2014, stating the 4.88 carats diamond as: I color, VVS2 clarity.

For further information on the remaining reports from the Gemological Institute of American (GIA), please contact the jewelry department. 

Accompanied by a certificate of authenticity from Harry Winston, dated August 23 2017.

Note: Zsa Zsa Gabor, was a self-confessed jewelry lover who epitomized Hollywood glamour. Born Sari Gabor in 1917 in Budapest, Hungary. She and her two sisters grew up in an affluent family exposed to jewelry through her mother's family business. At age 13, she was sent to boarding school in Switzerland where she was soon discovered by the opera singer Richard Tauber. He encouraged her to spend time at the Vienna Acting Academy before making her debut in his opera. 

In 1937, at the age of 20, Zsa Zsa Gabor married her first of nine husbands, the Turkish official Burhan Asaf Belge, to whom she allegedly proposed. To celebrate her engagement, her parents gifted her a 10 carat diamond. Unfortunately, this marriage did not last long and she filed for divorce after immigrating to the United States in 1941, where she join her sister.

In 1942, after only a few months, she met and married dashing bachelor and hotel magnate Conrad Hilton. Together they had a daughter, Francesca, before divorcing in 1946. 

By the 1950's Ms. Gabor's film and television career had begun to blossom, first in 1952 with her movie roll in Lovely to Look At. Yet, she was probably best known for her European glamour. Many of her roles emulated her real life persona of self-indulgence and beauty. She was undoubtedly smart and whimsical, embracing the drama of Hollywood life. 

It is not surprising that she frequently visited "the King of Diamonds," Harry Winston. It was there that she felt at home in the salon surrounded by jewels. Zsa Zsa Gabor was patron of this important diamond maison. This magnificent diamond necklace acquired in 1964 represents one of her largest purchases. The riviere initially composed of 47 graduating round diamonds was modified by Ms. Gabor when she removed two diamonds and converted them into diamond stud earrings.

Her love for jewelry and lavish adornment is legendary; and this necklace was undoubtedly a favorite jewel, as it is seen in many photographs.

This photograph of Zsa Zsa Gabor to acompany the lot.

Bonhams. FINE JEWELLERY, 4 Dec 2017, 15:00 EST - NEW YORK

Lot 152. A rare rhinoceros horn leaf-shaped libation cup, 17th-18th century. Estimate GBP  5,000 ~ 8,000. Sold for £22,500 (€25,461). Courtesy Bonhams.

The dark-chocolate-toned horn well carved in the form of a curling artemisia leaf with incised veins, the handle formed of entwined branches issuing further leaves and flowers. 9cm (3 1/2in) long.

Provenance: an important European private collection. 

Published and Illustrated: J.Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p.105, pl.95.

Note: The present lot is particularly rare for the method in which its shape was formed: rather than the typical method of carving the horn into the required form, a small section was cut from the side wall of the rhinoceros horn, and subsequently soaked until it was pliable enough to be curled into shape by hand; see J.Chapman, ibid., p.105.

Compare a related 'lotus leaf' rhinoceros horn libation cup, 17th century, which was sold by Christie's London, 11 July 2006, lot 42; and see also another rhinoceros horn 'lotus leaf' libation cup, 17th/18th century, which was sold at Christie's London, 15 May 2007, lot 48.

An unusual rhinoceros horn travelling cup, 17th century. Sold for 19,200 GBP at Christie's London, 11 July 2006, lot 42. © Christies Images Ltd 2006

A rhinoceros horn libation cup, 17th-18th century. Sold for 11,400 GBP at Christie's London, 15 May 2007, lot 48. © Christies Images Ltd 2007

Bonhams. FINE CHINESE ART, 9 Nov 2017, 10:30 GMT, LONDON, NEW BOND STREET

Lot 153. A rare rhinoceros horn 'chilong and whirlpool' libation cup, 18th century. Estimate GBP 15,000 ～ 20,000. Sold for £43,750 (€49,507). Courtesy Bonhams.

The well-hollowed vessel finely incised on the base with a spiraling whirlpool with surging waves stretching outward, with a writhing chilong with bifurcated tail clambering on the exterior avoiding the waves. 16.5cm (6 1/2in) long.

Provenance: an important European private collection.

Published and Illustrated: J.Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p.105, pl.96.

Note: J.Chapman noted the unique shape of the present lot, which might have served as a tea scoop. The keratin fibres run along the full length of the vessel rather than vertically as would have been the case if the object had been carved from the 'well' of the horn, suggesting that the present lot was carved from the wall of the horn. 

The libation cup is masterfully carved successfully transforming the horn into a naturalistic curled lotus leaf form. The quality of the horn and elegant shape dominate the cup, left entirely plain except for the high relief carving of the chidragon and low relief whirlpool adorning the one short side and the underside.

Compare a related 'lotus leaf' rhinoceros horn libation cup, 17th century, which was sold by Christie's London, 11 July 2006, lot 42; and see also another rhinoceros horn 'lotus leaf' libation cup, 17th/18th century, which was sold at Christie's London, 15 May 2007, lot 48.

Lot 154. A rare rhinoceros horn 'prunus' libation cup, 18th century. Estimate GBP 15,000 ～8,000. Sold for £47,500 (€53,751). Courtesy Bonhams.

Provenance: an important European private collection.

Published and Illustrated: J.Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p.158, pl.195.

Note: The rare aspect of the present lot is its mixture of archaic and floral designs. J.Chapman commented that this cup comes under the rare category of 'archaistic-combination' for combining the archaic form with the carved prunus blossom branch.

A related rhinoceros horn libation cup, with similar design of 'earth diaper' pattern, but lobed and adorned with a chilong handle, 18th century, was sold at Sotheby's Hong Kong, 8 April 2014, lot 3021; and see also a related rhinoceros horn octagonal libation cup, 17th century, similarly carved with 'earth diaper' medallions, which was sold at Christie's London, 8 November 2011, lot 14.

A carved rhinoceros horn 'Dragon and Lotus' cup, Qing dynasty, 18th century. Sold for 1,180,000 HKD at Sotheby's Hong Kong, 8 April 2014, lot 3021. Photo Sotheby's

Cf. my post: A carved rhinoceros horn 'Dragon and Lotus' cup, Qing dynasty, 18th century

A rhinoceros horn octogonal libation cup, 17th century. 4½ in. (11.4 cm.) wide. Sold for 61,250 GBP at Christie's London, 8 November 2011, lot 14. © Christies Images Ltd 2017

Bonhams. FINE CHINESE ART, 9 Nov 2017, 10:30 GMT - LONDON, NEW BOND STREET

The deity expertly carved seated in lalitasana on a double-lotus base with a beaded upper edge, the left foot resting on a lotus bloom issuing from the base, the left hand raised in vitarka mudra, the face depicted with a serene expression and crowned with a five-leaf tiara atop neatly tied back hair, two lotus stalks twining around the limbs and extending upwards to the shoulders, the figure elaborately adorned with beaded jewellery, traces of red pigment. 9.2cm (3 5/8in) high. 

Provenance: an important European private collection.

Published and Illustrated: J.Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p.275, pl.397.

Note: Three-dimensional figure carvings in rhinoceros horn from the Himalayan regions are rare due to the scarce availability of Sumatran rhinoceros horn there. The present lot depicts the female goddess Green Tara, worshipped by followers in Nepal and Tibet and displays the same form and decoration as gilt-bronze figures of the Goddess from the region.

Rhinoceros horn figural carvings were highly esteemed in the Himalayan regions as demonstrated in documentation of a number of such carvings being made by the 10th Karmapa, Chöying Dorje (1604-1674), who was a famous teacher of the Karma Kagyu tradition of Tibetan Buddhism and well known as an artist in the mediums of painting, metal casting and carving. On the thirteenth day of the first month of the Tibetan New Year 1645 the 10th Karmapa and his attendant fled to Mentang Shuktser (sman thang bzhugs 'tsher) in northern Lhodrak, where they stayed for seven days. During this short stay, the Karmapa made for his loyal attendant a statue of Vajrapani from a mixture of herbs and clay. They then left for Tsari where they stayed for four months, during which time the Karmapa again found occasions to create art. He produced a Hayagriva statue of medicinal herbs and clay and carved a Tara from rhinoceros horn, which he presented to the Tsang Khenchen; see I.Mengele, 'The Artist's Life' in The Black Hat Eccentric; Artistic Visions of the Tenth Karmapa, New York, 2013, pp.33-63.

The 10th Karmapa is also said to have carved in rhinoceros horn the representation of the five first patriarchs of the Kagyu lineage; see Lama Kunsang, et al, History of the Karmapas: The Odyssey of the Tibetan Masters with the Black Crown, Boulder, Colorado, 2012, 148. See also a set made from rhinoceros horn of the figures of Vajradhara, Tilopa, Naropa, Marpa and Milarepa, preserved in Rumtek Monastery and believed to have been made by the 10th Karmapa, illustrated on Himalayan Art Resources website (HAR nos.60153-60157). Compare also a painted rhinoceros horn carving of Padmasambhava, Tibet or Bhutan, 18th century, illustrated in Art Sacré du Tibet: Collection Alain Bordier, Paris, 2013, p.209, no.106.

Lot 156. A rare rhinoceros horn 'pine and cliff' libation cup, 17th-18th century. Estimate GBP 10,000-15,000. Sold for £27,500 (€31,119). Courtesy Bonhams.

Crisply carved around the exterior with wutong, cypress and pine trees against angular rocky outcrops, two large pine trees forming the handle with further gnarled branches and pine-needles emerging through the interior in high relief, a swirling stream at the base, the horn of reddish-brown tone. 10.5cm (4 1/8in) long.

Provenance: an English private collection.

Note: The present libation cup is solely carved in high relief with a mountainous landscape scene devoted to the craggy overhanging cliffs and gnarled pine, cypress and wutong trees set above a stream, invoking the idealistic nature retreat the literati would aspire to retire to. This bold design is more unusual compared to those also decorated with sages and attendants; compare a related but larger rhinoceros horn libation cup, signed Wenshu zhi, 17th century, from the collection of Harvard University Art Museums, illustrated in T.Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, no.131.

See a related but larger rhinoceros horn libation cup, 17th/18th century, which was sold in these Rooms, 14 May 2015, lot 247.

A fine and large rhinoceros horn libation cup, 17th-18th century. Sold for £56,250 (€63,652) at Bonhams London, 14 May 2015, lot 247. Photo: Bonhams. 

Cf. my post: Seven rhinoceros horn libation cups, 17th to 19th century, at Bonhams London, 14 May 2015

Bonhams. FINE CHINESE ART, 9 Nov 2017, 10:30 GMT - LONDON, NEW BOND STREET

Lot 157. A rare rhinoceros horn 'chilong' libation cup, 17th century. Estimate GBP 7,000-10,000. Sold for £37,500 (€42,435. Courtesy Bonhams.

The four-lobed cup supported on a gently spreading and hollowed foot encircled by a key-fret band, carved in relief to each lobe with a quatrefoil cartouche enclosing a sinuous chilong reserved on a diaper ground, all below a further band of key-fret to the rim, the handle carved in the form of a gnarled pine branch entwined with prunus sprigs and bamboo. 13.6cm (5 3/8in) long.

Provenance: an English private collection.

Note: The present libation cup is unusual for the combination of the chi dragon within the 'earth diaper' medallions. For examples of rhinoceros horn libation cups with 'earth diaper' medallions, see Lot 154, published in J.Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p.158, pl.195; and compare a related rhinoceros horn libation cup, with similar design of 'earth diaper' pattern, adorned with a chilong handle, 18th century, which was sold at Sotheby's Hong Kong, 8 April 2014, lot 3021; and see also a related rhinoceros horn octagonal libation cup, 17th century, which was sold at Christie's London, 8 November 2011, lot 14. See also the low relief double chi dragon medallion carving on a rhinoceros horn circular box and cover, early 17th century, from the collection of Harvard University Art Museums, illustrated in T.Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, no.128.

A carved rhinoceros horn 'Dragon and Lotus' cup, Qing dynasty, 18th century. Sold for 1,180,000 HKD at Sotheby's Hong Kong, 8 April 2014, lot 3021. Photo Sotheby's

A rhinoceros horn octogonal libation cup, 17th century. 4½ in. (11.4 cm.) wide. Sold for 61,250 GBP at Christie's London, 8 November 2011, lot 14. © Christies Images Ltd 2017

A related carved rhinoceros horn libation cup, 18th/19th century, decorated with similar cartouches enclosing archaistic dragons and with a handle in the form of a prunus branch, was sold at Sotheby's New York, 18 September 2007, lot 13.

A carved rhinoceros horn 'prunus' libation cup, Qing Dynasty, 18th-19th century. Sold for 25,000 USD at Sotheby's New York, 18 September 2007, lot 13. Photo Sotheby's.

Bonhams. FINE CHINESE ART, 9 Nov 2017, 10:30 GMT - LONDON, NEW BOND STREET

Lot 48. An Abbasid pottery bowl depicting a bird, Iraq, 9th-10th century. height: 7.5cm.; 3in. diam.: 23.4cm.; 9 3/16 in. Estimate 20,000 — 30,000 USD. Courtesy Sotheby's.

the earthenware body with a lightly everted rim, painted in lustre on an opaque white glaze, the centre depicting a bird, possibly a peacock, with five roundels to the reverse, both sides surrounded by contour panels on a dotted ground, base with inscription, broken and restored with some associated infill and overpainting.

inscriptions: Under the base: possibly Baraka 'Blessing'

Lot 281. Impressive fancy coloured diamond and diamond parure, weighing 58.17, 44.08, 36.35, 18.84 and 18.24 carats. Estimate CHF3,425,000–5,385,000 ($3,500,000–5,500,000). Courtesy Sotheby's.

Accompanied by five GIA reports:
no. 2181816515, stating that the diamond weighing 58.17 carats is Fancy Deep Brown-Yellow, Natural Colour, SI2 Clarity; 
no. 6187816510, stating that the diamond weighing 44.08 carats it Fancy Brown-Yellow, Natural Colour, VS2 Clarity;
no. 2181816519, stating that the diamond weighing 36.35 carats is Fancy Brown-Orange, Natural Colour, VS2 Clarity;
no. 6187816536, stating that the diamond weighing 18.84 carats is N Colour, VS2 Clarity;
no. 2181816501, stating that the diamond weighing 18.24 carats is Fancy Deep Brown-Yellow, Natural Colour, SI2 Clarity 

Sotheby's. Magnificent Jewels and Noble Jewels, Genève, 15 nov. 2017, 10:30 AM 

Lot 274. Impressive 102.50 carats fancy intense yellow diamond and diamond necklace. Estimate CHF 3,425,000 — 5,385,000. Courtesy Sotheby's.

Accompanied by GIA report no. 2181800298, stating that the cushion-shaped diamond weighing 102.50 carats is Fancy Intense Yellow, Natural Colour, SI1 Clarity. Please note that the diamond has a laser drill hole. Also accompanied by GIA report no. 2181800607, stating that the pear-shaped diamond weighing 8.70 carats is K Colour, Faint Brown, VVS2 Clarity, together with a working diagram stating that the diamond may be internally flawless after minor repolishing. Together with GIA report no. 2185800638, stating that the brilliant-cut diamond weighing 3.30 carats is Fancy Intense Yellow, Natural Colour, SI2 Clarity, and no. 2185800601, stating that the brilliant-cut diamond weighing 3.04 carats is I Colour, VVS2 Clarity 

Sotheby's. Magnificent Jewels and Noble Jewels, Genève, 15 nov. 2017, 10:30 AM

Lot 360. Spectacular fancy dark brown-greenish yellow diamond and diamond necklace, the diamond weighing 102.53 carats. Estimate CHF1,957,000–3,914,000 ($2,000,000–4,000,000). Courtesy Sotheby's.

Set with a heart-shaped fancy dark brown-greenish yellow diamond weighing 102.53 carats, framed with brilliant-cut diamonds of pink tint and heart-shaped diamonds, the necklace set with heart-shaped diamonds, length approximately 360mm.

Accompanied by GIA report no. 2185800325, stating that the diamond weighing 102.53 carats, is Fancy Dark Brown-Greenish Yellow, Natural Colour, SI1 Clarity. Also accompanied by GIA report no. 5181800755, no. 2181800782 and no. 6187800769, stating that the diamonds weighing 2.81, 3.01 and 6.09 carats central drop are K, F, J Colour, VS2, SI1 and VS2 Clarity, respectively.

Sotheby's. Magnificent Jewels and Noble Jewels, Genève, 15 nov. 2017, 10:30 AM

Matthew Simmonds, Mars Ultor, Carrara marble, 2011, Height 41cm. photo © Matthew Simmonds.

When we hear of marble sculptures, we tend to think of the human forms belonging to timeless examples from Greece, Italy and elsewhere. A form is not necessarily a solid, as sculptor Matthew Simmonds points out through his work, which consists of sculptures not of full and defined human bodies, but of empty architectural interiors.

Simmonds, who originally comes from Britain, studied art history before turning to illustration and later stone carving; as a stone carver he has worked on the restoration of several major English national monuments, including Westminster Abbey and the cathedrals of Salisbury and Ely. It therefore comes as no surprise that his work is inspired mainly by sacred buildings such as baroque basilicas and Ancient Roman temples. After honing his skills in fine classical marble ornament carving in Pietrasanta, Italy, Simmonds gained international recognition as a sculptor, exhibiting his work internationally, while his sculptures are now part of prominent private collections around the world.

In architecture in general, particularly the elaborate and monumental interiors of religious buildings,  materials (a stone becomes a flower, a hand, a bird) are transformed and seem to defy the laws of physics as they rise high up in colonnades and majestic domes. Every work of architecture is a victory over Nature and a celebration of Man’s skill and ingenuity. In the sculpture of Matthew Simmonds however, this principle is reversed: Nature overpowers architecture, as if it encases or envelops it: the pristine and elaborate interiors seen in Simmonds’ work are like fossils of buildings, trapped inside the rock into which they have been carved, thus diminishing their otherwise grand and humbling character. This thought-provoking inversion – the building is in the stone and not the other way round – creates a breathtaking shift of perspective, which adds to the otherwise perfectly executed and masterfully composed creations. 

One of Simmonds’ more recent works, in a truly unique chimney piece, for a private residence outside Edinburgh, uniquely combines the classical beauty and fine craftsmanship of marble sculpture with contemporary symbols and imagery. The chimney piece was created in close collaboration with the clients, who wanted it to feature symbols that had a particular meaning to them and their family. As a result, Simmonds has carved images of pets, landmarks in Edinburgh, the zodiac signs of the family, as well as other images such as the electric guitar selected by the children and a tall and slender urn draped with a piece of fabric that pays tribute to the family’s ancestors.

Matthew Simmonds, Elevation V: Santa Maria del Fiore, Firenze, 2010, limestone, 60 X 13 X 37cm. photo © Matthew Simmonds.

Photo © Matthew Simmonds

Photo © Matthew Simmonds

Matthew Simmonds, Basilica III, Carrara marble, 2010, height 29cm. photo © Matthew Simmonds.

Matthew Simmonds, Essay in Baroque Space, Carrara marble 2013, height 49cm, photo © Matthew Simmonds.

Matthew Simmonds, Solaris, 2010, Carrara marble, height 25cm, photo © Matthew Simmonds.

Matthew Simmonds, Study 34, photo © Matthew Simmonds.

Matthew Simmonds, Study 34, photo © Matthew Simmonds.

Matthew Simmonds, The Passage, 2003, Carrara marble, 40 X 30 X 57cm. First International Sculpture Exhibition, Guilin, China, photo © Matthew Simmonds.

Matthew Simmonds, Essay in Form and Light, 2008, limestone, 42 X 40 X 36cm, photo © Matthew Simmond

Matthew Simmonds, Vaulted Space (detail), Limestone, 2008, height 39cm. Client: Mastercard, Rome, photo © Matthew Simmonds.

Matthew Simmonds, Vaulted Space, Limestone 2008, height 39cm. Client: Mastercard, Rome, photo © Matthew Simmonds.

Matthew Simmonds, Trilogy, 2010, Carrara marble, max. height 80cm Commissioned for the head offices of Swire Properties, Hong Kong. photo © Matthew Simmonds.

Matthew Simmonds, Trilogy, 2010 Carrara marble, max. height 80cm Commissioned for the head offices of Swire Properties, Hong Kong. photo © Matthew Simmonds.

Matthew Simmonds, Chapter House, 2007, limestone, 10 X 10 X 12cm, photo © Matthew Simmonds.

Matthew Simmonds, Elevation I, 2004, limestone, 49 X 11 X 30cm, photo © Matthew Simmonds.

Matthew Simmonds, Gothic Passage (detail), photo © Matthew Simmonds

Matthew Simmonds, Gothic Passage, photo © Matthew Simmonds

Matthew Simmonds, Basilica II, 2007, Carrara marble, 56 X 39 X 38cm, photo © Matthew Simmonds.

Matthew Simmonds, Chapter House III, Limestone, 2013, height 34cm, photo © Matthew Simmonds.

Rembrandt Harmensz van Rijn, 'Self-portrait as the apostle Paul', 1661 (detail). Rijksmuseum, de Bruijn-van der Leeuw Bequest, Muri, Switzerland.

SYDNEY.- It’s one of the most exciting episodes in art history, and one that still delights today. In the 17th century Dutch Republic – a newly wealthy and independent nation – the art of painting flourished like never before. Dutch artists sensitively observed the beauty of the world around them, transforming it with great skill into vivid and compelling paintings, from intense portraits and dramatic seascapes, to tranquil scenes of domestic life and careful studies of fruit and flowers. 

The first major exhibition of Dutch masters in Sydney, Rembrandt and the Dutch Golden Age: Masterpieces from the Rijksmuseum, comprises 78 exceptional works of art from the renowned Rijksmuseum in Amsterdam, as part of the Sydney International Art Series 2017-2018. 

Art Gallery of New South Wales director Dr Michael Brand said the close collaboration with the Rijksmuseum – the museum with the finest and most representative collection of Netherlandish art in the world – has enabled the Gallery to show art from Holland at its best. 

Rembrandt Harmensz. van Rijn, 'Self-portrait as the apostle Paul', 1661, Rijksmuseum, De Bruijn-van der Leeuw Bequest, Muri, Switzerland.

“The Rijksmuseum is the jewel in the crown of the Netherlands’ cultural institutions and this exhibition offers visitors an exceptional opportunity to experience the Dutch masters, in particular Rembrandt and Vermeer, the two geniuses of Dutch art,” Brand said. 

Rijksmuseum director Taco Dibbits said the museum was delighted that exceptional examples of the nation’s centuries-old works of Dutch art will be experienced by visitors to the Art Gallery of New South Wales this summer. 

“The Dutch masters are still relevant today as art lovers around the world know, so I’m very pleased that visitors to the Art Gallery of NSW, including a new generation of Australians, will have the opportunity to meet the artworks of Rembrandt and many other masterpieces from the Dutch Golden Age,” Dibbits said. 

Jan Davidsz de Heem, 'Still life with flowers in a glass vase', 1650, Rijksmuseum, on loan from the City of Amsterdam (A van der Hoop Bequest)

Rembrandt and the Dutch Golden Age presents a richly unfolding panorama of Dutch art and life during the 17th century – an era of unparalleled wealth, power and cultural confidence. The exhibition explores the subject matter that Dutch painters specialised in, and perfected, during this period. 

Alongside masterpieces by Rembrandt and Vermeer are outstanding paintings by Jacob van Ruisdael, regarded as the greatest landscapist of the Golden Age, and Jan Davidsz de Heem, renowned for his dynamic, colourful compositions of flowers. Subject matter also includes interior scenes, landscapes, townscapes and architecture and marine and history painting. 

AGNSW exhibition curator Peter Raissis said Vermeer’s luminous Woman reading a letter (1663) and one of Rembrandt’s greatest works, Self-portrait as the Apostle Paul (1661), both of which are viewed by hundreds of thousands of visitors each year in the Rijksmuseum’s famed Gallery of Honour, are at the heart of the exhibition in Sydney. 

Jacob Isaacksz van Ruisdael, 'Landscape with a waterfall', c1668, Rijksmuseum, On loan from the City of Amsterdam (A van der Hoop Bequest)

“Visitors will see both these works in rare, close proximity, as well as an entire room dedicated to Rembrandt. The Rembrandt room includes seven oils and 16 of Rembrandt’s finest etchings, in superb quality impressions, including biblical and secular subjects,” Raissis said. 

“Johannes Vermeer is one of the world’s most beloved artists but his work is seen very infrequently in Australia, as there are only 35 known pictures by him. Woman reading a letter is a perfect example of his work – painted when Vermeer was at the height of his powers and epitomising everything we love about his serene interior scenes,” Raissis added. 

Since its inception in 2010, the Sydney International Art Series has generated over $134 million in overnight visitor expenditure for the State, and attracted over 1.8 million attendees, with over 180,000 overseas, interstate and regional NSW overnight visitors coming specifically to Sydney to view the exhibitions at the Art Gallery of NSW and the MCA. 

Johannes Vermeer, 'Woman reading a letter', c1663, Rijksmuseum, On loan from the City of Amsterdam (A van der Hoop Bequest)

Not only will visitors to the exhibition experience a number of paintings from the famed Gallery of Honour at the Rijksmuseum, they will also be able to enjoy the works in an evocative display. With its nod to Amsterdam and the Rijksmuseum, the exhibition is designed by Australian architect Richard Johnson AO. Johnson is best known for his creation of some of Australia’s most iconic cultural buildings and spaces, including AGNSW’s Asian galleries, in 2003. Johnson also developed the beautiful exhibition design for The Greats: masterpieces from the National Galleries of Scotland at the Gallery in 2015/16. 

Offering fascinating insights into 26 key paintings and narrated by award-winning British actress Miriam Margolyes, a free audio guide for visitors features a selection of 17th century music to accompany each room, selected by ABC Classics, as well as tracks written for children and audio descriptions of the paintings for people who are blind or vision impaired.

11 Nov 2017 – 18 Feb 2018

Jan Havicksz. Steen, 'Family scene', 1670, Rijksmuseum, On loan from the City of Amsterdam (A van der Hoop Bequest)

Frans Hals, 'Portrait of Lucas de Clercq', c1635, Rijksmuseum, On loan from the City of Amsterdam

Frans Hals, 'Portrait Of Feyntje Van Steenkiste', c1635, Rijksmuseum, On loan from the City of Amsterdam.

Karel Dujardin, 'Self-portrait', 1662, Rijksmuseum.

Jan de Bray, 'The governors of the Guild of St Luke, Haarlem', 1675. Rijksmuseum.

Unknown artist, 'Portrait of Portrait of Baruch de Spinoza', c1665, Gemäldesammlung der Herzog August Bibliothek, Wolfenbüttel, Germany.

Pieter Jansz Saenredam, 'The westernmost bays of the south aisle of the Mariakerk in Utrecht', c1640-55, Rijksmuseum.

Emanuel de Witte, 'Interior of a Protestant, Gothic Church, with a Gravedigger in the Choir', 1669, Rijksmuseum, On loan from the City of Amsterdam (A van der Hoop Bequest)

Rembrandt Harmensz. van Rijn, 'Two old men disputing', 1628, National Gallery of Victoria, Melbourne, Felton Bequest, 1936.

Selenite,Robert R. Wiener Collection. Photo by Paul Mutino.

GREENWICH, CONN.- Visitors to the Bruce Museum can take a global tour of the splendor, wonder, and science of minerals as Treasures of the Earth: Mineral Masterpieces from the Robert R. Wiener Collection opens to the public. 

Continuing through April 1, 2018, this exhibition offers a rare chance to discover the wondrous beauty and amazing properties of world-class minerals from a remarkable private collection. Approximately 100 dazzling specimens are on display, ranging from intricately connected cubes of pyrite, to dazzlingly clear crystals of selenite, to fiery red hexagons of vanadinite. 

Robert R. Wiener, chairman of MAXX Properties, a fourth-generation, family-owned real estate company based in Harrison, N.Y., has built this comprehensive collection over the past four decades. The collection includes minerals from Madagascar, China, Peru, Australia, Morocco, the United States, and beyond. Many examples of unusual crystal forms, rare combinations of multiple minerals growing together, and eye-catchingly enormous specimens are all featured. Visitors will learn about the key aspects of mineralogy and the critical roles minerals play in everything from nutrition to smart phones. 

“I’m delighted to be able to share my collection, and my passion,” says Wiener, whose own introduction to the world of minerals came on a visit to the Museum of Natural History with his grandmother, when he was seven. “The world of the dinosaurs was amazing … but the rooms filled with sparkling crystals? I was transfixed and fascinated,” Wiener adds. “It’s a happy experience to spread knowledge and open the eyes of the uninitiated to a world with an allure that lasts forever.” 

“We are thrilled to exhibit these truly remarkable specimens,” says Dr. Daniel Ksepka, Curator of Science. “Each specimen brings to life a different facet of the seemingly endless variety of forms and colors found in the world of minerals. We hope the exhibition will introduce a new generation to the fascination of minerals."

November 11, 2017 - April 1, 2018 

Garnet, Robert R. Wiener Collection. Photo by Paul Mutino

Gypsum “Ram’s Horn” (Selenite), Robert R. Wiener Collection. Photo by Paul Mutino

Stibnite, Robert R. Wiener Collection, Photo by Paul Mutino

Aquamarine and Cassiterite on Muscovite, Robert R. Wiener Collection. Photo by Paul Mutino

Malachite on Azurite, Robert R. Wiener Collection. Photo by Paul Mutino

Aragonite, Robert R. Wiener Collection. Photo by Paul Mutino

Chalcopyrite, Robert R. Wiener Collection. Photo by Paul Mutino

Pink Halite, Robert R. Wiener Collection. Photo by Paul Mutino

Lot 72. A Marble Sigma-shaped Table with Relief Border depicting Birth of Aphrodite & Marine Thiasos, Eastern Mediterranean, late Romanearly Byzantine, Theodosian Period, circa 390-430 A.D. 126 by 122.5 cm. Estimate £400-600,000. Courtesy Sotheby’s.

LONDON.- Covering an unprecedented spectrum of objects from Classical Greece and Rome to Ancient Egypt and the Near East, Sotheby’s November sale of Ancient Sculpture and Works of Art brings to life past civilisations. With estimates ranging from £800 to £400,000, the sale presents an opportunity for first time buyers as well as seasoned collectors.  

Lot 40. A Roman Marble Head of Ganymede, circa 1st Century A.D. Height 34 cm.; height of face 15 cm. Estimate £250,000-350,000. Courtesy Sotheby’s.

One of the most finely carved Roman marble heads to be offered at auction in recent history, this portrayal of divine hero Ganymede is the only known copy of a lost Classical Greek original sculpture. The youthful face is depicted with parted lips and heavy-lidded eyes, his long wavy hair parted in the centre and falling in corkscrew curls over the sides and nape of the neck, the ear-flaps of his Phrygian cap pulled up and knotted at the back.

Lot 72. A Marble Sigma-shaped Table with Relief Border depicting Birth of Aphrodite & Marine Thiasos, Eastern Mediterranean, late Roman-early Byzantine, Theodosian Period, circa 390-430 A.D. 126 by 122.5 cm. Estimate £400,000--600,000. Courtesy Sotheby’s.

The most complete of all known Byzantine marble table tops with relief-decorated borders, this extremely rare table is exceptional in a number of respects. It is almost entirely preserved save a few fragments in the central flat area. Indeed, it was never tampered with – the fragments not permanently joined together and the reddish layer of incrustation covering almost the entire surface was not cleaned off. Unusually depicting Aphrodite with maritime themes, it promotes magic, fertility, love and success to be pondered on during feasts and musical or theatrical performances. 

Early Byzantine table tops with relief decoration were produced by various workshops along the Eastern Mediterranean during a relatively short period time of about 40 years or so, during a period sometimes known as the Theodosian Renaissance. The subjects of their relief decoration vary from Christian symbols or imagery derived from Biblical episodes, to purely Pagan mythological iconography, such as the deity and fantastic sea-creatures used on this object. 

Lot 39. A Roman Black Marble Herm Head of Hermes, circa 2nd century A.D. Height 29 cm. Estimate £35,000 — 45,000. Courtesy Sotheby’s.

Son of Zeus and Maia, Hermes is the protector of travellers and the messenger of the gods, for his speed abilities. As their herald, he accompanied the dead in the afterlife, and he was called Psychopompós (conductor of souls). In Rome, he was known as Mercury and was the god of commerce. This sculpture is a typical archaistic representation of Hermes, distant from the classical and Hellenistic representation of gods and heroes. The face is taken up with a long rounded beard composed of four tiers of volute curls ending at his high cheekbones, with wavy hair radiating from the crown. 

Lot 28. A fragmentary Onyx Cameo of Athena Parthenos, circa 1st Century A.D., or later. Max. length 7.3 cm.; max. thickness 1.5 cm. Estimate £12,000-18,000. Courtesy Sotheby’s.

This miniature jewel-like cameo is one of the most exquisite renderings of the cult goddess Athena Parthenos. The artistic sensitivity is unparalleled, accompanied by a close regard to details – the virgin goddess adorned with a pendant earring and her helmet decorated with a couchant sphinx and prancing horses. The object is a welcome addition to the testimonia regarding the lost but renowned massive gold and ivory statue of the goddess Athena, created by Phidias and housed in the Parthenon in Athens. It stood in the Parthenon until the 5th century AD when it was removed by Romans, and since then only the general appearance can be assessed from images on coins and miniatures. 

Lot 68. A Roman Marble Strigillated Lion Breakfast Sarcophagus, Rome, with 18th Century Restorations, circa 260-280 A.D. 56 by 242 by 80 cm. Estimate £60,000-80,000. Courtesy Sotheby’s.

This fully restored sarcophagus carries carefully cut out ancient figural relief fragments – each lion boldly carved pinning its prey down, one a quadruped, the other a wild boar, and looking back with fierce expressions and gaping jaws. 

Lot 65. A Roman Marble Funerary Altar inscribed for Mystes and Dorius, 1st Century A.D. 83 by 59 by 39 cm. Estimate £40,000-60,000. Courtesy Sotheby’s.

This refined carving is emblematic of the early principate, complete with a carving of twins Romolo and Remo with the Lupa – a central motif in the myth of Roman foundation. The inscription refers to the slave of a prominent noble family in Rome, the Gens Volusia. The object has extraordinary provenance, having been part of two illustrious collections in Rome in the 16th century – the Mellini collection and the Cesi Collection. 

Lot 92. A Large Bronze Figure of Osiris, 1075-716 B.C. Height 42.5 cm. Estimate £40,000-60,000. Courtesy Sotheby’s.

This striking figure of the Egyptian god of life, death and the afterlife was formerly in the prestigious collection of Edward Drummond Libbey, the founder of the Toledo Museum of Art in Ohio. It presents the powerful mythological Osiris shrouded in his cloak, holding the crook and flail and wearing the atef-crown.

LOt 90. A rare 'Yaozhou' bottle vase, Song dynasty (960-1127). 28.3 cm, 11 1/8  in. Estimate 40,000 — 60,000 GBP. Lots sold 162,500 GBP. Courtesy Sotheby's.

the rounded sides rising from a spreading foot to a waisted neck applied with two dragon mask handles, to a flaring rim, carved with a design of lotus below four horizontal ribs below a key fret at the rim, covered in an olive-green glaze pooling to a deeper colour in the carved recesses.

Provenance: Acquired in Hong Kong in 1986.

Note: Compare a Yaozhou vase of this form but with a reduced neck and carved on the body with a floral scroll, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (I), Hong Kong, 1996, pl. 93.

Yaozhou bottle vase, Song dynasty (960-1127), Collection of the Palace Museum © Palace Museum, Beijing

Sotheby's. Important Chinese Art, London, 08 Nov 2017