Lot 504. A 5.08 carats fancy pink oval-cut Type IIa diamond ring. Estimate CHF 1,250,000 - CHF 1,500,000. Price realised CHF 3,252,500. © Christie's Images Ltd 2017

Set with a fancy pink oval-cut diamond, weighing approximately 5.08 carats, to the plain hoop, ring size 5 ½, mounted in gold.

Accompanied by report no. 2185638033 dated 7 August 2017 from the GIA Gemological Institute of America stating that the diamond is Fancy Pink colour, VS1 clarity, and a Diamond Type Classification letter stating that the diamond has been determined to be Type IIa.

The property of a lady.

Lot 382. A 50.51 carats octagonal step-cut Ceylon sapphire and diamond ring, by Harry Winston. Estimate CHF 1,200,000 - CHF 2,000,000. Price realised CHF 1,872,500. © Christie's Images Ltd 2017

Set with an octagonal step-cut sapphire, weighing approximately 50.51 carats, within a circular-cut diamond surround, ring size 6. Signed Winston for Harry Winston.

Accompanied by report no. 17090196 dated 28 September 2017 from the Gübelin GemLab stating that the origin of the sapphire is Sri Lanka (Ceylon), with no indications of heating, and an Information sheet on 'Unheated sapphires'.

Report no. 94488 dated 14 August 2017 from the SSEF Swiss Gemmological Institute stating that the origin of the sapphire is Ceylon (Sri Lanka), with no indications of heating.

The property of an Italian aristocratic family.

Lot 485. A pair of 10.49 and 10.29 carats cushion-shaped Kashmir sapphire and diamond earrings. Estimate CHF 1,100,000 - CHF 1,500,000. Price realised CHF 1,692,500. © Christie's Images Ltd 2017

Each cushion-shaped sapphire, weighing approximately 10.49 and 10.29 carats, within a cushion-shaped diamond surround and surmount, 3.0 cm, mounted in platinum and gold.

Accompanied by report no. 17090205/1 and 2 dated 26 September 2017 from the Gübelin GemLab stating that the origin of the sapphires is Kashmir, with no indications of heating, an Information sheet on 'Unheated sapphires' and an Appendix letter stating that these sapphires '(...) possesse a richly saturated and homogeneous velvety colour, combined with a high degree of transparency, and a finely proportioned cut'.

Report no. 1086778 A and B dated 22 August 2017 from the AGL American Gemological Laboratories stating that the origin of the sapphires is Kashmir, with no gemological evidence of heat and no clarity enhancement.

The property of a lady.

Lot 381. A 20.28 carats marquise-cut Type IIa diamond ring. Estimate CHF 1,200,000 - CHF 2,000,000. Price realised CHF 1,392,500. © Christie's Images Ltd 2017

Set with a marquise-cut diamond, weighing approximately 20.28 carats, between tapered baguette-cut diamond shoulders, ring size 5 ½.

Accompanied by report no. 6183665346 dated 25 August 2017 from the GIA Gemological Institute of America stating that the diamond is D colour, VVS2 clarity, and a Diamond Type Classification letter stating that the diamond has been determined to be Type IIa.

The property of an Italian aristocratic family.

Lot 494. A square cut-cornered diamond weighing approximately 33.21 carats, I colour, VVS2 clarity ring. Estimate CHF 1,250,000 - CHF 1,550,000. Price realised CHF 1,272,500. © Christie's Images Ltd 2017

Set with a square cut-cornered diamond, weighing approximately 33.21 carats, to the plain hoop, ring size 5 ¾, mounted in gold.

Accompanied by report no. 1186573968 dated 7 July 2017 from the GIA Gemological Institute of America stating that the diamond is I colour, VVS2 clarity.

Christie's. Magnificent Jewels, 14 November 2017, Geneva

© Christies Images Ltd 2017

‘THE EASTERN RENAISSANCE’

THE SPIRIT OF ART
Master of Le Cong Tang

Compared to many animals, we humans fall far behind when it comes to certain physical abilities. Birds fly effortlessly in the sky and fish breathe underwater, neither of which human can do; nor can human compete in speed and strength with some ferocious animals. Yet, humans consider themselves as the “spirit” of all species on Earth. Why? 

Personally, I think humans surpass animals in at least three important aspects:

First of all, humans have the ability to form abstract thoughts, leading to the development of mathematics and science, as well as technology and skills.

Second, humans have a sense of aesthetics, are inspired by beauty and have the ability to transform their experience into art.

Finally, humans are capable of showing respect, whereas animals merely resort to force and violence. There are many things that people respect, including deities, nature, life, tradition, erudition, and art.

These three aspects form the “spirit” of humanity. In fact, the reason why humans are superior is precisely because animals lack such kind of “spirit”.An artist can create outstanding art works only as a result of three factors. Firstly, the artist needs numerous years of hard work to develop his or her technique and skill. Secondly, the artist must possess a transcendent sense of aesthetics. Thirdly, the artist needs to have the utmost respect for art, and endeavours for perfection. Works that come from the “soul” must thus be full of “spirit.”

People often ask, “If forgeries are just as good as the originals, why can’t they be appreciated on the same level?”

The problem with forgeries, however, is that they lack “spirit.” The forgers apishly imitate the techniques of the original in an attempt to deceive the public in the quest for illicit profit. As a result, forgeries are full of malicious intent and unrighteousness.

Seemingly inanimate, art works actually convey strong messages. Original art works are created with a sense of sincerity that is full of “spirit”, like a breath of fresh air, imbuing viewers with vitality. On the other hand, forgeries poison the viewers, lulling them into a state of vulgarity.

The point of collecting is not hoarding things to make a profit but to gather the “spirit” and then share it with others.

The success of collectors lies not in how much profit they can make from their collections.

The value is derived from the amount of “spirit” that can be discovered and passed on.

MING PORCELAIN AND LACQUER FROM THE LE CONG TANG COLLECTION

Having known collectors of many types over decades, I have concluded that three elements make for a great collector. First is a sense of beauty and the good taste that comes and develops with it. Second is the ability and willingness to devote ample resources, including time, to collecting and researching. This is especially true of Chinese art. Third is a willingness to seek out the best advice possible, technical and general, and to pay heed to it. With regard to the Master of the Le Cong Tang collection, these three elements are all present in abundance.

I have had the good fortune to be in regular contact with the Master of the Le Cong Tang Collection for a number of years and it has been a stimulating experience. It is not an exaggeration to say that there has hardly been a dull moment. His enthusiasm has been infectious. The principal and overriding criterion in forming the collection has been aesthetic quality, irrespective of other factors such as academic importance, rarity or provenance. Nevertheless, the collection has come to include many items with significant provenances that are rare and important as well as beautiful. The thirteen Ming items here clearly demonstrate this.

PORCELAIN
The Ming imperial kilns were established at Jingdezhen in the Hongwu period (1368–1398), but following the disruption of international trade at the fall of the Mongol Yuan dynasty, high-grade Middle-Eastern cobalt had ceased to be available to Jingdezhen. As a result of this, the Hongwu reign is unique in the Ming and Qing dynasties as the only one in which cobalt blue was not the major type of underglaze decoration. In this period the chief colorant on imperial porcelain was copper. Copper produces a red colour when fired under the glaze in the right conditions, but it is far more difficult to control than cobalt and requires a strict reducing (de-oxidising) atmosphere in the kiln. The colour all too easily becomes brown, grey or blurred. The cup stand (lot 8001) is an example of a successful firing of underglaze red decoration. The design is clear and the colour is evenly red. The oval chrysanthemum flowers that constitute

Lot 8001. A rare copper-red decorated bracket-lobed cup stand, Hongwu period (1368-1398). © Christies Images Ltd 2017

Up until the Xuande reign (1426–1435), the Ming court also ordered celadon wares from the Longquan kilns of Zhejiang province. The massive jardinière (lot 8003), decorated with dense peony in high relief, is one of the largest known examples of this early Ming imperial celadon type and is one of the rarest forms. The exceptionally strong high relief of the decoration creates variety in the depth and tone of the glaze.

 Lot 8003. A rare massive carved Longquan celadon jardiniere, Ming dynasty, early 15th century. © Christies Images Ltd 2017

The Yongle reign (1403–1424) was one of the most dynamic periods in the history of China and this is clearly reflected in the quality and diversity of the art works, in different media, produced to imperial order. New and exotic foreign influences appeared on imperial porcelain at Jingdezhen, especially those of Islam, of which the blue and white basin (lot 8002) is a clear example. Its distinctive form, previously unknown in China, was made in metal and glass in Egypt and Syria from about the 13th century onwards. It is believed that such Islamic forms were first made in porcelain in order be sent to the Middle East on the fourth and subsequent voyages (1414–1433) of Admiral Zheng He. An example of the form now at the Topkapi Saray Museum, Istanbul, Turkey1 probably reached the Middle East in that way. However the type also appears to have met with imperial approval, as some examples were retained in China, including those now at the Palace Museum, Beijing2 and the National Palace Museum, Taipei3.

 Lot 8002. An important and extremely rare blue and white basin, Yongle period (1402-1425). © Christies Images Ltd 2017

New glazes were developed in the early fifteenth century, including the imperial yellow glaze.

The use of the imperial yellow colour on any material was restricted to the emperor. This restriction was especially relevant to textiles and porcelain. The Xuande period (1426–1435) inverted bell-shaped bowl (lot 8012) has such an imperial yellow glaze. It is a very rare combination of form and colour. The National Palace Museum, Taipei, appears to have the only similar example4. 

 Lot 8012. A fine and extremely rare yellow-enamelled bowl, Xuande incised six-character mark within a double circle and of the period (1426-1435). © Christies Images Ltd 2017

Another rarity is the fahua vase, meiping, decorated with lotus (lot 8004). The special characteristics of fahua decoration are dark background colours and relief outlines in trailed slip. The fahua scheme appeared on pottery in Shanxi province in the Yuan period (1280–1368) and was developed to a higher technical level on porcelain at Jingdezhen in the fifteenth century. The meiping is one of the best examples of the latter genre. On it the white lotuses and waves contrast beautifully with the dark purplish-blue background as if they are seen in moonlight. There are other examples of fahua with various similar forms and subjects, but the Musée Guimet, Paris, appears to have the only other vase with this combination of form and design5. 

 Lot 8004. A finely decorated fahua ‘lotus pond’ vase, meiping, Chenghua period (1465-1487). © Christies Images Ltd 2017

The Chinese term wucai means ‘five colours.’ On porcelain the vivid wucai colour scheme reached maturity in the Jiajing reign (1522–1566) when the overglaze colours, yellow, iron-red and green, with black outlines, were used in combination with underglaze blue. Among the various forms and sizes of wucai porcelain made for the court, the jar and cover (lot 8006) represents the largest and most ambitious type. The Jiajing emperor was an ardent Daoist with a keen desire for auspicious symbolism. Fish symbolize surplus and wealth. On the jar there are eight fish, an auspicious number. The cover also has the bajixiang (eight precious emblems). A small number of such jars have survived with their original covers, including examples in museums in China, Japan, France and the U.S.A. This example, one of the finest, was formerly in the collection of J.M. Hu in Shanghai. Later, it made art market history in 2000 when it was sold at auction6 for a then world record price for Chinese porcelain.

Lot 8006. A highly important and extremely rare wucai ‘Fish’ jar and cover, Jiajing six-character mark in underglaze blue and of the period (1522-1566). © Christies Images Ltd 2017

‘Children at play’ is a subject often depicted in paintings from the Song dynasty onwards. It suggests a peaceful world in which children can play happily and safely and was one of the auspicious subjects favoured by the Jiajing emperor. On the jar (lot 8005) eight boys are at play with various toys, including a hobby horse and a model pagoda. The subject is more commonly found on blue and white porcelain in this period, but here it is painted in the richer wucai palette, including the aubergine-purple colour. On the dragon jar of the same period (lot 8010) only the ‘hot’ and ‘warm’ colours, red and yellow, were employed. The result appears as yellow dragons on a red background. In fact the exterior of the jar was first covered in an imperial yellow glaze and fired, then the design was outlined in black lines and the background was painted red. This fiery colour scheme is one of the distinctive features of Jiajing imperial porcelain.

 Lot 8005. A very rare wucai 'Boys' jar, Jiajing six-character mark in underglaze blue and of the period (1522-1566). © Christies Images Ltd 2017

 Lot 8010. An exceptional and rare red and yellow-enamelled ‘Dragon’ jar, Jiajing six-character mark in underglaze blue and of the period (1522-1566). © Christies Images Ltd 2017

Blue and white porcelain was the dominant type of imperial porcelain for most of the Ming dynasty, but the quality of the cobalt blue colour varied greatly and was dependent in part on the availability of high quality cobalt from the Middle East. The Wanli reign (1573–1619) exemplifies this wide variation. The square box and cover (lot 8013) demonstrates Wanli underglaze blue at its bluest and best. It is painted with peony and chrysanthemum branches around a strange elegant rock resembling a finger citron.

 Lot 8013. A blue and white square box and cover, Wanli six-character mark in underglaze blue and of the period (1573-1619). © Christies Images Ltd 2017

In the same period certain distinctive forms were made to imperial order, including the gourd-shaped wall vase, of which the wucai example, painted with phoenixes (lot 8008) is an example. The gourd form is auspicious; it symbolizes proliferation in plants and in human life, such as having many children and more grandchildren. When gourd-shaped wall vases were again popular at court in the eighteenth century, they were typically flatter in form. This more voluminous Wanli type has survived in far fewer numbers. The Palace Museum, Beijing7, and the Tianjin Museum8 both have examples with similar phoenixes on the upper part, but with differences in the decoration on the other parts.

Lot 8008. A rare wucai ‘phoenix’ double-gourd form wall vase, Wanli six-character mark in underglaze blue within a double rectangle and of the period (1573-1619). © Christies Images Ltd 2017 

LACQUER
For lacquer, as with other media, the Yongle period was climactic. The imperial workshops excelled in the production of carved cinnabar-red lacquer in this and the following Xuande reign. Such early Ming lacquer has a fluency and a three-dimensional quality that compares very favourably with other periods. The box and cover (lot 8009) is a fine example. It is carved with tree peony on the top. The blooms are shown from different angles and in different stages of development; the leaves are dense and lush. On the sides are other species, including lotus, chrysanthemum and camellia. Between the many upper layers of red and the ochre-brown background there is a thin black layer that as a ‘guideline’ to the carver. Whereas only a minute proportion of Yongle imperial porcelain was written with a reign mark, lacquer that met the imperial standard was regularly inscribed with a reign mark. On the box, the Yongle mark is written, typically, in small characters in a single column at the side of the base. The Qianlong emperor (reigned 1736–1795) owned a box with very similar peony decoration. He clearly valued it and in 1782 he had an inscription added to the interior of the cover. It is now at the National Palace Museum, Taipei9.

Lot 8009. A superbly carved cinnabar lacquer box and cover, Yongle incised six-character mark and of the period (1402-1425). © Christies Images Ltd 2017

The Jiajing period (1522–1566) imperially-marked ewer (lot 8011) is carved with ruyi clouds, a popular pattern in lacquer design. The highly distinctive form is taken from Islamic metalwork. Most lacquer has a wood core, but a wood core would have made the very slender neck, spout and handle too vulnerable to breakage, so the ewer was made with a metal core. It appears to be unique in red lacquer. One other ewer of similar form is recorded, with a variant ruyi cloud pattern10, but it is in black lacquer and has no reign mark.

Lot 8011. A highly important cinnabar tixi lacquer hexagonal ewer, Jiajing incised six-character mark and of the period (1522-1566). © Christies Images Ltd 2017

The red chrysanthemum-form dish (lot 8007) is another product of the imperial lacquer workshops of the Jiajing period. It is decorated with a five-clawed dragon pursuing a sacred pearl and with a hibiscus branch. Here the decoration is in two techniques, firstly the qiangjin technique in which the outlines are incised and gilt, secondly in the tianqi technique in which areas within the outlines are painted in different colours from the background. The reign mark on the base is in the qiangjin technique. The Palace Museums in Beijing11 and Taipei12 both have similar dishes.

 Lot 8007. An extremely rare imperial qiangjin and tianqi ‘Dragon’ chrysanthemum-shaped dish, Jiajing incised and gilt six-character mark and of the period (1522-1566). © Christies Images Ltd 2017 

CONCLUSION
I believe the Ming porcelain and lacquer offered here will allow collectors to add highly significant items to their collections. I hope they will have the same enthusiasm for them as the Master of the Le Cong Tang collection. I hope too that future collectors will be willing, as he has, to lend them to exhibitions. The imperial porcelain and lacquer is up to the standards of any major museum and deserves to be seen and enjoyed by the public.

JAMES SPENCER
Mr James Spencer first joined Christie’s London in 1969 and was transferred to the Chinese department in 1971 where he became a director in 1979. He set up the Christie’s Hong Kong office in 1983. In 1987, Mr Spencer left Christie’s to join the Chang Foundation Museum of Art, Taipei, where he remained a curator until his retirement in February 2017. At present he is a consultant to the Chang Foundation.

NOTES:

1. Regina Krahl (ed. John Ayers), Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol. 2, Yuan and Ming Ceramics, London, 1986, no. 611, pp. 421 and 516 (TKS 15/1472)
2. Blue and White Porcelain with Underglaze Red (I), Hong Kong, 2000, nos. 49 and 50, pp. 52-53
3. Mingdai chunian ciqi tezhan mulu (Calatalogue of the Special Exhibition of Early Ming Porcelain), 1982, no. 45, fig. 2, p. 110
4. Jingdezhen chutu Ming Xuande guanyao ciqi (Xuande Imperial Porcelain Excavated at Jingdezhen), Chang Foundation, Taipei, 1998, nos. 115-1 and 115-2.
5.Reference 故宮12497/院199
6. Sotheby’s Thirty Years in Hong Kong, 2003, no. 175, pp. 178-179
7. Ceramics Gallery of the Palace Museum, Beijing, 2008, Part II, p. 353
8. Zhongguo taoci quanji (The Complete Works of Chinese Ceramics), vol. 13, Ming period part 2, Shanghai, 1999, no. 110, pp. 109 and 235
9. Gugong Qiqi Tezhen (Special Exhibition of Lacquer at the National Palace Museum), Taipei, 1981, no. 7
10. From the collection of Professor and Madame Robert de Strycker, sold at a Piasa auction, Paris, 5 December 2007, lot 56
11. Lacquer Wares of the Yuan and Ming Dynasties, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2006, no. 159 (fig 1), p. 201
12. Carving the Subtle Radiance of Colors, Treasured Lacquerware in the National Palace Museum, 2007, no. 093, p. 104 

Lot 8001. A rare copper-red decorated bracket-lobed cup stand, Hongwu period (1368-1398). 7 7/8 in. (20 cm.) diam. Estimate HKD 500,000 - HKD 700,000 (USD 64,369 - USD 90,116). © Christies Images Ltd 2017

The centre is painted with a quatrefoil ruyi surrounded by a raised collar to support the cup and by a continuous chrysanthemum scroll bearing six blossoms, the petal-moulded cavetto further painted with lotus sprays below a classic scroll on the everted bracket-lobed rim. The exterior is painted with upright petal lappets. The copper red is of a deep raspberry-red tone, Japanese wood box.

Provenance: The Manno Art Museum, no. 427
Sold at Christie’s Hong Kong, One Man’s Vision, Important Chinese Art from The Manno Art Museum, 28 October 2002, lot 528

Literature: Yoshiaki Yabe, Toji Taikei, Gen no Sometsuke, vol. 41, Tokyo, 1974, nos. 74 and 75
Sekai toji zenshu - 14 Ming, Tokyo, 1976, p. 161, no. 139
Selected Masterpieces of the Manno Collection, Japan, 1988, no. 105

Note: For similar examples with the ruyi medallion in the centre, see the stand in the Palace Museum, Beijing, illustrated in Blue and White Porcelain with Underglazed Red (I), Hong Kong, 2000, p. 244, no. 225; another in the Shanghai Museum, illustrated by Wang Qingzheng (ed.), Underglaze Blue and Red, Hong Kong, 1987, no. 39; and another sold at Christies London, 28 June 1964, and illustrated by A. du Boulay, Christie’s Pictorial History of Chinese Ceramics, Oxford, 1984, p. 148, no. 1. There are also stands each with an open lotus flower in the centre medallion, such as the one in the Museum of Far Eastern Antiquities, Stockholm, illustrated in Oriental Ceramics, Kondasha Series, Tokyo, 1982, vol. 8, no. 51; for an example with a peony in the centre, see the example from the Meiyintang Collection, sold at Sotheby’s Hong Kong, 7 April 2011, lot 44.

Cupstand, porcelain, Decorated in a misfired underglazed copper-red, wich has burnt to a soft greyish colour with small dark red spots. In the centre a rosette-like lotus flower, encirkled by a continious chrysanthemum scroll. Ming dynasty, Hongwu period 1368-1398, Gustav VI Adolfs samling, tidigare i Hans Öströms samling. ÖM-1974-1040 ©2017 Östasiatiska Museet

A fine and rare underglaze-red cup stand, Ming dynasty, Hongwu period. 19.7 cm., 7 3/4 in. Sold for 4,820,000 HKD at Sotheby’s Hong Kong, 7 April 2011, lot 44. Photo Sotheby's

Cf. my post: Underglaze-Red Chrysanthemum Dish, Cup Stand & white anhua 'Phoenix' Bowl, Ming Dynasty, Hongwu period (1368-1398)

This type of petal-moulded cup stand originated in the late Yuan dynasty, and was modelled after Middle Eastern metal work. For a Yuan cup stand of this type in blue and white, see an example in the Meiyintang Collection, illustrated in Chinese Ceramics from the Meiyintang Collection, vol. 4 (I), London, 2010, p. 31, no. 1616.

Leonardo da Vinci (1452-1519), Salvator Mundi, painted circa 1500. 25⅞ x 18 in (65.7 x 45.7 cm). Sold for $450,312,500 in the Post-War & Contemporary Art Evening Sale on 15 November 2017 at Christie’s in New York. © Christie's Images Ltd 2017

NEW YORK - On a historic night at Christie’s in New York, Salvator Mundi, a depiction of Christ as ‘Saviour of the World’ by one of history’s greatest and most renowned artists, sold for $450,312,500 / £342,182,751 (including buyer’s premium), becoming the most expensive painting ever sold at auction. 

This stunning price reflects the extreme rarity of paintings by Leonardo da Vinci — there are fewer than 20 in existence acknowledged as being from the artist’s own hand, and all apart from Salvator Mundi  are in museum collections.

The global interest in a work that has been hailed as the greatest artistic rediscovery of the last 100 years saw a rapt audience of nearly 1,000 art collectors, dealers, advisors, journalists and onlookers packed into the main auction room at Rockefeller Center, with many thousands more tuning in via a live stream. Since the sale of Salvator Mundi was announced on 10 October at Christie’s, almost 30,000 people have flocked to Christie’s exhibitions of the ‘Male Mona Lisa’ in Hong Kong, London, San Francisco and New York — the first time the painting had ever been shown to the public in Asia or the Americas. 

The inclusion of Salvator Mundi  in the National Gallery’s landmark 2011-12 exhibition of Leonardo’s surviving paintings — the most complete display of such works ever held — sealed its acceptance as a fully autograph work by Leonardo da Vinci. This came after more than six years of painstaking research and inquiry to document the painting’s authenticity. It was process that began shortly after the work was discovered — heavily veiled with overpaints, long mistaken for a copy — in a small, regional auction in the United States in 2005. Prior to that, it was consigned to a 1958 sale at Sotheby’s where it sold for £45.

Dragon head bridge money, China, 5th–3rd century BCE. Acquired from the Howard F. Bowker Family. © Smithsonian’s National Museum of American History

WASHINGTON, DC.- The Smithsonian’s National Museum of American History is displaying selected numismatic objects recently acquired from the collection of Howard F. Bowker. The New Acquisitions case within the “Value of Money” exhibition shows 19 items ranging from fifth-century B.C. Chinese bridge and knife money to 20th-century Chinese money minted in the U.S. 

The selection is part of a recent donation of more than 380 objects from the Bowker collection of East Asian coins, banknotes and stamps. The collection includes rare modern Chinese coinage such as a 500 cash coin made from copper and tin in 1927 and a silver “Old Man” dollar from 1837, as well as a wide variety of 19th- and 20th-century Japanese and Korean coinage. 

"Old Man" Dollar Coin, China (Taiwan), 1837. One of the earliest Chinese struck silver coins. Gift of the Howard F. Bowker Family. © Smithsonian’s National Museum of American History

“The Bowker collection presents an ideal opportunity to explore what numismatic objects can reveal about the historic trade and technological connections between the United States and East Asia,” said Ellen Feingold, curator of the National Numismatic Collection. 

A set of 1902 gilt brass-proof pattern coins also are included in this acquisition. These coins were struck in the U.S. by the Ferracute Machine Co. of Bridgeton, N.J. The coins contribute to the understanding of that connection and further illustrate the ties between North American and Chinese numismatics, economics and trade.  

7 Mace and 2 Candareen Proof Pattern Coin, United States for China, 1902. Gift of the Howard F. Bowker Family. © Smithsonian’s National Museum of American History

The donation also includes 12 ancient Chinese knives and 20 pieces of ancient Chinese bridge money. Of the knives, seven are known as “Qi knives” and five are known as “Ming knives.” The newly acquired knives and bridge money will help the museum to tell the full narrative of Chinese numismatics through material culture. 

Knife money, China, 5th to 1st century BCE. Gift of the Howard F. Bowker Family. © Smithsonian’s National Museum of American History

Bridge money, China, 5th–3rd century BCE. © Smithsonian’s National Museum of American History

Spade money, China, 4th–3rd century BCE, and Ban liang coin, China, around 3rd century BCE. © Smithsonian’s National Museum of American History

The museum recognizes the generosity of the Howard F. Bowker Family and Michael Chou for their support to promote research and enhanced public access of the National Numismatic Collection through exhibition and digitization efforts. 

Bowker’s passion for collecting began when he was stationed as a U.S. naval officer in Hànkǒu, Hubei Province, China, following the end of World War I, and he collected more than 10,000 historic East Asian artifacts. 

East Asian monetary objects have been a part of the Smithsonian’s National Numismatic Collection since the 19th century. Today, the National Numismatic Collection has strong East Asian representation and is a national resource for the study of East Asian money. The National Numismatic Collection opened the “The Value of Money” exhibition in July 2015, and it links American history to global histories of exchange, cultural interaction, political change and innovation. “The Value of Money” allows visitors to explore the origins of money, new monetary technologies, the political and cultural messages money conveys, numismatic art and design and the practice of collecting money.

Fen coin, China, 1937, and 20 fen coin, 1935. © Smithsonian’s National Museum of American History

Lot 356. Superb 33.63 carats VVS1 Clarity type IIa fancy light pink diamond ring, Harry Winston, circa 1970. Estimate 7,900,000 — 13,700,000 CHF. Lot sold 12,647,000 CHF. Photo: Sotheby's.

Set with a step-cut fancy light pink diamond weighing 33.63 carats, between tapered baguette diamond shoulders, size 51, signed Winston. 

Accompanied by GIA report no. 5182581381, stating that the diamond is Fancy Light Pink, Natural Colour, VVS1 Clarity, together with a type IIa classification letter; also accompanied by a Gübelin report and a copy of Service Public du Contrôle des Diamants, Perles Fines, Pierres Précieuses report no. 2128, dated 12 May 1970.

Provenance: This magnificent and extremely elegant pink diamond has been treasured  in the same European noble family for over forty five years.

Sotheby's. Magnificent Jewels and Noble Jewels, Geneva, 15 Nov 2017, 10:30 AM

Lot 314. Important 22.76 carats D Colour, VS1 Clarity type IIa diamond ring. Estimate 1,200,000 — 1,800,000 CHF. Lot sold 2,535,000 CHF. Photo: Sotheby's.

Set with a step-cut diamond weighing 22.76 carats between bullet-shaped diamond shoulders, size 53. 

Accompanied by GIA report no. 11928868, stating that the diamond is D Colour, VS1 Clarity, together with a working diagram stating that the diamond may be internally flawless after repolishing, also accompanied by a type IIa classification letter.

Sotheby's. Magnificent Jewels and Noble Jewels, Geneva, 15 Nov 2017, 10:30 AM

 Lot 8002. An important and extremely rare blue and white basin, Yongle period (1402-1425). 10 3/8 in. (26.3 cm.) diam. Estimate HKD 12,000,000 - HKD 18,000,000 (USD 1,544,299 - USD 2,316,449). © Christies Images Ltd 2017

The basin is well potted with deep, slightly tapered sides rising to a flared rim, and finely painted in brilliant cobalt-blue with extensive ‘heaping and piling’ on the flat base of the interior with a central florette enclosed within a roundel from which radiates six ruyi-shaped petals divided by foliate sprigs, all within a classic-scroll border. The steep well is encircled by a composite floral scroll bearing six blossoms, including lotus, gardenia, chrysanthemum, camellia, peony and hibiscus, the undulating stem with leaves corresponding to each flower, all below a band of crashing waves at the rim. The exterior is similarly painted with a composite floral scroll bearing eight blossoms, all within double-line borders and below detached floral sprays. The unglazed base reveals the smooth white ware with a light speckling of orange tone, box.

Provenance: Eskenazi Ltd., London, c2179
Sold at Christie’s Hong Kong, 28 November 2006, lot 1510

Literature: A Dealer’s Hand: The Chinese Art World through the Eyes of Giuseppe Eskenazi, Italy, 2012, p. 312, pl. 337.

Exhibited: Eskenazi, Yuan and early Ming blue and white porcelain, June-July 1994, London, p. 34-35, no. 10.

Note: This rare and beautiful Yongle basin is a particularly successful melding of Chinese design with a form taken from the Islamic West. The distinctive form of the basin has its origins in the Near East, where it was produced both in metal and in glass. A 14th century Syrian enamelled glass example (d: 29.2 cm.) in the collection of the Metropolitan Museum, New York, is illustrated by John A. Pope, Chinese Porcelains from the Ardebil Shrine, Philip Wilson, London, 1981, plate 135, B. Compare also a Syrian/Egyptian brass basin with silver inlay dated to the 14th century in the Metropolitan Museum of Art, illustrated by Feng Xianming, ‘Yongle and Xuande Blue-and-White Porcelain in the Palace Museum’, Chinese Ceramics Selected Articles from Orientations 1982-1998, Hong Kong, 1999, p. 177, fig. 10 (fig. 1); where it is illustrated together with a Yongle blue and white basin in the Palace Museum. A further inlaid silver metalwork example dated to 13th-14th century Egyptian Mamluk period is now in the collection of the Los Angeles County Museum of Art, and was exhibited at the Hayward Gallery and published in The Arts of Islam, Arts Council of Great Britain, London, 1976, p. 189, no. 213. The authors of this exhibition catalogue point out that these basins follow a form that was already known in Syria and Egypt in Ayyubid times (AD 1238-40) and refer to one in the same volume, cf. ibid., p. 181, no. 198. This earlier version, however, lacks the very slightly waisted, straight sides and the sharp angle to a flattened rim that is characteristic of the later form that inspired the Chinese porcelain basins. A further example in the collection of Nasser Sabah al-Ahmad al-Sabah is illustrated in Islamic Art in the Kuwait National Museum, The al-Sabah Collection, Marilyn Jenkins (ed.), London, 1983, p. 94. 

fig. 1 Ablutions Basin of Yemeni Sultan al-Mujahid Sayf al-Din 'Ali. ca. 1321-1363. Edward C. Moore Collection, Bequest of Edward C. Moore, 1891. Collection of The Metropolitan Museum of Art, New York.

Despite the fact that both the Syrian glass example and the Mamluk brass example, mentioned above, both bear decoration in which Arabic calligraphy plays a major role, the Chinese blue and white porcelain versions of this form adopt a very different decorative style. Although the arabesques on the interior base of some of the porcelain basins, and the pinks on the rim of others, have Near Eastern origins, the rest of the decoration appears purely Chinese. The inclusion of such basins in the Chinese imperial collections, and the fact that none appear in the Ardebil collection, and only one in the collection of the Topkapi Saray in Istanbul, illustrated by J. Ayers & R. Krahl, Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol. II, Philip Wilson, London, 1986, p. 516, no. 611, and colour plate on p.421, suggests that these vessels, despite their foreign form, were in fact intended for elite patrons in China and not as export wares.

In the Yongle reign the porcelain vessels of this form were made in a variety of sizes from those with a mouth diameter of 16.5 cm., to those with a mouth diameter of 31.6 cm. The current basin with a mouth diameter of 26.3 cm. can be regarded a middle-sized. The majority of these blue and white basins, including the current example, have a band of turbulent waves around the rim. This distinctive wave band is characteristic of fine imperial wares of the Yongle reign. It appears that only the very large Yongle basins bear a different decorative band on the rim. A basin of 30.9 cm. diameter in the collection of the Nanjing Museum, illustrated in Zhongguo Nanjing Bowuyuan Suocang, TBS, Tokyo, 1998, p. 34, no. 6; and an even larger one with a diameter of 31.6 cm. in the collection of the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum - 34 - Blue and White Porcelain with Underglaze Red (I), Commercial Press, Hong Kong, 2000, p. 52, no. 49. Both these examples have an elaborate scroll of carnations or pinks around the rim. The two larger basins also have a different design on the interior base. They both have a ring of lotus petals containing emblems within a circle of keyfrets, while the medium and small sized basin have elaborate scrolling arabesques within a circle of formal wave patterns. 

A much smaller basin with the same decoration as the current example is in the collection of the Palace Museum, Beijing, illustrated in The Complete collection of Treasures of the Palace Museum - 34 - Blue and White Porcelain with Underglaze Red (I), op. cit., p. 53, no. 50 (fig. 2). A similar basin of the same design and approximately the same size is in the collection of the National Palace Museum, Taipei, illustrated in Ming dai chunian ciqi tezhen mulu, National Palace Museum, Taipei, 1982, p. 110, no. 45 (fig. 2). A further example of this size is published by R. Fujioka and G. Hasebe, Sekai toji zenshu - 14 Ming, Shogakukan, Tokyo, 1976, p. 166, no. 151. An example from the Brundage Collection was exhibited in Blue and White - Chinese Porcelain and its Impact on the Western World, University of Chicago, 1985, no. 28. 

fig. 2 Collection of the Palace Museum, Beijing.

The form appears to have survived, perhaps only briefly into the Xuande reign, and an example bearing a Xuande reign mark is published in Chinese Ceramics from the Museum Yamato Bunkakan, illustrated catalogue Series no. 7, Nara, 1977, no. 134. However the decoration on the Xuande vessel is different. The combination of graceful Yongle decoration on this simple, but elegant, Near Eastern form, as seen on the current example produces a particularly attractive vessel.

Christie's. Important Ming Imperial Works of Art from The Le Cong Tang Collection Evening Sale, 27 November 2017, Hong Kong

Lot 279. Important 45.74 carats 'royal blue' Burmese sapphire and diamond ring, Van Cleef & Arpels. Estimate 685,000 — 885,000 CHF. Lot sold 1,455,000 CHF. Photo: Sotheby's.

Set with a step-cut sapphire weighing 45.74 carats, between tapered baguette diamond shoulders, size 49, sizing band, signed Van Cleef & Arpels, numbered, assay mark. 

Accompanied by SSEF report no. 90968 and Gübelin report no. 17080185, both stating that the sapphire is of Burmese origin, with no indications of heating, 'royal blue' colour, the SSEF report together with an appendix letter.

Note: "The described sapphire exhibits an impressive size and weight of 45.740 ct, combined with an exceptional purity and attractive well saturated blue colour. 

The few inclusions found by microscopic examination are consistent with those found in sapphires from the classic mines along the Mogok Gemstone Tract in Burma (Myanmar). Its attractive and saturated blue colour, poetically also referred to as 'royal blue', is due to a combination of well-balanced trace elements in the gemstone, which are typical and characteristic for fine sapphires from Mogok, Burma".

Excerpt from the SSEF appendix letter

Sotheby's. Magnificent Jewels and Noble Jewels, Geneva, 15 Nov 2017, 10:30 AM

Lot 334. Very fine 7.59 carats Kashmir cushion-shaped sapphire and diamond ring. Estimate 735,000 — 980,000 CHF. Lot sold 1,275,000 CHF. Photo: Sotheby's.

Set with a cushion-shaped sapphire weighing 7.59 carats between half-moon diamond shoulders, size 511/2, French assay and indistinct maker's marks. 

Accompanied by SSEF report no. 76097 and Gübelin report no. 14100024, each stating that the sapphire is of Kashmir origin, with no indications of heating, the SSEF report also stating 'royal blue' colour, together with an appendix letter.

Note: 'The described sapphire of 7.597 ct exhibits a highly attractive saturted blue colour combined with an excellent purity... A natural sapphire from Kashmir of this quality is very rare and exceptional'.

Excerpt from the SSEF appendix letter

Sotheby's. Magnificent Jewels and Noble Jewels, Geneva, 15 Nov 2017, 10:30 AM

Lot 8003. A rare massive carved Longquan celadon jardiniere, Ming dynasty, early 15th century. 24 in. (61 cm.) diam. Estimate HKD 1,500,000 - HKD 2,500,000 (USD 193,037 - USD 321,729). © Christies Images Ltd 2017

The thickly potted jardiniere is well carved with a wide frieze of dense peonies bearing large blossoms arranged in two rows, all below a flat, everted rim lightly incised with floral sprays, and above the lower body carved in imitation of a decorative stand with six ruyi-head legs joined by shaped aprons, covered inside and out with a glaze of rich sea-green tone, with central drainage hole, box.

Provenance: Sold at Christie’s New York, 21 March 2002, lot 152

Literature: Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, no. 598.

Note: Massive Longquan celadon jardinieres of this shape and with this type of fine relief carving are extremely rare, and no other example with the same design appears to have been published. A closely related example carved with lotus scroll is illustrated by Anthony du Boulay, Christie’s Pictorial History of Chinese Ceramics, Oxford, 1984, p. 97, no. 21, which is possibly the same as the jardiniere from the collection of William Randolph Hearst, sold at Christie’s New York, 16 September 1998, lot 26 (fig. 1). The band of floral sprays incised on the everted rim (fig. 2) is also found on blue and white cup stands from the Yongle period, such as the example in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelain with Underglazed Red (I), Hong Kong, 2000, p. 84, no. 81.

fig. 1 From the collection of William Randolf Hearst, sold at Christie’s New York, 16 September 1998, lot 26.

fig. 2 detai.

Christie's. Important Ming Imperial Works of Art from The Le Cong Tang Collection Evening Sale, 27 November 2017, Hong Kong

Lot 233. A 21.41 carats, H Colour, VVS1 Clarity, Type IIa Diamond ring, William Goldberg. Estimate 540,000 — 835,000 CHF. Lot Sold 951,000 CHF. Photo: Sotheby's.

Set with a round-cornered rectangular modified brilliant-cut diamond weighing 21.41 carats, size 51, maker's mark for William Goldberg, inscribed Ashoka, numbered.

NEW YORK, NY.- Michelangelo: Divine Draftsman and Designer, on view at The Metropolitan Museum of Art from November 13, 2017, through February 12, 2018, presents a stunning range and number of works by the artist: 133 of his drawings, 3 of his marble sculptures, his earliest painting, and his wood architectural model for a chapel vault. A substantial body of complementary works by his teachers, associates, pupils, and artists who were influenced by him or who worked in collaboration with him are also being displayed for comparison and context. 

A towering genius in the history of Western art, Michelangelo was celebrated during his long life for the excellence of his disegno, the power of drawing and invention that provided the foundation for all of the arts. For his mastery of drawing, design, sculpture, painting, and architecture, he was called Il divino ("the divine one") by his contemporaries. His powerful imagery and dazzling technical virtuosity transported viewers and imbued all of his works with a staggering force that continues to enthrall us today.  

"This is an exceptionally rare opportunity to experience first-hand the unique genius of Michelangelo," said Daniel H. Weiss, President and CEO of The Met. "The exhibition will display the magnificent beauty of Michelangelo's works in order to deepen our understanding of his creative process." 

Selected from 50 public and private collections in the United States and Europe, the exhibition brings together the largest group of original drawings by Michelangelo ever assembled for public display. Many of the drawings rank among the greatest works of draftsmanship produced. Extraordinary and rare international loans include the complete series of masterpiece drawings he created for his friend Tommaso de'Cavalieri and a monumental cartoon for his last fresco in the Vatican Palace. 

Dr. Carmen C. Bambach, curator of the exhibition, commented: "This selection of more than 200 works will show that Michelangelo's imagery and drawings still speak with an arresting power today. Five hundred years seem to melt away in looking at his art."  

Michelangelo: Divine Draftsman and Designer widens the conversation about the artist and present an extraordinary opportunity to see many works that are never displayed together. Drawing was the first thing Michelangelo turned to, whether he was creating a painting, a sculpture, or architecture, and it is what unified his career. He is a forceful draftsman and brings a sculptor's understanding and eye. We can see him thinking—almost having a conversation on the sheet of paper—and there is a sense of intimacy and immediacy, as if looking over his shoulder. The exhibition gives visitors an unmatched opportunity to enter the world of this absolute master in the history of art. 

Michelangelo Buonarroti was born on March 6, 1475 in Caprese (southeast of Florence), and died a wealthy and famous man, on February 18, 1564, in Rome. Although he spent the last 30 years of his life in Rome, his love was always for Florence, his patria (homeland), and all things Florentine. His art, his training, his methods, and his poetry were, to the last, rooted in Florentine culture. Michelangelo's longevity was extraordinary for a person of his time. Also exceptional for an artist of his era, five major biographies were written during his lifetime or soon after his death.  

The exhibition traces Michelangelo's life and career, beginning with his training as a teenager in the workshop of Ghirlandaio and his earliest painting, The Torment of Saint Anthony (1487–88), and first known sculpture, Young Archer (ca. 1490). It moves on to the commission of his colossal marble sculpture David in 1501, the early planning of the Tomb of Pope Julius II, and the monumental project of painting The Last Judgment on the Sistine Ceiling. An entire gallery has been devoted to the Sistine Ceiling and includes Michelangelo's original studies for the project. 

Other sections explore his portraiture and the beautiful finished drawings he created for close friends; his collaboration and friendship with Venetian artist Sebastiano del Piombo (1485/86–1547); and the drawings and poetry he created for the young nobleman Tommaso de'Cavalieri, whom he met in 1532 and who became a life-long friend. The artist's last decades in Rome are reflected in the last part of the exhibition and include, in addition to architectural drawings, the enormous cartoon (full-scale drawing) he prepared for the Crucifixion of Saint Peter fresco in the Vatican Palace, as well as a rare three-dimensional model for the vault of a chapel. 

Said Dr. Bambach: "His creativity continued to be phenomenal until the end when he died at 88." 

Michelangelo: Divine Draftsman and Designer is organized by Dr. Carmen C. Bambach, Curator in The Met's Department of Drawings and Prints.

 Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Unfinished cartoon for a Madonna and Child, 1525–30, Drawing, black and red chalk, white gouache, brush and brown wash, 21 5/16 x 15 9/16 in. (54.1 x 39.6 cm), Casa Buonarroti, Florence.

Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Ca. 1510–11. Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso). Sheet: 11 3/8 x 8 7/16 in. (28.9 x 21.4 cm) The Metropolitan Museum of Art, Purchase, Joseph Pulitzer Bequest, 1924; 24.197.2. © The Metropolitan Museum of Art.

Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Pen and brown ink, brush and brown wash, over stylus ruling and lead point, 20-1/16 x 12-9/16 in. (51 x 31.9 cm) The Metropolitan Museum of Art, Rogers Fund, 1962; 62.93.1. © The Metropolitan Museum of Art.

Lot 228. “The Red Romance”. Magnificent 139.14-Carat Natural Unheated Burmese Mogok Ruby and Diamond Necklace. Estimate: HK$ 58,000,000 - 88,000,000／ US$ 7,440,000 - 11,300,000. © Tiancheng International

HONG KONG - Tiancheng International Jewellery and Jadeite Autumn Auction will take place on 3 December, offering a vast selection of important natural coloured gemstones, diamonds and jadeite. Leading the sale is a magnificent Burmese ruby necklace totalling 139.14 carats. The sale also highlights a stunning pair of fancy vivid yellow diamonds weighing 5.02 and 5.01 carats respectively, which are exemplary of the unique golden glory of the prized Zimmi yellow diamonds from Sierra Leone. Another impressive piece is a natural jadeite and diamond necklace strung with fine jadeite beads of luxuriant green colour, a rare treasure for jadeite lovers. Altogether the sale will present over 250 lots of coveted jewellery and jadeite pieces totalling over HK$280 million／US$37 million.

Mr. Stewart Young, Director of Tiancheng International’s Jewellery Department, remarks, “Coloured gemstones have achieved remarkable results at auctions over the past few years and are among the most sought-after jewels at the moment. This season we are thrilled to present one of the most important ruby necklaces to come to auction in the past decade. Set with 84 natural and unheated rubies with a total weight of 139.14 carats, it is a splendid sight to behold. Honouring the tradition of offering only the best, we at Tiancheng International continue to present our discerning clients with a wealth of options of exceptional quality. Apart from rare and magnificent jewels, we will also offer a variety of designer jewels, vintage pieces and fine watches encompassing renowned brands such as Bulgari, Harry Winston and Van Cleef & Arpels, which promise to be a delight for connoisseurs.”

The Preview of the Autumn Auction will be held from 25 Nov to 2 Dec (10am to 6pm), and the Auction will take place on 3 Dec 2017 (Sunday, 1pm) at 30/F, Bank of China Tower, 1 Garden Road, Central, Hong Kong.

MAGNIFICENT GEMSTONES AND DIAMONDS

Coloured Gemstones

Lot 228. “The Red Romance”. Magnificent 139.14-Carat Natural Unheated Burmese Mogok Ruby and Diamond Necklace. Estimate: HK$ 58,000,000 - 88,000,000／ US$ 7,440,000 - 11,300,000. © Tiancheng International

Asia is the primary source of natural rubies and those from the renowned Mogok Valley in Burma remain the most revered in the world. The microscopic curvaceous, angular substances in these rubies disperse light evenly to every facet of the stone, allowing it to glow with an even and intense red hue. Featuring 84 Burmese rubies totalling nearly 140 carats, including a centre stone exceeding 12 carats, this spectacular piece stands as one of the most important unheated ruby necklaces to appear at auction over the past decade in terms of total weight. Part of the rubies are certified the most desirable “pigeon’s blood” colour by the Swiss Gemmological Institute (SSEF) and Lotus Gemology (Lotus). Set with 101.25 carats of diamonds that sparkle like flower petals accentuating the pure and saturated red of the rubies, this necklace promises to be a show-stopper.

Lot 194. 14.54 and 13.12-Carat Natural Unheated Mozambican “Pigeon’s Blood” Ruby, Pink Diamond and Diamond Earrings. Estimate: HK$ 38,000,000 - 45,000,000／US$ 4,870,000 - 5,770,000. © Tiancheng International

With the depletion of the Mogok mine, Mozambican rubies have become increasingly popular among collectors in recent years. As a result of rising demand, high-quality Mozambican gems of over 10 carats have become very few and far between. Featuring a pair of 14.54 and 13.12-carat natural unheated Mozambican “Pigeon’s Blood” rubies flanked by old-mine-cut diamonds weighing 3.15 carats each, as well as pink and colourless diamonds totalling approximately 5.50 carats, this superb pair of earrings is an example of timeless beauty.

Lot 67. 43.89-Carat Natural Unheated Sri Lankan “Royal Blue” Sapphire and Diamond Pendent Necklace, Harry Winston. Estimate: HK$8,800,000-12,000,000／US$1,130,000-1,540,000. © Tiancheng International

A symbol of nobility and love, the sapphire has been considered an object of desire since ancient times. Members of royalty exchanged gifts of sapphire as tokens of commitment and true love. This necklace by acclaimed jeweller Harry Winston features a striking 43.89-carat Sri Lankan sapphire of exceptional clarity, complemented by dazzling diamonds totalling approximately 31.75 carats that highlight the captivating royal blue hue of the sapphire. Evoking the elegance of the legendary Taylor-Burton diamond necklace, this classic design by Harry Winston is a gem of enduring glamour and enchantment.

Lot 132. 19.43-Carat Natural Unheated Burmese “Velvet Blue” Sapphire, Sapphire and Diamond “Panthère De Cartier” Ring, Cartier. Estimate: HK$ 4,600,000 - 5,600,000／US$ 590,000 - 720,000. © Tiancheng International

Since the launch of Cartier’s first Panthère series in 1914, the big cat has remained a signature of Cartier and a fabled motif that has been reinterpreted over and over again throughout the past century. In celebration of the centenary of the Panthère series, Cartier launched over 50 brand new creations of Panthère de Cartier in 2014, including this 19.43-Carat Natural Unheated Burmese Sapphire Ring to be offered in the upcoming sale. The enthralling velvety blue of the sapphire is beautifully accentuated by diamonds in this sleek and modern rendering of Cartier’s classic theme.

Lot 179. 130.28-Carat Natural Colombian Emerald and Diamond Pendent Necklace and Pair of Matching Earrings, Bulgari. Estimate: HK$ 15,800,000 - 20,000,000 ／US$ 2,025,000 - 2,560,000. © Tiancheng International

A popular gemstone favoured by collectors since time immemorial, Colombian emerald is highly coveted for its rich and mesmerising colour. This season we are pleased to present a 130.28-Carat Natural Colombian Emerald and Diamond Pendent Necklace and a Pair of Matching Earrings by Bulgari in collaboration with William Goldberg. 130.28 carats of cushion-cut emeralds from Bulgari glow exquisitely against 46.01 carats of William Goldberg’s patented Ashoka-cut diamonds in this bold yet sophisticated design of contrasting colours. This simple but memorable suite certainly brings out the arresting splendour of the magical gemstone.

Dazzling Diamonds

Lot 133. “Golden Tiger Eyes”. Pair of 5.02 and 5.01-Carat Natural Fancy Vivid Yellow Excellent Polish and Symmetry Diamonds. Estimate: HK$ 15,000,000 - 18,000,000／ US$ 1,920,000 - 2,300,000. © Tiancheng International

With a characteristic tinge of orange, yellow diamonds from the Zimmi mine in Sierra Leone are richer and more vibrant in their colours than their counterparts from other parts of the world. Completely free of flourescence, these yellow stones possess a unique radiance comparable to daffodils in full bloom. However, black feathery inclusions and holes are commonly found in the rough of these gems, both resulting in huge wastage in the cutting process. Zimmi yellow diamonds exceeding 5 carats are therefore extremely rare. Certified by the Gemological Institute of America (GIA) as of the most desirable fancy vivid colour grading, these 5.02 and 5.01-Carat Natural Fancy Vivid Yellow Excellent Polish and Symmetry Diamonds from Zimmi sparkle with the golden glory synonymous with the legendary mine. Offered in a matching pair, these majestic stones evoke the penetrating eyes of a tiger and are certainly a haunting sight to behold.

Lot 253. 3.19-Carat Natural Fancy Orangy Pink VVS2 Clarity Excellent Polish Diamond, Pink Diamond and Diamond Ring. Estimate: HK$ 3,000,000 - 4,000,000／US$ 385,000 - 513,000. © Tiancheng International

This autumn we are excited to present The Pink Collection comprising 17 charming pink jewels. Highlighting the collection is this gorgeous 3.19-carat natural fancy orangy pink diamond of excellent polish, which is accompanied by lovely pink and colourless diamonds that heighten the delicate and irresistible hue of the centre stone.

OPULENT JADEITE

Lot 195. Jadeite and Diamond Necklace. Estimate: HK$ 15,000,000 - 25,000,000／US$ 1,920,000 - 3,200,000. © Tiancheng International

Among the various forms of jadeite jewellery, the bead necklace stands as the most sought-after, not only because its creation requires a large supply of rough of homogenous quality, but also because the perfectly round shape of each bead involves meticulous polishing which poses a challenge for the craftsman. Today jadeite bead necklaces of excellent quality have become extremely rare. Strung with 49 jadeite beads of substantial sizes, luxuriant green colour, wonderful translucency and fine texture, this necklace is undoubtedly a superlative example of the grace and virtue traditionally represented by jadeite.

Lot 212. Important Jadeite Bangle. Estimate: HK$ 10,000,000 - 15,000,000／US$ 1,280,000 - 1,920,000. © Tiancheng International

Characterised by its round shape and aesthetically pleasing design, the ping’an (peace) bangle symbolises harmony, perfection and completeness, in line with the traditional concept that “heaven is round, and the earth is flat” in Chinese culture. Completely free of embellishments, this simple and elegant bangle is crafted from jadeite of extremely fine texture and marvellous luminescence, which produces a pleasant crisp chime when clinked gently. The immaculate workmanship is manifest in the fluid curvature of the piece which is believed to bring peace and tranquility to the wearer.

OTHER REFINED PIECES

Lot 63. Natural Colombian Emerald, Seed Pearl and Diamond Pendent Brooch, early 20th century. Estimate: HK$1,800,000-2,500,000／US$230,000-320,000. © Tiancheng International

Part of The Heritage Collection to be offered in the upcoming sale, this Natural Colombian Emerald, Seed Pearl and Diamond Pendent Brooch from the early 20th century features an emerald of pure and vivid colour and a significant weight of approximately 45.05 carats. Adorned with a voluminous tassel of seed pearls and vintage single-cut diamonds, this brooch exudes refinement and sophistication unique to antique jewellery. The pendant and brooch can be detached and worn separately, making it a multi-purpose piece that is highly wearable as well as collectible. 

Lot 112. Icy Jadeite, Jadeite, Gem-set and Diamond “Rooster” Brooch, OLI. Estimate: HK$ 148,000 - 248,000／US$ 19,000 – 31,800. © Tiancheng International

Hailing from Taiwan, jewellery brand OLI takes pride in its longstanding emphasis on metalwork and is dedicated to creating jewellery for everyday wear. In the hands of OLI, jadeite, a gemstone steeped in traditional Chinese culture, is transformed into charming pieces for everyday use. In this piece, the rooster is brought to life in its full majesty with a body of gleaming natural icy jadeite and a comb of vivid green jadeite, complete with a brilliant plume of coloured gemstones. A bearer of good luck in Chinese culture, the rooster taking its stride of pride is bound to bring good fortune and prosperity to its wearer.

Lot 191. Titanium, 7.40-Carat Natural Unheated Pink Spinel, Gem-set and Diamond “Orchid” Brooch, Nisan. Estimate: HK$ 120,000 - 250,000／US$ 15,400 - 32,000. © Tiancheng International

Over the past few years, Tiancheng International has presented a number of extraordinary pieces in collaboration with Thai jewellery designer Nisan, including a titanium, sapphire and diamond butterfly brooch that achieved a remarkable price of four times its pre-sale estimate in autumn 2016. This season we are delighted to present the “Orchid” Brooch by Nisan. With stamens centring on a 7.40-carat pink spinel, flanked by petals and buds set with 28.30 carats of pink sapphire, this dazzling orchid will turn heads with its delicate lifelike form, distinct colours and alluring refinement.

Lot 250. Rose Quartz and Pink Sapphire “Flying Pig” Pendant Rose Quartz weighing approximately 67.50 carats. Estimate: HK$ 78,000 - 128,000／US$ 10,000 - 16,400. © Tiancheng International

Set with 27.55 carats of pink sapphire, this adorable “Flying Pig” pendant sports a potbelly of pink quartz that cleverly reveals a silhouette of Cupid, the god of desire and love, rendering the piece a bearer of romance as well as amusement.

EXQUISITE WATCHES

Tiancheng International is devoted to offering collectors a diverse selection of rare collectibles. Following the successful 100% sell-through rate of timepieces that we achieved this spring as well as in the mid-season sale in October, we are thrilled to offer the most revered watch brands such as Patek Philippe, Piaget and Rolex. Highlights include a lady’s platinum and diamond-set Oyster Perpetual Datejust wristwatch by Rolex which is rarely seen at auction and highly collectible. Different from the classic Rolex diamond watch design, the watch surface is decorated with minimal diamonds at the corners, making it simple and stylish.

Lot 113 A Lady's Platinum and Diamond “Oyster Perpetual Datejust” Watch, Rolex. Estimate：HK$ 138,000 - 200,000／US$ 17,700 - 25,600. © Tiancheng International

Lot 123 A Pair of Lady's Karat Gold Watches, Patek Philippe, circa 1950s. Estimate：HK$ 48,000 - 78,000／US$ 6,150 - 10,000. © Tiancheng International

Lot 120 Platinum and Diamond Pocket Watch, C. H. Meylan; and Platinum Pocket Knife, Tiffany & Co. Estimate：HK$ 48,000 - 78,000／US$ 6,150 - 10,000. © Tiancheng International

 Lot 8004. A finely decorated fahua ‘lotus pond’ vase, meiping, Chenghua period (1465-1487). 15 in. (38 cm.) high. Estimate HKD 3,000,000 - HKD 5,000,000 (USD 386,054 - USD 643,424). © Christies Images Ltd 2017

The elegantly potted vase is finely and crisply decorated with moulded and thread appliques in slip to depict a lotus pond from which emerge long stems bearing lotus blooms and leaves amid aquatic plants and butterflies in flight above a border to rolling and cresting waves interspersed with rocks, below the shoulder decorated with a border of alternating peony sprigs and cranes above a band of pendent-ruyi heads, Japanese wood box.

Provenance: A Japanese private collection 
Sold at Christie’s Hong Kong, 30 May 2005, lot 1452

Literature: Christie’s 20 Years in Hong Kong, 1986-2006. Chinese Ceramics and Works of Art Highlights, Hong Kong, 2006, p. 119

Note: The current meiping is one of the finest fahua vessels known. The clean outlines of the appliques and the meticulous precision at which they have been applied are of a remarkably high quality. A meiping of nearly identical design but without a band of beads beneath the ruyi-heads, is in the Musee Guimet, Paris, illustrated in Oriental Ceramics, The World's Greatest Collections, vol. 7, Tokyo, 1981, no. 80 (fig. 1).

fig. 1. Vase meipingà décor de lotus, Chine, Jiangxi, Jingdezhen, Dynastie Ming, c. 1500. Biscuit, Sancaifahua. H. : 38 cm ; D. : 20 cm. Ancienne collection Ernest Grandidier, G 5083© Réunion des musées nationaux.