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An exceptionally large and rare Dehua figure of Guanyin, Ming dynasty, 16th-early 17th century, He Chaozong impressed seal mark

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An exceptionally large and rare Dehua figure of Guanyin, Ming dynasty, 16th-early 17th century, He Chaozong impressed seal mark

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Lot 8120. An exceptionally large and rare Dehua figure of Guanyin, Ming dynasty, 16th-early 17th century, He Chaozong impressed seal mark; 20 1/4 in. (51.5 cm.) high, box. Estimate HKD 10,000,000 - HKD 15,000,000. Price realised HKD 19,300,000  © Christie's Images Ltd 2017

The graceful figure is superbly and skilfully modelled, standing on a vase spilling water and a lotus blossom amidst dramatic swirling waves, with the head turned slightly to the left. She is dressed in voluminous robes characterised by heavy folds that cover the hands, while open at the chest to reveal a bejewelled necklace. The face has a benevolent expression and serene smile rendered with the urna of wisdom and with pendulous earlobes. Her hair is arranged beneath a cowl and secured with a ruyi-head diadem. The four-character markHe Chaozong yin in seal characters is impressed in relief on the back of the figure. An even creamy, ivory-tinged glaze has been applied to the figure overall. 

ProvenanceSold at Sotheby's Hong Kong, 20 May 1987, lot 528
Sold at Christie's London, 8 November 2005, lot 86

NoteThe goddess Guanyin, also known as the bodhisattva Avalokitesvara,was one of the most popular figures around the late sixteenth and early seventeenth centuries, a period in which the sculptural style of images of Guanyin was expanded. Elements, such as the draperies on the robe swept gracefully to one side contrasted with the turbulent waves on the base, can be connected to styles popular with late-Ming and early-Qing paintings depicting religious figures. Among these, figures of Guanyin created by He Chaozong, the most celebrated master potter of the Dehua Kilns in Quanzhou, Fujian, are particularly rare. Their distinctive form is most notably seen in the arresting expression of the deity as well as the attention paid to detail, such as his extraordinarily deft handling of the drapery with its naturalistic folds and thin, razor-sharp edges, and the sensitive modeling of the face, fingers and toes.

The exact dates of He’s life remain unclear. However, two dated Guanyin figures from Dehua might be good evidence that he was active around the Jiajing and Wanli periods, although some scholars believe him to have been active as early as 1522 (see Rose Kerr, et al., Blanc de Chine: Porcelain from Dehua, A Catalogue of the Hickley Collection, Singapore, 2002). One was incised in front at the foot of the throne with the characters jiwei nian (corresponding to 1559, 1619, or 1679), which is illustrated in John Ayers, Blanc de Chine: Divine Images in Porcelain, China Institute Gallery, New York, 2002, No. 25. Together with the citation from the introduction to the 1763 Quanzhou Gazette, this is the only written record for dating the work of He Chaozong. The other evidence, also a cyclical date written on the mandala of a seated Guanyin and referring to the year of Wanli’s reign corresponding to 1618, appears on a figure in the Stephen D. Winkwork Collection, which was first illustrated in R.L. Hobson, The Wares of the Ming Dynasty, London, 1923, plate 45, fig. 1, and subsequently published in Robert Blumenfield, Blanc de Chine: The Great Porcelain of Dehua, Berkeley 2002, pp. 164-165, in the collection of the author. 

This figure belongs to a group of the very few large Dehua standing Guanyin made by He. An almost identical example, of the same height as the present lot, was formerly part of the Edward T. Chow Collection and, later, the Koger Collection at the John and Mable Rinling Museum of Art, the State Art Museum of Florida. It was included in the exhibition catalogue Blanc de Chine: Divine Images in Porcelain, New York, 2002, plate 26, and illustrated in M. Beurdeley and G. Raindre, Qing Porcelain, Famille Verte, Famille Rose, London, 1987, plate 333, and again in Blanc de Chine, by S. Marchant & Son, London, 1985, No, 1. 

It may also be compared with two very similar pieces slightly shorter in height: the first is 48 cm. high, with less detailed carving on the wave-base, and is now in the Shanghai Museum, which has never been published but was exhibited in the Museum in 1995 and 2007; the other, 46 cm in height, now in the Quanzhou Maritime Museum, is classified as a grade one cultural relics of the state and is illustrated in Zhongguo taoci quanji: Fujian taoci [Series of Chinese Ceramics in Chinese Collections: Fujian Ceramics], Shanghai, 1983, plate 105. 

Apart from models of elegant Guanyin standing above waves, He Chaozong also produced the characteristic figure of Guanyin standing on clouds with the left hand crossed over the right hand. Three examples of this type of figure can be found. One, in the Victoria and Albert Museum, London, was depicted in Patrick Donnelly, Blanc de Chine, London, 1969, plate 145A; one, is in the collection of the Fujian Provincial Museum, whose figure was exhibited in Hong Kong and illustrated on the cover of Dehua Wares, Fung Ping Shan Museum, The University of Hong Kong, Hong Kong, 1990, Catalogue No. 113; one, is in the Dehua Ceramic Museum, published in Dehua taoci bowuguan guancang, Fuzhou, 2011, plate 91. See, also, there is one example which is attributed to He Chaozong, is to be found in the Rijksmuseum, Amsterdam, illustrated in Christiaan J.A. Jörg, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam: the Ming and Qing Dynasties, London, 1997, Catalogue No. 281, p. 245. 

He Chaozong-marked series of Guanyin figures have several manifestations in seated poses, such as one with a leg raised and the hands concealed by the heavy folds of the robe, which can be seen in the collection of the Palace Museum, Beijing and is illustrated in Classics of the Forbidden City: Guanyin in the Collection of the Palace Museum, Beijing, 2014, plate 176; another seated cross-legged on a similar pedestal is in the Musée Guimet, Paris, and is illustrated in Oriental Ceramics: The World’s Great Collections, Tokyo, 1981, Vol. 7, colour plate 31; and one, which does not appear to be published, seated with right knee raised, holding a ruyi in her left hand, now in the Chongqing China Three Gorgers Museum. 

The impressed mark of He Chaozong is commonly seen either within a double-gourd outline or in a square format, as in the case of the present figure. For relative discussion on He Chaozong’s potter’s mark, see P.J. Donnelly, Blanc De Chine, New York, 1967, pp. 155-156, 354-356.

 

by connoisseurs, the even greater rarity of the current basin makes it undoubtedly so.

Christie's. Court, Studio, Atelier Chinese Works of Art and Paintings from The Ming Dynasty Evening Sale, 27 November 2017, Hong Kong


Court, Studio, Atelier Art of the Mid to Late Ming Dynasty

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During the latter part of the Ming Dynasty, Chinese society underwent dramatic changes. The three emperors of this period: Jiajing, Longqing and Wanli, were in constant power struggles with the bureaucratic class led by the scholar officials. Theoretically the Emperor wielded supreme power but they were alone in their battles against the massed numbers of officials, and each side claimed victories in the numerous conflicts that ensued. After countless demotions, court floggings and executions, there were some notable outcomes: the Jiajing Emperor turned his attention in search of longe ity, elixir making, and stopped court audiences for a duration of over 20 years of his reign; the Longqing Emperor, in his pursuit of carnal pleasures died prematurely after six years on the throne; while the Wanli Emperor, after a prolonged dispute with his courtiers regarding the choice of his heir, also stopped court audiences for a lengthy period of 28 years. These three emperors all had a great start in their reigns, in particular the Wanli Emperor, whose first chief minister Zhang Juzheng ushered in a period of prosperity unrivalled by any of his predecessors in the dynasty. These early achievements could be glimpsed by the three fine imperial works of art offered in the present sale – lot 8101 is an early Jiajing blue and white bowl with a fine body and lustrous glaze, the delicate painting recalls that of the Chenghua porcelain; lot 8102 is a large Longqingmarked blue and white dragon basin, and the epitome of the Longqing kiln, with powerfully painted dragons and intense cobalt blue reminiscent of the Xuande period; lot 8103 is a Wanli-marked cinnabar lacquer ‘dragon’ brush, a rare example of imperial scholar’s object, exemplifying the best work from the Imperial lacquer workshop at the time. Lot 8104, the fan painting by Qiu Ying and lot 8105 the long scroll depicting The Everlasting Regret by You Qiu, are two fine examples of court-style paintings of the period.

A very rare blue and white ‘dragon and phoenix’ shallow bowl, Jiajing six-character mark in underglaze blue within a double circle and of the period (1522-1566)

Lot 8101. A very rare blue and white ‘dragon and phoenix’ shallow bowl, Jiajing six-character mark in underglaze blue within a double circle and of the period (1522-1566) © Christie's Images Ltd 2017

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Lot 8102. An exceedingly rare massive blue and white ‘dragon’ basin, Longqing six-character mark in a line in underglaze blue and of the period (1567-1572) © Christie's Images Ltd 2017

A rare carved cinnabar lacquer ‘dragon’ brush and cover, Wanli incised and gilt six-character mark and of the period (1573-1619)

Lot 8103. A rare carved cinnabar lacquer ‘dragon’ brush and cover, Wanli incised and gilt six-character mark and of the period (1573-1619) © Christie's Images Ltd 2017

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Lot 8104. Qiu Ying (Attributed to 1495-1552), A Clear and Quiet DayFolding fan, ink and colour on gold paper, 19 x 52.5 cm. (7 ½ x 20 5/8 in.). Signed, with two seals of the artist. Two collectors’ seals: one of Shao Mi (ca. 1594-1642) and one of Emperor Qianlong (1711-1799). Poem in running script by Emperor Qianlong on the reverse, signed, with three seals© Christie's Images Ltd 2017

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Lot 8105. You Qiu (ca  1525-1580), Garden Wayfaring in Spring, details. Handscroll, ink on paper, 32.5 x 275.5 cm. (12 ¾ x 108 ½ in.) Inscribed and signed, with one seal of the artist. Dated spring, fifteenth day, second month, jimao year of the Wanli period (1579). Long colophon by Yu Yunwen (1512-1579), signed © Christie's Images Ltd 2017

The absence of the emperor caused many problems but it did not cause the collapse of the dynasty owing to the massive bureaucratic mechanism that kept the country running. On the contrary, the decline of imperial control meant that the economy was free to develop more organically, and society became much more diversified contributing to the emergence of a golden period in which cultural activities flourished. The ‘School of Mind’ promulgated by Wang Shouren freed the literati class from the shackles of the ‘School of Principles’, a school of thought which by that time had been dominant for five hundred years. The ‘School of Mind’ led to an inward exploration of thoughts and a new aesthetic that emphasised unadulterated self-expression. Lot 8110 is a letter written by Wang discussing the ‘School of Mind’. Rarely appearing on the market, his handwriting is a clear proof of the philosophical transformation taking place amongst the literati during this period. Driven by their frustration of life in officialdom, while at the same time immersed in unprecedented material wealth, the literati in the Jiangnan region devoted most of their energy and creativity in painting, calligraphy and poetry. These artists, led by Shen Zhou, Wen Zhengming and their contemporaries such as Zhu Yunming (lot 8106), as well as their successors, such as Lan Ying (lot 8116) and Chen Hongshou (lot 8115), became the tastemakers of the day. Chen Hongshou in particular was deeply influenced by the ‘School of Mind’ and created works of great individuality and unique style. The handscroll (Lot 8115) is a very rare example of flower painting by him, and it is very interesting to compare his style to that of Shen Zhou’s painting of a similar subject-matter (lot 8108). The literati in the Jiangnan area also influenced the design and making of objects in their daily lives, especially furniture in the scholar’s studio, preferring elegant lines and proportions. Lot 8109 the huanghuali painting table and lot 8111 the huanghuali chair are two such examples produced by the workshops in Suzhou. Their elegant proportions and graceful lines are typical of the literati style, very different to the pair of huanghuali compound cabinets from the Beijing workshops, lot 8113, which are notable for their generous use of material, square form and impressive size.

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Lot 8110. Wang Shouren 1472-1528), Correspondence. Album of twelve leaves, ink on paper. Each leaf measures 28 x 17.5 cm. (11 x 6 7/8 in.). Inscribed and signed, with one seal of the artist. Nine collectors’ seals. © Christie's Images Ltd 2017

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Lot 8106. Zhu Yunming (1460-1526), Poems in running-cursive script, (details)Album of twenty leaves, ink on paper. Each leaf measures 28.9 x 15.2 cm. (11 ¡ x 6 in.) Inscribed and signed, with two seals of the artist. Dedicated to cousin Zhao. Dated bingzi year (1516). One collector’s seal © Christie's Images Ltd 2017

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Lot 8116. Lan Ying (1585-After 1664), Gathering in a Pavilion (detail). Hanging scroll, ink and colour on silk, 198 x 49.5 cm. (78 x 19 ½ in.) Inscribed and signed, with four seals of the artist. One collector’s seal of Ha Lin (1856-1936). Titleslip by Ha Lin, signed with two seals. © Christie's Images Ltd 2017

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Lot 8115. Chen Hongshou (1598-1652), Flowers (detail). Handscroll, ink and light colour on paper, 26.8 x 1220 cm. (10 Ω x 480 in.) Signed, with two seals of the artist. Followed by an inscription by the artist, dated seventh month of the renchen year (1652), with two seals. Fourteen collectors’ seals, including two of Jiang Tingxi (1669-1732), three of Dai Guangzeng (18th-19th Century), two of Lin Zexu (1785-1850), and six of Zhou Xingyi (1833-1904)© Christie's Images Ltd 2017

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Lot 8108. Shen Zhou (1427-1509), Flowers of the Four Seasons (detail). Handscroll, ink on paper. Painting: 28.6 x 263 cm. (11 º x 103 Ω in.) Calligraphy: 28.6 x 457 cm. (11 º x 180 in.) With one seal of the artist and one collector’s seal of Wang Xiaxuan (19th Century) followed by a long poetic inscription by the artist, entitled ‘Persuading Guests to Imbibe under the Shade of Flowers’, signed, with one seal of the artist and one collector’s seal of Wang Xiaxuan. Two damaged seal marks at the beginning of the scroll. Frontispiece by Gui Changshi (1574-1645), signed with two seals With a fitted wooden box, inside cover inscribed by Nagao Ko (1864-1942), signed with one seal. © Christie's Images Ltd 2017

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Lot 8109. A very rare burlwood-inlaid huanghuali high-waist painting table, huazhuo, Late Ming dynasty © Christie's Images Ltd 2017

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Lot 8111. An exceptionally rare huanghuali lowback armchair,meiguiyi, Late Ming-Early Qing dynasty© Christie's Images Ltd 2017

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Lot 8113. A magnificent and massive pair of huanghuali compound cabinets and hat chests, sijiangui, Late Ming dynasty © Christie's Images Ltd 2017 

The promulgation of the ‘School of Mind’ and the buoyant market economy helped to remove the boundaries between literati-artists and artisans that have existed for thousands of years. Many artisans began signing names on their works, while their social status began to rise. Names like Hu Wenming, the renowned bronze maker (lot 8117), and He Chaozong, master of porcelain sculpture (lot 8120), were celebrated names, their works inspiring countless imitations. The cultural developments in this period were multifarious, and whether in painting, calligraphy or other works of art there were many notable achievements, surpassing the Western Renaissance of the same period. It could be suggested that the latter Ming period was indeed a golden period in China’s cultural history.

A rare parcel-gilt bronze censer, gui, Ming dyansty, 16th-17th century, Yunjian Hu Wenming zhi seal mark

Lot 8117. A rare parcel-gilt bronze censer, gui, Ming dyansty, 16th-17th century, Yunjian Hu Wenming zhiseal mark © Christie's Images Ltd 2017

An exceptionally large and rare Dehua figure of Guanyin, Ming dynasty, 16th-early 17th century, He Chaozong impressed seal mark

 

lot 8120. An exceptionally large and rare Dehua figure of Guanyin, Ming dynasty, 16th-early 17th century, He Chaozong impressed seal mark © Christie's Images Ltd 2017

A very rare burlwood-inlaid huanghuali high-waist painting table, huazhuo, Late Ming dynasty

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Lot 8109. A very rare burlwood-inlaid huanghuali high-waist painting table, huazhuo, Late Ming dynasty; 53 1/4 in. (135.2 cm.) long, 23 in. (58.4 cm.) deep, 32 1/8 in. (81.5 cm.) high. Estimate HKD 3,000,000 - HKD 5,000,000Price realised HKD 3,700,000. © Christie's Images Ltd 2017

The single-panel burlwood top is set within a wide rectangular frame, above an elegant tall waist and plain beaded aprons, all supported on sturdy corner legs of square section terminating in hoof feet.

ProvenanceAcquired in Hong Kong in the 1990s

NoteThe present lot demonstrates the characteristics style of furniture making from the Suzhou region in the Jiangsu province. With elegant form and delicate lines, the recessed high waist is tongue-and-grooved to the underside of the frame top supported by the exposed square section on the upper part of the leg, adding a vertical element to the horizontal structure to create harmony. The recessed high waist design in Chinese furniture originated from the Buddhist pedestal structure known as xumizuo which could be traced back to the Tang dynasty. Refer to Wang Shixiang, Connoisseurship of Chinese Furniture for further discussions. Also, it is rare to find a large panel of dynamically grained burlwood in such a good condition as the present lot.

Compare with a smaller table inlaid with nanmu, in the former Museum of Classical Chinese Furniture Collection, sold at Christie’s New York, 19 September 1996, lot 20. Also see another very similar table but slightly smaller in size with transverse braces, illustrated in The Best of the Best: The MQJ Collection of Ming Furniture, Beijing, 2017, p.112.

Christie's. Court, Studio, Atelier Chinese Works of Art and Paintings from The Ming Dynasty Evening Sale, 27 November 2017, Hong Kong

An exceptionally rare huanghuali lowback armchair,meiguiyi, Late Ming-Early Qing dynasty

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Lot 8111. An exceptionally rare huanghuali lowback armchair,meiguiyi, Late Ming-Early Qing dynasty; 20 3/4 in. (52.7cm.) wide, 16 3/8 in. (41.5 cm.) deep, 31 1/4 in. (79.4 cm.) high. Estimate HKD 800,000 - HKD 1,200,000Price realised HKD 1,000,000. © Christie's Images Ltd 2017

The chair with a square-section top rail supported on posts of conforming shape extending to the back legs bracing series of vertical and horizontal square-section spindles forming three layers of lattice with a circular cartouche, flanking with rectangular frame of arms decorated with crossed spindles and circular cartouche, above a soft mat seat set with plain aprons and spandrels. The chair is supported on legs of square section joined by stepped stretchers and the footrest above a plain apron.

ProvenanceAcquired in Hong Kong in the 1990s.

NoteThe unparalleled design of the frame at the back and the armrests is inspired by the lattice panels decorating the alluring gardens of Southern China, illustrated in the earliest publication of Chinese garden designs and constructions, Yuanye, by the Ming Dynasty garden architect Ji Cheng (1582-1642). As with the preceding lot 8109, the present chair also originated from the Suzhou region. A chair made in bamboo with similar design of circular cartouche decorations in the chair frame, is illustrated in a hanging scroll by Dai Jin (1388–1462), A Nocturnal Outing of the Demon Queller Zhong Kui, in the collection of the Palace Museum, Beijing (fig. 1).

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Dai Jin (1388–1462), A Nocturnal Outing of the Demon Queller Zhong Kui, detail, Collection of the Palace Museum, Beijing.

It is relatively rare to find chairs constructed of square sections compared to round sections, and exceptionally rare to find extant examples of this type of low back armchairs, meiguiyi, such as the present lot. A square section low back armchair is illustrated in a handscroll by Xie Huan (1377-1452), Elegant Gathering in the Apricot Garden, in The Metropolitan Museum of Art, Accession Number: 1989.141.3 (fig.2).

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Xie Huan (1377-1452), Elegant Gathering in the Apricot Garden, detail, handscroll, collection of The Metropolitan Museum of Art

Christie's. Court, Studio, Atelier Chinese Works of Art and Paintings from The Ming Dynasty Evening Sale, 27 November 2017, Hong Kong

A magnificent and massive pair of huanghuali compound cabinets and hat chests, sijiangui, Late Ming dynasty

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Lot 8113. A magnificent and massive pair of huanghuali compound cabinets and hat chests, sijiangui, Late Ming dynasty; 106 1/8 in. (271.5 cm.) high, 44 3/16 in. (112.3 cm.) wide, 22 7/16 in. (56.9 cm.) deep. Estimate On RequestPrice realised HKD 14,500,000 © Christie's Images Ltd 2017 

Each cabinet is of massive rectangular form and constructed from large panels of huanghuali with beautiful graining and rich amber tone. The hat chest has two square single panel doors with a removable centre stile open to reveal a single shelf. The large cabinet below has rectangular single panel doors similarly fitted with removable centre stile. The hinged doors open to reveal the shelved interior with two drawers and a concealed storage space. The legs are of rectangular section and are joined by plain aprons and spandrels at the bottom.

ProvenanceCola Ma, Hong Kong, acquired in 1994.

A MONUMENTAL PAIR OF HUANGHUALI 'SINGLE-PANEL DOORS' COMPOUND CABINETS

This magnificent pair of compound cabinets, sijiangui, ‘four-part wardrobe’ or dingxiang ligui, ‘top cupboard and upright wardrobe’, represents the finest quality of 17th century Chinese cabinetry. Compound cabinets are generally made in pairs, each comprising a large square-corner cabinet below a slightly smaller upper cabinet, which is specifically designed this way to secure support at the bottom. These cabinets were most likely have been exclusively made for the wealthiest and the most prominent families to define their interior living spaces. 

This present pair is most desirable for their monumental single-panel doors. These single panels are cut from the same timber, and are matched in mirror opposites to achieve symmetrical balance. Wood materials of darker grain are deliberately utilised in the aprons, stretchers beneath the doors and frames, to create a sharp contrast against the lighter-grained door panels, highlighting the beauty of the huanghuali material. The formidable size of these cabinets, paired with a restrained design, create a subtle opulence that enhances their overall grandeur. 

Another quality that adds charm to the present cabinets is their elegant proportions. The sizes of the metal lock plates and hinges are carefully calculated to maintain balance and harmony. The upper cabinets measure about one third the height of the bottom cabinets, and are placed at the top so that ladders are required to reach them, and understandably would have been used to store out-of-season clothing or infrequently used items. Although the upper cabinets are of separate construction, their unfinished undersides suggest that they were an integral part of the design and were never meant to serve as independent pieces of furniture. 

Fig. 1 shows the top of one of the hat chests, covered by a lacquer surface with crackling that is characteristic of the period, partially revealing the linen and ash lining underneath.

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Fig. 1 Top of the hat chest.

 

In ancient times, robes were never hung vertically, but were folded and laid flat in chests or shelves. It is not unusual to find cabinets constructed partially or entirely from camphor wood, for its ability to repel insects. Huanghuali wood also has a distinctive honey-like, mellifluous fragrant scent which acts as insect repellent. However its smell is notably more subtle and soothing than camphor. This feature may have provided an additional reason why this was so much more sought after by members of the upper echelons. The generous proportions of large huanghuali cabinets made them ideal for the storage of long scrolls, bolts of fabric, garments, and books. 

It was common practice to place the cabinets against opposite walls, such as the pair displayed in the Astor Garden Court at the Metropolitan Museum of Art; or to place them side by side, separated in-between by a smaller piece of furniture, such as the pair of ornately carved compound cabinets displayed in the Palace Museum, illustrated in Furniture of the Ming and Qing Dynasties (III), The Complete Collection of Treasures of the Palace Museum, Shanghai, 2002, p. 296, pl. 249 (fig. 2). 

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fig. 2 The inner chamber of The Hall of Mental Cultivation, Forbidden City, Beijing

This extraordinary pair is the only example of this size and design that is luxuriously constructed with doors of single panels of huanghuali. A pair of huanghuali compound cabinets of almost identical design, but not of single-panel doors, from the Mimi and Raymond Hung Collection, is illustrated by R.H. Ellsworth et. al., Chinese Furniture: One Hundred Examples from the Mimi and Raymond Hung Collection, Vol. 1, New York, 1996, p. 188, no. 73, and later sold at Christie’s New York, 19th-20 September 2013, lot 1566 (fig. 3). Another very similar pair from the collection of Madame Henri Vetch, also not of single-panel doors, was illustrated in Gustav Ecke’s Chinese Domestic Furniture, Hong Kong, 1978, pl. 101, p. 125.

 

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fig. 3 A pair of huanghuali compound cabinets and hat chests, 17th century, from the Robert Hatfield Ellsworth and Hung Collections, sold at Christie’s New York, 19-20 September 2013, lot 1566© Christie's Images Ltd 2013

Compare with other pairs of cabinets decorated with plain aprons of various sizes and dating, such as a pair of cabinets with lock plates of similar design from the Frederic Mueller Collection, published by Robert Hatfield Ellsworth, Chinese Furniture: Hardwood Examples of the Ming and Ching Dynasties, New York, 1970, pl. 130, (later sold at Christie’s New York, 27 November 1991, lot 237) (fig. 4); and a huanghuali-veneered pair, ibid., pl. 132. Also see two pairs of veneered cabinets from the Reverend Richard Fabian Collection, sold at Sotheby’s New York, 15 March 2016, lot 42; one pair previously in the Dr. S.Y. Yip Collection is illustrated in Grace Wu Bruce, Dreams of Chu Tan Chamber and Romance with Huanghuali Wood: The Dr. S.Y. Yip Collection of Classic Chinese Furniture, Hong Kong, 1991, p.119, no. 46, and sold at Christie’s New York, 20 September 2002, lot 60.

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fig. 4 A pair of huanghuali compound cabinets and hat chests, Ming dynasty, former collection of Fredric Mueller, sold at Christie’s New York, 27 November 1991, lot 237© Christie's Images Ltd 1991

Related examples with more elaborate metal hardware and carved elements include a pair from the Museum of Classical Chinese Furniture Collection, sold at Christie’s New York, 19 September 1996, lot 30; and the aforementioned pair displayed in the Astor Garden Court at the Metropolitan Museum of Art.

Christie's. Court, Studio, Atelier Chinese Works of Art and Paintings from The Ming Dynasty Evening Sale, 27 November 2017, Hong Kong

A rare carved cinnabar lacquer ‘dragon’ brush and cover, Wanli incised and gilt six-character mark and of the period (1573-1619)

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8103

A rare carved cinnabar lacquer ‘dragon’ brush and cover, Wanli incised and gilt six-character mark and of the period (1573-1619)

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Lot 8103. A rare carved cinnabar lacquer ‘dragon’ brush and cover, Wanli incised and gilt six-character mark and of the period (1573-1619); 8 3/4 in. (22.2 cm.) longEstimate HKD 350,000 - HKD 500,000Price realised HKD 437,500 © Christie's Images Ltd 2017

The shaft is carved with a ferocious five-clawed dragon pursuing a flaming pearl amidst ruyi clouds, fire scrolls and treasures, below a band of trefoil collar enclosing florettes. The terminal containing the hair brush is incised with five cartouches enclosing the six-character reign mark. The cover is carved with further treasures amidst clouds, between two rows of similar florette-enclosing trefoil collars, Japanese wood box

NoteLacquer brushes bearing Wanli reign marks are extremely rare and the current brush appears to be unique. Two other Wanli-marked lacquer brushes are known, but both are of painted lacquer, each with the reign mark reserved in a rectangular cartouche in a vertical line at the top of the brush. The first example, gilt-decorated on a black ground with a five-clawed dragon (the last claw effaced) pursuing a flaming pearl, is in the Tokugawa Art Museum, illustrated in Karamono, Imported Lacquerwork-Chinese, Korean and Ryukyuan (Okinawa), Japan, 1997, fig. 154. The second example gilt against a red ground with lotus scroll, was sold at Christie’s Hong Kong, 30 May 2005, lot 1226. Similar treatment of the reign mark, reserved in a vertical cartouche, can be found on a pair of Jiajing-marked lacquer brushes painted with dragons and pearls, in the National Palace Museum, illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, pl. 94. The rendering of the reign mark on the current brush, incised and gilt within five cartouches forming a horizontal band, is extremely unusual and no other related example appears to be known.

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A fine and rare Imperial painted lacquer brush and cover, Wanli six-character mark and of the period (1573-1619); 9 5/8 in. (24.5 cm.) long. Sold for HKD 504,000 at Christie’s Hong Kong, 30 May 2005, lot 1226. © Christie's Images Ltd 2005

The depiction of the five-clawed dragon on the current brush is very similar to dragons found on other Wanli-period lacquerwares. Distinctive features, such as the slightly closed mouth, ruyi-shaped snout, and windswept mane on the head can also be found on a pair of five-clawed dragons incised on a Wanli-marked qiangjin and tianqi lacquer brush pot, in the Beijing Palace Museum Collection, illustrated in Lacquer Wares of the Yuan and Ming Dynasties, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2006, pl. 182.

Christie's. Court, Studio, Atelier Chinese Works of Art and Paintings from The Ming Dynasty Evening Sale, 27 November 2017, Hong Kong

A rare parcel-gilt bronze censer, gui, Ming dynasty, 16th-17th century, Yunjian Hu Wenming zhi seal mark

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A rare parcel-gilt bronze censer, gui, Ming dyansty, 16th-17th century, Yunjian Hu Wenming zhi seal mark

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Lot 8117. A rare parcel-gilt bronze censer, gui, Ming dynasty, 16th-17th century, Yunjian Hu Wenming zhi seal mark; 10 1/2 in. (26.7 cm.) wide. Estimate HKD 300,000 - HKD 500,000Price realised HKD 562,500. © Christie's Images Ltd 2017

The censer is decorated in repousse on each side in a central band with various mythical sea creatures including winged dragons and horses rising from waves, all in relief, finely chased and gilt against a dark ground, between bands of silver-inlaid keyfret around the neck and foot, flanked on either side by dragon-head loop handles, cast with a rectangular gilt panel on the base bearing the mark.

ProvenanceGerard Hawthorn Ltd Oriental Art, London, 2003
Sold at Christie’s New York, 20 September 2005, lot 126

LiteratureGerard Hawthorn Ltd Oriental Art, Oriental Works of Art, London, 9-20 June 2003, Catalogue, pl. 18.

NoteThe current censer displays remarkable workmanship combining several complex decorative techniques, including inlay of silver wires, chasing of the wavy ground and hammering of gilt decorations on the main band. The engraved seal mark, Yunjian Hu Wenming zhi, may be translated, ‘made by Hu Wenming of Yunjian (modern Songjiang, near Shanghai)’. Hu Wenming was a celebrated metalworker who was active during the late 16th to early 17th century. The same mark can be found on a slightly smaller censer with similar decoration in the main band and with similar handles, in the Palace Museum Collection and listed as a ‘national first-grade cultural relic’, illustrated in Illustrated Important Chinese Cultural Relics Ranking Standard- Bronze, Beijing, 2006, pl. 143 (fig. 1).

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parcel-gilt bronze censer, gui, Ming dynasty, 16th-17th century, Yunjian Hu Wenming zhi seal mark, ‘national first-grade cultural relic’, Collection of the Palace Museum, Beijing.

Christie's. Court, Studio, Atelier Chinese Works of Art and Paintings from The Ming Dynasty Evening Sale, 27 November 2017, Hong Kong

Qiu Ying (Attributed to 1495-1552), A Clear and Quiet Day

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Lot 8104. Qiu Ying (Attributed to 1495-1552), A Clear and Quiet DayFolding fan, ink and colour on gold paper, 19 x 52.5 cm. (7 ½ x 20 5/8 in.). Signed, with two seals of the artist. Two collectors’ seals: one of Shao Mi (ca. 1594-1642) and one of Emperor Qianlong (1711-1799). Poem in running script by Emperor Qianlong on the reverse, signed, with three seals. Estimate HKD 600,000 - HKD 800,000Price realised HKD 1,687,500. © Christie's Images Ltd 2017

NoteThe poem, originally composed by Mi Fu (1051-1107), was recorded in the Pei Wen Zhai Selection of Qianlongs Inscription, juan 31.

Christie's. Court, Studio, Atelier Chinese Works of Art and Paintings from The Ming Dynasty Evening Sale, 27 November 2017, Hong Kong


You Qiu (ca 1525-1580), Garden Wayfaring in Spring

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Lot 8105. You Qiu (ca  1525-1580), Garden Wayfaring in Spring. Handscroll, ink on paper, 32.5 x 275.5 cm. (12 ¾ x 108 ½ in.) Inscribed and signed, with one seal of the artist. Dated spring, fifteenth day, second month, jimao year of the Wanli period (1579). Long colophon by Yu Yunwen (1512-1579), signed. Estimate HKD 800,000 - HKD 1,000,000Price realised HKD 8,260,000 © Christie's Images Ltd 2017

Christie's. Court, Studio, Atelier Chinese Works of Art and Paintings from The Ming Dynasty Evening Sale, 27 November 2017, Hong Kong

Lan Ying (1585-After 1664), Gathering in a Pavilion

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Lot 8116. Lan Ying (1585-After 1664), Gathering in a Pavilion. Hanging scroll, ink and colour on silk, 198 x 49.5 cm. (78 x 19 ½ in.) Inscribed and signed, with four seals of the artist. One collector’s seal of Ha Lin (1856-1936). Titleslip by Ha Lin, signed with two seals. Estimate HKD 1,500,000 - HKD 2,000,000Price realised HKD 3,700,000. © Christie's Images Ltd 2017

NoteA seasoned connoisseur of painting and calligraphy, Ha Lin (1856-1936) lived in Nanjing and had travelled to Japan twice. He was acquainted with politicians, aristocrats and scholars, together with whom he enjoyed and appreciated art.

Christie's. Court, Studio, Atelier Chinese Works of Art and Paintings from The Ming Dynasty Evening Sale, 27 November 2017, Hong Kong

A very rare and finely carved huanghuali ‘chilong’ floral-form brush pot, Late Ming-Early Qing dynasty

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Lot 8107. A very rare and finely carved huanghualichilong’ floral-form brush pot, Late Ming-Early Qing dynasty; 7 5/16 in. (18.6 cm.) high. Estimate HKD 350,000 - HKD 450,000Price realised HKD 687,500© Christie's Images Ltd 2017

The brush pot is crisply carved to the exterior depicting four large petals with elegantly downturned tips, enclosing chilong dragons with bifurcated tails engaged in various pursuits, the first one grasping a branch of prunus, the second chasing a lingzhi spray, the third grasping a branch bearing a peach fruit, and the fourth seeking after a magnolia branch. The base has three shallow tab feet, box.

ProvenanceSusan Chen, Hong Kong, 1990s

Christie's. Court, Studio, Atelier Chinese Works of Art and Paintings from The Ming Dynasty Evening Sale, 27 November 2017, Hong Kong

A finely cast parcel-gilt bronze figure of Damo, Ming dynasty, 16th century

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Lot 8119. A finely cast parcel-gilt bronze figure of Damo, Ming dynasty, 16th century; 19 1/4 in. (48.7 cm.) high. Estimate HKD 1,200,000 - HKD 1,500,000Price realised HKD 6,700,000. © Christie's Images Ltd 2017

The attenuated figure is modelled standing barefoot, wearing loose robes gilt and finely chased with floral scrolls against a fish-roe ground, partially revealing his chest, his face with a serene expression, framed with bushy eyebrows, curly beard and moustache.

ProvenanceSold at Christie’s Paris, 22 November 2005, lot 81
Water, Pine and Stone Retreat Collection, Scholarly Art III, sold at Sotheby’s Hong Kong, 8 April 2013, lot 113

NoteThe present figure is remarkable for its size, fine casting and superb chasing of details on the gilt robes. The modelling is confident and regal, most notably seen in the arresting expression of the deity as well as the liveliness of his form, such as the draperies on the robe swept gracefully to one side. This windswept depiction of Damo was particularly popular during the Ming dynasty, and could be seen on figures made in different media, such as a Dehua figure of Damo in very similar standing posture made by He Chaozong, sold at Christie’s Hong Kong, 26 November 2014, lot 3120. 

An extremely rare dehua figure of a standing Damo, Ming dynasty, 16th century, Impressed He Chaozong mark 

An extremely rare Dehua figure of a standing Damo, Ming dynasty, 16th century, Impressed He Chaozong mark; 16 in. (40.8 cm.) high. Sold for HKD 14,440,000 at Christie’s Hong Kong, 26 November 2014, lot 3120. © Christie's Images Ltd 2014

Compare to a smaller silver-inlaid bronze figure of Damo standing on waves, bearing the mark Shisou on the back, included in the exhibition Escape from the Dusty World: Chinese Paintings and Literati Works of Art, Sydney L. Moss Ltd., 1999, pl. 115.

Damo was a monk of Indian origin who travelled to China in the sixth century, whose teachings became the foundation of Chan Buddhism. Damo is often depicted standing barefoot on a reed leaf, representing the episode when he crossed the Yangtze River in this manner to evade his pursuers. 

Christie's. Court, Studio, Atelier Chinese Works of Art and Paintings from The Ming Dynasty Evening Sale, 27 November 2017, Hong Kong

A rare small wucai ‘Abundance’ dish, Wanli mark and period (1573-1619)

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A rare small wucai ‘Abundance’ dish, Wanli six-character mark in underglaze blue within a double circle and of the period (1573-1619)

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Lot 2812. A rare small wucai Abundance’ dish, Wanli six-character mark in underglaze blue within a double circle and of the period (1573-1619); 4 7/8 in. (12.5 cm.) diam. Estimate HKD 100,000 - HKD 260,000Price realised HKD 400,000© Christie's Images Ltd 2017

The central medallion is finely painted in underglaze blue with a shallow bowl overflowing with a melon, peaches, bamboo shoots, radish, lotus roots, flowers and grapes rendered in the wucai palette, supported on an iron-red stand with butterflies hovering above, below the cavetto painted with the Eight Treasures, babao. The reverse is decorated with four fruiting and flowering peach sprays.

ProvenanceAvery Brundage (by repute)
Moy Ying Ming Gallery, Chicago, acquired in 1969

ExhibitedSan Antonio Museum of Art, San Antonio, Texas, 1984-2017

Note: There appears to have been two types of this 'abundant fruit' pattern produced during the Wanli period. The first group is designed with a pattern around the cavetto and the other with a plain cavetto, such as the dish from the K. R. Malcolm collection, included in the exhibition, Arts of the Ming Dynasty, illustrated in the Catalogue, Oriental Ceramic Society, 1957, no. 215. Compare with four dishes of this exact pattern with the babao on the cavetto: the first illustrated in Mayuyama Seventy Years, 1976, vol. I, p. 316, no. 945; and three others sold at auctions, two at Sotheby's London, 17 December 1996, lot 80, and 2 December 1997, lot 213, respectively, and one at Christie’s Hong Kong, 1 December 2009, lot 1876. A dish surrounded by lingzhi sprays was included in the exhibition, Sung-Ming, Treasures from the Holger Lauritzen Collection, Ostasiatiska Museet, Stockholm, 1965, and illustrated in the Catalogue, no. 87.

Christie'sImportant Chinese Ceramics from The Dr. James D. Thornton Collection, 29 November 2017, Hong Kong

A rare small wucai ‘Lantern festival’ dish, Wanli mark and period (1573-1619)

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A rare small wucai ‘Lantern festival’ dish, Wanli six-character mark in underglaze blue within a double circle and of the period (1573-1619)

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Lot 2813. A rare small wucai ‘Lantern festival’ dish, Wanli six-character mark in underglaze blue within a double circle and of the period (1573-1619); 5 in. (12.7 cm.) diamEstimate HKD 150,000 - HKD 280,000Price realised HKD 350,000. © Christie's Images Ltd 2017

The centre of the dish is painted with two figures carrying lanterns through a garden, enclosed within a band of lotus scroll on the cavetto. The exterior is further decorated with four lanterns alternating with beribboned precious objects, including a scroll, a coin, a lozenge, and an ingot. 

Provenance: Avery Brundage (by repute)
Moy Ying Ming Gallery, Chicago, acquired in 1969
 

Exhibited: San Antonio Museum of Art, San Antonio, Texas, 1984-2017

Note: Dishes of similar size and design include a pair from the Christina Loke Balsara Collection, sold at Christie’s Hong Kong, 19 January 1988, lot 262; and a pair from the E.T. Chow Collection, sold at 25 November 1980, lot 30, again at Sotheby’s Hong Kong, 2 May 2000, lot 627.

Christie'sImportant Chinese Ceramics from The Dr. James D. Thornton Collection, 29 November 2017, Hong Kong

A very rare blue and white 'dragon and phoenix' bowl, Wanli mark and period (1573-1619)

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A very rare blue and white 'dragon and phoenix' bowl, Wanli six-character mark in underglaze blue within a double circle and of the period (1573-1619)

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Lot 2814. A very rare blue and white 'dragon and phoenix' bowl, Wanli six-character mark in underglaze blue within a double circle and of the period (1573-1619); 8 1/4 in. (21.1 cm.) diam. Estimate HKD 300,000 - HKD 500,000Price realised HKD 500,000. © Christie's Images Ltd 2017

The deep bowl is painted in cobalt of deep sapphire-blue tones with a pair of sinuous five-clawed dragons striding amid clouds in pursuit of flaming pearls, above a band of linked ruyi-heads. The centre of the interior is painted with a double-line roundel enclosing a dragon and a phoenix in flight amid lotus scrolls. 

ProvenanceDr. James. D Thornton Collection, no. 5

Exhibited: San Antonio Museum of Art, San Antonio, Texas, 1984-2017

NoteIt is very rare to find a bowl in this design and size from the Wanli period. The current bowl was probably made during the early Wanli period as bowls of similar patterns can be found on Longqing-marked examples, such as one of comparable size (22.5 cm. diam.) from the collections of Woodbridge, Mr. and Mrs. Eugene Bernat, and Dr. Ip Yee, sold at Sotheby’s Hong Kong, 19 November 1984, lot 189, and a smaller bowl (12.7 cm. diam.) from the J.M. Hu Collection, sold at Christie’s New York, 20 March 2014, lot 2116, but with a double- and single- dragon roundel on the interior, respectively. Compare also, to a larger (36.5 cm. diam.) Wanli-marked bowl of similar design on the exterior but also a single-dragon roundel on the interior, sold at Christie’s Hong Kong, 29 April 1996, lot 683.

Christie'sImportant Chinese Ceramics from The Dr. James D. Thornton Collection, 29 November 2017, Hong Kong


13 tiaras sold at Christie's

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The Poltimore Tiara. Designed as a graduated line of cushion-shaped and old-cut diamond clusters alternating with diamond-set scroll motifs, each surmounted by old-cut diamond terminals, to the collet-set diamond line, mounted in silver and gold, circa 1870, 19.2 cm maximum diameter, convertible to a necklace and eleven brooches, with screwdriver and brooch fittings, in fitted blue leather case. Sold for £926,400 on 13 June 2006 at Christie’s in London© Christie's Images Ltd 2006

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A late 19th-century diamond tiara-necklace. The graduated scrolling old-cut diamond-set panel, with central stylised shell motif and trefoil surmount, to a pear-shaped diamond-set finial, with associated fine-link chain necklace, mounted in silver and gold, central panel detaching to form a pendant / brooch, later adapted, tiara frame deficient, circa 1880, 40.2 cm. Sold for £8,125 on 2 December 2015 at Christie’s in London© Christie's Images Ltd 2015

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A late 19th-century diamond tiara.Sold for £8,125 on 11 December 2013 at Christie’s in London, South Kensington© Christie's Images Ltd 2013

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A late-Victorian pearl and diamond tiara, circa 1890. Sold for £10,000 in Important Jewels on 29 November 2017 at Christie’s in London© Christie's Images Ltd 2017

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 A Victorian diamond star parure, circa 1870. Comprising a tiara, the front set with six graduated old-cut diamond flowerhead clusters, each interspersed by an old-cut diamond collet and similarly-set graduated triangular intersections, surmounted by nine detachable star motifs, mounted in silver and gold. 30 cm. Sold for £317,000 on 13 June 2017 at Christie’s in London. © Christie's Images Ltd 2017

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A superb Art Deco diamond tiara, by Cartier. Composed of five graduated shield-shaped clips, each tapered brilliant and baguette-cut diamond panel raised on the similarly-set diamond frame, circa 1930. Sold for £277,250 on 13 June 2012 at Christie’s in London© Christie's Images Ltd 2012

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An early-20th-century diamond tiara. Of tapering bandeau design, the central line of millegrain-set old-cut diamond accents within a pavé-set rose-cut diamond undulating border and similarly-set outer frame, circa 1910, 20.5 cm. Sold for £17,500 on 30 November 2016 at Christie’s in London© Christie's Images Ltd 2016

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An early-20th-century diamond tiara-necklace. Composed of a graduated series of rose and old-cut diamond millegrain-set foliate motifs alternately set between diamond collet accents raised on knifebar connections, with rose-cut diamond line below and similarly-set detachable backchain, mounted in platinum and gold, circa 1900. As a necklace 37 cm long, original case. Sold for £15,000 on 27 November 2013 at Christie’s in London© Christie's Images Ltd 2013

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An Edwardian diamond tiara. Designed as a group of three old brilliant-cut diamond graduated sunburst star panels, each with central diamond cluster to a radiating surround of similarly-set rays, mounted in silver and gold, detaching to form three brooches or a hair slide, four additional fittings, circa 1900. Largest star 5.7cm, in fitted case. Sold for £15,000 on 30 November 2016 at Christie’s in London© Christie's Images Ltd 2016

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A magnificent antique diamond tiara, by Fabergé. Designed as a series of graduated old-cut diamond arches with knife-edge collet spacers, the central pear-shaped diamond flanked by three briolette and one old-cut diamond, each with diamond collet and leaf surmount to the foliate band, on gold wire frame, mounted in silver and gold, circa 1890, 13.2 cm wide, with Russian assay marks for gold. Sold for £1,050,400 on 13 June 2007 at Christie’s in London© Christie's Images Ltd 2007

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A Belle Époque enamel and diamond tiara, by Chaumet. Of kokoshnik design, composed of a series of graduated translucent royal blue plique-à-jour enamel curved panels, each overlaid with old-cut diamond trailing forget-me-not floral motifs, interspersed with collet-set diamond lines, to the cushion-shaped diamond openwork cartouche centre and similarly-set upper border, circa 1910, mounted in platinum and gold, with a later fitted case. Sold for CHF 677,000 on 10 November 2015 at Christie’s in Geneva© Christie's Images Ltd 2015

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A late 19th-century diamond tiara, composed of a graduated series of old-cut diamond flowerhead and foliate clusters, clusters detachable, accompanied by various alternate brooch, stickpin and earstud mounts, circa 1890, mounted in silver and gold, in fitted horseshoe shaped case with compartment to base for fittings. Sold for £75,000 in Important Jewels on 29 November 2017 at Christie’s in London. © Christie's Images Ltd 2017

Grande chope en ivoire et vermeil, probablement Francfort, vers 1670-1680

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Lot 241. Grande chope en ivoire et vermeil, probablement Francfort, vers 1670-1680. Estimation: 6000 / 10000 €. Photo Fraysse & Associés OVV.

De forme ovale posant sur un piédouche en vermeil uni comme le couvercle à charnière et l’intérieur. L’anse à double enroulements. Le cylindre d’ivoire d’éléphant est sculpté de douze personnages dont onze nymphes dénudées ou partiellement dénudées et un homme. Cette scène est sculptée avec des arbres en fond. Sur le couvercle, deux femmes assises sur un tronc se tiennent la main (une partie du bras cassé qui est manquante et une fente dans l’ivoire). Poinçon du Maître orfèvre incomplet. Poids brut : 1 344,47 g – Hauteur : 30 cm

Le travail de l’ivoire peut être attribuéà Johann KERN (1622-1698) et son atelier.

Bibliographie : Galerie Kugel et Vervoordt, Hommage à Nicolas Landau, Paris 2006, p 16.

Leonard Kern (1588-1662) catalogue Sigmaringen,1988 pp 237 et 238.

Vente Collection Nicolas Landau et Jacqueline Goldman, Sotheby’s le 8 avril 2013 sous le N°255 du catalogue.

Philippe Malgouyres, Ivoire de la Renaissance et des temps modernes, Collections du musée du Louvre. N° 107 Chope de Johann G.Kern.

Fraysse & Associés OVVMercredi 6 décembre, salle 10 - Drouot-Richelieu.

Boîte rectangulaire, signée Cartier, Paris, Londres, New York, vers 1920.

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Lot 214. Boîte rectangulaire, signée Cartier, Paris, Londres, New York, vers 1920. Estimation: 3000 / 4000 €. Photo Fraysse & Associés OVV.

En or jaune 18K (750) guilloché, cernée de filets et culots émaillés bleu et blanc, le pourtour, d’une frise poste stylisée, le couvercle appliqué au centre d’un motif carréémaillé polychrome en champlevée d’un décor persan, cernée de diamants taillés en rose. Le poussoir serti d’un saphir taillé en goutte de suif (accidents et manques). Longueur : 8 cm – Largeur : 5,5 cm – Poids brut : 89,36 g.

Fraysse & Associés OVVMercredi 6 décembre, salle 10 - Drouot-Richelieu.

Cartier. Pendulette borne cubique en argent doré, vers 1925

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Lot 215. Cartier. Pendulette borne cubique en argent doré, vers 1925Estimation: 4000 / 6000 €. Photo Fraysse & Associés OVV. 

à décor de bandes émaillées blanc à répétition, actionnée par un poussoir en pierre de Lune, le cadran à chiffres arabes, les aiguilles en platine serties de diamants taillés en rose, le tour de la lunette perlée, la base ceinturée de perles, pose sur un socle à doucines en agate beige, le revers à trois guichets. Exécutée vers 1925. Signé Cartier n°3812. Dans son écrin à guillotine en maroquin rouge formant présentoir avec sa clef. Hauteur : 7 cm – Largeur : 4,5 cm – Poids brut : 388,14 g

Fraysse & Associés OVVMercredi 6 décembre, salle 10 - Drouot-Richelieu.

Pieter Claesz., Still life with a silver beaker and an overturned roemer, with bread, a knife and a lemon and olives...

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Lot 41. Pieter Claesz. (Berchem 1597/8 - 1660/1 Haarlem), Still life with a silver beaker and an overturned roemer, with bread, a knife and a lemon and olives on two pewter plates, signed with monogram and indistinctly dated centre left: PCH 16[4]2, oil on oak panel, 40 x 51.1 cm.; 15 3/4  x 20 1/8  in. Estimate 100,000 — 150,000 GBP. Photo: Sotheby's. 

Provenance: T.S. Lean Esq. [according to label on reverse];
D. van der Linden, Amsterdam, until 1944;
Amsterdam, Frederik Muller & Co., 2–4 May 1944, lot 5, reproduced;
Amsterdam, Frederik Muller & Co., 21–24 November 1950, lot 900, reproduced (as dated 1652);
Acquired by the parents of the present owner in Amsterdam in 1960;
Thence by inheritance.

ExhibitionOn loan at the Frans Hals Museum, Haarlem, 2013–16. 

Note: Elegant and economical in its design, this painting shows the artist's pared down approach to still life, in which he abandons the more luxurious displays of his early years in favour of compositions with fewer objects in simpler arrangements. Claesz.'s pictorial concision was to have a profound effect on still-life painting in The Netherlands. The conception of this modestly scaled and perfectly balanced ontbijtje (breakfast piece) is entirely typical of Claesz.'s mature period. The simplicity of the composition relies on grouping a small number of objects around the dominant motif of the silver beaker. In structure the composition of the present work is comparable to a panel once in the collection of Betty and David Koetser and now at the Kunsthaus, Zurich, Still life with large berkemeyer, silver cup lying on its side and gold watch.1

Claesz. used some of the individual elements adopted here in other compositions. The silver beaker, for example, features in a panel dated 1644 of similar size in the Detroit Institute of Arts.2 The overturned roemer first appears in a breakfast piece in 1630, a work now at the Fitzwilliam Museum, Cambridge, and before that in a vanitas still life of 1628, now in the Metropolitan Museum of Art, New York. The knife protruding over the edge of the table can be found in a number of compositions and is a motif that recurs throughout his career.

This painting is characterised by a low viewpoint and a unifying colour scheme of subtle tonal gradations. The overall tonality is enlivened by the bright yellow of the lemon peel and the warmer hues of the crusty bread, their vibrant presence enhanced against the dark green table cloth. 

The date has been read in the past as both 1632 and 1652. We are grateful to Fred G. Meijer however for pointing out that, on stylistic grounds, it is most likely to be 1642. The fact that Claesz. is not known to have used this form of the monogram prior to 1640 supports this analysis.

1. 36 x 46.5 cm.; reproduced in colour in Pieter Claesz, Master of Haarlem Still Life, exhibition catalogue, Haarlem, Zurich and Washington 2004–05, p. 65, cat. no. 26.

2. Acc. no. 40.129; 43.8 x 53.3 cm. M. Brunner-Bulst, Pieter Claesz. der Hauptmeister des Haarlemer Stillebens im 17. Jahrhundert: Kritischer Œuvrekatalog, Lingen 2004, p. 282, no. 133, reproduced.  

Sotheby's. Old Masters Evening Sale, London, 06 dec. 2017, 07:00 PM

 

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