Quantcast
Channel: Alain.R.Truong
Viewing all 36084 articles
Browse latest View live

Nigerian "Paraiba-type" Tourmaline

$
0
0

3

Lot 2458. Nigerian "Paraiba-type" Tourmaline, weighing approximately 50.6 carats and measuring 26.03 x 19.85 x 15.71mm. Sold for US$ 35,000 (€29,528) inc. premium. Photo: Bonhams.

This is a large stone for the species and an exemplary one at that. Faceted as a pear-shape, a cut which beautifully displays the very high clarity of the stone. The color is an attractive blue.

Accompanied by a Gemological Institute of America report number 16940742 dated March 28, 2008 stating that the tourmaline contains copper and manganese and that the origin is believed to be Nigerian. 

Bonhams. LAPIDARY WORKS OF ART, GEMSTONES AND MINERALS, 6 Dec 2017, 10:00 PST - LOS ANGELES


Benitoite, Benitoite Gem Mine, San Benito County, California

$
0
0

4

Lot 2023. The Official State Gemstone of California. Benitoite, Benitoite Gem Mine, San Benito County, California; weighing approximately 2.08 carats and measuring 8.18 x 6.76 x 4.94mm. Sold for US$ 35,000 (€29,528) inc. premium. Photo: Bonhams.

Around the turn of the 19th Century, a prospector discovered a blue material that he believed to be sapphire. Examination by experts determined the new gem material to be an unknown mineral. In addition, it turned out that the new material represented a previously unknown example of crystal form. It was given the name of benitoite, since it was found near the headwaters of the San Benito River in the county of the same name. Benitoite is prized for its adamantine, or diamond-like, luster and high dispersion. Its refractive index and dispersion are high enough to resemble colorless-to-blue diamonds. The fact that their specific gravity and hardness differs from that of diamonds, and that all benitoites fluoresce blue allows for differentiation. Benitoite was declared the official state gemstone of California. Although benitoites' public recognition and consequent desirability have increased dramatically over the past few years, supplies have not kept up with demand. Its only source was a small mine in San Benito County in northern California which is now closed. Most of the rough yields cut gems below ½ carat sizes. This rare and desirable gemstone is destined to become even more so. An oval-cut stone having a classic blue color, excellent clarity and luster of large size for the species. 

Bonhams. LAPIDARY WORKS OF ART, GEMSTONES AND MINERALS, 6 Dec 2017, 10:00 PST - LOS ANGELES

"A Member of the 100 Carats Club". Exceptional Arizona Amethyst, Four Peaks, Arizona

$
0
0

5

Lot 2299. "A Member of the 100 Carats Club". Exceptional Arizona Amethyst, Four Peaks, Arizona; weighing approximately 118.0 carats and measuring 40.67 x 23.95 x 18.92mm. Sold for US$ 27,500 (€23,200) inc. premium. Photo: Bonhams.

In fact, the Arizona Four Peaks Amethyst mine is believed to be the only precious stone mine in the United States that requires a helicopter to transport supplies in and take mined material out. Located in the most rugged parts of the Matzanal Mountains, forty-six miles from Phoenix, the miners live at the mine for 1-2 weeks at a time, and have to hike 9 miles round trip to get to work. There is no running water or electricity at the mine and hand tools must be used for the slow tedious extraction of the amethyst. The miner's only luxury is a small shed and a generator to light it at night. Solar panels and batteries are used to light and ventilate the mine. Twice a year the amethyst rough is removed from the mine by helicopter and supplies are transported in. The rough Amethyst is taken to Scottsdale where it is cleaned and sorted. The cleaned amethyst is sent to China where it is cut into finished gemstones. Out of 1000 pounds of amethyst rough produced every six months, less than 50 pounds is gem quality and is shipped for cutting. From that 50 pounds shipped for cutting, less than 1000 carats of cut gemstones return. The mine was discovered by Jim McDaniel in the early 1900s while looking for gold and it has been mined off and on for over 100 years. Four Peaks amethyst was also known to the local Native Americans as a number of amethyst arrow heads have been found in the area. It is also believed that the Spaniards while exploring the southwest learned of the deposit and the Spanish crown contains Amethyst from the mine. One wonders if they learned of the amethyst by being on the receiving end of those amethyst arrowheads. The amethyst produced at Four Peaks is known as Siberian Red Amethyst as it has a red flash when viewed under natural light. The only other place that produces this color of amethyst is in the Ural Mountains in Russia. The color and the difficulty of mining, make Four Peaks Amethyst a very rare gemstone indeed.

With its high clarity and luster, this is an exceptional cushion-cut stone of elongated form, suitable for mounting either as a pendant or to be retained as a fine cabinet display piece for the discerning collector of American gemstones. To our knowledge this is the largest faceted example of this rare American amethyst in existence. 

Together with an amethyst crystal point from the same location which displays the characteristic crystalography (showing the typical lack of clarity), measuring 2 3/4 x 2 1/4 x 2in.

6

Bonhams. LAPIDARY WORKS OF ART, GEMSTONES AND MINERALS, 6 Dec 2017, 10:00 PST - LOS ANGELES

 

A blue and white 'landscape' sleeve vase, Ming dynasty, Chongzhen period (1627-1644)

$
0
0

A blue and white 'landscape' sleeve vase, Ming dynasty, Chongzhen period (1627-1644)

Lot 307. A blue and white 'landscape' sleeve vase, Ming dynasty, Chongzhen period (1627-1644). Height 16 3/4  in., 42.5 cm. Estimate 40,000 — 60,000 USDLot Sold 50,000 USD. Photo Sotheby's

well painted in a rich tone of blue with a scene of thatched cottages on stilts by the river edge, its curtains fluttering in the breeze, surrounded by trees and large mist-shrouded rocks, with three towering peaks in the distance, all between incised borders and below pendent leaf tips on the waisted neck.

Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 17 sept. 2013

Deep Rose Conch Pearl, Strombus gigas or "Queen Conch", Caribbean Sea

$
0
0

2

Lot 2216. Deep Rose Conch Pearl, Strombus gigas or "Queen Conch", Caribbean Sea; weighing approximately 5.69 carats and measuring 12.32 x 8.67 x 6.90mm. Sold for US$ 10,000 (€8,436) inc. premium. Photo: Bonhams.

Of ovoid form, distinguished by its perfect of shape and color--a rich, well-saturated deep rose which exhibits a beautiful flame pattern iridescence.

Bonhams. LAPIDARY WORKS OF ART, GEMSTONES AND MINERALS, 6 Dec 2017, 10:00 PST - LOS ANGELES

Fine Conch Pearl, Strombus gigas or "Queen Conch", Caribbean Sea

$
0
0

3

Lot 2217. Fine Conch Pearl, Strombus gigas or "Queen Conch", Caribbean Sea; weighing approximately 5.60 carats and measuring 12.23 x 8.71 x 6.95mm mm. Sold for US$ 5,000 (€4,218) inc. premium. Photo: Bonhams.

Of classic oval shape having excellent flame pattern iridescence, beautiful porcellanous luster and a pastel baby pink hue. This pearl would make a fine pair with lot 2216.

Bonhams. LAPIDARY WORKS OF ART, GEMSTONES AND MINERALS, 6 Dec 2017, 10:00 PST - LOS ANGELES

Unusual Large White Conch Pearl, Strombus gigas or "Queen Conch", Caribbean Sea

$
0
0

4

Lot 2218. Unusual Large White Conch Pearl, Strombus gigas or "Queen Conch", Caribbean Sea; weighing approximately 16.93 carats and measuring 14.64 x 12.39 mm. Sold for US$ 7,500 (€6,327) inc. premium. Photo: Bonhams.

A large non-nacreous pearl having a plump oval shape, a virgin white body color and excellent, minute-grained flame pattern iridescence.

Bonhams. LAPIDARY WORKS OF ART, GEMSTONES AND MINERALS, 6 Dec 2017, 10:00 PST - LOS ANGELES

Large Conch Pearl, Strombus gigas or "Queen Conch", Caribbean Sea

$
0
0

5

Lot 2219. Large Conch Pearl, Strombus gigas or "Queen Conch", Caribbean Sea; weighing approximately 20.77 carats and measuring 16.98 x 14.02 x 11.55mm. Sold for US$ 18,750 (€15,818) inc. premium. Photo: Bonhams.

This conch pearl is of particularly large size for the species. Of "baby" pink hue and of slightly baroque form, having an excellent flame pattern iridescent, with excellent luster.

Bonhams. LAPIDARY WORKS OF ART, GEMSTONES AND MINERALS, 6 Dec 2017, 10:00 PST - LOS ANGELES


A Bronze Ritual Wine Vessel (gu), Late Shang Dynasty, 13th-12th century BC

$
0
0

A Bronze Ritual Wine Vessel (gu), Late Shang Dynasty, 13th-12th century BC

2

3

4

5

Lot 35. A Bronze Ritual Wine Vessel (gu), Late Shang Dynasty, 13th-12th century BC. Height 12 3/8  in.,  31.3 cm. Estimate 60,000 — 80,000 USD. Lot sold  245,000 USD. Photo: Sotheby's

of slender, waisted form, crisply cast around the mid-section and splayed foot with pairs of taotie masks with raised eyes on a fine leiwen ground, centered by notched flanges and divided by a pair of bowstrings interrupted by two cruciform apertures, the tall flared neck encircled at the base by a narrow band of hooked scroll serpents with protuberant eyes all below four upright triangular blades enclosing parallel hooked lines and further leiwen, the patina of silvery green color with areas of light encrustation, the base interior with a three-character inscription, Ya Mu Shou.

ProvenanceCollection of Captain S. N. Ferris Luboshez (1896-1984), Falls Church, Virginia.
Sotheby's London, 29th March 1977, lot 171.
Sotheby's London, 15th April 1980, lot 18.
Christie's London, 16th December 1981, lot 314.
Collection of Dr. Ip Yee.
Sotheby's Hong Kong, 19th November 1984, lot 2.

LiteratureWang Tao and Liu Yu, A Selection of Early Chinese Bronzes with Inscriptions from Sotheby's and Christie's Sales, Shanghai, 2005, no. 225.
Chen Mengjia, A Classified Catalogue of Bronzes of the Yin and Zhou Dynasties, Tokyo, 1977, no. A481 (R149).
Hayashi Minao, Conspectus of Yin-Zhou Bronzes, Tokyo, 1984, vol. 1, Gu, no. 127.

NoteThe present vase is distinguished by its fine proportions and crisp, even casting. A similar vase to the present is illustrated in Robert W. Bagley, Shang Bronzes in the Arthur M. Sackler Collection, Cambridge, Massachusetts, 1987, p. 255, no. 38. Another with the same bands of decoration in the Palace Museum, is illustrated in Bronzes in the Palace Museum, Beijing, 1999, no. 43. 

Sold at auction in our London rooms 29th March, 1977, lot 171, the gu was offered as one of a selection of seventeen pieces from  the famous collection of Captain and Mrs. S. N. Ferris Luboshez. A lawyer and inventor who held numerous patents, Luboshez served in the US Navy during World War II and ended his tour of duty as a Central Field Commissioner based primarily in Shanghai.  It was during his four years living in China from roughly 1945-1949 that he collected a large group of early ceramics from the Han and Tang dynasties as well as Shang and Zhou dynasty bronzes. It was through his official position that he gained access to many fine pieces which he purchased in Shanghai, Beijing and on frequent trips to Japan. For further reading on Luboshez see Jane Tilley Griffen, 'The Luboshez Collection', Arts of Asia, Vol. 2, No. 4, 1927. 

The vessel was also in the collection of Dr. Ip Yee who was a legendary figure in the art circles of Hong Kong.  He was interested in a wide range of art and formed a vast and important collection. He generously donated many objects to Chinese museums, and, after his death, his collection was auctioned by Sotheby's in Hong Kong in 1984, to benefit numerous children's charities and museums.  He was instrumental in the organizations of several seminal exhibitions such as the Chinese Bamboo Carving (HK Museum of Art, 1978), An Anthology of Chinese Ceramics (HK Museum of Art, 1980) and Chinese Jade Carving (HK Museum of Art, 1983).

Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 17 sept. 2013

 

A Cizhou sgraffiato pear-shaped vase, Song-Jin dynasty

$
0
0

A Cizhou sgraffiato pear-shaped vase, Song-Jin dynasty

Lot 80. A Cizhou sgraffiato pear-shaped vase, Song-Jin dynasty (960-1134). Height 11 in., 27.9 cm. Estimate 6,000 — 8,000 USD. Lot sold 10,625 USD. Photo Sotheby's 

rising from a short foot, the shoulders tapering to a narrow neck with everted rim, covered overall with a white slip and carved through the slip to reveal the gray-colored body depicting two bands of stylized floral decoration, all beneath a clear glaze.

ProvenanceAcquired in Hong Kong in the 1980s.

Note: A vase of slightly larger size but of similar form and carving dated to the Jin dynasty is illustrated in Chugoku meitouten (Exhibition of Chinese Ceramics), Tokyo et. al, 1992, p. 43, no. 33.

Sotheby's. Fine Chinese Ceramics & Works of Art. New York | 17 sept. 2013

 

Hat jewelry, so-called Egret (brilliant set). Globig, August Gotthelf (before 1769-after 1819) (jeweler)

$
0
0

5

Hat jewelry, so-called Egret (brilliant set). Globig, August Gotthelf (before 1769-after 1819) (jeweler). Dresden, between 1782 and 1807. 359 diamonds of different sizes, silver, gold; 14.8 x 9.4 cm. VIII 26© Dresden State Art Collections

The hat-jewelery, which was called Reiherstutz, originated after 1782. The unusual Hutzier belonged to the 1807 for the first time pledged brilliant jewelery of King Friedrich August I. and was inventoried later in the brilliant set. In addition to the hat brim or -agraffe with the "Dresdner Greens", she is the second hat jewelry of the early Classicist brilliant set. The shape of the heron's neck is very original. Both in its designation and in its form, there are clear references to the dating back to the late Renaissance Hutschmuck the Aigrette. Since there is no holder for the plug-in feather headdress on the back, the name refers exclusively to the shape of the jewel. August Gotthelf Globig made the heron's neck as an artificial bundle of nine slender, brilliant "feathers", which spring from a moving loop with their dense "keels". Except for the large main stone in the middle of the loop, all diamonds are made in a very elaborate way à jour. Five bars with increasing in size brilliants stabilize the springs and create a sparkling grid. How the stylized hat jewelry was worn is not known. The hat fashion of the late 18th century certainly provided a suitable background for such a magnificent piece of jewelry. In the last quarter of the century, the three-pronged lace from the French fashion of the Baroque had stiff, semicircular brims that were arched and almost completely obscured the hat's head. With the aid of eyelets attached to the horizontal bars of the heron's neck, this hat jewelery could be sewn comfortably onto the brim. The heron cut of the diamond set is the last gem of the jewels of kings adapted to the prevailing fashion. Only the buttons and some hat buckles of the Brillantgarnitur were changed in the third decade of the 19th century.

Piece of jewelery in palmette form (brilliant set). Pallard, Jean Jacques (1701-1776) (goldsmith), Geneva / Vienna, 1746

$
0
0

4

Piece of jewelery in palmette form (brilliant set). Pallard, Jean Jacques (1701-1776) (goldsmith), Geneva / Vienna, 1746. 83 brilliants, gold, silver, brass, steel; 5.7 x 4.5 cm. VIII 22© Dresden State Art Collections

The palmette-like jewel of the brilliant set has lost its true function for over two hundred and thirty years. It originally served as the coulant of a Golden Fleece Order - the slider through which the ribbon was drawn to carry the Order around the neck. This order was completed in 1746 by the Swiss jeweler Jean Jacques Pallard. Thus, the "Dresden Green" diamond, with 160 Grän or 41 ct the most precious gem of the Green Vault, received its grandiose setting. The diamond was purchased in 1742 with the help of an English dealer at the Leipzig Easter Fair. The circumstances and the purchase price are unknown. The Prussian King Frederick II, however, in a letter handed down that August III. therefore had no suitable artillery available at the Siege of Brno in 1742, because he had previously acquired for 400,000 Taler a large green diamond. Johann Friedrich Dinglinger was the first to be commissioned to insert the precious gemstone into a non-woven fabric. Since the necessary ram's fur could not be recreated due to lack of time, he put that of the Toison with the cat's eye (VIII 3) in his creation. But Dinglinger's Order existed only four years. When the royal couple fled to Imperial Prague on December 1, 1745, before the advancing Prussian troops, they took along not only the most valuable jewelery sets, but also all the fleece orders. When the king returned in January of the following year, the Vliesorden was already broken and Jean Jacques Pallard created in Vienna a new gem, which was inventoried in 1746. But already in 1769 it was destroyed again.

Hutagraffe of the diamond rose garniture. Christian August Globig & August Gotthelf Globig, Dresden, between 1782 and 1789

$
0
0

2

Hutagraffe of the diamond rose garniture. Christian August Globig (before 1747-1798), Jeweler & August Gotthelf Globig (before 1769-after 1819), jeweler. Dresden, between 1782 and 1789. 15 large and 103 small diamonds, silver, gold. 13.5 x 6.5 cm. VIII 10© Dresden State Art Collections

The brim of the diamond rose garnish impresses with the sheer size of its diamonds, whose rose cut was already very popular in the 17th century. When Christian August, together with his son August Gotthelf Globig, created this relatively late version of a Baroque-derived form of Hutzier between 1782 and 1789, the diamond rose cut was long outdated. The larger diamondoses have already been re-ground in brilliants at most European yards with considerable material loss. Elector Friedrich August III. Saxony, on the other hand, had decided to place the existing stone stock, qualitatively improved by Jean Jacques Pallard between 1749 and 1753, in a new set. The main button, which was sewn on the brim of the hat and therefore had special significance as a highly visible element, was designed by the Globigs very striking. In its center sits a 62 ½ gran (16.015 ct) diamond. The inner Umkränzung of 19 smaller diamonds and the second with seven large diamonds form a magnificent rosette. The two cords and the upper hat button are designed according to the Achselband the garnish (VIII 11), so that the hat brim and epaulette as juxtaposed pieces of jewelry put together. In the middle of the loop, made of two diamond-studded ribbons, sits a very high diamond rose. The lavish splendor of the hat brim was still in the spirit of the jewelery sets of the first half of the 18th century. Her biggest stone, the high diamond rose, already adorned in 1719 the hat jewelry of diamond rose. For the fashionable hat jewelry of an Elector this hat brim at the end of the 18th century, however, was no longer enough. Thus, the Globigs made four almost 7 cm long strands, densely occupied with twelve diamond roses each, but their attachment to the then common tricorn is no longer known today.

Epaulette (diamond rose). Christian August Globig & August Gotthelf Globig, Dresden, between 1782 and 1789

$
0
0

4

Epaulette (diamond rose). Christian August Globig (before 1747-1798), Jeweler & August Gotthelf Globig (before 1769-after 1819), jeweler. Dresden, between 1782 and 1789. 20 large and 216 smaller diamonds, silver, gold. 22.0 x 7.0 cm. Green Vault, VIII 11. © Dresden State Art Collections.

Between 1782 and 1789, the rose cut diamonds received their new version. Already in 1749, Jean Jacques Pallard had begun to recast the set in the meanwhile out of fashion rose cut. However, due to unfavorable political developments, the project of a complete new production of the diamond rose garniture could not be completed. Even before the outbreak of the Seven Years War, the work was stopped. It was only in January 1767 that the extensive inventory of diamond roses remaining with Pallard was brought back to Dresden by Heinrich Taddel, Inspector of the Green Vault. 1761 commissioned Elector Friedrich August III. Christian August Globig with the production of a new diamond rose set. The court jeweler worked with the jewel treasure together with his son August Gotthelf. They were based on the already existing parts of the Brillantgarnitur, where the underarm band became the main item. From Diespachs Hutagraffe with the Dresden Greens they took over the loop motif of the upper hat head. The result was a piece of jewelery of remarkable composition and consistent design, which is one of the most beautiful early classicist works at the Dresden court. The central motif of the epaulette is the double loop with the main stone. It is the largest rose cut diamond ever found in the set. In 1719, he had adorned as the main stone the hat brim Augustus the Strong. The upper loop, which also includes an unusually large diamond, conveys two bands, each with four large diamond roses. Most of the diamonds are already detectable in the jewel inventory of 1719. On the heavily worked back of the epaulette the respective stone weight is engraved on the frames. With Globig's attached fixations, the heavy jewel was attached to the robe.

Big breast bow from the jewelery of the queens, Christian August Globig (before 1747-1798), jeweler. Dresden, 1782

$
0
0

5

Big breast bow from the jewelery of the queens, Christian August Globig (before 1747-1798), jeweler. Dresden, 1782. 51 large and 611 small diamonds, silver, gold. B. 21.4 cm, H. 12.5 cm, T. 5.0 cm. Green Vault, VIII 36.© Dresden State Art Collections.

Jewelry loops of this kind, which were worn below the neckline, served until the time around 1800 as courtly ladies' jewelery. In 1782 Elector Friedrich August III. make the breast loop with unusually rich diamond trimming for his wife Amalie Auguste. The present, which probably originated on the occasion of the birth of her first child, was assigned to the official decorative jewelery of the house Wettin and thus part of the Green Vault. For the production one resorted to diamonds, which came from 27 rock buttons and 12 Westenknöpfen as well as further pieces of jewelery of the traditional Brillantgarnitur. The breast loop is shaped as a plastically worked, seemingly gathered band with drooping end pieces. The center of the wide piece of jewelry is the, in his original caste version preserved, button set of brilliant set. Overall, the loop is set with 51 large and 611 medium to small diamonds. The total weight of diamonds used is about 614 carats. The magnificent chest bow weighs 556 g, which certainly limits the wearing comfort as jewelry. But even by Queen Carola of Saxony, the chest bow was occasionally worn in the 70s and 80s of the 19th century to courtly events.

Hutaigrette (agate garnish). Johann Melchior Dinglinger (1664-1731), jeweler. Dresden, before 1719

$
0
0

4

Hutaigrette (agate garnish). Johann Melchior Dinglinger (1664-1731), jeweler. Dresden, before 1719. 193 diamonds (one table stone, 192 roses), formerly red foil, gold, culling and holder silver, gilded. H 23.3 cm, W 8.0 cm. Green Vault, VIII 24. © Staatliche Kunstsammlungen Dresden.

For almost four decades, August der Starke made ten sets of jewels for his royal representation, but of course also for his personal pleasure. The term "clothing" meant an ensemble of pieces of jewelery that belong together both materially and stylistically. Only two sets of jewels of Augustus the Strong had an aigrette. This includes the agate set, whose original and imaginative "Egrette of Gold on the Huth" came from the hand of Johann Melchior Dinglinger. An Aigrette was a specific German Hutzier, which had its origin in the Renaissance jewelry. It is a towering hat decoration, which was extremely decorative by effectively inserted heron feathers. To attach to the hat served decorated with red foil large diamond bottom bow which was connected to the hat brim of the then fashionable Dreispitz. In the middle of the temple, the main stone of the piece of jewelery is an over-the-top, exactly faceted diamond table. The plate mounted above the temple adorns a crown-like composite diamond bouquets. Hidden behind the plate is the sleeve, in which the heron feathers could be inserted. From the bouquet spring slightly curved gold feathers, which are either slightly wider and decorated with diamond roses, or narrow and decorated by delicate engravings. Together with the bird feathers that soar in motion, the majestic gold and diamond feathers towering over the hat must have had a decidedly decorative effect. For the princes of the late Baroque, the precious hat jewelry was of particular importance. In ceremonial, the prince alone was allowed to keep his hat. The hat jewelery replaced to a certain extent the jewelery of a crown, which at that time was placed on the head only in the one-time process of coronation.

Hutaigrette from the carnelian garnish, Johann Melchior Dinglinger Workshop & Johann Christoph Hübner, Dresden, before 1719

$
0
0

5

Hutaigrette from the carnelian garnish, Johann Melchior Dinglinger (1664-1731) Workshop, Jeweler & Johann Christoph Hübner (1650-1677), lapidary. Dresden, before 1719. Carnelian plate, open cut, ten round carnelian, one diamond drop, 408 brilliants (original set of three diamond drops, 418 brilliants) gold, silver, partly gilded. H 26,0 cm. Green Vault, VIII 233. © Staatliche Kunstsammlungen Dresden.

Only two sets of jewels of Augustus the Strong had an aigrette as hat decorations. These were Jagdgarnituren from agate and carnelian. The extremely elegant, agile Hutzier appears then as today as the main work of the almost completely preserved carnelian. The large gemstone has the shape of a symmetrical rose blossom with naturalistically arranged stamens in its center. This soft-cut flower, which rises from a goblet, has small ornamental leaves on the upper sides. The sensitively crafted natural form of the rose receives its own dynamics through a leaf truncate to the right. The stone carving and jewelery work originated in Dresden. Johann Melchior Dinglinger probably worked here as a designer and executive goldsmith with the stone cutter Johann Christoph Hübner. So he completes the stone cutting work by asymmetrically growing from the sides of the carnelian rose feathers of gold-plated silver. Just as in the Aigrette of the agate set (VIII 24), narrow, engraved, alternate with wider, brilliant-set feathers. In doing so, Dinglinger avoided the regularity of the achataigrette by inserting opposing gilded feathers. The lower plate, which is a part of the temple with which the jewel was attached to the brim, is adorned with an "A" composed of numerous diamonds as the monogram of August II. Behind it is a sleeve for inserting heron feathers.

Hairpin with a long brilliant drop worn by an eagle, Johann Melchior Dinglinger, Dresden, 1713, changed to 1719

$
0
0

6

Hairpin with a long brilliant drop worn by an eagle, Johann Melchior Dinglinger (1664-1731), jeweler. Dresden, 1713, changed to 1719. Gold, enamel, two very small diamonds; Drops (VIII 37) of about 17.553 ct. Wing width of the eagle 2.7 cm. Green Vault, VIII 196. © Staatliche Kunstsammlungen Dresden.

Not only the Saxon rulers of the 18th century, also their wives made considerable effort in jewelry. Initially, the jewels of the electoral queens were exclusively their private property, over which they decreed their own responsibility. This changed around the middle of the 18th century. The jewel inventory of 1750 recorded a brilliant necklace created by Jean Jacques Pallard for Maria Josepha, the wife of August III. It had been added as an item of considerable value to the brilliant set. The earliest jewel of the "Diamonds and Pearls of the Queens" probably comes from the possession of Maria Josepha: a hairpin with a black, Habsburg eagle, which has an extraordinarily beautiful and pure diamond drop of 17.553 ct. holding in his beak.

Hatagraffe (sapphire garnish), Johann Melchior Dinglinger, Dresden, around 1722

$
0
0

2

Hatagraffe (sapphire garnish), Johann Melchior Dinglinger (1664-1731), jeweler. Dresden, around 1722. A lynx sapphire, three sapphires, 97 diamond roses, gold, silver. 12.3 x 5.6 cm. Green Vault, VIII 161. © Staatliche Kunstsammlungen Dresden.

King Louis XIV of France possessed only three different sets of jewelery, so Augustus the Strong, Elector of Saxony and since 1697 King of Poland, had planned for himself 24 of these sets of jewelery. Ten sets were finally executed and remained unique. The sapphire set contains the oldest jewelery of the elector king still preserved today. In December 1701, the Saxon Chancellor of Beichlingen acquired those exceptionally shaped gems, which made up the fame and pride of a princely ornament, and which gave the hat agape a special ornament. It was the "extra big sapphire in forma of a small round mountain". Mineralogically speaking, the stone is an opaque blue cordierite, which was called luch sapphire in the 18th century. It has been hollowed out inside and lined with silver foil to make it transparent. The magnificent Hutzier was deposited in December 1707 with numerous other components of the first sapphire set as collateral for a loan in a Rotterdam bank. In April 1719, the piece of jewelery returned to Dresden, but not soon enough to be worn by the king in September 1719, like most parts of the sapphire set, at the wedding celebrations of the Crown Prince. The present-day hat brim received its version in the workshop of Johann Melchior Dinglinger around 1722 and completed the other parts of the sapphire set now outfitted with many hundreds of diamonds. Under King August III. from Poland, the son of August the Strong,

Hat brim (ruby set), Johann Friedrich Dinglinger, Dresden, 1736 (changed before 1817)

$
0
0

3

Hat brim (ruby set), Johann Friedrich Dinglinger (1702-1767) (jeweler). Dresden, 1736 (changed before 1817). 6 rubies and spinels, 6 doublets, 96 brilliants, gold, silver, partly gold plated; 11.4 x 5.4 cm. Green Vault, VIII 124© Dresden State Art Collections.

As part of the princely representation, the headgear played a special role as Ranganka. In the court ceremonial was exactly determined who was allowed to wear a hat and before whom he had to draw him. Hat brims consisted of a main button (lower hat button), which was attached directly to the open brim and so was very close to the wearer's face. That's why this button was usually adorned with a very beautiful and large gemstone. The unusual bridge, which Dinglinger himself called "completely new and finished in a special way," connected the lower hat button with the upper hat button, which was fixed to the headboard of the hat. The gemstone trim of the top button slightly surmounted as a crowning the felt of the royal hat and was especially visible in the movement of the head. The stones for this hat brim all came from the stock at that time. Dinglinger must have known her before planning this piece of jewelery and finally planned it purposefully. The hatagraff commissioned and produced in 1736, however, had a different appearance. The stocking with twelve red gemstones was first recorded in the 19th century without further explanation.
Viewing all 36084 articles
Browse latest View live




Latest Images