Lot 126. 29.15 carats SI1 clarity Fancy yellow diamond cocktail ring, Verdura, circa 1960. Estimate 180,000 — 220,000  USD. Lot sold 432,000 USD. Photo: Sotheby's 2007

Literature: The present ring is illustrated in Verdura, by Patricia Corbett, p. 154.

Lot 184. 25.36 carats, M color, SI1 clarity Diamond ring, mounted by Harry Winston. Estimate 200,000 — 300,000  USD. Lot sold 384,000 USD. Photo: Sotheby's 2007

The round diamond weighing 25.36 carats, encircled by 18 round diamonds weighing approximately 2.50 carats, mounted in platinum, size 6¼, trademark for Harry Winston. With Winston box. 

Accompanied by GIA report no. 15700527 stating that the diamond is M color, SI1 clarity.

PHILADELPHIA, PA.- Freeman’s Asian Arts auction, Friday March 16th, brings together nearly 600 lots representing Chinese, Japanese, Korean and Southeast Asian works of art, and is scheduled to coincide with Asia Week in New York City. 

With the world’s attention focused on South Korea, Freeman’s offers its own salute to the culture of Korea. A highlight of the sale is the group of Korean celadons, buncheong stonewares, and blue and white porcelains from a private Florida collection, representing seven centuries of Korean ceramic arts. Korean potters developed celadon-glazed wares in the 12th and 13th centuries, including unique pieces inlaid with black and white slip, which later developed into “buncheong” stonewares. The auction includes an unusual and appealing example of a celadon floriform bowl from the 12th century (Lot 133, estimate $1,000-1,500), incised and inlaid with the auspicious motif of boys and lotus, and delicately carved on the exterior with further lotus sprays, signifying wishes for a multitude of descendants. While the form may stem from the ceramics of the Tang and northern Song dynasties of China, and the motifs from the molded bowls of the Yaozhou kilns, the final product is wholly Korean 

Lot 133. A Korean incised and inlaid celadon "Boys and Lotus" floriform bowl, Goryeo dynasty, 12th century. Dia: 7 1/4 in., 18.5cm. Estimate $1,000-1,500. Photo: Freeman's.

The five lobed circular bowl of rounded profile, on short circular foot, the interior inlaid with four boys bearing lotus buds on long stems, centered by a chrysanthemum and foliage, the exterior finely carved with two lotus blossoms and foliage, with a thick, soft grey-green glaze with tinges of blue, underside with three spur marks, gold lacquer repair. 

Provenance: Property from a private collection, Florida.

Literature: Martin Hall Barnes Lorber, "A Promenade through a Selection of Korean Ceramics in a Private Florida Collection", Arts of Asia, September-October 2013 p. 112, fig 10 
This work will be accompanied by a copy of Arts of Asia, September October 2013 

The 18th and 19th centuries were the age of blue and white porcelain in Korea, distinct in form and decoration from the porcelains of China and Japan. An 18th century faceted bottle vase (Lot 141, estimate $18,000-22,000), delicately painted with deer and bamboo, serves to illustrate an earlier, more austere trend, while the rare 18th century ring-form water dropper (Lot 145, estimate $3,000-5,000) displays the more elaborate elegance of a slightly later period. A boldly formed and decorated “Dragon” jar, 18th/early 19th century (Lot 147, estimate $10,000-15,000) evokes the vitality and vigor of its age. 

Lot 141. A Korean blue and white porcelain "Two Deer and Bamboo" octagonal bottle vase, Joseon dynasty, 18th century. H: 10 1/4 in., 26cm. Estimate $18,000-22,000. Photo: Freeman's.

Of attenuated facetted pear form with flared lip, decorated in pale tones of underglaze blue with two deer and bamboo, under a grey-white partially ivory-toned glossy glaze, the foot with remnants of kiln grit.  

Provenance: Property from a private collection, Florida.

Literature: Martin Hall Barnes Lorber, "A Promenade through a Selection of Korean Ceramics in a Private Florida Collection", Arts of Asia, September-October 2013 p.115, fig 17. For other examples of this form, see the 24cm example decorated with plant design, illustrated in "The Radiance of Jade and the Clarity of Water, Korean Ceramics from the Ataka Collection", Chicago, 1991, p. 114, no. 78, and the 39cm plum blossom and bamboo-decorated example from the Song-am Art Museum, Inch'on, illustrated in Hongnam Kim et al "Korean Arts of the Eighteenth Century, Splendor and Simplicity", New York, 1993, pp 141-142, no 50. 
This work will be accompanied by a copy of Arts of Asia, September October 2013 

Lot 145. A Korean blue and white porcelain ring-form water dropper, Joseon dynasty, 18th century. L: 3 3/4 in., 9.5cm. Estimate $3,000-5,000. Photo: Freeman's.

With delicate triangular spout, raised on a short circular foot ring, the vessel well-decorated with peony or chrysanthemum sprays and a butterfly, under an even glaze with a pale blue tint, remnants of fine grit to foot.  

Provenance: Property from a private collection, Florida. 
Aquired from Skinner Auction, Boston, December 3, 2010, lot 226.

Literature: Martin Hall Barnes Lorber, "A Promenade through a Selection of Korean Ceramics in a Private Florida Collection", Arts of Asia, September-October 2013 p.115, fig 19. 
This work will be accompanied by a copy of Arts of Asia, September October 2013.

Lot 147. A Korean blue and white porcelain "dragon" jar, Joseon dynasty, 18th-early 19th century. H: 13 1/2 in., 34.4cm. Estimate $3,000-5,000. Photo: Freeman's.

Of bold baluster form with tall neck and slightly beveled foot, decorated in pale blue with two sinuous four-clawed dragons among clouds, a band of ruyi-heads at the shoulder, all under an ivory-tinged glaze, the foot with traces of kiln grit.  

Provenance: Property from a private collection, Florida. 
Acquired from Skinner Auction, Boston, December 3, 2010, lot 245.

Literature: Martin Hall Barnes Lorber, "A Promenade through a Selection of Korean Ceramics in a Private Florida Collection", Arts of Asia, September-October 2013 p.117, fig 23. 
This work will be accompanied by a copy of Arts of Asia, September October 2013.

The auction will also feature a broad selection of Japanese arts, including works being sold to benefit the Japan America Society of Greater Philadelphia, many of which were formerly in the Philadelphia Commerce Museum, such as the unusual “National Anthems” porcelain bowl (Lot 116, estimates $500-700) , and a Yayoi-style bronze bell (Lot 96, estimate $1,500-2,500). 

Lot 116. An unsual Japanese porcelain "National Anthems" bowl; W: 12 in., 30.5 cm, H: 5 7/8 in., 15 cm. Estimate $500-700 Photo: Freeman's.

Of pentagonal form, the exterior decorated with gilt floral rondels and musical notations for the Japanese national anthem, on an iron-red ground; the interior decorated with oxidized silver emblems, incised musical notations for the Star-Spangeled Banner on a graded pale yellow ground, centered by a large blue star, the rim pierced with stars, underside inscribed "Ishikawa kenritsu kogyo gakko", and with an inscribed collections number 1910.30. 

Provenance: Property sold for the benefit of the Japan America Society of Greater Philadelphia. 
Gift of the Philadelphia Commercial Museum, a/k/a Civic Center Museum, Philadelphia, Pennsylvania, to the above, 2009.

Lot 96. A large Japanese Yayoi-style bronze bell, dotaku. H: 22 in., 55.9 cm. Estimate $1,500-2,500. Photo: Freeman's.

Cast with arch-shaped handle, the hollow body designed with rows of horizontal and vertical bands filled with crosshatch diagonal pattern. 

Provenance: Property sold for the benefit of the Japan America Society of Greater Philadelphia. 
Gift of the Philadelphia Commercial Museum, a/k/a Civic Center Museum, Philadelphia, Pennsylvania, to the above, 2009 

Additional Japanese works from the estate of Jerry Ettelman serve as a counterpoint and illustrate the aesthetics of wabicha, the elegant, austere form of the Japanese tea ceremony where the passage of time, inspired juxtaposition, and rough simplicity are valued. The Ettelman collection includes chaire (tea caddies), Chinese, Japanese, and Korean tea bowls, dishes, and accessories ranging from the 8th through the 19th century, such as the glazed pottery kogo in the manner of Ogata Kenzan (Lot 80, $400-600), and a group of three Jian-type stoneware tea bowls formerly in the “Sze Yuan Tang” collection of Anthony Hardy (Lot 294, estimate $2,000-3,000).  

Lot 80. A group of three Japanese ceramic items . W of the deer box: 2 5/8 in., 6.6cm. Estimate $400-600. Photo: Freeman's.

Comprising: a blue-and-white oval kogo painted with deer on cover, in the manner of Kenzan; an olive-green glazed kogo, possibly 18th century, in the form of a shishi, wood box and shifuku; a Bizen double-gourd shaped water dropper with matte finish inscribed with characters.

Provenance: Property from the estate of Jerry Ettelman, by descent to the present owner 
The first Kogo, possibly Usui; the second Blue & White America/Sotheby's.com, Pawling, New York, April 17, 2001; the third, gift from Usui to Ettelman, January 8, 1983. 

Lot 294. Three Chinese Jian-type russet and black-glazed small teabowls, Southern Song dynasty. Largest bowl D: 4 1/8 in., 10.5cm. Estimate $2,000-3,000. Photo: Freeman's.

The rounded bowls on circular foot ring, one covered with a rich brown glaze of iron-rust tone and the other two with brownish black glaze, draining from a russet-brown lip, all with glaze stopping above the foot, revealing a red-brown to purple-brown body. 

Provenance: Property from the estate of Jerry Ettelman, by descent to the present owner 
Formerly in the collection of Anthony Hardy, Sze Yuan Tang Collection, no. 139a, b, and c, sold Christie's, New York, September 21, 1995 

Additional Japanese works from other collections include a fine group of lacquers, a rare late 17th/early 18th century Kakiemon style porcelain large bowl (Lot 60, $1,000-1,500), and woodblock prints and paintings. 

Lot 60. A large Japanese Arita porcelain bowl decorated in Kakiemon palatte, late 17th/early 18th century. D: 11 1/2 in., 29.2cm.  Estimate $1,000-1,500. Photo: Freeman's.

The exterior with two tigers, rockwork and bamboo, the interior with three tigers, a dragon in the well, the underside painted with a millet spray. 

Provenance: Acquired by Major General and Mrs. Edward Farrand in Japan after WWII 
Gift from Mrs Farrand to the present owner, circa 1985.

Indian, Himalayan and Southeast Asian works include sculptures formerly in the collection of Louis and Annette Kauffman, Tibetan thanka and 12th-16th century Southeast Asian ceramics from a Pennsylvania private collection. This Pennsylvania collection also includes a number of Chinese ceramics dating from the Song to Ming periods, including a Chinese Dingyao “Lotus” bowl from the Song dynasty featuring an interior incised with twin fish (Lot 274, $4,000-6,000). 

Lot 274. A Chinese "Ding" ware "Lotus" bowl, Song dynasty. Dia: 6 1/4 in., 15.8cm. Estimate $4,000-6,000. Photo: Freeman's.

Incised with two fish admist waves on center to the interior and carved with two registers of upright lotus petals to the exterior, the rim unglazed. 

Provenance: Property from a private collection, Pennsylvania 
Acquired from Wang Jiao Shao, June 3, 1996.

In addition to Chinese ceramics, there will also be a wide array of Chinese works of art, textiles, furniture, sculpture and paintings. These include Qing dynasty carved jades and hardstones from a southeastern Pennsylvania collection, assembled prior to 1970.  

Paintings will include landscapes by Li Xiongcai (Lot 576, estimate $15,000-25,000) and Bai Xueshi (Lot 577, estimate $40,000-60,000), and a portrait of a young woman by Deng Jianjin (Lot 581, estimate $10,000-15,000).  

Lot 576. Li Xiongcai (1910-2001), Landscape of Huangshan, 1969. Ink and color on paper, inscribed and signed with two seals to upper right, mounted as a hanging scroll; sight H: 52 in., 132cm; W: 26 1/4 in., 66.5cm. Estimate $15,000-25,000. Photo: Freeman's.

The inscription indicates this work was inspired by a trip to Huangshan in 1965. 

Provenance: Private collection, Taiwan 
Thence by descent.

Lot 577. Bai Xueshi (1915-2011), Landscape of Lijiang. Ink and color on paper, inscribed and signed with two seals to upper right, mounted on silk and paper, unframed; sight H: 37 1/2 in., 95cm; W: 70 in., 178cm. Estimate $40,000-60,000. Photo: Freeman's.

The inscription indicates this work was inspired by a trip to Huangshan in 1965. 

Provenance: Private collection, Taiwan 
Thence by descent.

Lot 581. Deng Jianjin (B. 1961), Portrait of a woman, 1997. Oil on canvas, signed and dated to lower left, framed; sight H: 46 1/2 in., 118cm; W: 38 1/4 in., 97.1cm. Estimate $10,000-15,000. Photo: Freeman's.

Provenance: Property from a private collection, Florida. 
Acquired from McCarty Gallery, Philadelphia, February 21, 2011

“This is a large sale with broad diversity of interesting and attractive works from great sources,” said Ben Farina, Head of Asian Arts. “There are works to appeal to the both beginning and advanced collectors, it’s well worth the attention of collectors, decorators and dealers across many fields."

Lot 349. Pair of 5.20 and 5.47 carats Colombian emerald and diamond earclips, Van Cleef & Arpels, New York, 1971. Estimate 150,000 — 200,000  USD. Lot sold 348,000 USD. Photo: Sotheby's 2007

Set with 2 emerald-cut emeralds weighing 5.20 and 5.47 carats respectively, within double ring borders set with  56 round diamonds weighing 6.29 carats and 18 round diamonds weighing 1.35 carats, mounted in platinum and 18 karat gold, signed Van Cleef & Arpels, numbered N.Y. 41833.  With signed box. 

Accompanied by AGL reports nos. CS 38755 and CS 38756 stating that the emeralds are of Classic Colombian origin; evidence of faint  clarity enhancement (oil type treatment) for the 5.20 carat stone and insignificant gemological evidence of clarity enhancement present (oil type treatment) for the 5.47 carat stone. 

Sotheby's. Magnificent Jewels. New York, 24 Apr 2007

Lot 125. 8.04 carats, F color, VS1 clarity Diamond ring, Verdura. Estimate 175,000 — 225,000  USD. Lot sold 336,000 USD. Photo: Sotheby's 2007

The square emerald-cut diamond weighing 8.04 carats, framed by small round diamonds set on the prongs and shoulders, mounted in platinum, signed Verdura. With signed box. 

Accompanied by GIA report no. 15316421 stating that the diamond is F color, VS1 clarity; together with original working diagram stating that the stone may be improvable. 

Lot 159. 30.99 carats, VVS1 clarity Fancy dark orange-brown diamond ring. Estimate 265,000 — 300,000 USD. Lot sold 318,000 USD. Photo: Sotheby's 2007

Accompanied by GIA report no. 14789166 stating that the diamond is Fancy Dark Orange-Brown, Natural Color, VVS1 clarity. 

Lot 248. 20.46 carats Burmese sapphire and diamond ring. Estimate 250,000 - 350,000 USD. Lot sold 300,000 USD. Photo: Sotheby's 2007

The cushion-shaped sapphire weighing 20.46 carats, flanked by 2 bullet-cut diamonds, mounted in platinum, size 6¼.  

Accompanied by AGTA report no. 12011908 stating that the sapphire is of Burmese origin; no indications of heating. 

Sotheby's. Magnificent Jewels. New York, 24 Apr 2007

Lot 267. 15.83 carats, F color, SI2 clarity Diamond ring. Estimate 250,000 - 300,000 USD. Lot sold 300,000 USD. Photo: Sotheby's 2007

The cushion-shaped diamond weighing 15.83 carats framed by small round diamonds, the shoulders also accented with round diamonds, mounted in platinum, size 6.   

Accompanied by GIA report no. 14879555 stating that the diamond is F color, SI2 clarity. 

Sotheby's. Magnificent Jewels. New York, 24 Apr 2007

Lot 362. Emerald and Diamond Necklace. Estimate 250,000 — 300,000 USD. Lot sold 270,000 USD. Photo: Sotheby's 2007

The front decorated with a fringe of 7 emerald-cut emeralds suspended from a necklace set with 8 additional emerald-cut emeralds alternating with diamond-set foliate clusters, the total emerald weight approximately 55.00 carats, set throughout with 14 marquise-shaped and 372 round diamonds weighing a total of approximately 61.50 carats, mounted in platinum, length 15½ inches.   

Sotheby's. Magnificent Jewels. New York, 24 Apr 2007

Lot 123. Diamond and sapphire panther brooch, Cartier, Paris. Estimate 40,000 — 60,000 USD. Lot sold 180,000 USD. Photo: Sotheby's 2007

The stalking three-dimensional figure decorated with buff-top calibré-cut sapphire spots against a ground of round diamonds, the eyes of pear-shaped emeralds, the nose of carved onyx, mounted in 18 karat gold, signed Cartier, numbered 636529, maker's mark, assay marks.    

Sotheby's. Magnificent Jewels. New York, 24 Apr 2007

Lot 250. Pair of ruby and diamond pendant-earclips, Van Cleef & Arpels, Paris, circa 1960. Estimate 75,000 — 100,000 USD. Lot sold 204,000 USD. Photo: Sotheby's 2007

The tops of floral cluster design supporting flexible cascading fringes, the whole set with 22 oval-shaped rubies weighing approximately 22.00 carats and 54 round and 10 pear-shaped diamonds weighing approximately 10.20 carats, mounted in platinum, signed Van Cleef & Arpels, numbered 28083, assay marks, pendants detachable. With signed case.    

Sotheby's. Magnificent Jewels. New York, 24 Apr 2007

Lot 72. Emerald and diamond flower brooch, Van Cleef & Arpels, New York. Estimate 50,000 - 70,000 USD. Lot sold 114,000 USD. Photo: Sotheby's 2007

The stylized flower set in the center with an emerald-cut emerald weighing 21.61 carats, framed by 15 tapered rectangular-shaped emeralds, the petals set with 54 round diamonds, the stem of calibré-cut emeralds accented with 3 marquise-shaped diamonds, the total diamond weight approximately 9.75 carats, mounted in 18 karat gold, signed Van Cleef & Arpels, numbered N.Y. 27588..    

Sotheby's. Magnificent Jewels. New York, 24 Apr 2007

Lot 9. A fine and rare yellow-and-green 'dragon' bowl, mark and period of Yongzheng (1723-1735); 15 cm., 5 7/8 in. Estimate 1,000,000—1,500,000 HKD. Lot Sold 2,420,000 HKD. Photo Sotheby's 2011

finely potted with wide rounded sides everted at the rim issuing from a narrow tapering foot, engraved on the outside with two striding five-clawed dragons with forked horns, bushy manes and scaly bodies, each chasing a 'flaming pearl', all above a border of crashing waves circling the foot, the designs all picked out in a deep green on a bright yellow ground, the interior left white.

Literature: Regina Krahl, Chinese Ceramics from the Meiyintang Collection

Note: Yellow-and-green 'dragon' bowls are based on Ming dynasty prototypes and were already produced in the Zhengde, Jiajing and Wanli reigns. A Zhengde example in the Princessehof Museum, Leeuwarden, Holland, is illustrated in Barbara Harrisson, Keramiek uit Azie, Leeuwarden, 1985, pl. 53; another, probably also of the Zhengde reign but with a phags-pa mark is in the British Museum, London, illustrated in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, pl. 8:31; and a Jiajing example is illustrated in Soame Jenyns, Ming Pottery and Porcelain, London, 1953, pl. 90A.

Italian (Central Italian), Portrait of a Boy Holding a Book, 1560s. Oil on wood, 27 1/4 × 22 in. (70.5 × 55.8 cm). The Samuel H. Kress Collection, 61.58© 2018 The Museum of Fine Arts, Houston

HELVOIRT.- TEFAF Maastricht will present more than 280 of the world’s finest art, antiques and design dealers, who will bring their very best pieces to the 2018 edition of the Fair. The Fair provides an unrivalled draw for private collectors, museum curators, art market professionals and art lovers from many different countries. TEFAF Maastricht is the world’s leading art and antiques fair, and its international reputation is reflected in the range and quality of the rare works of art for sale at the Fair, which is held in the MECC (Maastricht Exhibition & Conference Centre) from 10 – 18 March 2018. 

Dealers that participate in TEFAF Maastricht are leaders in their respective fields which means that often newly discovered and re-discovered works come to market for the first time. This is the case for Kollenburg Antiquairs (Stand 182), who will exhibit Saint Albinus and Saint Bernardus, 1496, tempera on panel, by Filippino Lippi (c.1457-1504). This work is coming to market for the first time in over one hundred years and comes with extraordinary provenance. The panel, which was part of a larger alterpiece, was painted for the Convent of the San Donato agli Scopeti, to substitute the one commissioned in 1481 to Leonardo da Vinci, who left it unfinished.  

Filippino Lippi (c.1457-1504), Saint Albinus and Saint Bernardus, Florence, 1496, tempera on panel, 32 x 44.4 cm (12.5 x 17.5 in.). Kollenburg Antiquairs (Stand 182) © TEFAF 2018

 TEFAF Antiques is the largest section of the fair, comprising 90 dealers. Each year the section presents some of the most outstanding examples of fine and decorative arts available on the market. Sculpture from across the centuries will be particularly well represented at the 2018 Fair. 

Daniel Katz Gallery (Stand 100) will offer the extraordinarily evocative bronze sculpture Torso of a Crouching Woman by Camille Claudel (1864-1943). Conceived c.1887 and cast by 1913, it is believed to reflect the destructive relationship between Claudel and Auguste Rodin, in whose studio she worked for many years. Axel Vervoordt (Stand 424) will present a beautiful 1st century AD marble sculpture of the Head of Venus Genetrix, coming to market for the first time since the 1960s. 

Camille Claudel (1864-1943), Torso of a Crouching Woman. Bronze. Height 35 cm (88.9 in.). Conceived circa 1887, cast by 1913. Daniel Katz Gallery (Stand 100). © TEFAF 2018

The compacted silhouette of Camille Claudel’s Torso of a Crouching Woman evokes sculptural fragments from antiquity. Reduced to its essential elements, the form folded on itself reveals an intense expressive power. Torso of a Crouching Woman is the result of the radical removal by Claudel of parts of her work titled Crouching Woman (1884-1885, plaster,

Musée Camille Claudel, Nogent-sur-Seine). The severe mutilation of the figure suggests violence and some have seen this work as a reflection of the destructive relationship between Claudel and Rodin.

Having met Auguste Rodin in 1883, Claudel went to work in his studio as an assistant in 1884 or 1885, when he was working on The Gates of Hell and The Burghers of Calais. She soon became his lover and his principal collaborator. The two artists found themselves in a remarkable symbiosis, inspiring and influencing each other; the intricate nature of these

reciprocal influences is complex and new scholarship continues to revive the question. When Claudel created Crouching Woman she was probably inspired by one of the figures modelled by Rodin circa 1881-1882 for The Gates of Hell, a terracotta of a Crouching Woman, of which she owned a proof. The subject matter and style, with the contorted pose and

expressionistic treatment of the musculature, as well as the fragmentary nature of the present sculpture, are evocative of Rodin. But in her work Claudel was also influenced by Renaissance masters and Torso of a Crouching Woman seems to show the inheritance of Michelangelo and his Crouching Boy (marble, 1524, Hermitage Museum, St Petersburg).

Mathias Morhardt, an influential art critic and specialist of Claudel’s work, described the sculpture Crouching Woman as the first work Claudel modelled in Rodin’s studio: “Study of a Nude that shows a young woman crouching down on her heels, her back in a circular arc and her head leaning on her right arm, which is, in turn, leaning on her knee. The left arm is raised above her head, and her two hands are joined in a simple and harmonious gesture in

front of her right knee.” The plaster of this complete figure, an “admirable nude”, was shown in 1885 at the Salon des Artistes Français.

The context and date of the mutilation of Crouching Woman by Claudel remains obscure and it is difficult to establish with certainty when the artist made these changes. It was certainly before 1913, since the first known illustration of Torso of a Crouching Woman was published that year. It was included in an important and richly illustrated article by Paul Claudel, the artist’s brother, titled ‘Camille Claudel, Statuaire’ and published in L’Art Décoratif just a few

months after the artist was institutionalized5. In the article the plaster of Torso of a Crouching Woman is reproduced and dated to the year 1887. It is interesting to note that in the same period, circa 1888, Claudel produced another partial figure titled Torso of a Standing Woman (bronze, Muzeul National de Artà României, Bucarest), which also resembles a small antique.

The reworking of the piece and the removal of the head, arms and left knee effectively changed its subject matter - from a Crouching Woman it became Torso of a Crouching Woman. The figure’s back, kept in its integrity, presents a splendid study of anatomy. Across the curved surface emanates a musculature vibrant with life while the lines of the mould, left

visible, underscore its strong architecture. The movement of the piece focuses on the perfectly mastered balance of the body. The weight rests on the feet that are in turn firmly anchored to the ground; contrarily to Crouching Woman, the present figure is not supported by a flat base. The way in which this piece was mutilated, with its cleanly cut planes, suggests an intentional, reasoned and completed work.

Paul Claudel described it thus: “In this torso of a crouching woman, for example (a striking

piece, worthy of the Renaissance), I see an animal instinct that folds in on itself to escape capture, blinding itself to be invisible, someone who seeks within for refuge from danger, and not only from the past, but also from the present”.

From 1892 Claudel became progressively more estranged from Rodin; the definitive rupture

in 1898 was devastating for her and marked the beginning of a period that was both destructive and transformative for her work.

The present bronze is extremely rare. It is one of only two casts of this model and the only one in private hands, the other being in the André-Diligent Museum of Art and Industry, Roubaix. Both bronzes, unsigned and without a foundry mark, came from the collection of Paul Claudel and remained until very recently in the family.

The plaster (now in a private collection) was in Camille Claudel’s studio until she was

institutionalised in 1913. It became part of the collection of Philippe Berthelot, a close friend

of Paul Claudel who was asked by the family to empty out the artist’s studio after she left for

the asylum. Berthelot therefore is a very likely candidate for the commission of the two bronzes, which were probably cast circa 1913. All Camille Claudel’s works that belonged to Berthelot were eventually bequeathed to Paul Claudel.

Provenance: Paul Claudel (1868-1955), brother of the artist, then by descent to 2014.

Head of Venus Genetrix, Roman Empire - 1st century A.D. Marble. Height 20.5 cm (8 in.). Axel Vervoordt (Stand 424). © TEFAF 2018

Provenance: Private collection, Japan, acquired 1960; Thence by descent.

Exhibited: Umeda, Osaka, Hankyu Department Store, 'Chichukai - Bi no Junrei (The Mediterranean Sea - Art of Pilgrimage), Greek, Rome, Orient Exhibition', 25 March - 15 April 1960.

Often dealers will choose TEFAF Maastricht as the opportunity to celebrate a particular movement or theme from art history, as well as celebrating their own anniversaries. Epoque Fine Jewels (Stand 186) will celebrate their 60th anniversary at TEFAF Maastricht. To mark the occasion, they will display a remarkable piece of Belgian heritage: the Art Nouveau ‘Glycines’ choker by Philippe Wolfers (1858-1929). The choker is one of the most impressive pieces of jewellery designed by Wolfers and is composed of five alternating wisterias set with carved watermelon tourmaline and carved opal, between purple and green plique-à-jour enamel leaf clusters. 

Philippe Wolfers (1858-1929), Art Nouveau ‘Glycines’ choker. Gold, carved watermelon tourmaline, carved opal, ruby, garnet; 36 x 6.3 cm (14.1 x 2.5 in.) Maker's mark of Philippe Wolfers and marked ‘Ex: Unique’ for Exemplaire Unique, number 126 of the Catalogue des Exemplaires Uniques de Philippe Wolfers and numbers 108 and 111 of the workshop archiveBrussels - Designed circa 1900-1901, executed before January 18, 1902. Epoque Fine Jewels (Stand 186). © TEFAF 2018

NEW YORK, NY.- Christie’s announces that Daniel Craig’s personal Aston Martin, a 2014 ‘Centenary Vanquish’ numbered 007, will be auctioned in New York on April 20 in The Exceptional Sale. All sale proceeds will benefit The Opportunity Network, a nonprofit organization of which Mr. Craig is on the board. Daniel Craig worked with the Chief Creative Director of Aston Martin to customize his limited-edition car. Estimated at $400,000- $600,000, the car is left-hand (U.S.) drive and street ready. The Aston Martin will first be on public view at Christie’s Los Angeles gallery from February 27 – March 3, before the preview and auction in New York. 

The winning bidder will also receive the unique opportunity to visit the Aston Martin Headquarters in Gaydon, Warwickshire and meet with Marek Reichman, Aston Martin’s Chief Creative Director for a behind-the-scenes tour of the production facilities. 

Daniel Craig remarks: “This Aston Martin Vanquish is a tour-de-force of automobile engineering and a distinct pleasure to drive. While I will miss it, I am keen to further the very important work of The Opportunity Network with its sale.” 

Becky MacGuire, Director of The Exceptional Sale, adds: “We are thrilled at the chance to support Daniel Craig’s generosity to The Opportunity Network with the offer of this unique and gorgeous sports car. With its pristine condition, luxury materials, exceptional craftsmanship and impeccable provenance the Aston Martin fits perfectly into Christie’s masterpiece sale. It’s like a 21st century sculpture that comes equipped with an incredibly fine engine”.

THE 2014 CENTENARY EDITION VANQUISH, 007 
In 2014, Aston Martin created just 100 examples worldwide of the ‘Centenary Vanquish’ to celebrate the firm’s 100th anniversary. Designed and hand-built at Aston Martin’s global headquarters in Warwickshire, England, the Vanquish features a 6.0-litre V12 petrol engine and an automatic gearbox and has a top speed of 183 mph. The car has a lightweight bonded aluminium structure combined with a motorsport inspired carbon fibre exterior, while the handcrafted interior has been made using fine luxury leathers, carbon fibre and aluminium. The car features a bespoke exterior and interior directed by Marek Reichman, Aston Martin’s Chief Creative Officer, after discussion with Daniel Craig in the design studio at Aston Martin headquarters. Daniel’s preference of denim and dark colors led to the unique midnight blue exterior and deep blue, hand-stitched, luxury leather interior.

Aston Martin, A ‘Centenary Vanquish’ numbered 007, Estimate: $400,000-600,000. © Christie’s Images Limited 2018.

Lot 11. A highly unusual and exquisite pair of white and famille-rose lotus-leaf ink palettes, Qing dynasty, Yongzheng period (1723-1735). White palette 9.4 cm., 3 3/4 in. Enamelled palette 10.3 cm., 4 in. Estimate 800,000 — 1,200,000 HKD. Lot Sold 4,820,000 HKD. Photo Sotheby's 2011

each delicately hand-modelled out of thin translucent porcelain in the shape of a curled lotus leaf with a short attached stalk, pierced with worm-eaten holes and with veins finely incised on the inside and raised in relief on the outside, one piece plain white, the other elegantly enamelled in famille rose with an insect on the inner rim, two tiny pink buds on top and a small green lotus leaf and further yellow buds twined round the stalk, the bases accented with minute spur marks.

Provenance: Collection of Rose Loo.
Sotheby's Hong Kong, 16th November 1988, lot 367

Exhibited: Chinese Ceramics from the Meiyintang Collection, British Museum, London, 1994.
Evolution to Perfection. Chinese Ceramics from the Meiyintang Collection/Evolution vers la perfection. Céramiques de Chine de la Collection Meiyintang, Sporting d'Hiver, Monte Carlo, 1996, cat. nos 187 and 188.

Literature: Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 2, nos 965-6

Note: This pair of naturalistically modelled lotus leaves is unique and remarkable in its refinement, and must have been created under the tenure of Tang Ying (1682-1756), who served the Yongzheng and Qianlong Emperors as supervisor of the Qing imperial kilns at Jingdezhen from 1726 until his death, with only one brief interval. One other piece made in the same fashion, probably at the same time, is a palette in form of a wide-open lotus leaf, painted in a similar delicate manner with two small crabs and a stalk of reed; see Terese Tse Bartholomew, 'Botanical Puns in Chinese Art from the Collection of the Asian Art Museum of San Francisco, Orientations, September 1985, p. 26, fig. 15; with a detail again in Terese Tse Bartholomew, Hidden Meanings in Chinese Art, Hong Kong, 2006, no. 4.7.2.

Lucien Gautrait. Owl Brooch-Pendant, Circa 1900. Gold, golden beryl, enamel and diamond; 4 x 6 cm (1.6 x 2.4 in.). Signed 'L. Gautrait'. A. Aardewerk Antiquair Juwelier (Stand 240). © TEFAF 2018

Designed as an owl centered by a mixed-cut golden beryl measuring approximately 14.0 by 13.0 by 9.3 mm, accented by old mine and kite-shaped diamonds weighing approximately .65 carat and numerous rose-cut diamonds, gross weight approximately 15 dwts, numbered 30154. 

Literature: B. Furrer e.o., Pariser Schmuck, Munchen 1989, 218, 286.

François Lambregts, Tea chest, Amsterdam, 1730. Silver, 17 x 22 cm (6.7 x 8.7 in.) Weight 1329 gr. Signed by François Lambregts. A. Aardewerk Antiquair Juwelier (Stand 240). © TEFAF 2018

This tea chest is the earliest and most elaborately ornamented Dutch silver example we know of. In creating this piece in 1730, the maker, François Lambregts, made an impressive tea chest for the client who commissioned it. It is the only known tea chest made entirely of silver in the first half of the eighteenth-century. Inside the chest itself are four tea caddies that are also made entirely of silver. This tea chest is thus the earliest known wholly silver example and an exceptionally expensive and elaborately decorated piece.