Coupe en lapis-lazuli, monture Pierre Delabarre, Paris, vers 1630 - Collection du Grand Dauphin, fils de Louis XIV – Madrid, Musée National du Prado

A la mort de Louis de France (1711), fils de Louis XIV, une partie de sa collection d'objets précieux est revenue à son fils Philippe V, roi d'Espagne. Cette collection est conservée au Musée National du Prado, sous le nom du Trésor du Dauphin (Tesoro del Delfín).

Coffret avec intailles et camées, monture école de Pierre Delabarre, Paris, 1624-1645 - Collection du Grand Dauphin, fils de Louis XIV – Madrid, Musée National du Prado

A la mort de Louis de France (1711), fils de Louis XIV, une partie de sa collection d'objets précieux est revenue à son fils Philippe V, roi d'Espagne. Cette collection est conservée au Musée National du Prado, sous le nom du Trésor du Dauphin (Tesoro del Delfín)

Vase en cristal de roche, France, 1555 - Collection du Grand Dauphin, fils de Louis XIV – Madrid, Musée National du Prado

A la mort de Louis de France (1711), fils de Louis XIV, une partie de sa collection d'objets précieux est revenue à son fils Philippe V, roi d'Espagne. Cette collection est conservée au Musée National du Prado, sous le nom du Trésor du Dauphin (Tesoro del Delfín)

Salière en onyx, avec une sirène en or, France, 1500-1550 - Collection du Grand Dauphin, fils de Louis XIV – Madrid, Musée National du Prado

Sa source formelle serait à rapprocher des œuvres de l’italien Benvenuto Cellini, et notamment la célèbre salière appartenant à la collection du Kunsthistorisches Museum de Vienne.

A la mort de Louis de France (1711), fils de Louis XIV, une partie de sa collection d'objets précieux est revenue à son fils Philippe V, roi d'Espagne. Cette collection est conservée au Musée National du Prado, sous le nom du Trésor du Dauphin (Tesoro del Delfín)

Anonyme flamand, Autruche en nacre et pierres précieuses, XVIe siècle. Museo degli argenti, Florence

Alexandre Reza. Untreated Ceylon sapphire brooch featuring an exceptionally large oval sapphire of 134 carats mounted on a gold clip set with 14 round diamonds weighing 17 carats, a pear-shaped diamond of 1 carat, yellow diamonds, and 14 pear shaped sapphires weighing 8 carats, 1980. Photo Sotheby's

The Extraordinary Jewelry of Alexandre Reza, a public exhibition highlighting both the historic and contemporary works of the Paris-based Maître Joailliersince the 1950s, has been announced by Sotheby’s with a November debut in New York. From New York, the exhibition will travel to Sotheby’s global offices in 2014, with planned locales including London, Doha and Beijing.

The exhibition will comprise approximately 25 select vignettes exploring the house’s library of jewels that remains hardly unrivaled in size, breadth and quality, often surpassing even those of legendary royal collections. 

Olivier Reza, son of now-retired Alexandre said: “My family and I are honored to partner with Sotheby’s and share both the Alexandre Reza archives and new creations with jewelry collectors around the world. Carefully curated, this exhibition will showcase my father’s legacy as a jeweler, and the work that we create today in his honor. Our passion for connecting high-quality craftsmanship with superb raw material, combined with impeccable design will forever remain the cornerstone of our house.”

David Bennett, Chairman of Sotheby’s Jewelry Division, Europe & Middle East, commented: “Alexandre Reza’s legacy forms an integral and important part of the history of post war jewelry. Sotheby’s is honored to showcase his work through this special exhibition which will include many of the most important jewels and parures created by Alexandre Reza during the last forty years, featuring spectacular diamonds, natural pearls and superb colored gems. We are particularly thrilled to support his son Olivier as he carries the Reza name to the next generation of collectors and connoisseurs with his exciting new designs.”  

The Extraordinary Jewelry of Alexandre Reza opens will be open to the public for viewing from 2 – 14 November at Sotheby’s New York. 

Alexandre Reza, the Paris-based maitre joaillier since the 1950s, is known for extraordinary gem expertise, spectacular design and incredible craftsmanship. Reza remains family-owned and continues to offer the rarest gems from its private collection as well as exquisite new contemporary designs. Presented discreetly in a private salon on the renowned Place Vendome, Reza offers the utmost in both client service and jeweled works of art. For more information, please visit www.alexandrereza.com.

Alexandre Reza. Platinum earrings composed of 4 exceptional Columbian Emeralds over 51 carats, framed with over 14 carats of diamond baguettes. Photo Sotheby's

The contents of Trelissick House, subsequently owned by the Copeland family and including the Spode-Copeland Collection of ceramics, were sold by Bonhams in an on-site house sale. Photo: Bonhams.

International interest from America, Europe and China boosted the Bonhams sale of the contents of Trelissick House near Truro in Cornwall, this week, more than doubling the top pre-sale estimate of £1.5m to a final total of £3,269,238. Every item in the sale found a buyer.

The two-day 835 lot sale on July 23 and 24 created excitement across Cornwall and far beyond. The three sale preview days saw over 2,000 people at Trelissick House eager to see the legendary Spode ceramic collection and the many other fine objects in the sale including furniture, silver, porcelain and pictures.

Top items in the sale included an 18th century Chinese Quinlong era vase which made £337,250, a George II partners desk in the manner of Thomas Chippendale at £58,850, a Regence walnut, elm and rosewood ebony and ivory commode at £43,250, a John Frederick Herring picture of a bay racehorse in a stable for £31,250, two Chinese Kangxi vases £181,250, and a Victorian silver ten piece garniture at £39,650. At the other end of the scale, a charming if modest set of silver sandwich name tags made £5,000.

Roger Tappin, Bonhams Regional Director in Cornwall, said after the sale| "The result exceeded all our expectations. Interest from three continents drove prices ever upwards. The sale was broadcast live round the world and bidding was fierce in the room, on the bank of ten telephones and on the internet. We were helped by the most beautiful weather which set Trelissick and the Fal estuary off to perfection. It was the widely accepted that the sale represented a once in a lifetime opportunity to acquire ceramic masterworks from China, the Middle East and Europe. Trelissick House, the repository of so many wonderful art works over the years is synonymous with Cornwall and this sale was a landmark event for 2013. The on-site auction gave everyone in Cornwall who has visited and loved Trelissick a chance to bid on a piece of Cornish history. We were honoured to manage the sale for William and Jenny Copeland."

He said the sale required careful planning: "We promoted the sale for three months internationally. Cataloguing was a massive undertaking, accurately logging the result of over 100 years of collecting, creating an authoritative catalogue as well as a reference work for future generations. At the sale we had to establish our own communication network enabling us to receive live online and telephone bidding from around the world. The team of 30 Bonhams specialists created a sophisticated and charming saleroom in a marquee that covered the former stable-yard. In the end it all worked like clockwork. We ended up selling 100 per cent of the items in the sale, many of them for many times more than their top estimates."

A very fine and rare flambé-glazed bottle vase. Incised Qianlong seal mark and of the period. Photo Bonhams

The rounded body raised on a low straight foot and tapering to the slender neck moulded with a double bowstring crowned by the bulbous garlic-shaped mouth, covered with a rich flambé glaze of a vibrant red streaked with darker patches and highlighted with lavender splashes around the body and at the mouth, the streaked glaze of a soft blue tone reaching into the interior and the underside with a thin café-au-lait glaze. 29.6cm (11 5/8in) high. Sold for £337,250 inc. premium

Provenance: probably acquired by Leonard Cunliffe prior to 1918; Ida Copeland from 1937 and thence by descent to the current owner

Two collectors' labels read 'TJ 66 L.DC' and '1848 L...' (handwriting indecipherable). A vase listed as 'TJ 66' and described as a 'Flambé bottle long neck with bulbous top. Kang hsi' is recorded in a catalogue handwritten by Leonard Cunliffe and signed 31 July 1918.

The inspiration for the flambé glaze can be traced back to the splashed Jun wares of the Song Dynasty. However this particular red glaze, derived from copper but also containing lead, was exceptionally unstable and difficult to control in the kiln, resulting in the highest failure rate of all Chinese glazes. It was not until an extraordinary technical mastery was developed during the Qing period, and the Qianlong reign in particular, that successful flambé-glazed porcelain could be produced, highlighting the exceptional quality and rarity of the present lot. 

Flambé-glazed vases were particularly admired by Western collectors and craftsmen, who appreciated the beauty of the deep red streaked with blue as well as the complexity of the technique and the immense control required to achieve successful results. Just as the present lot was most likely acquired by Leonard Cunliffe in the early 20th century, related flambé pieces quickly found their way into the homes of other renowned collectors, including George Eumorfopoulos (1863-1939) (see for example, the related but unmarked flambé vases illustrated by R.L.Hobson, The George Eumorfopoulos Collection Catalogue of the Chinese, Corean and Persian Pottery and Porcelain, Vol.5, London, 1927, E.393 and E.390, col.pl.LXVII) and George Salting (1835-1909), who bequeathed numerous pieces to the Victoria & Albert Museum; see, for example, the flambé vases, unmarked but dated to the Qianlong reign and of comparable quality to the present lot, V&A Museum nos.C.397-1910, C.404-1910, C.405-1910 and C.412-1910.

See also a related flambé vase with an incised Qianlong mark and of the period in the Meiyintang Collection, illustrated by R.Krahl, Chinese Ceramics from the Meiyintang Collection, Vol.Four (II), London, 1994, no.1812.

Two Chinese famille verte baluster vases, Kangxi six-character marks, 19th century. Photo Bonhams

Labels: one with IC.93.EX.28, T 57.L.D.C., and 1C 93E, the other with IC.93.EX.28, T 58 L.D.C., and 1C 93E

A Chinese celadon-glazed vase of hu form, 18th century. Photo Bonhams

Heavily potted and finely moulded and incised with an archaistic taotie mask above scrolling flames on a leiwen ground on each side, flanked by two applied mythical beast head ring-handles simulating bronze, all above a band of ruyi head on the foot and below upright stiff lappets on the neck, the exterior covered with a pale greenish celadon glaze. 31.5cm high. Sold for £27,500 inc. premium

Label: with a handwritten note reading '1940. Wedding present from Sidney E.Thompson & his son George of Copeland & Thompson Inc., 206 Fifth Avenue, New York. Copeland's (later Spode Ltd.).

USA Agent. Chinese celadon vase'

Provenance: Purchased by Ronald Copeland from H.R. Hancock, 37 Bury St, London, on 10th January 1936 for £36.

A pair of Chinese famille rose figures of cockerels, 18th century. Photo Bonhams

Each modelled standing on one foot supported by jagged rockwork and with the other foot raised, the head turned towards the straight foot with a short beak and protruding eyes beneath the high luxuriant comb, the body vibrantly enamelled with yellow and pink feathers, the wing tips and rounded tail feathers in enamelled black. The taller 39cm high (2). Sold for £23,750 inc. premium

Labels: T.32 L.D.C., W 37(C) and Dickinson, 108 Wigmore Street, London, no.20790, the other with T.31 L.D.C., the same other two labels and traces of another now removed.

Provenance: Purchased by Leonard Cunliffe from W. Dickinson & Son, 108 Wigmore St, London, on 3rd April 1913 for £325 (together with two other items).

A pair of famille verte models of Buddhistic lions, Kangxi. Photo Bonhams

Each lion modelled with wide grinning jaws open to reveal a red-enamelled tongue, beneath bulging balk eyes and applied snailshell curls forming thick brows, mane and bear, one lion turning its head to the right with a front paw resting protectively over a playful cub and the other turning to the left and supporting a front paw on a brocade ball, both mounted on integral high plinths each draped with a hanging enamelled with four cranes in flight. Each 45.7 cm high (2). Sold for £23,750 inc. premium

Provenance: Purchased by Leonard Cunliffe from Pawsey & Payne, 1 Bury St, London on 6th July 1916, who acquired the Kylins on his behalf at the Christie's sale held on the same date, lot 115, for £399.

Label: T.1. LD.C.

A Chinese Yixing stoneware 'chrysanthemum' square teapot and cover. Photo Bonhams

The smooth brown clay teapot formed with a single radiating chrysanthemum blossom on each of the four sides, the spout rising from the centre of one blossom and the elegant loop handle arching over the cover also formed as a chrysanthemum flower, the low foot similarly modelled in the form of chrysanthemum petals. 14cm wide (2). Sold for £22,500 inc. premium

A Chinese blue and white archaistic baluster vase, Kangxi. Photo Bonhams

Boldly enamelled around the body with a taotie mask on each side on a leiwen ground above stiff pendent lappets, the foot with a similar stylised archaistic band, the neck with a row of key-fret beneath a band of ruyi head flanked by two handles formed with animal-heads below two rows of pendent lappets at the mouth. 40cm high. Sold for £15,000 inc. premium

Robe dragon (longpao). Règne de Jiaqing (1796-1820), Fin 18e-Début 19e siècle, kesi, soie. don Jean et Krishna Riboud, 1990. Paris, musée Guimet - musée national des Arts asiatiques (C) RMN-Grand Palais (musée Guimet, Paris) / Jean-Gilles Berizzi

Robe, 19e siècle, soie et broderies, donation Krishna Riboud. Paris, musée Guimet - musée national des Arts asiatiques (C) RMN-Grand Palais (musée Guimet, Paris) / Jean-Gilles Berizzi

Robe dragon aux douze symboles d'homme mandchou (jifu), milieu du règne de Qianlong (1736-1795), fil de métal, soie. Paris, musée Guimet - musée national des Arts asiatiques (C) RMN-Grand Palais (musée Guimet, Paris) / Michel Urtado

Badge impérial rond, 18e siècle, dynastie Qing (1644-1912), satin, soie brodé, don Jean et Krishna Riboud, 1990. Paris, musée Guimet - musée national des Arts asiatiques (C) RMN-Grand Palais (musée Guimet, Paris) / Jean-Gilles Berizzi

Insigne d'un officiel civil de premier rang, dynastie Qing (1644-1912), règne de Kangxi (1662-1722), kesi, satin, soie brodée, donation Krishna Riboud. Paris, musée Guimet - musée national des Arts asiatiques (C) RMN-Grand Palais (musée Guimet, Paris) / Jean-Gilles Berizzi

Dessus de housse de coussin, début 18e siècle, règne de Kangxi (1662-1722), soie, tissu façonné. Don Jean et Krishna Riboud, 1990. Paris, musée Guimet - musée national des Arts asiatiques (C) RMN-Grand Palais (musée Guimet, Paris) / Jean-Gilles Berizzi

Dessus de coussin, 18e siècle, règne de Qianlong (1736-1795), soie , tissu façonné, velours, velours façonné. DonJean et Krisnha Riboud, 1990. Paris, musée Guimet - musée national des Arts asiatiques (C) RMN-Grand Palais (musée Guimet, Paris) / Jean-Gilles Berizzi

Dessus de chaise, fin 19e siècle, soie, tissu façonné. Donation Krishna Riboud. Paris, musée Guimet - musée national des Arts asiatiques (C) RMN-Grand Palais (musée Guimet, Paris) / Jean-Gilles Berizzi

Georg Flegel, "Schrankbild" ("L'Armoire"). Huile sur Toile. Galerie Nationale - Prague

Georg Flegel est un peintre allemand, né en 1566 à Olmütz et mort le 23 mars 1638 à Francfort-sur-le-Main. Il est le premier peintre allemand réaliste et l'un des plus grands peintres du xviie siècle.

Il acquiert le titre de citoyen de Francfort en 1597. Il travaille dans l'atelier du peintre flamand Lucas van Valckenborch. Flegel se spécialise dans des peintures de repas et des bouquets de fleurs.

Je privilégie tout d'abord celles qui montrent des porcelaines Wanli...

Georg Flegel, Stilleben mit Brot und Zuckerwerk", "Nature Morte au Pain et Sucreries". Huile sur Bois. Vers 1630-35. Städlsches Kunstinstitut - Franfort.

Georg Flegel, "Nature Morte à la Souris, Alcyon-Pie et Fruits". Collection Privée - Domaine Public.

Georg Flegel, "Nature Morte aux Oeufs et Coccinelle". Huile sur Bois. Galerie Narodni Prague.

Georg Flegel, "Nature Morte à l'Oeillet". Vers 1630-35. Nadodni Galerie - Prague

Georg Flegel, "Vin et Sucreries", Vers 1630-35.

Georg Flegel, "Nature Morte aux Fruits secs, Souris et Perroquet". Vers l630-35. Huile sur Bois. Alte Pinakothek - Munich

Georg Flegel, "Nature Morte au Scarabée", 1635 - Huile sur Toile

puis les autres,

Georg Flegel, "Nature Morte au Vin et aux Petits Poissons". Huile sur Bois - 1637. Musée du Louvre - Paris.

Georg Flegel, "Nature Morte à la Mésange et à la Caille Rôtie", vers 1630-35

Georg Flegel, "Nature Morte à la Sardine et à la Libellule". Vers 1630-35

Georg Flegel, Nature Morte à la Bougie. Vers 1630-35. Staalliche Kunsthalle - Karlsruhe

Georg Flegel, "Nature Morte au Fromage et Cerises". Hule sur Toile - 1635. Staatsgalerie - Stutgardt

Georg Flegel, "Nature Morte au Perroquet et aux Desserts", Huile sur Cuivre.

Georg Flegel, "Nature morte avec mon Perroquet" - Aquarelle, 1ere partie du XVIIe. Staatliche Muséeum - Berlin

Georg Flegel, "Iris Espagnol, Belle de Jour et Cerises". Aquarelle, Gouache et Pigments - 1630. Kupertichkabinett - Berlin

Jar with Lion and Landscape Elements. Iran, first half 18th century. Stonepaste; painted under transparent glaze; brass. H. 11 in. (27.9 cm). Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915. 30.95.160a, b. The MetropolitanMuseum of Art.© 2000–2013 The Metropolitan Museum of Art.

The centuries-long popularity of Chinese ceramics in the Islamic world continued into the Safavid era in Iran, as attested by pieces like this which were inspired by the shapes and conventions of painting particular to China. Of course, the most popular types were copies of blue-and-white ware. The staid depiction of a flowering landscape in a black and gray wash on a white background is interrupted by the humorous figure of a dandelion-headed lion. The foot rim, mouth rim, and cover of this jar were made of brass or silvered copper.

Bottle. Iran, 17th century. Stonepaste; painted under a transparent glaze; copper alloy. H. 4 7/8 in. (12.4 cm) Diam. 5 3/4 in. (14.6 cm). Anonymous Gift, 1974. 1974.370.13. The Metropolitan Museum of Art.© 2000–2013 The Metropolitan Museum of Art.

Bottle with Running Quadrupeds. Iran, 17th century.. Stonepaste; painted in blue under transparent glaze. H. 12 5/16 in. (31.3 cm) Gr. D. 7 15/16 in. (20.2 cm). Rogers Fund, 1970. 1970.38. The Metropolitan Museum of Art.© 2000–2013 The Metropolitan Museum of Art.

Dish with a Swimming Duck. Iran, 16th century. Stonepaste; painted in blue under transparent glaze (Kubachi ware). H. 3 1/4 in. (8.3 cm) Diam. 13 1/4 in. (33.7 cm). Gift of Mr. and Mrs. Lester Wolfe, 1968. 68.223.12. The Metropolitan Museum of Art. © 2000–2013 The Metropolitan Museum of Art.

Dish with a Lotus Design. Iran, 16th century. Stonepaste; painted in blue under transparent glaze ("Kubachi" ware). D. 13 in. (33 cm). Rogers Fund, 1908. 08.157.4. The Metropolitan Museum of Art. © 2000–2013 The Metropolitan Museum of Art.

This dish belongs to a group of ceramics known as Kubachi ware. Named for a village in the Caucasus where this pottery was discovered in quantity, Kubachi wares are now thought to have actually been produced in Tabriz. One attribute of the Kubachi style is an uneven application of the glaze that has resulted in a surface-wide crackle. Dirt has seeped into the cracklure, discoloring the underlying body to a brownish tint.
Like so many ceramics produced in Iran during the Safavid Period, the style and decoration of this dish was inspired by the highly-regarded Chinese porcelain. The central lotus flower, use of blue and white coloring, as well as the wave pattern on the flat rim illustrate the Chinese influences in this piece. 

Dish with Two Fighting Lions. Iran, possibly Mashhad, ca. 1635. Stonepaste; incised and painted under transparent glaze. H. 3 1/4 in. (8.3 cm) Diam. 17 1/16 in. (43.4 cm). Rogers Fund, 1924. 24.47.4. The Metropolitan Museum of Art.© 2000–2013 The Metropolitan Museum of Art.

In the second quarter of the seventeenth century, Chinese blue-and-white porcelain production decreased and Iranian potters stepped up manufacture of Chinese-inspired blue-and-white ceramics. The two lions, the swirling fleshy clouds with their vegetal appearance, and the repeating scroll all allude to blue-and-white Chinese export ware.

Imitation Blue-and-white Bowl. Iran, possibly Mashhad, 17th century. Stonepaste; painted in blue under transparent glaze. 7 1/2 x 14 1/4 in. (19.1 x 36.2 cm). Bequest of Nellie Kuh, by exchange, Louis V. Bell Fund, and funds from various donors, 1967. 67.108. The Metropolitan Museum of Art. © 2000–2013 The Metropolitan Museum of Art.

Like so many ceramics produced in Iran during the Safavid period, the style and decoration of this dish shows an attempt to emulate the highly-regarded Chinese porcelain. This is illustrated by the blue and white color scheme, as well as the distinctly Chinese imagery of pagoda structures and figures wearing local dress. Moreover, there is an imitation Chinese seal-mark on the base, which in Chinese porcelain would have indicated the dynasty and Emperor. That Iranian potters included this detail indicates the great lengths to which they went to make their wares comparable to the Chinese originals.

Bowl with Flowering Plants. Iran, Mashhad, 16th–17th century. Stonepaste; painted in blue under transparent glaze. H. 7 in. (17.8 cm) D. 15 3/4 in. (40 cm) Gift of Nasli Heeramaneck, 1964. 64.109. The Metropolitan Museum of Art. © 2000–2013 The Metropolitan Museum of Art.

Bowl with Pagodas and Landscape Elements. Iran, Mashhad, 18th century. Stonepaste; painted under a transparent glaze. H. 2 7/8 in. (7.3 cm) Diam. 11 1/2 in. (29.2 cm). Rogers Fund, 1915. 15.86.1. The Metropolitan Museum of Art. © 2000–2013 The Metropolitan Museum of Art.

Vase with Animals in a Landscape. Iran, 17th century. Stonepaste; painted in blue under transparent glaze. H. 4 3/4 in. (12.1 cm) D. 5 5/16 in. (13.5 cm). Harris Brisbane Dick Fund, 1966. 66.107.6. The Metropolitan Museum of Art. © 2000–2013 The Metropolitan Museum of Art.

Like so many ceramics produced in Iran during the Safavid period, the style and decoration of this dish demonstrates an attempt to emulate the highly-regarded Chinese porcelain. This is illustrated by the blue and white color scheme, as well as the imagery of animals in a landscape. Moreover, on the base is an imitation Chinese seal-mark, which in Chinese porcelain would have indicated the dynasty and Emperor. That Iranian potters included this detail indicates the great lengths that artists went in order to make their wares comparable to the Chinese originals.

Dish. Iran, late 16th–early 17th century. Stonepaste; painted in blue under a transparent glaze. H. 3 in. (7.6 cm) D. 13 1/2 in. (34.3 cm). Gift of Elizabeth S. Ettinghausen, in memory of Richard Ettinghausen, 1979. 1979.519. The Metropolitan Museum of Art. © 2000–2013 The Metropolitan Museum of Art.

Like so many ceramics produced in Iran during the Safavid period, the style and decoration of this dish was an attempt to emulate the highly-regarded Chinese porcelain wares. This is illustrated by the blue and white color scheme, as well the floral motifs. Pseudo-Chinese calligraphy has been painted on the reverse of the plate, a detail which illustrates the great lengths to which artists went to make their wares comparable to Chinese originals.

Vase. Iran, 17th century. Stonepaste; painted under a transparent glaze. 8 1/2 in. (21.6 cm). Rogers Fund, 1924. 24.47.1. The Metropolitan Museum of Art.© 2000–2013 The Metropolitan Museum of Art.

Tulip Vase. Iran, 17th century. Stonepaste; painted in blue under transparent glaze. H. 10 3/16 (25.9 cm) Diam. 6 1/2 in. (16.5 cm). Harris Brisbane Dick Fund, 1966. 66.107.1. The Metropolitan Museum of Art.© 2000–2013 The Metropolitan Museum of Art.

Poignée de dague ( khanjar) en forme de tête de cheval, Inde moghole, 18ème siècle. Jade, or, rubis, émeraudes. Section Inde du musée Guimet© Vassil.

Ornement de nez (nâth), 19e siècle. Cristal de roche, or, perle, verre de couleur. Nord de l’Inde. Section Inde du Musée Guimet (C) RMN-Grand Palais (musée Guimet, Paris) / Thierry Ollivier

Tourmaline from California

Tourmaline with Lepidolite from California

ourmaline from Afghanistan by Exceptional Minerals.

Tourmaline var. Liddicoatite from Madagascar by the Arkenstone

Tourmaline from San Diego, California

Tourmaline with Lepidolite and Cleavelandite from San Diego

Mangantantalite with Tourmaline and Muscovite from Pakistan

Tourmaline var. Indicolite from California

Tourmaline with Microlite inclusions, Feldspar, Cleavelandite from Afghanistan

A pair of Gold and Glass ear Pendants. Gold and glass. Hellenistic, 3rd - 1st Century BC. L. 3.1 cm.© 2013 BADER ANCIENT ART Photo ©CLAUDIO BADER

These delicate and wearable ear pendants consist of a gold shield disc that is centered with a rosette. The shield’s border is adorned with fine beaded wire. Below a gold wire pendant holds a green glass pearl. Both are intact and remain in an excellent state of preservation. Price CHF 3,800.00

Provenance: Private collection Switzerland. Previously American private collection 1990’s.

A pair of lunulaform gold earrings. Gold. Roman, 2nd - 3rd Century AD. H. 3.7 cm, W. 2.6 cm.  © 2013 BADER ANCIENT ART Photo ©CLAUDIO BADER

The form of these rings is basically circular where a part is missing, as is in the crescent moon. The centre is adorned with a small sphere and two curled linings of delicate twisted wire. The border is embellished with a double rope form wire and with a separate beaded wire. A small ring and the twisted wire loop are soldered to the back. Both earrings are intact and in excellent state of preservation. Price CHF 1,500.00

Provenance: Private collection Switzerland.

A pair of gold earrings. Gold. Roman, c. 2nd Century AD. Diameter 1.7 cm.© 2013 BADER ANCIENT ART Photo ©CLAUDIO BADER

These earrings have the form of a shield that is surrounded with beaded wire decoration. The stud in the center also consists of beaded wire and has a raised globule on top. The shields are hollow where the back side is soldered onto the front. Fine detail is the small hole in the back, to let the air escape during firing. The hoops are made from two gold wires that were twisted. The earrings are wearable and of very fine workmanship. Price CHF 1,900.00

Provenance: Private collection Switzerland. Previously UK private collection 1980’s.

Rectangular shaped pendant Gold. Roman, 1st Century AD. L. 1.7 cm, H. 2.1 cm.© 2013 BADER ANCIENT ART Photo ©CLAUDIO BADER

This rectangular gold pendant at the rim has a ribbed ornamental rope encircling two thinner wire decorations. The plate has a central boss surrounded with beaded wire and four granules on each corner as well as one granule on front of the loop. The pendant is intact and in a very good state of preservation. Price on request.

Provenance: Private collection Switzerland. Acquired at UK art market, prior to 1985.

Finger ring. Gold and nicolo. Roman, early imperial, c. 1st Century AD. H. 2.2 cm. Inner diameter 1.8 cm.© 2013 BADER ANCIENT ART Photo ©CLAUDIO BADER

This fine and wearable finger ring in solid gold has a carefully carved nicolo intaglioshowing a female bust to her left. The ring is intact and remains in an excellent state of preservation. Price CHF 6,900.00

Provenance: Private collection Switzerland. Previously American private collection 1990’s.

Ring in the form of a Hippocampus: Gold and silver with two garnet gemstones, cut en cabochon. Hellenistic, 3rd - 2nd Century BC. L. 3.8 cm, W. 2.8 cm, Inner diam. ring: 1.7 cm. © 2013 BADER ANCIENT ART Photo ©CLAUDIO BADER

The spiral finger ring is made of gold foil over a silver core. On one side it shows the frontal part of a prancing horse and on the other end the tail of a dolphin. Both endings are executed in silver alloy. 
The iconography connects the ring with the Hippocampus, a hybrid creature shared by Phoenician and Greek mythology. Poseidon is often depicted driving his sea-chariot drawn by hippocampi. 
The ring is adorned with two garnet gemstones, cut cabochon, that are placed in filigree and granulation decorated settings. Price CHF 7,300.00

The ring is in an excellent state of preservation without any restoration. Some deposits from burial are remaining. The object is accompanied by a detailed archaeometric report supporting the authenticity.

Provenance: Private collection Switzerland. Previously German private collection, c. 1970’s - 1980’s.

Spacer bead. Gold with granulation decor. Phoenician, c. 900 – 500 BC. L. 2.9 cm, W. 2.0 cm, D. 0.5 cm. © 2013 BADER ANCIENT ART Photo ©CLAUDIO BADER

This rare two sided plague is decorated with motives in granulation technique that are inspired by Egyptian iconography. On one side is a winged scarab, while the reverse shows a wedjat, the Eye of Horus. The spacer bead is hollow cast but rather thick walled. The workmanship of the granulation is typical for the Phoenician jewellery work from this time period. Most likely the plague has been a centre piece of a double necklace, as can be seen by the four stringing holes. The spacer bead is in an excellent state of preservation without any restoration. The object is accompanied by a detailed archaeometric report supporting the authenticity. Price on request

Provenance: Private collection Switzerland. Previously collection Madame Guerlain, Paris. 
Purchased by her husband on the Paris art market prior to 1980.

BADER ANCIENT ART. http://www.baderancientart.com

A silver-mounted Japanese Arita porcelain jug, circa 1700, the lid of later date. Photo Sotheby's

the hinged lid engraved at the center with a rose, the thumb piece shaped as a bird, bearing pseudo marks; height 22.5 cm. Estimate 1,500 — 2,500. Lot Sold: 3,000 EUR

Sotheby's. Property from the Estate of Queen Juliana of The Netherlands: All to be Sold for the Benefit of Charity. Amsterdam | 14 Mar 2011 - www.sotheby's.com

A silver-mounted Japanese Arita porcelain ewer, the jug, circa 1700, the silver mount, 19th century. Photo Sotheby's

the mounts, decorated with swags and surmounted by an urn-shaped finial, apparently unmarked; height 32.5 cm. Estimate 2,000 — 4,000 EUR. Lot Sold: 6,875 EUR

Sotheby's. Property from the Estate of Queen Juliana of The Netherlands: All to be Sold for the Benefit of Charity. Amsterdam | 14 Mar 2011 - www.sotheby's.com

Stunning Alexandrite and Diamond Ring. Photo courtesy J.S. Fearnley

This stunning alexandrite ring features a 6.43 carat alexandrite that is of Ceylon origin and excellent color change. Beautifully accented by old European-cut diamonds, this ring is of superior quality and the alexandrite has been tested by the American Gemological Laboratories. Price Upon Request

Platinum ring set in the center with an oval alexandrite weighing 6.43 carats, framed and flanked by 14 old European-cut diamonds weighing approximately 5.00 carats, gross weight 11.7 grams, size 6 1/2. Accompanied by AGL report no. CS 52959 dated 01/21/13 stating that the alexandrite is of Ceylon origin, untreated, and has an excellent color change with a 90 to 100% degree of color change.

J.S. Fearnley. 87 West Paces Ferry Rd. Suite 2, Atlanta, GA, 30305 - 404.812.6464

Alexandrite & Diamond Ring, 5.50 carats. Photo MS Rau Antique

Alexandrites are among the rarest treasures in the gem world, and one of the finest examples on the market today takes center stage in this exquisite ring. Weighing approximately 5.50 carats, this captivating, round brilliant-cut gem is set in 18K white gold and accented by .71 carats of colorless diamonds the encircle it and flow down the shank. Certified by C. Dunaigre Switzerland, this exceptional gem exhibits the unique green-to-violet color change for which these stones are renowned. This color change depends on the stones reaction to natural and incandescent light. It displays an emerald green in daylight, and a beautiful purple in incandescent light. 

While the alexandrites almost magical trait of dramatically changing colors in varying light makes it extremely valuable, its history makes it all the more intriguing. The first Alexandrite was discovered in Russia in 1834 on the birthday of Czar Alexander II. The czar claimed all subsequent finds of this natural chrysoberyl for the throne, making this truly the gemstone of royalty. 

MS Rau Antiques. 630 Royal Street. New Orleans, LA, 70130 - 877-315-8652

Spectacular 12.18ctw Alexandrite Earrings. Photo courtesy Shreve, Crump & Low

Platinum cluster earrings consisting of 1 cushion cut Alexandrite weighing of 6.03 carats with AGL certificate CS 55403, and 1 Alexandrite weighing 6.15 carats with AGL certificate #CS 55402, the center stones are set with 1.25 carats total weight of round brilliant cut diamonds. Price Upon Request

Shreve, Crump & Low. 39 Newbury Street, Boston, MA, 02116 - 617.969.6262