"Kinrande" bowl from the donation of the Grand Duke of Tuscany, Ferdinando I de 'Medici. China, Ming dynasty (1368 - 1644), Jiajing era (1522 - 1566). Porcelain Collection. PO 3228. Porcelain, painted in underglaze cobalt blue, green glaze; remnants of gold paint visible. H. 6.5 cm, D. 11.8 cm © Staatliche Kunstsammlungen Dresden 2013

"Kinrande" bowl from the donation of the Grand Duke of Tuscany, Ferdinando I de 'Medici. China, Ming dynasty (1368 - 1644), Jiajing era (1522 - 1566). Porcelain Collection. PO 3229. Porcelain, painted in underglaze cobalt blue, iron red glaze; remnants of gold paint visible. H. 6.3 cm, D. 11.7 cm © Staatliche Kunstsammlungen Dresden 2013

Exquisite Chinese porcelain was already more than a hundred years before Augustus the Strong (1670 - 1733) come to Dresden. In 1590 the Grand Duke of Tuscany, Ferdinando I de 'Medici made (1549 to 1609), the Court of Dresden under Christian I of Saxony (1560-1591), a gift of fourteen Chinese porcelains, eight of which have up to now in the obtain Dresden porcelain collection.These include the so-called iron red glazed "kinrande" bowl with remains of a gold painting of lotus blossoms and tendrils. Shells with an over decorated with gold painting emerged in the mid-16th Century and by the Japanese word "kinrande" ("gold brocade") because the decor is reminiscent of Japanese brocade with gold threads. These beautiful shells were particularly appreciated not only in Japan - in 1616 itself, several hundred of those porcelains owned by the Japanese shogun Tokugawa Ieyasu (1543-1616) have been found - but as in Fostat in Cairo, as well as in the distant Spanish colonies Peru and New Mexico enjoyed one of their beauty. In Europe in the 16th Century had "kinrande" mainly because of the lush decoration with gold to the esteemed art collection objects. (From: Giambologna in Dresden, The Dresden gifts of the Medici in 2006, P. 103 - 110.)

Hat clasp with the "Dresden Green" from the set brillant. Diespach, Franz Michael (jeweler)? Pallard, Jean Jacques (Goldsmith). Dresden / Prague in 1769, using parts of Jean Jaques Pallard, Vienna 1746. Green Vault. VIII 30. Almond shaped "seladongrüner" diamond of 160 Graen (41 carats), 24 round brilliant about 1/2 Graen (6.28 carats), top round brilliant, 411 medium to small diamonds, gold, silver. H 14.1 cm, W 5.0 cm. © Dresden State Art Collections 2013

1742 succeeded Elector Augustus III. with the "Dresden Green" diamonds to bring one of the most precious and rarest gemstones in the world in his possession. He is a true wonder of nature and the purchase price of 400,000 thalers literally amazing. The "seladongrüne" diamond owes its unique coloring of the fact that he was exposed to the interior of the earth natural radioactivity.Augustus III. let the new "House of Diamonds" in a jewel of the Order of the Golden Fleece insert.But the first, created by Johann Friedrich Dinglingerhaus fleece Order had only 1742 to 1745 inventory. Jean Jacques Pallard created at the beginning of 1746 a much fuller gloss piece that needs to be at that time was one of the most magnificent jewelry orders. He was crowned by a still exists today as a single piece of jewelry Coulant (VIII, 22). This was followed in the traditional three-part arrangement of the fire iron, in which the green diamond was used as the dominant center stone. Pallards floral designed iron fire was taken over in 1768 by Franz Michael Diespach unchanged in the still existing Brim. After the death of Augustus III. and his son Friedrich Christian 1763 the 13-year-old Frederick Augustus heir to the Electorate. Since Saxony suffered severely from the consequences of the Seven Years War, much of the diamond jewelery was pledged for borrowing. With the rule adoption Friedrich August III. a representative jewel set jeodch was urgently needed. Because the new elector was not admitted to the Order of the Golden Fleece, he had broken the precious Ordenskleinod and other pieces. 1769 Friedrich August III was. then a "Rich Brill. Hat Agraff "basis. This Hutzier with the "Dresden Green" combines the design language of the Rococo with the early classicist. 1769 was thus a new piece of jewelry originated, made himself aware of the beauty of the original Ordenskleinods advantage.

The Golden Fleece ornament with the Dresden White (top). The center third of the ornament which encompasses the Dresden Green was saved from disassembly and remains part of the present ornament. The top part of the ornament encompassing the Dresden White was saved and is now part of the Dresden White's ornament.

Dresden Green Diamond.

Dresden Green Diamond Scan.

The Dresden Green is a 40.70-carat green diamond measuring 29.75mm x 19.88mm x 10.29mm. 

Its origin is unknown; however, the gem first appeared in a London news article in 1722 that read: “On Tuesday last, in the afternoon, one Mr. Marcus Moses, lately arrived from India, had the honour to wait on his Majesty (King George I) with his large diamond, which is of a fine emerald green colour, and was with his Majesty near an hour. His Majesty was very much pleased with the sight thereof. 

"It is said there never was seen the like in Europe before, being free from any defect in the world; and he has shown his Majesty several other fine large diamonds, the like of which ‘tis said were never brought from India before. He was also the 25th to wait on their Royal Highnesses with his large diamond; and they were surprised to see one of such largeness, and of such a fine emerald colour without the help of a foil under it. We hear the gentleman values it at £10,000.”

The diamond is named after Dresden, the capital of Saxony in Germany where it has been on display for most of the last two centuries; it did make some sojourns to the Soviet Union following World War II and in 2000 to the Smithsonian Institute, Washington – where it was displayed alongside the Hope diamond – but it currently resides in the Green Vault in the Albertinium Museum in Dresden.

The Dresden Green, which probably weighed over 100 (old) carats in its rough form, is unique among world famous diamonds and was originally probably an elongated, unbroken stone, since green diamonds rarely occur as cleavages. The stone’s green colour is due to its natural exposure to radioactive materials.

A 1726 letter from Baron Gautier, assessor at the Geheimes Rath’s Collegium in Dresden speaks of the green diamond being offered to Frederick Augustus I by a London merchant for £30,000.

Instead it was Augustus’ son, Frederick Augustus II, who became its first royal owner, buying the Dresden Green from a Dutch merchant named Delles at the Leipzig Fair in 1741. 

Various figures are given for the purchase price but the most interesting was found in a letter to Frederick the Great, King of Prussia: “For the siege of Brünn, the King of Poland was asked for heavy artillery. He refused due to the scarcity of money; he had just spent 400,000 thaler for a large, green diamond.”

On orders of Frederick Augustus II, the court jeweller Dinglinger set the diamond in the Decoration of the Golden Fleece, but this setting lasted only four years before it was broken up in 1746. 

The king then commissioned the Viennese goldsmith Pallard to design another Golden Fleece incorporating both the Dresden Green and the Dresden White, a cushion-shaped diamond weighing 49.71 carats.

From 1756 to 1763, during the Seven Years War, the contents of the royal Green Vault were removed for safety to the fortress of Königstein, located in southeast Dresden by the Elba River.

In 1768, another jeweller named Diessbach worked the green diamond into a hat clasp along with two other white brilliants weighing almost 40 carats, and a number of smaller diamonds.

The contents of the Green Vault remained on display to the public until the beginning of World War II when they were removed again to Königstein, thus escaping the shattering air raid by the Allied Forces on the night of February 13, 1945.

Later that same year, the Soviet Trophies Commission took the contents of the Green Vault to Moscow, where the Dresden Green stayed until it was returned in 1958. When the Gemmological Institute of America (GIA) examined the stone in 1988, the Dresden Green was proved to be not only of extraordinary quality, but also a rare, type IIa diamond. 

The clarity grade determined by GIA was VS1 and, astonishingly, the GIA graded the symmetry good and the polish very good – rare results for a diamond cut prior to 1741.

In the summer of 2000, Ronald Winston completed arrangements for the Dresden Green to be exhibited in the Harry Winston Gallery at the Smithsonian Institution alongside the world’s most famous diamond – the Hope. 

The Dresden Green has long been considered a “sister” to the Hope diamond, which it closely matches in size, intensity of colour, and historical importance.

Magnificent vessel in the form of a Nautilus sell, H, Jakob (amber carvers), Königsberg, dated 1659. Green Vault. IV 340. Amber different varieties, ivory, silver, gold plated by a wooden rod and foot cuppa are connected. H 34,5 cm, base: 14.5 x 12.0 cm © Dresden State Art Collections 2013

The excellent reputation of its creator Jacob Heise (d. 1667) may have been important reasons that this outstanding masterpiece Kaliningrad amber art was selected as a diplomatic gift first order. There is documented evidence that the shell as a gift of Frederick William of Brandenburg for Johann Georg II of Saxony was determined. On 6 May 1662 thanked this sent over for the two bears and the amber shell. For the shell of a hand was born in the form of the Nautilus sea Godfather. On the other hand, it is as an adaptation of a stone carving in the early 17th Century well-known "shell-shaped" vessel type interpretable. The body of the vessel was assembled from more than 30 different bent, decorated in high relief with tiny, mostly transparent amber plates with maritime scenes. In addition, male and female nature wonders of the sea came in the form of caryatids. A contoured, multi-part strip of light opaque amber is the shell edge and ends in a sweeping volute with grotesque mask. There Neptune, the god of the seas perched on a monster with flaked skin. Jacob Heise left with this extensively signed ornamental pot not only an impressive testimony to his artistic mastery, but also the evidence for the localization of the Heisenberg-workshop to Königsberg. Same time, this dish is for the attribution of other works of Jacob Amber Heise and his workshop invaluable.

Octagonal decorative charger. Schreiber, Georg (amber carvers), Konigsberg 1620-1630. Green Vault. III 86. Amber different varieties, silver gilt; 4.5 x 48.8 x 40.3 cm© Dresden State Art Collections 2013

The octagonal bowl is made of different colors, assembled partly carved and partly smooth polished amber segments and by a stable "frame" of silver gilt strips, similar to the construction of the pot (see Inv. No. III 82), passed. On the longitudinal and lateral sides of the shell edge, the representations were once the place of the four smooth polished plates of pale amber "four monarchies" of white amber. Were evidently meant the rulers of the four mighty empires Assyria, Persia, Greece and Rome, the fall of the prophet Daniel, a dream of the Babylonian king Nebuchadnezzar pointing, had foretold in the Old Testament. Still in the inventory of Camin-room of the Green Vault (1879) these reliefs were obtained in the chamber through the art inventory (after 1732) the traditional state, however, were described as "very blurred". The leader of the Green Vault from 1884 they are no longer mentioned. Because of their poor condition must be removed and they have replaced 1880-1884 by four smooth polished amber panels. In the center of the shell there is a relief. It shows the flight of the Roman Cloelia who escaped with her companions from the camp of the Etruscan King Porsena over the Tiber. The composition goes back to a detail engraving by Georg Pencz.

Female figure with a loincloth (Lampetia?). Dobbermann, Jacob (amber carvers), Kassel, in 1725. Green Vault. III 94. Amber (Bernstein) different varieties, wood pedestal with amber incrustations; Mass: 164 g, H Figure 12.5 cm, H 20.1 cm overall, pedestal B 6.8 cm, D 6.3 cm. © Dresden State Art Collections 2013

The statuette of a woman with loin cloth is one of the best artistic, ever carved out of amber. Once wore the graceful beauty on her head "a gilded sun," as will be read in the inventory in 1879. This attribute is the interpretation of the figure in which it was long believed to recognize the goddess Diana, much easier. It could Lampetia, the Vibrant, be meant. Because in the Metamorphoses of Ovid is described as one of Heliopolites (daughters of Helios and Clymene), which lamented the death of her impetuous brother Phaeton. From the bark of poplars transformed into grieving sisters tears ran down, which solidifies in the sun fell down as amber drops. The creator of this dainty shape was especially artists who became known as Ivory Dobbermann Jacob, who had a preference for the depiction of mythological themes. Came in 1716 in the service of the Landgrave Carl of Hesse in Kassel, he remained until his death in 1745 "in court artists Birnstein." In Kassel (Staatliche Museen, collection of art and crafts and sculpture) is Dobbermanns signed Amber Group "Chronos and Cybele" and the statue of Cleopatra.

The Three Graces, Maucher, Christoph (amber carvers), Gdansk, circa 1680. Green Vault. III 64. Amber different varieties, wood pedestal with amber incrustations; 25.3 x 14.6 x 7.0 cm. © Dresden State Art Collections 2013

The grace of dance has been, and this is exceptional enough to cut out a large piece of amber as a whole. The women of fuller figure and exude a somewhat staid, not divine charm which actually would be appropriate to them. For the three Graces, daughters of Zeus, should as Aglaia, Euphrosyne and Thaleia spread grace, joy and beauty. The group comes from the equally become known as ivory and amber artist Christoph Maucher. Born in Schwäbisch Gmünd, Maucher was established since 1670 at the latest in Gdansk and there freelancing, that is outside the Amber Dreher active guild, which gave him independence, but also envy and resentment brought. Statuettes and groups of this highly talented Amber artist who perhaps had received his training at Nicolaus Turau (Turow) in Gdansk, are in Vienna (Kunsthistorisches Museum, Art Chamber), Modena (Galleria e Museo Estense), London (Victoria & Albert Museum) and the Würth Collection (Künzelsau) and admire the Berlin sculpture collection.

Cover jar with allegories of the seven liberal arts, Königsberg, in 1660. Green Vault. III 77. Amber, silver gilt, H 22.0 cm, W with handle 19.2 cm, 14.4 cm diam foot© Dresden State Art Collections 2013

The sockets on foot, lid and handle the tankard were limited to what is necessary for the stability of the vessel size. The body consists of eight slightly curved amber panels. Below the handle on that a vase is shown. Show the other seven the personification of the "liberal arts" (grammar, dialectic, rhetoric, arithmetic, geometry, music and astronomy), the distinctive costume of the time early to mid 17th Century. The Gefäßfuß consists of eight curved amber platelets in the wild land animals (lion, bull, rhino, elephant, deer, boar, bear and unicorn) are cut into battle position. The amber segments of the lid show birds with branches and marine animals with water deities. Under a smoothly polished amber disc on the cover there is a tiny ivory relief, which has the Old Testament story of the spies Joshua and Caleb on the topic. The described scenes and motifs arise for the amber tankard no coherent iconographic image program, as one example of contemporary silver vessels or ceremonial caskets from the mid-17th Century knows. The style of the carving and the type of mounting principle have the tankards as Königsberg work.

Jug with representation of Greek gods, Konigsberg 1640-1650. Green Vault. III 78. Clear reddish amber, gold, enamel, silver, diamond roses. H 20.5 cm, W with handle 13.4 cm, 7.1 cm diam foot© Dresden State Art Collections 2013

The pot can be attributed to the work of Georg Schreiber from Königsberg. It was a busy and sought-after artist and one of the first two masters of amber turners guild in Königsberg, which was founded in 1641 with the permission of Frederick William of Brandenburg (reigned 1640-1688). The pot has been assembled from various amber segments. In the upper zone are ancient deities represented in the lower masks and ornaments. For decorated with richly colored gold version Email southern German and Danish Flower enamels have seemed exemplary. Also French Stitch Books from this period show a similar floral motifs of elegance and refinement. The diamonds in silver at the mouth rim of the pot and on the lid added the Dresden court jeweler Johann Heinrich Köhler added in 1724, as a settlement has received

Great Basin, Königsberg, probably around 1605-1607. Green Vault. III 76. Amber different varieties, metal foil, silver gilt. Dm 46.0 cm. © Dresden State Art Collections 2013

Electress Magdalena Sibylla (1586-1659), who was born in Königsberg, daughter of Margrave Albrecht Friedrich of Brandenburg, could have received the precious piece on the occasion of her marriage to Elector Johann Georg I (r. 1611-1656) in 1607 as a wedding gift. This is suggested by the Brandenburg coat of arms and a cut in relief lovers, the opposite to each other, each covered by curved polished amber pieces are placed on the edge of the shell. The basin was made in a fascinating technology that enabled a very efficient use of precious multi-colored amber: In an elaborately constructed "scaffold" made of gilded silver amber pieces were used. Tightly joined together they produced a magnificent whole, got stability by a compact Rim. The rim of the bowl decorated with eight oval along Bernsteincabochons under which tiny reliefs are made of light amber bone. Arranged Alternating find represented the four seasons in rural scenes and the founder of the "four ancient world monarchies" (Julius Caesar as the ruler of the Roman Empire, Alexander the Great as a representative of the Greek empire, Ninos of Assyria, Cyrus of Persia), which as a symbol the transience of worldly power function. For this ruler displays a series of engravings by Adriaen Collaerts served by Marten de Vos as a template. Among some of the drop-shaped pieces of amber are tiny bones Brustbildnisse Amber hide. The ornamental bowl arrived in 1687 until long after the death of Magdalena Sibylla's death from the estate of the same name wife of John George II of Saxony (reigned 1656-1680) for Electoral art chamber and from there to the Green Vault in 1832.

Cassette on the cover of a couple in love with putto, Gdansk to 1675-1680. Green Vault. III 91. Amber different varieties, ivory, needle wood, paper, copper and silver-plated brass, iron pins. Weight: 1233 g, Dimensions: 32.3 x 25.9 x 18.0 cm© Dresden State Art Collections 2013

In contrast to the famous Amber tapes of Michel Redlin and his workshop Danziger, the walls of this three-storey container are above the base zone mainly composed of transparent amber pieces that have cuts or facets provided on the front sides with incised decorations are. The base area is made of wood inlaid with amber and filled with ivory reliefs. The "main level" is an assembled from succinic segments in the spring and Nuttechnik box. It is "self-supporting", ie without supporting wooden structure built in the interior, which increases the transparency of amber in a fascinating way, especially when incident light. The soil as well as the inside of the lid are decorated with ivory reliefs. Only after this casket is closed, you can open the mounted second. Also on this floor there is an ivory relief. Inside the two drawers on the narrow sides are miniature representations of lovers. Thus, the cassette is their splendor in its entirety and in its first hidden cost when you open it and look inside. That was their real purpose. As a container in the practical sense, it has never served. For the four placed on the base zone ivory reliefs with allegorical representations of the four continents engravings by Cornelis Visscher were from the beginning of the 17th Century used.

Cassette, scrapping on the cover of two boys, Gdansk to 1680-1690. Green Vault. III 96. Amber different varieties, needle wood, ivory, black mica, paper, copper and silver-plated brass, brass foil, iron pins; 20.0 x 21.9 x 15.6 cm© Dresden State Art Collections 2013

The assembled from different colored pieces of amber, made in the Gdansk workshop of Michel Redlin cassette is set faceted ball feet, between which slightly recessed engraved decorative elements, so-called Aprons, sit. Except for the top frame and encrusted with amber base zone of wood, which can accommodate a wide drawer, the cassette is "self-supporting" up (see also Inv. Nos. III 91, III 95, III 90). The narrow base floor is decorated with pierced carved ivory reliefs. On the front and back sides, these are elongated oval, on the narrow sides hexagonal landscapes and on the drawer along rectangular framed flower garlands. The hinged back cover gives a clear view of the amber pieces covered with soil surface in the center of an oval ivory medallion is used. It shows a scene from Ovid's Metamorphoses, which tells of a fateful love affair of Zeus. This "en relief" cut history is surrounded by numerous smooth ground, amber opaque segments which fill the bottom of the cassette. Clear amber pieces in diamond and oval which are engraved on the reverse and backed with metal foil were also fitted decorative very effective in the soil surface.

Jug in the form of a ship, Schreiber, Georg (amber carvers), Konigsberg 1620-1630. Green Vault. III 82. Amber different varieties, ivory, silver gilt; 22.3 x 21.8 x 9.7 cm, base 8.6 x 6.1 cm © Dresden State Art Collections 2013

1662 "shaped as a worm or skiff" pot is listed as access to the Dresden Art chamber. It consists of thin amber panels that received their original form, but also stability through narrow, gilded silver strips. The amber segments with flowers, fruits, grotesques and scrollwork decorated en relief appropriate and just inserted into the socket. The larger plates on both sides of the inlet, of course, never had a practical sense, show the allegorical figures from Europe and Asia. On the curved silver bars that form the spout, squat two completely identical dragons cut out of thin sheet silver, engraved and gilded. The lid originally graced the figures of Neptune and Orpheus from light amber bone that were lost or broken. Earliest in 1880 was replaced by the Missing the little cherub stored. The pot as well as an associated pool (see Inv. No. III 86), also to admire the Amber Cabinet in the Green Vault, are among the most beautiful works of Georg Schreiber. It was a busy and sought-after artist and one of the first two masters of amber turners guild in Königsberg, which was founded in 1641 with the permission of Frederick William of Brandenburg (reigned 1640-1688).

Hourglass for an hour, probably Gdansk, 2 Half of the 17th Century. Green Vault. III 93. Amber different varieties, wood, glass, brass rods, brass foil, textiles, silver-coated metal filaments, sand; 14.1 x 5.7 x 5.7 cm© Dresden State Art Collections 2013

The hour glass is one of the very rare examples, there are the frames made of amber. The sand-glass is composed of two separate glass flask. The junction was probably cemented with pitch, wax or resin and dressed for decorative reasons, probably to ensure stability with fabric. The two bases of the hourglass are made of pine, glued to the different colored amber plate (inlaid) were.The front side surfaces are veneered with transparent back engraved amber pieces and to increase the luminosity deposited with brass foils. Four brass rods have been "lined up" to the hollowed amber pieces that connect the bases together and make the case complete. The lost Eckapplikationen were added during the restoration completed in 2002. The model for this supplement was almost identical in the Hourglass (Hamburg) Altona Museum. There is no doubt that both hourglasses come from the same workshop. Very similar materials and design features has an hourglass in the collection of the Catherine Palace (Pushkin / Tsarskoye Selo).

Humpback Cup with Venus, 2 Half of the 16th Century; Green Vault. III 92. Amber in different varieties, silver, gold plated, mirror glass. H 16.0 cm (without figure).© Dresden State Art Collections 2013

How the Cup series with hump (see Inv. No. IV 329) includes the humpback Cup with Venus, although later changed to the few remaining testimonies of Königsberg amber art from the second half of the 16th Century. An idea of its original appearance has the back of the structured into two rows hump cuppa. Probably a strong damage that had resulted in the loss of about two thirds of the upper hump series could have been the cause for the revision of the dainty Cup, which made it an elegant showpiece of the late Baroque: You placed inside the vessel, the figure of a small Venus with screen. A fixed mirror in Kuppaboden imitates water and let be the pretiöse decorative vessel to a quite unusual erotic sexy "Venus bath". When this addition was made is uncertain. It can be assumed that the heavily damaged hump trophy to pieces of non-inventoried "shell" was in the Green Vault and have been transformed into a new work of art by baroque taste before in 1733.

Pokal with Humpback rows, Konigsberg 1570-1580. Green Vault. IV 329. Amber different varieties, applications of carved bone amber, metal foil; H 23.0 cm© Dresden State Art Collections 2013

The cup has typical characteristics that those from 1560/70 to characterize the time incurred in 1600 in Königsberg Amber vessels of this type and connect with each other stylistically. All parts of the Cup, except applications from bone amber, were stilted. Unlike the virtuoso woodturning art pieces made of ivory, the brittle Amber only allowed for a relatively narrowly-sized room for maneuver within the machining on the lathe. Model prison have affected the Königsberg Amber turner vessel forms from the goldsmiths of the Renaissance. The only way to explain the striking hump rows that adorn the vessel.

Kabinettschrank: 1742 von König Friedrich II. von Preußen (reg. 1740-1786) an Kurfürst Friedrich August II. von Sachsen geschenkt © Dresden State Art Collections 2013

The Grünes Gewölbe (Green Vault) in Dresden has an exquisite and exceptionally diverse collection of amber art, which is one of the most important in Europe. In this special exhibition, the main works of amber art from the Green Vault will be presented for the first time in 60 years. The exhibition gives occasion for a further important part of the Green Vault collection to be academically researched and made accessible to a broad audience before being moved to its permanent new home in the Amber Cabinet of the Historic Green Vault in autumn 2006. The current exhibition will also inaugurate the special exhibition room of the New Green Vault, which is named after Louis Sponsel, Director of the Green Vault from 1908 to 1923. The exhibits include vessels, bowls, caskets, ceremonial cutlery and statuettes produced in the amber workshops in Königsberg and Danzig between the late 16th century and the first quarter of the 18th century. It includes works by such renowned master craftsmen as Georg Schreiber, Jacob Heise, Michel Redlin and Christoph Maucher. Amber art was among the most coveted of luxury goods and thus naturally also found its way into royal art and treasure chambers. Some of the artworks of the Green Vault collection were precious acquisitions, while others were diplomatic gifts of Prussian rulers. The great amber cabinet, for example, was given as a gift to Augustus the Strong in 1728 by the King of Prussia. The cabinet cannot be displayed for conservational reasons but a detailed article about it is included in the exhibition catalogue. Many beautifully-crafted objects will be exhibited which were once kept in the drawers of this cabinet. The small amber cabinet which came to Dresden in 1742 as a gift from Friedrich II of Prussia is another jewel of the Green Vault collection included in the exhibition. Other highlights are an amber pitcher and basin set (around 1620-1630), attributed to Georg Schreiber, as well as the signed and dated ceremonial bowl (1659) by Jacob Heise from Königsberg and an amber crucifix which came to Dresden in 1662 and 1678 respectively as gifts from Friedrich Wilhelm, Electoral Prince of Brandenburg to Johann Georg II, Electoral Prince of Saxony. This is also the chance to admire the group of figures "The Three Graces" (around 1680), one of the most famous works by Christoph Maucher from Danzig.

"The Premier Blue" diamond. The rare round blue diamond will go under the hammer in Hong Kong in October, with auctioneers hoping the sale will fetch up to 19 million USD despite fears over the slowing Chinese economy. AFP PHOTO / SOTHEBY'S.

HONG KONG (AFP).- A rare round blue diamond will go under the hammer in Hong Kong in October, with auctioneers hoping the sale will fetch a record-breaking $19 million despite fears over the slowing Chinese economy.

Auction house Sotheby's expect the 7.59-carat fancy vivid blue diamond, which is about the size of a shirt button, to set a new record for price-per-carat.

Quek Chin Yeow, Sotheby Asia's deputy chairman, said Hong Kong was the natural venue to sell the gem, known as "The Premier Blue", with collectors expected to fly in from all over the world.

"While there is a slowdown (in Chinese economy), the number of top-level collectors are still there," he told AFP.

"We have been selling very well in Hong Kong."

Hong Kong has become a centre for jewellery auctions thanks to growing wealth in China and other parts of the region, as well as the region's increasing taste for art.

But there are fears for the future of the Chinese economy, the world's second largest, where growth fell to 7.8 percent in 2012 -- its slowest pace in 13 years.

Blue diamonds seldom hit the market and have been coveted by royals and celebrities for centuries, while a round cut is rarely used in coloured stones because of the high wastage.

The most famous example of a blue diamond is the "Hope Diamond", which was bought by King Louis XIV of France in the 17th Century.

The term "fancy" is used to describe a diamond of intense colour, while a gem's saturation grading ranges from light to vivid for coloured diamonds.

The Premier Blue will go up for auction on October 7. Quek said the owner wanted to remain anonymous.

In April, a rare 5.3-carat fancy deep-blue diamond was sold for £6.2 million ($9.5 million) at a London auction, then setting a record for price-per-carat at $1.8 million. © 1994-2013 Agence France-Presse 

Elégante à la robe verte, émaux portant mention Caroli IX . Epoque seconde moitié XVIème. Photo courtesy SVV GEOFFROY BEQUET

11 x 8 cm. Estimation 200 € - 350 €

GEOFFROY-BEQUET. 6 rue Président Raymond Poincaré, BP 10120, 17200 Royan 17207. Tél. : 05 46 38 69 35 - Fax : 05 46 39 28 05 - geoffroy-bequet@royanencheres.com

Cup as Daphne with coral tines, Jamnitzer, Abraham (silversmith), Jamnitzer, Wenceslas (draft), Nuremberg, 1580-1586. Green Vault. IV 260. Silver, gold plated for the most part, Coral. H. 64.6 cm© Dresden State Art Collections 2013

Already in treasury inventory of 1586/87 this work is listed as "1 Silver bilt breast of a virgin, with a large gewechß of coral Zincken ..." . Certainly the bizarre object was never meant for practical use, even if remove the upper body of the nymph in belt height and hollow lower part could in principle be used as a vessel. The statuette is rather to be regarded as an artistically and intellectually challenging goldsmiths plastic. It tells the written down by the ancient poet Ovid story of the nymph Daphne, who - in order to escape the approaches of the god Apollo - transformed into a laurel tree. To illustrate the miraculous metamorphosis of a coral tines whose shape corresponds to the branches of a tree is used. The man-made work of art that combines ideally with rare Naturalie. Like the goldsmiths brands reveal is a work Jamnitzer Abraham, son of the great Nuremberg goldsmith Wenzel Jamnitzer that was 1580 champion. He repeated in every detail with the Daphne a statuette that his father had created 1569-1576 and is now located in Ecouen the Musée National de la Renaissance. This was made possible with the help of molds, which were preserved in his father's workshop.

Cabinet piece "Noli Me Tangere", Dinglinger, Georg Christoph (Goldsmith); coral figures: probably Trapani (Sicily), in 1700; Green Vault. VI 55. Coral, silver, gold, precious stones, mirror glass. H 19.5 cm, W 15.1 cm, depth 8.1 cm, base surface: W 15.3 cm, D 7.8 cm© Dresden State Art Collections 2013

Works with religious themes play in the Dresden treasury quantitatively a minor role. The finest examples of the cabinet piece belongs to the "Noli Me Tangere", which was "delivered Hoff Joubelier thing Lingern" 1725-1733. It is devoted to an episode from the Gospel of John (20, 14-17): the risen Jesus appears to Mary Magdalene, who keeps him at first for a gardener until he reveals himself to her. His request not to touch him ("Noli Me Tangere") because he had not yet ascended to heaven, gave its name to the famous scene. The blood carved coral figural group was most probably built in the Sicilian town of Trapani, whose coral works were coveted in Europe. As an adequate framework of the precious preciousnesses is a stage-like architecture of gilded, decorated with precious stones silver. It is the Hofgoldarbeiter Georg Christoph Dinglingerhaus, the youngest brother, Johann Melchior attributed. The scene of extensive ruin arc takes on the grave vault cover, had disappeared from the Jesus, the mirror visually expands the space used there in depth. The highly stylized engravings on the bottom panel indicate discounts and a fountain and define the bounded laterally by a balustrade the scene as a garden. In the stage-like plant, the piece is related to the Italian cribs, the figures also show coral in silver settings.

Nautilus with coral tines, Köhler, Johann Heinrich (Goldsmith), Bellekin, Cornelis van (Perlmutterschnitzer). Fußgruppe: probably Nuremberg, early 17th Century. Green Vault. III 185. Nautilusgehäuse, silver, gold, coral, garnet. H 42.0 cm, W 26.0 cm, D 13.0 cm© Dresden State Art Collections 2013

At the first establishment of the Green Vault treasure chamber museum commissioned as August the Strong in 1723 the jeweler Koehler with the sighting of the historical collection's holdings. A total of 155 pieces were restored, new gold plated or provided with a cold fresh paint. The grotesque shapes of the Amsterdam Nautilusgehäuses and about fifty years earlier created the Nuremberg goldsmith plastic inspired to Köhler, witty works to bring together both an imaginative splendor vessel. The Fußgruppe with the dragon, whose abdomen is a large coral tines and is mounted on an armored and masked bocksbeinigen creature, even in his time of origin wore a Nautilus. This is evident from the inventory of the art collection of 1640, which lists as "the one piece uf snails Berlnmutter silver gantz vergüldeten drachenn, because the schwantze a beautiful gewachssener CorallenZincke uf which does the same rest, [...] on top of it a Silver vergüld a weibswild [sic]. " With the design of clips to Köhler relating directly to the grotesque, which coat the surface of the Nautilusgehäuses in black and bas-relief engraving as a fine web. The bizarre vessel shows as an example not only creativity and artistic sensibility of the court jeweler, but also the influence of historically grown treasure art collection to the so-called Augustan Baroque.

Fine Kabinettstück with a coral as a tree, probably Dresden, 1720-1730. Green Vault. VI 50. Coral tines, baroque pearls, gold, enamel, silver, gold plated, Jaspisachat, onyx, diamonds, emeralds, rubies. 15.6 x 8.8 x 7.0 cm© Dresden State Art Collections 2013

From the arms of Korallenzinkens small branches protrude from gold enamel, which transform the highly branched marine plant for deciduous tree. On the branches of a walnut-knabberndes squirrel and a bird settled. Other animals inhabit the rectangular base plate Jaspisachat whose lively, fibrous structure reminiscent of a mossy, forest floor covered with needles. The geschmelzte green parrot who wears a large diamond at stomach has occupied its wings spread wide with rubies. It stands on a small grassy hill from a baroque pearl and green gold enamel, from the hervorkriecht a snake. These approaches a stork brought his right leg in a defensive gesture against the reptile. A frog in a pearl whose body was used originally, completes the scene. The juxtaposition of Stork and snake is unlikely to be of any nature - was but the fight between the two animals as a symbol of the defense of the wise Christians, embodied by the stork, against the temptations of the devil in the shape of the snake. The frog, who, like the snake and the toad to the unclean animals used in Christian iconography as a symbol of the devil and is luxuria (unchastity) and avaritia (H) associated with the attributive vices. The decoration of the pedestal with fruit and flower bunches of stones and enamel hanging on thick, blue garland is directly comparable to the Hellebardiers with Tiger Dog (VI 112). The horned masks with sparkling diamond eyes on the edges of the pedestal also connect the piece with the Galanteriewarenhändler (VI, 89). The origin of this came relatively late in the Dresden collection of art from the same workshop is therefore very likely.

Cover bowl with coral. Version: Szczecin 1583; Cut: Paris, 1 Half of the 14th Century. Green Vault. V 260. Wavy-cut rock crystal in silver, gold, coral teeth, remains of polychromy. Height: 37.9 cm, foot: 14.4 x 16.5 cm; cover: 15.6 x 21.7 cm© Dresden State Art Collections 2013

The ornamental pot with coral comes from the possession of the Erdmuthe of Stettin-Pomerania (1561-1623). Below the bottom of the crystal bowl is on the medallion in glass painting their name and only barely legible date 1583, which allows the dating of the text, the most likely comes from Szczecin court goldsmith Egidius bare. The rock crystal bowl is decorated with swirls cuts.French inventories refer to this in the 14th Century novel type of cut as "ondoyé s manière de soleil". Probably in Paris this especially for decorative rock crystal vessels cut was invented and then taken over by Venetian stone cutters. Only about 15 executed in this technique shells are known so far. Those in the Green Vault is one of the best quality. How they came to Dresden, is unknown. Maybe it was a gift from Erdmuthe to her sister Sophia of Brandenburg, who was married since 1582 to Christian I of Saxony (reigned 1586-1591).

Small jewelry altar with St. Joseph. Köhler, Johann Heinrich (Goldsmith); coral work: probably Trapani (Sicily); goldsmiths version: Dresden, 1729-1732. Green Vault. VI 28. Coral, silver, gold, enamel, gemstones. 30.1 x 18.1 x 10.5 cm© Dresden State Art Collections 2013

In a niche-like architecture, crowned by three vases with jeweled, enameled flowers, presents itself under a halo with the image of Our Lady of St. Joseph of Nazareth. He is represented in ancient costume and holding in his left arm the Christ child. The back of the small house altar decorated with an engraved illustration of John of Nepomuk (1345-1393), which is shown as a martyr with palm branch and crucifix. Due to his canonization took place in 1729 he enjoyed great popularity at that time. In any case, as both John and Joseph to Maria Josepha, the pious daughter of Augustus the Strong, particularly revered saints included. The figure of St. Joseph, the relief of the Madonna, the small busts and other decorative elements are carved from coral and probably come from Italy, where the artistic processing of this fascinating natural material had reached its greatest importance. A center was located in the Sicilian town of Trapani, their products can be found today in many European collections. The restrained decorated with gold, enamel and precious stones in silver version is of the late style of Johann Heinrich Köhler. The jeweler sold the small altar for the considerable sum of 1,000 thalers to Augustus the Strong, who him on 11 February 1732 handed over to the Green Vault.

Vase. China, Jingdezhen Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3069. Porcelain, decorated with black glaze over "mirror black" in gold. H. 44.3 cm, D. 20.2 cm© Dresden State Art Collections

In European literature can the term "black mirror" on the letters of the French Jesuits Dentrecolles François-Xavier (1664 - 1741) from 1712 and 1722 lead. He attended the Chinese porcelain factory in Jingdezhen, describing the production and composition of the glaze.According to him, it is in "mirror black" - porcelain to objects that are immersed in a "transparent black" glaze, which has a high proportion of "blue color" and are often provided later with gold paint. The Chinese name wu jin (Black Bronze) refers to the main component of the glaze, the so-called Bronze earth with a share of 13.4 percent iron oxide, which was not added manganese and cobalt. The color of the temperature-sensitive glaze can range from a deep black to a golden brown. Although "mirror black" - similar glazes since the Northern Song Dynasty (960 - 1126) were used, only began in the early 18th Century, they also apply to porcelain. Pieces decorated with gold paint, which gives them an especially valued in Europe, varnish-like aesthetic - as already noticed Dentrecolles, "mirror black" were. Nowadays, this can often only guess, since only are remnants of gold paint visible and in places where the overglaze is gone, remains only a shimmering oily residue. The body of the slim lidded with cantilevered lid is decorated with flowering branches in leaves and fruit-shaped image segments. The painting of the cover is defaced, but decorative zigzag bands the foot, shoulder and lid rim decorated can be reconstructed.

Vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 7891. Over decorated porcelain, black glaze "mirror black" in gold. H. 27,5 cm, D. 11,9 cm© Dresden State Art Collections

Covered vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 7887. Over decorated porcelain, black glaze "mirror black" in gold. H. 47 cm, D. 21,4 cm© Dresden State Art Collections

Covered vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 7888. Over decorated porcelain, black glaze "mirror black" in gold. H. 47 cm, D. 21 cm © Dresden State Art Collections

Vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3071. Over decorated porcelain, black glaze "mirror black" in gold. H. 44.4 cm, D. 20.2 cm© Dresden State Art Collections

Covered vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3064. Porcelain, decorated with black glaze over "mirror black" in gold. H. 46.7 cm, D. 20.6 © Dresden State Art Collections 2013

Vase. China, Jingdezhen Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3065. Porcelain, decorated with black glaze over "mirror black" in gold and iron red. H. 42.3 cm, D. 20.8 cm© Dresden State Art Collections 

Vase. China, Jingdezhen Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3066. Porcelain, decorated with black glaze over "mirror black" in gold and iron red. H. 42.7 cm, D. 20.2 cm© Dresden State Art Collections

Vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3067. Porcelain, decorated with black glaze over "mirror black" in gold. H. 43.6 cm, D. 20.4 cm © Dresden State Art Collections © Dresden State Art Collections

Vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3068. Porcelain, decorated with black glaze over "mirror black" in gold. H. 44.6 cm, D. 20 cm© Dresden State Art Collections

Plate. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3077. Porcelain, decorated with black glaze over "mirror black" in gold. H. 3.8 cm, D. 21.9 cm© Dresden State Art Collections

Plate. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3076. Porcelain, decorated with black glaze over "mirror black" in gold. H. 4 cm, D. 22,1 cm© Dresden State Art Collections

Covered jar. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3073. Porcelain, decorated with black glaze over "mirror black" in gold. H. 27.1 cm, D. 12.1 cm© Dresden State Art Collections

Covered jar. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3074. Porcelain, decorated with black glaze over "mirror black" in gold. H. 25,9 cm, D. 12,0 cm© Dresden State Art Collections

Plate. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3079. Porcelain, decorated with black glaze over "mirror black" in gold. H. 3,8 cm, D. 22 cm © Dresden State Art Collections

Vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3070. Porcelain, decorated with black glaze over "mirror black" in gold. H. 43.2 cm, D. 20,7 cm© Dresden State Art Collections

Vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 3072. Porcelain, decorated with black glaze over "mirror black" in gold. H. 44,6 cm, D. 20,4 cm© Dresden State Art Collections

Covered jar. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 7889. Porcelain, decorated with black glaze over "mirror black" in gold. H. 26,1 cm, D. 12,5 cm© Dresden State Art Collections

Vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection.  PO 7890. Over decorated porcelain, black glaze "mirror black" in gold. H. 26.2 cm, D. 11.7 cm© Dresden State Art Collections

Vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection.  PO 7893. Over decorated porcelain, black glaze "mirror black" in gold. H. 26,4 cm, D. 11,4 cm© Dresden State Art Collections

Vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 7893. Over decorated porcelain, black glaze "mirror black" in gold. H. 22,6 cm, D. 11,5 cm© Dresden State Art Collections

Vase. China, Jingdezhen, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722). Porcelain Collection. PO 7894. Over decorated porcelain, black glaze "mirror black" in gold. H. 22,1 cm, D. 11,6 cm© Dresden State Art Collections

Three unknown Elizabethan children. Unknown Anglo-Netherlandish artist, c.1580. Privately Owned.

LONDON.- A little known painting of three Elizabethan children containing what may be the first portrait of a guinea pig has been uncovered by the National Portrait Gallery, London, during the making of its forthcoming exhibition Elizabeth I and Her People (10 October 2013 - 5 January 2014), supported by The Weiss Gallery, it was announced today. 

The portrait depicts three unknown children aged six, seven and five with a beige, brown and white guinea pig, cradled by the little girl at the centre of the group. It is possibly the earliest-known depiction of this animal in a portrait. Popular in Europe as exotic pets, guinea pigs were introduced from South America by Spanish traders. 

In an exhibition richly endowed in portraits with animals, the youngest boy in this painting holds a small bird, probably a finch, which was a particularly popular pet with children because of its striking plumage. Its representation in children’s portraiture may be intended to symbolise the Christian soul by association with depictions of the infant Christ with a goldfinch. 

The sitters almost certainly belong to a wealthy family of the nobility or gentry as they are expensively and fashionably dressed, whilst the skilful painting suggests that it is the work of an artist familiar with Netherlandish techniques. Portraits of children became popular among the nobility and gentry in the sixteenth century across Europe, enabling families to document lineage and fertility, and to capture individual likeness, at a time when child mortality was high. The image reflects the growth in different types of portraits in this period, a major theme of the Gallery’s new exhibition, which is the first to look at the rise of new social classes in Elizabethan society. 

As well as the usual portrait staples of horses, stags and dogs, more exotic animal appearances in Elizabeth I and Her People include an elephant on a crest, a falcon, a ring decorated with a tiny depiction of a grasshopper and an intricate purse made in the shape of a frog. 

William Cecil, Lord Burghley, is shown riding a mule and the Queen herself is depicted with an ermine and, in the recently discovered Isaac Oliver postcard-sized portrait Elizabeth I and the Three Goddesses, with a peacock. 

With of over 100 objects, including accessories artefacts, costumes, coins, jewellery and crafts, Elizabeth I and Her People will include not just portraits of courtiers, but also intriguing lesser-known images of merchants, lawyers, goldsmiths, butchers, calligraphers, playwrights and artists – all of whom contributed to the making of a nation and a new world power. 

The exhibition will show how members of a growing wealthy middle class sought to have their likenesses captured for posterity as the mid-sixteenth-century interest in portraiture broadened. Portraits of courtiers such as Christopher Hatton, Bess of Hardwick and Elizabeth Vernon are joined by explorers such as Francis Drake and Martin Frobisher, ambassadors such as Abd el-Ouahed ben Messaoud ben Mohammed Anoun, financiers such as Thomas Gresham and poets including John Donne. 

Elizabeth I and Her People is curated by Dr Tarnya Cooper, the National Portrait Gallery’s Chief Curator and its Curator of Sixteenth Century Portraits, whose previous exhibitions at the Gallery include Searching for Shakespeare (2006). She is the author of A Guide to Tudor & Jacobean Portraits (2008) and Citizen Portrait – Portrait Painting and the Urban Elite, 1540–1620 (2012). 

The Encounter of the Procurator with his Wife at Ridotto. ©The Bowes Museum

COUNTY DURHAM.- Two stunning paintings which have gone on show at The Bowes Museum in Barnard Castle are described as a significant addition to its important collection of 18th century masters.

The paintings - The Lover of a Venetian Lady and The Encounter of a Procurator with his Wife at Ridotto – are copies of engravings by French painter and engraver Flipart of paintings by the 18th century Italian artist Pietro Longhi, who produced scenes of Venetian life.

Part of a bequest by Rosemary Claire Hunter, they have been bestowed on the Museum by the Art Fund following an application by the Museum’s Keeper of Fine Art, Emma House.

“These two works are attributed to the Maestro dei Riflessi (follower of Longhi) or Master of the Reflections due to the sparkling nature of his brushwork,” said Ms House. The works enhance the Museum’s important collection of Italian paintings, including landscapes by Canaletto and Guardi (given by the Art Fund), which represent the Venetian school in the 18th century.

“The paintings help expand the Museum’s collection into the field of social scenes and life, while enhancing its collection of artefacts relating to the same period,” she added.

The imagery of these paintings links them to the very fine collection of decorative arts -including the Lady Ludlow collection of English porcelain gifted by the Art Fund in 2004 - and equally fine examples of 18th Century textiles, including some fine woven silk fabrics gifted by the aristocracy to the convent of Poor Clares which were gifted to The Bowes Museum in 2009.

The paintings will hang long term in the central picture gallery, which along with its two adjacent galleries has recently undergone major refurbishment. They will sit alongside works by Goya, Boucher, Gainsborough and Reynolds as well as the previously mentioned Canaletto and Gaudi.

The Lover of a Venetian Lady.©The Bowes Museum.

Golden Fleece (Rubin garnish), Dinglingerhaus, workshop of Johann Melchior (jeweler), Dresden, 1722. Green Vault. VIII 122; three great Balasrubies, 70 diamonds, gold, enamel, silver gilt; 17.9 x 9.5 cm© Dresden State Art Collections

The jewels of secular knights made from the most exclusive jewelry princely clothes. One of the oldest and most respected, the Order of the Golden Fleece, was exclusively Catholic princes reserved. Founded in 1430 by Philip the Good, Duke of Burgundy, the toison d'or has been since the early 16th Century to the highest honors of the house of Habsburg, the dignity of the Sovereign Order had fallen to the Burgundian inheritance. The religious character of each knight had to be returned after the death of the religious office. When the Ordensinsignie served a golden jewel in the shape of a ram's coat that was worn on the Order chain around his neck.Collar of the chain or consisted of iron and fire flaming fire stones. The symbols are derived from the Argonauts ago, which tells of the conquest of the famous golden fleece by a group of fearless heroes. August the Strong was since 1697, introduced the year of his election as the second king of Wettin, Duke George to the list of knights. In fact, it was not until 1722 at the same time with his son Frederick Augustus II the insignia of the Order on behalf of the Emperor Charles VI.presented. The emperor granted the Saxon Majesties the privilege to be Knight of the Order of the Golden Fleece, and at the same time to project their own Polish White Eagle Order. The gem of the Golden Fleece, the ruby set was one of the first of many jeweled treasures, of which eleven are still in the Green Vault. The Order is attributed to Johann Melchior Dinglingerhaus who had three unusually large Balasrubine used in the main components. This triad of outstanding principal stones became the ideal of a magnificent fleece Order. Seventy medium sized diamonds also contribute to the coveted Badge of the Order of the Catholic world radiates a great treasure.

Coat button (Ruby garnish). Dinglingerhaus, workshop of Johann Melchior (jeweler), Dresden, before 1719. Green Vault. VIII, 111/1 - III, 111/10; a Balasruby and 14 diamonds, gold, silver, partly gilt; Dm 2.1 cm © Dresden State Art Collections

West knob (Ruby garnish), Dinglingerhaus, workshop of Johann Melchior (jeweler), Dresden, before 1719. Green Vault. VIII, 110/1 - VIII, 110/10 - VIII, 111/11 - VIII, 110/12. Each, a Balasruby and 14 diamonds, gold, silver, partially gilded. Dm 1.7 cm© Dresden State Art Collections

Precious buttons were the princes of the late Baroque and Rococo as little robe closure, but adorned mainly as sparkling trim sleeves, pockets and braids. The representative effect jeweled buttons deliver contemporary descriptions of royal appearances and also the presentation of the 18th European princes Century. For most of August the Strong jewel sets were, as the inventory of 1719 shows three dozen rock knobs and also some three dozen smaller Camisohl or waistcoat buttons. Only the ruby set in it made an exception, because for them only two dozen waistcoat buttons were recorded initially. A well created by Johann Melchior Dinglingerhaus Rubin is already set for the coronation of Augustus the Strong, King of Poland in 1697 demonstrated.Whether, when and to what extent their rock and waistcoat buttons were replaced by the still existing today, is not known. After 1719, the garment buttons were increased by a further dozen or so that they could be used by the Elector-King and his son at the same time. The still existing stock is one of the oldest parts of the ruby set. The skirt and waistcoat buttons vary in size, but not in their form or their stocking each with 14 small diamonds. The center of the button takes a Balasrubin (spinel), which was backed by a red-colored foil. Very typical of early resulting buttons is that the center pieces can be quite different in size, shape and cut. The rubies are the buttons to increase their color effect, set in gold. By thin copper wires were attached to the button bodies. The diamonds on the other hand have the usual silver setting for diamonds. Even the bottoms of the buttons are ornamentally decorated and have an eye with the help of the button was sewn on the garment selected.

Jewel of the Polish White Eagle Order (Ruby garnish), Jordan, Johann August (jeweler), Dresden, 1744. Green Vault. VIII 123. 16 rubies, 480 diamonds, gold, silver, partially gilt, enamel; 10.2 x 7.8 cm© Dresden State Art Collections

Knee buckle (Rubin garnish), Dinglingerhaus, workshop of Johann Melchior (jeweler), Dresden, before 1719. Green Vault. VIII 107 a - VIII 107 b. Balasruby six, six diamonds, silver, gold plated, gold. 3.7 x 4.7 cm© Dresden State Art Collections

Hutschnalle (Ruby garnish), Dinglingerhaus, workshop of Johann Melchior (jeweler), Dresden, before 1719. Green Vault. VIII 105. Balasruby six, six diamonds, silver, gold plated, gold. 4.1 x 5.4 cm © Dresden State Art Collections

Shoe Buckle (Ruby garnish). Dinglingerhaus, workshop of Johann Melchior (jeweler), Dresden, before 1719. Green Vault. VIII 106 a. Balasrubine six, six diamonds, gold, silver, partly gilt; 4.2 x 5.4 cm © Dresden State Art Collections

Knee buckle (Rubin garnish), Dinglingerhaus, workshop of Johann Melchior (jeweler), Dresden, before 1733. Green Vault. VIII 109a - VIII 109 b. Eight rubies and eight diamonds, gold, silver, partly gilt; 3.2 x 4.3 cm© Dresden State Art Collections

To the solid components of a complete gem set among the buckles. Similar in their design of the ordering character of a coordinated jewelry ensembles of the late Baroque is clear. It generally involves three related functional types: a Hutschnalle, two knees and two buckles shoe buckles. The relatively small Hutschnalle served to secure the hat cord around the hat head. Because of the potential visibility also the Doppelkorn opposing piece was decorated with ornament detail at the closure of the Hutschnalle. Using the knee buckles, bearing the name Jarre contemporary animal-buckle, the frets of the breeches at the desired level could be maintained. In the shoes of a slightly larger, at first hardly curved buckle was attached as an ornamental buckle. Created before 1719, the buckles of different sets differ only in the number of stone garnish with six or eight medium-sized colored gemstones. Each buckle received gems, each occupied the corner and center position on the buckle stalk. The colored gemstones were sitting in a golden frame, while the accompanying diamonds were taken to increase their appeal in silver. Only in the second half of the 18th Century it comes to custom buckles forms. The stones of today's Ruby set is only to a limited extent Oriental rubies, in the majority, there are spinels, which were then called BalasRubin or ruby Pallais. The deep red rubies were then very rare, expensive and hard to have a size of 4 to 5 carat. The pale red spinels were therefore adjusted using a color film rubies. They were set in gold, the diamonds also used in silver.

Breast Star of the Order of the White Eagle Polish (Ruby garnish), Dresden, 1722-1733. Green Vault. VIII 121. 268 rubies, 385 diamonds, gold, silver, partly gilt. 15.7 x 15.2 cm© Dresden State Art Collections

To almost every jewel set Augustus the Strong was a jewel of the Polish White Eagle Order. For four jewelery sets made August the Strong also make an order as a star gem. Order this star were in the two most valuable sets, diamond Rose, and the Brillant set, and in the Ruby and the tortoiseshell kit. To a complete decoration of the Order of the White Eagle Polish belonged next to the jewel that was worn on a blue ribbon on the right side, a sewn on the left chest, ornately embroidered orders star. The ruby set for August the Strong had a special meaning. It was the first set with colored gems that he had it made before his election to the Polish-Lithuanian king.Then in 1700 the fashionable use of rubies for jewelry sets received its own symbolism. Your red and white color, which results from the rubies and spinels on the one hand and the diamonds on the other hand, corresponds to the colors of the coat of arms of the Polish aristocratic republic.This did Auguste the strong political use: the ruby jewelry set with diamonds attained the rank of a Polish state set. Therefore, the Elector-King had fully complement the already existing jewelry on to 1719, so the Elector could invest the same with him the royal ruby set as the second person. The Order star is composed of geometric shapes: two corner positioned squares form a cross with eight tips. These are dissolved in 48 beams were alternately set with rubies and diamonds. Edged by a Latin cross rubies is placed the star. The center occupies an unusually large and glowing red ruby. In the arms of the cross can be found in gold the motto "PRO / FIDE / MAKE / GREGE". The Order can be exciting to the jeweler Johann Heinrich Köhler attributed.

Photo taken on November 15, 2010 shows the Bode museum on Berlin's museum island in Berlin. Berlin agreed on August 21, 2013 to build a new museum for 20th century masterpieces by Rothko, Magritte and Dali donated by a wealthy couple, potentially resolving a years-long dispute. AFP PHOTO / JOHANNES EISELE.

BERLIN (AFP).- Berlin agreed Wednesday to build a new museum for 20th century masterpieces by artists including Rothko, Magritte and Dali donated by a wealthy couple, potentially resolving a years-long dispute.

The state museums foundation put forward a proposal for the cash-strapped city to create a 130-million-euro ($174 million) home for the collection directly behind the already overflowing New National Gallery at the Cultural Forum in central Berlin.

The works themselves belonging to millionaire collectors Ulla and Heiner Pietzsch, which also include art by Max Ernst, Andre Breton and Joan Miro, are valued at 150 million euros.

The recommendation marks the likely end of a bitter spat over an initial plan to move one of Berlin's best-loved art collections, a clutch of invaluable Old Master paintings, to another site to make way for the modern works.

The new plan means that the paintings by the likes of Rembrandt, Caravaggio, Duerer and Cranach can remain at the Picture Gallery rather than decamp to the German capital's UNESCO-listed Museum Island.

That scenario had sparked international controversy last year, with two petitions against the move collecting tens of thousands of signatures and formal protests by renowned art historians.

They argued that adored paintings would have to be kept in storage and out of public view for years during the upheaval. Although the cost of the new museum is high, it is much lower than the 375 million euros estimated would be needed to cover the original concept.

German Culture Minister Bernd Neumann welcomed the compromise.

"The realisation of the new proposal would boost the attractiveness of the Cultural Forum and keep the costs in a responsible range," he said.

Berlin, which lacks an industrial base, has come to rely heavily on culture as an economic lifeline and its world-class museums have helped fuel a tourism boom.

The number of visitors to Berlin museums rose by six million or nearly 73 percent between 2002 and 2010, versus just eight percent across Germany, according to a study last year. © 1994-2013 Agence France-Presse

A rare 16th-century scientific artifact, an astrolabe, on display, in London, Great Britain prior its return to a Swedish museum Skokloster Castle, where it had been missing for over a decade. The brass-and-silver astrolabe, made in 1590 and worth around half a million euros ($750,000), turned up when an Italian collector discovered that the piece was listed as missing and came forward to return it, Register Director Chris Marinello said. AFP PHOTO / ART LOSS REGISTER.

STOCKHOLM (AFP).- A 16th century astrolabe, a kind of early "astronomical computer", was returned to a Swedish castle museum on Wednesday, 14 years after it was stolen, the castle's curator said.

"It was returned today and is back in the exhibit already," Bengt Kylsberg at Skokloster Castle near Stockholm said.

The astrolabe was made in Germany in 1590 in copper and silver and signed by Martinus Weiler.

Used to tell time and map celestial objects, it is valued at over $400,000 (almost 300,000 euros).

Kylsberg said the object was "in good shape" and there was "no trace indicating where it might have been" during its absence.

Stolen in 1999, it was recovered a few months ago when an Italian collector tried to sell it and asked his lawyer to consult the online Art Loss Register (ALR) of stolen art obects.

"Once we confirmed it was the same piece as reported to the FBI and Interpol, I negotiated with this lawyer for the return of the astrolabe," Christopher Marinello, a lawyer specialised in recovering stolen artwork for the ALR, said.

"No money changed hands," he said, providing no details on how the Italian collector ended up with the piece.

In January, Marinello helped return a Matisse painting to Stockholm's Museum of Modern Art 25 years after it was stolen. © 1994-2013 Agence France-Presse

A Bronze Food Vessel, Zuo Bao Yi Gui. Early Western Zhou Dynasty, 11th-10th Century BC. Height 9 7/8 in., 25cm. Est. $2/3 million. Photo: Sotheby's.

NEW YORK, NY.- On 17 September 2013 Sotheby’s New York will hold a single owner sale of Magnificent Ritual Bronzes - Property from the Collection of Julius Eberhardt. The auction will present ten pieces that are among the finest examples of their type to have appeared at auction in recent years. Archaic bronzes of the importance and quality of those in Eberhardt collection are extremely scarce. Together they represent the most important group of Chinese archaic bronzes to have appeared at auction since the Albright–Knox sale in 2007. Distinguished by their provenance, which includes pieces going back to the celebrated Chinese collectors of the 19th century, this single owner sale is estimated to bring more than $5 million. 

Dr. Wang Tao, Head of Chinese Works of Art at Sotheby’s New York said: “I have dedicated much of my professional life to the study of archaic bronzes, and in over 20 years in the field I have rarely seen a private collection of such quality. This sale will be a seminal auction moment offering collectors the opportunity to acquire the finest pieces from the peak of the Chinese Bronze Age, and with impeccable provenances.” 

The sale will be led by A Bronze Food Vessel, Zuo Bao Yi Gui, Early Western Zhou Dynasty, 11th-10th Century BC, (est. $2/3 million, above). Sitting on a square pedestal, the front and back of the vessel is dominated by large taotie masks while striking bird handles with flamboyant tail flanges are a daring addition to a circular vessel. The most striking feature is that the taotie mask is again placed on the corners of the square pedestal. This exceptionally rare design is only found on three other peices. This Gui was included in the seminal 1954 Chinese Art Exhibition in Venice. The intricacy of the design and casting of such fine bronze vessel would have required the most experienced mold makers and bronze casters to create a work of such complexity. 

A Bronze Wine Vessel, Mu Xin Zun. Early Western Zhou Dynasty, 11th-10th Century BC. Est. $400/600,000. Photo: Sotheby's.

An additional highlight is an exceptionally beautiful Bronze Wine Vessel, Mu Xin Zun, also Early Western Zhou Dynasty (est. $400/600,000). It exemplifies the Western Zhou artisans’ search for richer and more lavish ornamentation by combining naturalism and abstraction on a single piece. The bronze vessel once belonged to the famous Chinese collector Pan Zuyin (1830-1890) whose legacy still lives today in many major Chinese museums as well as in his hometown Suzhou. The piece was once part of a set of three. The two other bronze vessels which were made by the same owner are now separated, one is in the collection of the Freer Gallery of Art, Washington DC, and the other in that of the Idemitsu Museum in Tokyo, both originally came from the collection of another illustrious collector Duan Fang (1861-1911). 

Other highlights include A Bronze Wine Vessel, Zuo Ce Huan You, Early Western Zhou Dynasty, 10th Century BC (est. $200/300,000). The piece carries a lengthy inscription that records a historic event in the year 978 BC when the Court Register Huan made this precious ritual vessel to honor the royal consort and to make sacrifice to his ancestors. The You was also once in the collection of Pan Zuyin, and has been studied and featured in more than 20 publications. Two Bronze Wine Cups, Fu Bing Jue, Early Western Zhou Dynasty, 11th-10th Century BC, (est. $300/500,000), have the unique form and surface decoration, and once belonged to the noted collector Chen Rentao (1906-1968).

Head of a woman (known as Miriam), Mid-1st century, Yemen. Alabaster, stucco and lapis lazuli. Gift of The American Foundation for the Study of Man (Wendell and Merilyn Phillips Collection) S2013.2.44

WASHINGTON, DC.- The Arthur M. Sackler Gallery today announced a gift of 374 ancient Arabian artifacts from the American Foundation for the Study of Man. Dating from the eighth century B.C. to the second century A.D., the objects were unearthed at the ancient city of Tamna in Yemen and provide invaluable insight into the little-known history of the southern Arabian Peninsula. The collection was assembled by American archaeology pioneer Wendell Phillips in the early 1950s. Together with a team of renowned archaeologists, Phillips compiled thorough excavation records, creating one of the few fully documented collections of Qataban artifacts available to researchers that are invaluable to future study of the region. 

The donation of the complete Qataban collection to the Sackler is made possible by Merilyn Phillips Hodgson, president of the AFSM and sister of the late Wendell Phillips. 

"This collection provides the Sackler with a tremendous opportunity to shed light on the rich history and culture of ancient Arabia, and to do so through the discoveries of one of the most remarkable early archeologists, Wendell Phillips," said Julian Raby, The Dame Jillian Sackler Director of the Arthur M. Sackler Gallery and the Freer Gallery of Art. 

Once admired for its fragrant and abundant foliage and lush pastures, the Qataban empire of the late first millennium B.C. was a hub of cultural exchange, central to the ancient trade routes that extended from the Mediterranean Sea to the Indian Ocean. Tamna was its bustling capital city and reached its peak between the fifth century B.C. and first century A.D., when a mysterious catastrophic fire destroyed the city, leaving it buried under layers of ash and sand for almost two millennia. 

Tamna remained largely undiscovered until the 1950s, when Phillips, a paleontologist, geologist and a self-taught archaeologist, gathered a team and began systematic excavations to unearth and record artifacts using methods that are standard archaeological practices today. His technical methods in excavation and detailed field notes have been critical to the study of ancient Arabia and have laid the groundwork for more recent explorations. 

Highlights among Phillips' discoveries are a pair of striking bronze lions with the figure of Eros, the Greek god of love, on their backs. Known as the "Lions of Tamna," the skillfully cast sculptural forms exemplify the vibrant cultural exchange between the Qataban and Greek empires. Another collection highlight is a translucent alabaster head of a young woman, with lapis lazuli eyebrows and an Egyptian-style hairstyle. Unearthed in the cemetery of Tamna, the head was named "Miriam" after the daughter of a member of the expedition. 

In 1949, Phillips founded the American Foundation for the Study of Man with the mission to “conduct scientific research, study and investigate man and his habitats with emphasis on archaeological investigation, excavation, preservation, analysis and dissemination of scientific results.” The collection is part of the AFSM, originally founded in Washington, D.C., and currently based in Falls Church, Va. 

Selections from the collection were on view in the Sackler’s 2005 exhibition “Caravan Kingdoms: Yemen and the Ancient Incense Trade.” The Qataban empire is one of the least known of the ancient South Arabian empires. This collection holds potential for new research and discovery and is a window into an almost forgotten ancient civilization. In celebration of the AFSM’s gift, the Sackler will mount an exhibition of collection highlights in 2014, while planning further touring exhibitions and conferences, workshops and public programs to encourage the study and research of this remarkable group of works. 

One of a pair of large bronze high reliefs each in the form of a striding lioness surmounted by a figure of Eros, 1st century B.C.E.-mid-1st century C.E., Yemen. Bronze. Gift of The American Foundation for the Study of Man (Wendell and Merilyn Phillips Collection) S2013.202

Gold Phiale Mesomphalos (Offering Dish), 325-€“275 BC. Sikeliote (Sicilian Greek). Gold; 3.7 x 22.8 cm. Courtesy of the Antiquarium di Himera. By permission of the Regione Siciliana, Assessorato dei Beni Culturali e dell’Identità Siciliana. Dipartimento dei Beni Culturali e dell’Identità Siciliana. Unauthorized reproduction prohibited.

CLEVELAND - Sicily: Art and Invention Between Greece and Rome presents masterpieces of art from ancient Sicily, an island crossroads that forged a distinctive Hellenic identity. Occupying a pivotal position in Mediterranean history, former Greek colonies such as Syracuse, Gela, Akragas, and Selinos emerged as wealthy city-states, where innovation and experimentation flourished. This exhibition celebrates Sicilian culture of the fifth to third centuries BC, when its art, architecture, theater, poetry, philosophy, and science left an original and enduring stamp on both mainland Greece and Rome. Over 150 objects bear witness to the military and athletic victories, religious and civic rituals, opulent lifestyles, and intellectual attainments that shaped the western Greek world.

Sicily: Art and Invention Between Greece and Rome has been co-organized by the J. Paul Getty Museum and the Cleveland Museum of Art, in association with the Assessorato dei Beni Culturali e dell'Identità Siciliana. It celebrates 2013 as the Year of Italian Culture in the United States, an initiative of the Italian Ministry of Foreign Affairs, realized under the leadership of the President of the Republic of Italy.

Statue of a Youth (The Mozia Charioteer) (detail), 470–460 BC. Sikeliote (Sicilian Greek). Marble; 181 x 40 cm. Courtesy of the Servizio Parco archeologico e ambientale presso le isole dello Stagnone e delle aree archeologiche di Marsala e dei Comuni limitrofi–Museo Archeologico Baglio Anselmi. By permission of the Regione Siciliana, Assessorato dei Beni Culturali e dell’Identità Siciliana. Dipartimento dei Beni Culturali e dell’Identità Siciliana. Unauthorized reproduction prohibited.

Statue of a Youth (The Mozia Charioteer), 470–460 BC. Sikeliote (Sicilian Greek). Marble; 181 x 40 cm. Courtesy of the Servizio Parco archeologico e ambientale presso le isole dello Stagnone e delle aree archeologiche di Marsala e dei Comuni limitrofi–Museo Archeologico Baglio Anselmi. By permission of the Regione Siciliana, Assessorato dei Beni Culturali e dell’Identità Siciliana. Dipartimento dei Beni Culturali e dell’Identità Siciliana. Unauthorized reproduction prohibited. 

Bust of a Goddess, 325–275 BC. Sikeliote (Sicilian Greek). Terracotta and pigment; 48.7 x 41.1 x 22.2 cm. Courtesy of the Museo Archeologico Regionale Paolo Orsi, Syracuse. By permission of the Regione Siciliana, Assessorato dei Beni Culturali e dell’Identità Siciliana. Dipartimento dei Beni Culturali e dell’Identità Siciliana. Unauthorized reproduction prohibited.

Head of a Goddess, perhaps Demeter or Kore, 350–300 BC. Sicily. Terracotta; 28.8 x 19.1 x 12.2 cm. The J. Paul Getty Museum, Villa Collection, Malibu, California, Gift of Dr. Max Gerchik, 76.AD.34

Antefix (Roof Ornament) with a Head of Acheloös, c. 480 BC. Sikeliote (Sicilian Greek). Terracotta; 21.4 x 18.2 cm. Courtesy of the Museo Archeologico Regionale Pietro Griffo, Agrigento. By permission of the Regione Siciliana, Assessorato dei Beni Culturali e dell’Identità Siciliana. Dipartimento dei Beni Culturali e dell’Identità Siciliana. Photo: Angelo Pitrone. Unauthorized reproduction prohibited.

Sicilian Red-Figured Calyx Krater (Mixing Vessel) with Dionysos and Performers, 375–360 BC. Sikeliote (Sicilian Greek). Terracotta; 40.3 x 36.8 cm. Courtesy of the Museo Archeologico Regionale Eoliano Luigi Bernabò Brea, Lipari. By permission of the Regione Siciliana, Assessorato dei Beni Culturali e dell’Identità Siciliana. Dipartimento dei Beni Culturali e dell’Identità Siciliana. Unauthorized reproduction prohibited.

Statuette of Herakles, 250–150 BC. Sikeliote (Sicilian Greek). Bronze; 22 x 15 cm. Courtesy of the Museo Civico F. L. Belgiorno, Modica. By permisison of the Regione Siciliana, Assessorato dei Beni Culturali e dell’Identità Siciliana. Dipartimento dei Beni Culturali e dell’Identità Siciliana. Photo: Carlo Giunta. Unauthorized reproduction prohibited.

Coin with a Head of Apollo, 410–403 BC. Sikeliote (Sicilian Greek). Silver; diam. 2.8 cm. Courtesy of the Museo Archeologico Regionale Paolo Orsi, Syracuse. By permission of the Regione Siciliana, Assessorato dei Beni Culturali e dell’Identità Siciliana. Dipartimento dei Beni Culturali e dell’Identità Siciliana. Unauthorized reproduction prohibited.

Appliqué of a Satyr, 200–100 BC. Sikeliote (Sicilian Greek). Ivory; 23.3 x 15.8 x 0.9 cm. Courtesy of the Walters Art Museum, Baltimore 71.557. Photo © The Walters Art Museum, Baltimore.

Thymiaterion (Incense Burner) Supported by a Statuette of Nike, 500–480 BC. Sikeliote (Sicilian Greek). Terracotta and pigment; h. 44.6. The J. Paul Getty Museum, Villa Collection, Malibu, CA 86.AD.681.

Caravaggio, "Crucifixion of Saint Andrew". Cleveland Museum of Art

A 'Longquan' celadon petal rim dish, Yuan-Ming dynasty, 14th century. Photo Sotheby's

incised in the center with a large lotus spray, encircled around the well with carved radiating flutes below a petal-lipped everted rim, covered overall with a sea-green glaze pooling in the recesses of the carving, leaving an unglazed orange ring on the base. Diameter 13 1/2  in., 34.3 cm. Estimation 12,000 — 16,000

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

A 'Longquan' celadon bowl, Ming dynasty. Photo Sotheby's

the deep rounded sides carved to the exterior with two bands of narrow upright petals below a classic scroll around the mouth rim, the interior with a mallow floret in the center and a key-fret band below the mouth rim, covered overall with a lustrous glaze of olive-green color, the base with an unglazed ring burnt orange during firing Diameter 8 1/4  in., 20.9 cm. Estimation 8,000 — 10,000

PROVENANCE: Old Japanese Collection since the 1950s

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

A Spectacular Sapphire and Diamond Brooch, by René Boivin, circa 1936, designed as a pigeon’s wing pave-set with circular and baguette-cut diamonds and calibre-cut sapphires, mounted in platinum, subsequently gilt. Est $50,000 to $75,000. Photo courtesy of Sotheby’s

One especially dramatic example of the highly creative jewels designed by Boivin in 1936, one of which was sold in Sotheby’s Geneva in 1991, was a pair of brooches designed as the wing of a pigeon.  With the impressive wingspan of almost 13cm in width of each brooch, the wing’s glorious plumes consisted of pave-set circular and baguette-cut diamonds and calibre-cut sapphires.

Some of the specially cut sapphires were acquired by Daisy Fellowes in Ceylon during one of her voyages aboard her yacht Sister Anne.  She reportedly spent many hours on the sun-drenched deck of the boat musing as to what jewel the stones should embellish, the brooch possibly being inspired by the countless winged species soaring in and out of view.

(source http://www.jewelsdujour.com)

One of Boivin’s tourmaline leaves similar to the pair ordered by Daisy Fellowes in 1939. The single leaf set with oval and cushion-shaped tourmalines in graduated pink and green hues, maker’s mark for Boivin, French assay marks. – Photo courtesy of Sotheby’s

The jewels Daisy purchased and commissioned from the talented designers at Maison Boivin revealed, in particular, her great admiration for their spectacular brooches.  As one of Boivin’s most important and enthusiastic clients, she often acquired several pieces at one time:  Boivin’s records show that in March 1939 she ordered ‘an orchid, a daffodil ring, a chameleon, a pair of earrings, a daisy, an arrow and two tourmaline leaves.’  Apart from the chameleon brooch, every other design was a new creation from Boivin.

(source http://www.jewelsdujour.com)

Anton Mozart, The Tower of Babel. Oil on copper, 43 x 56 cm. Signed centre left: AM (ligatured, on the cottage). Lot 1021 / Result € 305 000. Photo courtesy Lempertz

Provenance: Klinkosch collection, Vienna 1889. - Sigmund Weiner collection, Vienna 1903. - Kofler collection, Lucern. - With art dealer D. Koetser, Zurich. - Private collection, Belgium. 

Literature: H. Minkowski: Turm zu Babel, 1991, p. 85 and 209, no. 339 (as M. van Valckenborch). - M. Rudelius-Kamholz: Der Augsburger Meister Anton Mozart, Dissertation Cologne 1995, p. 67, 129, a. 183. 

In comparison to his Augsburg contemporaries, such as Hans Rottenhammer, Johann König or Mathias Kager, the work of Anton Mozart is still somewhat unknown. He was praised by Philipp Hainhofer however as being an "outstanding landscape painter" (Rudelius-Kamholz). Hainhofer himself was not only a famous cabinet maker but also a successful art agent, mediating works by Mozart to clients such as the Duke of Pomerania-Stettin and Maximilian I of Bavaria amongst others. 
Our painting has only recently been identified as a work by Mozart. Marion Rudelius-Kamholz expressed in her dissertation that it could indeed be an image from an Augsburg painter and rejected the former attribution to Marten Valckenborch (op. cit. H. Minkowski), as did Alexander Wied. In the painting she recognised the prototype for Mozart's designs but did not venture to confirm such an attribution after having only seen illustrations of the work (op. cit. p. 129). 
In the 1600s the theme of the Tower of Babel, a symbol of hybris and divine punishment, was widely popular and can be seen in Mozart's oeuvre on four occasions. Apart from one painting on wood with similar dimensions (now in unknown private possession, cat. no. 1 A20), the paintings are all smaller than our work. All of the variations depict two conspicious ramps leading up to the higher floor of the tower. The fore and middlegrounds of the compositions feature kilns, mills, building sheds, carts and mules along with a plenty of workmen handling wood and stone. On a hill to the right of this picture King Nimrod sits on a horse, accompanied by servants holding a sunshade over him. Before him an architect shows him the plans for the tower. 
Out of all of Mozart's variations on the theme, a tempera on parchment work in the Berlin Kupferstichkabinett (27 x 32 cm, signed, dated 1606, KDZ 17 904) is most similar to ours. The main difference lies in the range of hills in the background of the Berlin composition where, in our painting, the landscape opens to the sea. It is this area that reasons for Mozart's reputation as an outstanding landscape painter. Painted extremely delicately and with a bright colour palette Mozart picks out the distant ships and the shore. A small island to the top of the work is reminiscent of Venice, where a stay at some point is suspected although not yet confirmed. His fellow painters Rottenhammer and König were however active in the lagoon. Also evident in the painting is the Dutch influence and particularly that of Pieter and Jan Brueghel the Younger and Lucas Valckenborch. It is clear however that Mozart combined these influences with his own developing signature style. 
The attribution of this painting will hopefully bring to light works by Mozart formerly attributed to another hand. His monogram is usually cleverly hidden in the composition; here, it is the large A inserted with the smaller M in the rooftop arch of the building shed

http://www.lempertz.eu