Lot 1707. Jadeite and Diamond Pendent Necklace. Estimate 2,600,000 — 3,500,000 HKD (331,734 - 446,565 USD). © Sotheby's.

Set with a highly translucent jadeite cabochon of brilliant emerald green colour, decorated with marquise-, pear-shaped and brilliant-cut diamonds, mounted in 18 karat white gold, length approximately 460mm, pendant detachable. Cabochon approximately 22.98 x 19.86 x 8.41mm.

Accompanied by Hong Kong Jade & Stone Laboratory certificate no. KJ 100490, dated 15 July 2019, stating that the jadeite is natural, known in the trade as "A Jade".

Sotheby's. Magnificent Jewels and Jadeite, Hong Kong, 07 Oct 2019, 02:30 PM

Lot 1692. 4.40 carats Kashmir  Sapphire and Diamond Ring, Buccellati. Estimate 2,400,000 — 3,200,000 HKD (306,216 - 408,288 USD). © Sotheby's.

Designed as a pierced dome centring upon a step-cut sapphire weighing approximately 4.40 carats, embellished with single- and brilliant-cut diamonds, to the shoulders decorated with acanthus scrolls, mounted in platinum, signed Buccellati, numbered, size 6¼, case stamped Buccellati.

Accompanied by SSEF report no. 99709, dated 23 April 2018, and AGL report no.  1087351, dated 16 October 2017, both stating that the sapphire is of Kashmir origin, with no indications of heating; AGL further stating that the sapphire would be classified as Classic™ Kashmir, with no clarity enhancement.

Lot 1705. Pair of Jadeite and Diamond Pendent Earrings. Estimate 2,400,000 — 3,500,000 HKD (306,216 - 446,565 USD). © Sotheby's.

Each suspending a highly translucent jadeite cabochon of brilliant emerald green colour, decorated with pear-shaped, brilliant- and princess-cut diamonds, mounted in 18 karat white gold, post and butterfly fittings. Cabochons approximately 17.35 x 15.14 x 5.73mm and 17.26 x 15.35 x 5.62mm.

Accompanied by Hong Kong Jade & Stone Laboratory certificate no. KJ 100462, dated 9 July 2019, stating that the jadeite tested is natural, known in the trade as "A Jade.

Zhang Daqian (1899-1983), Pink Lotus on Gold Screen, Splashed Ink and Colour on Gold Screen, 1965, 158 × 70 cm. 

Hong Kong - In celebration of the 120th anniversary of Zhang Daqian’s birthday, Sotheby’s will present a large-scale solo exhibition, Zhang Daqian: The Master, from 12 October to 9 November, at Sotheby’s Hong Kong Gallery. Co-organised by Xi Zhi Tang Gallery, the exhibition will feature nearly 60 paintings sourced from the artist’s family and private collectors around the world. This exhibition will encompass important works from different periods of the artist’s oeuvre, with an emphasis on splashed ink paintings, many of which have been featured in major exhibitions and some have never before been seen in public.

Zhang Daqian was a remarkable artist from a young age, though his characteristic splashed ink painting technique was developed at a later stage in his life, during his long residency overseas when he found himself immersed in modern Western art developments and the pioneering output of the Abstract Expressionists. Combining Chinese painting materials and semi-abstract imagery, Zhang Daqian developed a new style that encapsulated an aesthetic rooted in traditional Chinese painting, while imbuing his compositions with a spontaneity to create ravishingly beautiful works with a strong visual impact, making his mark on the history of 20th century art.

A series of public events will be held during the exhibition period, including the launch of Professor Feng YouHeng’s new book, The Paintings of Chang Dai-chien, 1950-1983: From Traditionalism to Modernism, a talk by Professor Feng, and guided tours of the exhibition.

Carmen Ip, Head of Department, Fine Chinese Paintings, Sotheby’s Asia, comments, “Sotheby’s is honoured to present this specially curated exhibition in celebration of the 120th anniversary of Zhang Daqian’s birthday. We are deeply grateful for the generous support from the artist’s family as well as private collectors from around the world, without which it would not have been possible to gather nearly 60 masterpieces in one place for the public to enjoy.”

12 October – 9 November, every Monday to Saturday.

Zhang Daqian (1899-1983), Landscape in Splashed Ink, Splashed Ink on Paper, Framed, 1965, 158 × 70 cm.

Zhang Daqian (1899-1983), Mountain Dwelling Shrouded in the Mist, Splashed Ink and Colour on Paper, Framed, 1967, 102 × 135 cm.

Zhang Daqian (1899-1983), On Route Switzerland-Austria, Splashed Ink and Colour on Paper, Hanging Scroll, 1965, 127 x 61 cm.

Zhang Daqian (1899-1983), Beautiful Scenery in the Mountains, Splashed Ink and Colour on Cardboard, Framed, 1965, 53 x 41 cm.

Parade bedroom, virtual reconstruction of the parade rooms of 1719, Dresden, 2014 © Sächsisches Immobilien- und Baumanagement (mic-vis.de, Studio für Visualisierung)

DRESDEN.- August the Strong’s Royal State Apartments (Paraderäume) and the Porcelain Cabinet in the Turmzimmer (Tower Room) were opened on Saturday, 28 Saturday 2019, marking the culmination of the restoration of Dresden’s Residenzschloss, which started in 1986. The prestigious suite of rooms in the west wing – conceived by the Elector-King personally as a ceremonial centrepiece of his residence – takes visitors to the pinnacle of ostentatious princely splendour on their tour of the museum palace. Together with original artworks from several of Staatliche Kunstsammlungen Dresden’s museums, the painstakingly restored rooms form a unique ensemble of museum-grade rooms. The harmonious interplay of wall textiles, paintings, precious ornamental furniture and porcelains, magnificent robes of state and August the Strong’s royal insignia let visitors experience both the standard of European artistry in the early 18th century and the ceremonial court culture.

August the Strong opened the State Apartments exactly 300 years ago, in September 1719, to celebrate the wedding of Crown Prince Friedrich August and daughter of the Emperor and Archduchess Maria Josepha of Austria. The construction and craft works continued from March 1717 to 2 September 1719 – the day on which the Habsburgian daughter-in-law of August the Strong and his wife Christiane Eberhardine was welcomed in the new staterooms. Not only were the nine rooms of the State Apartments built in the west wing to mark this occasion, the entire second floor of the palace was renovated. The resulting ceremonial, prestigious suite began at the Englische Treppe (English Staircase) and led on through the Riesensaal (Hall of the Giants) and the Turmzimmer (Tower Room) to the west wing.

Audience room, virtual reconstruction of the parade rooms of 1719, Dresden, 2014 © mic-vis.de, Studio for Visualization Berlin / SIB D1 

It housed the most important ceremonial and splendid rooms in the residence, enabling the Prince-Elector of Saxony to prove that his palace was truly the palace of a king, rivalling the residences of other European kings and the Emperor. The interiors grow increasingly luxurious from room to room: Whether in the corner state room to the two antechambers, to the audience chamber and the state bedroom, the rooms seemed to outdo one another in the number and splendour of the candelabras, wall textiles and furniture. This prestigious suite combined touches of the ceremonial style of the French royal court at Versailles with that at the imperial court of Vienna, whereby the state bedroom in the Viennese tradition was used as the most private ceremonial venue, and not for the opulent lever, the morning reception, as was the case under Louis XIV.

In 1997, the Saxon State Government decided that the ceremonial rooms, which had been completely destroyed in the Second World War, should be rebuilt as far as possible. The present meticulous restoration of the rooms to their historic, 18th century condition is an immense achievement by Staatsbetriebe Sächsische Immobilien- und Baumanagement (Saxon Real Estate and Construction Management, SIB) and many regional and international artists and craftspeople. Comprehensive records allowed the rooms to be restored as closely as possible to the original. For instance, Louis de Silvestre’s monumental ceiling paintings were recreated based on colour photographs taken in 1942/1944. The preserved baroque ornamental textiles of the audience chamber with pilasters adorned in intricate gold embroidery and trim were restored and the crimson silk velvet was reproduced to cover the entire wall surface with ‘thread-true’ recreations based on a fragment. Lost tapestries were replicated based on comparable examples. Overall, 300 craft firms from around Europe that have preserved the traditional skills worked together on this project. 

Thanks to timely removal for safekeeping, many of the precious items of furniture from the early 18th century and the following decades, which were in the ceremonial rooms’ inventory, were preserved. They had been stored by the Kunstgewerbemuseum (Museum of Decorative Arts) since the end of the Second World War: the throne, rare silver furniture from Augsburg, French ornamental furniture using the Boulle marquetry technique. Paintings and overdoors by Louis de Silvestre from Gemäldegalerie Alte Meister now complete the current restoration project. As surviving historical pieces, the preserved originals tell the tale of the original interior and the rooms’ eventful past.

In four other rooms that, like the restored State Apartments, are in the west wing, exhibits from the Rüstkammer (Armoury) showcase the overwhelming splendour with which August the Strong staged his own persona and power. The two retirades (private refuges) – a suite of rooms leading from the corner state room to the state bedroom – house an exhibition on the ‘Royal Wardrobe’ of the Elector-King. The robes of state reflect his biography and significant events in his reign. Precious royal baroque fashions from the baroque period share space with August the Strong’s favourite weapons and diplomatic gifts received from the kings of Europe and the Czar. The picture cabinets located behind the audience chamber are dedicated to his royal majesty August the Strong and his son Augustus III. Besides the royal insignia of the Saxon-Polish union, the figurine dressed in the coronation regalia of 1697 with the face of August the Strong from the life mask of 1704 is particularly impressive. Other royal artefacts, like the Saxon electoral hat and the ceremonial royal flags and swords of Poland and Lithuania, reveal the European dimension of the linked Saxon and Polish monarchy.

Coronation figure of Augustus II of Poland. © SKD, Photo: Oliver Killig

The route to the State Apartments also takes visitors through the 100 m² Turmzimmer (Tower Room) in Hausmannsturm of the Residenzschloss. At the time of the wedding, August the Strong displayed his state treasury in the form of the exceptionally precious monumental silver vessels on pedestals and wall shelves there. In the 1730s under August III, the silver buffet was turned into a porcelain cabinet that went on to serve as a prominent showroom for the electoral and royal porcelain collection for 200 years. Now hosting a selection of porcelain, the recreated room has regained its historical function. It houses unique masterpieces from the manufactory in Meissen, like the Johann Joachim Kaendler’s outstanding, highly sculptural vases depicting the elements, returning to their original home after more than 75 years in the depot.

Eva-Maria Stange, State Minister for Higher Education, Research and the Arts: “Restoring the State Apartments to their resplendent former glory, gives the Residenzschloss its soul back. Visitors to the rooms get a great impression of life in the royal court. We must also remember that the principality and its prosperity were built on the work and hardships of the miners who extracted the silver that made Saxony rich, among other things. Even at that time, the economy, science and the arts stimulated one another, creating the admirable halo effect that is still maintained today.”

Marion Ackermann, Director General of Staatliche Kunstsammlungen Dresden: “When opened in 1719, August the Strong’s State Apartments and the Tower Room were the expression of an axiomatically European understanding of culture. Influences from many European countries inspired the efforts to attain perfection and outstanding artistic achievements. 300 years later, we can experience this phenomenon again: It was only the cooperation of many extraordinary Saxon and European craftspeople, artists and restorers, who still master the ancient techniques at a high level that made restoration of the State Apartments, and the Tower Room as a Porcelain Cabinet possible. With respect and admiration, I would like to thank everyone who worked on the project under the guidance of Staatsbetrieb Sächsisches Immobilien- und Baumanagement and collaborated to complete this unique architectural masterpiece.”

Dirk Syndram, Director of Grünes Gewölbe and Rüstkammer: “Nowhere else can you feel as close to August the Strong as in the State Apartments. And no other rule of baroque Europe left behind so many, so magnificent and so personal material testimonies to his time. These many originals make the splendour with which August the Strong surrounded himself directly tangible."

Gérard (II) Scotin after Raymond Leplat, The audience chamber at the reception of the bride in the Dresden Castle on 2 September 1719, before 1728, Kupferstich-Kabinett, SKD © SKD, Photo: Herbert Boswank. 

Jean-Pierre Latz and Denis (?) Gault, Pendule and Piedestal, Paris, around 1700, Museum of Decorative Arts SKD
© SKD, Photo: Elke Estel / Hans-Peter Klut 

The tower room in the Dresden Residenzschloss, 1896. In: The royal castle in Dresden, 1896, panel 20 © Photo and print by Römmler & Jonas, Reproduction: SKD, Andreas Diesend.

Porcelain Cabinet in the Tower Room. © SKD, Photo: Oliver Killig

Dragon vase, Qing Dynasty, Kangxi period, China, Jingdezhen, 1675-1700; h. Approx. 104 cm, Porcelain collection of the SKD © SKD, photo: Adrian Sauer.

Johann Joachim Kaendler, Johann Friedrich Eberlein, element vase Fire from the five-part set of element vases, Meissen, 1742, Porcelain collection of the SKD © SKD, Photo: Adrian Sauer.

Johann Joachim Kaendler, Johann Friedrich Eberlein, element vase Water from the five-part set of element vases, Meissen, 1742, Porcelain collection of the SKD © SKD, Photo: Adrian Sauer.

Johann Joachim Kaendler, Johann Friedrich Eberlein, Element vase Air from the five-part set of element vases, Meissen, 1742, Porcelain collection of the SKD © SKD, Photo: Adrian Sauer.

Johann Joachim Kaendler, Johann Friedrich Eberlein, element vase Earth from the five-part set of element vases, Meissen, 1742, Porcelain collection of the SKD © SKD, Photo: Adrian Sauer.

Johann Joachim Kaendler, Johann Friedrich Eberlein, Grand Vase: Relief Portrait Louis XV. from the five-part set of element vases, Meissen, 1742, Porcelain collection of the SKD © SKD, Photo: Adrian Sauer.

Cover pot with blue base, porcelain manufactory Meissen, c. 1730, Porcelain collection of the SKD © SKD, Photo: Adrian Sauer.

Silver candlestick, Augsburg, around 1700, Kunstgewerbemuseum © SKD

Louis de Silvestre (workshop), King August III. from Poland as prince, after 1716oil on canvas, 146 x 113 cm, Gemäldegalerie Alte Meister © SKD, Photo: Elke Estel / Hans-Peter Klut.

Louis de Silvestre, Queen Maria Josepha, wife of King Augustus III. from Poland as a Saxon spa princess, after 1719oil on canvas, 142 x 114.5 cm, Gemäldegalerie Alte Meister © SKD, Photo: Elke Estel / Hans-Peter Klut

Audience room of the Royal State Apartments. © SKD, Photo: Oliver Killig

Parade rooms in the Residenzschloss Dresden. © SKD, Photo: Oliver Killig

Parade rooms in the Residenzschloss Dresden. © SKD, Photo: Oliver Killig

Parade rooms in the Residenzschloss Dresden. © SKD, Photo: Oliver Killig

Lot 168. A rare pair of blue and white ‘dragon’ jars and covers, Qing dynasty, 18th century; 8 ¼ in. (20.8 cm.) overall height. Estimate HKD 600,000 - HKD 800,000 (USD 76,929 - USD 102,573). © Christie's Image Ltd 2019

Each jar is finely decorated with a pair of dragons amidst clouds, below a band of ruyi-heads around the shoulder and lappets around the foot. The base is inscribed with an apocryphal Jiajing six-character mark. The covers are similarly decorated, box.

Note: The form and decoration of this lot is inspired by Jiajing blue and white jars, an example of which is in the National Palace Museum, Taipei, with a Jiajing mark and bearing an almost identical pattern. See Gugong cangci-Ming qinghuaci (Porcelain of the National Palace Museum: Blue-and-White Wares of the Ming Dynasty), Hong Kong, 1963, pp. 48-49, no. 14 (fig. 1).

fig. 1. A blue and white 'dragon' jar and cover, Jiajing mark and period (1522-1566), Collection of the National Palace Museum, Taipei.

Imperial porcelains produced in the Qianlong reign but with a Jiajing six-character mark are significantly rare. Evidence for this is found in the Comprehensive Records of Zaobanchu Workshops, which states that on the nineteenth day of the second month of the thirty-third year of the Qianlong reign (1768), the Qianlong Emperor commissioned the Imperial Kilns at Jingdezhen to fire three blue and white washers in the style of Jiajing and marked Jiajing, and which were later delivered by Ilingga, Supervisor of the Imperial Kilns, on the eighteenth day of the eleventh month. 

A related Qianlong mark-and-period red and yellow-enameled dragon covered jar, also in the style of Jiajing, is illustrated in Lu Chenglong and Jiang Jianxin eds., Mingdai Jiajing Longqing Wanli yuyao ciqi-Jingdezhen yuyao yizhi chutu yu Gugong bowuyuan chuanshi ciqi duibi, vol. 1, Beijing, 2018, pp. 388-389, pl. 234.

Christie's. The Pavilion Sale - Chinese Ceramics and Works of Art Including the Quek Kiok Lee Collection, Hong Kong, 9 October 2019

Lot 198. A fine blue and white 'butterfly' bell-shaped wine cup, Kangxi six-character mark in underglaze blue within a double circle and of the period (1662-1722); 3 in. (7 cm.) high, box. Estimate HKD 300,000 - HKD 400,000 (USD 38,465 - USD 51,286). © Christie's Image Ltd 2019

Provenance: The John Strong Collection (by label).

Lot 234. A blue and white gilt-metal mounted 'trigram' vase, Kangxi period (1662-1722); 15 in. (38 cm.) high. Estimate HKD 300,000 - HKD 500,000 (USD 38,465 - USD 64,108). © Christie's Image Ltd 2019

Provenance: Sold at Christie’s London, 3 June 1897, lot 29 (sold for £9.9s. to Cooper)
The Collection of William James.

Literature: West Dean Park, Inventory, 1894-1912. WDMS.

Lot 233. A blue and white ‘landscape’ rouleau vase, Kangxi period (1662-1722); 18 5/8 in. (47.2 cm.) high. Estimate HKD 200,000 - HKD 300,000 (USD 25,643 - USD 38,465). © Christie's Image Ltd 2019

Lot 22. A large blue and white gu-form beaker vase, Kangxi six-character mark in underglaze blue within a double circle and of the period (1662-1722); 17 ¼ in. (43.8 cm.) high. Estimate HKD 150,000 - HKD 200,000 (USD 19,232 - USD 25,643). © Christie's Image Ltd 2019

Property of the Quek Kiok Lee Collection. 

Lot 23. A blue and white phoenix tail vase, Kangxi period (1662-1722); 18 ¾ in. (47. cm.) high. Estimate HKD 150,000 - HKD 200,000 (USD 19,232 - USD 25,643). © Christie's Image Ltd 2019

One cartouche with auspicious emblems contains a ten-character inscription reading bogu fengsheng suijiu, shiguang qixiang zeng xin (A long history in collecting antiques has lasted for so long, whilst a new collecting trend has emerged recently) followed by a painted seal impression, wood stand.

Property of the Quek Kiok Lee Collection.

Lot 24. An underglaze-blue and copper-red decorated baluster vase, Qing dynasty, 18th century; 18 ½ in. (47 cm.) high. Estimate HKD 150,000 - HKD 200,000 (USD 19,232 - USD 25,643). © Christie's Image Ltd 2019

Property of the Quek Kiok Lee Collection.

Lot 17. A blue and white ‘figural’ scroll pot, Kangxi period (1662-1722); 6 3/8 in. (16.1 cm.) high. Estimate HKD 80,000 - HKD 120,000 (USD 10,257 - USD 15,386). © Christie's Image Ltd 2019

Lot 29. A celadon-ground blue and white ‘deer and crane’ vase and a celadon-ground underglaze-blue and copper-red ‘deer and crane’ vase, meiping, Qing dynasty, 17th-18th century; Larger: 10 7/8 in. (27.7 cm.) high. Estimate HKD 80,000 - HKD 120,000 (USD 10,257 - USD 15,386). © Christie's Image Ltd 2019

Lot 19. Three blue and white censers, Qing dynasty, 17th century.The largest: 10 ¾ in. (27.3 cm.) diam. Estimate HKD 50,000 - HKD 80,000 (USD 6,411 - USD 10,257). © Christie's Image Ltd 2019

An inscribed rectangular cartouche on one side of the largest dragon censer names the devotee as Li Shengfu, wood stands.

Lot 31. A blue and white and underglaze-red ‘Immortals’ bowl and a blue-ground ‘dragon’ bowl and cover, Qing dynasty, 17th-18th century. Larger: 8 ¼ in. (21 cm.) diam., boxes. Estimate HKD 50,000 - HKD 80,000 (USD 6,411 - USD 10,257). © Christie's Image Ltd 2019

An inscribed rectangular cartouche on one side of the largest dragon censer names the devotee as Li Shengfu, wood stands.

Lot 43. A blue and white ‘Lotus’ charger, Qing dynasty, 18th century; 15 7/8 in. (40.3 cm.) diam. Estimate HKD 30,000 - HKD 50,000 (USD 6,411 - USD 10,257). © Christie's Image Ltd 2019

An inscribed rectangular cartouche on one side of the largest dragon censer names the devotee as Li Shengfu, wood stands.

In an undated image provided by The Museum at FIT, from left, two dresses from about 1755-1760 and a fall 2000 haute couture design by John Galliano for Christian Dior with an underskirt and a metal frontpiece, at The Museum at FIT in New York. Two new exhibitions in New York detail the evolution, and survival, of the fashion industry in France. (The Museum at FIT via The New York Times).

NEW YORK - Paris is widely regarded as “the most glamorous and competitive of the world’s fashion capitals” (to quote The New Yorker). But how and why did Paris acquire this reputation? The history of Paris fashion is usually presented, simplistically, as a genealogy of genius, dominated by “the great designers,” “kings,” or “dictators of fashion.” Paris, Capital of Fashion (September 6, 2019, through January 4, 2020) will be the first exhibition to explore the cultural construction of Paris as the capital of fashion.

Curated by Dr. Valerie Steele, director of The Museum at FIT, it will feature approximately 100 objects, dating from the 18th century to the present. The exhibition will be accompanied by a scholarly book, Paris, Capital of Fashion (Bloomsbury, 2019), edited by Steele, who is also the author of Paris Fashion: A Cultural History. In addition, there will be a free symposium on October 18, 2019. 

Robe à la française, 1755-1760, France. The Museum at FIT, P82.27.1. Photograph by Eileen Costa © The Museum at FIT

Christian Dior (John Galliano), dress, fall/winter 2000-2001 haute couture. Photograph © Guy Marineau. © The Museum at FIT.

Paris, Capital of Fashion opens with an introductory gallery that places Paris within a global context, presenting it in dialogue with other fashion capitals, especially New York. By presenting an original couture suit by Chanel together with a virtually identical licensed copy sold by Orbach’s department store, for example, the exhibition demonstrates how the idea of Paris fashion “works” across fashion cultures, appealing to elite American women and making money for American manufacturers and retailers. 

Entering the main gallery, visitors are immersed in the mythic glamour of Paris fashion as the exhibition traces a trajectory from royal splendor at Versailles to the spectacle of haute couture today. An 18thcentury robe à la française is juxtaposed with a haute couture creation for Christian Dior, which was inspired by Marie Antoinette. Clothing and accessories will be drawn from museums in Europe, Britain, and North America, as well as from couture archives and private collections. 

The development of the haute couture transformed women’s fashion from an artisanal craft into big business and high art. In the late 19th century, Charles Frederick Worth praised his American clients, saying they had “the faces, the figures, and the francs.” Among his dresses on display is the famous “Electric Light Dress” worn by New York’s Mrs. Cornelius Vanderbilt II. After World War II, the haute couture entered a new golden age from 1947 to 1957 and, by the 1980s, the haute couture was recognized as part of the unique patrimony of France. 

Gabrielle Chanel, evening cape, 1927, France. The Museum at FIT, 96.69.15. © The Museum at FIT.

Jacques Fath for Joseph Halpert, cocktail dress, 1952, USA, The Museum at FIT, 2013.19.1. Photograph by Eileen Costa © The Museum at FIT. 

Christian Dior (Stephen Jones), top hat, fall 2000, France, The Museum at FIT, 2003.70.1. © The Museum at FIT.

In today’s era of globalization, foreign designers often choose to show their collections in Paris, home to luxury conglomerates such as LVMH and Kering. In a world with many fashion cities, Paris defends its title of world capital of fashion by producing and maintaining the aura of Paris fashion.

September 6, 2019 – January 4, 2020

Emile Pasquier, ballgown, 1889-1890, France. The Museum at FIT, P91.55.6. © The Museum at FIT.

Adrian, film costume worn by Gladys George in the MGM film Marie Antoinette, 1938, USA. The Museum at FIT, 70.8.2. © The Museum at FIT.

Agnes-Drecoll, evening dress, circa 1934, France. Collection of Newark Museum, Gift of Mrs. Wells P. Eagleton, 1940. IL2019.2.2. Photograph by Eileen Costa © The Museum at FIT.

Perugia, shoes, 1940, France. The Museum at FIT, 2003.100.17. © The Museum at FIT.

Madame Grés, dress, circa 1945, France. Lent by Hamish Bowels. IL2019.5.11. Photograph by Eileen Costa © The Museum at FIT.

Christian Dior, dress, spring, 1951, France. The Museum at FIT, 68.143.20. Photograph by Eileen Costa © The Museum at FIT.

(L) Suit by Gabrielle Chanel, 1966, France. (R) Licensed copy of a Chanel day suit, c. 1967, USA. © The Museum at FIT.

Yves Saint Laurent, suit, spring/summer 1967, France. Lent by Hamish Bowles. IL2019.5.18. Photograph by Eileen Costa. © The Museum at FIT.

Stephen Burrows, evening dress, 1973, USA. The Museum at FIT, 2000.97.1. Photograph by Eileen Costa. © The Museum at FIT.

Jean Paul Gaultier, dress, fall 1984, France. The Museum at FIT, P92.8.1. © The Museum at FIT.

Patrick Kelly, dress, fall 1986, France. The Museum at FIT, 2016.48.1. Photograph by Eileen Costa. © The Museum at FIT.

John Galliano, ensemble, spring 1992, England. The Museum at FIT, 2017.80.2. Photograph by Eileen Costa. © The Museum at FIT.

Karl Lagerfeld for Chanel, jacket, fall/winter 1996, France. Lent by Hamish Bowles. IL2019.5.5. Photograph by Eileen Costa. © The Museum at FIT.

Jean Paul Gaultier, dress, spring/summer 1998, France. Lent by Jean Paul Gaultier. IL2019.4.1. Photograph by Eileen Costa © The Museum at FIT.

John Galliano for Christian Dior, dress, spring/summer 1999, France. Lent by Hamish Bowles. IL2019.5.8. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Paris, Capital of Fashion, Installation View. Photograph by Eileen Costa © The Museum at FIT.

Lot 604. A coral-ground famille-rose'peony' bowl, Daoguang seal mark and period (1821-1850). Diameter 4 1/4  in., 11 cm. Estimate 15,000 — 25,000 USD. Lot sold 25,000 USD. © Sotheby's

the deep rounded sides resting on a short foot, the exterior vibrantly enameled with three cartouches each enclosing a pink peony against a yellow ground, framed by stylized scrolling leafy vines and smaller blue peony blossoms, all reserved on a deep coral ground, the interior and recessed base glazed white, the latter with a six-character seal mark in underglaze blue.

Provenance: C. C. Lai Antiques, Toronto, 1960s-1980s, and thence by descent.

Note: Designs of flowers within cartouches like the present example first appeared on Kangxi period falangcai wares. See a bowl of this type sold in our Olympia rooms, 7th April 2004, lot 308. A pair sold in our Hong Kong rooms, 8th October 2014, lot 3636. Another sold at Christie's New York, 22nd March 2018, lot 790, and a further pair in their London rooms, 13th May 2014, lot 305. 

Sotheby's. Important Chinese Art, New York, 11 September 2019