1955 Aston Martin DB2/4 - 2.6L, 4-Speed. Estimate $250,000 - $300,000. Photo by David Newhardt, Courtesy of Mecum Auctions. 

Aston Martin had long been highly regarded for its high-quality, high-performance sports cars when English tractor manufacturer David Brown took over the then-ailing company in 1947, inheriting its new 2 liter inline-4 engine and an advanced prototype sedan. That same year Brown also rescued Lagonda, gaining the use of its potent W.O. Bentley-designed 2.6 liter overhead cam inline-6, upon which he based a series of internationally successful sports racers and that led directly to the 1953 DB2/4. While its predecessors had been designed primarily for racing, the DB2/4 was intended as a high-speed Grand Touring machine made to carry four passengers in luxurious comfort. That meant raising the rear roofline to accommodate two adults and allowing rear access to their luggage.

A sensational blend of luxury and performance, this 1955 Aston Martin DB2/4 was the subject of a two-year restoration, the results of which shine in every category of body, interior, engine and driveline. Wearing classic Burgundy paint and finished with a Beige interior of supple leather, burled wood and tasteful chromed hardware, the car’s superb condition makes it apparent that it has been properly garaged and meticulously maintained. Beautifully preserved and extremely solid, the car is equally impressive on the road, running and driving superbly. When properly warmed, the well-tuned 2.6L twin cam inline-6 engine and 4-speed transmission operate as a harmonious one while adding just the right background hum to the thoroughly enjoyable experience of driving this hand-built British gem.

Mecum Monterey 2015

1955 Porsche 356 Speedster - Professional Restoration. Estimate $375,000 - $425,000. Photo by David Newhardt, Courtesy of Mecum Auctions. 

Professionally restored to factory condition in 2015, this 1955 Porsche Speedster is an early “Pre-A” model with all the qualities that made Porsche a household name in 1950s American sports car racing. The Speedster was introduced in 1954 after New York importer Max Hoffmann convinced Ferry Porsche there was a market for his cars in the U.S. Ferry had told Hoffmann of his plans to sell perhaps five Porsches a year to the American market, to which Hoffmann famously replied, “I’m not interested unless I can sell that many per week!” By 1955 Hoffmann was selling fully 30 percent of Porsche’s output. The sporty Porsche America had preceded the Speedster, but when it proved too expensive even for Hoffman’s moneyed clients, he proposed a lightweight, spartan convertible priced to compete with the wave of British sports machinery arriving in America. The Speedster was based on the Cabriolet, but the similarities ended there. It was strictly a two-seater, with a low, chrome-framed windshield and a removable soft top and rudimentary side curtains. Lightweight seats, minimal interior trim and a plain dash contributed to saving 150 pounds and hundreds of dollars compared to regular-production Porsches, which were usually left behind the Speedster in heads-up competition. This 1955 Speedster’s excellent original body was stripped to bare metal and repainted in correct Ivory, then reassembled with factory-restored and re-plated hardware and a new wiring harness. In addition to a new Red interior, the car features many original components, including the engine and transaxle, doors, hood and engine cover, ignition switch, bumper guards, door handles, headlights and tail lights. The date-coded 16-inch wheels and restored “peashooter” exhaust are also original to the car, which is brilliantly finished throughout, with exacting fit and finish worthy of the Porsche name. Furthermore, this car is accompanied by a Porsche certificate of authenticity.

Mecum Monterey 2015

1955 Austin-Healey 100 BN1 Roadster - 2.0L, 4-Speed. Estimate $95,000 - $115,000. Photo by David Newhardt, Courtesy of Mecum Auctions. 

At the 1952 London Motor Show, Donald Healey's stylish Austin-Healey 100 BN1 riveted people. Flowing lines and graceful curves were elegant, as was the careful use of chrome and trim. It was remarkably modern compared to so many other sports cars of the era. Featuring a large 2.6 Liter inline-4 cylinder engine, it was more powerful than most contemporaries, yet less powerful than larger-displacement Jaguars and Aston Martins, giving it a unique spot in the market. The name, 100, regarded the A-H's top speed, and in the early 1950s only a few vehicles could attain speeds like that, and they commanded a serious price premium. In 1953, Motor magazine tested a BN1 and discovered a top speed of 106 miles per hour, a 0-60 time of 11.2 seconds, marking it as a relatively remarkable car; especially considering an average 22 miles per gallon. Girling four-wheel drums brought the lightweight car to a stop, and an independent front suspension with solid rear axle provided a compliant, robust ride. Overall, the 100 was an inexpensive way for people to enjoy a truly high-performance sports car at a bargain price,with just more than 10,000 built by the time the BN2 replaced the BN1 in August 1955. Described by Austin-Healey as, "...an open two-seater with individual bucket seats with an enclosed rear luggage space," full weather protection was provided by a folding top and detachable Perspex side curtains. While many A-H 100s were used on racing circuits, the majority were consumed by people looking for a fun, easygoing roadster, but few remain in exceptional condition.

This 100 BN1 is a very rare, low-production example that's been restored to factory specifications. The lustrous Bright Red paintwork complements and sets off the Black top and Red-piped, Black interior. Chrome wire wheels offer additional boulevard pop. It comes with a certified copy of the factory record from the British Motor Industry Heritage Trust, and is documented with the original bill of sale, ownership history, original books and manuals, body production card and receipts for all work performed. 

Mecum Monterey 2015

1955 Mercedes-Benz 190SL Roadster - 4-Speed, Matching Luggage. Estimate $150,000 - $175,000. Photo by David Newhardt, Courtesy of Mecum Auctions. 

In contrast to the exorbitantly expensive, space-framed, gullwing-door 300SL, the Mercedes-Benz 190SL was built for people of closer-to-average means. And while the windshield and bumpers could easily be removed and the doors and hood replaced with readily available aluminum pieces for racing, the 190SL was more in the tradition of the open Grand Touring machine. Still, its dry-sump SOHC inline-4 engine—essentially a 300SL unit with two fewer cylinders—put out a respectable 110 HP at 5,500 RPM using twin Solex side-draft carburetors for a top speed of almost 120 MPH. It did not hurt that the 190SL was stylistically a scaled down copy of the 300SL, with the added extras of a wider track and a slight bulge in the rear fender contours that to some gave it an aesthetic edge. An arresting example of this highly appealing classic is offered in this 1955 190SL Roadster finished in dramatic Red with contrasting Tan leather interior and an auxiliary hardtop, which has been painted to match the Black steel wheels and hub caps. This stylish GT runs under the power of its original 1.9L inline-4 engine mated to Mercedes-Benz’s excellent 4-speed transmission. This is a wonderful restoration that extends to the engine and surrounding compartment (including plated surfaces), suspension, brakes, backing plates and lines and the gearbox. The paint, exterior and interior chrome, weatherstripping inside and out, hardtop and headliner are all new. Interesting details include passenger compartment coat hooks, rare 1955-style filament visors and an original piece of luggage in the trunk that is finished to match the interior. This charming SL also includes the owner’s manual and the original tool roll.

Mecum Monterey 2015

Taffin Jewelry. Steel, gold and cabochon spinel cross.

Taffin Jewelry. Sky night.

Taffin Jewelry. Cabochon amethyst, orange garnet, lacquer and rose gold ring. 

Taffin Jewelry. Cabochon amethyst, orange garnet, lacquer and rose gold ring. Morning side! 

Taffin Jewelry.Petrified wood branch slice and rose gold cufflinks.

Taffin Jewelry. Natural Burma sapphire, rose gold and gun metal steel bracelet.

Taffin Jewelry. Four studs. Coral and gold

Taffin Jewelry. Diamond and blued steel ear pendants.

Taffin Jewelry. Peridot and wood ear pendants.

Taffin Jewelry. Bakelite, mother of pearl and rose gold bangle.

Taffin Jewelry. TAFFIN. "Tant que je viveray" (Old French )

Taffin Jewelry.

Taffin Jewelry. Black spinel and rose gold cufflinks.

Taffin Jewelry. Rose cut diamond, gun metal and rose gold.

Taffin Jewelry. Zircon and gold triple row.

Taffin Jewelry. Red, pink and green!! Ring on brown gold.

Taffin Jewelry. Aqua blue moonstone and Paraïba cabochon ring.

Taffin Jewelry. Natural burmese pink sapphires and burmese spinel cross pendant.

Taffin Jewelry. Rainbow ring!

Taffin Jewelry. Precious topaz bracelet.

Taffin Jewelry. Citrine.on a red silk rope.

Taffin Jewelry. Agate and gold bracelet.

Taffin Jewelry. Chrisophrase and emerald ring.

Taffin Jewelry. Double face peridot and natural sapphire necklace.

Taffin Jewelry. Pair of fire opal and cocholong ear clips, "sunny-side-up".

Taffin Jewelry. Pair of spinels earrings.

Taffin Jewelry. American Montana sapphires and a client's fancy vivid yellow diamond ring, 2003. 

Taffin Jewelry. Agate Cameo and sapphire brooch. Brushed platinum. 

Taffin Jewelry. Citrine and rose gold monumental rivière.

Taffin Jewelry. Fancy shape diamond, gold and ceramic ring.

Taffin Jewelry. Your crest on black jade.

Taffin Jewelry. Poison berry bracelet.

Taffin Jewelry. White opal and gold ear clips.

Taffin Jewelry. Diamond and black jade.

Taffin Jewelry. Buffalo nickel and diamond charm bracelet.

Taffin Jewelry. Setting for a client's diamond.

Taffin Jewelry. Lavender jade, spinel and diamond bangle. One of 2.

Taffin Jewelry. Engraved sterling silver and enamel "vide poche" for a car collector.

Taffin Jewelry. Antique precious pink topaz and diamonds rose gold lasso necklace.

Taffin Jewelry. Prince Poniatovski Carnelian intaglio, peridot and demantoïd garnet brooch. 

Taffin Jewelry. 

Taffin Jewelry. 4 studly pearls.

Taffin Jewelry. Sculpted ceramic and spinel ring. 

Taffin Jewelry. Hedgehog ring with ceramic. 

Taffin Jewelry.  Gold nugget on lapis.

Taffin Jewelry. Gem pink sapphire ring.

Taffin Jewelry. Turquoise and wood ear hoops.

Taffin Jewelry. Persian turquoise and Brazilian amethyst brooches.

Taffin Jewelry. Antique precious topaz, diamond and emerald necklace on spring gold.

Taffin Jewelry. Natural burmese sapphire and black ceramic ring on a rose gold shank.

Taffin Jewelry. Diamond, peridot and titanium ear pendants. ..each peridot is around 20cts.

Taffin Jewelry. Steel and diamond ear pendants.

Taffin Jewelry. Spinel earclips.

Taffin Jewelry. "Pense à Taffin".

Taffin Jewelry. Precious topaz and moonstone ring.

Taffin Jewelry. 22k gold and spinel ring.

Fresh water and blood stone ring.

Taffin Jewelry.

Taffin Jewelry. Purple sapphire and grey ceramic.

Taffin Jewelry. Fertility bracelet. Gold, diamond and ebony.

Taffin Jewelry. 2.72 carats "Cameleon" diamond ring. From yellowish to grey to green.

Taffin Jewelry. Taffin's Olympic rings

Taffin Jewelry. Pair of "Silver-platinium" and diamond pebble ear clips.

Taffin Jewelry. Fire opal in a silver rope nest.

Taffin Jewelry. Pastel color sapphire bracelets on spring gold.

Taffin Jewelry. Diamond, black jade, ruby and rose gold cufflinks.

Taffin Jewelry. Purple spinel, sapphires and ceramic ring.

Taffin Jewelry. Rose gold TAFFIN "Jimmy" automatic chronograph. Personalized with hand engraving.

Taffin Jewelry. Citrine and amethyst, steel and gold and ceramic.

Taffin Jewelry. On special order for Huntsman London.

Taffin Jewelry. Cement and diamond ear clips.

Taffin Jewelry. Antique "moval shape" diamond and coral necklace.

Taffin Jewelry. Natural pearl, diamond and spinel brooch.

Taffin Jewelry. Beautiful African tourmaline and diamond ring.

Taffin Jewelry. Diamond, ruby, stainless steel and gold ring.

Taffin Jewelry. Ebony and natural pearl ear clips.

Taffin Jewelry.

Taffin Jewelry. Peridot ear pendants.

Taffin Jewelry. Natural multi-color sapphire, spinel, gold and leather bracelet.

Taffin Jewelry. Brown diamond, white opal gold and gun metal charm bracelet.

Taffin Jewelry. Diamond, gold and ceramic

Taffin Jewelry. Diamond band.

Taffin Jewelry. Diamond and hammered 22k gold ear pendant. SD by James de Givenchy.

Taffin Jewelry. 4th of July bangle. Lapis, gold and Bakelite.

Taffin Jewelry. Oh deer!

Taffin Jewelry. Pave diamond Sea Anemone ear clips.

Taffin Jewelry. One of the first "Toi et Moi" made for Sotheby’s Diamonds.

Taffin Jewelry. Natural sapphire ring.

Taffin Jewelry. 3cts + natural African ruby, ceramic and rose gold ring.

Taffin Jewelry. Diamond drops.

Taffin Jewelry. Sexy pastel blue sapphire ring.

Taffin Jewelry. Sapphire and old European cut diamonds.

Taffin Jewelry.

Two Japanese lacquer and mixed inlay 'Foxes wedding' panels, 19th century. Estimate: £25,000 – £30,000 ($38,750 - $46,500). Photo: Christie's Images Ltd 2015.

The panels decorated in relief with carved ivory, bone, mother-of-pearl and stag antler inlay, the first panel is depicting a scene from the Japanese folklore kitsune no yomeiri, The Foxes Wedding, showing the wedding procession at night with lanterns before a torii gate in a misty woodland, the fox seated in the palanquin bearing the family crest of a flaming pearl is wearing a wedding veil; the second panel depicts a figural formal procession before a castle compound and Mount Fuji, the central figure is being carried in a palanquin bearing the Tokugawa family mon, signed Matsuya sei (made by Matsuya)

The USA has recently changed its policy on the import of property containing elephant ivory. Only Asian Elephant ivory may be imported into the USA, and imports must be accompanied by DNA analysis and confirmation the object is more than 100 years old. Buyers will be responsible for the costs of obtaining any DNA analysis or other report required in connection with their proposed import into the USA. A buyer’s inability to export or import a lot is not a basis for cancelling their purchase. 44 3/8 x 31 ½ in. (112.5 x 80 cm.), framed.

Notes: In various parts of Japan the foxes wedding folklore, Kitsune no yomeiri, is recounted in literature and re-enacted or performed in rituals or festivals. Foxes are popular creatures in Japan, being seen as intelligent shape-shifters and tricksters who posses magical powers and are regarded as spiritual entities (they are associated with Inari the Shinto deity for rice). There are different interpretations or associations of kitsune no yomeiri, one relating to mysterious lights seen in the forest at night which were thought to be the paper lanterns carried in wedding processions, traditional Japanese weddings were often held at night and the bride would be escorted with a parade of lanterns, and as these mysterious lights would vanish when approached it was thought to be a trick played by foxes.

It is unusual to see this subject matter depicted on large lacquer panels, with other representations of the kitsune no yomeiri usually being seen in woodblock prints and on inro.

Christie's. OUT OF THE ORDINARY, 10 September 2015. London, South Kensington

1931 Buick 96C Convertible Coupe - AACA and CCCA First Place Award. Estimate $800,000 - $1,000,000. Photo by David Newhardt, Courtesy of Mecum Auctions.

One of America’s best-selling cars in the 1920s, Buick entered the 1930s with more stylish offerings that approached Cadillac in their quality, including under the hood where a new straight-8 OHV engine delivered more power than ever before. Two small-displacement engines a 220.7 CI version and one at 272.6 CI, were used in the lower-caste 50 and 60 Series Buicks respectively, but the one reserved for moneyed customers was the 344.8/104 HP version found in this excellent 96C. The straight-8’s arrival seemed well timed to counter similar engines from Buick’s competitors, but the Depression hurt sales, dropping Buick to fourth place; the division sold just 843 of its Series 90 Roadsters before discontinuing the model at the end of that year.

Today there are precious few known examples of Buick’s fabulous 96C Convertible Coupe left in this world, including this multiple award winning 1931 rumble seat version that was the Classic Car Club of America’s National First Prize winner in 2014 and repeated the same honor in Antique Automobile Club of America competition in 2015. A Pebble Beach award winning restoration firm invested 6,000 hours performing a professional body-off restoration on this car, and the returns on that investment are evident in every detail. Finished in two shades of original Buick Martinique Blue with contrasting Black fenders and splash aprons, Colorado Tan wire wheels with wide Whitewall tires and matching Haartz top and leather interior. The full complement of exterior accessories includes dual side-mount spare tires, dual cowl-mounted driving lights, folding trunk rack, a rumble seat and Mercury mascot. Driven 10 miles since its completion, this exceedingly rare Buick is recognized by the CCCA as a full classic.

Mecum Monterey 2015

1932 Duesenberg Model J Phaeton - SJ Supercharger, J-463/2480. Estimate $800,000 - $1,000,000. Photo by David Newhardt, Courtesy of Mecum Auctions.

It is necessary to consider the era in which Duesenberg produced the magnificent Model J to truly appreciate its impact on the automotive landscape. Only one other car—the steam-powered Doble—was in the same price class as the Duesenberg. The most powerful engines were those in the Auburn and Pierce Arrow at 125 horsepower, and most were of the L-head design that was cheap to produce and a smooth and quiet runner. Two valves per cylinder was the convention, and a 50 to 60 MPH top speed was merely theoretical to most motorists. Enter the Duesenberg Model J, whose 420 CI inline-8 engine used twin overhead cams and four valves per cylinder to generate 265 horses, enough to take a Phaeton-bodied J to 116 MPH at the Indianapolis Motor Speedway. The price? $8,500, making it not only the fastest but also the most expensive car made in America. From the December 1928 unveiling at the New York Car Show to the last one built in 1937, Duesenberg produced approximately 480 Model Js. Several coachbuilders contributed a wide variety of bodies, but the drivetrains remained virtually unchanged with one exception: a centrifugal supercharger was made available beginning in 1932. Advertising claimed 320 HP in the so-called SJ models, which also included an exhaust cutout that was perfect for rousing the locals while passing through town at 100 miles an hour.

This imposing long-wheelbase 1932 Duesenberg Model J carries chassis number 2480 and engine number J-463. Delivered new with formal limousine coachwork by Rollston of New York, it was later fitted with a Deitrich convertible Berline body sourced from Duesenberg chassis number 2415. Sometime between 1946 and 1956 the car was involved in a garage fire and the Dietrich body was destroyed; however the born-together engine and chassis survived. It remained in that condition until the 1970s, when a restoration was started. J-463/2415 was adorned with an elegant new body built in the style of a LeGrande dual-cowl phaeton, and in that same period the engine was rebuilt and upgraded to SJ specification. Since then it has been part of several highly regarded collections in the automotive collector community and perhaps the best attribute to the car’s versatility is that it presents an opportunity to acquire a Duesenberg than could be enjoyed on static display in a collection or touring the open road.

Mecum Monterey 2015

1932 Lincoln KB Sport Phaeton - Amelia Island And Meadowbrook Award Winner. Estimate $800,000 - $1,000,000. Photo by David Newhardt, Courtesy of Mecum Auctions.

This 1932 Lincoln KB Dual-Cowl Sport Phaeton has been upgraded with a splendidly executed custom body designed to reflect the stunning beauty of the Brunn Sport Phaeton, which made its debut at the 1932 New York Auto Show. The original Brunn Phaeton was well received and applauded for being luxurious and well built. Unfortunately its timing was less than ideal with the Great Depression in full swing and a hefty price tag ranging from $4,000 to more than $7,000.

Sitting on a 145-inch wheel base, this KB features a professional frame-off nut-and-bolt restoration that earned it Best of Show at the Amelia Island Concours d’Elegance and 1st in class at the Meadow Brook Concours d’Elegance. Equipped with the KB’s powerful 448/150 HP V-12 engine mated to a floor-mounted 3-speed transmission, the car’s internals are matched by cosmetics that are just as impressive, if not more so. The Red exterior and dual radically raked windshields along with the custom-built low-profile rear trunk give the car a dramatic appearance while dual mounted spare tires sit atop the custom split rear bumper for a very deliberate and finished look. Pilot Ray lamps adorn the front of the car and angle in concert with the New American Arrow chrome wheels dressed in 7 ½-by-18-inch double-wide Whitewall tires. The restoration of the car included just as much detail and attention paid to the interior. A mahogany wood-grain steering wheel and chrome instruments coordinate beautifully with the chrome-ribbed mahogany wood grain-accented tan leather interior. Matching instruments grace the rear passenger compartment dash of the dual-cowl interior, and a fold-down armrest provides further comfort for backseat touring.

An excellent example of one of Lincoln’s most well-respected pre-war cars, this award-winning factory KB V-12 with upgraded coachwork would make an outstanding addition to any collection of classics or otherwise. Elegance, showmanship and professional build quality all lend itself to this stunning 1932 Lincoln KB Sport Phaeton.

Mecum Monterey 2015

1936 Auburn 852 SC Boattail Speedster - ACD Certified Category 1 Original. Estimate $800,000 - $1,000,000. Photo by David Newhardt, Courtesy of Mecum Auctions.

The Auburn 852 Supercharged Boattail Speedster was introduced during the Great Depression to widespread praise for its elegant styling and incredible performance, and endures as a monument to the ambitions and vision of Errett Lobban “E.L.” Cord. When Cord took over management of Auburn in 1924 he set a new course for the ailing manufacturer, and by 1931 it had risen to 13th in national sales, surpassing Packard, DeSoto and Hudson among others.

Auburn became the cornerstone of Cord’s vast empire, not through any technical distinction but by giving customers more car than any other in its price class. Sadly coincident to the beginning of the darkest period of the Great Depression, the Boattail Speedster (the 1935 Model 851 and the identical 1936 Model 852) was the pinnacle creation of Cord’s career, its coachwork designed by Gordon Buehrig, its Lycoming straight-8 engine supercharged and tuned by August Duesenberg. The Speedster had it all: flowing, seemingly wind-sculpted coachwork that started with a rakish front grille and ended in the famous Boattail, a snug two-seat cockpit and a supercharged Lycoming inline-8 engine. On each Speedster’s dash was a plate declaring that the car had been driven past 100 MPH, not a difficult task for a machine weighing just over 3,700 pounds and packing 150 horsepower; the formula made the Speedster one of the fastest cars on the road in mid-'30s America.

Distinguished by beautiful paint and brightwork and its signature “Flying Goddess” hood emblem, this Harbor Mist Gray 1936 Auburn 852 Boattail Speedster has been shown in such top venues as Pebble Beach, Amelia Island, Meadow Brook, Hershey and Glenmoor. A multiple award winner over many years on the Concours circuit, the car retains the major original components—engine, body and chassis—and in 1996 was certified as ACD Category 1 Original by Paul Bryant, then head of certification for the Auburn Cord Duesenberg Club. Soon thereafter its owner commissioned LaVine Restorations of Nappanee, Indiana to perform a comprehensive restoration. In 2006 it was again presented at the Pebble Beach Concours d’Elegance and in 2007 was awarded an AACA Senior National First Prize.

Mecum Monterey 2015

Bergdorf Goodman Archives. Coctail & Evening Dresses: Schiaparelli

Taffin Jewelry. 

Taffin Jewelry. 

Remo Ruffini house on Lake Como rebuild by the French architects  Gilles et Boissier. Photo Michael Paul.

Pterochaos nebulosus

Goliath beetle

Gyriosomus parvus

Raphael (1483–1520), Portrait of a Lady with a Unicorn, circa 1505–6, oil on canvas transferred from panel, Galleria Borghese, Rome, inv. 371.

CINCINNATI, OH.- The Cincinnati Art Museum and the Fine Arts Museums of San Francisco announced Sublime Beauty: Raphael’s “Portrait of a Lady with a Unicorn.” This focused exhibition features one of Raphael’s most beguiling and enigmatic paintings. The masterpiece, presented in the United States for the first time, will come on loan from the Galleria Borghese in Rome, where it was first recorded in the collection in 1682. 

It will be on view in Cincinnati from Oct. 3, 2015 – Jan. 3, 2016 and in San Francisco, Jan. 19 – April 10, 2016. 

“Portrait of a Lady with a Unicorn” (ca. 1505–1506) features an unidentified blond sitter who epitomizes the beauty of Raphael’s female portraits during his Florentine period. The exhibition will explore the possible identity of this subject, as well as the painting’s distinct iconography, including the unicorn she holds in her lap. Scholars believe that the painting was commissioned to celebrate a wedding, and the unicorn, a conventional symbol of chastity, may also offer clues to her familial lineage. 

The exhibition also will highlight the stylistic relationships between this masterpiece and Leonardo da Vinci’s Mona Lisa. Leonardo’s canonical work, painted in Florence in the early years of the 16th century, had a great impact on the younger Raphael, who also practiced in the city during this period. Raphael’s sophisticated adaptation of Leonardo’s innovations in portrait compositions may have influenced Portrait of a Lady with a Unicorn, a painting that that shares the Mona Lisa’s half-length format, sitter with hands folded in her lap, and setting before a distant landscape. 

“The Cincinnati Art Museum is excited and honored to showcase this magnificent work in its U.S. debut. We are grateful to the Foundation for Italian Art and Culture for the partnership which brings this important and highly esteemed treasure to Cincinnati,” said Cameron Kitchin, the Louis and Louise Dieterle Nippert Director of the Cincinnati Art Museum. “The painting is revelatory when encountered in person and we look forward to sharing it with our visitors.” 

“Raphael’s Portrait of a Lady with a Unicorn is a stunning masterpiece of the Italian High Renaissance. When it arrives in San Francisco for the first time, we will greet it with new scholarship as well as a celebration fitting for the blond beauty and her mysterious unicorn,” says Dr. Esther Bell, curator in charge of European paintings at the Fine Arts Museums of San Francisco. She is the organizing curator of the exhibition and the editor of the accompanying catalogue. Dr. Bell was previously a curator of European paintings, drawings, and sculpture at the Cincinnati Art Museum.

Green-glazed funerary jar, China, Longquan kilns, Zhejiang, Southern Song dynasty (1200–1300). Stoneware with celadon glaze. Height: 25.5 cm, Diameter: 12 cm. Museum no. C.28-1935. Purchased with the assistance of The Art Fund, the Vallentin Bequest, Sir Percival David and the Universities China Committee [September 2009] © V&A Images

Jar with elongated barrel-shaped body having three horizontal rolls on the shoulder, low dome-shaped cover with foliate edge and bird knob. A dragon shape on the shoulder. The raw edges reveal a reddish porcellaneous biscuit. The glaze is a delicate bluish-grey. Under the glaze at the base is incised the character 'ti' (earth).

This jar was made to contain grain for burial in a tomb. It is of a type of celadon known as Longquan ware and is closely related to the Guan ware made some 300 kilometres away (see p.44). But while the Guan kilns were only established after the Song court moved to Hangzhou in 1126, those at Longquan had been in production since the third century. The arrival of the Song court and its affluent ministers in the south brought prosperity to Lonquan, as state officials demanded a quality no less refined than Guan ware. To satisfy these important customers the potters improved their products to the extent that the best Longquan wares are almost indistinguishable from Guan pieces. Although all Longquan wares are green-glazed, the varieties of shades and textures are numerous. Their qualities were highly esteemed and Chinese writers compared the subtle variations in green to jade, to young beans and to the sky.

Longquan's success resulted not from imperial patronage but from efficient management. When the Guan kilns ceased production after the collapse of the Song dynasty in 1279, those at Longquan continued to flourish under the new rulers, the Mongols. The kilns were on average 40 metres long and had a firing capacity of up to 10,000 pieces. The volume of Longquan celadons exported overseas can be gauged from the cargo of the 'Sinan wreck', a ship sunk near Korea en route to Japan: 0f the 17,000 ceramics on board, more than half were Longquan wares.

The arrival of the Song court in southern China led to a rise in the quality of green-glazed ceramics produced at Longquan, 300 kilometres south-west of the new capital. The Longquan potters produced finely made wares with glazes of many shades and textures for export markets from Egypt to Japan, as well as for Song courtiers. This jar was made to contain grain for burial in a tomb.

Bibliographic References: Kerr, Rose. Song dynasty ceramics. London:V&A Publications, 2004, plate 85.
Liefkes, Reino and Hilary Young (eds.) Masterpieces of World Ceramics in the Victoria and Albert Museum. London: V&A Publishing, 2008, pp. 46-47.

Vase with sky-blue glaze, China, Jun kilns, Henan, Northern Song or Jin dynasty (1100–1200). Glazed stoneware, splashed with copper. Height: 29.5 cm. Museum no. FE.156-1975 . Sir John Addis Gift [September 2009] © V&A Images

This elegant long-necked vase is an example of Jun ware, a type praised by collectors in the Ming dynasty as one of the 'Five Great Song Ceramics' (see p.36)., although unlike these others, which received imperial patronage, Jun was mainly made for a general market. It has a stoneware body coarser than most Song ceramics, but above all it is the glaze that distinguishes Jun ware from its rivals. Lacking relief or painted decoration, Jun wares rely entirely on the beauty of their form and glaze for visual impact. Here the glaze is sky-blue, very thick and full of tiny pinholes visible to the naked eye. Jun glazes have a tendency to run during firing, and in this case it has run thin at the mouth of the vase, leaving the rim a mushroom hue.

Modern scientists have carried out numerous analyses on Jun glazes, establishing that the opal-blue colour arises from a process known as 'liquid-liquid phase separation' during early cooling. In layman terms this means that the colour effects are partly optical, in much the same manner that the sky appears blue as a result of refracted light. Jun glazes are complex and their effects embrace luminosity, whiteness and opalescence, which together create a wide range of subtle tones and textures.

The single, subtle patch of purple on the vase is derived from a copper-rich pigment, added for heightened visual impact. On some Jun pieces the purple splashes are applied much more boldly and exploit chance effects, making them the most dramatic of all Song dynasty ceramics. 

Jun wares are one of the Five Great Song Ceramics. Although coarsely potted, they are remarkable for their subtly coloured glazes, which are a great technical feat. Careful control of the cooling process allowed pinhole bubbles to form within the glaze. 
These refract the light, enhancing the glaze colour. Here the visual impact is heightened by a single splash of purple.

Bibliographic References: Kerr, Rose. Song Dynasty Ceramics. London: V&A Publications, 2004. p. 32, no. 21.
Liefkes, Reino and Hilary Young (eds.) Masterpieces of World Ceramics in the Victoria and Albert Museum. London: V&A Publishing, 2008, pp. 40-41.

Jar with ivory glaze for alcohol, Ding kilns, Hebei, north China, Northern Song dynasty (1000-1125). Stoneware with white glaze. Height: 29.5 cm, Diameter: 24.0 cm. Museum no. C.37-1935. From the Eumorfopoulos collection, purchased with the assistance of The Art Fund, the Vallentin Bequest, Sir Percival David and the Universities China Committee [Art Fund logo] [2007]© V&A Images 

The harmonious proportions and subtle decoration of this jar are characteristic of Song dynasty ceramics. It belongs to a category of Chinese stoneware known as Ding ware, as it was made in Dingzhou, in present-day Hebei province, north of the great north-south divide (see p.24). The jar is covered with an ivory-coloured glaze, which is a distinguishing feature of Ding ware. The design of a lotus is incised and the fluency with which the motif is executed testifies to the skill of the potter. To streamline production and to reduce cost, the Ding kilns introduced moulded decorations towards the middle of the twelfth century. Later-day ceramic collectors, however, have always valued incised decoration over moulded work.

In the eleventh century the choicest Ding wares were sent as tribute to the imperial court, as their subtle beauty suited the restrained taste of the Song dynasty emperors. After 1127 northern China came under the rule of the Nüzhen, a nomadic minority from outside the Great Wall, and Ding ware temporarily lost its 'imperial' status. However, when in 1368 China once more had an emperor of the Han race, Ding ware became prized by Chinese collectors again, and was hailed as one of the 'Five Great Song Ceramics' (together with Ru, Guan, Ge and Jun). 

Bibliographic References: Kerr, Rose. Song Dynasty Ceramics. London: V&A Publications, 2004. p. 46, no. 39.
Liefkes, Reino and Hilary Young (eds.) Masterpieces of World Ceramics in the Victoria and Albert Museum. London: V&A Publishing, 2008, pp. 36-37.

Exhibition: International Exhibition of Chinese Art (Royal Academy of Arts 01/01/1935-31/12/1936)