Cape, 1925. Kyoto Costume Institute

Black lame jacquard patterned with a natural motif; fur trimming; no lining.

Japanese lacquer was one of the media used to express Art Deco style in the 1920s. Surface decoration that had a quality similar to lacquer work was developed, and it was often used for textiles as well.

Image and text taken from the book: Fashion: A History from the 18th to the 20th Century, Kyoto Costume Institute, pg 436

Evening Cape, House of Worth; Gold fish design by Jean Dunand, Paris, 1925. Gift of the Pasadena Playhouse (63.40) © LACMA

Gold and silver lamé. Center back length: 45 in. (114.3 cm)

A fine pair of famille-rose'Balsam pear' bowls, Jiaqing seal marks and period. Estimate 80,000 — 120,000 USD. Photo: Sotheby's

each delicately potted with deep rounded sides rising from a short foot to an everted rim, the exterior finely enameled with leafy bamboo shoots and a butterfly fluttering over a branch of blossoming and fruitingkugua vines, the branch extending over the rim and onto the interior, issuing further clusters of foliage and fruit, seal marks in underglaze blue (2). Diameter 4 3/8  in., 11.1 cm

Provenance: The Songzhutang Collection.

Notes: A Jiaqing bowl of this pattern in the Umezawa Kinenkan is illustrated in Toji Taikei, vol. 46, Tokyo, 1973, pl. 83, and another is published in The Powell-Cotton Collection of Chinese Ceramics, Birchington, 1988, col. pl. 15.  See also a pair of Jiaqing marked bowls sold in these rooms, from the Ira and Nancy Koger collection, 27th November 1990, lot 47.

For an extensive discussion of the depicted fruit, see Ka Bo Tsang, 'An Unusual Botanical Motif: The Bitter-sweet Kugua', Orientations, October 1993, pp. 64-7, where figs 1a-b, a Qianlong example in the Royal Ontario Museum, Toronto, is illustrated. 

Sotheby's. Important Chinese Art, New York, 15 sept. 2015

A pair of famille rose 'Bitter melon and Butterflies' bowls, Daoguang six-character seal marks in underglaze blue and of the period (1821-1850). Estimate 25,000 – $35,000 USD. Photo Christie's Image Ltd 2015

Each is decorated on the exterior with a flowering bitter melon vine and bamboo that continue over the rim into the interior, the vine bearing two melons on the exterior and two on the interior, two of the melons with the seeds bursting through the pebbled pink and yellow rind, while two butterflies flutter nearby, both inside and out. 4 3/8 in. (11.1 cm.) diam., box

Note: Compare two similar bowls sold at Christie's New York, 15 September 2011, lot 1661, and again at Christie's Hong Kong, 26 November 2014, lot 3327.

Christie's. FINE CHINESE CERAMICS AND WORKS OF ART, 17 - 18 September 2015, New York, Rockefeller Plaza

Callot Sœurs (France, Paris, circa 1890-circa 1950), Woman's Evening Dress, France, circa 1925© LACMA

Georges Doeuillet (France, Paris, active 20th century; house founded 1920-1937), Woman's Evening Dress, France, circa 1926© LACMA

A pair of wucai'Month' cups, Daoguang seal marks and period. Estimate 80,000 — 120,000 USD. Photo: Sotheby's

each painted with a blossoming crab-apple tree, emblematic of the second lunar month, growing among grass, rocks, and a few smaller plants, inscribed Qingxiang he suyu, jiase chu qingyan (The fragrance blends with the flavor of evening rain, The beautiful color stands out in clear weather like in mist), followed by the seal shang (to appreciate), seal marks inscribed in underglaze-blue (2).  Diameter 1 15/16  in., 4.9 cm

Provenance: Sotheby's Paris, 16th December 2010, lot 281.

Note: See another Daoguang month cup sold in our London rooms, 16th May 2007, lot 525. 

Sotheby's. Important Chinese Art, New York, 15 sept. 2015

A magnificent and very rare massive nanmu-inset huanghuali painting table, hua'a, 17th century. Estimate $1,000,000 – $1,500,000. Photo Christie's Image Lt 2015

The massive single nanmu panel is set into a thick huanghuali frame with beaded edge, above plain beaded aprons and cloud-form spandrels. The thick legs are of rounded section and are joined by pairs of stretchers enclosing openwork panels above plain, beaded aprons and spandrels, and are fitted with brass shoes. 34 in. (86.4 cm.) high, 94 3/8 in. (239.7 cm.), wide, 32 in. (81.4 cm.) deep

Provenance: Property from the Lai Family Collection.

Literature: Handler, S. 'A Clean Table by a Bright Window,' Journal of Classical Chinese Furniture, Spring 1994, fig. 11.

Notes: It is rare to find a table of this exceptional length and depth, and even rarer to find one with such a massive inset burl panel. One of the most impressive features of the present table is the long, single-panel, floating top. The natural knotted and highly textured qualities of burl make large panels difficult to source, and to obtain such a large single panel suggests the enormous resources of the individual who commissioned this superb table. The abstract and dynamic grain of the darker burlwood provides an elegant contrast to the golden tones of the huanghauli. 

Large tables are often erroneously labeled painting tables, but to be considered a true painting table, such as the present table, which measures an extraordinary 34 inches deep, the surface must be broad enough to accommodate a large painting and the accoutrements associated with painting or calligraphy (ink, ink stones, brushes, and washers, etc.). Tables of this large size would also be ideal for the appreciation of a painting.

Several examples of this elegant form have been published. See R.H. Ellsworth, Chinese Furniture: One Hundred Examples from the Mimi and Raymond Hung Collection, New York, 1996, pp. 164-5, no. 61, where it is dated circa 1600-1650; and G. Ecke, Chinese Domestic Furniture, Vermont and Tokyo, 1962, p. 46, pl. 36.

Christie's. THE LAI FAMILY COLLECTION OF FINE CHINESE FURNITURE AND WORKS OF ART, 17 September 2015, New York, Rockefeller Plaza

A large huamu-inset huanghuali round-corner tapered cabinet, yuanjiaogui, 17h-18th century. Estimate $200,000 – $300,000. Photo Christie's Image Lt 2015

The top frame is carved with beaded edge and protrudes past the huanghuali frame inset with nanmu burl panels in the doors and on the sides. The doors open to reveal the shelved interior with two drawers, all above plain aprons and spandrels on the front and sides. 59 ¾ in. (151.8 cm.) high, 36 5/8 in. (93 cm.) wide, 18 ½ in. (47 cm.) deep

Provenance: Property from the Lai Family Collection.

Notes: The round-corner, tapered cabinet, or yuanjiaogui,, is one of the most beautiful and elegant designs in all of classical Chinese furniture. The present cabinet is a fine example of the successful combination of huanghuali frame andhuamu panels. This use of mixed wood forms a pleasing aesthetic, with the golden amber tones of the huanghualiproviding an attractive contrast to the darker, swirled grain of the burl. The floating panels on the doors of the present cabinet have a distinctive pattern of clusters of burls indicating that they were cut from the same piece of timber. The careful matching of the doors suggests that the cabinetmaker intentionally designed the cabinets to feature the natural markings of the wood.

Compare a smaller burl-inset huanghuali tapered cabinet (107.6 cm. high) illustrated by G.W. Bruce, Dreams of Chu Tan Chamber and the Romance with Huanghuali Wood: The Dr. S.Y. Yip Collection of Classic Chinese Furniture, Hong Kong, 1991, pp. 124-5, no. 48. See, also, a smaller pair of huamu and nanmu-inset huanghuali tapered cabinets (100.6 cm. high) from the Collection of Robert Hatfield Ellsworth, sold at Christie's New York, 18 March 2015, lot 115.

Christie's. THE LAI FAMILY COLLECTION OF FINE CHINESE FURNITURE AND WORKS OF ART, 17 September 2015, New York, Rockefeller Plaza

A rare large huamu-inset huanghuali'four corner's exposed' armchair, sichutouguanmaoyi, 17th century. Estimate $200,000 – $300,000. Photo Christie's Image Lt 2015

The sweeping crest rail is supported by a C-shaped splat inset with an attractive huamu panel and the gracefully curved black legs which continue to form the feet. The soft mat seat is set within the rectangular frame above plain aprons and spandrels on all four sides. The legs are joined by stepped stretchers and a footrest, which is fitted with a removable bamboo cover, all above a plain apron. 42 7/8 in. (108.9 cm.) high, 22 in. (55.8 cm.) wide, 19 ¼ in. (48.9 cm.) deep

Provenance: Property from the Lai Family Collection.

Notes: The grand and stately proportions of the present chair are further distinguished by the richly patterned back splat carved from a single section of tightly knotted burl. The highly textured burl contrasts with the amber-yellow tones of the huanghuali members, striking a pleasing and refined aesthetic. Large sections of burl are difficult to find, as the tightly knotted grain is susceptible to splits and breaks, making this elegant C-form splat even more rare. A similarly proportioned 'southern official's hat' armchair, dated to the 17th-early 18th century, is illustrated by M. Flacks,Classical Chinese Furniture: a very personal point of view, London, 2011, p. 50-1. As with the present chair, the refined design of the chair is accentuated by the dramatic use of a single panel of abstract-patterned huamu burl.

The generous sweep of the splat provides the ideal surface to showcase the inherent beauty and variegated tone of Asian hardwoods. See a jichimu yokeback armchair of similar form and proportions, illustrated by Wang Shixiang and Curtis Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Chicago and San Francisco, 1995, pp. 52-3, no. 24, which shows similar treatment of the back splat. Unlike the present chair, the jichimu chair has a back splat constructed from three sections, with the largest section showcasing the feathery texture of the grain. Compare, also, another example currently in the Minneapolis Institute of Arts, illustrated by R. Jacobsen, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp. 46-7, no. 6. The elaborate huanghuali yokeback armchair, features a three-part back splat comprising a large section of textured burl. 

Christie's. THE LAI FAMILY COLLECTION OF FINE CHINESE FURNITURE AND WORKS OF ART, 17 September 2015, New York, Rockefeller Plaza

A very rare huanghuali waistless demi-lune table, yueyazhuo, 16th-17th century. Estimate $150,000 – $200,000. Photo Christie's Image Lt 2015

The single-panel top is set within a D-form frame with beaded edge above shaped aprons. The whole is raised on four tapering legs of square section terminating in flared hoof feet. 33 ¾ in. (85.7 cm.) high, 43 in. (109.2 cm.) wide, 21 in. (53.3 cm.) deep

Provenance: Property from the Lai Family Collection.

Notes:  Half-round tables are recorded in the Ming carpenter's manuals, Lu Ban Jing, suggesting they were once more common than the few surviving examples would seem to indicate. A demi-lune table and two outline drawings are illustated by Wang Shixiang, Connoisseurship of Chinese Furniture, vol. II, p. 118, B125-B127. 

Thought to be made in pairs, demi-lune tables were designed to be pushed together to form a single round table. The half-width of the rear legs of the present table suggests this table would have been made as one of a pair. When matched with its mate, the table's half legs would appear to be a single leg. There are no known extant pairs of demi-lune tables, dating to the 16th-17th century, and even single tables such as the present example are quite rare. 

The use of supporting cross stretchers appears to be quite rare and only one other published example, illustrated by M. Flacks, Classical Chinese Furniture: a very personal point of view, London, 2011, pp. 248-51, also has this very unusual construction. Most published examples, such as a demi-lune table in the collection of Messrs. Robert and William Drummond, illustrated by G. Ecke, Domestic Chinese Furniture, Rutland and Tokyo, 1962, p. 72, fig. 55, are shown with shaped aprons. See, also, another huanghuali demi-lune example illustrated by Grace Wu Bruce, Living With Ming – The Lu Ming Shi Collection, Phillipe de Backer, 2000, p. 112, pl. 22, and one sold at Christie's New York, 18 September 1997, lot 33, from the Mr. and Mrs. Robert P. Piccus Collection.

Christie's. THE LAI FAMILY COLLECTION OF FINE CHINESE FURNITURE AND WORKS OF ART, 17 September 2015, New York, Rockefeller Plaza

A pair of huanghuali horseshoe-back armchairs, quanyi, 18th century. Estimate $80,000 – $120,000. Photo Christie's Image Lt 2015

The sweeping crest rails terminate in out-swept hooks and are supported by the C-shaped splat carved at the center with a ruyi head and S-shaped struts. The hard mat seats are set within the rectangular fames above shaped, beaded aprons carved in front with a conjoined leafy scroll, and plain aprons and spandrels on the sides and back. The legs are joined by stepped stretchers and footrest above a plain apron. 38 1/8 in. (96.8 cm.) high, 23 ½ in. (59.7 cm.) wide, 18 in. (45.7 cm.) deep

Provenance: Property from the Lai Family Collection.

Notes:  For a discussion of this chair shape, see R.H. Ellsworth, Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasty, New York, 1971, pp. 86-7, and Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, pp. 43-5. 

Examples of this popular form in huanghuali include a pair with carved ruyi heads on the splats, illustrated by Wang Shixiang and Curtis Evarts in Masterpieces from the Museum of Classical Chinese Furniture, Chicago and San Francisco, 1995, p. 56, no. 26, and later sold at Christie's New York, 19 September 1996, lot 99. A single huanghualihorseshoe-back armchair, carved in similar fashion, is illustrated by R.H. Ellsworth in Chinese Furniture: One Hundred Examples from the Mimi and Raymond Hung Collection, New York, 1996, pp. 68-9, no. 14, where it is dated to the late Ming dynasty, ca. 1600-1650. See, also, the 17th century pair of huanghuali horseshoe-back armchairs with carved splats sold at Christie's New York, 20-21 March 2014, lot 2247.

Christie's. THE LAI FAMILY COLLECTION OF FINE CHINESE FURNITURE AND WORKS OF ART, 17 September 2015, New York, Rockefeller Plaza

Cicindela hybrida transversalis, Dejean, 1822

Cicindela transbaicalica palpalis

Cicindela transbaicalica palpalis

Cicindela coerulea nitida

Cicindela coerulea nitida

Cicindela coerulea nitida

Cicindela flexuosa

Cicindela calochroa octonotata

Cicindela nysa

Cicindela turkestanica

cicindela granulata

cicindela hybrida

Cicindela coerulea coerulea

Cicindela lengi

Cicindela lacteola

Cicindela clypeata

Cicindela chinensis

Norman Hartnell (born 1901 - died 1979), The Flowers of the Fields of France. Evening dress, Spring/summer 1957. Duchesse satin, embroidered with pearls, beads, brilliants, and gold thread. Worn by Her Majesty The Queen for the state visit to Paris, April 1957. Given by Her Majesty the Queen. T.264-1974. Victoria & Albert museum© V&A Images.

This splendid state gown with an extravagant back bow was designed for the Queen's state visit to Paris, April 8-11th 1957. The design diplomatically makes reference to French motifs, including the "Flowers of the Fields of France" (such as daisies and crossed wheat sheaves) and Napoleonic bees.

It was worn to the state dinner on the first night (Monday 8th April), hosted by President René Coty at the Elysée Palace, followed by a visit to the Opéra to see a ballet by Lifar from The Diaries of Cynthia Jebb.

The dress was worn with a necklace (of 4 stones with centre drop jewel) and small earrings, a tiara, and long white evening gloves adorned with a bracelet (or small watch) on the left wrist. The Queen also wore the jewelled Badge of the Legion d'Honneur and sash from her right shoulder to her waist (left). She also carried a small white handbag and wore a white fur stole for travelling.

The dress was displayed at Kensington Palace in 2006-7. Research conducted by Kensington Palace included an interview with Maureen Markham, one of the embroiderers who worked on the dress. She recalled that they worked with blacked-out windows to avoid the Press and that she hoped the Queen would have nice plush cushions to sit on so as not to crush the embroidery.

The Queen wore this dress again to the Opera in the early 1960s.

Historical significance: The 1957 State Visit followed the Treaty of Rome, which created the European Economic Community (EEC).

 Norman Hartnell, Cream crinoline gown with blue embroidery. The Royal Collection, RCIN 200128© 2008, Her Majesty Queen Elizabeth II

A fine example of Hartnell’s crinoline-inspired evening gowns with magnificent jewelled embroideries. Worn during the Tour of Canada and the United States of America, October 1957. 

Norman Hartnell, Lime green gown with crinoline skirt heavily embroidered with beads and sequins. The Royal Collection, RCIN 200124 © 2008, Her Majesty Queen Elizabeth II

Norman Hartnell, Cream silk gown with straps and full skirt with lattice and foliate beaded embroidery. Worn for official portraits of The Queen taken by Baron in 1957. The Royal Collection, RCIN 200120 © 2008, Her Majesty Queen Elizabeth II

Impressive and Rare 27.91 carats Mogok, Burmese Ruby, Diamond and Natural Pearl Bracelet. Estimate 32,000,000 — 45,000,000 HKD.  Photo Sotheby's

Centring on an antique cushion-shaped ruby weighing 27.91 carats, surrounded by twelve old mine-cut diamonds together weighing approximately 11.50 carats, completed by five strands of graduated natural pearls measuring approximately 6.65 to 4.80mm and a clasp set with similarly-cut diamonds together weighing approximately 2.00 carats, mounted in 18 karat yellow gold and silver, length approximately 170mm, accompanied by clip and ring fittings, convertible to ring and brooch.

Accompanied by AGL, Gübelin and SSEF reports numbered CS 84440, 15037233 and 79066, dated 16 March 2015, 7 March 2015 and 12 March 2015 respectively, stating that the 27.91 carat ruby is natural, of Burmese (Myanmar) origin, with no indications of heating. Also accompanied by Gübelin Information Sheet on Rubies from Mogok, Burma. 
SSEF Appendix Letter further states that the ruby 'possesses extraordinary characteristics and merits a special mention and appreciation...The few inclusions found by microscopic inspection represent the hallmarks of rubies from the classical  ruby mines in the Mogok valley in Burma (Myanmar), well known for its wealth in gems since historic times. Its attractive and vivid colour is due to combination of well-balanced trace elements in this gemstone, characteristic for the finest rubies from Mogok...A natural ruby from Burma of this size and quality is extremely rare and exceptional.' Further accompanied by SSEF report stating that the pearls are natural.

RED FOR ROYALTY

Ruby, referred as ‘Ratnaraj’ in ancient Sankrit which translates to ‘king of gems’, ranks itself as the most precious gemstones in the world for its exuberant colour. It is believed that ruby possesses power beyond the human realm, and hold within a divine fire. Indeed, rubies were long honoured as treasures of sovereigns and nobles for the status they defined. Hailed as a gemstone of unequalled importance, rubies formed a crucial part of their regalia, which symbolizes utmost power and royalty.

Much adored for their blood-like colour, the world’s finest rubies were found in the valleys of Burma, an exotic destination in the East for many European royalties in the 19th century. Yet, these Burmese specimens’ deep saturated red and the glow that was compared to burning coal compelled courts to send explorers to this faraway land. Their hope was to acquire these beguiling red stones and transform them into magnificent jewelleries. Little did they know they were also collecting extremely rare rubies of the highest quality from their pre-eminent source in the world – the legendary Mogok Valley. What sets Mogok rubies apart is the strong red fluorescence colour that accentuates their red body colour, granting them an inextinguishable fire even when viewed in the dark. The beauty of Mogok rubies are also characterized by a multitude of tiny, fine needles, commonly known as ‘silk’, which cause light to diffract, producing a velvety sheen throughout the stone and allow light to be scattered throughout the facets and crystal. Some of these rarest Burmese beauties are now found in jewels that once belonged to emperors and their queens.

The French Crown Ruby Parure, made in 1811 for Empress Marie Louise, the second wife of Napoleon I, originally consisted of almost four hundred rubies. The Imperial State Crown of England also features rubies alongside diamonds of equivalent impressive sizes. Queen Adelaide’s Coronation Ring, which was made for her to be worn at William IV’s coronation in 1831 also centered on a ruby from the great mines of Burma surrounded by fourteen cushion-shaped diamonds. More recent and closer to home, there is the Imperial Crown Jewels of Iran which includes a stunning ruby tiara of Princess Ashraf Pahlavi, and the Oriental Circlet Tiara that Queen Elizabeth frequently worn. 

Sotheby’s was honoured to have overseen sales of rubies with the same prestigious pedigree. A more recent example in 2009 was an exceptional suite of ruby and diamond necklace and earclips mounted by Garrard, commissioned by Earl of Roseberry in 1884 and thence passed down to Mary, Duchess of Roxburghe were offered at Sotheby’s Geneva (Fig. 2). They were sold for CHF1,482,000, more than ten times its pre-sale estimate. The same pair of earclips re-appeared in Sotheby’s Hong Kong in 2014 and was sold for HK$23,080,000, almost double its auction results just five years ago. Judging from the superb quality of these two rubies and the time in which they were first mounted as jewels, it was absolutely not coincidental that they were among the first production of Mogok rubies directly reaching British hands. Also in the last three seasons in Geneva, Sotheby’s had set two consecutive world record price for rubies, first with The Mavrommatis Ruby and more recently with The Sunrise Ruby at US$1,185,451 per carat.

The exquisite pair of rubies from the Duchess of Roxburghe was sold for HK$23,080,000 in Sotheby’s Hong Kong 2014.

This highly important 27.91 carat ruby to be offered virtually embodies all qualities befitting its title ‘king of gems’, bearing similarities to the pair of sought-after rubies afore-mentioned. Originating from Mogok Valley in Burma, free of heat treatment and in an unusual antique cushion cutting, it also guarantees to overwhelm with its stunning size. Its combination of life and colour resulted from a fine mixture of tone, saturation, fluorescence and inclusions. The twelve old mine-cut diamonds that encircle the red gem were carefully selected to match the ruby’s distinct personality and charm, rarely found in more modern cuttings. The design is highly reminiscent of Queen Adelaide’s ruby ring now exhibited alongside other British Crown Jewels in the Tower of London. It is highly likely to have been part of a more elaborate jewel, in its present antique mount. 

Versatility is yet another characteristic of royal parure that is celebrated in this contemporary design; the centrepiece can be readily transformed into a ring, a brooch, or a lavish natural pearl bracelet for various occasions and attires.

This impressive ruby represents the pinnacle of the most selective collection, fulfils the ultimate dream of every collector, and instils an air of prestige and dignity in whoever is fortunate enough to call him- or herself its rightful owner. 

Portrait of Princess Tatiana Alexandrovna Yusupova (1829-1879) featuring an impressive ruby and diamond brooch.

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 07 Oct 2015, 02:00 PM

A large blue and white 'Landscape' vase, Qing dynasty, 18th century. Estimate 15,000 — 25,000 USD. LOT SOLD. 43,750 USD. Photo Sotheby's

sturdily potted of ovoid form, vividly painted in underglaze-blue in the finely stippled and penciled 'Master of the Rocks' style, depicting a central pavilion surrounded by weeping willow trees and towering mountains with scholars wandering along paths, nearby a farmer laboring in a field, and fishermen poling sampans on a wide river, the short neck with reserved floral sprigs on a diaper ground. Height 16 1/2  in., 42 cm

Provenance: Collection of Mr. Jerry O'Brien, Wichita, Kansas.
Parke-Bernet Galleries Inc., New York, 18th-19th October 1945, lot 402.

Sotheby's. Important Chinese Art, New York, 15 Sep 2015, 02:00 PM

A blue and white 'soft-paste''cong' vase, Qing dynasty, 18th century. Estimate 12,000 — 15,000 USD. Photo Sotheby's

the square-sectioned archaic form with each corner of molded square panels enclosing a horizontal rib, reserved on a underglaze blue floral scroll ground, divided by vertical rectangular panels painted with three central flowerheads against further foliate scroll, supported on a short circular foot with a narrow diaper border, the tapering neck with a spearhead band - Height 15 in., 38.1 cm

Provenance: Collection of Dr. and Mrs. Silas Andersen, acquired while traveling in China in the 1920s and thence by descent.

Sotheby's. Important Chinese Art, New York, 15 Sep 2015, 02:00 PM