Lot 54. Jean-Léon Gérôme (French, 1824-1904), The Mandolin Player, signed and dated ‘J.L. GEROME/1858.’ (centre left), oil on canvas, 16 ¼ x 11 3/8 in. (41.2 x 29 cm). Estimate GBP 150,000 - GBP 200,000 (USD 193,500 - USD 258,000) © Christie's Images Ltd 2017

Note: Gérôme was an indefatigable traveller. He seemed always to be on the go, even into his seventies. They were often long trips, sometimes of several months. One wonders how he got so much work done. When his studio assistant, the sculptor Decorchemont, suggested he should slow down a bit, he replied, 'You really think that I have the time to slow down at my age?'. 

Gérôme's most important teacher was Paul Delaroche (1797-1856), who was a supreme master of stance, posture, placement and contrapposto. Delaroche taught Gérôme how to see and project the frame and muscles under the skin and clothing of figures to show the tensions of the inner balance that supported a pose. It is that developed talent which underlies the strong presence of the figure in this picture. From the 1870s single-figures in Oriental costumes and settings becomes a steady part of Gérôme's production. 

The present figure can be identified as an Arnaut, a term often used for an Albanian soldier, an irregular soldier in the Turkish army. They were recognisable by their pleated skirts, somewhat of a national Albanian costume. After Egypt became independent from Turkey, there were evidently plenty of them in Cairo who earned a living by various jobs: as guards, animal keepers, and models for foreign painters.  

Gérôme's first oriental costume picture was of an Arnaut in bright sunlight with a rifle on his shoulder, leading a corvé of recruits across the desert, perhaps for service in the army or for work on the Suez canal. It is carefully painted, with strong plein air effects -- particularly complex on the Arnaut's skirt; for this difficult effect, Gérôme worked from a photograph of the skirt shot on a sunlit roof, perhaps that of his own house.   

Lot 12. Rudolf Ernst (Austrian, 1854-1932), The Rug Merchant, signed and dated 'R. Ernst 88.' (lower right), oil on panel, 24 x 19 ¼ in. (62 x 50 cm). Estimate GBP 100,000 - GBP 150,000 (USD 129,000 - USD 193,500) © Christie's Images Ltd 2017

Provenance: Anonymous sale; Sotheby's, New York, 23 May 1989, lot 47.
with Mathaf Gallery, London (inv. no. S257).
Acquired from the above by the present owner.

Note: Ernst came from a family of distinguished artists. His father, Leopold Ernst, was a painter and architect who designed cathedrals. Rudolf entered the Weiner Akademie der Bildenen Künste in 1869. In 1874, he went on a study trip to Rome, and from there moved to Paris. He sent his first painting to the Paris Salon in 1877. Like Ludwig Deutsch, Ernst began his artistic career as a portraitist, and he did not make his debut as an Orientalist painter until 1885 upon his return from his first visit to Spain and Morocco. Ernst was familiar with the cultures he depicted, and had visited Morocco, Turkey and the Moorish palaces of Spain. 

Above all other Orientalist painters, Ernst was a craftsman who used his exotic subject matter primarily as a vehicle through which to express his technical mastery of surface texture and colour. Like Deutsch, he had a strong sense of plasticity and form, which was best expressed through his depictions of artefacts. His concern was not extreme ethnographic accuracy (indeed he frequently juxtaposed objects from different cultures) but to dazzle his wealthy patrons with paintings that have an almost tactile, three-dimensional quality. 

Most of the objects Ernst includes in his paintings were from his own personal collection. Similar to Jean-Léon Gérôme and Deutsch, with whom he was close friends, Ernst had gathered a sizeable group of artefacts, tiles, lamps, pottery, silks, satins and kaftans from his travels to Moorish Spain, Morocco, Tunis and Istanbul during the 1880s. In fact, Ernst's studio, crammed full of these artefacts, resembled a stage-set. The paintings he created there were visual anthologies, combining elements of these props with his own sketches and professional photographs. Almost photographic in their detail, his canvases are notable for their polished paint surfaces.  

These qualities played to the commercial demands of the day: Ernst was a popular exhibitor at the Salon, rated particularly highly by American clients who sought out his large scale works to decorate their vast houses. The sense of opulence exuded in so many of Ernst's paintings was well suited to the surroundings in which they would eventually hang.   

Lot 18. Théodore Jacques Ralli (Greek, 1852-1909), On the Balcony, Cairo, signed and dated 'Ralli/80' (lower centre) oil on canvas 29 x 21 ½ in. (73.6 x 54.6 cm). Estimate GBP 100,000 - GBP 150,000 (USD 129,000 - USD 193,500) © Christie's Images Ltd 2017

Provenance: Anonymous sale; Sotheby's, Billinghurst, 24 May 1988, lot 289A.
with Mathaf Gallery, London (inv. no. R88).
Acquired from the above by the present owner.

Note: Born in Constantinople of Greek descent, Ralli received his artistic education in the studios of Jean-Léon Gérôme and Jules-Antoine Lecomte du Nouÿ, through the support and patronage of King Otto of Greece. He made his debut at the Paris Salon in 1875, and in 1900 was appointed to the Jury of the Parisian International Exhibition. He also exhibited at the Royal Academy in London from 1879. Gérôme's precise draughtsmanship and photographic precision were not lost on the young artist, and Ralli emulated his teacher with great success. 

Theodore Ralli spent most of his adult life working in France and Egypt, where he settled in Cairo. Here the artist found inspiration for many of his most accomplished compositions.

The present work was painted with Ralli's signature attention to detail. The artist pays particular attention to the colourful traditional costume and facial expression of the woman, the texture of the fabrics and various architectural details of the terrace on which the lady is portrayed. The characteristic buildings of the city recreate an almost magical setting while the Giza Pyramids visible in the background complete the scene. The woman’s pose and expression, rather than sourced from the antique, has a realistic quality which establishes her as modern, rather than idealised. Here the artist renders a scene of everyday life with a delicate, colour-infused brush. 

Lot 180. An 18 carat gold, ruby and diamond parure, by Van Cleef & Arpels. Estimate GBP 100,000 - GBP 150,000 (USD 129,000 - USD 193,500) © Christie's Images Ltd 2017

Comprising a necklace, designed as a graduated series of ruby cabochon and brilliant-cut diamond clusters, interspersed by oval shaped pavé-set diamond links and circular-cut ruby highlights, suspending a brooch pendant, together with a pair of ear pendants, a ring en suite, the necklace dismountable to form a pair of bracelets, London import hallmarks for 1981, 60.0 cm., 7.5 cm., 4.0 cm., ring size L-M, with French assay marks for gold. Signed VCA, nos.29507, 29510, 30457, 29507, 29511, 29506 respectively

Provenance: Given to Lady Spencer by Lord Spencer as a token of his love and gratitude, circa 1980. Lady Spencer was further photographed wearing part of this suite with Dame Shirley Bassey, when attending a function at Covent Garden, London, in 2004.

Christie's. The Collection of Raine, Countess Spencer, 13 July 2017, London, King Street 

Lot 182. A blister pearl and gemstone demi-parure, circa 1900. Estimate GBP 15,000 - GBP 25,000 (USD 19,350 - USD 32,250) © Christie's Images Ltd 2017

Designed as a series of cluster panels, each set to the centre with a blister pearl within a border of oval rubies or pink sapphires interspersed with rose-cut diamonds to the smaller connecting links of similar design, the front suspending a blister pearl pendent drop within a rose-cut diamond-set border with circular-cut ruby accents and diamond-set foliate detail, with earrings and ring en suite, 40.5 cm., 4.8 cm., ring size L ½, mounted in silver and gold  

Accompanied by report no.14243 dated 19 May 2017 from the Gem and Pearl Laboratory, London, stating that five pearls were tested and found to be a mixture of natural hollow shell blister; natural shell blister and filled natural hollow shell blister pearls, all saltwater

Provenance: Lady Spencer was photographed wearing this suite, then The Hon. Mrs Gerald Legge, with her mother, Dame Barbara Cartland, circa 1957.

Christie's. The Collection of Raine, Countess Spencer, 13 July 2017, London, King Street

MONTE CARLO.- From 15th to 19th July, Artcurial will return to the Riviera. The unmissable event taking place on the ‘rock’ in the heart of the famous hotel Hermitage will be held on 17th, 18th and 19th July. Three sales, Jewellery, Watches and Hermès Summer Collection will gather the most exceptional pieces from the luxury world. 

This year, the auction house has invited the designer, Pierre Hardy to cast his eye upon the selection and choose his favourites amongst the remarkable pieces sought out from around the world by Artcurial specialists. Pierre Hardy uses emblematic creations, from the most prestigious brands to rare anonymous works. He brings them together in a dreamlike still life setting, creating a spontaneous artistic dialogue, imagining XXith century Vanités. Ten graphic creations will thus beautifully illustrate the auction catalogue. 

“It was when I saw the objects at the beginning of the project all mixed up without any particular order or price hierarchy that the idea came to me to gather them and make up a story.” ---Pierre Hardy 

Collectors from around the world will come and battle during the three days of sales, under the gavel of François Tajan, auctioneer at Artcurial and Deputy Chairman at Artcurial SAM. A large number of Monegasque collectors will of course be present and also a demanding clientele from Asia, America, Russia and Europe. 

« It is an immense pleasure to bring Pierre Hardy with us to Monaco for this season. I hope the collectors will enjoy discovering his illustrations as much as we will!» --François Tajan, Deputy Chairman, Artcurial SAM 

For the second year running, Artcurial invites a French designer to take the reins of its Monaco auction. After Elie Top in 2016, it is now Pierre Hardy’s turn. Pierre Hardy is not only the famous shoe and leather designer for his eponymous brand; he is also the faithful director of creation for the shoe and jewellery departments at Hermès. He is a modern dandy and an expert of many things. Amongst the three auction catalogues (jewellery, watches, Hermès Summer Collection) he has selected rare and precious objects and presents them in a unique and beautifully poetic way.  

Luxury Jewellery lights up the Riviera 
18th July at 2.30pm and at 6pm 
19th July at 2.30pm 
At this long awaited Monegasque event, the Artcurial jewellery department will offer 557 lots at auction, including Pierre Hardy’s selection for a global estimation of over 6M€ / 6,6 M$. 

All the big names from the place Vendôme (Boucheron, Graff, Van Cleef & Arpels...) will be represented with remarkable pieces appealing to serious collectors who will be kept on their toes. Highlights include this rare corsage clip by Van Cleef & Arpels featuring a ballerina decorated with diamonds, turquoise and rubies, estimated at 60 000 – 80 000 € / 67 103 – 89 511 $ (in January, Artcurial already sold a 1940s ballerina corsage clip for 130 000 € / 139 100 $, over 10 times its estimation.) An exceptional Cartier bracelet with two white gold and diamond dolphins is estimated at 130 000 – 150 000 € / 143 000 – 165 000 $. 

 Lot 542. A diamond, ruby, turquoise and 18k yellow gold 'Ballerina' clip, by Van Cleef & Arpels, circa 1940. Estimate 60 000 – 80 000 € / 67 103 – 89 511 $. © Artcurial

En or jaune 18k (750) stylisé d'une danseuse tenant un éventail, la tête ornée d'un diamant taillé en rose, les cheveux, l'éventail et la robe finement ajourés sertis de rubis, de turquoises et de diamants taillés en brillant. Signé Van Cleef & Arpels N.Y. 6071. Haut.: 7.5 cm, Poids brut: 29.68 g.

 Lot 590. A diamond, tsavorite and 18k white gold 'Dolphins' bracelet, by Cartier, pièce unique. Estimate 130 000 – 150 000 € / 143 000 – 165 000 $. © Artcurial

En or gris 18k (750) rigide ouvrant, entièrement sertis de diamants taillés en brillant, les yeux de tsavorites. Signé Cartier 774903. Tour de poignet: 15.3 cm, Poids brut: 83.94 g.

Collectors who are passionate about stones will greatly appreciate several lots of stunning gems like this exceptional Cartier ring Toi et Moi made of gold and platinum decorated with a diamond and rectangular emerald estimated at 45 000 – 50000 € / 49 500 – 55 000 $. 

Lot 577. An emerald, diamond, 18k yellow gold and platinum 'Toi et Moi' ring, setting by Cartier, circa 1930, accompanied by a GEM PARIS certificate stating that the emerald, origin Colombia, has minor impregnation with oil. Estimate 45 000 – 50000 € / 49 500 – 55 000 $. © Artcurial

En or jaune 18k (750) et platine (950) ornée en serti clos d'un diamant et d'une émeraude rectangulaires partiellement épaulés et soulignés d'un pavage de diamants taillés à l'ancienne. Signée Monture Cartier P9988. Tour de doigt: 53, Poids brut: 11.83 g.

Accompagné d'un certificat du laboratoire GEM PARIS (2017) indiquant origine de Colombie, avec faible imprégnation d'huile.

Another stunning piece by Chaumet is a white gold necklace set with cut diamonds and cabochon sapphires which is estimated at 150 000 – 200 000 € / 165 000 – 220 000 $. It comes from the same place as the Rivière diamond necklace by Chaumet which is estimated between 300 000 –350 000 €. 

Lot 642. A sapphire, diamond and 18k white gold necklace, attributed to Chaumet, circa 1925, accompanied by a GEM PARIS certificate origin Ceylon, and no indication of treatment. Estimate 150 000 – 200 000 € / 165 000 – 220 000 $. © Artcurial

En or gris 18k (750) formé de trois lignes souples de diamants taillés à l'ancienne en serti perlé, coupées de huit saphirs cabochons, chacun dans un encadrement elliptique également serti de diamants. Poinçon du joaillier Michel Ballada, ayant travaillé pour la maison Chaumet. Long.: 38.5 cm, Poids brut: 119.70 g. (Ce collier s'adaptait sur une monture de diadème qui manque).

Accompagné d'un certificat du laboratoire GEM PARIS (2017) indiquant origine de Ceylan, sans traitement thermique.

Lot 644. A diamond, silver and 18k yellow gold necklace, by Chaumet, mid of the XIXth century, accompanied by a report of the LFG certificate stating that two diamonds are Type IIa. Estimate 300 000 –350 000 €. © Artcurial

En argent (>800) et or jaune 18k (750) orné d'une chute de 37 diamants coussins ou ovales taillés à l'ancienne, le fermoir orné de quatre diamants plus petits. Poinçon du joaillier. Long.: 38 cm, Poids brut: 64.12 g.

Accompagné d'une attestation du laboratoire du LFG (2017) indiquant que deux diamants sont de type IIa.

“The 2017 Monegasque sale truly stands out. This year art deco jewels by Chaumet or Cartier will be put up for auction alongside vintage models like this extraordinary« Egyptian revival »by Van Cleef et Arpels. Amongst the gems, white diamonds and yellow fancy presented alongside rubies and emeralds including one cut ruby which is the most magnificent colour and truly stands out. Collectors must not miss the multi coloured fine pearl necklace and the large broach once belonging to Princess Esmeralda par Altenloh.” --Julie Valade. Director, Artcurial Jewellery department 

Lot 539. A diamond, coral, chrysoprase, lapis-lazuli, onyx and 18k yellow gold 'Egyptian revival' necklace and a pair of ear clips, by Van Cleef & Arpels, circa 1970. Estimate 12 000 –15 000 €. © Artcurial

En or jaune 18k (750) formés chacun d'un demi-jonc en chute, le premier, dans sa partie frontale appliqué de deux segments en chrysoprase encadrés de bandeaux sertis de diamants taillés en brillant et d'onyx, celui du centre plus important orné de deux oiseaux affrontés et stylisés sertis de corail rose, de lapis-lazuli, de chrysoprase et d'onyx, les seconds à décor de même inspiration. Signés Van Cleef & Arpels Made in France NY 4k882-3, poinçon du joaillier et VCA 3K655-6 NY. Tour de cou: 36 cm, Haut. des clips: 2.3 cm, Poids total brut: 101.96 g.

Lot 574. A multi coloured natural pearl, platinum and 18k white gold necklace, accompanied by a LFG certificate. Estimate 80 000 –85 000 €. © Artcurial

De 71 perles fines multicolores en chute, le fermoir en platine (950) et or gris 18k (750) orné d'un diamant taillé en coussin en serti clos 
Dim. des perles: de 12.5 à 5.4 mm, Long.: 49 cm, Poids brut: 36.14 g. Accompagné d'un certificat du laboratoire LFG (2017).

Lot 567. A diamond, natural pearl, platinum and 18k yellow gold brooch, by Altenloh, end of the XIXth century, once belonging to Princess Esmeralda, accompanied by a LFG certificate. Estimate 25 000 –35 000 €. © Artcurial

En platine (950) et or jaune 18k (750) formée d'un rameau mouvementé orné de diamants taillés à l'ancienne en serti perlé, retenant trois pampilles ornées de perles fines boutons de mer et d'eau douce en chute, entrecoupées de motifs feuillagés sertis de diamants taillés en rose. Dim. des perles: env. 5.5 - 11 mm. Dans son écrin de la maison E. et R. Altenloh. Haut.: env. 17 cm, Poids brut: 79.65 g. 

Accompagnées d'un certificat du laboratoire LFG (2017) 

Monegasque excellence 
17 July at 6pm 
Artcurial’s watch department returns to Monaco on 17th July for an impressive sale made up of 270 lots boasting a global estimation of 2.5M € / 2,75 M$. The sale will travel across centuries from the 17th century to the 21st century and include watches by famous brands: Rolex, Patek Philippe, Cartier, Omega, Piaget, Vacheron Constantin, Audemars Piguet… The collection of 20 watches once belonging to the artist ARMAN is set to attract bidders. It includes a Beta 21 given to the artist by Yves Piaget for his 60th birthday and is engraved with a touching personal message. 

“Amongst the 270 timepieces on offer, we will discover watch bracelets, pocket watches, engraved watches and miniature clocks. As well as the collections belonging to ARMAN and Georges Baptist, we will propose a beautiful set of female watches. Finally, three key pieces by Rolex will close the auction, including the delicate Stelline, ref. 6062, the sought-after Daytona "Panda", ref. 6263 and the mythical Jean-Claude Killy ref. 6036” -Marie Sanna-Legrand, Director Collector Watches, Artcurial.

Collectors will admire the magnificent Rolex Daytona « Panda », chronograph watch with steel bracelet, with its impressive estimation of 185 000 – 250 000 € / 210 000 – 280 500 $, is set to be the top lot of the sale. 

Lot 270. Rolex Daytona 'Panda', réf. 6263 / 6263, n° 2848507, vers 1971. Estimate 185 000 – 250 000 € / 210 000 – 280 500 $. © Artcurial

Chronographe bracelet en acier. oîtier : rond, poussoir dit "mille righe", couronne et fond vissés, lunette bakélite graduée, signé. Cadran : blanc, 3 compteurs noirs pour l'indication des 30 min, des 12h et des secondes, chemin de fer avec graduation 1/5 de seconde, signé. Mouvement : mécanique cal. 727, 17 rubis ajustée 3 positions, signé. Bracelet / Boucle : "Oyster" acier, numéroté"7835/19-271" / déployante acier, numéroté"371" et signée. Diam. : 37 mm.

Stainless steel chronograph wristwatch with bakelite bezel. Stainless steel "Oyster" bracelet with deployant clasp signed.

Highlights from the female watches on sale include two ‘Serpenti’ watches by the Italian brand, Bulgari. The first is made up of an 18 karat yellow and white gold bracelet set with diamonds and estimated at 15 000 – 20 000 € / 16 500 – 22 000 $ ; the second made of yellow gold, enamel and diamonds is estimated at 35 000 – 45 000 € / 38 500 – 49 500 $. Another rare pearl from this feminine selection is a beautiful Cartier ‘Art-Déco’ white gold bracelet watch estimated at 8 000 – 12 000 € / 8 800 – 13 200 $.  

Lot 191. Bulgari. Serpenti, n° SP35SPG / L1716, vers 2015. Estimate 15 000 – 20 000 €. © Artcurial

Montre bracelet de dame en or jaune et or blanc 18k (750) et diamants. Boîtier : stylisé, lunette sertie de diamants, fermeture à vis, couronne de remontoir sertie, signé. Cadran : noir, chiffres romains appliqués, index "bâton", signé. Mouvement : quartz, signé. Bracelet : Tubogas 2 ors, 6 rangs, signé. Dim. / Poids brut : 23 x 32 mm / 185,05 g. 
Avec : certificat d'authenticité, garantie, écrin et surboîte, mode d'emploi

18k yellow and white gold, enamel and diamond set quartz lady's wristwach. Tubogas bracelet. With certificate of authenticity, guarantee, presentation case and outer box, instructions for use.

 Lot 198. Bulgari. Serpenti, n° SPP26G VH851, vers 2015. Estimate 15 000 – 20 000 €. © Artcurial

Montre bracelet de dame en or jaune 18k (750), émail et diamants. Boîtier : stylisé, lunette sertie de diamants, fermeture à vis, verre facetté, correcteur pour la mise à l'heure, signé. Cadran : blanc, index diamants, aiguilles en or, signé. Mouvement : quartz, signé. Bracelet : Tubogas "écailles", 3 rangs, or jaune 18k, émail et diamants, signé. Dim. / Poids brut : 16 x 26 mm / 131,35 g. 
Avec : certificat d'authenticité, garantie, écrin et surboîte, mode d'emploi.

Lot 230. Cartier. "Art Déco", n° 18558 / 03674 / 25765, Vers 1940. Estimate 8 000 – 12 000 €. © Artcurial

Montre bracelet de dame "Art Déco" en or blanc 18k (750). Boîtier : carré, couronne de remontoir sertie d'un rubis, attaches "boule" (à l'origine pour fixation sur bracelet cordon), fermeture à vis, numéroté. Cadran : blanc, chiffres romains, aiguilles de style Breguet, signé. Mouvement : mécanique, 18 rubis, signé"European Watch Clock and Co inc". Bracelet / Boucle : rapporté or blanc 18k / déployante or rose 18k, numérotée "12584". Dim. / Poids brut : 20 x 20 mm / 57,84 g. 

18 white gold manual winding lady's wristwatch. White gold bracelet added later, with rose gold deployant clasp 

Provenance : Collection particulière Européenne.

Rare skins and unique pieces by Hermès. 
19th July at 12pm 
A key part of the Artcurial summer season, the Hermes Vintage section of the sale is particularly tied to Monaco this year as it will offer a unique piece : a Kelly bag decorated with a print of a portrait of Princesses Grace dating back to March 1954. This exceptional bag and unique object was given to the Princess Stephanie of Monaco during the exhibition « les années Grace Kelly » whick took place in July 2007 at the Grimaldi Forum in Monaco and is estimated at 80 000 – 120 000 € / 88 000 – 132 000 $. 

Lot 1055. Hermès. Sac KELLY 40, 2007. Veau Epsom bleu Jean. Sérigraphie sur toile d'un portrait photographique de Grace Kelly daté de mars 1954 (Copyrights Time Life Pictures / Getty Images / Laura Ronchi). Pièce unique. Estimate 80 000 – 120 000 €  / 88 000 – 132 000 $. © Artcurial

Garniture métal argenté palladié. Signature manuscrite de la Princesse Stéphanie de Monaco. Plaque commémorative en cuir. 

Note: "Ce sac "Kelly" a été offert à S.A.S. La Princesse Stephanie de Monaco à l'occasion de la grande exposition "Les Années Grace Kelly" qui a eu lieu au Grimaldi Forum de Monaco en juillet 2007. Cette pièce unique, à l'effigie de La Princesse Grace, devait marquer l'événement qui fut mondialement répercuté. La technique d'impression sur toile Rhovyl classée M1, n'a fait l'objet que d'un seul tirage dans ce coloris assorti au cuir Epsom. L'intention de cette création était de prolonger dans les mémoires la beauté, la douceur et la classe d'une Princesse entrée de son vivant dans la légende. Hermès, dont elle fut une inconditionnelle, lui devait cet hommage et continue à honorer son souvenir." Leila Menchari, 10 avril 2008, Directrice le la décoration.

This Monaco event is the occasion to gather a selection of the most iconic Hermes pieces made from rare and exotic skins. The emblematic Kelly and Birkin bags will of course be the stars of the sale. Highlights include a classic Birkin made from Jaipur pink, Epsom calf skin estimated at 12 000 - 15 000 € / 13 520 – 16 500 $ ; more recent creations include a Bolide Shark bag made from indigo blue calf leather estimated at 10 000 – 15 000 € / 11 000 – 16 500. 

Lot 1003. Hermès. Sac Birkin 30, 2016. Veau Epsom rose Jaipur. Garniture métal plaqué or. Estimate 12 000 - 15 000 € / 13 520 – 16 500 $. © Artcurial

Lot 1055. Hermès. Édition limitée. Automne-hiver 2015/16, Sac Bolide Shark 45. Veau Togo bleu indigo. Garniture métal argenté palladié. Estimate 10 000 – 15 000 € / 11 000 – 16 500. © Artcurial

Lot 1044. Hermès. Sac Kelly Picinic 35, 2011. Veau Barénia naturel, osier tressé. Piqué sellier blanc. Garniture métal argenté palladié. Estimate 10 000 – 15 000 € / 11 000 – 16 500. © Artcurial

 For those who prefer smaller models, don’t miss the amethyst alligator Constance bag estimated at 18 000 - 28 000 € / 20 287 - 31 556 $. 

Lot 1037. Hermès. Sac Constance 24, 2012. Alligator Améthyste (Alligator mississippiensis) II/B. Garniture métal argenté palladié. Double poche. Estimate 8 000 - 28 000 € / 20 287 - 31 556 $. © Artcurial

“The Hermès Summer Collection 2017 is set to be a good year. Highlights include an array of flamboyant and summer Birkin and Kelly bags and also more recent collector models like the blue marine Bolide Shark made from young bull leather and the Kelly Picnic bag which is simply perfect for the Riviera. True fashionistas will go crazy over the marine crocodile mini Constance bag.” ---Pénélope Blanckaert, Director Hermès Vintage & Fashion Arts, Artcurial. 

A black chalk drawing of a landscape, showing trees beside a road, squared for transfer in pencil. Lindsay Stainton has noted that this drawing is a squared-up study for Thomas Gainsborough's (1727-88) early landscape painting of Cornard Wood, 1748, now in the National Gallery, London. Photo: Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017.

LONDON.- An album of 25 landscape drawings in the Royal Collection, which have been contained in an album lettered 'Sketches by Sir E Landseer', have now been re-attributed to Thomas Gainsborough (1727-88). 

The sketches, stored in the Print Room at Windsor Castle, were acquired from the studio of Edwin Landseer (1803-73) by Queen Victoria in April 1874. 

In 1995, the drawings were reappraised and catalogued as 'from the circle of Gainsborough or the Norwich School', as the attribution to Landseer appeared to be 'completely unfounded'. 

More recently, further research by Lindsay Stainton (ex-British Museum and Gainsborough scholar) confirmed that one of the drawings is a squared-up study for an early painting by Gainsborough in the National Gallery, Cornard Wood. This discovery, combined with further evidence, has led to the belief that the sketches are by Gainsborough: they are on French and Dutch paper of the 1740s, are drawn in his early style, and several, including the Study for Cornard Wood, contain oil stains from the materials he had to hand in his studio while painting. 

Rosie Razzall, Curator of Prints and Drawings said: 'This is a very significant discovery, as very few drawings from Gainsborough's early career survive. We have long suspected the sketches may have been by Gainsborough's hand, Lindsay's discovery has helped to make a convincing case for the reattribution of these drawings to the artist'.

Thomas Gainsborough (1727-88), A drawing in black and white chalk and stump of a landscape, with lake to the foreground left, donkeys in the middle ground centre. Courtesy Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017.

Thomas Gainsborough (1727-88), A drawing in black chalk and stump showing trees and a lake, with cows at the water’s edge, and a man and his dog. Large oil stain to right. Courtesy Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017.

Thomas Gainsborough (1727-88), Cornard Wood, near Sudbury, Suffolk (1748). Courtesy National Gallery.

Lot 2711. An important set of three jade ‘chilong’ sword fittings and a jade sword guard, Western Han dynasty (206 BC-8 AD). Estimate HKD 1,800,000 - HKD 3,000,000. Price realised HKD 8,460,000 © Christie's Images Ltd 2017

The set includes: a pommel carved on top in relief with two sinuous dragons while the reverse is incised with a band of ruyi-scrolls; a sword slide decorated on one side with a sinuous dragon carved with its head extending over the edge forming part of the flange; and a chape carved with a dragon on one side with its tail continuing towards the other side shown clenched in a bear’s mouth. The sword guard is carved in relief on both sides with angular scroll design centred by a median ridge. The largest: 3 1/2 in. (8.8 cm.) wide. 

Provenance: Acquired in Hong Kong, 1996

Note: This exceptional set of sword fittings exemplifies the best jade carving of early Western Han period. Stylistically they are closely related to a set of sword fittings once belonging to the King of Nanyue, illustrated in Zhongguo Yuqi Quanji 4 – Qin, Han, Nanbeichao, Hebei, 1993, pp. 60-61, nos. 79-82 (fig. 1). The Nanyue set is missing the sword slide, while the current set has a matched sword guard. Both sets employ shallow, medium and high-relief carving to vividly depict sinewy dragons emerging from and disappearing into the background of geometric cloud scrolls. This theme, although commonly seen on Han jade carving, is particularly successfully executed here. The dragons are carved with well-defined features and naturalistic musculature, showing a degree of sophistication rarely surpassed even on carvings of the high Qing period.

fig. 1. A set of sword fittings once belonging to the King of Nanyue, The Museum of the Western Han Dynasty Mausoleum of the Nanyue King Collection

On the chape of the current set, the tail of one of the dragons is clenched in a bear’s mouth. This motif can also be seen on the chape of the Nanyue set, and is obviously a popular motif for members of the royal family in the Han period. The origin of this motif can perhaps be traced back to a section from the poem Tianwen (Heavenly Questions) by poet Qu Yuan: 

‘Why is there the hornless dragon, carrying a bear on its back as a companion?’

Lot 2732. A rare jade Dragon disc, bi, Western Han dynasty (206 BC-8 AD). Estimate HKD 1,200,000 - HKD 1,800,000. Price realised HKD 5,460,000 © Christie's Images Ltd 2017

The disc is finely carved to the centre in openwork with a dragon, highlighted by fine incisions along its body and its tail. The surface is decorated on both sides in relief with comma spirals within inner and outer raised borders. The well polished stone is of a yellowish-beige tone with areas of minor russet inclusions and calcification. 3 1/2 in. (8.5 cm.) diam. 

Provenance: Acquired in Hong Kong in 1997

Christie's. Adorning the Kings - A Private Collection of Archaic Jade Ornaments, 31 May 2017

Lot 2733. A very rare white jade Dragon disc, bi, Han dynasty (206 BC-220 AD). Estimate HKD 1,000,000 - HKD 1,500,000. Price realised HKD 3,900,000© Christie's Images Ltd 2017

The disc is well-carved and pierced on both sides with two large dragons and a juvenile dragon interlocking together; one with its head extending beyond the outer border of the disc to a flange above, and on the other end depicting a dragon mounted by a winged human and a monkey. 5 1/4 in. (13.5 cm.) long, box 

Provenance: Acquired in Hong Kong in 1996

Note: This unique jade bi disc is carved with a rare design, and although other Han period pierced discs are recorded, no other examples of similar design appears to have been published. The main decorative motif on the current disc is dragons, and two large ones and one small dragon are depicted. The largest dragon on the upper end side extends its head beyond the border of the disc to a flange above. The dragon at the lower side is carrying a winged man. This mythical creature is associated with longevity, and a very popular subject in the Han Dynasty. An example of the winged man riding on a dragon can be seen on one of the frescos from the tomb in Luoyang dated to the Xinmang period (9-23 AD). Compare also the jade carving of a winged man riding on a horse, excavated from the tomb of Emperor Yuan of Han Dynasty, illustrated in Zhongguo Yuqi Quanji 4 – Qin, Han, Nanbeichao, Hebei, 1993, p. 108, no. 147.

Christie's. Adorning the Kings - A Private Collection of Archaic Jade Ornaments, 31 May 2017

Lot 2731. A jade 'Mythical Beasts' plectrum-shaped pendant, Song dynasty (960-1279). Estimate HKD 200,000 - HKD 300,000. Price realised HKD 2,100,000 © Christie's Images Ltd 2017

The jade is vividly carved in openwork with a sinuous panchibeing attacked on either side by a bixie and a chihu, all surrounding the ‘archer’s thumb ring’-shaped ornament with further incised details. The stone is of a pale greyish-white tone with highlights ranging from a dark brown colour to russet tone. 2 3/4 in. (7.2 cm.) long.

Christie's. Adorning the Kings - A Private Collection of Archaic Jade Ornaments, 31 May 2017

Lot 2712. A set of five celadon jade 'Mythical Beasts' pendants, Warring States period (475-221 BC). Estimate HKD 400,000 - HKD 600,000. Price realised HKD 1,980,000 © Christie's Images Ltd 2017

Each of the mythical beasts is carved standing upright, detailed with bulging eyes, curling tail and a snout-like nose, all strung together in a row separated by rounded beads. The semi-translucent stones range from a yellowish-celadon to white tone. Together with two white jade dragon ornaments. The larger: 1 1/4 in. (3.5 cm.) high.

Provenance: Acquired in Hong Kong, 1994

Note: Compare to a jade beast of similar form, dating to the early Warring States period, now in the Shanxi Provincial Museum, illustrated in Zhongguo Yuqi Quanji 3 – Chunqiu, Zhanguo, Hebei, 1993, p. 95, no. 150 (fig. 1).

fig. 1 A jade'Mythical Beast' pendant, early Warring States period (475-221 BC). Collection of Shanxi Provincial Museum

Christie's. Adorning the Kings - A Private Collection of Archaic Jade Ornaments, 31 May 2017

Lot 3109. A bronze ritual rectangular food vessel, fangding, Late  Shang Dynasty, Anyang, 12th-11th Century BC. Estimate HKD 4,000,000 - HKD 6,000,000. Price realised HKD 4,860,000 © Christie's Images Ltd 2017

The body is raised on four columnar legs and is cast in rounded relief on each side with a taotie mask below a band of confronted kui dragons, all centred by vertical flanges which are repeated at the corners below the pair of upright handles that rise from the rim. The decoration has black inlay that contrasts with the mottled dark grey and green patina. 10 ¼ in. (25.8 cm.) high, 8 ¼ in. (21.2 cm.) across handles

Provenance: Acquired in Hong Kong, 29 June 1981

Note: Square (fang) vessels had great significance to Shang and Zhou ruling elite and are much rarer than their rounded-form counterparts. The first vessel type to be cast in square cross section is the ding, such as the massive early Shang fangding (100 cm. high) found in Duling, Zhengzhou city, illustrated in Shangyi yiyi sifang zhiji, Hefei, 2013, p. 61. Scholars have noted that the casting of fangding is more difficult than round ding and that massive fangding vessels were reserved for nobility of the highest rank and symbolise the royal power (see ibid., p. 60). Two very similar fangding of slightly smaller size (24.4 cm. and 23.7 cm. high) bearing Yachou clan signs are illustrated in Shang Ritual Bronzes in the National Palace Museum Collection, Taipei, 1998, pp. 560-9, no. 96 and 97. Compare also a fangding (22.2 cm. high) sold at Christie’s New York, 22 March 2012, lot 1508.

A rare bronze ritual rectangular food vessel, fangding, Late  Shang Dynasty, Anyang, 12th-11th Century BC. Sold for $1,082,500 at Christie’s New York, 22 March 2012, lot 1508. © Christie's Images Ltd 2012

Christie's. The Imperial Sale / Important Chinese Ceramics and Works of Art, 31 May 2017, Convention Hall

Lot 3176. A group of three Arabic-inscribed bronze incense vessels, Ming dynasty, possibly of the Zhengde period (1506-1521). Estimate HKD 800,000 - HKD 1,500,000. Price realised HKD 2,940,000 © Christie's Images Ltd 2017

The group is comprised of a tripod li censer cast with a apocryphal Zhengde four-character seal mark, a bottle vase with two loop handles, and a box and cover of square shape, all decorated with Arabic inscriptions reserved on fine ring-punched grounds. The metal has a warm reddish-brown patina. 

The censer: 8 in. (20 cm.) across the handles;
the vase: 6 ½ in. (17 cm.) high;
the box: 3 in. (7.6 cm.) square, box 

Note: The Islamic inscriptions on these vessels may be translated as follows: ‘there is no God but Allah’ (censer), ‘glory be to God’ (vase), and ‘all praise is due to God’ (box). The present group of incense vessels decorated with Arabic writings is often associated with the Zhengde reign (1506-1521), when Arabic inscription became a popular decorative motif on imperial porcelain. The majority of the Arabic inscriptions are religious or philosophical in content and many of these are quotations from the Qur’an, such as that on the blue and white porcelain table screen in the collection of Sir Percival David, the inscription on which comes from Surat al Jinn (LXXII) (illustrated by R. Scott in Elegant Form and Harmonious Decoration – Four Dynasties of Jingdezhen Porcelain, London, 1992, p. 70, no. 68). A number of other inscriptions are secular and either indicate the item’s functionality, such as ‘pen rest’, or are mottoes, such as ‘Strive for excellence in penmanship, for it is one of the keys of livelihood.’ It is believed that these porcelain pieces were produced under the influence of powerful Muslim eunuchs in the imperial court. It is interesting to note that incense burning was also a popular practice among Muslims in their religious ceremonies. A very similar incense set is illustrated by Liu Xirong, Zhongding mingxiang (3): Rongzhai qinggong zhenshang, Beijing, 2013, pp. 94-95. Compare also to an Arabic-inscribed incense set sold at Christie’s Hong Kong, 30 November 2016, lot 3394.

Lot 3020. A rare parcel-gilt bronze ‘shou’ jar, pou, Late Ming-early Qing period. Estimate HKD 700,000 - HKD 900,000. Price realised HKD 875,000 © Christie's Images Ltd 2017

The globular body is decorated in gilt and relief with one hundred and twenty-eight shou characters rendered in different forms of seal
script, all against a fish-roe punched ground, below an archaistic wavy border on the neck and a key-fret band on the galleried mouth rim. The shoulders are set with a pair of ring handles supporting taotie masks. 7 in. (17.8 cm) high, box, zitan cover with carnelian agate finial

Provenance: Sold at Sotheby’s Hong Kong, 8th October 2006, lot 1154
Sold at Sotheby’s New York, 20 March 2012, lot 73

Note: The motif of multiple shou (longevity) characters on this jar conveys the auspicious message ‘countless years of long life without limit’. During the Kangxi period, a small group of massive blue and white ‘wanshou’ porcelain vases was made at the Imperial kilns in Jingdezhen, on which 9999 shou characters and a single wan character were inscribed, suggesting they may have been made as Imperial birthday presents. One such example of a Kangxi blue and white wanshou vase was sold at Christie’s Hong Kong, 27 November 2013, lot 3419.

Christie's. The Imperial Sale / Important Chinese Ceramics and Works of Art, 31 May 2017, Convention Hall 

Lot 3175. A pair of silver-inlaid and parcel-gilt bronze ‘chilong’paper weight, Late Ming-early Qing period, 17th century. Estimate HKD 600,000 - HKD 1,000,000. Price realised HKD 750,000 © Christie's Images Ltd 2017

Each rectangular bronze paper weight is inlaid in silver with aruyi-cloud pattern on the upper surface, and surmounted by a gilt handle in the form of a slender double-horned dragon standing foursquare with an arched back and curly tail. The sides are inlaid with a keyfret band, and the reverse inlaid with a four-character mark, bingchen nian zhi, ‘made in the cyclical bingchen year’. 9 5/8 in. (24.5 cm.) long, box

Note: Compare to a paperweight of similar design but rendered in cloisonne in the Beijing Palace Museum, illustrated in Small Refined Articles of the Study, The Complete Collection of Treasures of the Palace Museum, Shenzhen, 2009, p. 165, no. 150.

Christie's. The Imperial Sale / Important Chinese Ceramics and Works of Art, 31 May 2017, Convention Hall 

Lot 3019. A rare bronze tripod vessel and cover, xing, Qianlong six-character cast seal marks and of the period (1736-1795). Estimate HKD 200,000 - HKD 300,000. Price realised HKD 500,000 © Christie's Images Ltd 2017

The archaistic vessel is raised on three leaf-form supports and the sides are cast with a broad band of cell diaper below narrow bands of key frets and stylised foliate scroll interrupted by a pair of dragon handles. The cover is similarly decorated with a band of stylised foliate scroll below a narrow band of key frets and a broad band of wan diaper, all beneath a roundel enclosing a flowerhead suspending stylised foliate scroll topped with three leaf-form finials. 10 3/8 in. (26.4 cm.) high.

Note: Compare to two bronze xing of comparable size without covers dated to Qianlong period, sold at Christie’s New York, 17 September 2015, lot 2114. Compare, also, a white-glazed porcelain example dated to the Qianlong period with identical decoration and shape in the Palace Museum, Beijing, illustrated in China: The Three Emperors, 1662-1795, London, 2005, p. 125, no. 36, and another porcelain example of this type in the National Palace Museum, Taipei, illustrated in the exhibition catalogue Emperor Ch’ien-lung’s Grand Cultural Enterprise, Taipei, p. 172, fig. v-5.

Christie's. The Imperial Sale / Important Chinese Ceramics and Works of Art, 31 May 2017, Convention Hall 

Lot 3194. A large famille rose porcelain ink stand, Yongzheng period (1723-1735). Estimate HKD 200,000 - HKD 300,000. Price realised HKD 1,680,000 © Christie's Images Ltd 2017

The top of the ink stand is finely painted with three figures in a landscape against pavilions interspersed in craggy mountains with tall trees while another figure seated in a boat in the distant river. All is set above an apron carved in openwork with archaistic scroll and four legs with hoof feet. 8 1/4 in. (21.4 cm.) long, box.

Note: A slightly larger example (22.4 cm. long) with its upper surface painted with a landscape scene in grisaille, dated to Yongzheng period, though catalogued as a low table, is in the collection of Palace Museum, Beijing, and illustrated in Small refined articles of the Study, The Complete Collection of Treasures from the Palace Museum, vol. 39, Hong Kong, 2009, p. 319, no. 316 (fig. 1).

fig. 1 A large famille rose porcelain ink stand, Yongzheng period (1723-1735). Collection of the Palace Museum, Beijing

Christie's. The Imperial Sale / Important Chinese Ceramics and Works of Art, 31 May 2017, Convention Hall 

Lot 3220. A fine pair of blue and white garlic-mouth vases, Daoguang six-character seal marks in underglaze blue and of the period (1820-1850). Estimate HKD 1,200,000 - HKD 1,800,000. Price realised HKD 2,700,000 © Christie's Images Ltd 2017

Each vase is painted with six sprays of alternating blossoming and fruiting branches, between decorative borders. 11 1/8 in. (28.1 cm.) high, box.

Provenance: Adria Farley Family Collection, acquired in the Netherlands in the 1880s
Collection of Dr. Jacob Harsen
Marchant & Sons, London, 2001.

Christie's. The Imperial Sale / Important Chinese Ceramics and Works of Art, 31 May 2017, Convention Hall 

Lot 3201. A fine blue and white hu-form vase, Qianlong six-character seal mark in underglaze blue and of the period (1736-1795). Estimate HKD 800,000 - HKD 1,200,000. Price realised HKD 1,500,000 © Christie's Images Ltd 2017

The vase is vividly painted with a lotus scroll band and a composite floral scroll, above cresting waves and below overlapping stylised plantain leaves around the waisted neck, all divided by raised double-moulded line borders. The shoulder is set with a pair of integral animal-mask ring handles in relief, the spreading foot encircled by stiff lappets, and the mouth rim with a narrow band of waves. 9 7/8 in. (25 cm.) high, box .

Note: Compare to a nearly identical Qianlong vase in the Nanjing Museum, illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 235 and another example in the National Palace Museum, Taipei, illustrated in Porcelain of the National Palace Museum, Blue-and-White Ware of the Ch'ing Dynasty, CAFA, Book II, 1968, pl. 2. 

Christie's. The Imperial Sale / Important Chinese Ceramics and Works of Art, 31 May 2017, Convention Hall