Life-Size Jade Burial Suit with Gold Thread, China, Western Han Dynasty (206 B.C.E.-9 C.E.). Excavated from the tomb of the King of Chu at Shizishan, Xuzhou in 1995. 69 x 26 13/16 inches. Collection of the Xuzhou Museum.

KANSAS CITY, MO.- In ancient China, death was believed to be such a continuation of life that burial tombs were plotted as elaborate afterlife arenas, complete with large security forces made of clay, horse-drawn chariots, precious stones and jade figures. Dreams of the Kings: A Jade Suit for Eternity opens Dec. 16 at The Nelson-Atkins Museum of Art in Kansas City and offers a remarkable window into ancient Chinese burial rituals following the discovery of nearly 100 tombs in the mid-20th century onwards in northern Jiangsu Province. 

“Humankind’s dream of eternal life is enduring,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO & Director of the Nelson-Atkins. “The finest quality jade suit excavated to date, showcased in this exhibition, along with the other burial objects on display, reveal the dreams of the elegant kings of Chu.” 

Lot 33. Vase rouleau en porcelaine bleu blanc, Chine, dynastie Qing, époque Shunzhi (1644-1661). Hauteur: 42,8 cm. (16 ¾ in.). Estimate EUR 12,000 - EUR 18,000. Price realised EUR 50,000. © Christie's Images Ltd 2017

A blue and white rouleau vase, Qing dynasty, Shunzhi period (1644-1661)

Le col est rehaussé d'une frise de pétales stylisés. L'épaulement et le pied sont agrémentés d'un bandeau à décor anhua de fleurs et de motifs géométriques. La panse est ornée d'oiseaux, insectes et papillons en vol. Deux oiseaux sont posés sur des branchages fleuris émergeant de rochers ; deux petites restaurations au col.

Provenance: Property of a French private collector.

Literature: Ben Janssens Oriental Art, Seventeenth century Chinese blue and white porcelain from the private collection of Eileen Lesouef, London, 1999, fig. 33.

Christie's. Art d'Asie, 13 December 2017, Paris 

Lot 96. Vase en porcelaine de la famille rose, Chine, dynastie Qing, marque à six caractères en cachet en rouge de fer et époque Daoguang (1821-1850). Hauteur: 31 cm. (12 ¼). Estimate EUR 10,000 - EUR 15,000. Price realised EUR 43,750. © Christie's Images Ltd 2017

A famille rose 'Magpie and Magnolia' vase, China, Qing dynasty, Daoguang six-character seal mark in iron red and of the period (1821-1850)

Reposant sur un petit pied droit, il est délicatement peint d'un couple de pies perchées sur des branchages de magnolia parmi des pivoines et des marguerites ; restauration au col.

Provenance: Previously in an American private collection.

Note: The two magpies, 'shuangxi', symbolize 'double-happiness', as the character of the word for magpie, xi, is the homonym for happiness. See a famille rose jardiniere with very similarly painted magpies bearing a Shendetang zhi mark, Zhao Congyue ed., Porcelains with Inscription of Shendetang Collected by the Palace Museum, Beijing, 2014, pl. 71..

Christie's. Art d'Asie, 13 December 2017, Paris 

Lot 97. Vase en porcelaine de la famille rose, Chine, dynastie Qing, époque Jiaqing (1796-1820). Hauteur: 31 cm. (12 ¼ in.). Estimate EUR 20,000 - EUR 30,000. Price realised EUR 25,000. © Christie's Images Ltd 2017

Lot 31. Vase en porcelaine bleu blanc, gu, Chine, dynastie Qing, époque Shunzhi (1644-1661). Hauteur: 43 cm. (17 in.). Estimate EUR 12,000 - EUR 18,000. Price realised EUR 20,000. © Christie's Images Ltd 2017

A blue and white vase, gu, Qing dynasty, Shunzhi period (1644-1661)

Le pied est rehaussé de feuilles stylisées surmontées d'une frise de fleurs et de nuages. La partie supérieure du vase est ornée d'une scène tirée de la 'Romance de la Chambre de l'ouest' représentant des personnages sur une terrasse arborée ; petites égrenures et fêles de cuisson à la base.

Provenance: Property of a French private collector.

Literature: Ben Janssens Oriental Art, Seventeenth century Chinese blue and white porcelain from the private collection of Eileen Lesouef, London, 1999, fig. 26.

Christie's. Art d'Asie, 13 December 2017, Paris 

Lot 32. Grande potiche en porcelaine bleu blanc, Chine, Dynastie Qing, Epoque Kangxi (1662-1722), datée de l'automne de l'année gengzi (correspondant à 1720). Hauteur: 51 cm. (20 in.). Estimate EUR 10,000 - EUR 15,000. Price realised EUR 20,000. © Christie's Images Ltd 2017 

A large blue and white 'Landscape' and inscribed jar, China, Qing dynasty, Kangxi period (1662-1722), dated Autumn of gengzi year (corresponding to 1720)

De forme balustre, la panse est divisée en deux grands registres verticaux. Le premier est orné d'un paysage montagneux, une rivière serpente parmi les rochers. Les berges sont arborées et des personnages cheminent vers un pavillon, suivis de serviteurs. Le second registre est rehaussé d'une inscription poétique nommée 'l'Histoire du Lettré ivre du pavillon' d'Ouyang Xiu (1007-1072) ; fêle et égrenure restaurés. 

Provenance: Christie’s Paris, 11 Juin 2008, lot 90.
Property of a French private collector.

Lot 21. Importante jardinière en porcelaine bleu et blanc, Chine, Dynastie Qing, Epoque Kangxi (1662-1722). Hauteur: 26 cm. (10 ¼ in.). Estimate EUR 15,000 - EUR 20,000. Price realised EUR 18,750. © Christie's Images Ltd 2017  

An important blue and white bell-shaped 'Five mythical creatures' jardinière, China, Qing dynasty, Kangxi period (1662-1722)

En forme de cloche inversée, la panse est ornée des cinq créatures mythiques: le dragon, le phénix, le tigre, le qilin et la tortue. L'intérieur de la bordure du col est agrémenté d'une frise de nuages de ruyi ; fêle, socle en bois. 

Provenance: Property of a French noble family, the collection was formed by the present owner's great-grandfather, from late 19th century to early 20th century.

Note: The dragon symbolises the dynamic force, the white tiger the governor's benevolence, the qilin great peace, the phoenix prosperity and turtle longevity. See an identical blue and white 'five mythical creatures' jardiniere illustrated by Chen Runmin ed., Blue and white porcelains from the Shunzhi and Kangxi period, 2005, no. 325.

Lot 35. Boite couverte en porcelaine émaillée rouge de fer, jaune, vert et aubergine, Chine, dynastie Ming, époque Tianqi (1621-1627). Hauteur: 11,7 cm. (4 5/8 in.). Estimate EUR 3,000 - EUR 4,000. Price realised EUR 15,000. © Christie's Images Ltd 2017  

An iron-red, yellow, green and aubergine-glazed hexagonal box and cover, China, Ming dynasty, Tianqi period (1621-1627)

De forme hexagonale, elle comprend deux compartiments. Le couvercle est orné d'une scène dans un médaillon en forme de fleur en réserve sur fond de motifs géométriques abritant un lettré et son serviteur sur une terrasse arborée. Les côtés sont agrémentés de cartouches fleuris sur fond de treillis géométrique ; petites égrenures. 

Provenance: Property of a French private collector.

Christie's. Art d'Asie, 13 December 2017, Paris

Lot 131. A blue and white 'Dragon' dish, China, Qing dynasty, Qianlong six-character seal mark in underglaze blue and of the period (1736-1795). Diamètre: 25,4 cm. (10 in.). Estimate EUR 10,000 - EUR 15,000. Price realised EUR 13,750. © Christie's Images Ltd 2017  

Il est peint dans un médaillon central d'un dragon à cinq griffes à la poursuite de la perle enflammée parmi les nuages stylisés, le même décor se répétant le long des bords intérieurs et extérieurs. 

Provenance: Belgian private collection.

Lot 68. A rare famille verte'Month' cup, Kangxi six-character mark within a double circle in underglaze blue and of the period (1662-1722). Hauteur: 5 cm. (2 in.). Estimate EUR 5,000 - EUR 7,000. Price realised EUR 10,000. © Christie's Images Ltd 2017

De forme légèrement évasée, elle est ornée à l'extérieur et sur un côté d'un grenadier en fleur, symbolisant le cinquième mois. L'autre côté est agrémenté d'un couplet poétique: luse zhulianying; xiangfeng fenbizhe, terminant avec une marque en cachet Shang ; restauration. 

Note: This small, exceptionally thinly potted cup is from one of the imperial sets of wine cups depicting the Flowers of the Twelve Months. A complete set of twelve month cups in the collection of The Percival David Foundation is illustrated by R. Scott in Elegant Form and Harmonious Decoration - Four Dynasties of Jingdezhen Porcelain, The Percival David Foundation, London/Singapore, 1992, p. 113, no. 122. 

Each of these cups was decorated in a particularly finely painted version of the wucai palette, with rocks and clumps of grass painted in a soft underglaze blue, while the majority of the decoration is rendered in overglaze famille verte enamels.  

The status of these cups can perhaps be judged by the fact that at the end of the inscription, which accompanies the flower painting on each cup, there is an underglaze blue seal character which reads: shang. This character may be translated as 'enjoy', for example to enjoy or appreciate the flowers. However, in this context it is more probable that it should be translated as 'reward', with the implication of being bestowed by a superior (in this case the emperor) as a reward for meritorious service. 

Lot 440. Important Diamond Necklace supporting thirteen more important marquise-shaped diamonds, the largest ones weighing 3.38, 4.05, and 4.89 carats, all D Colour, Van Cleef & Arpels, 1950s. Estimate £270,000-320,000. Lot sold 489,000 £. Photo Sotheby's.

Designed as a graduated series of brilliant-cut diamonds, the front suspending thirteen graduated claw-set marquise-shaped diamonds, the largest weighing 4.89 carats, to brilliant-cut and marquise-shaped diamond accents, length approximately 365mm, signed VCA, numbered. 

Lo 360. Pair of natural pearl and diamond rings, André Vassort. Estimate £6,000 — 8,000. Lot sold 100,000 £. Photo Sotheby's.

Set with a natural black pearl measuring approximately 12.91-13.14 x 12.45mm and a natural pink pearl measuring approximately 12.77-12.90 x 13.21mm respectively,  to pavé-set diamond mounts, each size J, sizing band, each with French assay mark and maker's mark for Vassort.  

Accompanied by gemmological reports.

Lot 670. Pair of ear clips, JAR. Estimate 3,000 — 5,000 CHF. Lot sold 35,000 CHF. Photo Sotheby's.

Each designed as a leaf, one signed JAR, numbered, French assay and maker's marks, pouch stamped JAR.

Sotheby's. Fine Jewels, Geneva, 14 Dec 2017

Lot 209. Francesco Guardi (Venice 1712 - 1793), Venice, A view of San Giorgio Maggiore, oil on canvas, 44 x 58.1 cm.; 17 1/4  x 22 7/8  in. Estimate 80,000 — 120,000 GBP. Lot sold 315,000 GBP. Photo: Sotheby's

World Auction Record for Any Diamond or Gemstone : “THE CTF PINK STAR” $71.2 million & World Auction Record for Earrings: “THE MEMORY OF AUTUMN LEAVES” & “THE DREAM OF AUTUMN LEAVES” $57.4 million. Photo: Sotheby's

Avec un total de 551 300 000 $, en 2017 pour ses ventes de Haute Joaillerie, Sotheby’s est leader du marché dans cette catégorie. Avec de très bons résultats pour les pierres de couleur et les bijoux signés, l’année écoulée s’est vue s’établir un record mondial pour un diamant ou une pierre précieuse, avec la vente du « CTF Pink Star » (71,2 millions $ le 4 avril à Hong Kong), et un record mondial pour des boucles d’oreilles, grâce au « Memory of Autumn Leaves » et au « Dream of Autumn Leaves » (57,4 millions $ le 15 mai à Genève).

«L’année 2017 a été exceptionnelle pour la Haute Joaillerie chez Sotheby’s, avec de formidables succès pour chacun de nos quatre centres de vente : Genève, New York, Hong Kong et Londres. Nous avons innové cette année en rajoutant de nombreuses nouvelles ventes en ligne, et en introduisant les ventes « Fine Jewels »à Genève, qui ont réalisé un total de 8.9 millions $. C’est avec grand plaisir que nous avons marqué les dix ans de nos ventes spécialisées de bijoux de provenance noble. » David Bennett, Président du Département Mondial de la Haute Joaillerie. 

With worldwide sales for the year totalling $551,300,000, Sotheby’s Jewellery division is proud to lead the global auction market in this category. As well as strong results for coloured gemstones and signed jewels, major highlights from 2017 include a world auction record for any diamond or gemstone, with “The CTF Pink Star” ($71.2m, Hong Kong, 4 April) and a world auction record for earrings, with “The Memory of Autumn Leaves” and “The Dream of Autumn Leaves” ($57.4m, Geneva, 15 May).

“2017 has been an exceptionally successful year for Jewellery at Sotheby’s, with all four selling centres – Geneva, New York, Hong Kong and London - performing very well. Innovations this year have included the scaling up of our online-only sales, as well as our very successful new Fine Jewels auctions in Geneva, which totalled $8.9 million. We were also very pleased to celebrate the tenth anniversary of our dedicated sales of Noble Jewels in Geneva.” David Bennett, Worldwide Chairman, Sotheby’s Jewellery Division.

RECORD MONDIAL POUR UN DIAMANT OU UN PIERRE PRÉCIEUSE

WORLD AUCTION RECORD FOR ANY DIAMOND OR GEMSTONE

Le « CTF PINK STAR ». Diamant Fancy Vivid Pink 59,60 carats Internally Flawless. Vendu le 4 avril, Sotheby’s Hong Kong pour 71 175 926 $ (1 194 226 $ par carat). Photo: Sotheby's

“THE CTF PINK STAR”. A Fancy Vivid Pink diamond 59.60 carats Internally Flawless. Sold on 4 April at Sotheby’s Hong Kong for $ 71,175,926 ($1,194,226 per carat). Photo: Sotheby's

RECORD MONDIAL POUR DES BOUCLES D’OREILLES: 57 425 478 $

WORLD AUCTION RECORD FOR EARRINGS: $57,425,478

« The Memory of Autumn Leaves ». Diamant Fancy Vivid Blue 14,54 carats Internally Flawless. Vendu le 16 mai, Sotheby’s Genève pour 42 087 302 $ (2 894 587 $ par carat). Photo: Sotheby's

“The Memory of Autumn Leaves”. Fancy Vivid Blue diamond 14.54 carats Internally Flawless. Sold on 16 May at Sotheby’s Geneva for $42,087,302 ($2,894,587 per carat). Photo: Sotheby's

« The Dream of Autumn Leaves ». Diamant Fancy Intense Pink 16 carats. Vendu le 16 mai, Sotheby’s Genève pour 15 338 176 $ (958 636 $ par carat) Photo: Sotheby's

“The Dream of Autumn Leaves”. Fancy Intense Pink diamond 16 carats. Sold on 16 May at Sotheby’s Geneva for $15,338,176 ($958,636 per carat). Photo: Sotheby's

RECORD MONDIAL POUR UN DIAMANT FANCY LIGHT PINK

WORLD AUCTION RECORD FOR A FANCY LIGHT PINK DIAMOND

Fancy Light Pink diamond, Type IIa 33,63 carats, Harry Winston. Vendu le 15 novembre, Sotheby’s Genève pour 12,818,240 $ (381 155 $ per carat). Photo: Sotheby's

Fancy Light Pink diamond, Type IIa 33.63 carats, by Harry Winston. Sold on 15 November at Sotheby’s Geneva for $12,818,240 ($381,155 per carat). Photo: Sotheby's

RECORD MONDIAL POUR UN DIAMANT FANCY INTENSE PURPLISH-PINK

WORLD AUCTION RECORD FOR A FANCY INTENSE PURPLISH-PINK DIAMOND

Diamant Fancy Intense Purplish-Pink 7,04 carats, Piaget. Vendu le 16 mai, Sotheby’s Genève pour 13 245 750 $ (1 881 499 $ par carat). Photo: Sotheby's

Fancy Intense Purplish-Pink diamond 7.04 carats, by Piaget. Sold on 16 May at Sotheby’s Geneva for $13,245,750 ($1,881,499 per carat). Photo: Sotheby's

Diamant Fancy Vivid Blue 5,69 carats. Vendu le 5 décembre, Sotheby’s New York pour 15 130 800 $ (2 659 192 $ par carat). Photo: Sotheby's

Fancy Vivid Blue diamond 5.69 carats. Sold on 5 December at Sotheby’s New York for $15,130,800 ($2,659,192 per carat). Photo: Sotheby's

Bague sertie d’un rubis birman, Bhagat, 13,26 carats. Vendu le 3 octobre, Sotheby’s Hong Kong pour 10 452 800 $ (788 295 $ par carat). Photo: Sotheby's

Burmese Ruby and Diamond ring, by Bhagat, 13.26 carats. Sold on 3 October at Sotheby’s Hong Kong for $10,452,800 ($788,295 per carat). Photo: Sotheby's

Shaun Leane pour Alexander McQueen, Silver Bow Choker0. Vendu le 4 décembre, Sotheby’s New York, The Personal Archive of Shaun Leane. Total 2,6 millions $. Photo: Sotheby's

Shaun Leane for Alexander McQueen, Silver Bow Choker. Sold on 4 December at Sotheby’s New York, The Personal Archive of Shaun Leane. Total $2.6 million. Photo: Sotheby's

VENTES DE HAUTE JOAILLERIE CHEZ SOTHEBY’S EN 2017 – LES CHIFFRES

Participation de 103 pays

32% des acheteurs ont participéà une vente Sotheby’s pour la première fois

23% des lots ont été acquis via des enchères par internet

5 495 lots proposés sur quatre centres de vente

Une bague sertie d’un diamant de 12,81 carats a remporté la plus haute enchère en ligne de l’année, se vendant pour 1 219 011 $ lors de la vente Magnificent Jewels and Noble Jewels à Genève le 16 mai.

La dernière vente de l’année dans la catégorie Haute Joaillerie chez Sotheby’s s’est déroulée à Genève le 14 décembre, réalisant un total de 3 551 251 CHF (3 603 064 $). Parmi les lots phares de cette deuxième édition genevoise de la vente Fine Jewels, une magnifique émeraude de Colombie, pesant 3,39 carats, montée en bague par Meister, a dépassé les estimations pour se vendre 118 750 CHF (120 483 $) (estimation 50 000 – 70 000 CHF / $50 000 – 70 000). 

Parmi les autres temps forts de la soirée, un diamant de 5,83 carats s’est vendu pour près de quatre fois l’estimation, trouvant preneur pour 56 350 CHF (57 071 $) (estimation 12,000 – 18,000 CHF / 12,100 -18,100 $) 

Le 12 décembre chez Sotheby’s à Londres, la vente Fine Jewels a réalisé un total de 4 167 625 £ (5 562 946 $), avec en vedette un important collier en diamants de Van Cleef & Arpels datant des années 1950 qui a dépassé de loin les estimations pour se vendre 489 000 £ (652 717 $) (estimation 270 000 – 320 000 £). 

De beaux résultats également pour une bague signée Harry Winston, sertie d’un diamant de 10,13 carats, qui a trouvé preneur pour 112 500 £ (150 165 $), multipliant par quatre l’estimation basse (est. 25 000 – 30 000 £) et pour une paire de bagues signées André Vassort, serties de perles et diamants, dont le prix final a atteint 100 000 £ (133 480 $) (est. 6 000 – 8 000 £).

Participation from 103 countries

32% of buyers were bidding with Sotheby’s for the first time 

23% of lots were sold to online buyers 

5,495 lots offered across four selling locations 

The most expensive jewellery lot bought online was a 12.81-carat diamond ring, which sold during our Magnificent Jewels and Noble Jewels auction in Geneva on 16 May for $1,219,011.

Sotheby’s final Jewellery sale of the year was held in Geneva on 14 December and totalled CHF 3,551,251 ($3,603,064). Among the highlights of the second Fine Jewels sale of the year in Geneva was a superb 3.39-carat Colombian emerald, mounted as a ring by Meister, which far exceeded the pre-sale estimate to sell for CHF 118,750 ($120,483) (estimate CHF 50,000 – 70,000 / $50,000 – 70,000). 

A diamond ring weighing 5.83 carats also stood out this evening, achieving close to four times the pre-sale estimate, reaching a final price of CHF 56,350 ($ 57,071) (estimate CHF 12,000-18,000 / $12,100 – 18,100). 

Earlier in the week, Sotheby’s London Fine Jewels sale on 12 December totalled £4,167,625 ($5,562,946) and was led by an important diamond necklace, Van Cleef & Arpels, 1950s which soared to £489,000 ($652,717), well above estimate (£270,000 - 320,000) 

Strong prices were also achieved for 10.13-carat diamond ring, Harry Winston which fetched £112,500 ($150,165 USD), four times the low estimate (est.25,000 - 30,000) and a pair of natural black and pink pearl and diamond rings, André Vassort which sold for £100,000 ($133,480) (est. £6,000 - 8,000).

Sir Joseph Edgar Boehm, 1st Baronet (1834-90), Albert Edward, Prince of Wales (1841-1910), 1875, 67.0 cm (whole object), RCIN 2031, Royal Collection Trust / © HM Queen Elizabeth II 2017

EDINBURGH.- Dazzling works of art that brought the wonders of India to Britain at the end of the 19th century have gone on display in Scotland for the first time in over 130 years, in a new exhibition on view at The Queen's Gallery, Palace of Holyroodhouse. Exploring the historic visit made by Albert Edward, Prince of Wales (later King Edward VII), Splendours of the Subcontinent: A Prince's Tour of India 1875–6 brings together some of the finest examples of Indian design and craftsmanship, presented to the Prince as part of the traditional exchange of gifts. 

Encouraged by his mother, Queen Victoria, the Prince of Wales undertook a four-month tour of the Subcontinent in October 1875, travelling nearly 10,000 miles by land and sea. By the end of the trip, Sir William Howard Russell, writer of the official tour diary, noted that the Prince had 'seen more of the country in the time than any living man'.  

The royal tour was an opportunity to establish personal and diplomatic links with local Indian rulers, and sought to strengthen ties between the Subcontinent and the British Crown before the declaration of Queen Victoria as Empress of India. It included visits to a number of royal courts, allowing the Prince to experience the splendour and spectacle of Indian courtly traditions, and to learn about the cultures, history and religions of a country he would one day rule. 

As was the custom in India, guests were presented with elaborate gifts by their hosts. Many of those received by the Prince related to the traditions of a durbar (audience), including a magnificent gold service given by the Maharaja of Mysore. The set of ten pieces, which was often referred to as the 'Service of State' during the tour, contains ceremonial objects such as an attardan (perfume holder), rosewater sprinklers and a paandan (betel-nut holder), items associated with welcoming guests to an Indian court. 

As the Prince of Wales entered towns and cities, he was presented with magnificent caskets containing formal addresses. These addresses were read to the Prince to welcome him, and he was expected to give a short reply. During his visit to Agra in January 1876, Albert Edward was given a silver-gilt casket made by the Edinburgh-based goldsmiths Marshall and Sons, probably commissioned by a British official in India. Engraved with the Prince's name, it is decorated with Hindu and zodiac symbols, shamrocks, roses and thistles. 

The Viceroy of India, Lord Northbrook had advised local rulers to select gifts that were the finest examples of local craftsmanship, such as the intricately enamelled vessels from Jaipur and arms from Alwar. In Kashmir, a region known for the production of exquisite textiles, the Maharaja presented the Prince of Wales with a green silk-brocade sash, embellished with silver-gilt thread and woven with a 'buta' pattern. This teardrop-shaped motif was adapted by weavers in Europe, most notably in the Scottish town of Paisley. In the first half of the 19th century, Paisley was the foremost producer of Paisley shawls, and the pattern has since become synonymous with the Scottish town. 

By the end of the tour the Prince had received over 2,000 gifts from the local rulers he had met. Recognising the cultural value and artistic merit of these items, on his return to Britain he made arrangements for them to be placed on public display. The exhibition, The Prince of Wales's Indian Collection, travelled Britain and Europe between 1876 and 1883 to allow as many people as possible to view the extraordinary works from the Subcontinent.  

From 1879 to 1881 the gifts toured Scotland, going on display at the Museum of Science and Art (now the National Museum of Scotland) in Edinburgh, and the Corporation Galleries of Art (now the McLellan Galleries) in Glasgow. In Aberdeen the gifts were displayed at the Town and County Hall, and funds generated from the entrance fee were used towards the construction of Aberdeen Art Gallery. By the end of the tour, they had been seen by over 700,000 people in Scotland.  

Splendours of the Subcontinent: A Prince's Tour of India 1875–6, developed in collaboration with Cartwright Hall, Bradford, and New Walk Museum & Art Gallery, Leicester, celebrates the long-standing relationship between the UK and India, and the vibrant cultural history of the region. The exhibition forms part of the 2017 UK-India Year of Culture, a year-long programme of events led by the British Council, in cooperation with the Indian High Commission.  

Splendours of the Subcontinent: A Prince's Tour of India 1875–6is at The Queen's Gallery, Palace of Holyroodhouse, 15 December 2017 – 22 April 2018. The accompanying publication is published by Royal Collection Trust, price £29.95 or £19.95 from Royal Collection Trust shops and website.

Peacock barge inkstand, 1870-76. Gold, enamel, rubies, sapphires, diamonds, silver, pearls and textile; 17.5 x 39.3 x 5.7 cm (whole object), RCIN 11444, Royal Collection Trust / © HM Queen Elizabeth II 2017

The Prince's visit to Benares ended with a trip down the River Ganges on one of the Maharaja's elaborate state barges. As a memento of the visit, the Prince was presented with this inkstand, modelled on one of the barges. It comes apart into nineteen separate components. The stern is shaped as the head of a makara (a mythical sea creature), and the prow is modelled on a fanning peacock inset with sapphires and diamonds.

Indian School, late 18th century. The marriage of Krishna and Rukmini, circa 1790. Opaque watercolour on paper, 43.0 x 29.2 cm (folio dimensions), RCIN 1005113.w, Royal Collection Trust / © HM Queen Elizabeth II 2017

Mangaldas Nathubhai led the Bombay welcoming committee for the Prince's tour, and invited the Prince to attend his son's wedding. William Howard Russell was struck by the colourful scene, the overpowering scent of flowers and the garlands, and noted that the Prince was ‘festooned with the choicest’. This painting shows the marriage of the crowned Krishna, eighth avatar of Vishnu, and the veiled Rukmini, conducted by moon and starlight in a palace courtyard.

Indian School, late 18th century. Rama, the seventh incarnation of Vishnu, circa 1790. Opaque watercolour on paper, 41 x 27.4 cm (folio dimensions), RCIN 1005115.j, Royal Collection Trust / © HM Queen Elizabeth II 2017

The Prince arrived in Bombay a few days after the city had celebrated Diwali, the Hindu festival of lights that commemorates Rama, the seventh avatar of Vishnu, defeating the ten-headed Ravana, King of Lanka. The Municipal Council of Bombay left the decorations erected for Diwali to welcome the Prince and also to celebrate his birthday on 9 November. This painting shows Rama and his brother Lakshmana shooting arrows at Ravana. The monkey god Hanuman and his army of monkeys can be seen in the background as they make their way over a bridge to destroy Ravana's fort in Lanka.

JB GOMES, Mudaliyar (Active 1875-81), Address casket, circa 1875. Ivory, gold, sapphires, garnets, chrysoberyls, amethysts, pearls; 9.8 x 20.2 x 11.7 cm (whole object), RCIN 11398, Royal Collection Trust / © HM Queen Elizabeth II 2017

The Prince spent nine days visiting Ceylon, where this casket was presented to him. It contained spices grown there including betel nut, cinnamon, coffee, vanilla and pepper. During this time, the Prince visited the Royal Botanical Garden, an exhibition on the agriculture and horticulture of Ceylon and coffee and cocoa factories.

JAFFNA, Address casket, circa 1875. Gold, silk habotai, rubies and a diamond; 2.7 x 11.7 x 6.7 cm (presentation box), RCIN 11217, Royal Collection Trust / © HM Queen Elizabeth II 2017

On the Prince's arrival at each place, formal addresses were read to the him and were later presented in lavish caskets or cases to commemorate the event. Many of these were decorated using techniques associated with the region. The border of this hinged address case is embellished with intricate filigree and granulation. The process, which involves the application of wires and grains of gold, was a highly skilled technique used by Tamil goldsmiths working in Ceylon.

Address casket, circa 1875. Gold, parchment, opaque watercolour, inks; 4.8 x 30 cm (whole object), RCIN 11213, Royal Collection Trust / © HM Queen Elizabeth II 2017

The Prince of Wales observed the Trichinopoly illuminations and fireworks from a pavilion and was amazed by the sight. A small watercolour by an unknown hand capturing the scene can be found in this address. The body of the gold scroll case is worked in high relief showing Hindu deities such as Ganesh, Shiva, Krishna, and Saraswati.

Address pouch, circa 1875. Silk satin, silver-gilt thread, gold, gold sequins, pearls, emeralds, rubies; 31.0 x 13.6 x 1.0 cm (whole object), RCIN 11428, Royal Collection Trust / © HM Queen Elizabeth II 2017

During the Prince's visited to Benares, he laid the foundation stone for a new hospital and was presented with this elaborate embroidered pouch known as a kharita, a traditional pouch used by Indian rulers to deliver messages. This kharita is embroidered with a lion and a unicorn to represent the British royal arms and on the reverse, two fishes to represent the royal crest of Benares.

? Indian; Sialkot; Casket, circa 1875. Steel, gold, velvet, wood, silk satin, 11.9 x 39.8 x 15.6 cm (whole object), RCIN 11248, Royal Collection Trust / © HM Queen Elizabeth II 2017

Construction of the Alexandra Bridge, named after the Princess of Wales, over the River Chenab, commenced in November 1871. It was completed when the Prince of Wales hammered in the last rivet during his visit. The steel hammer, which the Prince used, was presented in this steel and gold casket of exquisite workmanship. Both are decorated using a technique called kuftkari¸ which involves hammering gold wires onto a hatched surface. At the time of the bridge's completion, it was one of the longest bridges in the world, spanning more than 3000 metres.

Edinburgh. Casket, hallmark 1874-5. Silver and gold, 13.0 x 21.3 x 14.7 cm (whole object), RCIN 11229, Royal Collection Trust / © HM Queen Elizabeth II 2017

This Indian-inspired casket was made in Scotland by Edinburgh-based goldsmiths Marshall and Sons before it was presented to the Prince in Agra. The sides of the casket are chased with figures that may have been inspired by Hindu deities alongside symbols associated with Britain such as thistles, roses, and the shamrock. Whilst in Agra from 25–27 January, the Prince visited the Taj Mahal, depicted on the address in gold.

AMRITSAR, Punjab, Casket and Address of Welcome circa 1875. Gold, velvet, silver-gilt thread, emeralds, rubies, diamonds, turquoises, enamel, gold sequins, paper, opaque watercolour, black ink; 7.8 x 33.0 x 13.1 cm (whole object), RCIN 11230, Royal Collection Trust / © HM Queen Elizabeth II 2017

Indian, Jaipur. Pair of peacock feather fans, circa 1850 - 1875. Peacock feathers, gold, enamel, gold sequins, turquoises, pearls, diamonds, glass beads; 94.0 x 18.0 cm (average amongst members), RCIN 11409, Royal Collection Trust / © HM Queen Elizabeth II 2017

Peacock feather fans were used by court attendants to fan the ruler and played an important role in the spectacle of the Indian court and during processions. The peacock feathers on the central portion of these fans have been masterfully applied with gemstones to accentuate the natural colours of the feather.

Indian. Pair of ceremonial staffs, circa 1875. Ivory, silver and red glass; 59.4 x 5.7 x 4.8 cm (average amongst members), RCIN 11341, Royal Collection Trust / © HM Queen Elizabeth II 2017

Ceremonial staffs were held by court officials as a symbol of authority, and often depicted the heads of tigers or lions.

Southern Indian. Spearhead, 7th century. Steel, 49.5 x 7.4 x 7.5 cm (whole object), RCIN 37537, Royal Collection Trust / © HM Queen Elizabeth II 2017

This spearhead dates from the late sixteenth century. The finely cut, pierced and chased motifs make reference to the monumental South Indian temples constructed in the same period by the Nayaka rulers.

Southern Indian, India. Dagger and scabbard, 1800-75. Watered crucible steel, gold, ivory, wood, velvet, diamonds, 37.2 x 12.7 x 5.0 cm (whole object), RCIN 11251, Royal Collection Trust / © HM Queen Elizabeth II 2017

This dagger is incised directly below the hilt with the ten avatars of the Hindu god Vishnu and was probably made for a Hindu patron. The scabbard mounts have been adapted for presentation with the addition of the Prince of Wales’s feathers. 

Sri Lanka. Sword and scabbard, 1800-75. Copper alloy, tortoiseshell, possibly horn; 62.6 x 9.4 x 3.2 cm (whole object), RCIN 11310, Royal Collection Trust / © HM Queen Elizabeth II 2017

This Sri Lankan ceremonial sword with its striking hilt resembling a makara (a mythical sea creature) is known as a kastane. The tortoiseshell used for this kastane was probably imported from the Straits of Malacca or the Maldives.

Indian. Parrying dagger, 1870-75. Blackbuck horn and gold, 36.2 x 7.7 x 2.5 cm (whole object), RCIN 11416, Royal Collection Trust / © HM Queen Elizabeth II 2017

This parrying weapon was designed for presentation rather than use. The horns are mounted in gold and bear an inscribed dedication to the Prince of Wales. One of the end caps shows a figure holding a mace, possibly the Hindu god Hanuman.

Indian. Knife and sheath, circa 1870 - 1875. Silver, gold, wood and rubies; 28.5 x 4.4 x 3.1 cm (whole object), RCIN 11297, Royal Collection Trust / © HM Queen Elizabeth II 2017

This ceremonial knife known as a pichangatti and traditionally carried by men in Coorg, was presented to the Prince during his attendance at the races at Guindy Park, Madras. The knife is fitted with various grooming implements including tweezers, a scraper, a file and an ear pick. Knives of this type would usually be made of steel, but in this exceptional example the blade is made of silver.

South Indian, India. Dagger and scabbard, circa 1870 - 1875. Steel, gold, wood, emeralds and rubies; 31.2 x 5.8 x 2.6 cm (whole object), RCIN 11302, Royal Collection Trust / © HM Queen Elizabeth II 2017

This hook-bladed dagger, known as a jambiya, was associated with parts of the Arabian Peninsula. From the early nineteenth century, the Nizams had employed mercenaries from Yemen and this dagger illustrates this historic link.

Mangaran (Active 1859-76), Equatorial sundial, 1875-76. Silver, steel; 16.2 x 15 x 11.3 cm (open, flaps raised, etc), RCIN 11215, Royal Collection Trust / © HM Queen Elizabeth II 2017

This sundial has two time measures, one measures 60-minute hours and the second measures 24-minute ghatis, a measure of time based on Indian astronomy. Brass sundials of this design exist in several collections; however the use of silver marks this example out as a presentation piece. The highly reflective silver sheet makes it difficult to get a precise reading of time.

Nahan Foundry. Pair of rosewater sprinklers, 1873-76. Silver, 37 x 10.7 cm (whole object), RCIN 11212, Royal Collection Trust / © HM Queen Elizabeth II 2017

The Raja of Nahan established the Nahan Foundry in 1873. The foundry usually produced industrial objects such as sugar-cane crushers and railings, but as a gift for the Prince made these sprinklers that are supposedly automatic. However the pump mechanism seen at the base of the sprinkler’s neck is not functional. 

Indian. Astrolabe, circa 1875. Silver, steel; 37.2 x 24.8 x 3.7 cm (loop, tassel etc extended), RCIN 11209, Royal Collection Trust / © HM Queen Elizabeth II 2017

Due to the avid interest of the eighteenth-century ruler, Jai Singh II (1688–1743), Jaipur became a centre for the production of astrolabes, scientific instruments which identify stars and planets, and can be used for navigation. This silver astrolabe has a tubular eyepiece commonly seen in astrolabes produced in Jaipur. The reverse of the top section is inscribed with the co-ordinates for Greenwich, the British centre of timekeeping.

China, Ruyi sceptre, 18th century. Nephrite and silk, 44.8 x 10.2 x 5.9 cm (excluding loop, tassel etc.), RCIN 11328, Royal Collection Trust / © HM Queen Elizabeth II 2017

Sceptres of this form, called ruyi, were a Chinese ceremonial symbol of power and good fortune. This sceptre is likely to have been made in the eighteenth century during the reign of the Qianlong Emperor (1711–99). This gift probably reached Nepal from China through diplomatic exchange before it was presented to the Prince.

Indian. Mother-of-pearl tray, 1870-75. Mother-of-pearl shell and gold; 4.5 x 25.2 x 24.0 cm (whole object), RCIN 11391, Royal Collection Trust / © HM Queen Elizabeth II 2017

This curious card tray was carved in Canton (modern day Guangdong, China) and mounted in India. Carved shells with typical ‘Chinese’ scenes were produced for the export market. The gold mount for this carved shell was probably made in Ahmedabad, Gujarat, which had been a centre of production for mounted mother-of-pearl objects since the sixteenth century.

Indian. Dagger, 18th to 19th century. Watered crucible steel, jade, gold, garnets; 37.6 x 6.4 x 2.3 cm (whole object), RCIN 11361, Royal Collection Trust / © HM Queen Elizabeth II 2017

Daggers were usually tucked into waist sashes so that the ornate hilts were clearly visible. The blade is made from watered crucible steel, which takes its name from the swirling, water-like pattern that forms when iron is melted in a crucible with carbon-rich vegetable materials.

Indian, Rajasthan. Dagger and scabbard, 19th century. Watered crucible steel, jade, gold, rubies, emeralds, diamonds; 41.5 x 5.0 x 2.4 cm (whole object), RCIN 11309, Royal Collection Trust / © HM Queen Elizabeth II 2017

Gem encrusted daggers with animal-headed hilts were popular within the Mughal court in the late seventeenth century. They were presented to favoured individuals and worn as an emblem of status.

Indian. Shield, late 18th to early 19th century. Rhinoceros hide, lacquer, gold, emeralds, rubies, diamonds, velvet, gold and silver thread, gold sequins; 40.4 x 8.3 cm (whole object), RCIN 11458, Royal Collection Trust / © HM Queen Elizabeth II 2017

This shield with its four conspicuous circular bosses was designed for use in courtly ceremony. The face in the centre of the shield is Chandra, the Hindu lunar or moon deity. The leaders of Nawanagar were related to the Jadeja rulers who ruled over many areas in western India and believed they were descended from the chandravanshi (lunar dynasty).

Jaipur. Sword and scabbard, 1775 - 1875. Watered crucible steel, gold, enamel, wood, velvet, silver-gilt thread, 84.0 x 11.5 x 7.6 cm (excluding loop, tassel etc.), RCIN 11421, Royal Collection Trust / © HM Queen Elizabeth II 2017

This sword belonged to Bishan Singh (1672–99), the former ruler of Amber and ancestor of the rulers of Jaipur. Amber was the former capital before it moved to Jaipur in 1727. The blade of the sword is decorated with an overlaid gold square containing nine numerals in Devanagari, a script predominantly used in north India. Talismanic squares such as this often featured on South Asian swords, in the belief that it protected the owner.

Iranian. Sword and scabbard, circa 1870 - 1875. Watered steel, gold, diamonds, rubies, pearls and velvet covered wood; 100.5 x 15.7 x 3.0 cm (excluding loop, tassel etc.), RCIN 11413, Royal Collection Trust / © HM Queen Elizabeth II 2017

Lucknow. Crown, circa 1875. Gold, enamel, velvet, cotton, silver-gilt thread, diamonds, pearls, emeralds; 16.8 x 32.0 cm, RCIN 11358, Royal Collection Trust / © HM Queen Elizabeth II 2017

This crown was commissioned for the Prince's visit. It is embroidered in silver-gilt thread with the lion and unicorn of the British royal arms behind the diamond and emerald jewelled ornament, shaped to resemble the Prince of Wales's emblem of three ostrich feathers. Lucknow was a popular centre for this type of silver-gilt embroidery, called zardozi. 

Southern Indian, India. Bangle, circa 1850 - 1875. Gold and rubies, 3.3 x 8.8 x 8.8 cm (whole object), RCIN 11522, Royal Collection Trust / © HM Queen Elizabeth II 2017

Trichinopoly was famed for its highly sculptural gold jewellery. The Prince purchased this bangle depicting heads of makara (mythical sea creatures), the two largest heads being inlaid with ruby eyes. The Prince purchased this bangle from a peddler, referred to as ‘boxwallah’ in William Howard Russell’s diary, and presented it to Queen Victoria as a birthday present. 

Indian, Udaipur. Turban ornament, mid-19th century. Gold, enamel, emeralds, diamonds, and pearls, 15.6 x 13.5 x 1.9 cm (whole object), RCIN 11286, Royal Collection Trust / © HM Queen Elizabeth II 2017

Indian. Necklace, circa 1800 - 1878. Gold, enamel, diamonds, rubies, pearls and emeralds; 22.6 x 15.5 x 0.7 cm (whole object), RCIN 11355, Royal Collection Trust / © HM Queen Elizabeth II 2017

London-based jewellers Phillips Brothers & Sons admired Indian enamelling and gem setting, and created jewellery inspired by the techniques of the subcontinent. Here they have encased the diamonds to preserve the original kundan setting. The red and green enamelled ornaments represent an attempt by the jeweller to emulate Indian enamel work.

Indian, Ratlam. Opium box, circa 1875. Silver gilt, gold and glass, 2.8 x 6.2 x 5.8 cm (whole object), RCIN 11537, Royal Collection Trust / © HM Queen Elizabeth II 2017

This box for storing opium is set with a plaque of green glass fused with a pierced sheet gold showing the Hindu deity Krishna and the gopis (cowherds). Ratlam in central India was a prominent centre for the production of these decorative gold and glass plaques and was also known for opium cultivation.

Mysore. Waist belt, mid-19th century or earlier. Gold, diamonds, emeralds and rubies; 6.9 x 26.5 cm (whole object), RCIN 61971, Royal Collection Trust / © HM Queen Elizabeth II 2017

The diamonds, emeralds and rubies on the outer surface of this belt have been individually set using kundan to emulate patterns of lotuses and peacocks.

Jaipur. Pair of bangles, circa 1850 - 1875. Gold, enamel, diamonds and pearls; 1.6 x 8.1 cm (average amongst members), RCIN 11290, Royal Collection Trust / © HM Queen Elizabeth II 2017

The predominant use of dark blue enamelling is typical of Jaipur enamelled jewellery. The Prince may have purchased this pair of bangles on the last day of his visit to Jaipur.

Kashmir. Pair of bottles, circa 1870 - 1875. Gold, 26.5 x 13.0 cm (whole object), RCIN 11446, Royal Collection Trust / © HM Queen Elizabeth II 2017

The surface of these bottles is incised with motifs popularly described as ‘shawl patterning’, and feature similar motifs found on cashmere shawls produced in Kashmir. This patterning was popular with European visitors to India and firms such as Elkington & Co. in Birmingham began to copy and sell vessels inspired by this design.

Hira Singh (Active 1875), Perfume holder, circa 1870 - 1875. Gold, enamel, diamonds and pearls, 10.2 x 8.9 x 7.0 cm (parts .a and .b together), RCIN 11423, Royal Collection Trust / © HM Queen Elizabeth II 2017

The components for this budshaped perfume holder appear to have been made in two different workshops, or even parts of India. The style of decoration on the four leaves of the bud, perfume bottles and base suggest that they were made in Madras, in south India. However, the silver filigree work is iconic of metalworkers in Orissa, east India.

Indian. Water bottles, circa 1870 - 1875. Gold, 28.2 x 11.2 cm (average amongst members), RCIN 11362, Royal Collection Trust / © HM Queen Elizabeth II 2017

The bottles depict water and land animals. Parrots perch on the base of the bottleneck, below which are makara (a mythical sea creature). These are formed from a combination of aquatic and terrestrial animals. On the bulbous section of the bottle, the surface is covered with representations of ducks.

South Indian, India. Casket, circa 1875. Sandalwood and gold, 17.6 x 28.7 x 18.7 cm (whole object), RCIN 11313, Royal Collection Trust / © HM Queen Elizabeth II 2017

Perfume, usually rosewater, was used to welcome visitors to court. These perfume holders, in the form of seated lions, have articulated tongues.

Kashmir, India. Sword and scabbard, 19th century. Gold, diamonds, emeralds, rubies, steel, wood, velvet and silk, RCIN 11410, Royal Collection Trust / © HM Queen Elizabeth II 2017

This richly jewelled sword may have been the personal sword of the Maharaja. The central emeralds found on both sides of the hilt are engraved with a floral motif.

Indian. Dagger and scabbard, late 18th century to 1875. Watered crucible steel, rock crystal, iron, gold and rubies; 42.2 x 11.1 x 3.1 cm (whole object), RCIN 11346, Royal Collection Trust / © HM Queen Elizabeth II 2017

Lot 89. Cartier. Exceptionnel bracelet d'époque Art Déco. Estimation: 500 000 € / 600 000 €. Courtesy Osenat

An Art Deco sapphire, diamond, platinum and white gold bracelet by Cartier

La monture souple en platine et or gris retenant en son centre un important saphir de taille coussin facetté d’environ 22 carats ( 14,4 x 14,5 x 11,4 mm ) épaulé de 2 diamants de taille brillant, taille ancienne d’environ 1,50 carat dans un entourage de 4 diamants de taille baguette en console.
La monture retenant une succession de 19 diamants de taille brillant en chute, épaulée d’une double ligne sertie de 39 boules de saphirs et 1 pierre bleue sertis en leur d’un diamant de taille brillant serti clos (environ 78 carats)
Le fermoir à rabat serti d'une double ligne de 5 diamants de taille brillant et de 8 diamants de taille baguette formant un décor de chevrons.
Poids brut : 67,46 g Longueur : 18 cm. Dans un écrin de la maison Cartier. Numéroté et signé par la maison Cartier.

Accompagné d'un certificat du laboratoire GEM Paris pour le saphir central d’environ 22 carats et d'un courrier complémentaire attestant avis d'origine géographique Birmanie, sans modifications thermique ou traitement. 

Ce bracelet retrouvé dans les ARCHIVES DE LA MAISON CARTIER sous le « numéro de stock individuel 8703/9032 » décrit comme « Un bracelet souple haute joaillerie, centre un saphir ovale facetté avec des baguettes en consoles, ligne médiane de brillants, et les bords en boules saphirs, le fermoir rabat pavé diamants et diamants baguettes en motifs chevrons » précisant « saphir central : environ 22 carats , boules saphirs , environ 78 carats » 

Les Ecrins de Fontainebleau Bijoux & Montres de Collection chez Osenat, 77300 Fontainebleau, le 17 Décembre 2017 à 14h00

Lot 124. Important diamant sur papier taille coussin de taille ancienne pesant 20,66 carats. Estimation: 150 000 € / 200 000 €. Courtesy Osenat

A 22 carats diamond certified by the LFG color M clarity Si1. 

certifié par le Laboratoire Français de Gemmologie attestant pureté estimée Si1 et couleur M. Poli « excellent », symétrie « très bonne » de type Ia. Dimensions de la pierre : 16.12 x 13.72 x 10.57 mm Certificat du LFG ( Octobre 2017 )