Lot 119. A Kashan bird-headed pottery ewer, Persia, early 13th century; 29cm. Estimate 25,000 — 35,000 GBP. Courtesy Sotheby's 2018.

of elongated baluster form, the body narrowing to a neck with flaring mouth in the form of a rooster's head with black details for eyes and crown, with curved, feather-like handle, the body decorated with bulbous drop form designs, each containing black tendrils.

Note: This bird-headed ewer is of a rare form which perhaps finds its genesis in Persian metalwork of the period. A comparable example is in the David Collection, Copenhagen, inv. no.ISL 23. The water-weed design which embellishes this example first appears in Persian underglaze-painted wares in the early thirteenth century. These wares, decorated using a brush, superseded the earlier and more-labour intensive slip-carved 'Silhouette wares'. The brush had several advantages over the knife: not only did it speed up the design process, but it also allowed for more fluid and painterly decoration, such as on this example.

Lot 121. A Kashan pottery bowl with stylised leaf motifs and inscriptions, Persia, early 13th century; 9.8cm. height; 21.8cm. diam. Estimate 25,000 — 30,000 GBP. Courtesy Sotheby's 2018.

of deep form with flaring walls on a low foot, intact, decorated in underglaze cobalt blue with black under a transparent colourless glaze, with a central inscriptive roundel with six radiating black ribbon bands, each with a line of cursive naskh script, the interstices with large palmette and seaweed motifs, the exterior with foliate sprays.

Inscriptions
Around the base:
‘Perpetual glory and increasing prosperity and triumphant victory and happiness and well-being… and victory and [Prophet’s] intercession and victory and long-life to its owner’
On the wall panels, repeat of: ‘Perpetual glory and increasing prosperity and’

Lot 112. A monumental Kashan turquoise-glazed moulded pottery jar, Persia, 13th century; 37.5cm. height. Estimate 20,000 — 30,000 GBP. Courtesy Sotheby's 2018.

the frit body with moulded decoration featuring a griffin-like bird attacking its prey and parts of a bold Kufic inscription, with foliate details, under a turquoise glaze.

Inscriptions: Possibly: ‘And joy and wealth (?)’

It is rare to find examples of moulded decoration under a turquoise glaze on a monumental scale such as this jar. A comparable piece, in shape and decoration, under a turquoise glaze, is in the Metropolitan Museum of Art, New York (inv. no.39.189). Measuring eighty centimetres, it was designed with three registers below a calligraphic line at the neck. It features winged griffins, a favoured Seljuk bird, which help us to identify the birds on the present example. 

Lot 116. A Kashan lustre pottery dish with birds, Persia, 13th century; 5.4cm. height; 22.2cm. diam. Estimate 20,000 — 30,000 GBP. Courtesy Sotheby's 2018.

of shallow rounded form with a slightly everted rim on a short foot, intact, painted in light lustre with two birds in the centre surrounded by a foliate border, with a pseudo-calligraphic band near the rim, the exterior with scrolling details.

Inscriptions: A repeat of a few letters, possibly: al-‘izz ‘Glory’ or a part of al-bara[kah] ‘Blessing’.

Lot 115. A Kashan lustre pottery bowl with radiating inscriptions, Persia, 13th century; 9.8cm. height; 20.4cm. diam. Estimate 15,000 — 20,000 GBP. Courtesy Sotheby's 2018.

of truncated conical form with flaring walls, intact, on a straight vertical foot, painted in a deep honey-coloured lustre, the interior with radiating bands alternating between lustre on white and white on lustre inscriptions, the exterior with a large band containing stylised scrolls.

Lot 161. A fine rock crystal-hilted dagger and scabbard, India, Deccan, 17th century; 44.2cm. Estimate 20,000 — 30,000 GBP. Courtesy Sotheby's 2018.

with a single-edged watered-steel blade, the forte finely decorated with koftgari trees and domed buildings, the rock-crystal hilt with a carved geometrical band along the top, the textile-covered wood scabbard with silver lock and chape of foliate form with bud terminal.

Note: A very similar rock crystal hilt is in the Al-Sabah Collection, Kuwait (inv. no.LNS 279 HS; published in S. Kaoukji, Precious Indian Weapons and Other Princely Accoutrements, London, 2017, p.265). 

Sotheby's. Arts of the Islamic World, London, 25 Apr 2018, 10:30 AM

Lot 196. A Zand enamelled and gilt-copper dagger (kard) and scabbard, Persia, signed 'Ya Allah Aziz', dated 1207 AH/1792-3 AD, with Ottoman blade, Turkey, dated 1261 AH/1845-6 AD; 32.5cm. length. Estimate 14,000 — 18,000 GBP. Courtesy Sotheby's 2018.

Lot 165. A fine Ottoman sword (yataghan) with lion-head hilt and scabbard, signed by Hasan, Turkey, 18th century; 74cm. Estimate 8,000 — 12,000 GBP. Courtesy Sotheby's 2018.

Lot 163. A Mughal jade-hilted dagger (khanjar) and scabbard, India, 18th century; 39cm. Estimate 8,000 — 12,000 GBP. Courtesy Sotheby's 2018.

Lot 164. A Mughal or Ottoman shagreen and gem-set hilted dagger and scabbard, India or Turkey, 18th-19th century; 30cm. Estimate 4,000 — 6,000 GBP. Courtesy Sotheby's 2018.

Lot 166. An Ottoman sword (kilij) with ivory hilt and scabbard, Turkey, 18th century; 87cm. Estimate 18,000 — 25,000 GBP. Courtesy Sotheby's 2018.

Lot 159. An Indian sword with Firangi blade and scabbard, 17th-18th century; 107.5cm. Estimate 12,000 — 18,000 GBP. Courtesy Sotheby's 2018.

Lot 160. A sword (shamshir) with gilt-metal hilt and scabbard, North India, probably Kutch, 19th century; 90cm. Estimate 6,000 — 8,000 GBP. Courtesy Sotheby's 2018.

Lot 162. A silver and gilt-metal openwork elephant-goad (ankus), India, Bikaner, circa 1800; 55.5cm. Estimate 5,000 — 7,000 GBP. Courtesy Sotheby's 2018.

David Morris. Important diamond necklace comprising pear, oval & round brilliant-cut diamonds. Total weight 102.81cts. © David Morris

David Morris. Pair of 22.30ct white diamond pear shape earrings with fancy intense pink emerald cut diamonds. © David Morris

David Morris. 22.22ct D Internally Flawless pear shape diamond. © David Morris

David Morris. Fancy shape white diamond necklace comprising round, oval, pear & heart shape diamonds. Total weight 115.50cts. © David Morris

David Morris. Pear shape ‘Dancing’ diamond chandelier earrings. Total weight 85.26cts. © David Morris

David Morris. Pear shape diamond ‘Wave’ necklace. Total diamond weight 53.68 cts with matching earrings. © David Morris

David Morris. Emerald-cut diamond “Pirouette” flexi bangle with brilliant & pear-cut diamond fringe. Total diamond weight 70.16cts. © David Morris

David Morris. 3.04ct Intense green princess-cut diamond mounted with pink diamond shoulders & micro white diamonds. © David Morris

David Morris. Important fancy intense pink oval diamond ring with marquise white diamond shoulder stones set in platinum. Total weight 14.09ct. © David Morris

David Morris. 6.00ct E/VS1 heart shape diamond flexi bangle with white pear shapes and pink diamond surrounds. © David Morris

David Morris. Important marquise white diamond double ring with vivid pink diamond petals set in 18ct rose gold. Total weight 14.54ct. © David Morris

David Morris. Yellow pear shape diamond necklace with white marquise and pear cut diamonds. Total yellow diamond weight 105.32cts Total white diamond weight 51.54cts with matching earrings. © David Morris

David Morris. Vivid yellow diamond flower earrings with white & pink diamond petals. Total weight 40.51cts. © David Morris.  

David Morris. Yellow & white diamond Amira hand bracelet. Total weight 42.78cts. Available in all white diamonds. © David Morris.

David Morris. 7.86ct V/S1 Radiant Yellow diamond ring with a surround of round yellow diamonds in 18ct red gold. Total weight 12.74cts. © David Morris

Un homme qui avait passé sa vie dans l’étude éprouvait de la jalousie pour Nasr Eddin qui lui semblait usurper sa réputation de savant.
Pour le mettre à l’épreuve, il lui envoie une liste de quarante questions dont l’énoncéà lui seul suppose déjà de grandes connaissances. Dans une lettre d’accompagnement, il prie Nasr Eddin de répondre à chacune.
Nasr Eddin prend la liste et en guise de réponse à la première question, écrit : « Je ne sais pas. »À la deuxième, il écrit de nouveau : « Je ne sais pas. » Et ainsi de suite, sans aucune exception jusqu’à la quarantième.
Sa femme qui l’a vu faire se moque de lui :
— Nasr Eddin, tu as vraiment perdu ton temps de façon stupide. Tu aurais dûécrire tout simplement : je ne connais aucune réponse.
— Ô fille de l’oncle ! Comme tu es ingrate ! lui répond le Hodja. Tu ne comprends pas que cet homme s’est donné la peine de m’étaler toute sa science avec ses questions. Et moi, par politesse, avec mes réponses, je lui étale toute mon ignorance.

Sublimes paroles et idioties de Nasr Eddin Hodja. Tout Nasr Eddin, ou presque. Paroles recueillies et présentées par Jean-Louis Maunoury. Éditions Phébus, collection "Libretto", 2002. © Editions Phébus

Mark Rothko, No. 7 (Dark Over Light), 1954, oil on canvas, 90 ⅛ x 58 ⅝ in. Estimate in the region of $30 million. © Christie’s Images Limited 2018.

NEW YORK, NY.- Mark Rothko’s monumental canvas, No. 7 (Dark Over Light), 1954, will highlight the May 17 Evening Sale of Post-War and Contemporary Art in New York (estimate in the region of $30 million). At nearly eight feet tall, No. 7 (Dark Over Light) belongs to a select group of canvases that were among the largest that Rothko ever painted. Its grand scale is matched only by the emotional intensity of its painted surface. Such a highly active painterly surface is a mark of Rothko’s paintings from this important period, but it is the scale on which it has been executed in No. 7 (Dark Over Light) that makes this particular work one of the most extraordinary; its broad sweeps and feathered edges reveal the artist’s ambition to create a pure and direct form of painting. No. 7 (Dark Over Light) is being offered at auction for the first time in over a decade. 

Jussi Pylkkänen, Christie’s Global President, remarked: “No. 7 (Dark Over Light), comes from a small and highly sought-after group of monumental canvases by Mark Rothko. Standing before this radiant picture, one is immediately enveloped by the dramatic brilliance of Rothko’s artistic vision. Between its intensely kinetic surface and its epic scale, No. 7 is a consummate example of Rothko’s ability to convey pure emotional power. Given the international demand for canvases of this quality by Mark Rothko, we expect that No. 7 will draw enthusiasm from collectors around the globe." 

Rothko’s stated aim was to dissolve the traditional, and what he thought of as artificial boundaries, between paint and canvas, between painter and idea, and ultimately between the idea and the observer. To the artist, what the viewer saw was not a depiction an experience, it was the experience, and to this end he championed what he considered to be the two fundamental elements of picture making—space and color—making these the sole protagonists of his aesthetic drama. Reaching its height in his iconic Seagram Murals, this painterly struggle dominated Rothko’s work for a little over a decade, as in 1968, on the instructions of his doctors, he was forced to retreat into making smaller paintings, often no larger than 40 inches. As a result, works such No. 7 (Dark Over Light) represents the fullest and purest expression of Rothko’s unique artistic vision, one whose visual and emotional power is present in abundance in this magisterial canvas. 

No. 7 (Dark Over Light) belongs to a small group of paintings that Rothko executed in the mid-1950s which feature large passages of predominately dark, moody color. Primarily, his paintings from this period are known for the triumphant schema of fiery reds, golden yellows and deep oranges. But in a handful of canvases he also introduced opposing hues, such as can be seen in the present work along with Untitled (Violet, Black, Orange on Gray), 1953 (National Gallery of Art Washington), No. 203 (Red, Orange, Tan and Purple), 1954 and Untitled (Red, Black, White on Yellow), 1955 (also in the collection of the National Gallery of Art, Washington, D.C.). These dark paintings reflected not so much a "darkening" of Rothko's mood as a deepening of feeling. 

 Mark Rothko, Untitled  (Violet, Black, Orange on Gray), 1953, mixed media on canvas, National Gallery of Art Washington, Gift of The Mark Rothko Foundation, Inc., 1986.43.135 © 1998 Kate Rothko Prizel and Christopher Rothko

In addition to color, size was also an important factor in Rothko achieving the necessary emotional intensity that he desired. As he explained, “I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them, however—I think it applies to other painters I know—it is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside you experience, to look upon an experience as a stereopticon view or with a reducing glass. However, you paint the larger picture, you are in it. It isn't something you command.” 

No. 7 (Dark Over Light) was first acquired by Count Allessandro Panza di Biumo, Sr. in 1961. He was the brother of the legendary Count Allessandro Panza di Biumo, widely considered to be one of the most important collectors of postwar American Art. Works from the elder Panza di Biumo’s holdings later formed the basis for the collection of the Los Angeles Museum of Contemporary Art, and in the 1990s, the Solomon R. Guggenheim Museum filled a yawning gap in its holdings when it acquired, in a combined gift and purchase arrangement, more than 300 Minimalist sculptures and paintings from the collection.

Lot 163. A rare Ming blue and white porcelain pen box, Jingdezhen area, Jiangxi province, China, Zhengde reign (R.1506-21); 8 1/8 x 4 ¼ x 4in. (20.5 x 10.8 x 10.2cm). Estimate GBP 120,000 - GBP 150,000 (USD 170,160 - USD 212,700). © Christie’s Images Limited 2018.

Of rectangular form with separate lid and splayed base, the surfaces decorated with calligraphic roundels of sini script on foliate ground surrounded by leafy vine, the raised base marked with a six-character seal.

Note: This box bears the imperial reign mark of the Ming Emperor Zhengde (r.1506-21). It is one of a small group of heavily potted blue-and-white porcelains decorated with Arabic and Persian calligraphy that were made in his name. The pieces associated with this group are mostly desk furniture – brush rests, ink slabs, penholders, boxes and vases made to decorate a scholar-administrator’s desk (Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p.188). Many of the shapes of the porcelains associated with this group are unfamiliar in the Islamic world and it seems unlikely therefore that they were made for export. None are known to have survived in either the Topkapi Sarayi or the Ardebil shrine. 

Sir Harry Garner suggested more plausibly that they were kept in the offices of powerful Muslim eunuchs that lived at court and who were well-versed in Chinese, Persian and Arabic (Sir Harry Garner, Oriental Blue and White, London, 1973, pp.29-30). It is also possible that they were used by the Emperor himself, who was fascinated by foreign scripts (Harrison-Hall, 2001, p.88). ‘Ali Ekbar, a merchant from eastern Turkey, visited China in 1505, wrote an account of his visit describing the court as well as recording the process for manufacturing porcelain. He described most of the officials of the Zhengde court as Muslim eunuchs and wrote that the young Emperor himself was believed to have embraced the Muslim faith (quoted in Garner, 1973, p.29). Although this is unrecorded in the Chinese Ming official histories, it certainly paints a picture of the context in which these pieces were made. The inscriptions are usually either descriptive, mentioning the use of the vessel – such as a pen rest in the British Museum inscribed across two sides with the word khamadan (OA F.147B) – Qur’anic inscriptions or, as on our box, encouraging phrases or proverbs.  

A very similar pen box to ours is in the British Museum (OA 1973.7-26.364; published Harrison-Hall, 2001, no.8:5, p.194). It is of precisely the same form as ours, and similarly decorated with double-outlined calligraphic roundels alternated with formal lotus scroll – all in a grey-blue. Although both hands are sketchy and interpreted slightly differently, the inscriptions on the two boxes are the same (although read slightly differently here). One minor difference between the British Museum box and ours is the orientation of the roundels on the lid – on ours they are arranged such that they can be read vertically whereas on the British Museum box, they are arranged on the horizontal. Similarly decorated ink slabs are also known. From the exterior, they are remarkably similar to the pen boxes but are slightly squatter in form. One such ink slab is in the British Museum (OA F.147A; Harrison-Hall, 2001, no.8:6, p.195). Another is in the Musée national des arts asiatiques – Guimet, currently on view at the Louvre Abu Dhabi (published Xavier Besse, La Chine des Porcelaines, Musée Guimet, Paris, 2004, pl. 16). The decoration of both of these, like ours, is arranged on the vertical rather than the horizontal.  

Porcelain rectangular pen box and cover with underglaze blue decoration, Ming dynasty, Zhengde mark and period (1506-1521). Height: 9 cm (with cover), Length: 20 cm, Width: 11 cm. The Seligman Collection of Oriental Art, 973,0726.364.a-b© Trustees of the British Museum

Boîte écritoire, inscriptions en arabe et en persan, règne de Zhengde (1506-1521), porcelaine à décor bleu et blanc. Paris, musée Guimet - musée national des Arts asiatiques, G4458. Photo © RMN-Grand Palais (MNAAG, Paris) / Mathieu Ravaux

Lot 71. A black, blue and white pottery dish, Safavid Iran, 17th century; 15 ¼in. (38.8cm.) diam. Estimate GBP 6,000 - GBP 8,000 (USD 8,508 - USD 11,344). © Christie’s Images Limited 2018.

On short straight foot, the decoration consisting of a large floral spray with wide blooms, the cavetto with foliated scrolling branches, the narrow rim with flower heads within lobed medallions amidst simplified clouds, the reverse with pseudo four-character Chinese mark.

Lot 75. A Safavid pottery dish, probably Mashhad, Iran, circa 1635; 15 ½in. (39.5cm.) diam. Estimate GBP 6,000 - GBP 8,000 (USD 8,508 - USD 11,344). © Christie’s Images Limited 2018.

On short straight foot, with lightly scalloped rim, the centre decorated with cranes on a rocky, floral outcrop, the cavetto with lightly moulded lobed medallions, the reverse with maker's mark.

Lot 69. A blue and white pottery dish, probably Tabriz, Iran, circa 16th century; 14 ¼in. (36.2cm.) diam. Estimate GBP 4,000 - GBP 6,000 (USD 5,672 - USD 8,508). © Christie’s Images Limited 2018.

Of typical form, decorated with seven large blooms on a dense scrolling ground, the rim with similar decoration.

Lot 130. A monumental Safavid blue and white pottery dish, Persia, probably Kirman, 17th century; 10.6cm. height; 53.8cm. diam. Estimate 6,000 — 8,000 GBP (8,266 - 11,022 USD). Courtesy Sotheby's 2018.

of large shallow rounded form, decorated in underglaze blue shades with a dense foliate composition comprising dragons, birds and architectural screens.

Provenance: Bernheimer, Munchen 1968.
Dr. Ignazio Vok (b.1938).
An architect by training, Vok is also a renowned collector, whose eclectic taste, spanning Chinese celadons, ceramics and furniture as well as Anatolian Kilims and Suzanis has been the subject of numerous catalogues and exhibitions. 

Exhibited: Chinese Ceramics from the Collection of Ignazio Vok, Museum fur Ostasiatische unst der Stadt Koln, Cologne, 7 May – 28 August 1983.
Chinese Ceramics from the Collection of Ignazio Vok, Museum Rietberg, Haus zum Kiel, Zurich, 6 October 1983 – 8 January 1984.

Literature: Seladon Swatow Blauweiss, Chinese Ceramics from the Collection of Ignazio Vok, no.29.

Lot 76. A Safavid soft-paste porcelain ewer, Kirman, South East Iran, mid 17th century; 15 3/8in. (39cm.) high. Estimate GBP 6,000 - GBP 8,000 (USD 8,508 - USD 11,344). © Christie’s Images Limited 2018.

Of drop-shape with flattened sides rising from high trumpet foot tapering to thin neck, painted in cobalt-blue and red on white ground with red floral sprays, the sides with scrolling vine and two large scalloped medallions beneath the spout and loop handle.

Lot 133. A rare Kubachi figural pottery dish, Persia, Safavid, early 17th century; 6.8cm. height; 35.5cm. diam. Estimate 25,000 — 35,000 GBP (34,443 - 48,220 USD). Courtesy Sotheby's 2018.

of shallow form with wide everted rim, decorated in blue, green, and bole beige and orange with black outlines, featuring a kneeling male figure holding an orange amidst foliate blossoms, rim with floral sprays within cartouches, exterior plain.