Exquisite Porcelain Beauties and Newly-Discovered Cloisonne Enamel Treasures at Bonhams Fine Japanese Art Sale
Bonhams showcases museum-quality Kakiemon Ladies and a rare, unrecorded, full-size model of a cloisonné enamel go-ban (games board)
The centrepiece of the sale will undoubtedly be the magnificent group of Kakiemon beauties which graces the front cover of the fine Japanese catalogue, going under the auctioneer's hammer at Bonhams New Bond Street on the 5th November. Products of a bygone era of Japan's feudal past, they were exported to the West to decorate the grand interiors of European palaces, reflecting the increasingly fashionable and sophisticated style of European Chinoiserie during the 18th and 19th century.
Estimated from £20,000-£70,000, these three figures are representations of the beautiful women (bijin) theme that was a staple of Japanese ukiyo-e paintings and woodblock prints. They wear clothing and a hairstyle prevalent in Japan during the Kanbun era (1661-1673), when such coiffure and gorgeously-patterned robes were popular among high ranking courtesans – the fashion avant-garde of the time.
Although rare and elegant Kakiemon standing ladies are known in major museum collections, the two examples presented in this sale are set apart by their arresting, painterly designs, whilst the unusual French ormolu-mounted seated beauty is a supreme example of its type. The distinctive features of the karashishi design on both the left and right side of the ormolu mount epitomise French Chinoiserie. Mounts of this type were often used in Europe to increase the dramatic quality of Chinese and Japanese porcelains i.e. attesting to the European tastes of aristocrats and wealthy bourgeois and the esteem in which these wares were held.
A shortlisted entry for the 12th Annual Asian Art in London award for the best three-dimensional work of art, the seated bijin is akin to a very similar, un-mounted seated figure in London's Victoria and Albert Museum.
All three figures come with impeccable provenance. They are by descent from a distinguished European Noble Family and have remained in the same collection for over a hundred years, acquired originally by the owners' great-great-grandfather; a notable ambassador to the Far East in the mid 19th century.
A Kakiemon model of a bijin, Edo Period, late 17th century, circa 1670-1680
柿右衛門 色絵藤模様打掛姿婦人像 17世紀後期（1670-1680年頃
Standing with one foot forward, her left hand raised to her lapel, her right hand pressed to her side, decorated in iron-red, blue, green, yellow and black enamels, her kimono with spiral designs and wisteria trailing over a trellis, her under-robe painted with cherry and other blossoms scattered over a chequered design, the base with an old label mislabelling the figure as Chinese; and marked with an inventory number 424 (partially effaced) and initials O and S. 39.3cm (15½in) high. Estimate: £20,000 - 30,000, ¥2,800,000 - 4,300,000
A Kakiemon figure of a bijin, Edo Period, late 17th century, circa 1670-1680
柿右衛門 色絵扇模様打掛姿婦人像 17世紀後期（1670年-1680年頃
She stands, smiling, one hand to her side, the other raised to her chest, her outer robe painted in coloured enamels with fans among clouds and falling maple leaves, her under-robe with cloud-shaped panels of cherry blossoms on a ground of iron-red karakusa; the base with an old label mislabelling the figure as Chinese; and marked with an inventory number 424 (partially effaced) and initials O and S. 38.4cm (15 1/8in) high. Estimate: £20,000 - 30,000, ¥2,800,000 - 4,300,000
Provenance: a European Noble Family, where it has remained for at least one hundred years. According to the family, this was acquired by their great, great grandfather, who was a notable ambassador to the Far East in the mid 19th century.
These figures are representations of the beautiful woman (bijin) theme that was a staple of Japanese ukiyo-e paintings and woodblock prints. They wear clothing and a hairstyle popular in Japan during the Kanbun era (1661-1673), when this coiffure and the loose outer robe and black sash were popular among courtesans.
This model is known with a large variety of decorations. Compare with other figures of this form but with varying painted designs, illustrated by Hayashiya Seizo, Nihon no Toji, vol.9, Kakiemon, pls.30, 31, 161-166; Sekai Toji Zenshu, vol.8, pls.49, 50; Imaizumi Motosuke, Genshoku Nihon no Meito, Ko-Imari to Kakiemon, pl.68; Soame Jenyns, Japanese Porcelain, pl.63B.
Another figure, with a slightly different wisteria design, is illustrated in the Exhibition Catalogue commemorating the succession of Kakiemon XIV, Genruyu kara gendai made Kakiemon no sekai ten, Asahi Shimbunsha, Tokyo 1983, p.47, pl.54.
A rare ormolu-mounted Kakiemon model of a seated bijin. The figure Japanese, Edo Period, circa 1670-1680, the ormolu mount French, probably Transitional-Louis XVI, circa 1760-1770, the plaque Chinese Kangxi, early 18th century
柿右衛門 色絵婦人台付座像: 婦人座像 17世紀後期（1670-1680年頃）、 台 フランス・ルイ16世様式（1760-1770年頃）、 飾り陶板 中国・康煕年間（1662-1722年)
The bijin decorated in iron-red, green, yellow, blue and black enamels and gilt, her outer kimono painted with floral heads, karakusa, ribbons and the wheel-of-the-law; her undergarments with stylised snowflakes and poem slips on a diaper ground, the stylised wood ground of the arm rest decorated in yellow and red; her black hair dressed in a central bun and adorned with a brass hairpin, her right hand clutching another brass hairpin; set on a trapezium-form ormolu mount, each side of which features a frolicking shishi within a lobed chased reserve, the front inserted with a Chinese porcelain plaque painted in famille-verte enamels with an identical shishi. The figure 28.1cm (11in) high, the mount 14cm x 20cm x 16½cm (5½in x 7 7/8in x 6½in). Estimate: £50,000 - 70,000, ¥7,100,000 - 9,900,000
Provenance: a European Noble Family, where it has remained for at least one hundred years. According to the family, this was acquired by their great, great grandfather, who was a notable ambassador to the Far East in the mid 19th century.
Although other examples of this model are recorded, compared to the standing figures (such as lot numbers 187 and 191) very few of this seated model are known. An unusual ormolu-mounted example of a seated bijin, as presented here, is rarer still.
The base is cast in five separate sections and assembled together. The distinctive features of the karashishi design on both the left and right side of the ormolu mount epitomises French Chinoiserie and were in all probability specifically made to imitate the same karashishi design painted on the central Chinese porcelain plaque, whilst the chequered design on the reverse and top of the mount as well as its unique trapeze-shape and curved back suggests that it was especially commissioned by a merchant to accommodate a three-dimensional piece - although perhaps not for this figure - since arguably, it is also quite plausible that the chequered top and reverse was added later to the base to accommodate the truncated segment of the bijin's skirt at the back; this is however conjecture.
Interestingly, the combination and the ingenious adaptation of disparate elements to create a somewhat fanciful oriental ensemble was also characteristic of the 18th century and typical of the time - affording an insight into the French taste of aristocrats and wealthy bourgeois. Mounts of this type were often used in Europe to show off Chinese and Japanese porcelains, attesting to the esteem in which these wares were held.
For a similarly-enamelled seated bijin with an identically-truncated section of garment at the reverse, see the example in the permanent collection of the Victoria and Albert Museum, London, illustrated by John Ayers, Oriental Art in the Victoria and Albert Museum, 1983, p.54.
Compare with another mounted Kakiemon figure set on a chequered plinth, see D. F Lunsingh Scheurler, Chinesisches und japanisches Porzellan in europaischen Fassungen, p.356, Abb.359.
Other examples of Japanese and Chinese porcelain figures set on 18th century French ormolu mounts can also be seen in the Musee des Arts Decoratifs in Paris.
For other seated but unmounted examples, see Soame Jenyns, Japanese Porcelain, pl. 63B (III). Another two in the the Victoria and Albert Museum, from the Collection of the late Sir Harry Garner, are published in the Oriental Ceramic Society Exhibition, Porcelain for Palaces: The Fashion for Japan in Europe, 1650-1750 (London, 1990), p.182, no.166 and previously exhibited in the Oriental Ceramic Society Exhibition, 1956, no.272 (see photograph) and illustrated by R.Soame Jenyns, Japanese Porcelain, London, 1965, pl.63G.
A further example in the China Pavilion of the Swedish Royal Palace of Drottringholm is illustrated by Ake Setterwall, The Kina Pavilion, Fogelmarck, 1972, p.174.
Other highlights in the sale are represented in the cloisonné enamel section. Japanese Art was internationally influential by the turn of the twentienth century and cloisonné produced in Japan was at the vanguard of this trend. Traditionally, cloisonné, (shippo-yaki – in Japanese), was used to embellish small pieces, such as sword fittings and was largely considered a Chinese Art form. However, from the 1830's onwards the Japanese developed a technical and aesthetic mastery that was to both heighten the visual appeal of their creations and permanently intertwine Japan and fine cloisonné enamel pieces into the minds of the Eastern and Western connoisseur.
The late Meiji and Taisho periods witnessed some of the most impressive examples of cloisonné produced to date. The full size model of a go-ban by Honda Kozaburo of Nagoya is such an example. It is hitherto unrecorded and would therefore strongly suggest that it was a piece commissioned by a wealthy patron or that it was made for International Exhibition entry in the early 20th century.
Go – the preferred game of Ancient Japan's nobles and monks and today's intellectuals - is widely considered to be the world's greatest strategic skill game, far surpassing Chess in its complexity and scope. The mathematical elegance of the rules is complemented by the great beauty of the board, especially in Japan where it has been elevated to a pinnacle of aesthetic beauty. In the West, it is the best known Japanese board game and has featured in a number of books and films, most recently Ron Howard's A Beautiful Mind.
An outstanding example of its kind, the game board is equally remarkable for its size, weight, material, extraordinary workmanship and fine condition and will exceed its modest estimates of £25,000-35,000. It is also extremely rare to find an extant signed piece by the artist whose works are as highly sought after today, as they were during his lifetime.
An extremely rare and fine cloisonné enamel model of a traditional go-ban (games board. By Honda Kozaburo of Nagoya, Meiji Period
鳳凰蝶図七宝碁盤 本多興三郎 明治時代
The elegant go floor board is raised on four integral, low bulbous legs and finely worked entirely in silver and gold wire, the four sides alternating between ho-o roundels scattered among kiri-mon interweaved amongst karakusa and confronting butterfly roundels and kiku blossoms among karakusa reserved on a transparent ground flecked with aventurine, the playing surface with the intersecting lined grid finely rendered in gold wire, the underside similarly embellished with stylised foliate motifs on a mustard-yellow ground; the heso signed Dai Nippon Honda sei, with wood storage box. 23cm x 41cm x 44cm (9in x 16 1/16in x 17 1/8in). (2). Estimate: £25,000 - 35,000, ¥3,500,000 - 5,000,000
Go (or Wei Qi as it is known in China) is considered by most Oriental game experts to be the world's greatest strategic skill game, far surpassing Chess in its complexity and scope. Of all the serious board games, go has the fewest rules and yet, the game itself is the most intellectually challenging. The mathematical elegance of the rules is complemented by the great beauty of the board, especially in Japan where it has been elevated to a pinnacle of aesthetic beauty.
The exceptionally fine condition and exquisite workmanship of this piece allow us to appreciate the remarkable technique and wide repertoire of the Japanese cloisonné enamel maker's craft and in particular, the aventurine ground which is specifically referred to by Brinkley in Artistic Japan at Chicago: A Description of Japanese Works of Art Sent to the World's Fair, Yokohama 1893, as a special characteristic of Honda's work. The artist's works are as highly sought after today as they were during his lifetime and extant signed works by Honda, particuarly of this extraordinary quality, are extremely rare.
Although go boards of ivory, wood and other materials are in abundant supply, a cloisonné enamel example of this superlative quality, as presented here, is hitherto unrecorded. This would therefore strongly suggest that it was either commissioned directly from the artist by a wealthy industrial family to present as a gift or that it was made for Bankoku Hakurankai (International Exhibition) entry.
Compare also with a go-ban which belonged to the Tokugawa Family, lacquered with maki-e patterns of tortoise-shell and aoi-mon crest, illustrated by Colin Mackenzie and Irving Finkel, Asian Games: the Art of Contest, Asia Society 2004, p.208, no.16:7.
Also embedded among the cloisonné gems is a brightly-coloured, rare and meticulously crafted gosho-guruma (ox-drawn carriage) attributed to Kawaguchi Bunzaemon of Nagoya which is expected to reach a very significant £25,000-30,000. The only other known example of such a piece is in the Imperial Collection in Japan.
A rare, unusual and elaborately decorated cloisonné enamel goshoguruma (ox-drawn carriage) Attributed to Kawaguchi Bunzaemon of Nagoya, Meiji Period
七宝置物 御所車 伝川口文左衛門 明治時代
Conceived in several detachable sections, intricately worked in silver and gilt wire with stylised designs of colourful birds and flowers, foliate motifs and confronting phoenixes, the front and sides of the cart inset with plaques in the form of sudare, rendered in transluscent yellow, from which are suspended detachable metal ribbons; the front with various floral mon scattered on a plain yellow ground; the reverse with a hinged double-door opening to reveal three drawers within; the detachable roof with kiri-mon and kiku-mon interwoven among karakusa on a black ground, the axles and two-spoked wheels decorated with foliate motifs and flowerheads on a black ground between bands of geometric patterns on a turquoise ground, the pair of long parallel shafts and yoke embellished with matching patterns consisting of stylised kiku-heads amidst tightly-scrolled karakusa on a yellow and black ground; unsigned, with two lacquered wood stands. 28.2cm x 36cm x 14cm (11 1/16in x 14 1/16in x 5½in). (15). Estimate: £25,000 - 30,000, ¥3,500,000 - 4,300,000
Another similar goshoguruma is published and illustrated: Bessatsu Taiyo: Meiji no Soshoku Kogei, p.92, ed., Kaneko Kenji, Heibonsha, Tokyo, 1990.
In modern times the miniature goshoguruma is a composite feature of the Hinamatsuri (Doll's Festival of Girl's Day) repertoire and is displayed on the sixth or seventh tier of the Hina doll platform.
All these outstanding examples of craftsmanship demonstrate the breathtaking standard of technical and aesthetic expertise that typifies so much of Japanese art, and moreover, all that can be had for what represents relatively little outlay.
Suzannah Yip, Head of Bonhams Fine Japanese Art Department comments: "We are delighted to present such a broad spectrum - from the classical to modern - of fine quality Japanese art, as part of Asia Week in London. Never before in a Bonhams' fine Japanese sale have the perspicacious collector been so spoilt for choice."
Highlight Christie’s Fall Sale of Magnificent Jewels
Hong Kong – Christie’s, the world’s leading auction house for the sale of extraordinary jewels at auction, will present its annual Fall sale of magnificent jewels on 1 December at the Hong Kong Convention & Exhibition Centre. Featuring over 250 jewels valued in excess of HK$260 million/US$33 million, this sale will present to the region’s sophisticated collectors and connoisseurs an array of important diamonds, fine coloured gemstones, signed creations from the likes of Bulgari, Cartier, Graff, Van Cleef & Arpels, and Wallace Chan, as well as top jadeite jewels.
MAGNIFICENT JEWELS FROM AN ESTEEMED PRIVATE COLLECTION
The December 1 sale will include four magnificent jewels from an esteemed private collection, led by “The Vivid Pink”, one of the finest Vivid Pink diamonds to ever appear for sale at auction (estimate: HK$39,000,000-$55,000,000/US$5,000,000-7,000,000). Weighing an exacting 5.00 carats and set in a ring by leading international jeweller Graff, it is the largest Fancy Vivid Pink Potentially Flawless diamond to ever be offered for sale at auction. While the vast majority of natural pink diamonds exhibit a colour modifier like purple, orange or grey, “The Vivid Pink” shows absolutely no trace of a secondary colour, making it exceedingly rare both commercially and naturally.
“The Vivid Pink”, an exquisite coloured diamond and diamond ring, by Graff. photo Image 2009 Christie's Ltd
Set with a cushion-shaped fancy vivid pink diamond weighing 5.00 carats, flanked on either side by a shield-shaped diamond, mounted in platinum and 18k rose gold, ring size 5. Signed Graff - Est. HK$39,000,000 - HK$55,000,000 ($5,054,751 - $7,128,495)
Accompanied by report no. 12956371 dated 23 July 2009 from the Gemological Institute of America stating that the 5.00 carat diamond is fancy vivid pink, natural colour, VS1 clarity; with a working diagram indicating that the clarity is potentially flawless
Also accompanied by a supplemental letter from the Gemological Institute of America stating the 5.00 carat diamond has been determined to be a type IIa pink diamond. Type IIa pink diamonds are very rare in nature, often have relatively few inclusions and are noted for their mostly homogenous colour in the rough. Unlike many other coloured diamonds, the colour in pink diamonds can not only be caused by impurities, but it may also be a result of the diamond's exposure to heat and pressure during transportation into the earth's crust. Type IIa pinks have been found in a number of mining regions around the world. Historically they were found in India (particularly from the Golconda region) and, in more recent times, most notably from Brazil and Africa.
Among famous gem diamonds, the 70.39 carat Empress Rose and the 28.15 carat Agra are examples of type IIa pinks.
Also offered from this important collection is a superb oval-shaped Fancy Vivid Yellow VVS1 diamond of 9.03 carats (estimate: HK$7,000,000-9,000,000 / US$900,000-1,200,000). Set in a ring by Graff, this stone offers the first-rate combination of pure colour, high clarity and important size which together combine in an eagerly sought-after stone that is rare on today’s market. While yellow is a common coloured diamond hue, most yellow diamonds seen on the market do not offer the depth and intensity of colour exhibited in this stone. The outstanding saturation and strong colour of this stone place it in a coveted category of its own.
A superb coloured diamond and diamond ring, by Graff. photo Image 2009 Christie's Ltd
Set with an oval-shaped fancy vivid yellow diamond weighing 9.03 carats, flanked on either side by a pear-shaped diamond, mounted in platinum and yellow gold, ring size 5, in navy blue leather Graff pouch. Signed Graff - Est. HK$7,200,000 - HK$9,000,000 ($933,185 - $1,166,481)
Accompanied by report no. 11386714 dated 20 July 2009 from the Gemological Institute of America stating that the 9.03 carat diamond is fancy vivid yellow, natural colour, VVS1 clarity
Accompanied by a supplemental letter stating that the diamond has been determined to be a type Ia diamond. Type Ia diamonds occurs in a range from near-colourless to yellow and brown. Because of their historic occurrence in South Africa, type Ia diamonds are often called 'Cape' diamonds. Today, diamonds of this type have been found in all major diamond-producing regions of the world
Among famous gem diamonds, the 127.00 carat Portuguese and the 101.29 carat Allnatt are examples of type Ia.
From Van Cleef & Arpels comes a sumptuous 16.65-carat cushion-shaped Kashmir sapphire ring (estimate: HK$5,600,000-8,000,000 / US$700,000-1,000,000). Sapphires from Kashmir are the world’s finest and most sought-after sapphires. Discovered in 1881, the Kashmir mines were exhausted by the early decades of the twentieth-century,making their sapphires exceedingly rare today. Featuring a finely-proportioned cut, this 16.65 carat azure gem is an exemplary specimen of the fabled Kashmir sapphire and its highly-esteemed ‘cornflower’ blue, a splendid and unrivalled depth of colour that is distinctive and treasured for its velvety appearance.
An exceptional sapphire and diamond 'pierres de caractère' ring, by Van Cleef & Arpels. photo Image 2009 Christie's Ltd
Set with a cushion-shaped sapphire weighing 16.65 carats, to the baguette and brilliant-cut diamond openwork gallery and half-hoop, mounted in 18k white gold, ring size 5¼, with French assay mark for gold, in black suede Van Cleef & Arpels case. Signed Van Cleef & Arpels, No. ML3245 (indistinct) - Est. HK$5,600,000 - HK$8,000,000 ($725,810 - $1,036,872)
Accompanied by a certificate of authenticity from Van Cleef & Arpels
Report no. 0405118 dated 1 June 2004 from the Gübelin Gemmological Laboratory stating that the 16.65 carat sapphire is of Kashmir origin, with no indications of thermal enhancement
Report no. 54512 dated 25 September 2009 from the SSEF Swiss Gemmological Institute stating that the 16.65 carat sapphire is of Kashmir origin, with no indications of heating
The final jewel offered from this esteemed private collection is The Cartier Diamond Love Cuff (estimate: HK$2,000,000-3,000,000 / US$250,000-350,000). Studded with high-quality diamonds, this jewel-cuff is a custom one-of-a-kind creation commissioned from Cartier’s famed Love collection – a series of the most romantic jewellery formed around the idea of a screw-head covered bracelet which could only be locked and unlocked with a screwdriver, representing one’s commitment to a beloved. The jewel opens as a clasp and while it does not require a screwdriver, it bears three onyx screw-head designs at its opening, symbolising those heartfelt connotations of the collection. Luxurious, stylish and elegant, The Cartier Diamond Love Cuff is the only one of its kind in the world. Demand for one-of-a-kind jewels and special contemporary creations has risen dramatically in recently years, making the appearance of such a remarkable jewel on the auction market a singular opportunity for collectors around the world.
A unique diamond and onyx 'love cuff', by Cartier. photo Image 2009 Christie's Ltd
Designed as a pavé-set diamond tapered cuff, to the screw head motif onyx and half-moon diamond clasp, mounted in 18k white gold, inner diameter 5.4 cm, in red leather Cartier case. Signed Cartier, No. 39700B - Est. HK$2,000,000 - HK$3,000,000 ($259,218 - $388,827)
Accompanied by a valuation report from Cartier
The Cartier Diamond Love Cuff
The House of Cartier has a long and distinguished history of serving the glittering royal houses of Europe in the West to the opulent dynasties of Siam, Nepal and India in the East. Today Cartier creates and evolves remaining true to its original ethos as an innovator in taste and fashion. This esteemed French jeweller continues to create one-of-a-kind emblamatic jewels, rare and imaginative pieces so beautiful and unique that they can only be associated with Cartier. Studded with high quality white diamonds, The Cartier Diamond Love Cuff is custom-made, commissioned from the house' famous Love collection - a series of the most romantic jewellery formed around the idea of a screw-head covered bracelet which could only be locked and unlocked with a screwdriver, representing one's commitment to a beloved. This symbol of love has since been adopted as a cult jewel by some of Hollywood's most celebrated couples including Nancy and Frank Sinatra, Sophia Loren and Carlo Ponti, Richard Burton and Elizabeth Taylor. The present diamond cuff is an ambitious extension in concept requiring the highest levels of professional craftsmanship. Cartier demonstrates that the beauty of a jewel does not depend on the use of large gemstones but that the sparkle of smaller diamonds can be equally effective in a combination of superb design and brilliant skill. The mille-grain setting, where the metal surface was punctured into tiny beads that caught light, ensures that not only the diamonds but the metal shimmers and glows, so increasing the hard refractive brilliance of the white stones. The jewel opens with a clasp and while it does not require a screwdriver, it bears three onyx screwhead motifs at its opening symbolising those heartfelt connotations of the Love collection. Luxurious, stylish and elegant, The Cartier Diamond Love Cuff is the only one of its kind in the world.
SUPERB COLOURED & COLOURLESS DIAMONDS
Among the many stand-out colourless diamonds offered is a magnificent unmounted 16.99 carat brilliant-cut, D colour, Flawless clarity, Type IIa diamond (estimate: HK$17,000,000-25,000,000 / US$2,200,000-3,200,000). Unlike 98% of all diamonds, Type IIa diamonds have no traces of the colorant nitrogen. The absence of this element makes Type IIa diamonds the most chemically pure type of diamond in the world, with a purity of colour and degree of transparency that is exceptionally rare and observed only in the finest stones originating from the fabled mines of Golconda, Brazil and South Africa. In addition to its Type IIa classification, the present diamond flaunts the GIA’s top grading with Excellent polish, Excellent cut, and Excellent symmetry, resulting in truly superlative stone.
A magnificent unmounted diamond. photo Image 2009 Christie's Ltd
Weighing 16.99 carats - Est. HK$17,000,000 - HK$25,000,000 ($2,203,353 - $3,240,225)
Accompanied by report no. 1674833800 dated 5 October 2009 from the
from the Gemological Institute of America stating that the 16.99 carat diamond is D colour, flawless clarity, with excellent cut, polish and symmetry
Also accompanied by a supplemental letter from the Gemological Institute of America stating the 16.99 carat diamond has been determined to be a type IIa. Type IIa diamonds are the most chemically pure type of diamond and often have exceptional optical transparency. Type IIa diamonds were first identified as originating from India (particularly from the Golconda region) but have since been recovered in all major diamond-producing regions of the world. Among famous gem diamonds, the 530.20 carat Cullinan and the 105.60 carat Koh-i-noor, are examples of Type IIa
Also of note among the colourless diamonds is an important 11.00 carat pear-shaped D colour, Flawless clarity, Type IIa diamond pendant necklace (estimate: HK$6,500,000-8,500,000 / US$800,000-1,200,000). The impressive size, pleasing shape, and high quality material of this stone result in a truly first-class gem for discerning collectors.
An elegant diamond pendant necklace. photo Image 2009 Christie's Ltd
Suspending a pear-shaped diamond weighing 11.00 carats, joined to the marquise-cut diamond spacer weighing 1.34 carats and the heart-shaped diamond surmount weighing 3.51 carats, alternated by rectangular-shaped fancy intense pink diamonds each within a brilliant-cut diamond quatrefoils, to the fine twin-row neckchain enhanced by intense pink and colourless diamonds, mounted in 18k white and rose gold, 40.5 cm long - Est. HK$6,500,000 - HK$8,500,000 ($842,459 - $1,101,677)
Accompanied by seven reports dated from 29 June 2006 to 13 March 2009 from the Gemological Institute of America with the following detail:
Report Date Weight Colour Clarity Cut
16926337 13/03/09 11.00 D Flawless Pear, ex/ex
14602251 29/06/06 3.51 D IF Heart
16772263 29/01/08 1.34 D IF Marquise, ex
17491732 15/10/08 0.27 Fancy intense purple-pink Rectangular
2101393250 25/11/08 0.22 Fancy intense purplish pink Rectangular
2105114621 22/09/08 0.21 Fancy intense purplish pink Rectangular
12814455 03/06/08 0.21 Fancy intense purplish pink Square
Also accompanied by a supplemental letter from the Gemological Institute of America stating the 11.00 carat diamond has been determined to be a type IIa. Type IIa diamonds are the most chemically pure type of diamond and often have exceptional optical transparency. Type IIa diamonds were first identified as originating from India (particularly from the Golconda region) but have since been recovered in all major diamond-producing regions of the world. Among famous gem diamonds, the 530.20 carat Cullinan and the 105.60 carat Koh-i-noor, are examples of Type IIa
The sale will also offer a number of rare and important coloured diamonds in addition to “The Vivid Pink.” Of note is a rare rectangular-cut Fancy Intense blue diamond of 3.02 carats (estimate: HK$7,500,000-10,000,000/US$940,000-1,280,000). Strongly coloured blue diamonds are one of the most sought-after gems; indeed, supply has been far outstripped by the demand. Blue diamonds have historically come from very few sources and their rare presence on the market offers an uncommon opportunity for collectors.
An important coloured diamond and diamond ring, by Tiffany & co. photo Image 2009 Christie's Ltd
Set with a rectangular-shaped fancy intense blue diamond weighing 3.02 carats, to the square-shaped diamond quarter-hoop, mounted in platinum, ring size 8, in black suede Tiffancy & Co. case. Signed Tiffany & Co. No. 23624184 - Est. HK$7,500,000 - HK$10,000,00 ($972,068 - $1,296,090)
Accompanied by report no. 6107994843 dated 10 August 2009 from the Gemological Institute of America stating that the 3.02 carat diamond is a fancy intense blue, natural colour, VS1 clarity.
Highly saturated diamonds ranging in the red to purple hues are considered to be the rarest of all fancy coloured diamonds, making the sale of the rectangular-shaped Fancy red diamond of 0.84 carats a most remarkable event for diamond connoisseurs (estimate: HK$2,000,000-3,000,000/ US$250,000-375,000). While the cause of its colour is not yet thoroughly understood, it is generally concluded that the red colour results from structural features in the diamond's crystal lattice combined possibly with minute quantities of nitrogen.
A rare coloured diamond and diamond ring. photo Image 2009 Christie's Ltd
Set with a rectangular-shaped fancy red diamond weighing 0.84 carat, within a pear-shaped diamond surround, to the pavé-set diamond fluted three-quarter hoop, mounted in 18k white and rose gold, ring size 5½ - Est. HK$2,000,000 - HK$3,000,000 ($259,218 - $388,827)
Accompanied by report no. 1102729888 dated 14 May 2009 from the Gemological Institute of America stating that the 0.84 carat diamond is fancy red, natural colour.
Additional coloured diamond highlights include a pair of 8.52 and 8.39-carat pear-shaped Fancy Yellow Internally Flawless diamond ear pendants (HK$3,200,000-4,800,000 / US$400,000-600,000). These well-matched diamonds boast a bright, beautiful strong colour worthy of the Fancy Yellow designation, making them rare and desirable collectors' specimens.
A pair of stunning coloured diamond and diamond ear pendants. photo Image 2009 Christie's Ltd
Each set with a pear-shaped fancy yellow diamond weighing 8.52 and 8.39 carats, joined to a baguette-cut diamond spacer and square-shaped diamond weighing 1.14 and 1.13 carats, mounted in platinum and 18k gold, 3.9 cm long - Est. HK$3,200,000 - HK$4,800,000 ($414,749 - $622,123)
Accompanied by two reports nos. 14999892 dated 6 December 2006 and 14999891 dated 20 December 2006 from the Gemological Institute of America stating that the 8.52 and 8.39 carat diamonds are fancy yellow, natural colour, internally flawless clarity
Accompanied by two reports nos. 15000983 dated 21 April 2006 and 15138656 dated 17 July 2006 from the Gemological Institute of America stating that the 1.14 and 1.13 carat diamonds are F colour, VS2 and VVS2 clarity respectively.
IMPORTANT GEMSTONES, NATURAL PEARLS & JADEITE, PLUS ELEGANT SIGNED JEWELS
An elegant 25.04-carat pear-shaped Burmese sapphire and diamond pendent necklace is featured among the offerings of coloured gems featured in the sale (estimate: HK$4,800,000-6,500,000 / US$600,000-800,000). Possessing a rich and finely saturated colour, this remarkable sapphire has been spared thermal treatment, a key factor for collectors today. Such a combination of characteristics is rare in natural Burmese sapphires of this size, making this stone among the top sale highlights.
An elegant sapphire and diamond pendent necklace. photo Image 2009 Christie's Ltd
Suspending a pear-shaped sapphire weighing 25.04 carats, within a brilliant-cut diamond surround, joined to the neckchain set with brilliant-cut diamonds alternating with circular-cut sapphires, mounted in platinum, 39.0 cm long. Est. HK$4,800,000 - HK$6,500,000 ($622,123 - $842,459)
Accompanied by report no. 98017011 dated 26 August 2008 from the AGTA Gemological Testing Center stating that the 25.04 carat sapphire is of Burma (Myanmar) origin with no indications of heating.
From famed Italian jewellery house Bulgari comes an emerald and diamond necklace from its Perentisi collection (estimate: HK$650,000-850,000/US$80,000-120,000). Showcasing a modern interpretation of one of the firm’s iconic creative designs originally inspired by the joints of the Roman pavements, this graceful necklace exhibits the superior workmanship reflective of Bulgari’s ancient roots and Italian craft heritage and is one of only ations ever produced by the jeweller.
An emerald and diamond necklace, by Bulgari. photo Image 2009 Christie's Ltd
Centering upon a pavé-set diamond plaque of geometric motif, enhanced by circular-cut emeralds, joined to a similarly-set spacer and length adjustable neckchain, mounted in 18k white gold, 43.0 to 47.5 cm long, in black leather Bulgari case. Signed Bulgari, Made in Italy, No. 1250RM - Est. HK$650,000 - HK$850,000 ($84,246 - $110,168)
Accompanied by a certificate of authenticity by Bulgari.
THE BVLGARI PARENTESI
The jeweller Bulgari is renowned for its bold, elegant and highly distinctive style that was inspired by Greek and Roman classicim, the Italian Renaissance and the nineteenth-century Roman school of goldsmiths. Each Bulgari creation is the culmination of a unique heritage and tradition of excellence which, today, fuses the classic with the contemporary. Since its beginnings in Rome in 1884 and throughout its years of expansion worldwide, Bulgari has launched jewellery trends and revivals that has captivated royalty, movie stars and others for more than a century. Within each category, Bulgari creates a few of those very special collectible pieces, commissioned exclusively for the discerning collector. Last spring, Christie's included a piece of high jewellery from the Astrale collection. This fall, Christie's is pleased to offer another high art piece - from the new Parentesi collection.
Bulgari's current Parentesi collection is an unconventional, original and modern reinterpretation of one of the most famous of the firm's iconic creative designs, originally inspired by the joints of Roman pavements. Lot 2412 is a stunning emerald and diamond necklace from the new Parentesi series - only two were ever produced by this Roman maison. The exciting openwork and stylised decorative motif comprising clean, geometric shapes combine to present a strong, well-balanced design while keeping an unmistakable femininity and elegance; their superior workmanship reflective of the jeweller's ancient roots and Italian craft heritage. Carefully-selected high quality emeralds set amongst sparkling white diamonds present a vivid impression of colour and beauty - a testament to the house' aesthetic vision. This glamourous Parentesi jewel demonstrates a predilection for very fine, exclusive pieces and will appeal to the lady with taste for an important Italian jewel.
Among the ruby highlights is an exquisite Art Deco ruby and diamond bracelet by Cartier (estimate: HK$5,000,000-8,000,000/US$625,000-1,000,000). Featuring a sleek and simple geometric design indicative of this bold period in the history jewellery, this rare jewel displays 24 untreated Burmese rubies, favoured by collectors for their distinct ‘pigeon’s blood’ red hue.
A highly important art deco ruby and diamond bracelet, by Cartier. photo Image 2009 Christie's Ltd
Designed as a stylised articulated band, centering upon an arched panel set with two rows of twenty-two oval and cushion-shaped rubies, alternated by square-shaped diamonds, within a baguette and brilliant-cut diamond trim, to the tapered pavé-set diamond panels joined by interlocking geometric links and an oval-shaped ruby accent, mounted in platinum, 1938, 17.5 cm long, in fitted red leather Cartier case. Signed Cartier London, No. 4821 - Est. HK$5,000,000 - HK$8,000,000 ($648,045 - $1,036,872)
Accompanied by a certificate of authenticity from Cartier
Also accompanied by report no. 41428 dated 22 July 2003 from the SSEF Swiss Gemmological Institute stating that the twenty-four rubies are of Burma (Myanmar) origin with no indications of thermal enhancement
The total weight of the certified rubies is 38.06 carats
Note: At the height of their dominance of the jewelry industry Cartier's power came from three offices around the world, Paris, New York and London. Each office was run by a member of the Cartier family, three brothers, Louis Cartier in Paris, Pierre in New York and Jacques in London. Cartier's office in London was opened in 1902 at 4 New Burlington Street, Jacques moved there in 1906 and moved the firm to 175/176 New Bond Street where it remains to this day. Each office was relatively independent establishing a style for themselves but also manufacturing pieces for one another. Cartier London was well known for their important jewelry (that was distributed to Paris and New York), Clocks and Tiaras. The stylized geometric style illustrated in this bracelet was mostly the work of the designer Frederick Pew who collaborated closely with Jacques Cartier. Protocol and etiquette had changed little since the First World War and formal jewelry was still obligatory at the Court of St James 's. Rubies and emeralds were the favored colored gems and this bracelet would probably be one of the last extremely important pieces made before the outbreak of World War II when business was to change dramatically.
Natural pearls have been highly prized throughout the ages and are a strong draw for collectors in Asia. Among this season’s natural pearl highlights is an elegant pair of diamond and natural pearl ear pendants from Chaumet (estimate : HK$1,800,000-2,800,000/US$230,000-350,000), a multicoloured graduated natural pearl necklace (estimate: HK$1,200,000-1,800,000/US$150,000-230,000), and a rare pair of natural pearl and diamond ear clips by Cartier (estimate: HK$1,280,000-1,800,000 / US$160,000-230,000).
A pair of fine natural pearl and diamond ear pendants, by Chaumet. photo Image 2009 Christie's Ltd
Each suspending a detachable natural pearl drop measuring 17.4 x 14.2 x 12.8 and 16.7 x 13.1 x 12.0 mm, joined to a floral motif surmount set with a brilliant-cut diamond pistil within collet-set pear-shaped diamond petals, mounted in platinum, 4.5 cm long, in red leather Chaumet case. With maker's marks for Chaumet (indistinct) - Est. HK$1,800,000 - HK$2,800,000 ($233,296 - $362,905)
Accompanied by report no. 96022712 dated 24 June 2009 from the AGTA Gemological Testing Center stating that the two part-drilled baroque drop pearls are natural saltwater pearls
Report no. 176818 dated 26 October 2006 from the CCIP French Gemological Laboratory stating that the two drop pearls are natural.
A very fine natural pearl necklace. photo Image 2009 Christie's Ltd
Composed of seventy-nine multi-coloured graduated natural pearls measuring from 4.0 to 9.9 mm, joined to the navette-shaped onyx clasp accented by a marquise-cut diamond, mounted in platinum, 52.5 cm long, in fitted red leather case. Est. HK$1,200,000 - HK$1,800,000 ($155,531 - $233,296)
Accompanied by report no. 54043 dated 15 July 2009 from the SSEF Swiss Gemmological Institute stating that the analysed properties confirm the authenticity of these seventy-eight saltwater natural pearls with one freshwater pearl (no. 40 from the clasp), with no indications of artificial colour modification.
A pair of rare natural pearl and diamond ear clips, by Cartier. photo Image 2009 Christie's Ltd
Each set with a button-shaped natural pearl measuring 14.6 x 11.1 and 14.3 x 9.5 mm, to the pavé-set diamond clip, mounted in 18k white gold, circa 1935, 1.7 cm long, with French assay mark for gold. Signed Cartier - Est. HK$1,280,000 - HK$1,800,000 ($165,900 - $233,296)
Accompanied by a certificate of authenticity from Cartier
Also accompanied by report no. 53059 dated 16 December 2008 from the SSEF Swiss Gemmological Institute stating that the analysed properties confirm the authenticity of these two saltwater natural pearls
Jadeite forms an important cornerstone of Christie’s sales of magnificent jewels each season in Hong Kong is season’s stand-out offerings are a magnificent carved jadeite Guanyin (estimate: HK$8,000,000-12,000,000 / US$1,000,000-1,500,000) and a carved jadeite figure of Metteyya Buddha, commonly referred to as the “Laughing Buddha” or “Buddha with a Big Belly” due to his physical features (estimate: HK$6,000,000-8,000,000 / US$750,000 – 1,000,000). These two extremely precious objects are carved from old-mine jadeite and boasts uniform colour, rich and detailed texture, excellent translucency despite its thickness, and extraordinary craftsmanship in the carving.
A magnificent carved jadeite Guanyin. photo Image 2009 Christie's Ltd
Designed as a very fine carved jadeite guanyin of brilliant emerald green colour and high translucency, mounted in 18k white gold, to the carved rock crystal stand, carving approximately 67.66 x 38.79 x 9.33. Est. HK$8,000,000 - HK$12,000,000 ($1,036,872 - $1,555,308)
Accompanied by report no KJ44882 dated 9 October 2009 from the Hong Kong Jade & Stone Laboratory stating that the carving is natural jadeite and no polymer is detected.
An exceptional carved jadeite of Milefo. photo Image 2009 Christie's Ltd
Designed as a very well-carved jadeite laughing Buddha of brilliant emerald green colour and high translucency, mounted in 18k white gold, to the carved rock crystal stand, carving approximately 47.83 x 47.78 x 9.33 - Est. HK$6,000,000 - HK$8,000,000 ($777,654 - $1,036,872)
Accompanied by report no KJ44881 dated 9 October 2009 from the Hong Kong Jade & Stone Laboratory stating that the carving is natural jadeite and no polymer is detected.
Also of note is a rare jadeite bi and diamond pendant necklace (estimate: HK$4,500,000-6,500,000 / US$565,000-800,000). The exquisite material of the jadeite with its even emerald green colour and high translucency is enhanced by its form: a flattened disc with a hole in the centre, referred to as bi. In ancient Chinese cosmology, the bi mirrored the rounded arch of the sky across which the sun moved and the stars revolved. This outline also recalled the ancient Chinese pictograph for the sun, a circle with a dot within.
A impressive jadeite bi and diamond pendant necklace. photo Image 2009 Christie's Ltd
Suspending a jadeite hoop of even vivid emerald green colour and high translucency, to the pear-shaped diamond surmount weighing 1.52 carats and a detachable silver cord, mounted in 18k white gold, hoop diameter approximately 31.05 mm, thickness approximately 6.03 mm, necklace 42.5 cm long - Est. HK$4,500,000 - HK$6,500,000 ($583,241 - $842,459)
Accompanied by report no. KJ44449 dated 10 September 2009 from the Hong Kong Jade & Stone Laboratory stating that the hoop is natural jadeite and no polymer is detected.
Other jadeite highlights include a stylish pair of jadeite ear pendants from Hong Kong jewellery designer Wallace Chan (estimate: HK$1,200,000-1,800,000 / US$150,000-230,000); and a pair of three-coloured jadeite bangles (estimate: HK$1,800,000-2,800,000 / US$230,000-350,000).
A pair of stylish jadeite, coloured diamond and sapphire ear pendants, by Wallace Chan. photo Image 2009 Christie's Ltd
Each suspending a jadeite bar of brilliant emerald green colour and high translucency, enhanced by the pavé-set diamond tudor arcs with jadeite cabochon accents, to the oval-shaped yellow diamond link and pavé-set sapphire hook, mounted in titanium, rods approximately 28.70 x 5.15 x 6.08 and 28.41 x 5.25 x 6.20 mm, ear pendants 7.5 cm long. Signed Wallace Chan - Est. HK$1,200,000 - HK$1,800,000 ($155,531 - $233,296)
Accompanied by report nos. KJ44385 and KJ44386 dated 8 September 2009 from the Hong Kong Jade & Stone Laboratory stating that the rods are natural jadeite and no polymer is detected (2).
A pair of three-coloured jadeite bangles. photo Image 2009 Christie's Ltd
Each highly translucent semi-cylindrical circular jadeite band of bright emerald green, russet and very light yellow colour, representing the rebus 'good fortune, prosperity and longevity', inner diameter approximately 57.20 and 55.17 mm, width approximately 14.16 and 14.70 mm, thickness approximately 8.80 and 8.18 mm - Est. HK$1,800,000 - HK$2,800,000 ($233,296 - $362,905)
Accompanied by report nos. KJ44301 and KJ44302 dated 1 September 2009 from the Hong Kong Jade & Stone Laboratory stating that the bangles are natural jadeite and no polymer is detected (2).
Auction: Jewels: The Hong Kong Sale Tuesday, December 1, 3:00pm
Free Public Exhibition: - Fubon Life Assurance Building, Taiwan Saturday to Sunday, November 21-22, 10.30am-6.30pm
- Grand Hall, Hong Kong Convention & Exhibition Centre Thursday November 27-Tuesday December 1, 10.30am-6pm
"Nous ne vieillirons pas ensemble" @ Paris 3e. Ofr
Mathieu Mercier, Sans titre, 2006. Sérigraphie sur carton. 20,5 x 20 x 30,5 cm. Courtesy Galerie de Multiples © Mathieu Mercier
Sur une initiative du label hypothèse, «Nous ne vieillirons pas ensemble» est une exposition athématique qui regroupe des artistes de différentes générations dont les formes de production interrogent la notion d'auteur et les différents modes d'existence de l'oeuvre d'art.
Organisé en plusieurs temps et lieux, et pensé de manière collective, ce projet pointe certains champs d'action du commissaire d'exposition et les phénomènes de «post-production» (décisions scénographiques, dessaisissement de l'oeuvre, ré-interprétations et composition de l'exposition telle une méta-oeuvre, etc.).
«Nous ne vieillirons pas ensemble» se propose de recenser un ensemble non-exhaustif de distinctions ontologiques allant de la pièce unique aux pièces produites en série, en passant par la sérigraphie, le multiple en tirage limité ou illimité, le document en libre service, l'oeuvre mode d'emploi, l'oeuvre co-produite, l'oeuvre virtuelle ou encore l'oeuvre située jusqu'à des interventions déduites du contexte d'exposition.
Certaines des pièces présentées seront de plus «identiques» à celles présentées dans le cadre de la première édition organisée l'année passée. D'autres se répondront dans les différents lieux du projet, d'autres encore se répéteront en fonction du nombre de leur tirage ou édition.
Nul thème fédérateur, nul médium privilégié et pourtant un même esprit général qui rassemble des préoccupations aussi bien minimales que narratives, favorise les rencontres, initie de nouveaux dialogues et alimente notre réflexion sur le bon usage de l'art contemporain.
Cédric Alby, Renaud Auguste-Dormeuil, Berger & Berger, Guillaume Constantin, Peter Downsbrough, Yona Friedman, Paul-Armand Gette, Rodney Graham, Loris Gréaud, Isabelle Lartault, Mathieu Mercier, Grégoire Motte, Éric Pougeau, Benjamin Sabatier
27 oct.-01 nov. 2009 - Paris 3e. Ofr. 20, rue Dupetit-Thouars 75003 Paris 3e
