18 karat blackened gold, fire opal and diamond ring, Sifen Chang

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fire opal, Sifen Chang

18 karat blackened gold, fire opal and diamond ring, Sifen Chang. Photo Sotheby »q

Set with a tumbled fire opal weighing 53.66 carats, accented by round diamonds weighing approximately 1.00 carat, size 6, with Chinese Characters for Sifen Chang. With signed box. Estimate 12,000 — 15,000 USD. LOT SOLD. 15,000 USD

Sotheby’s. Magnificent Jewels.New York, 09 Dec 2010

Minimalist Scandinavian Glass Vessels by Tobias Møhl

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Glass, Minimalist, Scandinavian, Tobias Møhl

Blacknet 3 by Tobias Møhl. © 2014 OEN

Blacknet 1 by Tobias Møhl. © 2014 OEN

Silkspinner 3 by Tobias Møhl. © 2014 OEN

Oval Blacknet 1 by Tobias Møhl. © 2014 OEN

Blacknet 4 by Tobias Møhl. © 2014 OEN

Oval Blacknet 3 by Tobias Møhl. © 2014 OEN

Silkspinner 1 by Tobias Møhl. © 2014 OEN

Blacknet 2 by Tobias Møhl. © 2014 OEN

Oval Blacknet 2 by Tobias Møhl. © 2014 OEN

Tobias Møhl flattening a glass vessel at his workshop in Ebeltoft, Denmark. © 2014 OEN

Tobias Møhl blowing glass at his workshop in Ebeltoft, Denmark. © 2014 OEN

tobiasmohl.dk

 

A fine and rare gold, lapis lazuli, onyx, jadeite and coral annular desk timepiece, Vacheron Constantin, retailed by Ostertag, circa 1929, No 404672.

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circa 1929, desk timepiece, Ostertag, Vacheron Constantin

A fine and rare gold, lapis lazuli, onyx, jadeite and coral annular desk timepiece, Vacheron Constantin, retailed by Ostertag, circa 1929, No 404672. Photo Sotheby’s

Designed as a gem-set jadeite flowerpot with fanciful exotic flowers composed of carved coral petals and realistic leafage, the rotating chapter ring designed as the rim of the pot with diamond-set Arabic numerals, the time indicated by one angled leaf, the whole surmounted upon a stepped onyx base enhanced with cabochon sapphires at the corners, containing the 15 jewel rectangular mechanical movement, all raised on a beveled lapis lazuli base with four gold feet, all contained within a square glass outer case, the corners fitted with gold cabochon sapphire-set openwork brackets, base signed by Ostertag, movement signed by Vacheron Constantin. Estimate 150,000 — 200,000 USD. LOT SOLD. 290,500 USD 

Notes: This magnificent clock is an excellent example of the stunning and highly imaginative decorative clocks created during the 1920s and 1930s. Between 1880 and 1930, Vacheron Constantin worked in close collaboration with Verger Frères, a renowned French firm who was known to be the Paris representative of Vacheron Constantin. In this partnership, Vacheron Constantin would create movements, and upon arrival in Paris, Verger Frères would case them in watch and clock cases.

Many of the finest clocks known in the Art Deco period were collaborations by these two celebrated firms. These pieces made brilliant use of carved hardstones, favoring Eastern-themed motifs, resembling Buddhist figures or exotic creatures such as elephants, gazelles, parrots and monkeys.  

Unlike Vacheron Constantin’s more traditional clocks that employ a standard two-hand time telling system, the present example features a rotating chapter ring, ingeniously designed as the rim of the flower pot. This annular time-telling method showcases the pinnacle of the technical merits of the watchmakers at Vacheron Constantin, as well as the highly creative work of the artisans at Verger Frères who designed the case.

For a similar piece made by Vacheron Constantin in collaboration with Verger Frères, see Cologni, F., Secrets of Vacheron Constantin, p. 333.

Ostertag, the retailer of this piece, was an exclusive Parisian jeweler with a salon in Place Vendôme in the first half of the twentieth century, run by Arnold Ostertag. Much like the finest jewelers of that era, he too was fascinated by the lavish aesthetic of the Far East, and was particularly taken with Chinese and Indian motifs. The masterpieces in his boutique reflected this interest, and the present lot appears to be a fanciful interpretation of an exotic orchid, calling to mind voyages to far away lands.

Similar pieces were also retailed in many of the other fine jewelry salons of the era, such as Lacloche Frères, Tiffany & Co., Van Cleef & Arpels, and Black, Starr & Frost.

Sotheby’s. Magnificent Jewels.New York, 09 Dec 2010

Pair of pearl and diamond hoop earclips, JAR, 1987

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cushion-shaped diamond, JAR, natural pearl, pearl and diamond hoop earclips

Pair of pearl and diamond hoop earclips, JAR, 1987. Photo Sotheby’s

Each set in the center with a cushion-shaped diamond weighing approximately 17.00 carats or a natural pearl of light yellow-brown color measuring approximately 11.54 mm., within a seed pearl or pavé-set diamond frame and hoop, mounted in gold and silver. With signed box. Estimate 350,000 — 450,000 USD/ LOT SOLD. 422,500 USD

Note: Accompanied by GIA report no. 2125538645 stating natural pearl, saltwater.

Exhibited at the National Academy of Design in New York on November 30, 1987, as item 10 of ‘A Collection of Jewels Created in Celebration of our Ten Years in Place Vendôme’.  Also illustrated in JAR, Joel Rosenthal and Pierre Jeannet, Art Books International, Paris, 2002, plate 208.

This spectacular pair of earrings was designed by Joel Rosenthal, known as JAR, in 1987 and included in his 1987 exhibition of just over 100 pieces in New York at the National Academy of Design.  An American debut of his work, the exhibition was in celebration of his firm’s first ten years in the Place Vendôme in Paris and was for one night only.  The room was dark and each patron was given a flash light with which to view the jewels.  Imagine.  The technique was novel and the effect was stunning.   The earrings were also chosen for inclusion in his 2002-2003 exhibition in London, The Jewels of JAR, Paris, at Somerset House.  This exhibition was composed of 400 pieces which provided a broad context within which to consider his body of work.  Also, this exhibition was longer – three months.  Like the first, attendees were given flashlights and this allowed them to view in the dimness of the galleries each piece in appreciative isolation from the whole.

The earrings seem to echo exotic opulence.   In them is juxtaposed the soft and silky sheen of natural pearls with the crisp brilliance of diamonds by imbedding an antique cushion-shaped pale yellow diamond within a pearl-set hoop mounting and a large lustrous natural pearl in a superbly smooth diamond pavé mounting.  It is a tour-de-force design illustrative of the boldness of JAR.  While drawing inspiration from the past, his modern interpretation is wholly original – and unique.  These earrings create drama when worn, but also stand on their own as miniature sculptures, as objets d’art.

The uncompromising artisanship that characterizes a jewel by JAR limits the number of jewels available at any one time from his workshop.  Auctions have provided another avenue of acquisition.  The appearance of each creation on the market represents a singular collecting opportunity.  Sotheby’s has had the good fortune to offer at auction over the years, most recently from the collection of Lucia Moreira Salles, a number of his wondrous jewels.  There is a whisper of a possible exhibition in New York in 2012.   Regardless of the venue – JAR, Paris, at auction or in a museum – there is no satisfying the demand for his work from connoisseurs and the rank of aspiring collectors grows with each exposure. 

Sotheby’s. Magnificent Jewels.New York, 09 Dec 2010

 

A Mughal enamelled and gold inlaid silver dish, India, ca 1700

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ca 1700, gold inlaid silver, India, Mughal

A Mughal enamelled and gold inlaid silver dish, India, ca 1700. Photo Christie’s Image Ltd  2012

Of circular form with gently outward curving sides and a wide horizontal flat rim, composed of thick solid silver with gold inlaid outlines supporting red, emerald-green and dark blue enamel, composing radiating interior decoration floral sprays around a central rosette, the sides with scrolling vine and rim with flowering vine, areas of minor scratches to silver; 8 5/8in. (22cm.) diam. Estimate £100,000 – £150,000 ($163,400 – $245,100). Price Realized  £121,250 ($197,395)

Notes: The subject of radiating floral sprays round a central roundel is a decorative motif common to our dish and to a gold Mughal plate in the State Hermitage Museum, (M. Pitrovsky, On Islamic Art, St. Petersburg, 2001, pp. 104-5). A further bidri brass inlaid tray, lot 240 in this sale, is a slightly alternative example of this radiating floral spray design. The bidri tray illustrates very elegantly the contrast between the more geometric and naturalistic North Indian Mughal design on this silver enamelled dish in comparison to the more stylised and curved foliage found more typically in Deccani inlaid wares, (M. Zebrowski, Gold, Silver & Bronze from Mughal India, London, 1997, p.249). Several other excellent examples of inlaid bidri ware with radiating floral designs are published by M. Zebrowski, op. cit., in particular pls. 422 and 433, pp. 248 and 254).

The use of gold inlay as a housing for glass enamel set into a silver dish is unusual. There are a few examples of Mughal enamelled gold, such as the example previously cited. In addition, in this sale there are other much later examples of enamelled silver from North India, (see lots 247-249 and 289). The extremely rare decorative brilliance of this dish is achieved by a captivating combination of gold and silver. The warmth of the gold enhances the richness of the enamel colours and contrasts wonderfully with the coolness of the surrounding silver.

Christie’s. ART OF THE ISLAMIC & INDIAN WORLDS, 7 April 2011, London, King Street

Platinum, emerald, opal, diamond and enamel ring, Georges Fouquet, circa 1920

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cabochon emerald, circa 1920, Georges Fouquet

Platinum, emerald, opal, diamond and enamel ring, Georges Fouquet, circa 1920. Photo Sotheby’s

The cabochon emerald measuring approximately 11.6 by 11.3 by 8.8 mm., framed by oval opals, small old European-cut diamonds and black enamel stripes, size 7¼, signed G. Fouquet, numbered 25952. Estimate 15,000 — 20,000 USD. LOT SOLD. 218,500 USD

Provenance: Art Nouveau & Symbolist Jewellery from the Private Collection of Joost Ruben Ritman,Sotheby’s Geneva, May 2, 1997, GE0204, lot 331.

Sotheby’s. Magnificent Jewels.New York, 09 Dec 2010

Porcelain Dish with Overglaze Enamels; Design of Figure and Deer, Ming Dynasty, 17th Century

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17th Century, Design of Figure and Deer, Fujian Province, gosu-akae ware, Ming Dynasty, Overglaze Enamels, Pinghe-xian, Porcelain Dish, Swatow ware

Porcelain Dish with Overglaze Enamels; Design of Figure and Deer, Ming Dynasty, 17th Century, d.38.8cm. Gift of Mr. YABASHI Shigeo. Acc. No. 11269. The Museum of Oriental Ceramics, Osaka © 2009 The Museum of Oriental Ceramics, Osaka.

This dish is made from a gray body covered with white glaze and decorated with red, blue, and green overglaze enamels. Coarse porcelain of this type is known and appreciated as gosu-akae in Japan and Swatow ware in the West. The location of its production was unknown for a long time, but in 1994 it was excavated from a kiln site in Pinghe-xian, Fujian Province. This is a large dish with a wide rim. The decoration is divided into two bands by concentric circles. In the center together with a deer is a person believed to be Han Xiangzi, one of a hermits, carrying a basket of flowers on his back. The rim is decorated with the characters yu-tang-jia-qi ,  »riches and reputation » and a floral pattern. The decoration is orderly, and this is believed to be an early example of gosu-akae ware.

Porcelain basin with Underglaze Blue and Overglaze Enamels; Taoist Immortal Design, Ming Dynasty, Wanli Mark and Period, 1573-1620

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Ming Dynasty, Porcelain basin, Taoist Immortal Design, Underglaze Blue and Overglaze Enamels, Wanli Mark and Period

Porcelain basin with Underglaze Blue and Overglaze Enamels; Taoist Immortal Design, Ming Dynasty, Wanli Mark and Period, 1573-1620, d.36.8cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10566. The Museum of Oriental Ceramics, Osaka © 2009 The Museum of Oriental Ceramics, Osaka.

The rim of this deep basin flares outward in a sword guard shape, and it is cut in an octagonal flower shape. The inside bottom, inside walls, and rim are divided into sections by pine trees, and each section contains a depiction of Taoist immortals. The red, blue, yellow, and green colors are used liberally for an extremely bright effect. In contrast, the outer wall is decorated with two kinds of baoxiang-hua flowers, and the outer rim features a cloud scroll pattern. Several similar pieces are known to exist, both in blue-and-white and wucai ware. This was used as a wash basin, and was mounted on a wooden stand. A similar wucai basin has been excavated from the Qing dynasty tomb in Beijing.

Porcelain dish with Underglaze Blue and Overglaze Enamels; Peony Design, Ming Dynasty, Wanli Mark and Period, 1573-1620

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Ming Dynasty, Peony Design, Porcelain Dish, Underglaze Blue and Overglaze Enamels, Wanli Mark and Period

Porcelain dish with Underglaze Blue and Overglaze Enamels; Peony Design, Ming Dynasty, Wanli Mark and Period, 1573-1620, d.38.5cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10752. The Museum of Oriental Ceramics, Osaka © 2009 The Museum of Oriental Ceramics, Osaka.

It has recently been determined that the technique of decorating blue-and-white ware with overglaze enamels was first developed in the Xuande period. Such ware was produced in each subsequent period, but it reached the peak of its popularity in the Jiajing and Wanli periods. This dish has an everted rim, and it is decorated in the center with peonies, and around the inside rim with pomegranate and litchi branches. Around the outside there is a scrolled baoxiang-hua pattern. The design itself is one which appears repeatedly in the early Ming blue-and-white and wucai ware, but the method of execution on this dish is completely different from other pieces, using what can be called an overly pragmatic painting technique.

Porcelain ewer with Overglaze Enamels and Gilt (Kinran-de); Ming Dynasty, 16th Century

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16th Century, Kinran-de, Ming Dynasty, Overglaze Enamels and Gilt, Porcelain ewer

Porcelain ewer with Overglaze Enamels and Gilt (Kinran-de); Ming Dynasty, 16th Century, h.33.1cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10519. The Museum of Oriental Ceramics, Osaka © 2009 The Museum of Oriental Ceramics, Osaka.

This is a ewer in the form of a dancing woman. The top of her head is the lid, and the sleeve of her raised right arm is the spout. Her clothes are decorated with red, blue, and green overglaze enamels. The parts covered in red enamel and the parts left white are decorated with gold enamel. The gold has been preserved relatively well. The base is carved, and on the inside of the base is an inscription in underglaze blue reading fu-gui-jia-qi, « riches and fine vessel. » Sand adheres to the foot rim. The box is inscribed with the date Hoei 6 (1709), but the history of this piece is not clear. There is a similar piece in the Percival David Collection in London.