An archeological revival gold bracelet, by Melillo, 1899

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archeological revival, Gold Bracelet, Melillo

An archeological revival gold bracelet, by Melillo, 1899. Estimate £15,000 – 20,000 (€19,000 – 25,000). Photo Bonhams

Composed of nine panels, seven square and two semi-circular, each of differing « Etruscan » design, elaborately decorated with fine wirework, granulation and applied floral motifs and beading, within helicoid borders, connected by pin-and-slot hinges, the reverse of six panels decorated with four-petalled wirework flowers, the central plaque engraved « executed by Eduardo Melillo under the direction of Giacinto Melillo, Napoli Marzo 1899 », convertible to a choker with the supplied double trace-link chain of similar goldwork with circular medallion clasp depicting the head of Medusa with writhing snakes in her hair and twining under her chin, reverse of one semi-circular plaque applied with wirework initials « GM », bracelet length 19.0cm

Notes: This is a rare example of the work of Eduardo Melillo, protégé of the renowned jeweller Giacinto, who worked closely with the Castellani firm and is widely accredited with popularising jewellery design in the Archaeological Revival style. Giacinto Melillo was employed by Castellani from the age of 17 and swiftly became their star pupil, taking over the running of its workshop at the age of 25 and later becoming an independent jeweller.

The quality of Melillo’s work is well documented and in 1900 he won both the Grand Prix and Legion D’honneur at the Exposition Universelle in Paris. His designs remained very similar in style to Castellani’s and were viewed as somewhat interchangeable; so much so that at the 1878 Exposition, Augusto Castellani apparently complained that many of the pieces on his brother Alessandro’s stand were actually created by Melillo himself, despite bearing the Castellani house marks.

A number of Melillo’s jewels, including this bracelet, featured the use of granulation – a notoriously difficult technique that has been used by goldsmiths since antiquity, whereby minute spheres of high carat gold are attached to a surface to form intricate textured motifs. Various Italian archaeological finds in the nineteenth century unearthed examples of this exquisite craftsmanship, thereby inspiring Melillo and the Castellanis to rediscover this lost art through their own designs.

This is an example of bracelet design that was derived from the Campana Collection, compiled by the Italian art collector Giampietro Campana (1808 – 1880). This collection includes a number of bracelets with a similar hinged-panel style, consisting of original Etruscan earrings hammered flat, combined with modern panels. Both Castellani and Melillo produced designs based on these bracelets, and in turn inspired another wave of ‘ancient’-inspired jewellery adaptations.

A pair of similar bracelets by Castellani can be found on permanent display at The Victoria and Albert Museum (museum number 635-1884)

For similar examples of these bracelets by Giacinto Melillo, see Walker, Stefanie, and Weber Soros, Susan, « Castellani and Italian Archaeological Jewelry », Yale University Press, New Haven and London, 2004, page 213, and Munn, Geoffrey C. « Castellani and Giuliano, Revivalist Jewellers of the Nineteenth Century », Trefoil Books, London, 1984, plate 106.

Bonhams. FINE JEWELLERY. 4 Dec 2014 13:00 GMT. LONDON, NEW BOND STREET

An 18th century white topaz, garnet and gold Cross of the Portuguese Order of Christ, circa 1790

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18th century, circa 1790, Cross of the Portuguese Order of Christ, Garnet, white topaz

An 18th century white topaz, garnet and gold Cross of the Portuguese Order of Christ, circa 1790. Estimate £4,000 – 6,000 (€5,100 – 7,600). Photo Bonhams

The pendant cross calibré-set with closed-back foiled garnets, accented with a cushion-shaped white topaz section, suspended from a white topaz floral surmount, mounted in silver gilt, length 9.8cm, fitted case by Elkington & Co

Notes: A very similar pendant cross is in the British Museum. For other similar examples, see National Museum of Ancient Art, Lisbon, ‘Five Centuries of Jewellery’, p.82, plate 112

Bonhams. FINE JEWELLERY. 4 Dec 2014 13:00 GMT. LONDON, NEW BOND STREET

A 19th century hardstone cameo, seed pearl and diamond brooch

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19th Century, hardstone cameo, Seed Pearl, seed pearl and diamond brooch

A 19th century hardstone cameo, seed pearl and diamond brooch. Estimate £3,000 – 4,000 (€3,800 – 5,100). Photo Bonhams

Formed of two hardstone cameos, by Morelli, probably intended to depict Cupid and Psyche, each within a border of seed pearls and old brilliant-cut diamond highlights within enamelled collets, probably originally a pair of earrings,diameter 3.8cm

Bonhams. FINE JEWELLERY. 4 Dec 2014 13:00 GMT. LONDON, NEW BOND STREET

An 18th century topaz demi-parure, Portuguese

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18th century, Portuguese, topaz demi-parure

An 18th century topaz demi-parure, Portuguese. Estimate £8,000 – 10,000 (€10,000 – 13,000). Photo Bonhams

Comprising a brooch and pair of earrings, each of girandole design, set throughout with vari-cut topaz in foiled closed-back settings, mounted in silver gilt, pendant length 6.1cm, earring length 5.1cm

Bonhams. FINE JEWELLERY. 4 Dec 2014 13:00 GMT. LONDON, NEW BOND STREET

A vari-coloured natural pearl and diamond circlet brooch, by Cartier, circa 1915

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Cartier, circa 1915, Fancy Dark Yellow Green diamond, natural pearl and diamond circlet brooch

A vari-coloured natural pearl and diamond circlet brooch, by Cartier, circa 1915. Estimate £3,000 – 5,000 (€3,800 – 6,400). Photo Bonhams

The oval frame set with single-cut diamonds, issuing a surround of 16 vari-coloured natural pearls between old brilliant-cut diamond terminals of light pink and yellow tint, mounted in platinum, signed Cartier London, length 3.3cm, fitted case by Cartier

Accompanied by a report from GCS stating that the pearls are natural, saltwater, with no indications of treatment. Report number 5775-875, dated 29 October 2014.

Accompanied by a report from GCS stating that the diamond weighing 0.35 carat is Fancy Dark Yellow Green, natural colour, Type Ib. Report number 5775-877, dated 4 November 2014.

Bonhams. FINE JEWELLERY. 4 Dec 2014 13:00 GMT. LONDON, NEW BOND STREET

A blue and white ‘Landscape’ lantern vase, Qianlong period (1736-1795)

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'Landscape' lantern vase, Blue-and-White, lantern vase, Qianlong period

A blue and white ‘Landscape’ lantern vase, Qianlong period (1736-1795). Estimate HK$1,200,000 – HK$1,500,000 ($155,405 – $194,256). Price Realized HK$1,480,000 ($191,743). Photo Christie’s Image Ltd 2014

The sturdily potted vase is superbly painted with a continuous scene depicting a few scholars seated in leisure in an idyllic landscape graced by dwellings nestled among rolling mountains. 21 in. (53.4 cm.) high

Provenance: Sold at Sotheby’s Hong Kong, 20 May 1981, lot 740
Sold at Sotheby’s London, 13 July 2005, lot 172

CHRISTIE’S. IMPORTANT CHINESE CERAMICS AND WORKS OF ART, 26 November 2014, Convention Hall

A large moulded Ding ‘Birds’ dish, Jin dynasty (1115-1234)

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'Birds' dish, Dingyao, Jin Dynasty

A large moulded Ding ‘Birds’ dish, Jin dynasty (1115-1234). Estimate HK$800,000 – HK$1,500,000 ($103,603 – $194,256). Price Realized HK$1,540,000 ($199,517). Photo Christie’s Image Ltd 2014

The dish is well potted with rounded sides rising to a metal-bound rim, moulded on the interior with a central medallion enclosing a pair of mandarin ducks amidst scrolling lotus, encircled by a band of peacocks in flight amongst peony scrolls on the cavetto. The exterior is plain. The dish is covered with a clear glaze of warm ivory tone, revealing the white biscuit on the foot. 11 3/8 in. (29 cm.) diam.

Notes: Ding dishes decorated with peacocks are rare, but those decorated with a combination of peacocks and mandarin ducks are even more so. The peacock seems to be closely connected with the phoenix in Chinese art, not only in its physical attributes but the birds are also found together and sometimes the peacock seems to be a substitute for the phoenix. Symbolic of beauty and dignity, the Book of Changes (Yijing) calls the peacock a cultured bird that brings civilisation to the world. When depicted in pairs they are likely to symbolise happy marriage. One closely related example with this rare decoration is known, which is a dish of almost the same size and shape in the Beijing Palace Museum, similarly moulded with four peacocks in flight on the cavetto, encircling a pair of birds in the centre identified by the Museum as wild-geese, illustrated in Selection of Ding ware: the Palace Museum’s Collection and Archaeological Excavation, Beijing, 2012, pl. 85.

CHRISTIE’S. IMPORTANT CHINESE CERAMICS AND WORKS OF ART, 26 November 2014, Convention Hall

A rare blue and white ‘Bamboo and Plantain’ bowl, Wanli six-character mark in underglaze blue within a double circle and of the period (1573-1619)

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'Bamboo and Plantain' bowl, Blue-and-White, Wanli six-character mark in underglaze blue within a double circle and of the period

A rare blue and white ‘Bamboo and Plantain’ bowl, Wanli six-character mark in underglaze blue within a double circle and of the period (1573-1619). Estimate HK$600,000 – HK$800,000 ($77,702 – $103,603). Price Realized HK$1,720,000 ($222,837). Photo Christie’s Image Ltd 2014

The bowl is painted on the exterior in cobalt of vivid inky blue tones with a continuous scene depicting bamboo and plantain trees growing from a rocky ground, all above a band of petal lappets around the foot. The interior is decorated on the cavetto with sprays of peony and chrysanthemum, below a band of lingzhi scroll, the centre with a medallion enclosing two pomegranate fruits. 9 3/8 in. (23.8 cm.) diam.

Provenance: Mayuyama & Co., Tokyo, 3 March 1952

Notes: A Wanli-marked bowl of identical design is illustrated in Junkichi Mayuyama, Chinese Ceramics in the West: A Compendium of Chinese Ceramic Masterpieces in European and American Collection, 1960, pl. 136.

CHRISTIE’S. IMPORTANT CHINESE CERAMICS AND WORKS OF ART, 26 November 2014, Convention Hall

A very rare doucai ‘Dragon’ dish, Qianlong six-character seal mark and of the period (1736-1795)

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'Dragon' dish, doucai, Qianlong six-character seal mark and of the period

A very rare doucai ‘Dragon’ dish, Qianlong six-character seal mark and of the period (1736-1795). Estimate HK$1,500,000 – HK$2,600,000 ($194,256 – $336,711). Price Realized HK$1,720,000 ($222,837). Photo Christie’s Image Ltd 2014

The dish is decorated with underglaze blue outlines and overglaze enamels in doucai style, on the interior with a central medallion containing a writhing five-clawed dragon chasing an iron red flaming pearl amidst clouds and five colourful extended clouds on the cavetto, the exterior with multi-coloured clouds and cresting waves. 7 7/8 in. (20.1 cm.) diam., stand, Japanese wood box

Provenance: The Manno Art Museum Collection
Sold at Christie’s London, 21 June 2001, lot 103

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

Notes: A slightly smaller Yongzheng doucai dish of this design was sold at Christie’s Hong Kong in October 1990, lot 505, and a pair of Yongzheng doucai saucer dishes with this design were also sold at Christie’s Hong Kong in March 1991, lot 592.

Another slightly smaller Yongzheng doucai example is in the collection of the Hong Kong Museum of Art, published inThe Wonders of the Potter’s Palette: Qing Ceramics from the Collection of the Hong Kong Museum of Art, 1984, no. 45, while a pair from a private Hong Kong collection is illustrated in The Min Chiu Society Anthology of Chinese Art, pl. 175.

CHRISTIE’S. IMPORTANT CHINESE CERAMICS AND WORKS OF ART, 26 November 2014, Convention Hall

A rare pale celadon-glazed water flask, Kangxi six-character mark in underglaze blue and of the period (1662-1722)

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Kangxi six-character mark in underglaze blue and of the period, pale celadon-glazed, water flask

A rare pale celadon-glazed water flask, Kangxi six-character mark in underglaze blue and of the period (1662-1722). Estimate HK$1,200,000 – HK$1,800,000 ($155,405 – $233,107). Price Realized HK$2,080,000 ($269,477). Photo Christie’s Image Ltd 2014

The vessel is covered inside and out with a pale bluish-green glaze thinning to white on the mouth rim. 3 1/2 in. (9 cm.) high

Provenance: Sold at Christie’s New York, 4 June 1992, lot 337

PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION

Notes: The shape of this vessel is very rare with very few related published examples. A Yongzheng-marked jar of very similar form but of larger size (19 cm. high) and covered with a ge-type glaze is in the Nanjing Museum, where it was catalogued as a ‘brocade zun‘ since it is moulded with knots on the neck simulating a brocade wrapping. See The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 193.

CHRISTIE’S. IMPORTANT CHINESE CERAMICS AND WORKS OF ART, 26 November 2014, Convention Hall