Alain.R.Truong

01 avril 2015

Revisitez la Chine en déco...

Revisitez la Chine

Panneaux en mosaïque de verre, design Carlo Dal Bianco. Blue Vases, prix sur demande, Bisazza.
Tapis en laine noué main, Ø 225 cm. Blue China, 1 350 €, Gan.
Sur la banquette, tissu jacquard de viscose et coton à motif géométrique. Palanquin, 81,50 € le m en 138 cm de l, Lelièvre.
Plateau en laque, Ø 50 cm 95 €, cfoc.
Coupelles et boîte boule en faïence rouge et noir. À partir de 58 €, Émaux de Longwy.
Vase en porcelaine et résine, design Osko+Deichmann. Prix sur demande, Gallery S. Bensimon.
En fond, tissu jacquard en viscose et coton. Dragon,185 € le m en 138 cm de l, Sahco.
Au sol, peinture Bleu Hakama. 30 € le pot de 1 l, 1825 Théodore Collection

(source AD Magzine)

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A rare Ming-style blue and white 'Bird and Flower' vase, yuhuchunping, Mark and period of Yongzheng

A rare Ming-style blue and white 'Bird and Flower' vase, yuhuchunping, Mark and period of Yongzheng

A rare Ming-style blue and white 'Bird and Flower' vase, yuhuchunping, Mark and period of Yongzheng (another view)

A rare Ming-style blue and white 'Bird and Flower' vase, yuhuchunping, Mark and period of Yongzheng (detail)

A rare Ming-style blue and white 'Bird and Flower' vase, yuhuchunping, Mark and period of Yongzheng (mark)

A rare Ming-style blue and white 'Bird and Flower' vase, yuhuchunping, Mark and period of YongzhengEstimate 3,000,000 — 4,000,000 HKD (342,048 - 456,063 EUR). Photo Sotheby's.

elegantly potted with a voluminous body of generous proportion, painted in a lively style in washes of cobalt accented with 'heaping and piling', with a pair of magpies with handsome plumage, depicted sitting back to back, lovingly turning their heads to face the other, perching on an overhanging leafy branch of peach blossoms, springing from behind a craggy rock surrounded by clusters of bamboo, all beneath an elegantly waisted neck collared by a continuous classic scroll, between pendent trefoils framing the shoulders and upright plantain leaves below the gently everted rim, all above a ring of stylised lotus petals and a flaring foot decorated with further lotus blooms, the recessed base centred with a six-character reign mark enclosed within a double-circle - 30 cm., 11 3/4  in.

NotesThe Yongzheng Emperor (r. 1723-35) is celebrated for his fine artistic taste, his passion for classic porcelain of the Ming dynasty (1368-1644), and the fabulous reproductions of these traditional wares he commissioned, where he often introduced elegant innovations. The present vase, which appears to be unique, is a perfect example. It was inspired by an early Ming imperial porcelain design of the Yongle (1403-1424) period, which itself followed court painting styles of the Northern Song dynasty (960-1127), often found in small-format paintings such as fans or album leaves.

The present vase exemplifies how the Yongzheng Emperor had classic early Ming porcelain reproduced. The piece closely follows the design of the famous, unique Yongle yuhuchun vase from the Sir Percival David Collection in the British Museum, London, which may have served as inspiration, illustrated in Ming: 50 Years that Changed China, British Museum, London, 2014, cat. no. 71 (left). However, the Yongzheng vase differs in that its two birds are depicted with crossed tails. This intimate and lovely composition does not seem to be seen on any other early Ming blue and white porcelains, nor on other Qing (1644-1911) copies. The Yongle vase was included alongside a moon flask and a meiping vase of related design, also from the Yongle period, in the exhibition, ibid., cat. no. 71 (centre). 

Court records corroborate that the Yongzheng Emperor did not just blindly copy Ming prototypes, but had them reproduced according to his own tastes. In one case, for example, he had a blue and white bowl of the Jiajing period (1522-1566) reproduced, but with altered decoration, because he did not consider the original painting elegant, see Feng Xianming,Annotated Collection of Historical Documents on Ancient Chinese Ceramics, Taipei, 2000, pp. 210-227. 

Imperial porcelains with comparable subjects of a bird or pair of birds on flowering branches in underglaze blue are extremely rare during the Ming and Qing periods. Only one other yuhuchun vase with such a design appears to be recorded from the Yongzheng reign, but with different positioning of the birds and without reign mark, sold in our London rooms, 16th June 1998, lot 249, and illustrated in Julian Thompson, The Alan Chuang Collection of Chinese Porcelain, Hong Kong, 2009, pl. 33. There is also a Yongzheng yuhuchun vase of the same shape and similar bands of decoration at the neck and base, from the Qing court collection, preserved in the Palace Museum, Beijing, decorated with a garden scene as the main motif, illustrated in Geng Baochang ed., Early Ming Blue and White Porcelain of the Palace Museum, Beijing, 2002, cat. nos. 199. 

A Yongzheng version of the Yongle moon flask from the Sir Percival David Collection, painted with one bird on each side, formerly in the collections of Richard de la Mare (1940s to 1974), Su Lin An, and Meiyintang, was sold in our London rooms, 2nd April 1974, lot 369, and twice in these rooms, 31st October 1995, lot 325, and 7th April 2011, lot 76. Another Yongzheng moon flask, with two birds on each side, was sold in our London rooms, 11th December 1990, lot 325, again at Christies’ Hong Kong, 2nd November 1999, lot 521, and is illustrated in An Exhibition of Important Chinese Ceramics from the Robert Chang Collection, London 1993, cat. no. 79, and in Julian Thompson, The Alan Chuang Collection of Chinese Porcelain, Hong Kong, 2009, pl. 34. 

A rare Yongle ewer of related shape in the Ataka collection, painted with a similar subject of birds and branches, is illustrated in The Beauty of Asia Ceramics - from the Collection of the Museum of Oriental Ceramics, Osaka, 2014, pl. 48. 

The intimate subject of birds on branches was made famous by paintings of the famous artist emperor Huizong (r. 1100-1125) of the Northern Song dynasty. For such a painting attributed to Huizong see Osvald Sirén, Chinese Painting, Leading Masters and Principles, London, 1956, pl. 235. 

While the Yongzheng yuhuchun vase must have been directly inspired by early Ming porcelain, the Yongzheng Emperor probably favoured the bird subjects for other reasons as well. Having ascended the throne under somewhat nebulous circumstances, the legality of his succession was persistently questioned, which made him more than any other Qing emperor receptive of auspicious symbolism, and a strong believer in portents of good fortune. A record of 1734 of the Qing Imperial Household Department mentions a pair of big bowls made for the Emperor with the design of Jie Jie Shuang Xi, an expression that may be translated as ‘Constantly Ascending to Double Happiness’. This may refer to bowls painted with two birds, particularly magpies (the magpie is called Xi Que or ‘Happy Bird’ in Chinese), and bamboo, since the bamboo node (jie) is part of a popular pun for constant rising (Jie Jie Gao Sheng).   

Sotheby's. Yongzheng – The Age of Harmony and Integrity, Hong Kong, 07 avr. 2015

 

A fine and superbly painted blue and white 'Dragon' vase, Mark and period of Yongzheng

A fine and superbly painted blue and white 'Dragon' vase, Mark and period of Yongzheng

A fine and superbly painted blue and white 'Dragon' vase, Mark and period of Yongzheng 2

A fine and superbly painted blue and white 'Dragon' vase, Mark and period of Yongzheng (detail) 2

A fine and superbly painted blue and white 'Dragon' vase, Mark and period of Yongzheng (detail) 1

A fine and superbly painted blue and white 'Dragon' vase, Mark and period of Yongzheng (bottom)

A fine and superbly painted blue and white 'Dragon' vase, Mark and period of YongzhengEstimate 40,000,000 — 60,000,000 HKD (4,560,634 - 6,840,951 EUR). Photo Sotheby's.

superbly potted with an ovoid body elegantly sweeping to a tall cylindrical neck, all supported on a splayed foot, exquisitely painted in vibrant shades of deep cobalt blue with a pair of scaly five-clawed dragons soaring sinuously through a dense network of scrolling foliage bearing large floral blooms, their scales meticulously rendered, all between a wave band and an upright ruyi-shaped petal lappet bordering the rim and base respectively, the splayed foot detailed with floral scrolls, the base inscribed in underglaze blue with a six-character reign mark within a double-circle - 38.6 cm., 15 1/8  in.

ProvenanceAn old English collection, North Yorkshire.

NotesThis magnificent dragon vase, superbly potted with an ovoid body gently rising to a tall slender neck, skilfully painted with forceful five-clawed dragons soaring through a dense network of floral scrolls, summarises the Yongzheng Emperor’s admiration of antiquity and his endeavour for aesthetic excellence. It is notable for its dynamic design of dragons amongst floral scrolls, a motif that is known from fifteenth century blue and white wares and which was revived under the Yongzheng emperor. The dragon is perhaps the most important motif in the repertoire of the Chinese potter and artist. It represents the emperor and is the symbol of imperial power. The effectiveness of the overall design of the present vase is also due to the brilliant deep blue cobalt, which has been applied to replicate the ‘heaping and piling’ effect of early Ming underglaze blue designs and reflects the high level of technical achievement attained by the craftsman.

Large dragons depicted amongst lotus scrolls are found on Yongle globular vases (tianqiuping). By the Zhengde reign, the dragons were reduced in size and surrounded by a tighter ground of flower scrolls in a style more closely related to the present decoration, with this motif decorating a range of wares including vases, dishes and bowls. The craftsman has achieved a contemporaneity on the present vase through the elegant pear-shape which was more commonly employed for monochromes of the Qing dynasty. Compare a Yongle tianqiuping sold in our London rooms, 1st/2nd April 1974, lot 187; and a Zhengde zhadou, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London 1994, vol. 2, pl. 686, and sold in these rooms, 7th April 2011, lot 60. 

This exquisite dragon vase is extremely rare for its slender form decorated with a striking deep blue design of two dragons among a composite flower scroll. No other Yongzheng example appears to have been published although a Qianlong mark and period version, but of slightly larger size and the dragons rendered against a dense lotus scroll ground, from the Mrs Christian Holmes and Evelyn Annenberg-Hall collections, sold at Christie’s New York, 29th March 2006, lot 169, and again in these rooms, 8th April 2011, lot 3106.  Compare also a Qianlong vase of this shape, similarly decorated with a broad band of underglaze red dragons amongst a cobalt blue floral ground between ruyi and lappet borders and stiff leaves around the neck, in the Palace Museum, Beijing, published in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglaze Red (III), Hong Kong, 2000, pl. 209, together with a Yongzheng baluster vase rendered with a related motif of four dragons against a composite flower scroll, pl. 89. 

This elegant form was adopted by the Qianlong Emperor who also employed it on monochrome glazed vessels; for example see a large flambé-glazed vase, in the Nanjing Museum, included in Zhongguo Qingdai guanyao  ciqi, Shanghai, 2003, p. 345; another in the Palace Museum, Beijing, published in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, pl. 345; and a third flambé-glazed vase decorated in gilt with a floral motif, from the Qing Court collection, illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 393, pl. 74. 

Sotheby's. Yongzheng – The Age of Harmony and Integrity, Hong Kong, 07 avr. 2015

Baroque in Rome: The Wonder of the Arts" opens at the Palazzo Cipolla in Rome

Simon Vouet, San Sebastiano curato dalle pie donne, olio su tela, cm 286 x 255, Collezione Gianluigi Condorelli, Milano, Italia

Simon Vouet, Saint Sebastian Tended by the Holy Women, 1622, Rome - Collation Mario Condorelli.

ROME.- From the 1st April to the 26th July 2015 the Fondazione Roma Museo-Palazzo Cipolla will present an ambitious cultural operation, mainly driven by the exhibition entitled Barocco a Roma. La meraviglia delle arti (Baroque in Rome. The Wonder of the Arts). Like the metaphorical ‘Barberini Sun’ the exhibition is in the middle of an original ‘heliocentric system’, where the rays are represented by a rich series of satellite events and projects held in some of the main Baroque sites in Rome.

Pietro da Cortona (1596-1669), Triumph of Bacchus, Musei Capitolini

Pietro da Cortona (1596-1669), Triumph of BacchusCapitoline Museums - Pinacoteca Capitolina, 1624/25 - 1639, oil on canvas. Rome, Capitoline Museums - Pinacoteca Capitolina © Roma Capitale

The hub of the operation, established by the determination of the Chairman of Fondazione Roma, Professor Emmanuele F. M. Emanuele, is Fondazione Roma-Arte-Musei that has brought together numerous public, private and ecclesiastical institutions which, for the occasion, will cooperate with the exhibition Barocco a Roma. La meraviglia delle arti by offering a series of correlated satellite events: exclusive tours (the Vatican Museums); thematic tours starting from the exhibition halls in Palazzo Cipolla (the Saint Ives at the Sapienza complex, Oratory of Saint Phillip Neri, the Chapel of the Magi in the Collegio di Propaganda Fide and the Doria Pamphilj Gallery); baroque itineraries (the Capitoline Museums and the National Gallery of Ancient Art in Palazzo Barberini); special visits (Palazzo Colonna); investigative exhibitions (Museo di Roma in Palazzo Braschi, Palazzo Chigi in Ariccia and the Alessandrina Hall in the Archivio di Stato) as well as study days, conferences, concerts and a historical commemoration of Castel Sant’Angelo, featuring an exhibition, a boat race and the Girandola firework display to celebrate the feast day of Saints Peter and Paul. 

Pietro da Cortona, Madonna con Bambino e i Santi Giacomo, Giovanni Battista, Stefano papa e Francesco, olio su tela 1626 – 1628, Museo dell'Accademia Etrusca

Pietro da Cortona, Madonna with Child and Saints James, John the Baptist, Stephen Pope and Francis1626, MAEC - Museum of the Etruscan city of Cortona - Stock Photo - Photo of fotomaster Gaetano Poccetti

Exceptionally and exclusively during the exhibition period visitors may access sites that are normally out of bounds: the Chapel of the Magi (a work by Borromini and the arena where this artist challenged his old rival Bernini), the exclusive ‘Sala Borromini’ in the Oratory of Saint Phillip Neri.  

The exhibition presents several unpublished works such as the drawing referable to Ciro Ferri drawn from frescoes by Pietro da Cortona for Palazzo Pamphilj in Piazza Navona and other pieces which have never been exhibited in Italy, amongst which the so-called Counter-Project for the colonnade on Saint Peter’s Square by Gian Lorenzo Bernini. Visitors may also admire Bernini’s sketches for the statutes on Ponte Sant’Angelo and the Ecstasy of Saint Teresa (belonging to the Hermitage in Saint Petersburg); the valuable tapestry The infant Moses trampling on the Pharaoh’s crown on cardboard by Nicolas Poussin (from the Mobilier National in Paris), as well as designs by Francesco Borromini and Pietro da Cortona. The presentation to the public of the Musician Angles by Giovanni Lanfranco (works that survived the fire in the Church of the Capuchins in the nineteenth century), which have been recently restored owing to Fondazione Roma-Arte-Musei, will be an exceptional event.  

Giovanni Francesco Barbieri, known as Guercino, Saint Mary Magdeleine Penitent, 1622

Giovanni Francesco Barbieri, known as Guercino, Saint Mary Magdeleine Penitent, 1622, oil on canvas. Vatican City, Vatican Museums© photo shoot of the Vatican Museums Vatican Museums

Other masterpieces which have been exclusively lent to the exhibition in Palazzo Cipolla are: Portrait of Costanza Bonarelli by Bernini; Atalanta and Hippomenes by Guido Reni (Museo di Capodimonte); The triumph of Baccus by Pietro da Cortona (Musei Capitolini); Saint Mary Magdalene Penitent by Giovan Francesco Barbieri known as Il Guercino (Vatican Museums) and Time Vanquished by Love and Beauty by Simon Vouet (Museo Nacional del Prado). 

Willem Reuter, Feast Embassy of Spain, 1662, oil on canvas

Willem Reuter, Feast Embassy of Spain

1662, oil on canvas. Vienna, Art Gallery of the Academy of Fine Arts Vienna.

The exhibition displays other important loans granted by the world’s most prestigious museums, including the Louvre Museum and the Mobilier national et des manufactures des Gobelins in Paris, the State Hermitage Museum in Saint Petersburg, the Kunsthistorisches Museum and the Albertina Museum in Vienna, the Museo Nacional del Prado in Madrid, the Staatliche Museen in Berlin, the Victoria & Albert Museum in London and the Vatican Museums, as well as by the major Italian museums (the National Gallery of Ancient Art in Palazzo Barberini, the National Gallery of Ancient Art in Palazzo Corsini, the Galleria Borghese, the Galleria Spada, the Capitoline Museums, Palazzo Chigi in Ariccia, the Uffizi Gallery, the Bargello National Museum and the Museo Nazionale di Capodimonte. 

Guido Reni, Atalanta and Hippomenes, Ca

Guido Reni, Atalanta and HippomenesCa. 1616-18, Naples - Museum of CapodimonteCourtesy of the Photo Library of the Superintendence for the PSAE and for the Museum of the City of Naples.

The exhibition has been promoted by Fondazione Roma and organised by Fondazione Roma-Arte-Musei, with the involvement of: Roma Capitale, Assessorato alla Cultura e al Turismo-Sovrintendenza Capitolina e Dipartimento Cultura; Musei in Comune; Archivio Storico Capitolino; Soprintendenza Speciale per il Patrimonio Storico-Artistico ed Etnoantropologico e per il Polo Museale della Città di Roma, Galleria Nazionale di Arte Antica in Palazzo Barberini; Archivio di Stato di Roma; Galleria Doria Pamphilj; Palazzo Colonna; Propaganda Fide; Palazzo Chigi in Ariccia; Musei Vaticani.  

Giovanni Francesco Romanelli, The Virgin and Child with the Young Saint John, oil on canvas, circa 1640, Rome, Rome Foundation Collection

Giovanni Francesco Romanelli, The Virgin and Child with the Young Saint John

oil on canvas, circa 1640, Rome, Rome Foundation Collection.

Curated by Maria Grazia Bernardini and Marco Bussagli with the contribution of a prestigious Scientific Committee, the exhibition ‘Barocco a Roma. La meraviglia delle arti, together with the related satellite events offer the public the chance to become ‘spectators’ and relive the aesthetical experience and the manifold sensations emanated from the Baroque ‘stage’ of what has be defined the ‘Great Theatre of the World’, in one word Rome. 

Manufacture des Gobelins, Child Moses trampling the crown of the pharaoh, 1683, tapestry

Manufacture des Gobelins, Child Moses trampling the crown of the pharaoh, 1683, tapestry. Paris, Mobilier National et Manufactures des Gobelins, Beauvais et de la Savonnerie.

Domenico Zampieri Domenichino, Guardian angel, 1615, Naples, Capodimonte Museum

Domenico Zampieri Domenichino, Guardian angel1615, Naples, Capodimonte Museum. Courtesy of the Photo Library of the Superintendence and the PSAE and for the Museum of the City of Naples.

Giacinto Gimignani, Finding of Moses, oil on canvas

Giacinto Gimignani, Finding of Moses, oil on canvas. Private Collection.

Giacinto Brandi, Lot and his daughters, 1684-85, Ariccia, Palazzo Chigi - Lemme Collection

Giacinto Brandi, Lot and his daughters1684-85, Ariccia, Palazzo Chigi - Lemme Collection.

Claude Vignon, Salome hands Herod and Herodias at the head of the Baptist, ante 1623, Rome - Rome Foundation Collection

Claude Vignon, Salome hands Herod and Herodias at the head of the Baptistante 1623, Rome - Rome Foundation Collection.

Gian Lorenzo Bernini, Sketch for the Blessed Ludovica Albertoni, 1674, St

Gian Lorenzo Bernini, Sketch for the Blessed Ludovica Albertoni1674, St. Petersburg, State Hermitage Museum in St. PetersburgPhotograph © State Museum Hermitage / Alexander Koksharov, Leonard Kheifets, Pavel Demidov

Angelo Caroselli (Roma 1585 - 1653), Madonna col Bambino e gli arcangeli Michele e Raffaele, olio su tavola, cm 111,5x73

Angelo Caroselli (Rome 1585-1653), Madonna and Child with the archangels Michael and Raphael, oil on board, 111,5 x 73 cm. Foundation Collection Rome, inv. n. 258.

Simon Vouet, Il Tempo vinto dalla Speranza e dalla Bellezza, 1627 © Photographic Archive

Simon Vouet, Il Tempo vinto dalla Speranza e dalla Bellezza, 1627 © Photographic Archive. Museo Nacional del Prado. Madrid.

Giovanni Battista Gaulli detto il Baciccio, Allegoria della Giustizia, olio su tela , 65x49, secolo XVII, Collezione Fondazione Roma, Roma

Giovanni Battista Gaulli detto "il Baciccio", Allegoria della Giustizia, olio su tela , 65x49, secolo XVII, Collezione Fondazione Roma, Roma.

Gian Lorenzo Bernini, Ritratto di Costanza Buonarelli, 1635 circa, Firenze, Museo Nazionale del Bargello, S

Gian Lorenzo Bernini, Ritratto di Costanza Buonarelli, circa 1635, Firenze, Museo Nazionale del Bargello, S.S.P.S.A.E e per il Polo Museale della città di Firenze - Gabinetto Fotografico.

Luca Pastorio, Model of Ss

Luca Pastorio, Model of Ss. Luca and Martinabalsa wood, Milan, 1970.

baaroque-1

Visitors look at the painting "Entry of Taddeo Barberini from the Porta del Popolo" by Italian painter Agostino Tassi during the exhibition "Baroque in Rome: the Wonder of the Arts" at the Fondazione Roma Museum-Palazzo Cipolla in central Rome on March 31, 2015. AFP PHOTO / ANDREAS SOLARO.

baroque-2

A visitor looks at the painting " Angels scaling the foreheads of the children of Israel " by Italian painter Pietro da Cortona as part of the exhibition of paintings, "The Baroque in Rome. The wonder of the arts" , at Palazzo Cipolla - Fondazione Roma Museum, in central Rome, on March 31, 2015. AFP PHOTO / ANDREAS SOLARO.

 

31 mars 2015

Jadeite 'Buddha' and Diamond Pendant

Jadeite 'Buddha' and Diamond Pendant

Jadeite 'Buddha' and Diamond PendantEstimate 900,000 — 1,000,000 HKD (101,392 - 112,658 EUR). Photo Sotheby's

The translucent jadeite of emerald green colour, carved as a Laughing Buddha, to a surround set with circular- and rose-cut diamonds together weighing approximately 1.00 carat, mounted in 18 karat white gold. Buddha approximately 27.62 x 31.09 x 4.40mm.

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 89277, dated 10 February 2015, stating that the jadeite is natural, known in the trade as "A Jade".

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM



Jadeite and Diamond Ring

Jadeite and Diamond Ring 2

Jadeite and Diamond RingEstimate 1,000,000 — 1,200,000 HKD (112,658 — 135,190 EUR). Photo Sotheby's

The ring centring on a translucent jadeite saddle top of emerald green colour, to a mount pavé-set with circular-cut diamonds together weighing approximately 2.40 carats, mounted in 18 karat white gold, Ring size: 7¼ - Saddle top approximately 21.10 x 12.69 x 3.62mm.

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered SJ 111286, dated 13 February 2015, stating that the jadeite is natural, known in the trade as "A Jade".

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM

Jadeite Plaque and Diamond Pendant

Jadeite Plaque and Diamond Pendant (recto)

Jadeite Plaque and Diamond Pendant (verso)

Jadeite Plaque and Diamond PendantEstimate 1,000,000 — 1,500,000 HKD (112,658 — 168,987 EUR). Photo Sotheby's

The translucent jadeite plaque of emerald green colour, carved with plum trees and magpies on one side and pine trees, a crane and the Chinese characters (吉祥) symbolizing luck on the other side, to a surmount set with brilliant-cut diamonds together weighing approximately 1.10 carats, mounted in 18 karat white gold. Jadeite plaque approximately 54.39 x 33.07 x 7.06mm.

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 89190, dated 5 February 2015, stating that the jadeite is natural, known in the trade as "A Jade".

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM

Lavender Jadeite and Diamond Pendant Necklace

Lavender Jadeite and Diamond Pendant Necklace

Lavender Jadeite and Diamond Pendant NecklaceEstimate 1,200,000 — 1,500,000 HKD (135,190 — 168,987 EUR). Photo Sotheby's

Set horizontally with a translucent oval lavender jadeite cabochon, suspending from three rows of brilliant-cut diamonds, surmounted by oval and brilliant-cut diamonds, the diamonds together weighing approximately 3.30 carats, mounted in 18 karat white gold, accompanied by a black cord, length adjustable. Lavender jadeite cabochon approximately 34.46 x 29.68 x 17.12mm.

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 89327, dated 11 February 2015, stating that the jadeite is natural, known in the trade as "A Jade".

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM

Jadeite and Diamond Ring

Jadeite and Diamond Ring

Jadeite and Diamond RingEstimate 1,200,000 — 1,600,000 HKD (135,190 — 180,253 EUR). Photo Sotheby's

Centring on a highly translucent oval jadeite cabochon of emerald green colour, to a stylized mount pavé-set with circular-cut diamonds together weighing approximately 1.50 carats, mounted in 18 karat white gold. Ring size: 5¾ - Cabochon approximately 19.10 x 13.15 x 7.89mm.

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 88972, dated 23 January 2015, stating that the jadeite is natural, known in the trade as "A Jade".

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM

Jadeite 'Guan Yin' and Diamond Pendant

Jadeite 'Guan Yin' and Diamond Pendant

Jadeite 'Guan Yin' and Diamond PendantEstimate 1,280,000 — 1,500,000 HKD (144,202 - 168,987 EUR). Photo Sotheby's

The translucent jadeite of apple green colour, carved as a Guan Yin, framed by brilliant-cut diamonds together weighing approximately 5.65 carats, mounted in 18 karat white gold. Guan Yin approximately 54.92 x 30.11 x 6.41mm.

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 88832, dated 14 January 2015, stating that the jadeite is natural, known in the trade as "A Jade".

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM



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