Photo courtesy Doyle New York
NEW YORK - On Tuesday, October 21, 2014 at 10am, Doyle New York will hold an auction of Important Jewelry from a variety of prominent estates and collections. The sale will offer dazzling jewelry spanning the Antique, Victorian, Edwardian, Art Nouveau, Art Deco and Modern eras by some of the world’s most prestigious makers, including Cartier, Van Cleef & Arpels, David Webb and Tiffany & Co. Certain to attract attention is a group of high-carat-weight diamond jewelry. Also featured will be fine watches and objets de vertu, including elegant compacts, cigarette cases and cufflinks.
Important bracelets-necklace combination by René Lalique.
Highlighting the sale is a rare and important Art Nouveau gold, carved glass, enamel, diamond and natural pearl 'Chrysanthemum' pair of bracelets/necklace combination by Rene Lalique (est. $500,000-700,000). French jeweler Rene Lalique (1860-1945) studied botany and art, and later jewelry design in London and Paris, before opening his own jewelry studio in Paris in 1895. His innovative Art Nouveau jewelry designs garnered international acclaim at the Exposition Universelle of 1900. Following his stunning success at the Exposition Universelle, his studio was flooded with commissions. Dating to this era, circa 1901-1903, the bracelets/necklace combination has descended through several generations of the same family. The ingenious design allows it to be worn as a pair of bracelets or combined to create a necklace.
Pair of Art Nouveau Gold, Carved Glass, Enamel, Diamond and Natural Pearl 'Chrysanthemum' Bracelets-Necklace Combination, Rene Lalique, circa 1901-1903. Photo courtesy Doyle New York
Estimate $500,000 - $700,000.
C Private Collection, New York and Florida.
Van Cleef & Arpels mystery-set brooch.
From another collection is a Van Cleef & Arpels mystery-set ruby and diamond clip-brooch designed as three overlapping leaves (est. $150,000-250,000). This exquisite circa 1935 brooch is a rare early example of the firm’s mystery-set process, which Van Cleef & Arpels patented in 1933.
Rose Gold, Platinum, Mystery-Set Ruby and Diamond Leaf Clip-Brooch, Van Cleef & Arpels, France. Photo courtesy Doyle New York
18 kt., composed of three overlapping leaves mystery-set with 316 square, rectangular and fancy-shaped rubies approximately 40.00 cts., centering fine ribbon-like veins and topped by two stylized leaves set with 20 tapered baguette and baguette diamonds, signed Van Cleef & Arpels, Brevete, S.G.D.G, no. 43.375, with maker's mark (slightly obscured) and French assay mark, circa 1935. Estimate $150,000 - $250,000.
El Morocco: The John Perona Collection.
Also featured in the auction will be jewelry, clocks and accessories from El Morocco: The John Perona Collection.
Art Deco Nephrite Jade, Lapis and Sterling Silver Partners Clock, Cartier, France. Photo courtesy Doyle New York
Stem wind and stem set, the nephrite jade clock centering on both sides a rectangular silver-tone dial with black Roman numerals, further centering a rectangular plaque composed of lapis mosaic, framed by sterling silver, topped and edged by sterling silver bands tipped by sugarloaf cabochon nephrite jade, surmounted by a double tiered nephrite jade base, edged and quartered by a sterling silver geometric design, accented by lapis on each side, diameter approximately 3 3/4 x 2 9/16 inches, dial signed Cartier, Made in France, with French hallmarks. 8 1/4 x 4 1/2 to 7 1/8 x 5 inches. With fitted box, signed Cartier, Paris, London, New York. Estimate $20,000 - $30,000.
C El Morocco: The John Perona Collection.
Sterling Silver, Gold and Nephrite Jade Mantel Clock, Cartier, European Watch & Clock Co., Inc., France. Photo courtesy Doyle New York
18 kt., brass, key wind and key set, the sterling silver cabinet centering a square guilloche silver-tone dial with black Roman numerals, with gold and black enamel fleur-de-lys style hands, framed by Greek and scrolled design elements, accented by a sterling silver and gold plaque depicting an equestrian steeple chase scene, the top and base composed of nephrite jade, diameter approximately 3 5/8 inches., dial signed Cartier, movement signed European Watch & Clock Co., Inc., France, no. 798 bis. 10 1/8 x 5 3/4 to 6 11/16 x 5 1/2 inches. Estimate $15,000 - $20,000.
C El Morocco: The John Perona Collection.
Two-Color Gold, Platinum, Sapphire and Diamond Box, Cartier, France. Photo courtesy Doyle New York
18 kt., the square-shaped rose gold case decorated with alternating square and rectangular yellow gold panels, the side panels set with 36 square-cut sapphires, spaced by 16 small square and rectangular-cut sapphires, accented by 32 baguette diamonds, the thumbpiece set with one rectangular-cut sapphire, flanked by 2 baguette diamonds, sapphires totaling approximately 36.00 cts., diamonds approximately 4.15 cts., signed Cartier, Made in France, no. 61960, with maker's mark, circa 1938, approximately 147.8 dwts. 3 1/8 x 3 5/8 x 5/8 inches. With signed fitted case. Estimate $20,000 - $30,000.
C El Morocco: The John Perona Collection.
Tricolor Gold, Sapphire and Diamond Box. Photo courtesy Doyle New York
14 kt., the square-shaped ridged yellow and rose gold box surmounted on the sides by two white gold rectangular panels accented by pairs of 32 rectangular-cut sapphires, spaced by 18 square and rectangular shaped sapphires and 36 baguette diamonds, the thumbpiece centering one square-shaped diamond flanked by 2 rectangular-cut sapphires, the sapphires altogether approximately 20.00 cts., the diamonds totaling approximately 4.75 cts., circa 1940, approximately 187.5 dwts. 2 7/8 x 3 7/16 x 3/4 inches. Estimate $12,000 - $18,000.
C El Morocco: The John Perona Collection.
Platinum, White Gold, Diamond and Sapphire Cuff Bangle Bracelet. Photo courtesy Doyle New York
The stylized scrolled panels set with 100 round & old European-cut and 6 single-cut diamonds, flanked by 18 baguette diamonds, tipped by 6 round diamonds, altogether approximately 11.75 cts., embellished by 42 square-cut sapphires approximately 8.50 cts., completed by a polished white gold cuff bangle, circa 1938, approximately 59 dwts. Inner circle 6 3/4 inches. Estimate $10,000 - $15,000.
C El Morocco: The John Perona Collection.
Platinum, White Gold, Diamond and Sapphire Double Clip-Brooch. Photo courtesy Doyle New York
The stylized scroll motif set with 108 round, 4 single-cut and 18 baguette diamonds, approximately 10.80 cts., embellished by two pairs of intersecting bands of 20 square-cut sapphires and tipped by pairs of 24 square-cut sapphires, altogether approximately 8.00 cts., circa 1935, approximately 33.4 dwts. Estimate $10,000 - $15,000.
C El Morocco: The John Perona Collection.
Gold, Diamond and Sapphire Dress Set, Van Cleef & Arpels. Photo courtesy Doyle New York
The cufflinks composed of pairs of gold balls inset with 26 small single-cut diamonds and 26 small round sapphires, joined by an oval link chain, the three buttons and 2 studs of similar motif, studded with single-cut diamonds, signed V.C.A., no. 12211, circa 1940, approximately 14.5 dwts. With signed fitted box. C El Morocco: The John Perona Collection. Estimate $3,000 - $4,000.
Another highlight jewelry:
Natural Pearl and Diamond Pendant-Earrings. Photo courtesy Doyle New York
Estimate $100,000 - $150,000.
Platinum, Emerald and Diamond Ring. Photo courtesy Doyle New York
Centering one emerald-cut emerald approximately 13.04 cts., flanked by 2 bullet-shaped diamonds approximately .40 ct. Size 4 1/2?. Estimate $50,000 - $70,000
With AGL report no. CS 31047 stating that the emerald is of Colombian origin, moderate evidence of clarity enhancement present (Oil Type).
Platinum and Diamond Ring. Photo courtesy Doyle New York
Estimate $50,000 - $70,000
Platinum, Diamond and Emerald Brooch. Photo courtesy Doyle New York
Centering three emerald-cut diamonds approximately 8.00 cts., tipped by 2 cut-cornered emerald-cut emeralds approximately 3.70 cts., approximately 6.8 dwts. Estimate $40,000 - $60,000
With AGL report no. CS 62476 A and B stating that the emeralds are of Colombian origin, with insignificant traditional clarity enhancement.
Gold, Silver and Gray Guilloche Enamel Desk Clock, Fabergé. Photo courtesy Doyle New York
14 kt., the square clock centering a circular white dial with black Arabic numerals, applied with gray guilloche enamel with a sunburst design, edged by a polished and finely engraved frame, signed Faberge, with Russian assay mark, circa1910. 2 9/16 x 2 1/2 inches. Estimate $30,000 - $40,000
Pair of Platinum, Chalcedony, Diamond and Natural Pearl Earclips, Suzanne Belperron. Photo courtesy Doyle New York
Estimate $15,000 - $20,000
Blue-and-White Bowl with Dragon and Scrolls Design, Ming Dynasty, Hongzhi Mark and Period (1488-1505)
Blue-and-White Bowl with Dragon and Scrolls Design, Ming Dynasty, Hongzhi Mark and Period (1488-1505), d.15.0cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10691. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
The style of this piece is a continuation of the thin, small bowls which appeared in the Chenghua reign, but the pattern has increased in complexity. The exterior of the bowl is decorated with a pair of dragons and baoxiang-hua floral scrolls, the interior is decorated with vine scrolls on the walls and a lotus pond design in the center. The patterns are drawn with fine lines, leaving little white space. The dragons' bodies, vine scrolls, and leaves and flower petals show indications of becoming formalized. In the intricate patterns around the rim and the interior center, we can see connections with the decorative motifs of the next era, the Jiajing and Wanli reigns.
Blue-and-White Bowl with Melon Design, Ming Dynasty, Chenghua Mark and Period, (1465-1487), d.15.5cm. Acc. No. 10682. Gift of SUMITOMO Group, the ATAKA Collection. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
There are few large blue-and-white wares from the Chenghua period, and vessels such as jars are also rare. The best known vessel type from this period is a bowl like this piece, known as the "palace bowl" in the West for its lovely form. Some bowls are decorated on the inside and outside, and others only on the outside. This bowl is unpainted on the inside and decorated on the outside with a oriental melon design. The brushwork is soft and delicate, and demonstrates the refinement of imperial Chenghua ware.
Blue-and-White Bowl with Hollyhock Design, Ming Dynasty, Chenghua Mark and Period, (1465-1487), d.14.6cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10786. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
The blue-and-white ware that developed in the Yuan dynasty reached its peak in the early Ming Yongle and Xuande periods. In contrast to the rhythmic and dynamic expression of blue-and-white ware in its golden age, Chenghua pieces show a softer, delicate feel. The clay is more refined, and the slightly cream-colored tone softens the white porcelain skin. The drawing lines of design are graceful, and the blue color is lighter. This kind of blue-and-white ware with refined grace is not known to have existed before the Chenghua period, and this bowl is one of the best examples to represent this era.
Blue-and-White Dish with Paired Phoenixes Design, Ming Dynasty, Chenghua Mark and Period, (1465-1487), d.18.6cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10856. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
This dish features two pairs of phoenixes, on the inside in the center and on the outside. The surrounding white area is filled in with a baox-iang-hua floral pattern. The clay is fine, the glaze has melted smoothly, the decoration is delicate, and the cobalt is light and refined, with no irregularities or blurring. There are few extant examples of porcelain from the Chenghua official kilns; only about 150 pieces exist in the world, including both blue-and-white and overglaze enamel decorated ware. In 1987, in the Jingdezhen remains of the warehouse for imperial ware, a layer from the Chenghua period was discovered, and a large number of porcelain shards was unearthed. Investigation of these shards revealed that they were broken after firing, indicating that they were discarded after failing to pass the inspection for quality. Counting only the foot rims unearthed, there were over 10,000 pieces, giving us an idea of the strict quality control practiced at official kilns. This dish, therefore, in one of the high quality piecer which passed a rigorous selection process.
Blue-and-White Jar with Baoxiang-hua Scrolls Design, Ming Dynasty, Xuande Mark and Period (1426-1435), h.35.8cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10885. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
This is a large jar with a tall neck rising to a wide mouth. The center section is decorated with baoxiang-hua scrolled flowers, the shoulder and base feature double lotus petals, and the neck has a scrolled cloud pattern. The cobalt blue is a deep color, and the lotus petal pattern which has been applied with a wide brush gives a particularly strong impression. In the Xuande period, the official kiln system was firmly established at Jingdezhen, and blue-and-white porcelain was the main ware produced there. From this time,works fired at official kilns were inscribed with the reign mark, as we see on this piece.
Porcelain Dish with Reversed Peony Decoration against Cobalt-Blue Glaze, Ming Dynasty, Xuande Mark and Period (1426-1435), h.38.7cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10801. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
There is a large design of a peony branch in the center of this dish, and pomegranates, peaches, and litchi in six places around the rim. On the exterior there is a peony scroll pattern. The details of each pattern have been incised. This dish was probably decorated by applying white slip to the decorated area, then glazing the rest with a blue glaze. The technique of decorating pots with a reverse white pattern against a blue background was already used in the Yuan dynasty, and there are examples of works decorated in this way in the Topkapi Palace. Recently, similar shards have been excavated at Zhushan in Jingdezhen city, and also at the remains of a residence of the Maeda clan, on the grounds of Tokyo University, Japan
Blue-and-White Charger with Peony Design, Ming Dynasty, Yongle Period (1403-1424), d.44.7cm. Gift of SUMITOMO Group, the ATAKA Collection. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
The central field of this plate depicts, within double circles, two peonies freely interlaced by scroll-like stems. Nine types of fruit including litchies, pomegranates, loquats and vines are painted in spray style around the rim inside the dish, while the outer surface has pomegranates and scrolls. The inside of the foot rim on the base is left unglazed, revealing the compact material of the body. The work is a typical blue-and-white dish in the Yongle style.
Blue-and-White Charger with Bird and Branch Design, Ming Dynasty, Yongle Period (1403-1424), d.50.5cm. Gift of SUMITOMO Group, the ATAKA Collection.Acc. No. 10634. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
This large dish, with a diameter exceeding 50centimeters, was made using a mold and then fired skillfully to obtain an unwarped form. A delicate floral scroll graces the foliated rim. The sides of the dish are divided into 16 sections containing pomegranate, peach and other auspicious fruits. In the center, a magpie eats berries on a branch. The composition is spacious, and the brush work is both decorous and elegant, making this a typical example of early Ming dynasty pictorial design. Several other similar pieces are known to exist.
Blue-and-White Moonflask with Dragon and Wave Design, Ming Dynasty, Yongle Period (1403-1424), h.45.0cm. Gift of SUMITOMO Group,the ATAKA Collection. Acc. No. 10648. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
Exchange with the West was resumed during the Yongle period, and we can see the influence in the ceramics of the time. Islamic forms were produced with increasing diversity, and the resumption of the import of cobalt resulted in even brighter blue colors than before. This type of flask is one of the forms which appeared during this period. In the Topkapi Palace there is a similar flask with a silver lid from the 16th century. This flask features a large dragon in white against a painted blue background. The eyes of the dragon are blue cobalt dots, and its details have been incised into the clay surface. The wave scrollwork of the background is deep blue, and the color has run in the way unique to blue-and-white ware of the Yongle period. Similar shards have been excavated at Zhushan in Jingdezhen city.
Blue-and-White Covered Meiping with Inscription of Neifu (Imperial Court), Ming Dynasty, Yongle Period (1403-1424), h.34.0cm, 33.2cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10778. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics,Osaka.
These pure white meiping vases are undecorated except for the blue inscription on the shoulders which reads "neifu". The simple brilliance of these vessels seems fit for a ware reserved for the use of the imperial court. The graceful swell of the shoulders of these meiping, together with the bold calligraphy, overflows with strength and an air of refinement. The lid with a bud-shaped knob on the top has a cylindrical support on the inside that snugly fits the mouth of the meiping. An excellent sense of design can be felt in the smart elegance that is achieved when the lid is placed on the meiping.
Blue-and-White Moonflask with Lizhi (Citrus) Design, Ming Dynasty, Yongle Period (1403-1424), h.25.0cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10855. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics,Osaka.
The long, narrow, small mouth adds tension to the entire shape of this flask. In turn, this tension is broken by the cloud-shaped handles between the mouth and the shoulders. The round flat body expresses a gentle, graceful curve. This type of early Ming blue-and-white flask is rare, and only a few pieces exist in Japan. The front and back of the body carries the unusual design of a spray of litchi. Wave patterns decorate the shoulders and the lower part of the body, and a plantain leaf pattern wraps around the mouth. Some bleeding of the glaze can be observed, but the overall decoration is full of elegant pictorial expression, typical of the early Ming dynasty, and a gentle air can be felt from this piece.
Blue-and-White Ewer with birds on a Branch Design, Ming Dynasty, Yongle Period (1403-1424), h.33.7cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10893. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics,Osaka.
This piece is a typical example of an ewer in sensanpin-style. An arabesque design graces the spout, shoulders and foot. A band of plantain leaves surrounds the neck, and the lower part of the body is decorated with a band of lotus petals. The motifs are characteristic of the early 15th century. The main motif of two small birds perching on a flowering branch, with its graceful brushwork, bears witness to the excellent pictorial expression of the early Ming dynasty.
Porcelain Charger with Underglaze Copper-Red-Painted Peony Design, Ming Dynasty, Hongwu Period, 1368-1398, d.45.5cm. Acc. No. 10482. Gift of SUMITOMO Group, the ATAKA Collection. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka
The technique of decorating pots with underglaze copper pigment first appeared in the Yuan dynasty. A particularly large amount was produced in the Hongwu period, and the forms and decorative patterns of such ware are similar to those of blue-and-white ware. During this period, private overseas trade was banned, causing a shortage of cobalt pigment. To compensate for this shortage, copper pigment was used instead of cobalt. Copper, however, is unstable as a colorant, and the works fired in this period came out in a variety of colors. Only the peony flowers in the center of this dish are a vivid red, while the baoxiang flowers on the inside and the wave scrolls around the rim are a pale color. Recently, large amount of Hongwu style porcelain shards have been excavated from a site at Zhushan, Jingdezhen city.
Blue-and-White covered meiping with Dragon among Clouds Design, Ming Dynasty, Hongwu Period (1368-1398), h.36.6cm. Gift of Mr. TOHATA Kenzo. Acc. No. 11265. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
The form of this vase is what is called meiping, but the shape differs from that found in Yuan blue-and-white wares. The powerfully swelling shoulder slopes sharply down, then flares towards the bottom. The inside of the base is carved out leaving a thick wall. There is a lid with a "sacred jewel" shaped knob that fits over the high mouth of the body. Instead of a decorative band, the design depicts a five-clawed dragon over the upper part of the body, while magic fungus-shaped clouds encircle the lower part. Sherds of plates bearing a cobalt-blue design of magic fungus-shaped clouds have been unearthed at the site of the Hongwu court in Nangjin, confirming that the example shown here may be dated to the Hougwu reign of the early Ming dynasty. The shoulder bears the auspicious characters ''chun shou'' in the so-called seal script style. Similar items are found in the Shanghai Museum and elsewhere.
This red lacquer dish made during his reign will feature in Ming 50 Years at British Museum
Ye Hongxing, Misty No.3, 2010. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
Ye Hongxing, Misty No.5, 2010. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
Ye Hongxing, Misty No.21, 2011. Oil on canvas, 47 1/5 × 47 1/5 in, 120 × 120 cm. Price: $10,000 - 15,000.
Ye Hongxing, Misty No.29, 2011. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
Ye Hongxing, Brilliant Color Love Infactuation, 2009. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
Ye Hongxing, Osmosis No.1, 2009. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
Ye Hongxing, Illusion No.4, 2010. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
Ye Hongxing, Illusion No.2, 2012. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
CONTACT GALLERY: ART LEXÏNG. Miami : +1 305 299 9732
Photos courtesy Ye Hongxing and ART LEXÏNG
Ye Hongxing. Born in 1972, Ye Hongxing has become one of the most exciting rising stars of the Chinese contemporary art scene.
Ye Hongxing obtained her Master’s Degree from the Central Academy of Fine Arts in Beijing (arguably China’s top art academy) in 1998.
Between 2003 and 2005, Ye’s work was exhibited at a few galleries throughout China, as well as the Chongqing Art Museum and the Nanjing Museum of Contemporary Art. In 2004, Ye Hongxing participated in her first international art exhibition at the 7th Annual Exhibition of Sculptures and Installations in Venice, Italy. The next year, Ye Hongxing’s work was exhibited in Taiwan at Art Taipei 2005.
In 2006, Ye Hongxing was selected as one of China’s top 20 emerging painters at the Dragonair Emerging Chinese Artist Awards. The selection committee included the Director of Art Cologne, the Curator of the San Francisco Asian Art Museum, the Director of the Stuttgart Museum of Art in Germany, the Co-Founder and Co-Editor in Chief of Beaux-Arts Magazine (France’s top art magazine) and the Executive Director of the Shanghai Art Museum, amoung others.
In 2007 and 2008, Ye Hongxing’s works were exhibited in Europe for the first time at the Art Cologne, the earliest established and still one of the most important art expositions in the world. Ye’s work was also shown for the first time in the USA in Miami at Reed Savage Gallery in 2007 and in New York at “Chinese Contemporary Art Comes to New York” at Art Scene New York.
Tiffany Peacock pendant featuring diamonds, aquamarines and a central tanzanite.
Tiffany Anniversary platinum necklace, set with over 175ct of tanzanites, complemented by a cascade of round brilliant diamonds.
Tiffany Anniversary platinum ring with a 9.99ct tanzanite and diamonds.
Arunashi handmade reverse tanzanite ring with diamonds. Available at Ylang23.com.
Available at Ylang23.com, Arunashi's white gold ring features a total of 29ct of inverted tanzanite stones scattered amongst 4.36ct of diamonds.
Chopard high jewellery earrings featuring pear shaped tanzanites surrounded by white gold set with diamonds.
Chopard Temptations necklace featuring tanzanite beads, diamonds, sapphires and amethysts all set in white gold.
Tanzanite. One African Night ring with a violet-toned tanzanite surrounded by a pavé of diamonds.
Tanzanite. One Empress earrings showcasing over 50 blue-violet tanzanite stones.
Pomellato Pom Pom rose gold and tanzanite bracelet.
Theo Fennel Tanzanite Heart necklace featuring a rare 12.74ct 'Meru' blue tanzanite, spinels, diamonds and a freshwater pearl.
This Theo Fennell ring is skilfully carved from the tusks of a long-extinct Mammoth. The 6.52ct tanzanite, set in white gold, is framed by 0.22ct of diamonds.
Chaumet Lumieres d’Eau high jewellery necklace in white gold with a 45.64ct troidia-cut tanzanite, three cushion-cut sapphires, sapphires, sapphire beads, lapis lazuli beads and black spinel beads.
Chaumet Lumieres d’Eau high jewellery ring in white gold, set with a 16.50ct troidia-cut tanzanite, round sapphires, lapis lazuli and brilliant-cut diamonds.
Wallace Chan's Whimsical Blue brooch, from the Fluttery series, features three tanzanites set with diamonds, carved icy jadeite, lapis lazuli and sapphires.
Irene Neuwirth cabochon tanzanite bracelet in rose gold, available at Ylang23.com.
A greyish-white and black jade carving of a cat, Ming dynasty, 17th century. Photo Christie's Image Ltd 2008
Carved from the natural pebble form as a recumbent cat wrapped in a long cloth tied in a bow at its back, its eyes wide open in an intent gaze above its long whiskers, with its head resting on its front paws and its long tail flicked up onto its back, the stone of a mottled greyish-white color with some black inclusions; together with a small agate carving, 18th/19th century, in the form of a conch shell on a lotus leaf carved from the translucent mottled green portion of the stone, the reverse with a small bird grasping a leafy sprig in its mouth; 2 3/8 and 1 7/8 in. (6 and 4.8 cm.) long (2). Estimate $4,000 - $6,000. Price Realized $5,000
Provenance: The cat: Robert Hall, London, 5 April 1979.
The agate shell: Hugh M. Moss, Ltd., London.
Christie's. FINE CHINESE CERAMICS AND WORKS OF ART. 17 September 2008, New York, Rockefeller Plaza.