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Wed 26 Jun

AN ELEGANT ROLEX LADIES 18K YELLOW GOLD WITH DIAMOND SET MANUAL CHAIN BRACELET. CELLINI DIAMOND SET DIAL. Brand: Rolex Model: Cellini Case reference: 2435 Year: Circa 1990's Movement: Manual, Cal. 1400 Dial: White, diamond set hour markers, git stick hands Material: 18k yellow gold, 32 factory diamond set. Bracelet/Strap: 18k yellow gold chain bracelet with 36 diamond factory set Signed: Dial, movement, case, bracelet Dimension: 22.7mm A Perfect Blend of Jewelry and Timekeeping The Cellini line, named after the renowned Italian artist Benvenuto Cellini, reflects the brand’s dedication to elegance and craftsmanship. This model from the 1990s epitomizes the fusion of horology and haute joaillerie, offering both functionality and unparalleled beauty. This exquisite Rolex Cellini, case reference 2435, from the 1990s, elegantly combines the art of jewelry with the precision of watchmaking. Crafted in 18k yellow gold and adorned with factory-set diamonds, this timepiece is more than just a watch; it is a statement of luxury and sophistication. Its delicate design and exquisite materials make it a standout piece for discerning collectors and those with an appreciation for fine jewelry. The watch features a pristine white dial embellished with diamond-set hour markers, adding a touch of sparkle and elegance. The gilt stick hands complement the diamonds, enhancing the dial’s refined and luxurious appearance. The use of diamonds as hour markers not only adds a touch of opulence but also ensures clear readability, making the watch as functional as it is beautiful. The case of this Rolex Cellini, measuring 22.7mm, is crafted from 18k yellow gold and set with 32 factory diamonds. The diamonds are meticulously set, adding a radiant brilliance to the watch and highlighting Rolex’s dedication to superior craftsmanship. The compact and elegant case size is perfect for a delicate wrist, making it an ideal accessory for formal occasions. Complementing the case is an 18k yellow gold chain bracelet, which features 36 factory-set diamonds. The chain bracelet is designed to drape elegantly around the wrist, blending seamlessly with the watch’s overall design. The combination of gold and diamonds in the bracelet adds a luxurious touch, making the watch a true piece of wearable art. At the heart of this Rolex Cellini is the Caliber 1400, a manual winding movement known for its precision and reliability. The manual movement requires the wearer to wind the watch, adding a touch of old-world charm and engagement with the timepiece. The Caliber 1400 underscores Rolex’s commitment to creating watches that are both technically proficient and beautifully crafted. Every component of this watch bears the Rolex signature, ensuring its authenticity and heritage. The dial, movement, case, and bracelet are all signed, confirming the watch’s provenance and adding to its collectible value. For collectors and enthusiasts of fine jewelry, this Rolex Cellini is a highly desirable piece. Its combination of luxurious materials, intricate design, and reliable movement makes it a standout in any collection. The watch’s excellent condition and original features further enhance its appeal, ensuring it remains a valuable addition to any horological and jewelry repertoire.

Estim. 6 000 - 7 000 GBP

Mon 24 Jun

* Ecole Indienne du XXe siècle - Portrait of the Maharani of Baroda (1917-1989) Oil on canvas 204 x 172 cm unsigned Provenance: This lot is sold as a temporary import. Of unknown artist and date, this portrait of Maharani Sita Devi of Baroda may have been commissioned by herself to decorate one of her residences. Some photos show her son, Prince Sayajirao Gaekwad, also known as "princie", in front of the painting. The work bears witness to her tumultuous life as an independent woman. To obtain a divorce from her 1st husband, she embraced Islam and its laws, which accorded more status to women than Hinduism, before marrying the maharajah of Baroda in 1943. Here she poses triumphantly on the historic golden throne of the Great Durbar Hall of the Laxmi Villas Palace in Baroda, dressed in incredible finery. A leading socialite who lived between London, Neuilly and Monaco, the woman nicknamed "India's Wallis Simpson" shared with the Duchess of Windsor an insatiable passion for jewelry. Through her marriage to the maharajah of Baroda, the world's 8th richest man, Sita Devi became part of one of India's most eminent dynasties, renowned for its wealth and fabulous treasure trove of several hundred jewels and precious objects. Among the exceptional pieces in the couple's possession is a carpet of natural pearls from the Gulf, commissioned by the maharajah of Baroda in the 18th century to cover the tomb of the prophet Muhammad in Medina, and acquired by the Museum of Islamic Art in Doha, Qatar. Among these treasures is also the majestic three-row necklace adorned with the diamond known as the "Star of the South", which the Maharani wears in this portrait. Cut in 1857, the stone passed through the hands of several traders before finally being purchased around 1870 by Maharajah Khande Râo Gâekwâr of Baroda. In 1948, Sita Devi wore the stone in a modified necklace to mark the birthday of her husband, Maharajah Pratāp Sinh. This life-size painting is a notable trace of the stone's journey, as well as being a work celebrating the Maharani and the kingdom of Baroda. Official portrait of Maharani Sita Devi of Baroda (1917-1989), oil on canvas, Indian school, 20th century This portrait of Maharani Sita Devi of Baroda, by an unknown artist and date, may have been commissioned by her to decorate one of her residences. Some of the photos show her son, Prince Sayajirao Gaekwad, known as "princie", in front of the painting. This work bears witness to her tumultuous life as an independent woman. To obtain a divorce from her 1st husband, she embraced Islam and its laws, which accorded greater status to women than Hinduism, before marrying the Maharajah of Baroda in 1943. Here she poses triumphantly on the historic golden throne in the great Durbar Hall of the Palace of the Laxmi Villas in Baroda, dressed in incredible finery. A leading socialite who lived between London, Neuilly and Monaco, the woman who was nicknamed "India's Wallis Simpson" shared with the Duchess of Windsor an insatiable passion for jewellery. Through her marriage to the Maharajah of Baroda, the 8th richest man in the world, Sita Devi became part of one of India's most eminent dynasties, renowned for its wealth and fabulous treasure trove of several hundred jewels and precious objects. Among the exceptional pieces in the couple's possession is a carpet of natural pearls from the Gulf, commissioned by the maharajah of Baroda in the 18th century to cover the tomb of the prophet Muhammad in Medina, and acquired by the Museum of Islamic Art in Doha, Qatar. These treasures also include the majestic three-row necklace adorned with the diamond known as the "Star of the South", which the Maharani is wearing in this portrait. Cut in 1857, the stone passed through the hands of several merchants before finally being purchased around 1870 by the Maharajah Khande Râo Gâekwâr of Baroda. In 1948, Sita Devi wore the stone in a modified necklace on the occasion of the birthday of her husband, Maharajah Pratāp Sinh. This life-size painting is a notable trace of the stone's journey, as well as being a work celebrating the Maharani and the kingdom of Baroda.

Estim. 6 000 - 8 000 EUR

Tue 09 Jul

KUNSTSCHRANK CABINET, SOUTH GERMANY, FIRST HALF OF THE 17th CENTURY Attributed to Matthias Walbaum In ebony, ebony veneer and ivory inlay, decorated on all sides, the slightly domed lid revealing an interior lined with crimson silk velvet and fitted with eighteen compartments, the architectural front and sides adorned with niches set in arcades and punctuated by columns, The interior features fifteen drawers, four of which are secret drawers around a central leaf. The waistband opens with two drawers, one of which reveals a writing desk, and rests on flattened ball feet; restorations, traces of old silver mounts now missing H. 47 cm (18 ½ in.) l. 74 cm (29 in.) P. 36.5 cm (14¼ in.) Provenance: Private collection, Île-de-France. A Southern German ebony and ivory inlaid cabinet, first half of the 17th century, attributed to Matthias Walbaum *Marketing authorization within the European Union. *Authorisation to sell within the EU. * Information for buyers : When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense. By 1600, Augsburg had become an important cabinet-making center in southern Germany. These cabinets were often made of ebony and ivory, with gilded bronze, silver or vermeil mounts. Given the value of these materials, they were considered treasures for princes and the high aristocracy. Some were also the subject of diplomatic gifts, which already contained other treasures in their drawers, both from the natural world -naturalia-, such as corals, shells, stones and animals, and from craftsmanship -artificialia-, such as turned ivory, goldsmiths, clockmakers and jewellers. The consuls of Augsburg donated a cabinet full of treasures to Swedish King Gustavus Aldolphus (now housed at Uppsala University), and every high-ranking dignitary of the day was expected to have his own cabinet of curiosities, demonstrating the erudition of its owner. Collections of this type were highly prized from 1570 onwards, and were mostly reserved for princes, such as the Duke of Pomerania, for whom Baumgartner father and son delivered one in 1617, now no longer in existence (see fig. 1), and Grand Duke Ferdinand II of Tuscany, whose cabinet is now housed in Palazzo Pitti. Augsburg's reputation as a center for the creation of luxury goods was largely due to the talents of the merchant (cf. fig. 2) Phillipp Hainhofer (1578-1647), who propagated this type of cabinet throughout Europe and ensured Augsburg's leading position for the quality of its production. In her book Der Pommersche Kunstschrank des Aubsburger Unternehmers Philipp Hainhofer für den gelehrten Herzog Philipp II von Pommern, Barbara Mundt lists the cabinets produced by Hainhofer. The Pommersche Kunstschrank, the Walbaum-Kabinett in Berlin's Kunstgewerben Museum (cf. fig. 3) (circa 1610-1615) and the cabinet designed for Grand Duchess Marie Madeleine of Tuscany (circa 1611-1613), the latter long since lost, are among the first group of cabinets dating from the first quarter of the 17th century and made entirely of ebony and enriched by rich silver applications. This was followed by creations with gemstone inlays for the Grand Duke of Tuscany Ferdinand II (1619-1625), the King of Sweden Gustavus Adolphus (1628-1632), and finally the cabinet for General Wrangel. In particular, our cabinet is very closely linked to the Walbaum-Kabinett in the Berlin Museum, with which it shares the choice of materials, the overall composition, the rich architectural structure of the facades and the layout of its interior structure (see fig. 4). Traces of an earlier decorative system, comparable to the Walbaum-Kabinett's silver decoration, can be seen beneath the exterior ivory decoration and on the interior facades. We can therefore deduce that the original appearance of our cabinet was also the result of a collaboration between Ulrich Baumgartner and Matthias Walbaum (active 1590-1632), and that it can therefore be associated with the corpus of Hainhofer's first large cabinets. The cabinet's current appearance is characterized by its remarkably fine ivory decoration, which replaced the silver ornamentation. This change of decoration can be dated to around 1620-1625, when the War of

Estim. 40 000 - 60 000 EUR
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