The Best of the Best by M.S. Rau

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THE BEST OF THE BEST

At M.S. Rau, we are thrilled to bring the most exquisite art, antiques and rare jewelry to passionate collectors worldwide. Our Best of the Best catalog celebrates a curated collection of some of our most exceptional finds, and this year’s edition promises to be more remarkable than ever. Among the many highlights, you’ll find a highly rare and monumental fancy intense yellow diamond ring, an important John Singer Sargent portrait and an extraordinary pair of period Carrara marble busts depicting Emperor Napoleon and Empress Marie Louise. Exquisite objets d'art by Tiffany & Co. and Fabergé enrich the collection, presenting opportunities for every collector. Whatever your passion, our team is devoted to delivering the world's most important objects with matchless service.

As we embark on a new year, it is my sincere hope that you take pleasure in the once-in-a-lifetime finds showcased here. If you see an item that catches your eye, please contact your personal Sales Consultant, who will be happy to assist you with every step of your acquisition.

Sincerely,

Third-Generation Owner & CEO

The true artist is a lover of Nature, and his art is a reflection of the beauty and majesty of her handiwork.

–Thomas Moran

THOMAS MORAN

1837-1926 | American Grand Canyon

The majestic splendor of the Grand Canyon is beautifully captured across Moran's oeuvre, and this stunning oil is among the finest examples. The celebrated artist skillfully renders the awe-inspiring scale, magnificent depth and radiant color of America's most iconic landscapes to dramatic effect. The rolling storm clouds overhead imbue the scene with an electrifying atmosphere that evokes nature's power. Moran's compelling body of work transformed the American public's perception of the untamed landscape of the West, shaping the allure of the region into an essential part of American cultural identity. His depictions of the Grand Canyon, inspired by his expedition with John Wesley Powell, are his most sought-after compositions. Similar works are in the most important American public collections, including the Smithsonian American Art Museum and the Philadelphia Museum of Art.

Signed "T Moran 1908" (lower left) with artist's thumbprint (lower right) and inscribed "Moran/To Mr. & Mrs. Carl Brant/Grand Canyon/July 12 1908" (en verso) Oil on canvas | Dated 1908 | Canvas: 191/4”h x 151/4”w | Frame: 281/2”h x 241/4”w x 11/2”d | #31-9734

PROVENANCE

Collection of the artist | Mr. & Mrs. Carl Brant | Private Collection, New Mexico | Morgan Walker LLC, New York Private Collection, United States | M.S. Rau, New Orleans

In painting, I am an idealist. I see only the beautiful in art and, for me, art is the beautiful.

–William-Adolphe Bouguereau

WILLIAM-ADOLPHE BOUGUEREAU

1825-1905 | French

La fille du pêcheur

Known for his exquisitely lifelike depictions of women and young girls immersed in idyllic settings, William-Adolphe Bouguereau captures the essence of adolescence in this stand-out masterpiece. The eponymous fisherman's daughter rests before a picturesque rocky coastline, with her rosy-cheeked face showing a marvelously animated expression. Bouguereau's balmy scene masterfully evokes the glow of youth and the simplicity of a bygone era at an astonishing scale.

The superstar of the French Academy, Bouguereau's works were so beloved and acclaimed at the Paris Salon that it was colloquially called "Le Salon Bouguereau." Far beyond France, he was an international sensation, with collectors on both sides of the Atlantic often waiting two to three years to purchase one of his prized paintings at the height of his fame. Today Bouguereau's magnificent works reside in prestigious museum collections including the Musée d'Orsay and the Metropolitan Museum of Art.

Signed "W-Bouguereau-1882" (middle right) | Oil on canvas | Dated 1882 Canvas: 57”h x 341/2”w | Frame: 671/8”h x 443/4”w x 21/4”d | #31-9083

PROVENANCE

Galerie Goupil & Cie, acquired directly from the artist, 1882 | Letts, Son & Co., acquired from previous, 1882

Galerie Goupil & Cie, acquired from previous, 1883 | William Schauss, New York, acquired from previous, 1883 Private Collection of Mrs. Mary Corliss | Sale, American Art Association, 8 Feb 1935, lot no. 61, with illustration as Flower Girl | Grant Art Galleries | M.S. Rau, New Orleans

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Why shouldn't art be pretty? There are enough unpleasant things in the world.

–Pierre-Auguste Renoir

PIERRE-AUGUSTE RENOIR

1841-1919 | French

Gabrielle aux grenades

Renoir is synonymous with Impressionist portraiture, beloved for his airy canvases that capture the beauty and warmth of his subjects. This stunning work features one of his favorite sitters, Gabrielle Renard, who was the caretaker of his children and an important studio assistant in Renoir's later years when his hands were afflicted with arthritis. This intimate portrait, glowing with Renoir's signature color palette, embodies the monumental presence Gabrielle had in the artist's life and artistic practice.

The youngest member of the Impressionist movement, Renoir distinguished himself through his effusive color, distinct feathery brushwork and intimate attention to his subjects. Renowned today as one of the greatest painters in history, this 1915 portrait stands as a beautiful testament to his legendary career. Many of Renoir's portraits of Gabrielle now belong to prestigious museums, including the Musée d’Orsay, the National Gallery in London and the Barnes Foundation, which houses the largest collection of paintings by Renoir in the world. This work is accompanied by its certificate of authenticity from the Wildenstein-Plattner Institute.

Signed "Renoir" (upper left) | Oil on canvas | Painted 1915

Canvas: 191/4”h x 151/8”w | Frame: 291/4”h x 253/4”w x 33/8”d | #31-9463

PROVENANCE

View the dossier on this painting

Nature is the greatest source of inspiration; it is the ultimate artist.

–Alfred Sisley

ALFRED SISLEY

1839-1899 | British

Le Loing et le pont de Moret

A master of the landscape and the sky, Alfred Sisley is one of the most revered of the Impressionists for his magnificent interpretations of the natural world. This vibrant canvas showcases the artist's virtuosic handling of light and color, with the sweeping sky rendered in lively brushstrokes and expertly reflected in the glassy surface of the water below. A quiet view of the famed Pont de Moret is transformed into a dynamic scene full of movement under Sisley's legendary brush.

Born in Paris to affluent English parents, Sisley pursued his passion for art without concern in his early years. In 1860, he studied alongside Monet, Renoir and Bazille at the atelier of Marc-Charles Gabriel Gleyre, perfecting the technique of painting en plein air that would become a catalyst for the budding Impressionists. Sisley became a key figure of the movement, exhibiting in four of the Impressionist exhibitions, and today he is a staple in all museums with major Impressionist collections, including the Musée d'Orsay, the Art Institute of Chicago and the Museum of Fine Arts, Boston.

This painting is accompanied by its letter of authenticity from the Comité Alfred Sisley.

Signed “Sisley” (lower left) | Oil on canvas | Circa 1891 Canvas: 141/2”h x 211/4”w | Frame: 241/2”h x 311/4”w x 4”d | #31-8044

PROVENANCE

Eugene Fasquelle, Paris | Galerie Durand-Ruel, Paris | Jacques Dubourg, Paris Private Collection, Florida | M.S. Rau, New Orleans

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There is no greater work of art than a great portrait, and Sargent's portraits combine perception and lingering reflection.

–Henry James

JOHN SINGER SARGENT

1856-1925 | American

La Carmencita

Irresistibly magnetic and alive with movement, John Singer Sargent's portrait of La Carmencita—the trailblazing dancer of worldwide fame—is one of the artist's most electric compositions. La Carmencita is mid-performance, with her glowing visage, delicate hands and shimmering shawl animated by her song and dance. Sargent's careful interplay of color and his signature fluid brushwork bring this marvelous portrait to life, perfectly embodying the fiery spirit that made La Carmencita an international sensation.

La Carmencita—born Carmen Dauset—was so revered in her day that, according to film historian Charles Musser, she was the first woman to appear in a modern motion picture made for commercial use and likely the first woman to feature in any motion picture. In 1890, La Carmencita performed for Sargent and Isabella Stewart Gardner's circle of friends, where the artist persuaded the dancer to sit for several studio sessions. Sargent created two oil paintings and a series of drawings during these sessions, and a later full-length portrait that now resides in the Musée d’Orsay. Among Sargent’s many dance-themed works, the Musée d’Orsay’s La Carmencita was called “the picture of the year” when it was shown in London in 1891. Our portrait, with its up-close focus and vivid depiction of movement, is a much more intimate glimpse of Sargent's fascination with this exceptional muse. Captivated by its allure, La Carmencita held this portrait in her personal collection until her death in 1910. It then returned to Sargent himself, who kept this beloved painting until his death in 1925. Sargent's sister, Violet Ormond, knew of her brother's deep affection for this work, and so she purchased the painting from Sargent's estate sale at Christie's and kept it in the Sargent family collection for many decades.

Stamped by the artist's estate (en verso) | Oil on canvas | Painted 1890 Canvas: 28”h x 19”w | Frame: 38”h x 291/2”w x 3”d | #31-9763

PROVENANCE

Carmen “Carmencita” Dauset, from the artist, until her death in 1910 | Collection of the artist, until his death in 1925 | Sale, Christie’s London, John Singer Sargent’s Studio Sale, July 24, 1925, lot 119 | Violet Ormond, the artist’s sister, purchased at the previous sale | Jean-Louis Ormond, by descent from the previous, until 1986 | Harry and Brigitte Spiro, New York, 1987 | Private Collection, 1993 | Private Collection, New York | M.S. Rau, New Orleans

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When Matisse dies, Chagall will be the only painter left who understands color.

–Pablo Picasso

MARC CHAGALL

1887-1985 | Russian

Esquisse pour tableau l'Opéra

This magnificent painting epitomizes the singular fantastical vision of the great Marc Chagall, imbued with his signature dreamlike vibrancy. A lover of music and the opera, Chagall painted this work as an ode to the famed opera house of Paris, the Palais Garnier, which emanates an alluring red glow at the bottom of the painting. Soaring overhead in floral splendor is Chagall's rendering of Jean-Baptiste Carpeaux's iconic statue, La Danse, created for the façade of the Palais Garnier. Chagall echoes the grace of these figures in the fluid movement of his own dancer, twirling in front of the opera in ethereal white.

Painted in 1953, this work was created exactly 10 years before Chagall would be commissioned by the French Ministry of Culture to paint his monumental mural for the ceiling of the Palais Garnier. In his astonishing design for the ceiling mural, Chagall incorporated the same dancer motifs seen in this painting, forever immortalizing them within this iconic Parisian landmark. This painting's significance is even further underscored by its selection for the cover of Jacques Lassaigne's important book, Marc Chagall: The Ceiling of the Paris Opera. More than a tribute to the opera, this stunning work was also dedicated and gifted to his beloved wife Valentina "Vava" Brodsky, sweetly inscribed "For Vava" with a heart on its reverse.

This work is accompanied by its certificate of authenticity issued by the Comité Marc Chagall.

Signed "Chagall Marc" (lower left) and signed, dated and inscribed "Marc Chagall 1953, Pour Vava" (en verso) | Oil on canvas | Painted 1953

Canvas: 175/8”h x 125/8”w | Frame: 261/2”h x 213/8”w x 2”d | #31-9643

PROVENANCE

Valentina (Vava) Lazarevna Brodsky, gifted from the artist in 1953 | Thence by descent | Weinstein Gallery, California Private Collection, Missouri, acquired from the previous, circa 2007 | M.S. Rau, New Orleans

I love to paint children. They are so natural and truthful. They have no ulterior motive.

– Mary Cassatt

MARY CASSATT

1844-1926 | American

Sara in a Round-Brimmed Bonnet

Mary Cassatt is one of the most important women painters in art history, a trailblazing artist who was the only American to exhibit with the Impressionists in Paris. Celebrated most for her exceptional pastels, Cassatt beautifully illuminated the previously unseen world of women—from intimate scenes of motherhood to compelling portraits of women and girls. This marvelous pastel is among Cassatt's finest, showcasing one of her favorite subjects alongside her extraordinary talent in this medium.

In 1901, already a renowned artist at the height of her career, Mary Cassatt began employing Sara, a young golden-haired girl who was almost certainly the granddaughter of former French president Émile Loubet. Sara's sweet demeanor and cherubic features made her a favorite of Cassatt's models. Here, Cassatt perfectly captures Sara's blazing blue eyes and rosy cheeks, along with the scruff of her furry friend. Sara appears across Cassatt's oeuvre, with many of her portraits held in important museum collections including the Smithsonian American Art Museum and the Metropolitan Museum of Art.

Born in 1844 near Pittsburgh, Mary Cassatt spent most of her life in France. Highly rare for a woman of this period, Cassatt exhibited at the Paris Salon and was personally invited by Edgar Degas in 1877 to join the Impressionists, participating in four exhibitions from 1879 to 1886. Today, Cassatt remains one of the most distinguished women artists of all time, and she is widely credited with exposing the Impressionist movement to the United States. Her works are collected by nearly every major museum across the world and widely exhibited, including a monumental retrospective at the Musée d'Orsay in 1988. Just last year in 2024, Cassatt had her first North American retrospective in 25 years, entitled Mary Cassatt at Work, organized by the Philadelphia Museum of Art and the Fine Art Museums of San Francisco.

Signed "Mary Cassatt" (center right) | Pastel on paper | Circa 1901 Paper: 211/2”h x 161/4”w | Frame: 343/4”h x 291/4”w x 21/2”d | #31-9115

PROVENANCE

Payson Thompson, New York, acquired from the artist | Sale, American Art Association, New York, 12 January 1928, lot 82, sold by Thompson | J.P. Henry, 1928 | Mrs. George C. Willson, Michigan Private Collection, gift from Willson, 1958 | Private Collection, likely acquired from the previous M.S. Rau, New Orleans

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I avoid being conventional as much as possible, for most picture making is conventional.

–Frederick Carl Frieseke

FREDERICK CARL FRIESEKE

1874-1939 | American

At the Mirror

As many of his contemporaries were looking to the landscape, Frederick Carl Frieseke took inspiration from the human figure, especially the female form. At the Mirror is a masterful example of this signature subject of the artist, brimming with feminine softness and rich texture. The painting demonstrates the artist's keen eye for color and composition, with its harmonious palette of cool tones unifying the scene and the mirror serving as a dynamic framing device. An intimate portrait with atmospheric allure, this work is a testament to Frieseke's standing as one of the greats of American Impressionism.

Painted in 1922, At the Mirror was created at the height of Frieseke's career. By this time, he had earned numerous honors and medals, including the Grand Prize at the 1915 Panama-Pacific International Exposition and an exhibition of 17 of his works at the 1909 Venice Biennale. After spending nearly two decades in the artist's colony at Giverny— where he lived next door to Claude Monet—Frieseke moved to a Normandy farm in 1920, where the peaceful pastoral environment influenced the artist's most beautiful and tranquil canvases, such as this painting. Today, his captivating works reside in prestigious private and public collections, including the Art Institute of Chicago and the National Gallery of Art in Washington, D.C.

Signed "F.C. Frieseke" (lower right) | Oil on canvas | Circa 1922 Canvas: 323/4”h x 321/4”w | Frame: 43”h x 421/2”w x 33/4”d | #31-2880

PROVENANCE

Macbeth Gallery, New York | Sale, Sotheby's New York, May 25, 1988, lot 194 | Private Collection | M.S. Rau, New Orleans

We savor the quiet harmony of [Martin's] painting. Melancholy, dream and mystery add their particular tone to the warm softness of the coloring.

–Musée

des Beaux-Arts Bordeaux

HENRI MARTIN

1860-1943 | French

Déjeuner champêtre

Bathed in stunning luminosity, this remarkable work showcases the genius of the Post-Impressionist master Henri Martin. The tranquil cliffside scene radiates with familial warmth and bucolic bliss, as a mother and her children rest beneath the lush canopy of a tree. Martin's rich impasto and vibrant palette bring the landscape and its inhabitants to life with enthralling effect. Painted for a custom place in Dr. Jean d'Herbécourt's dining room (now displayed in France's Beauvais Museum), Déjeuner champêtre is linked to a rare moment in Martin's impressive legacy.

After studying at the École des Beaux-Arts in Toulouse and refining his craft in Paris, Martin's exposure to Italian masters such as Giotto and Masaccio transformed his view of light, propelling him toward Impressionist-inspired methods. His distinctive style synthesized Divisionism, Symbolism and Pointillism, earning him the Grand Prize at the Paris Exposition Universelle in 1900. Today, Martin’s works reside in prestigious collections, including the Musée d’Orsay and the Palais des Beaux-Arts, a testament to his enduring importance.

Signed “Henri Martin” (lower right) | Oil on canvas | Circa 1910-11 Canvas: 271/4”h x 495/8”w | Frame: 333/8”h x 553/4”w x 17/8”d | #31-9084

PROVENANCE

Private Collection, France | Private Collection, Europe, by descent from the previous Private Collection | M.S. Rau, New Orleans

Bembo's

– Ronald Decker

BONIFACIO BEMBO

1420-1478 | Italian

Saint Cosmas and Saint Damian

Glimmering with ethereal beauty, these extraordinary panel paintings of Saint Cosmas and Saint Damian are stunning treasures of the early Renaissance. Thanks to recent discoveries by art historians Marco Tanzi and Andrea de Marchi, it is now understood that these magnificent paintings represent the missing panels from the famed polyptych formerly displayed on the altar of the Chapel of San Nicola da Tolentino at the Church of Sant'Agostino in Cremona, Italy. To find two matching Renaissance panels outside of a museum or church, particularly in such remarkable condition, is an incredible rarity.

The central and left-side panels of the original five-part Cremonese altarpiece are currently in the collection of the Museo Civico Ala Ponzone in Cremona. Saint Cosmas and Saint Damian have been reduced, but their place in this altarpiece is confirmed by a number of consistent stylistic elements, including the identical match of their proportions, knurled haloes and the rich arabesque patterns stamped into the gold. Saint Cosmas and Saint Damian were 3rd-century physicians and twin brothers who were skilled in healing, and thus they are often depicted in the distinctive medieval doctor's garb of crimson robes and round hats. They were both martyred during the last major Roman persecution of the Christians under Emperor Diocletian.

Along with the remainder of the Cremonese altarpiece, these present panels are attributed to the famed Northern Italian Renaissance painter Bonifacio Bembo. Active in Cremona throughout the 15th century, he would have been a natural choice for the construction of this altarpiece in the important Church of Sant'Agostino. Bembo's works can be found in museums and churches throughout Italy and beyond, including the Pinacoteca di Brera in Milan, the Denver Art Museum, and the Musée des Arts Décoratifs in Paris, among others.

Tempera on panel | Circa 1454-58 | Each panel: 145/8”h x 113/8”w | Each frame: 223/4”h x 191/2”w x 21/2”d | #30-8695

PROVENANCE

Private Collection, London | M.S. Rau, New Orleans

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Reconstruction of the Altarpiece of Saint Nicholas of Tolentino for the Church of Sant'Agostino, Cremona, Italy

Emperor Napoleon III was the visionary of modern France.

–Émile Ollivier

FRANZ XAVER WINTERHALTER (STUDIO OF)

Portraits of Emperor Napoleon III and Empress Eugénie

These monumental portraits of Emperor Napoleon III and Empress Eugénie capture the power and elegance of France's Second Empire in marvelous detail. Napoleon III, depicted in full military regalia with the Legion of Honor's grand collar, stands proudly in front of the Palais de Tuileries. The coronation ermine cloak draped around him accentuates his silhouette, idealizing his image as the rightful ruler of France. Empress Eugénie’s portrait exudes perfect elegance and nobility, draped in lavish attire and adorned with pearls and her renowned crown, now housed in the Louvre.

Symbolizing splendor and strength, Napoleon III used his official portrait as the most important way to publicly solidify his reign. He chose Franz Xaver Winterhalter, the preeminent painter of the European courts, to render the imperial portraits, which were first unveiled at the prestigious 1855 Paris Salon. The original portraits were lost in an 1871 fire, leaving only select studio copies such as these, which were given as gifts from the Emperor to important heads of state. Today, many of these treasured portraits reside in important collections like the Louvre and the Museo Napoleonico in Rome, making this magnificent pair, in their grand historical frames, all the rarer.

Oil on canvas | Circa 1860

Canvas (each): 931/2”h x 61”w | Frame (each): 1211/4”h x 76”w x 121/2”d | #31-8569

PROVENANCE

Private Collection, Paris | M.S. Rau, New Orleans

DOMENICO GUIDI

1625-1701 | Italian

Bust of Pope Innocent XI Odescalchi

Monumental in both size and artistry, this Carrara marble bust is a highly important sculpture by the Baroque master Domenico Guidi. Carved with incredible detail, this portrait of Pope Innocent XI, Benedetto Odescalchi (1611-1689), is an extraordinary work of art befitting the head of the Catholic Church. Guidi flawlessly transforms the hard surface of marble into the softness of skin and the supple folds of luxurious fabrics, bringing the pope's stoic likeness to life.

Pope Innocent XI would have commissioned such a remarkable, larger-than-life sculpture by the leading artist of the day only for an exceptional purpose. Such a magnificent bust would have either been displayed at the Vatican to proclaim his power and influence to visitors, or it would have been given as a gift to an important king or head of state.

Domenico Guidi was trained in Rome by Bernini's main rival Alessandro Algardi, and Guidi's own workshop became one of the most important in Rome during his life, particularly after Bernini's death. Today his works are rarely found on the market and belong to prestigious institutions such as the Victoria & Albert Museum and the Metropolitan Museum of Art.

Carrara marble | Circa 1690

Marble: 46"h x 35"w x 17"d | #30-7781

THE PERIOD EMPEROR NAPOLEON & EMPRESS MARIE LOUISE BUSTS

One of the most iconic figures in history, Napoleon Bonaparte has been immortalized in countless works of art. These magnificent Carrara marble busts, however, are rare period examples that carry extraordinary provenance, artistry and significance. Almost certainly commissioned by the Emperor himself, these stunning, larger-than-life sculptures of Napoleon and his second wife Marie Louise are the most important works of Napoleonic sculpture not presently housed in a museum.

These sculptures were created to adorn an important palace or government building during Napoleon's reign. After his fall, the busts made their way from the Emperor's collection to the next most important figure of 19th-century France: his nephew, Emperor Napoleon III. Both busts were proudly displayed together at the important palace, Château de Compiègne, until the end of Napoleon III’s reign. Of monumental importance, the imperial couple took these busts with them upon their exile to England in 1871. Empress Eugénie gifted the bust of Napoleon to a supporter of Napoleon III in 1881 and kept the bust of Marie Louise until her death. In 1936, the busts were reunited as a pair and have remained together in private hands ever since.

As the influential leader and tastemaker, Napoleon commissioned only the most exceptional artists to immortalize his image in marble. The bust of Napoleon—with its incredibly lifelike facial musculature and exquisitely delicate laurel headdress—is attributed to the Emperor's favorite sculptor, Lorenzo Bartolini. Carved circa 1807, Napoleon's bust showcases a sculptural finesse characteristic of Bartolini's best works. The bust of Empress Marie Louise is signed by renowned sculptor Gaetano Matteo Monti of Ravenna and was carved later, circa 1810, likely on the occasion of her marriage to Napoleon.

These are two of the most extraordinary period Napoleonic sculptures available today, with just one other similar, but vastly inferior pair housed at the Museo Correr in Venice. Their superb caliber, imperial provenance and storied history make these busts a once-in-a-lifetime, collection-defining find.

#31-9781

To understand these amazing busts in greater detail, read M.S. Rau's book on their extraordinary history

I am a true Roman Emperor ; I am of th e best race of the Caesars – those who are founders.

– Napoleon Bonaparte

THE BUST OF NAPOLEON

Attributed to Lorenzo Bartolini

Carrara marble | Circa 1807

Bust: 301/8”h x 24”w x 121/2”d | On base: 743/8”h

PROVENANCE

Commissioned by Napoleon I, Château de Compiègne, circa 1807 | The Personal Collection of Emperor Napoleon III at Château de Compiègne | Thence to Napoleon III’s widow, the Empress Eugénie | Gifted to Firmin Rainbeaux by Empress Eugénie on 18th April 1881 | By descent from Firmin Rainbeaux to his son Félix Rainbeaux | Sale, Hôtel Drouot, Paris, “Succession de M. Félix Rainbeaux,” 23rd October 1936, lot 267 | Élie Fabius, purchased from the previous sale | Private Collection, Stuttgart, Germany Sale, Galerie Koller, Zurich, 2nd November 1995, lot 4162, with bust of Marie Louise, both illustrated on the front cover Private Collection, Switzerland | M.S. Rau, New Orleans

THE BUST OF EMPRESS MARIE LOUISE

Gaetano Matteo Monti of Ravenna

Signed "GMR" | Carrara marble | Circa 1810

Bust: 301/2”h x 20”w x 131/8”d | On base: 74" high

PROVENANCE

Commissioned by Napoleon I, Château de Compiègne, circa 1810 | The Personal Collection of Emperor Napoleon III at Château de Compiègne | Thence to Napoleon III’s widow, the Empress Eugénie | Sale, Hampton & Sons of London, Empress Eugénie’s home at Farnborough Hill, Hampshire, 18–27th July 1927, lot 1328 | Élie Fabius, purchased from the previous sale | Private Collection, Stuttgart, Germany | Sale, Galerie Koller, Zurich, 2nd November 1995, lot 4162, with bust of Napoleon, both illustrated on the front cover | Private Collection, Switzerland M.S. Rau, New Orleans

SILVER-GILT EXHIBITION TABLE

BY MAISON AUCOC

The turn of the 20th century was the golden age of the great international exhibitions, where artisans from across the globe would showcase their best creations for the world to see. This extraordinary silver-gilt tea table is one such masterpiece, exhibited at not one but two international exhibitions. Created for the 1904 St. Louis International Exposition—where it won the Grand Prize—and later displayed at the 1905 Exposition de Liége, this tea table is the most important silver furnishing not presently held in a museum.

Made by the renowned Paris firm Maison Aucoc, this one-of-a-kind treasure was crafted with the utmost luxury in mind. Unlike almost all other tables from this period that were crafted from gilt bronze, this table is made from 95% pure silver—the highest standard ever used. Aucoc specialized in works that looked back to the grand designs of the First Empire, and this monumental table, with its classical columns, winged female figures and green marble top, perfectly evokes the elegance of a bygone era.

Signed "Andre Aucoc Paris" with .950 standard hallmark Circa 1904 | 36”h x 393/8”dia | #30-9238

View a video of this exhibition table

THE "VERSAILLES BOULLE" COMMODE

Arguably the most famed furniture masterpiece in the world is the pair of commodes made for King Louis XIV by the great cabinetmaker André-Charles Boulle. The original pair is one of the most important treasures in the Palace of Versailles, and only a handful of faithful examples of these masterworks have ever been crafted. After the fall of Napoleon, Robert Blake, a renowned 19th-century English cabinetmaker, was sent by King George to measure and recreate the Boulle commodes for Buckingham Palace. This remarkable commode is one of just a few that Blake created upon his return to England, marked with Blake's signature and his exceptional craftsmanship.

Boulle himself declared his commodes created for Louis XIV circa 1700 to be his masterpieces, with their extensive ormolu decoration, gilt bronze caryatid legs, tortoiseshell inlay and Saint-Maximin marble tops. To further underscore their unparalleled importance, the Boulle commodes were one of just a few irreplaceable items saved from a monumental series of auctions of royal possessions—totaling over 17,000 lots—after the French Revolution.

Just over a century after their creation, Robert Blake would spend hundreds of hours at Versailles disassembling Boulle's famed commodes, taking molds of their features and recording exact measurements and details of all of the precious inlays and materials. Upon his return to England, Blake crafted approximately four pairs of these remarkable commodes, which were all signed underneath the sphinx mounts like this one. Other examples by Blake now reside in prestigious collections, including Buckingham Palace and the Frick Collection in New York, where a commode matching this one is prominently displayed.

Blake's stamp appears behind the front left paw | Circa 1820 | 35”h x 471/2”w x 24”d | #31-6676

EDO-PERIOD SAMURAI SUIT

A tour de force of Japanese craftsmanship, this complete orange-laced samurai armor was created by the most skilled artisans of the Edo period. Crafted during a relatively peaceful era, superior armorers created highly elaborate suits such as this one to showcase their unparalleled artistry. This example is extraordinary in its ornate detail, which has remarkably survived centuries in pristine condition with its original leather storage boxes.

Crafted exclusively for the leader of an important clan, every element of this rare suit is sensational. Its most distinctive feature is the grand flourish of the tall ornament at the back called a sashimono. The sashimono is crafted of gilded and lacquered paper, depicting three golden feathers and antlers to symbolize the warrior's status and prestige. This striking design would have been worn to make a grand entrance on the battlefield, instilling the utmost confidence in the samurai's soldiers.

Other striking features include a black lacquered iron helmet with a gilded wood crest depicting a mythical monster, as well as an iron face mask with a detachable nose and silver inlaid facial hair. With every inch adorned in an array of lavish materials—including vibrant orange silk, bear hair and gilded and lacquer detailing—this magnificent samurai suit is a rare treasure.

18th century | On base: 97”h x 511/2”w x 40”d

Complete with both of its original leather packing boxes | #31-9641

Learn more about each element of this suit

PAUL

STORR ABOLITIONIST SILVER TRAYS

These extraordinary sterling trays are exceptional in every way—from their historical importance and distinguished provenance to their world-famous maker and exquisite craftsmanship. Created in 1818 by the renowned English silversmith Paul Storr, the trays were commissioned by the people of Mauritius as a tribute to their first Governor, Sir Robert Townsend Farquhar, a dedicated abolitionist. Appointed after England seized Mauritius during the Napoleonic Wars, Farquhar championed the end of the slave trade on the island, initiating significant social and economic reforms. These grand trays, gifts of thanks after Farquhar left for England, symbolize Mauritius’ appreciation for his transformative leadership.

Exquisitely engraved by Storr, each tray showcases classical figures symbolizing progress and trade. One tray features Minerva seated upon a British lion, a nod to Farquhar’s contributions to technological and cultural advancements. The other tray, with an allegorical figure resting on an anchor, represents trade and prosperity. Each tray also bears Farquhar’s coat of arms and a dedicatory inscription in French that reads: "The Isle of Mauritius expresses gratitude to His Excellency Robert Townsend Farquhar, 1818." Other commemorative trays by Storr reside in important museum collections worldwide, including the Victoria & Albert Museum and the Museum of Fine Arts, Boston.

Hallmarked Paul Storr, London, 1818 | Each: 273/8”w x 183/8”h x 3”d | #31-9390

FABERGÉ SILVER SERVICE

A rare treasure from the world-renowned Fabergé, this exceptional 77-piece complete silver service epitomizes the firm's legacy of unparalleled elegance and the finest craftsmanship. Enclosed in its original oak chest and in pristine condition, this beautiful flatware set is an extraordinary feat, given the scarcity of surviving Fabergé silver of the imperial era.

Including specialty items for an elaborate fish service, this set exudes sophistication and refinement. Each piece of flatware features graceful foliate decoration on the handles, and the impressive fish slice and fish fork both aptly feature magnificent engravings of fish swimming through fluid waters.

Founded in 1842 in Saint Petersburg, Fabergé became the world's most important decorative arts enterprise in a matter of a few decades under the founder's son, Peter Carl Fabergé. The firm developed a high-profile and devoted clientele, including the Romanov imperial family. The Russian Revolution of 1917 brought an end to the Romanov dynasty, and in its wake, many Fabergé treasures were lost or destroyed—making a complete set such as this one an amazing marvel.

This complete 77-piece set includes:

12 dinner forks

12 dinner spoons

12 dinner knives

12 dessert spoons

12 salt spoons

12 fish knives

2 large serving spoons

1 fish serving fork

1 fish slice

1 pair of tongs

Hallmarked Fabergé, St. Petersburg 1896-1908 with 84 standard and Imperial Warrant | Circa 1900 | Chest: 10”h x 221/2”w x 12”d | #31-8241

WILLIAM GLADSTONE SILVER WINE COOLERS

Visually arresting and absolutely stunning in their ornate artistry, these silver wine coolers were crafted by esteemed silversmith George Clements for the illustrious Gladstone family in 1825. As treasured heirlooms, these grand vessels were presented by Prime Minister William Gladstone to his son, Henry Neville Gladstone, as a wedding gift in 1890. The touching inscription from father to son reads: "Given by Mr. Gladstone to his son, Henry Neville, on his marriage."

The lavish decoration on these wine coolers displays an extraordinary sculptural quality, with dynamic hunting scenes of boars, stags and dogs among lush vegetation all rendered in exceptionally high relief. Majestic eagles spread their wings over elegant goddess figures to form the handles, and a festive spread of foliage and fruit creates a celebratory rim on each of these commemorative coolers.

William Gladstone was known as the "Grand Old Man" of British politics, serving as Prime Minister more times than any other individual with his four non-consecutive terms between 1868 and 1894. He was also one of the oldest-serving Prime Ministers, shaping England's political landscape for over sixty years and earning another beloved title of "The People's William." These monumental silver wine coolers perfectly embody the immense legacy of this giant of British history.

Hallmarked George Clements, London, 1825 | Each: 11”h x 111/2”dia | #31-2964

TIFFANY & CO. CHRYSANTHEMUM TEA SET

Tiffany & Co. silver holloware in the coveted Chrysanthemum pattern is rare, which makes this magnificent 7-piece complete tea set absolutely extraordinary. The opulent pattern—one of Tiffany's most important— is masterfully chased along the tray's border and on each of the six vessels. Intricately detailed and highly sophisticated, this set is among the finest Tiffany & Co. Chrysanthemum ever made.

At the beginning of the 20th century, the rise in popularity of the afternoon tea party and coffee hour in America made formal trays such as this increasingly sought after. A set crafted by Tiffany & Co., one of the greatest American silversmiths of the age, would have been a significant status symbol among the upper classes, particularly one in this highly desirable pattern. Chrysanthemum was first conceived in 1880 by the renowned Tiffany silversmith Charles T. Grosjean, one of the firm's most influential designers, and it immediately found favor among Victorian socialites and brides. To this day, Chrysanthemum is still regarded as the top pattern Tiffany & Co. has ever produced.

Marked "Tiffany & Co." with T for the directorship of Charles L. Tiffany, 1891-1902 | Circa 1900 Tray: 28”w x 173/4”h x 21/8”d | Teapot with stand: 9”h x 10”w x 8”d | #31-8594

TIFFANY STUDIOS CURTAIN BORDER FLOOR LAMP

This striking Tiffany Studios floor lamp showcases a monumental 24-inch Curtain Border shade in a highly desirable blend of amber and golden hues that emit a mesmerizing glow when lit. Among Tiffany's most important designs, this majestic Curtain Border lamp evokes the timeless glamour of a fringed lampshade with Tiffany's famed glass.

Louis Comfort Tiffany, a towering figure in American decorative arts, led the Art Nouveau movement in the United States. Celebrated for his stained glass and unique lamps, Tiffany introduced “favrile” glass in 1881, a pioneering method that elevated him to international acclaim. His clientele included icons like Mark Twain and Cornelius Vanderbilt, as well as prestigious institutions such as the Cathedral of St. John the Divine. Today, Tiffany’s lamps remain one of the most coveted antiques, immortalizing his legacy as an American visionary.

Base stamped "Tiffany Studios / New York / 376" |

TIFFANY STUDIOS DRAGONFLY LAMP

Golden lace-winged dragonflies drift across this magnificent table lamp by Tiffany Studios. One of their most successful designs, the Dragonfly shade was conceived by Clara Driscoll, the head of the Tiffany Studios Women's Glass Cutting Department—affectionately known as the "Tiffany Girls." Driscoll's innovative genius shines in this shade, for which she devised a brass filigree overlay that could be soldered over the glass wings to achieve their delicate lacy pattern. Just a year after its creation, Driscoll's Dragonfly lamp for Tiffany won a medal at the 1900 Paris International Exposition.

Clara Driscoll was one of Tiffany Studios' most gifted lamp designers, credited with many of the firm's most iconic shades including the Wisteria, Peony and Daffodil. She began working for Tiffany in 1887, and by 1904 she was the leader of the Tiffany Girls and earned the distinction of being one of the highest-paid women in America. Driscoll's pioneering spirit radiates from the glowing warmth of this exceptionally vibrant Dragonfly shade, and similar examples reside in the prestigious collections of the Art Institute of Chicago and the Museum of Fine Arts, Boston, among others.

Base stamped "Tiffany Studios / New York" | Circa 1900 | 24”h x 17”dia | #31-8143

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EMPEROR NAPOLEON III'S READING LAMP

Alexis Falize was the master jeweler of the Second Empire, and his most exceptional creations were crafted for European royalty. This stunning silver-gilt lamp is one of Falize's most impressive masterpieces, created specifically for Emperor Napoleon III. Beautifully blending expert craftsmanship and the finest materials, this reading lamp epitomizes the opulent taste and extraordinary eye of the Emperor. The Eastern-inspired arms hold two delicate colored glass screens that diffuse candlelight to the perfect reading luminosity. Embellished with pearls and turquoise and housed in its original Moroccan leather case bearing the imperial "N" and crown, this highly rare objet d'art marries important imperial provenance with impeccable artistry.

After opening his workshop in 1838, Falize's designs quickly became highly recognizable and soughtafter by elite clientele, coveted for their elegance and innovation. He mastered niche techniques including cloisonné enamels and Japanese-inspired motifs that set his work apart. Between 1865 and 1870 his success culminated in monumental international exhibitions, including the 1867 World's Fair, where Falize's incredible works were the only jewelry objects purchased by the Victoria & Albert Museum. His legacy endures in many other major museum collections today, including the Metropolitan Museum of Art and the British Museum.

Circa 1865 | Lamp: 175/8”h x 11”w x 61/4”d | Case: 191/2”h x 151/2”w x 63/4”d | #31-8809

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SINGING BIRD CANE

To describe this extraordinary singing bird cane by the great Jacob Frisard as rare would be a great understatement. The only other known example graces the cover of the most important book of system canes—Catherine Dike's Cane Curiosa—though ours is far more remarkable in every way. Crafted of 18K gold with pristine red guilloché enamel and inlaid with 5 carats of diamonds and a monumental 15-carat garnet, this cane also includes a fully functional miniature watch. When the cane's gold collar is turned and the top opens, the bird moves on its perch and sings a beautiful song.

Jacob Frisard, one of Geneva's most brilliant mechanical minds, ingeniously engineered this miniature movement to fit within the confines of a walking stick around the year 1800. As with all working automatons from the Golden Age of Swiss craftsmanship, its mechanism and casing have been expertly conserved, ensuring it remains in exceptional working condition more than 220 years after its creation. Only a handful of Frisard's original creations such as this have survived, with almost all of his known automatons now housed in museum collections.

Circa 1800 | 391/4” length | #31-9815

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FABERGÉ CANES

While canes originally served as functional accessories, certain artisans across time have elevated walking sticks to exceptional artistic heights. None would ever match the stunning opulence and exquisite craftsmanship of canes by the world-famous House of Fabergé. Each Fabergé cane handle was a one-of-a-kind masterpiece, marrying precious stones, intricate engravings and exquisite enamel work.

Crafted during the height of the iconic Carl Fabergé's tenure as director, these canes exemplify the firm's best work. Carl Fabergé brought the House of Fabergé to international acclaim beginning in 1872, transforming it from a respected jewelry business into one of the most renowned luxury brands of objets d'art in the world. Fabergé employed only the best artisans, and in 1903, he personally appointed Henrik Wigström to lead his St. Petersburg workshop. Wigström created some of the most important and magnificent Fabergé objets and imperial commissions, including a few of the spectacular and highly rare canes pictured here. Each dazzling and sophisticated in their own ways, these walking sticks epitomize the legendary renown of the Fabergé name.

Fabergé Blue Guilloché Enamel

In a stunning play of iridescence, the luminous blue enamel of this cane's handle is perfectly complemented by bands of delicate pearls, including a large seeded pearl mounted to its top.

Marked "H.W." for Henrik Wigström | Circa 1905 | 36” length | #30-2232

Fabergé White Guilloché Enamel

This elegant walking stick features a handle enveloped in white guilloché enamel, gilded silver and pearls. Crafted by the esteemed Fabergé artist Henrik Wigström, the cane's exceptionally long handle measures over 5 inches, demonstrating the pinnacle of luxury and refinement.

Marked "H.W." for Henrik Wigström | Circa 1905 | 361/4” length | #31-6044

Fabergé Red Guilloché Enamel

Bold and brilliant, the crimson guilloché enamel of this cane's handle is a spectacle to behold. Lined with pearls inlaid in yellow gold mounts and topped with a beautiful peridot, the cane epitomizes the regal taste and unparalleled craftsmanship synonymous with Fabergé. Further marked by prestigious provenance, this cane hails from the esteemed collection of William Kazan and is pictured in the 1996 book, Objets de vertu par Fabergé.

Circa 1890 | 373/8” length | #31-7011

ITALIAN HARDSTONE CENTERPIECE

This one-of-a-kind Renaissance Revival centerpiece is a celebration of Dionysian decadence, combining gilt silver with a splendid variety of semiprecious stones into a masterwork of the finest craftsmanship. Its bowl is carved from an exceptional example of moss agate and its base from an extraordinarily large specimen of amethyst, and the two are joined by an ornate parcel-gilt silver mounting that exudes bacchanalian excess. An array of beautifully carved agate and jasper faces are nestled into its silver mounting, adding further depth and detail to this centerpiece's lavish design.

In both materials and theme, this objet exemplifies the 19th century’s interest in Classical and Renaissance forms, spurred by archaeological excavations in Greece and Italy that fueled the imagination of artisans and collectors. Due to the expense of the materials and high level of craftsmanship necessary to execute these elaborate designs, the Renaissance Revival was almost exclusively reserved for the grand homes of the elite and wealthy.

Circa 1880 | 13”h x 105/8”dia | #31-3543

THOMAS WEBB & SONS CAMEO LUNA VASE

BY GEORGE WOODALL

Crafted by the most important cameo artisan at the most accomplished firm of the 19th century, this beautiful vase is the pinnacle of glass artistry. Of all glassworks of the period, the most difficult to perfect were those done in cameo, and no other firm produced such mesmerizing cameo masterworks as Thomas Webb & Sons. Known as "The Crystal Kings of England," Webb & Sons employed the famed George Woodall, whose incredible Neoclassical vases depicting young maidens earned him widespread acclaim.

The astonishing depth and delicacy of this dramatic vase exemplify why Woodall is credited with elevating the art of cameo glass to new heights. The goddess Luna and her clouds are rendered with stunning precision and incredible softness, with their bright white hue further accentuated by the deep amethyst-colored glass beneath.

Born into a lineage of glassmakers, Thomas Webb founded T. Webb & Co. in 1837, revolutionizing the market with high-quality engraved crystal and colored glass. After his death in 1869, his sons Thomas, Charles and Walter further advanced the company by improving working conditions and fostering creativity among their craftsmen. Thomas Webb & Sons hired notable artisans—such as George Woodall, the master cameo artist—who revolutionized the firm's designs and were instrumental in their immense success. Woodall’s signed figural cameo works such as this one are exceptionally rare and highly sought after by collectors and connoisseurs, solidifying his legacy as one of the finest glassmakers in history.

Signed “Geo. Woodall / Luna / Thos. Webb & Sons” | Late 19th century | 9”h x 4”dia | #31-9571

PROVENANCE

Private Collection, New York | M.S. Rau, New Orleans

MEISSEN FOUR ELEMENTS EWERS

Monumental in both size and artistry, these ewers representing the Four Elements are among the most famous and spectacular examples of Meissen palace porcelain ever made. First introduced by legendary Meissen artist Johann Joachim Kändler around 1740 as a royal commission from Friedrich August II, these elaborate allegorical designs represent the height of Kändler's achievements.

Earth is represented by a detailed hunt scene and presided over by Pan, the Greek god of woods and fields. Air is beautifully portrayed with flying birds and billowing clouds, all under the reign of Hera, the goddess who personifies air, and her peacock. Poseidon rules the waves on the ewer representing Water, which also depicts his team of sea horses striding dramatically from the sea. Finally, Fire is represented by its dragon-shaped handle, with animals fleeing the burning forest and Hephaestus, the god of fire.

The spectacular level of detail and the delicate sculptural quality of these ewers showcase Meissen's legendary status as one of the greatest porcelain makers of all time. Commissioned in the early 18th century by Augustus the Strong, King of Poland and Saxony, the Meissen Porcelain Manufactory pioneered the first true porcelain ever produced in the West, an art form previously monopolized by China and Japan. Meissen's magnificent wares quickly became prized by European royalty, symbolizing the height of luxury and aristocratic tastes by the mid-18th century. Today Meissen graces nearly every important museum collection worldwide, including the Metropolitan Museum of Art, the Louvre and the British Museum, and has its own dedicated Meissen Porcelain Museum, which houses over 2,000 objects.

Signed with Meissen crossed swords | 19th century | Each: 26”h x 16”w x 9”d | #31-8963

WEDGWOOD FIRST EDITION PORTLAND VASE

The modern antiquarian would likely have never known the name Josiah Wedgwood without his greatest achievement: his recreations of the Portland Vase, the ancient world's most famed decorative arts masterpiece. Unveiled in 1790, critics hailed Wedgwood's Portland Vase as a "true and faithful copy," catapulting the potter to international fame. With almost every one of Wedgwood's original First Edition Portland Vases held in major museums, this extraordinary vase is the most important example of 18th-century pottery ever created.

Of all the ancient civilizations, the Roman Empire was by far the most revered by their European descendants. The Portland Vase, when it was discovered around 1582, represented the pinnacle of Ancient Rome's achievements. Originally thought to be carved from stone, the mesmerizing vase was such a sensation upon its excavation that it had a string of illustrious owners, including the pope's nephew, Cardinal Barberini, and England's most important collector, the Duke of Hamilton. It was so valuable that even the Duke of Hamilton, one of the world's richest men, felt he could not afford the vase and thus sold it to the Duchess of Portland, who was known as "a sober woman only intoxicated by empty vases." After her death in 1786, the vase passed to her son, the 3rd Duke of Portland, who agreed to lend it to Josiah Wedgwood.

For three painstaking years, Wedgwood perfected a revolutionary jasperware technique for his ceramic copy of the Portland Vase, which he would discover was actually made of delicate cameo glass, rather than stone. Upon its completion, Wedgwood sent his Portland Vase to Queen Charlotte who sang its praises, and he eventually publicly displayed the vase to widespread acclaim—so much so that he would be forced to restrict the overwhelming number of visitors at the viewings. Over the next few years, Wedgwood produced approximately 29 more First Edition examples, all identified by their superior quality, the immense weight of the solid jasper and the raised elbow of the figure on the base that extends beyond its edge.

To this day, the renowned firm regards the Portland Vase as its most momentous triumph, with the vessel’s silhouette incorporated into the Wedgwood logo. Nearly all of Wedgwood's iconic First Edition vases belong to the world's most prestigious institutions, including the British Museum and the Art Institute of Chicago, and this extraordinary example is one of the rare few not presently housed in a museum.

Circa 1791 | Vase: 10”h x 71/2”dia

On stand: 16”h x 9”dia | #31-9622

PROVENANCE

Private Collection, New York

M.S. Rau, New Orleans

BULGARI BURMA RUBY AND DIAMOND RING

This extraordinary ring is breathtaking for its unmatched artistry, combining an exceptional untreated Burma ruby with the world-renowned designer craftsmanship of Bulgari. At its center is a stunning 8.18-carat unheated Burma ruby that glows with the coveted pigeon's blood hue, further accentuated by its antique cushion cut. Enshrined in 40 round and pear shaped white diamonds totaling 12.00 carats, this ring is the ultimate expression of Bulgari's iconic opulence.

Legendary in the world of gemstones for their ideal vivid red hues and incredible clarity, Burma rubies have been prized for centuries, adorning royal crowns and jewels as symbols of power and passion, and unheated examples of this size are exceedingly rare today. This beautiful all-natural Burma ruby is further elevated by Bulgari's illustrious taste for glamour and luxury. When asked if she knew any Italian, Elizabeth Taylor famously replied with one word: "Bulgari."

Signed "Bulgari" | Burma ruby: 8.18 ct | Diamonds: 12.00 ctw | AGL Report 18K yellow and white gold | #31-9477

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COLOMBIAN EMERALD RING

This perfect green Colombian emerald is an exceptional rarity. All-natural emeralds of this size and quality are extraordinary, as almost every one of these gemstones undergoes treatment to amplify their appearance. This stunning stone displays all of the coveted characteristics of a prized Colombian emerald without the use of oil. Enhanced by two white diamonds totaling 1.86 carats, this ring exudes an unforgettable play of light and color.

Colombian emeralds have a rich history that spans over a thousand years, revered by the indigenous Muzo people long before Spanish explorers discovered them in the 16th century. Renowned for their unmatched quality and lush color, Colombian emeralds quickly became sought after by royalty and collectors worldwide. Their vibrant hue and remarkable clarity are a result of the unique geological conditions in Colombia’s mines, particularly those in Muzo, Chivor and Coscuez. Today, Colombian emeralds are considered the most desirable in the world, symbolizing luxury and timeless elegance.

Colombian emerald: 4.62 ct | Diamonds: 1.86 ctw | AGL Report | Platinum | #31-6257

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KASHMIR SAPPHIRE & GOLCONDA DIAMOND RING

This extraordinary ring is beyond compare, featuring two perfect examples of the world's rarest gemstones: a Kashmir sapphire and a perfect Golconda diamond. The 8.05-carat Kashmir sapphire displays the ideal velvety royal blue hue and has been triple-graded as unheated. Any Kashmir sapphire is a rarity due to the depletion of this region's mines, but a completely untreated, beautifully saturated example over 8 carats such as this one is an exceptional treasure of the natural world.

Expertly matching the Kashmir sapphire in rarity, brilliance and size is the dazzling 4.25-carat Golconda diamond. This rare stone is graded by the GIA as Type IIa, meaning it is chemically pure and roughly two shades whiter than the whitest D-color diamond. It is also one of the few Type IIa diamonds that are also graded as internally flawless. This coveted clarity grading is one of the highest available, and it enhances the diamond's unmatched "water-like" transparency.

Perfectly paired with their antique cushion cuts and legendary origins, these world-class gemstones coalesce into this breathtaking display of radiance and rarity.

Kashmir sapphire: 8.05 ct | Golconda diamond: 4.25 ct | AGL, SSEF, Gübelin and GIA Reports | Platinum | #32-0123

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CARTIER SAPPHIRE EARRINGS

Masterfully crafted and exceptionally rare, these magnificent Cartier earrings feature two incredible untreated Ceylon sapphires totaling an astounding 50.75 carats. Just one sapphire of this quality is unusual, but to find two so perfectly matched in size and color is extraordinary. Triple-graded by the GIA, AGL and C. Dunaigre as Sri Lankan (Ceylon) in origin and free from heat treatments, these cushion cut royal blue gems are the best of the best. Encircled by a sparkling halo of brilliant cut diamonds totaling 7.00 carats, these earrings embody Cartier's renowned reputation for combining the highest quality gems with timeless luxury designs.

Since its founding in 1847, Cartier has been synonymous with elegance, prestige and uncompromising craftsmanship. The firm quickly attracted a global clientele, including royalty and influential figures such as King Edward VII of England, who famously referred to Cartier as "the jeweler of kings and the king of jewelers." Cartier’s creations have since adorned the likes of Grace Kelly, Elizabeth Taylor and the Duchess of Windsor, cementing the brand's status as an enduring symbol of sophistication and distinction.

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FANCY INTENSE YELLOW DIAMOND RING

This stunning yellow diamond ring features what can only be described as a gem of a stone. The center diamond weighs an impressive 10.37 carats and is GIA-graded as internally flawless—among the highest clarity distinctions a diamond can receive. This extraordinary transparency is further enhanced by the exceptional craftsmanship of its emerald cut, giving the stone an unparalleled, almost magical sparkle.

All of the diamonds in this magnificent ring are GIA-graded as displaying the coveted natural fancy intense yellow color grade, including the two accent diamonds that total 3.75 carats. Untreated fancy intense yellow diamonds are exceedingly rare, owing their vibrant hues solely to the high concentration of nitrogen that naturally occurs in their structures. With a radiant beauty that rivals the sunniest of days, this ring stands a cut above the rest.

Yellow diamonds: 14.12 ctw | GIA Report | 18K yellow gold | #31-9433

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CARTIER ART DECO GOLCONDA DIAMOND RING

This stunning Golconda diamond ring is a masterpiece of Cartier's iconic Art Deco era. While the GIA lists D-color diamonds as the whitest of all, there is one diamond that exists that is roughly two shades whiter: the Golconda diamond. The legendary Golconda mines of India were the only ones to produce diamonds without nitrogen, meaning these highly rare gemstones are 100% chemically pure. The magnificent 4.33-carat example at the center of this ring features a beautiful hexagonal shape, capturing the refined glamour of one of Cartier's most celebrated periods.

Cartier diamond jewelry from the 1930s is highly sought after for its rarity. The firm's Art Deco era was marked by groundbreaking geometric designs and the use of high-quality diamonds and platinum, resulting in some of the brand’s most unforgettable creations. In the wake of the Great Depression, only a limited number of clients could afford such opulent luxuries as this diamond ring, so relatively few designs of this caliber were created compared to other eras. A timeless testament to the excellence of Cartier through the ages, this ring is a once-in-a-lifetime treasure.

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MULTICOLORED DIAMOND BRACELET

A spectacular rainbow of sparkling color radiates from this multicolored diamond bracelet. With 42.40 carats of fancy color diamonds, the bracelet showcases a dazzling display of nearly every shade imaginable, including all natural pinks, oranges, yellows and greens. All of the gemstones are graded by the GIA as natural fancy color diamonds, meaning they are completely free of any treatment to enhance their mesmerizing hues.

Colored diamonds result from trace elements or structural irregularities within the diamond’s crystal lattice that alter the way it absorbs and reflects light. Each color develops from a unique combination of highly uncommon factors, making each of these rare gemstones a one-of-a-kind marvel and this bracelet an extraordinary treasure trove.

Colored diamonds: 42.40 ctw | GIA Report | 7" length | Platinum and 18K yellow gold | #31-5645

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CARTIER GOLD MINUTE REPEATER

A masterpiece of refined luxury and exceptional craftsmanship, this gold minute repeater carriage clock is one of the few models of this kind ever designed by the esteemed Cartier. Crafted of gold, diamonds, moonstone and agate and complete with its original red Cartier fitted case, this rare clock features a moonstone push-repeat button that activates a chime that tells the precise time down to the minute—a complex feature that epitomizes mechanical ingenuity and convenience.

Invented in the early 19th century by Abraham-Louis Breguet for Emperor Napoleon, the carriage clock was devised as a portable timekeeper and status symbol for the wealthy traveler. The minute repeater function—an innovation allowing the time to be audibly relayed on demand—emerged as one of horology's most coveted complications, requiring masterful precision and design. Cartier, renowned since its founding in 1847 for exquisite jewelry and luxury timepieces, began incorporating such complications into its creations during the Belle Époque period when the firm gained international fame. Striking yet sleek, this stunning clock is a testament to Cartier's pioneering spirit and the firm's dedication to combining visual splendor with technical prowess.

Signed “Cartier" on clock's face | Circa 1900 | Clock:

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