The Furniture & Decorative Arts portion of the April 18th auction will feature an impressive selection pieces. Featured is a sculptural Alvar Aalto bentwood tea trolley.

Crafted by Finnish modernist master Alvar Aalto, this elegant tea trolley exemplifies his signature minimalist form. Aalto’s visionary approach to design brought warmth and humanity to modernism — balancing clean lines with natural materials.

This piece is not only functional — it’s a sculptural icon of 20th-century design.

This April 18th we will offer pair of Arne Jacobsen for Fritz Hansen Swan chairs — sculptural, iconic, and effortlessly modern.

Designed in 1958 for the SAS Royal Hotel in Copenhagen, the Swan chair is one of Arne Jacobsen’s most celebrated works. A master of Danish modernism, Jacobsen blended form and function with striking elegance. His designs, including the Egg and Swan chairs, continue to shape interiors worldwide.

This pair, produced by Fritz Hansen, represents the enduring legacy of Scandinavian design — minimalist, organic, and timeless. Offered at an estimate of $1,200–$1,500, these iconic chairs will be sure to enhance any space.

This season, we will introduce a series of selected embroidery pieces, with the highlight being an 18th-century Qing dynasty imperial yellow satin brocade robe, chuba with gold dragon patterns among colorful clouds.

From the end of the Tang dynasty, China’s relationship with Tibet evolved with continuous political and religious exchanges during the Yuan, Ming, and Qing dynasties, sending precious court-manufactured silk fabrics to Tibet. Initially reserved for the imperial court, these fabrics later became significant gifts for Tibetan nobility and high-ranking monks. In the 18th century, the Qing court custom-made luxurious silk garments for Buddhist ceremonies, granting many dragon robes, which gradually became traditional attire for Tibetan nobility.

This Chuba-style robe was custom-made in Tibet from 18th-century Chinese yellow ground brocade, adorned with a five-clawed golden dragon clutching a fiery pearl amidst colorful clouds in pink, blue, green, and ochre, with a terrestrial map motif at the hem. The collar and trim are in pale blue silk depicting original wave-like edges, measuring 55 inches in height and 70 inches in width. This robe not only showcases the exquisite craftsmanship of the Qing court but also serves as an important physical testament to the historical exchanges between China and Tibet.

Big moment on Pawn Stars! Our very own appraiser, Deric Torres from Clars Auctions, helped a customer who thought she had a rare Oscar Bach Hall telephone table worth a fortune. After closely inspecting the piece, Deric revealed it wasn’t authentic — here’s why:

…because the casting was not well done, not marked, and not executed in the same manner one would expect on a well-documented authentic example. Below is information about the history of the firm, and Bach’s bitter break up with business partner Bertram Segar — who is infamous for making poor reproductions of designs created by Bach.

Oscar Bach was a technically adept, stylistically diverse, and commercially successful master metalsmith. Born in Germany, he studied at both the Royal Academy and Imperial Academy of Art in Berlin before becoming the artistic director of a metallic arts firm in Hamburg. In 1911, Bach won the Grand Prix at the World’s Exposition in Turin for a bed he designed for Kaiser Wilhelm II. That same year, he moved to the United State to establish a business with his brother Max in New York City.

The brothers quickly opened a metal design studio and flourished throughout the 1920s and 30s, with Oscar creating beautiful objects for wealthy New York clientele and custom architectural elements for country estates. He designed a multitude of domestic objects and grand commissions, including the lobby panel for the Empire State Building and monumental plaques for Radio City Music Hall — created in collaboration with Hildreth Meiere. Bach was awarded the prestigious Medal of Honor in 1926 from the Architectural League of New York for a set of bronze doors he designed for their club room. Not just a talented designer, but a savvy marketer and self-promoter, Bach enjoyed a long and successful career. His work can be found in the permanent collections of The Metropolitan Museum of Art, The Minneapolis Museum of Art, The Wolfsonian, and Reynolda House.

In April of 1923, upon an acrimonious split with a third business partner named Bertram Segar, the Bach brothers moved to a new studio at 511 West 42nd Street and renamed their firm Oscar B. Bach and Associated Craftsmen. Bertram Segar remained in the West 17th Street studio, renaming it The Segar Studios. There, Bertram Segar continued to reproduce many of Bach’s original designs and variations on Bach’s designs, either selling them in an unmarked state or stamping them with his SEGAR STUDIOS mark.

Desperate to set the record straight, Bach put full page advertisements in multiple issues of Arts & Decorations stating that, “All products designed and executed in my studios bear my facsimile signature, and no other articles are genuine.” And, “It is distressing to find other things — ugly things that I could not create, put before the public with the insinuation that they are my work. It is not only distressing but a fraud on the public.”

This is why the conclusion of it not being authentic was determined. Watch the full story unfold and how Deric gently let the buyer down easy (we hope). Catch the episode and let us know what you think!

At our Fine Asian Art Auction on December 20th 2024, Clars presented an exceptionally rare Qing Yongzheng Robin’s Egg Glazed hu-form Vase which sold for an astounding $630,000.

Are you interested in learning about the value of your items? CONSIGN NOW for our next Fine Asian Art Auction on April 18th.

The story of this vase is as compelling as the piece itself. According to the consignor, the vase originally belonged to his mother-in-law, who lived in Brooklyn, New York, in the 1970s. She was of Swedish immigrant descent, sent to an orphanage at the age of six after her mother’s passing, and later adopted by a kind family. As an adult, she married a man who worked for Nestlé and had two sons. After her husband’s death, she returned to Brooklyn, where she lived with her family and was beloved for her involvement in church activities, playing the piano, and teaching Sunday school.

In the 1970s, she bought the vase from a street vendor’s stall in Brooklyn for a small amount. She treasured it and often displayed it on her piano, filled with dried leaves. In 1986, she moved to California to live with her son, bringing the vase along. However, the vase was forgotten for decades, stored in a shoebox in a closet until Clars Auctions rediscovered the vase, unveiling a story that had been hidden for years.

The consignor expressed, “Such a beautiful and historically significant vase should not be hidden away in a closet; it deserves to be admired by many.” And that’s exactly what happened. The remarkable vase took center stage at auction and captured the attention of collectors worldwide.

The “Lujun Glaze” porcelain, also known as Robin’s Egg glaze, originated during the Yongzheng period of the Qing Dynasty, crafted at the Jingdezhen Imperial Kiln under the supervision of Tang Ying. It was named for its resemblance to the low-temperature Jun wares of the Song Dynasty. The glaze combines techniques from both Jun ware and Yixing drip-glaze, resulting in unique flowing shades of red, blue, and purple. The surface is smooth and silky, with colors that change dynamically under natural light, evoking the beauty of nature.

As recorded in the Record of Ceramics Completion Stele, the Lujun glaze “resembles the Eastern Kiln and Yixing drip-glaze,” with distinctive fluid patterns and colors. It represents Tang Ying’s innovative fusion of traditional styles and highlights the Qing Dynasty’s dedication to ceramic artistry and aesthetic perfection. Due to its complex production process, surviving pieces are rare and mostly palace ware, making them highly valuable collectibles and a pinnacle of Qing porcelain craftsmanship.

The Chinese Robin’s egg glazed hu-form vase sold by Clars has an elegant and dignified form, showcasing a flared mouth, short neck, elongated curved body, and wide splayed foot, standing at approximately 19 centimeters tall. The mouth, neck, and belly of the vase are adorned with three string patterns, which are simple yet graceful, adding a three-dimensional effect and enhancing the visual appeal of the piece. This design reflects the refined and majestic style typical of Yongzheng porcelain. The base is engraved with a two-line, four-character mark: “Yongzheng Nian Zhi,” further indicating its imperial provenance and outstanding craftsmanship.

The Furniture & Decorative Arts segment will feature a number of standout pieces in our March 21st auction.

One such piece is a rare Northern Baroque carved altar table with tabernacle, dating to the late 17th century, estimated at $8,000–$12,000. Fully carved with biblical reserves, this exquisite table highlights the exceptional craftsmanship of the period.

The Asian Art department will showcase a range of rare and desirable items at our March 21st auction, including a 19th-century Chinese famille verte globular vase.

This exquisite vase, decorated with the legendary Eight Immortals, showcases exceptional craftsmanship and vibrant colors. Valued between $1,000–$1,500, it presents an opportunity for collectors to acquire a piece of Chinese cultural history.

In our upcoming March 21st Auction, we will be offering a Chamberlains Worcester armorial porcelain part dinner service made for the Scott Family of Great Barr Hall, early 19th century.

Sir Joseph Scott of Great Barr Hall, Worcester’s parliamentary representative, was granted a baronetcy in 1806. This armorial service, created for him, was appropriately crafted by the Chamberlains Worcester factory, highlighting the connection between the patron and the local craftsmanship.

Jewelry often reflects the time period in which it was created. The history of jewelry spans as far back as humanity itself, with evidence of ancient beads made from shells, bones, and teeth dating back 80,000–110,000 years.

Jewelry typically referred to as “ancient” is around 5,000–7,000 years old. Early civilizations crafted jewelry from locally sourced gemstones and metals, often obtained through extensive trade networks. Some scholars believe that the first written language developed through bead trading, as beads were among the first items used for trade, and people valued them for both their beauty and significance.

As archaeological discoveries have unearthed ancient tombs and artifacts, jewelry designs from past civilizations have been revived or reinterpreted in new styles. For example, the Etruscan Revival, Architectural Revival, and Egyptian Revival occurred at distinct points in history, between 1820–1850, 1870–1900, and 1920–1935.

Egyptian-inspired jewelry is particularly iconic, featuring recurring symbols such as scarabs, Horus, ankhs, pharaohs, and cartouches. These pieces often incorporated enamel, faience, and specific gemstones like lapis lazuli and turquoise. Later revivals continued to embrace these themes, though materials and techniques evolved based on the period’s available resources.

Jewelry periods are often categorized as Georgian, Victorian, Arts and Crafts, Edwardian, Belle Époque, Art Nouveau, Art Deco, Retro, and Mid-century Modern, with each period having its own distinct characteristics that jewelry specialists use to identify and date pieces. Additionally, terms like “antique,” “vintage,” “estate,” and “period” are frequently used, though sometimes incorrectly.

• Ancient jewelry refers to items from long-extinct civilizations.
• Antique jewelry is at least 100 years old.
• Vintage jewelry falls between antique and contemporary, representing pieces from various past decades or eras.
• Estate jewelry refers to previously owned jewelry, often acquired from estates or second-hand sources, and is typically antique or vintage.
• Period jewelry refers to items that fit into a specific historical time frame (refer to the timeline).

When assigning a period to a piece of jewelry, a specialist considers more than just its appearance. The materials, cutting styles, metalworking techniques, and equipment used during the period of its creation all play a role in its classification. It’s not uncommon for a single piece to show influences from multiple periods, reflecting the transition between styles or combining elements from different times.

Conversely, a piece might have characteristics that suggest one period, but its materials or craftsmanship could align with another. These overlaps can result from factors like geography, war, resources, technological advancements, fashion trends, or even reproductions. Although we often categorize jewelry into specific periods, the timeline of history is always fluid, with styles blending and evolving. Ultimately, each civilization has sought ways to create and cherish adornments. One wonders: how will future historians view the jewelry of today?

Historically, the highest quality of porcelain produced in Jingdezhen was shaped by the preferences of the imperial family. However, by the end of the Qing dynasty (1644–1912) and the Republic period (1912–1949), these constraints began to dissolve.

Amid internal conflicts and political struggles with the Western World in the 19th century, China’s porcelain commissions dwindled. To survive, artisans had to appeal to a broader audience, which now included not only the imperial court but also officials, scholars, and the rising merchant class.

This period of upheaval gave rise to a new porcelain style. Known as ‘qianjiang cai,’ this aesthetic is distinguished by its soft, subtle hues, a stark contrast to the bold and opaque enamels that had been popular before. Translated as “light umber,” ‘qianjiang cai’ drew inspiration from the literati paintings of the Song and Yuan dynasties, which achieved a sense of atmosphere through the gradual blending of ink tones. To appeal to the scholarly class, artisans in Jingdezhen began to replicate these paintings on porcelain. These soft-colored enamels were used not only for landscape scenes but also for subjects like birds-and-flowers, still-life compositions featuring auspicious objects, and figures from history, mythology, or religion.

With such a talented community of artisans, creativity and innovation were essential for survival. Among the success stories from this era are the ‘Zhushan bayou’ (Eight Friends of Zhushan), a group of artists who gathered on the full moon of every lunar month. Each member of the group had their own area of expertise and unique aesthetic preferences. Wang Qi, widely regarded as the leader of the group, was known for his depictions of figures. His masterful use of graduated, soft tones, especially in delicate facial features, created striking and evocative images that continue to captivate viewers today.

Another notable figure from this period is Wang Bu, who sought to create a more realistic style, though not in the muted tones of ‘qianjiang cai.’ Specializing in ceramics and trained in the blue-and-white art, Wang Bu revived the portrayal of birds and flowers with his innovative technique, employing lighter shades of cobalt to contrast with the traditionally dense and bold blue of the past.

The artists of Jingdezhen during the late 19th and early 20th centuries experienced significant changes, but their creativity and adaptability ensured their survival, leaving a lasting legacy.