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.

As we bid farewell to 2024, we take a moment to reflect on the remarkable moments and milestones we’ve shared with you throughout the year.

We are deeply grateful for your continued trust and support — your enthusiasm has been the driving force behind our success at Clars Auctions. It has truly been our privilege to present such an exceptional array of fine art, antiques, and collectibles.

Fine Art

This year, our auctions delivered impressive results across many categories. Some of the highlights include our Summer Fine Art Auction, where Salvador Dalí’s Portrait of Mrs. Luther Greene (1942) achieved $720,000, and the Fall Fine Art Auction, which saw William Merritt Chase’s A Mother’s Joy (1889) sell for $378,000.

Fine Jewelry & Watches

Our Fine Jewelry & Watches auctions were also highly successful. A Cartier 18k gold Monaco wristwatch fetched $50,400, while a Bulgari blue chalcedony necklace in our Luxury Jewelry Auction sold for $17,640. Additionally, a pair of ‘A Grade’ jadeite and platinum ear clips brought in $88,200.

Furniture & Decorative Arts

In the Furniture & Decorative Arts category, a striking Niamh Barry copper and glass light fixture sold for $50,400, and a French gilt bronze Madonna and Child reached $47,250.

Asian Art

Asian Art proved to be another standout in 2024. Notable sales included Zhang Daqian’s Setting Sail, which realized $69,300, and a Chinese jadeite wine cup set from December that fetched $44,100. Our December Fine Asian Auction also featured a rare Yongzheng-period robin’s egg glazed hu-form vase, which sold for $630,000, and a Chinese famille rose ‘landscape’ porcelain plaque by Zhang Zhitang (1893–1971), which achieved $163,800.

Looking ahead to 2025, we are excited about the upcoming auctions, which will feature even more extraordinary works. We look forward to continuing this journey with you and discovering new treasures together in the year ahead. On behalf of the entire team at Clars Auctions, we wish you a joyful and prosperous New Year filled with success and exciting new collecting adventures.

On December 20th, Clars Auctions will present an exceptionally rare Qing Yongzheng Robin’s Egg Glazed hu-form Vase at its annual Fine Asian Art Auction. This exquisite piece is not only a stunning ancient artifact but also carries a touching story that spans more than half a century.

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. It was only a few weeks ago that Clars Auction 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.” Now, the Qing Yongzheng Robin’s egg glazed hu-form vase is set to take center stage at the auction, capturing 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 featured 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.

For jewelry lovers, this auction is an extraordinary opportunity to acquire rare and exquisite pieces.

The Fine Jade & Holiday Jewelry Auction is a standout feature, showcasing a captivating collection of jade jewelry, ranging from intricately carved pendants and bracelets to elegant earrings and rings. Highlights of the sale include a pair of A-grade jadeite and platinum earrings, estimated at $20,000–$40,000, and a magnificent jadeite bead necklace, estimated at $25,000–$35,000.

In addition to the jade offerings, the sale also presents a stunning array of fine jewelry featuring diamonds, pearls, and colored gemstones. For watch collectors, Clars is offering two exceptional timepieces: a Rolex stainless steel Explorer II wristwatch, estimated at $7,000–$10,000, and a highly coveted Patek Philippe stainless steel Nautilus wristwatch, estimated at $80,000–$100,000. This selection is a must for those seeking to add to their collection or to find a special gift for the season.

Niamh Barry is a distinguished Irish artist and designer celebrated for her innovative light fixtures that seamlessly fuse exceptional craftsmanship with a deep appreciation for materials like copper and glass.

With a background in both fine arts and design, Barry’s artistic journey is rooted in a lifelong fascination with the natural world. Her creations draw inspiration from organic forms and the intricate patterns found in nature, emphasizing the dynamic interplay of light and shadow.

Barry’s work is characterized by its ability to evoke emotions and create immersive atmospheres, transforming functional objects into stunning focal points. Each piece reflects her meticulous attention to detail and her commitment to quality, showcasing her skillful blend of traditional techniques with contemporary design principles. This unique approach has garnered her significant acclaim within the design community, leading to numerous exhibitions and collaborations.

Her work not only serves a practical purpose but also invites viewers to engage with the transformative power of light, making her fixtures an essential component of modern interior design. With a growing portfolio of work and a reputation for excellence, Barry continues to push the boundaries of design, establishing herself as a prominent figure in the art and lighting design world.

Clars is thrilled to have featured one of Barry’s light fixtures in our October 18th auction, titled This Is What I Like #1, a copper and glass light fixture from 2013, measuring 48″ x 55″. The competitive bidding — both online and via phone — resulted in the piece selling for an impressive $50,400, well above its estimated value of $4,000–$6,000. This clearly reflects the strong demand for her work in the collectible market, and Clars is proud to represent her creations. Its new home will be in a Contemporary Modern mansion in California.

Clars Auctions is delighted to present a collection of Japanese and Western art from the esteemed Mitsui (Koishikawa) family, a prominent business dynasty with roots dating back to the Edo period, in our October 18th Auction.

The Mitsui family’s legacy began in 1673 as a kimono shop and evolved into the influential Mitsui Group, a zaibatsu (conglomerate) that has played a pivotal role in Japan’s economic development from the Edo period to present day.

Their impact on commerce and culture is well-documented, notably in the book Mitsui: Three Centuries of Japanese Business. A remarkable 1930 article in Fortune magazine noted, “There is no business enterprise anywhere which is at once so diverse as the house of Mitsui in Japan.” This diversity is beautifully reflected in the collection we are proud to offer.

Spanning the 20th century, the collection showcases a blend of traditional craftsmanship and contemporary innovation, allowing art enthusiasts to immerse themselves in the rich narrative of Japanese culture. Among its highlights are exquisite gifts exchanged during the marriage of Princess Hiroko (1897–1983), of the Shimazu Clan, and Mr. Takanaga Mitsui (1892– 1962), of the Mitsui Koishikawa clan, symbolizing the family’s appreciation for art and culture.

The collection features a diverse range of early 20th-century Western decorative arts, including Tiffany Studios glass and a bronze sculpture acquired directly from the renowned artist, Antoine Bourdelle, in Paris, reflecting the Mitsui family’s global perspective to fine art. Additionally, the collection proudly highlights works by contemporary Japanese artists Morino Taimei and Kyohei Fujita, showcasing their mastery of ceramics and glass.

The Genesis of Rolex

In 1905, Hans Wilsdorf, a young German entrepreneur, founded a watch distribution company in London with his brother-in-law Alfred Davis. Initially named Wilsdorf & Davis, the company imported Swiss watch movements and placed them in high-quality cases. Wilsdorf’s vision extended beyond mere functionality; he aimed to create a brand synonymous with precision and reliability. In 1908, he registered the trademark “Rolex,” a name he chose for its simplicity and universal appeal.

The Classic Oyster Perpetual

The Oyster Perpetual Wristwatch continues to be a symbol of Rolex’s commitment to quality and innovation. The Oyster Perpetual, introduced in the 1920s, was the world’s first waterproof wristwatch. The Oyster name comes from an oyster, sealed keeping the bivalves closed keeping ocean water in. Of course, for a Rolex Oyster, the opposite is the goal, sealing the movement keeping water and dust out. Its stainless steel variant represents a balance between durability and elegance, making it a staple in Rolex’s lineup and a favorite among watch enthusiasts.

Early Innovations

The Stainless Steel Oyster Perpetual Bubble Back Wristwatch was introduced in the 1930s and represented a significant advancement in watchmaking. The “Bubble Back” referred to the distinctive, protruding case back that housed the automatic movement, which was a notable innovation of the time. The Oyster Perpetual was celebrated for its robustness and water-resistant design, a leap forward in both functionality and durability.

The Datejust Era

The 18k Gold and Stainless Steel Oyster Perpetual Datejust Wristwatch represents a hallmark of Rolex’s innovation. Launched in 1945, the Datejust was the first self-winding waterproof chronometer wristwatch to feature an automatic date function displayed through a window at 3 o’clock. Its classic design, combining gold and stainless steel, made it a versatile choice for both formal and casual wear, solidifying its status as a timeless icon.

Speed & Precision

The Stainless Steel Speedking Wristwatch, introduced in the 1930s, was engineered for those who lived life in the fast lane. It was named after Sir Malcolm Campbell (British racing motorist), a Rolex enthusiast and nine-time world land speed record holder who set the record for fastest on land speed at 300 mph in 1935. Its sporty design and reliable performance made it a favorite among professionals and enthusiasts who demanded both functionality and style. The Speedking is also known as the “PoW watch.” During World War II, Rolex offered all British prisoners of war in Germany the ability to purchase a Rolex which would be delivered to their POW camp but could be paid for after the war was done. This was intended as a morale boost, and the affordable Speedking was without a doubt the most popular option.

The Submariner’s Depths

The Stainless Steel Submariner Wristwatch is perhaps one of Rolex’s most iconic models. Introduced in 1953, the Submariner was designed for professional divers and became renowned for its water resistance and robustness. Its features, including a rotating bezel for tracking dive times and a luminous dial, have made it a symbol of adventure and exploration. The Submariner is highly coveted by collectors and adventurers alike.

The Elegance of Gold

The Rolex Diamond and 18k Gold Dress Watch reflects Rolex’s foray into luxury and elegance. In the 1950s and 1960s, Rolex expanded its range to include more opulent designs. This particular model showcases Rolex’s ability to blend precision with aesthetic grandeur, using diamonds and 18k gold to create a timepiece suitable for formal occasions and high society.

Epilogue: A Legacy of Excellence

Rolex’s story is one of continuous innovation and timeless design. From its early beginnings in London to its status as a global icon, Rolex has remained at the forefront of watchmaking. Each model — whether the sturdy Bubble Back, the elegant diamond and gold dress watch, the sporty Speedking, the classic Datejust, the versatile Oyster Perpetual, or the adventurous Submariner — represents a chapter in Rolex’s legacy of precision, luxury, and craftsmanship.

As you explore these timepieces and their historical significance, you are not just witnessing the evolution of a brand but also the story of a visionary commitment to excellence that has transcended time.

Domaine de la Romanée-Conti (DRC) is renowned for producing some of the world’s most sought-after and prestigious wines. The estate consists of several vineyards, each with its own unique characteristics and appellations within the Burgundy region. Here are the different types of wines produced by Domaine de la Romanée-Conti:

Romanée-Conti

Romanée-Conti is the flagship wine of the domaine and is considered one of the most exclusive and expensive wines globally. The vineyard is a Grand Cru located in Vosne-Romanée and is just over 1.8 hectares in size. The wine is predominantly made from Pinot Noir and is known for its depth, complexity, and ability to age gracefully. The average age of vines is 53 years. The average production is 450 cases.

La Tâche

La Tâche is another highly regarded Grand Cru vineyard owned by DRC, located in the Vosne-Romanée appellation. It is slightly larger than Romanée Conti, spanning around 6.06 hectares. La Tâche wines are known for their intense and seductive character, showcasing the distinctive terroir of the vineyard. The average age of vines is 47 years. The average production is 1,870 cases.

Richebourg

Richebourg is a Grand Cru vineyard situated in Vosne-Romaneée, neighboring La Tâche. The wines from Richebourg are powerful and robust, with a rich and velvety texture. This vineyard covers approximately 3.51 hectares. The average age of vines is 42 years. The average production is 1,000 cases.

Romaneé-Sant-Vivan

Romanée-Saint-Vivant is a Grand Cru vineyard located in Vosne-Romanée. The wines from this vineyard are known for their elegance, finesse, and floral aromatics. Romanée-Saint-Vivant has an area of about 9.44 hectares. The average age of vines is 34 years. The average production is 1,500 cases.

Grands-Échezeaux

Grands-Échezeaux is a Grand Cru vineyard situated in Flagey-Échezeaux. The wines from this vineyard are characterized by their depth, structure, and spicynotes. Grands-Échezeaux covers around 9.14 hectares. The average age of vines is 52 years. The average production is 1,150 cases.

Échezeaux

Échezeaux is a Grand Cru vineyard located in Flagey-Échezeaux. The wines from Échezeaux are often more approachable in their youth compared to some other DRC wines, yet they still possess aging potential. The vineyard spans approximately 35.51 hectares. The average age of vines is 32 years. The average production is 1,340 cases.

Montrachet

Domaine de la Romanée-Conti also produces white wine from the Montrachet Grand Cru vineyard. Montrachet is renowned for its Chardonnay grapes, producing wines of exceptional complexity, richness, and longevity. The average age of vines is 62 years. The average production is 250 cases.

Each of these wines reflects the distinct terroir of its respective vineyard, and together they contribute to the unparalleled reputation of Domaine de la Romanée-Conti in the world of fine wines. The limited production and exceptional quality of these wines make them highly coveted by collectors and wine enthusiasts worldwide.

Clars is delighted to be offering the Collection of Vanna and N. Lee Lacy on Friday, July 14th in our Tribal Arts, Interiors, Art & Jewelry Auction.

In the 1960s, the wunderkind Hollywood producer, N. Lee Lacy, fell in love with the African, Oceanic, Pre-Columbian, and other Tribal Arts that he was seeing in galleries and auction houses in Paris, Brussels, and London (he had a home in London as a base). His uncommon creativity, writing for and producing TV series and iconic TV ads (winning Best Of The Film Festival awards in Cannes, Venice, London, and NYC), led to him have international offices with 40 writers working for his production company, which he headquartered in Hollywood.

Lacy always collected tribal art, with Hollywood presenting buying opportunities in Pre-Columbian works in the 1960s and African works in the late 1960s and early 1970s. In the 1960s and 1970s, Lacy also bought from auctions in London, NY, and Paris and at galleries in those cities and Brussels, San Francisco, and Los Angeles.

Lee married Vanna Warmack Lacy 35 years ago. Together they fell in love with Oceanic Art, spurred by several voyages to the South Seas accompanying their friend, Caroline Yacoe. Yacoe is an Oceanic scholar, lecturer, author, art collector/dealer, and documentary filmmaker specializing in recording traditional ceremonies and cultures on remote Pacific Islands. This was also a prime period for acquiring authentic, old Indonesian pieces being brought to California by prescient dealers.

Lastly, while producing and creating films in Hollywood and investing in property and living in Beverly Hills, the Lacy’s opened a gallery on the famed Melrose Place (which became the name of a hugely popular TV series) showing paintings and sculptures of modern and contemporary artists. Vanna was the Lacy Gallery’s Director. After a successful run of more than a decade, the Lacy’s retired their gallery. The paintings and sculptures they had most loved personally, plus their mostly decades-old tribal collections, resided with them in their Beverly Hills and then their Palm Springs home until June when it was time to move themselves and their art collections along.