- 1738
PAIR OF CONCH PEARL, GEM SET AND DIAMOND PENDENT EARRINGS, WALLACE CHAN
Estimate
2,200,000 - 3,200,000 HKD
bidding is closed
Description
Each set with a pear-shaped kunzite, framed by circular-cut diamonds, suspending within a pavè-set circular-cut green garnet and diamond hoop, the top suspending a conch pearl embellished with a green chalcedony cap, to the backing set with pavè-set diamonds and seed pearls, signed Wallace Chan, post and sprung fittings, case stamped Wallace Chan.
Condition
Metal tested as titanium and white gold. Signed Wallace Chan. The pear-shaped kunzites weighing approximately 24.00 carats in total, of medium slightly purplish pink colour, eye-clean. Some inclusions, some surface reaching, nicks and abrasions when examined under 10x magnification. The conch pearls measuring approximately 16.60 x 10.90 x 8.75 mm and 16.56 x 10.75 x 8.61 mm respectively, of medium light pink to pink colour, with porcelain to good lustre and typical flame pattern when viewed under 10x magnification. The green garnets of medium light to intense green colour, bright and lively. The near colourless diamonds are bright and lively. Seed pearls are button shaped and of cream tone. The diamonds of pinkish brown tint have not been tested for natural colour origin. Signs of minor wear to metal. Overall in very good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.Certificates of Authenticity: Various manufacturers may not issue certificates of authenticity upon request. Sotheby's is not under an obligation to furnish the purchaser with a certificate of authenticity from the manufacturer at any time. Unless the requirements for a rescission of the sale under the Terms of Guarantee are satisfied, the failure of a manufacturer to issue a certificate will not constitute grounds to rescind the sale. Gemological Certificates and Reports: References in the catalogue descriptions to certificates or reports issued by gemological laboratories are provided only for the information of bidders, and Sotheby's does not guarantee and accepts no responsibility for the accuracy, terms or information contained in such certificates or reports. Please also note that laboratories may differ in their assessment of a gemstone (including its origin and presence, type and extent of treatments) and their certificates or reports may contain different results.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.Certificates of Authenticity: Various manufacturers may not issue certificates of authenticity upon request. Sotheby's is not under an obligation to furnish the purchaser with a certificate of authenticity from the manufacturer at any time. Unless the requirements for a rescission of the sale under the Terms of Guarantee are satisfied, the failure of a manufacturer to issue a certificate will not constitute grounds to rescind the sale. Gemological Certificates and Reports: References in the catalogue descriptions to certificates or reports issued by gemological laboratories are provided only for the information of bidders, and Sotheby's does not guarantee and accepts no responsibility for the accuracy, terms or information contained in such certificates or reports. Please also note that laboratories may differ in their assessment of a gemstone (including its origin and presence, type and extent of treatments) and their certificates or reports may contain different results.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
Potential bidders who intend to export this lot are advised that certain permits may be required for export. If you are interested in this lot, please contact the Jewellery Department before bidding. The Philosopher Jeweller
To meet the celebrated artist-jeweller Wallace Chan is to come face-to-face with the confluence of old and new, East and West, tradition and modernity, and art and craft that gives Hong Kong, his home its unique character.
While Chan may appear the embodiment of old-world Hong Kong, with his traditional clothes, long beard and inscrutable demeanour, he also personifies the futuristic technical advances and virtuosity that have catapulted him to global renown as one of the most innovative artist-craftsmen of modern times. Chan has revitalized the ancient Chinese art of stone carving and at the same time explored and perfected the use of the space-age metal titanium and wondrous gem-setting techniques. In doing so, he introduced an entirely new visual language and palette of melting metallic hues and tones to the world of Jewellery. Today, looking back, he says: “You have to embrace the past in order to inspire the future.”
Aged 16, Chan was apprenticed to a traditional stone carver, but suffocated by the restrictions, he soon struck out on his own, working at first with minerals and hardstones before moving onto gemstones. Gradually he absorbed Western influences – he was profoundly affected by a book on the sculptures of Michelangelo that he found in a second-hand bookshop.
In 1987, after several years of study and experimentation, he invented the Wallace Cut, a carving technique which creates a hologram-like illusion by combining intaglio with careful faceting. Since that time he has gone on to use his exceptional skills to give new creative expression to 21st-century jewels.
In the last several years, Chan’s reputation has grown – the jewels are sought by collectors across the globe, and he’s been a presence at major fairs including Tefaf in Maastricht and Masterpiece in London. Chan was the first Asian artist-jeweller to exhibit at the Biennale in Paris, in 2012, and the first to be invited to exhibit and give a talk at the Gemological Institute of America in California.
The five Wallace Chan materpieces offered for sale in Hong Kong this October demonstrate his supreme mastery, with high drama and emotionally-charged artistry coming together to conjure jewels that are daringly dreamlike, sensual and sculptural. Chan’s beloved jade is found in one pair of pendent earrings, while in another there is the contrast of texture between a conch pearl and pear-shaped drop: the rolling rhythm of the choker’s diamond-set and agate circles are echoed in meticulously carved discs of rock crystal; and the monumental Tanzanite of the ring, enveloped in its gem-set cocoon, tells of Chan’s audacity of scale.
Both poetic and provocative, these creations push the boundaries of imagination, craftsmanship and the art of the jewel.
Vivienne Becker is a Jewellery historian and a contributing editor of the Financial Time’s How to Spend It.
To meet the celebrated artist-jeweller Wallace Chan is to come face-to-face with the confluence of old and new, East and West, tradition and modernity, and art and craft that gives Hong Kong, his home its unique character.
While Chan may appear the embodiment of old-world Hong Kong, with his traditional clothes, long beard and inscrutable demeanour, he also personifies the futuristic technical advances and virtuosity that have catapulted him to global renown as one of the most innovative artist-craftsmen of modern times. Chan has revitalized the ancient Chinese art of stone carving and at the same time explored and perfected the use of the space-age metal titanium and wondrous gem-setting techniques. In doing so, he introduced an entirely new visual language and palette of melting metallic hues and tones to the world of Jewellery. Today, looking back, he says: “You have to embrace the past in order to inspire the future.”
Aged 16, Chan was apprenticed to a traditional stone carver, but suffocated by the restrictions, he soon struck out on his own, working at first with minerals and hardstones before moving onto gemstones. Gradually he absorbed Western influences – he was profoundly affected by a book on the sculptures of Michelangelo that he found in a second-hand bookshop.
In 1987, after several years of study and experimentation, he invented the Wallace Cut, a carving technique which creates a hologram-like illusion by combining intaglio with careful faceting. Since that time he has gone on to use his exceptional skills to give new creative expression to 21st-century jewels.
In the last several years, Chan’s reputation has grown – the jewels are sought by collectors across the globe, and he’s been a presence at major fairs including Tefaf in Maastricht and Masterpiece in London. Chan was the first Asian artist-jeweller to exhibit at the Biennale in Paris, in 2012, and the first to be invited to exhibit and give a talk at the Gemological Institute of America in California.
The five Wallace Chan materpieces offered for sale in Hong Kong this October demonstrate his supreme mastery, with high drama and emotionally-charged artistry coming together to conjure jewels that are daringly dreamlike, sensual and sculptural. Chan’s beloved jade is found in one pair of pendent earrings, while in another there is the contrast of texture between a conch pearl and pear-shaped drop: the rolling rhythm of the choker’s diamond-set and agate circles are echoed in meticulously carved discs of rock crystal; and the monumental Tanzanite of the ring, enveloped in its gem-set cocoon, tells of Chan’s audacity of scale.
Both poetic and provocative, these creations push the boundaries of imagination, craftsmanship and the art of the jewel.
Vivienne Becker is a Jewellery historian and a contributing editor of the Financial Time’s How to Spend It.