Catalog (414)

Excessively rare pair of cizhou jars representing rabbits. The elegance of the animals is surprising, the drawing is precise and fast, the artist has drawn his line without hesitation. Rabbits are alive. It is exceptional to find such models in pairs. Normal wear of some hundred years of use but no cracks, chips or gaps. No restoration or hidden defects. A similar jar with a leaping rabbit but damaged with cracks and chips was sold in 1980 by Sotheby's, you will see a photo attached. Ming period. H: 25cm

Lacquered and painted wood travel coffer or cabinet with iron mountings and lock. Japanese work. The exterior is black lacquered decorated with gold and polychrome. Some typical patterns allow us to date it with certainty around 1580 more or less 20 years. Very rare specimen, few similar models exist. The lock is one of the very first executed in Japan because it was the Portuguese who brought the technique when they landed in Japan around 1550. This said it could have been made in Portugal but I don't think so, knowing the immense skill of Japanese blacksmiths they had to make them instantly. It is partly very uneven. The decoration on the top has completely disappeared as well as the one on the front. Both sides and the back are in good condition. The interior is excellently preserved and the colors have kept the original liveliness allowing an excellent study of the very first Japanese lacquers (Namban) for export. It is the physical witness of the unique adventure of the very beginning of Japanese exports to Portugal, an important page of history for these 2 countries, then at their zenith. I found in a magazine of the 30's the photo of a Namban chest of the same shape, dated by the V&A end Muromachi beginning Momoyama. Approximate dimensions 40x40x45 cm. On the interior original paper printed. Some japanese caracters under and inside I don't know that's write but surely interesting.

Very large pot covered in cloisonné enamel on copper. Silver wires.Dragons Hoho and butterfly of curious design. I seem to remember the association dragon butterfly to a symbolic but I don't remember which one A slight accident really insignificant at the base of the lid catch that can be seen on photo and a lack of thickness of enamel that could not be polished being too thin, however at this place there the enamel completely covers the base metal. After firing this should not be visible and it only appeared when polishing. The polisher made the choice not to sand too deep and to leave this more shiny part unpolished. This pot was attributed by the former collector to Namikawa Yasuyuki as one of his first creations, before the classic production we all know. There was no reference or proof attached. I started to do research to confirm or deny. Given the large size it would be an exceptional work. I have already found the very particular shape of the lid on a namikawa censer but I have not found this shape elsewhere yet. I will provide information as the research progresses. Height : 40cm Diameter: 36cm Best photos later. I found 2 cloisonnés with the same lid.I attach the photo. One is in the Khalili collection the other is illustrated in the book "Kyo shippo monyo shu" by Nakahara Tessen also by Yasuyuki. For the moment I have seen thousands of japanese cloisonné from this period and these are the only 2 lids of the same shape known.The one I present to you is the third.

Bamboo Poutai. Very finely carved. The artist knew how to make all the emotions and characteristics of the character. The delicacy of the movement of the hands slightly retracted in a precious attitude, the joy of the laughing eyes wrinkled with enjoyment, the softness of the mouth. The sympathetic fatness of the neck. All is benevolence.The grain of the fine wood fibers draws on the skull and on the chin a semblance of hair, as well as on the nape of the neck, the defects of the wood correspond to possible curls of hair, it is very likely that the artist knew how to play with the defects of the wood by sublimating them. The bamboo is nuturaly stained white in some places,perhaps minéral inclusions, these are not restorations but a natural colouring of the wood. As I am not a specialist in bamboo, I cannot say that this is an early Tsing sculpture. The object seems too good to be true, however nothing indicates a recent fake, the sculpture is of excellent quality, the patina and the aspect of the wood seems old, nothing betrays a fake. As it is not possible to decide on photo of the real period,It seems that the buyer should take it in hand before buying. The colour is unusually very red, like that of the late Ming brush pot in the palace museum, which is illustrated in the treasure book series. High: 13cm Fine condition. Larger size 19cm

Terracotta horse from the Wei period. The clay is gray. It is of very good quality. There are traces of red polychromy and there is still gilding on the rump. This gilding is composed of thick gold leaves that we call in French goldsmith's trade a "feuillard" it's thicker than the classic leaf to gild the furniture. In the past, I read somewhere that gilding was only applied on Wei or Tang terracotta on princely tombs. (To be verified). The sculpture is of excellent quality, the horse is full of life, the artist knew how to give the movement of a sudden stop of the beast, indeed the elements of the caparison go forward, as well as the tassels of the chest as the drape of the saddle. Perfect condition except the tail glued back. No transformation, no restoration. Height 35cm. Due to the fragility and the perfect state of conservation this piece will not be shipped out of respect, you will have to come and pick it up or I will come personally. Test of thermoluminescence of oxford 2001.

Exceptionally rare cast iron bathtub. China 18° or before. The body is supported by four feet representing Buddhist lion heads. 4 large mobile rings fixed laterally allowed to move the object. The sides are decorated with large flowering plants in 3 cartouches, in the 4th there is nothing. I think there must have been a lacquer pattern in high relief, which has ,today,disappeared. In the past I have seen a cast iron stove with identical feet that had large lacquer "Bonji"characters, I attach a photo. There are modern fakes of identical shape and size, one of them has exactly the same decoration, which makes me think that there must be in China, somewhere, an identical model that served as an example,I attach the photo of the 2. These fakes are sold as being large temple censers? But the mine present has an evacuation at the bottom on the side that would logically be an outlet. A part of this outlet is broken, perhaps it was the head of an animal, Lion or dragon? The hypothesis that it is a child's bathtub is reinforced by the fact that bathtubs of these dimensions were used in China. I enclose a picture from the movie "The Last Emperor" where we can see the eunuchs giving the bath to the young emperor Pu-Yi (Xuan Tong) in a bathtub of identical shape and size.Look photo. State of conservation: The lacquer decoration of a cartouche missing. One ring replaced. The drain tap broken. Length 90cm. Weight about 60 to 80 kg to be checked.

An absolutely exceptional and unique object, a pagoda roof in cast bronze, very heavy, gilded and inlaid with glass paste. If there are some rare examples of Chinese gilded bronzes inlaid with hard stones and some even rarer inlaid with transparent glass, to my knowledge we do not know of any other inlaid with glass paste. Here the glass imitates perfectly the white jade, the lapis lazuli, the ruby, the green jadeite emerald. The use of glass paste in 18th century China is not a depreciative element, on the contrary, at that time it was easier and less expensive to cut stones. The gilding is with hot mercury. It is very thick of excellent quality, certainly many layers.The interior laquered in red gilded with gold powder. It is certainly an imperial order and the base is probably marked on the front, Kien-Long. The goal is to try to reunite the three elements that history has dispersed. Either by selling the roof or by buying the base and the column. Height: 12cm Diameter 14,5cm

Rare porcelain dish decorated in cobalt blue underglaze. In the center the prestigious mark VOC (Vereenigde Oostindische Compagnie) of the Dutch East India Company. The decoration of flowers and birds in cartridges inspired by the Chinese style of the late Ming.This dish was created for a member of the powerful company. Japan Genroku period end of 17th century. Perfect condition. Diameter: 35 and 35,5cm.

Shibuichi box inlaid with solid gold, shakudo, silver and sentoku. Several techniques are used, chasing, engraving, inlays in relief and flat. Interior lined with silver. Signature of the silversmith underneath with his stamp in gold inlay. Exceptional goldsmith's work. The scene must represent the god of the sea, his servants are an octopus and a fish wearing kimono. The octopus is particularly amusing with its angry and authoritarian look. Dimensions about 125 x 92 x 60 mm Good condition.

Set of menuki. Sold individually to complete an incomplete sword. Price from $50 to $150 each. We can provide you with more photos, dimensions and details on request.

Several sword mount sold separately to complete an incomplete sword. Prices range from $200 to $700.Details, photos and dimensions on request.

A very rare Japanese lacquer cabinet made for the Dutch export. The quality of this model is very good and surpasses the usual cabinets of this period. The landscape decorations are very finely and artistically painted, notably the trees whose foliage is swayed by the wind. The frames of the panels are painted in the honeycomb style which requires a lot of work and precision and can only be found on high quality lacquers, to my knowledge there are only 2 other known "honeycomb" models of which I enclose pictures, one in Munich at the "Staateliche Munzsammlung" and the second in the Czech Republic at the "Kinzvart Castel". Both are published in the excellent book of Oliver Impey. Here is the third one. It is interesting to compare the door on the right and the one on the left, whose drawings are painted by two different artists. The interior is particularly rich and as often, well preserved.Some rocks are in very pronounced relief. The lock cover between the bottom drawers is missing, which shows the orange color of the original nashiji. Wear, cracks, missing lacquer all visible on photos but no restoration which is rare. The mounts are all in yellow metal, which seems to me to be either bronze or gilt brass. They are unusually thin and I think they are original. Dimensions: 445 x 435 x 30 cm .

Buddhist lion in gilded bronze. Japanese work from the Edo period (17 ° -19 °) difficult to date with precision. However the style of the round patches of the coat does not seem to me to be 17 °, it is more reasonable to think 18 ° -19 °. The cast iron is of good quality and very thick which makes it very heavy (18 kilograms). The bronze was hot gilded with mercury and then covered with translucent lacquer which gives an orange color. A suit of 17 ° -18 ° gilded in the same way is housed at the Tokyo National Museum I have attached a photo of the sleeves.The carving is precise and deep.Statuary of very high quality. The lion is hollow and has an opening on the back, it serves as an incense burner. There must be a ball between the paws missing. Height approx: 37 cm Weight: 17.5 kg

An unusual model of Phurba in lost wax cast bronze and gilded with mercury. Iron blade. The handle is made up of a whole bust of the deity and not just a head as we can usually find it. Known models with busts are extremely rare, there are 2 or 3 in the museums of Delhi. Examination shows us that it is not a montage from a cut statuette but that the bust was cast especially for this Phurba. The lower part of the skull necklace was broken and lost; it was replaced. The iron blade, very oxidized, was peeling off. It has recently been well consolidated by the grafting of a piece of iron and resin. The whole seems to me very old 17th century or before, the patina is beautiful, the wear correct, the state of the steel and the fact that the necklace was replaced are good signs, however a skilful counterfeiter could have them. I have a good feeling, it is not modern, maybe an old copy made in 1900 or really old? I fully understand that it is difficult if not impossible to judge from photos also the Phurba can be visible at the conservatory in Nice for an handling . There is a wax seal on the back which must obstruct a hollow, in which there must be relics or prayers. There are inscriptions on this stamp. Is it a prayer stamp, a customs merchant or export certificate? This stamp may or may not indicate a copy. High; 195mm

. The bronze is very thick yellow, the casting is made in several parts, the arms are cast separately and welded, the ribbons too. The finish is very neat. The old patina is beautiful. The base is cast separately, the walls are thin unlike the statue, but it is indisputable that the two were made together. On the base and at the bottom of the statue are incised characters that date it. I do not know what the exact time is, but I can do research on request. The glory is added later. Interestingly, this is the re-use of a magnificent Kamakura era glory that has been resized to surround this Kwannon. On the reverse side of the glory we can see the signs of superimpositions and rivets which testify to it. The Kwanon can be sold with or without its glory. The price listed is without the glory. High without glory: 39,5cm High with glory: 49,5cm

Rare tetrapod censer representing a stylized elephant. The censer is in cast bronze.The cast is beautiful and the finish is perfect,probably scrapped,no holes or roughness. The old patina proves the authenticity of the object. A frieze carved with swastika surrounds the elephant in its upper part representing a caparison. The ears are represented by 2 spirals as well as the tusks. The artist knew how to simplify the shape of the animal in a discreet way so the elephant fulfills its function of censor with elegance and sobriety.First we only see a censer at 4 feet,it's only after observation that the elephant appears.Excellent thought.This object was certainly commissioned by a ruler or scholar with a subtle mind and during a culturally and quite period.There is no trace of gilding or lacquer. I think this is Chinese rather than Japanese work, as the swastika frieze is not perfectly chiseled. A Japanese artist would have done a perfect job, while a Chinese artist would have stuck to the simple decorative aspect. In addition, early Edo Japanese bronzes were very often lacquered and there is always a little lacquer somewhere, here no trace,finally,I have never seen an object of a similar style anywhere in Japan. I think Qing around 1800 or before. Good condition,patina well preserved. Long:16cm

Jade water bucket in form of amusing toad.Inlaid with yellow metal. It is impossible to check if it is gold because it would be necessary to tear off encrustations to test ,however the object has not been cleaned for several years and only gold can remain shiny, bronze or brass would have oxide. The metal wires in some places are split in half lengthwise, which is probably due to a certain technique? The work is very neat, underneath there are traces of tools which should help a specialist. The patina of the stone is beautiful, satiny without being shiny. 102 x 18mm. Chinese work Han périod or Qing copy or fake modern?

Colossal incense burner in cast bronze representing the divine carp ridden by the fisherman who spared her when she was little. To reward him, she takes him to heaven and immortality. Wooden base. Very good quality of cast bronze and carving. Bronze sculptures of this quality and size are usually made for universal exhibitions. We have not yet found any trace of this one. Despite the quality this sculpture is anonymous. Japan late 19th century. Height 230cm. Weight 104 kilograms.