Catalog (418)

Dismountable miniature bow of Geïshas. Some prints show us Geïshas using such a bow. Excellent quality, nice shakudo, silver and gilded bronze mounts well chiseled. The wooden parts are finely carved like a violin bow. It is stored in a box with 3 drawers where 16 arrows are set, most of them with golden characters. The arrows are made of wood and bone spiral or tinted green, and are weighted by a steel tip, some parts are lacquered and gilded. This is a very rare and fun set. Bow mounted 89 cm. Arrows 23 cm Box about 40 x10x10cm. All in good condition except some feathers. It is the moving witness of a whole era and a way of life

Jade brush rest in the shape of a creature.Between the front legs there is a hole to hang it as a pendant. Celadon colored stone stained with rust. Jade old ,Song dynasty. Good condition, the stone slightly crumbled has rare places. Long about 9cm.

The falcon is represented resting on a branch. His expression is attentive and we can guess that he is hunting. The artist knew how to infuse him with all the ruthless savagery in his gaze. It is signed by Haru Mitsu. It is finely carved in wood, probably cherry,the pupils inlaid in black horn.I remember having read that this artist liked to exaggerate certain parts of the body of his subjects, here it is clear that the claws, eyes and beak are strongly exaggerated. This is what gives all its strength and aggressiveness to this small sculpture.Good condition. Tiny wear and chips, normal for a century-old okimono. Excellent carving. H:14cm.

The cup on foot was turned in 2 parts, the bowl and the foot, then were assembled with slip clay, you can see the trace of the assembly covered by translucent glaze on the photo. The decoration is underglaze in a pretty luminous cobalt blue. It represents a dragon with 4 claws among clouds on the inside and a geometric decoration on the outside.It is interesting atypical decor which is a fine example of the freedom of expression and originality of the potters of this period freed from imperial constraints. The foot is broken, a major chip and a long crack. Old restoration. The cup is intact. I think it is a Chinese production of the 17th century of the so-called transitional period during which the luminous blue had become perfect. About 1650. Diameter:228mm.

They are carved from a single piece of wood. They are hollowed out on the back to probably receive a column. They had to be at the entrance of a temple and supported the portico. The wood is cracked and blackened by time. I think they are Edo period Japanese, but they may be earlier. They are two magnificent creatures with a powerful and fierce appearance. The fact that the wood is excessively weathered makes me think they were outside the temple, at the front door. This blackness of the wood is due to the secular effect of the sun. The wood is heavy and hard but it is impossible to tell which tree it is. Dimensions: 55x36x28cm Weight: 14 kg each

Young boy in cast bronze. The subject is treated with breathtaking realism, thoughtful expression, body movement, everything is perfect and announces one of the greatest artists of his time. Examination of the fishing rod confirms this. Indeed this rod is so thin that it could not be cast, it was made patiently with a file starting with the thin end. It is movingly realistic with the knots and twists of growth. It is extremely fragile because bronze is a brittle metal. It's a miracle if it survived the century without being broken.This sculpture is different to the usual Japanese bronzes of this period which have no soul. Hight:48cm Encumbrance with the rod:75cm

The body of the ewer seems in embossed rather than cast bronze because the walls are very thin, however the neck and the handle are in cast bronze and very thick. The decor is incised with a character fighting a snake, details are inlaid in gold. 3 fantastic animals are arranged on the sides on either side of the ewer, they are treated in high relief and seem to be in solid bronze and to be one with the body of ewer because we do not see any welding or rivets. The animals are also encrusted with thick gold wire. Islamic characters surround the upper and lower body of the ewer. There are areas that have been restored, missing pieces have been replaced. This is visible on photos but as it is not obvious I can, on request, make a complete inventory and highlight the photos. There is a beautiful old true patina. The fact that there are very thin parts and other very thick ones lead me to suppose that this is a composition with made late in the 19th century with antiques elements. The animals seem older to me than the rest and don't look Islamic. Height about 30 cm.

Cloisonne enamel vase on hammered copper base. The meticulously positioned wires are in silver, as are the borders. The decor is simple, showing a bridge between two hills but exceptional because of its historical interest. Indeed it is a vase commemorating the bold construction of an aqueduct by a Japanese electricity company in the 1900s. The Chinese characters written below must relate the event, date it and also probably give the name of the creative artist or that of the enameling workshop. We knew of another identical vase that was on sale in the United States a few years ago, but it was broken. This one is in good condition except for a tiny crack above the bridge, visible on the photos and 2 minor dents on the silver edges without affecting the enamel, also visible on the photos.Japan Meiji perhaps Taisho H: 375mm

Pair of lacquered wooden panels inlaid with jade and soapstone. The first is decorated with antiques, the second with foliage and birds. The sculptures are of very good quality. The wooden frames as well as the lacquered backs are late 20th century but we believe that parts were recovered from older broken furniture and were reused here, as can be seen with the small wooden panels decorated with bats and mother-of-pearl inlays that are 19th century or earlier. We can sell them separately, the one with the elephant being the most expensive. 131x71cm. They are very heavy.There is wear, a few light scratches and small bumps from use. There are not restaure, not missing. They are very decorative panels with superb designs, aesthetically much superior to what we can usually see on the market.

Agata cup of a beautiful yellow and amber color. Decorated in hight relief of Chilong, Lingzhi and Fenghuang (dragon, mushrooms and Phoenix) with highly symbolic value, in fact the male principle chilong and the female fenghuang should signify a marriage, the presence of immortal Lingzhi making the union eternal. The artist used a part of the stone which is different, naturally spotted and cracked to cut the Chilong which is thus subtly spotted like a leopard. However, this part of the less solid stone has defects, cracks and slight gaps. At the bottom, a Lingzhi was added to fill a hole which made the cup unusable. This old lingzhi is held in place by lacquer. It is possible that it is original, because if we observe the inside of the cup we see that the hole appears right at the location of the recess grinding. I think the artist went too far and pierced the bottom. He pasted the Lingzhi to repair his mistake. Chinese work from the 18th century. A broken Fenghuang wing tip. Cracks and alterations in the stone at the Chilong level. Late wooden base. 119x67mm

Netsuké in wood by Kokeï A rabbit with its small forming netsuké carved in cherry wood by Kokei. There is no the two hole, the himotoshi is naturally formed by a leg. Unlike most netsuké bearing Kokei's signature which are fakes or plagiarisms, this one is from the artist, indeed the quality is excellent. Everything is good, the volumes, the precision of the carving, the expression of the animals and the feeling of life. The signature is under a back tab. Japan early 19th century. Large: 42mm. Good condition, no restauration, well patinated, slightly worn.

Cabinet in black lacquered wood. Decor of plants in gilding and mother-of-pearl inlay. The mounts are incised and gilded copper. Two doors conceal a series of drawers and a small door. The small handles of the drawers are in cast bronze as well as the handles. On the top is represented in mother-of-pearl Mount Fuji partly concealed by clouds. This type of lacquer called "Namban" was manufactured in Japan for export at the beginning of the 17th century, either at the end of Momoyama or at the very beginning of Edo. The lacquer has held up well, it has cracks, blisters and shrinkages that are typical of its venerable great age of 4 centuries. There is no restoration, no repainting. As always on this type of coffer, the base was added, probably in Europe. The gilding of the mounting is worn on the front but still beautiful on the sides, corners and inside. Some mother-of-pearl inlays are missing. 46x38x30cm.

Netsuké representing a squirrel, perhaps a dormouse. The little animal is carved from a boar's tooth. He has just been surprised and stands on his hind legs momentarily abandoning the vegetable (eggplant?) he was nibbling. Its inset eyes were carved from a shiny black material, probably horn. The imotoshi is natural, formed by the base of the tail. The artist knew how to breathe life into this little animal. Excellent quality, pleasant subject, perfectly sculpted, precise details, in particular the coat, beautiful patina, very little wear. There is no signature but the artist must have been one of the best of his time. During his work defects appeared in the tooth, the artist blocked them with small tenons as can be seen in some photos. We think it is a netsuké carved at the beginning of the 19th century, maybe before? Good condition. High: 43mm.

Porcelain vase of china enamelled of blue. Square form carrying 2 handles elephant heads in relief. Mark in cobalt blue of qianlong under the base. Pierced and long crack on one side (visible on photo). Beautiful enamel blue night. Seems to us without problem of the period. Height: 30cm

Black and red lacquer box inlaid with mother-of-pearl, sides in bamboo basketry. Interesting and rare Chinese work of the Ming period. The work of the basketry is exceptionally beautiful quality, the bamboo fibers are very fine and perfectly woven. The mother of pearl inlays are of excellent quality and extreme finesse. The interior is lacquered in red as well as a part of the sides. Many missing mother of pearl as you can see on the pictures. Part of the mother of pearl roof tiles replaced otherwise no restoration or hidden defects.The price takes into account the condition. Ming period. 16th century. Dimensions about 20x24 cm.

Set of about fifty antic Chinese wooden stands and some in bronze. Some are disassembled but we have all the pieces and we can easily glued together. The dimensions are between 3 cm for the smallest and 33 cm for the largest. If you have need tell me the dimensions you are looking for, I will look at the ones that would suit and I will send you pictures of them. All are old principally 19th century but some are probably earlier and some are perhaps earlier 20th century. The prices will be in relation with the size and quality. From 50€ to 300€ each or 4000€ for all.

Giant cover in Chinese famille rose porcelain decorated with European coats of arms and fabulous animals. Exported from china by the Indian company. The dominant enamels are a deep blue,a pale green and an iron red,the details are golden.There is a discreet touch of pink enamel positioned between the crown and the helmet.The embracing hands are in white enamel.Finally, the remaining tails of the lateral phoenixes, now missing, are enamelled in black discreetly decorated with green.The decorations are in high relief. On the front and back is represented a coat of arms made up of a crowned helmet and a heart and 2 clasped hands, all flanked by a lion with the head of a man and a quadruped with the head of bird. On the sides the broken animals are lost, but there are bird paws and a tail which seems to be of a peacock (phoenix). Finally on the button of the cover is represented what seems to me to be a unicorn with its 2 ears erect and its central horn. I haven't researched this coat of arms, but it should be easy for a specialist. It is the lid of an exceptional vase which must have greatly exceeded 1 meter in height, which would make it one of the largest, if not the largest known. Certainly 18th century but very beginning, this range of colors reminds me of Kanghi's reign, the discreet presence of pink is not incompatible with this dating and the fact that very little is used betrays the fact that the pink is in its test phase. I do not know enough but it seems to me to be more done for a Latin country, Spain, Portugal or Mexico? 325x250 mm weight:6kg The body in good condition.

Large hard porcelain bowl from Arita Japan early 18th century. Decorated in underglaze cobalt blue and enamels with three cartouches containing a Buddhist lion (shishi), a carp and cranes on a background of peonies and scrolls. Gold detail. These large bowls are typical of the Imari style highly prized by European royal courts and were present in all palaces. The one presented here has lost its lid, the collector who owns one will be able to adapt it perfectly because the sizes are standard. The previous owners used this bowl as a display box, covering the bowl with a pretty dish in the same style. In a perfect condition. Diameter 33cm Height: 23cm