Catalog: Antiques: Regional Art: Asian: Chinese (193)

Small bird cage in split and carved bamboo, it is supported by a bronze hook made up of several riveted elements. Inside different elements for the comfort of the bird, porcelain drinkers, side perch and feeder in copper and center a pretty perch in green hard stone. This circular perch is carved in relief of 2 chilong (dragons) in the archaic Chinese style. The stone is very hard and appears to be jade, green stained and veined with black. We think it is a "Bi" disc, older than the cage, which was adapted to it. The "bars" part of the cage separates from the base for cleaning, the 2 parts are held together securely by 4 turned bone nails, which once in place are discreetly decorative. The base rests on 4 small pearl-shaped stone feet, held by a central bronze axis. The cage is entirely made of bamboo, a layer of lacquer partially covers it. This layer being not uniform, and partly concealing the beautiful veins of the bamboo, we think that it was deposited late. This type of cage was produced in China for centuries, but their fragility means that very few of these cages have reached us. It is difficult to date them precisely, however if we refer to the interior elements of it we can advance the date to the second part of the 19th century, in fact the two small porcelain decorated in iron red with Lions Buddhist are typically from the end of the Qing dynasty, reign of Emperor Tongzhi, around 1860. However the cage is perhaps earlier. There is a small artificial bird certainly original, wearing real feathers. Dimensions 31x26cm Total height with hook 38cm. Good condition.

Rare lacquered bronze fibula inlaid with yellow metal nails which seems to be gold because it does not oxidize. The construction of this jewel is special, in fact the bronze base was cast and then pierced with thousands of holes in which tiny nails were fixed, welded or perhaps simply forced in. Then the whole was covered with brown lacquer. This technique gives a solidity that has allowed this fibula to stand the test of time, indeed the lacquer split by retraction but it remained in place firmly held by the nails. Examination with a magnifying glass reveals the presence of small pieces of green color embedded in rare places in the lacquer, I think they are pieces of Turquoise stone. Their arrangement is random and could suggest that it is accidental, but the creator of such a complex object necessarily mastered his work completely and the presence of Turquoise, was desired. Perhaps for a religious purpose? The head represented is too oxidized to be identified with certainty, perhaps a horse? Heavily oxidized bronze. A few nails missing. Cracked lacquer. Complete and no restoration. Length 14cm. Chinese work, probably from the Han period or earlier.

Cast bronze mirror holder representing a Ki-Lin. The fabulous Chinese animal is surrounded by sparks, it carries a cloud on its back which is used to hold a removable mirror, which has now disappeared. The unusually small dimension leads one to assume that this is a travel mirror holder? The animal is lying down and the sculptor has modeled an exaggeratedly wide hindquarters to give good stability to the whole. The way of treating the creature's face is unusual, it does not correspond to the Chinese style of the Ming or Qing dynasties. It could be a bronze from the Yuan period with Mongolian influence. The superb centuries-old patina of the bronze would confirm this earlier period. Some small accidents. 102x60mm ​

An amusing and very rare lantern in cast bronze, decorated in light relief with stylized cicada in the archaic style. The rear part cut out by crosses the front part open for the use of candles or oil lamp. The cast iron is of good quality and the finish is neat. The patina is very beautiful and guarantees the age of the object. I think it's a Chinese work but I have a doubt, it could be Japanese. If it's Japanese it is much rarer although less fashionable than Chinese. The simplicity, the powerful shape and the beautiful patina remind me of the Chinese Ming period which would correspond to the Japanese Muromachi-Momoyama period. 16-17th century. 155 x 85 mm. Weigth: 450g Fine condition.

The frames are identically carved with Dragons, Phoenixes, Buddhist Lions, Bats and Sacred Pearls, evolving in the middle of clouds, flames and waves. The quality is exceptional, the details are complex, precise, meticulously carved and the cabinetwork finish is perfect. This high quality leads us to believe that these frames were made in southern China, for example in Canton, rather than in Vietnam. The real work of lace, boldly sculpted, was the work of a workshop accustomed to excellence as were the Chinese workshops of sculptures mainly on ivory, from Canton. It should be noted that such a quality of sculpture is not never found in wood and rarely in ivory. The pediments of the frames present European coats of arms, a motto is inscribed: "Probitas Fons Honoris" and above a series of characters which appear to us to be Hebrew. It is difficult to precisely date such sculptures which could have been executed from the end of the 18th century and throughout the 19th century. The fact that the Dragons only have 4 claws indicates that the ban on 5 claws is still respected, which would credit a creation before the middle of the 19th century. Heraldic research could probably provide a precise date. Dimensions: 280x195mm. Small gaps (see photos).

Porcelain or stoneware vase covered with a thick, deep black glaze that is stained with brown streaks in places same as Tenmoku style. The ceramic is very heavy, thick and solid. The glaze is deep and thick, in some places it flows in very thick drops.The rim of the neck has no glaze which makes me think that it must have been lightly ground, if so it should not be missing much as the vase is very elegant and well proportioned. I think that it's Ming périod perhaps earlier. Height about 40cm.

Chinese porcelain pot, decorated with peonies, rocks and birds. The decor is identical on both sides. Two gilt bronze and copper handles in the shape of stylized lion masks have been added. It is important to specify that these handles are of Chinese manufacture from the 18th century and are of excellent quality. This type of mask is sometimes found on 18th century Chinese incense burners. It is possible that these handles were mounted as soon as the vase was created for export or for the Chinese market because you never find same bronze handle on export porcelains, they are carefully fixed by two nuts. The mask part is in embossed gilded copper and the rings are in gilded cast bronze. The quality of the blue is exceptional, the photos were taken in natural light without filter. The upper edge is not glazed, so there must have been a lid that has now disappeared. Kangxi period late 17th century early 18th. A crack visible on photo. Width: 14cm H: 11.5cm.

Pair of finely carved wooden panels of the eight Taoist immortals and their attribute. These panels were to be part of a small religious piece of furniture rather than a screen. The wood is left natural, the carving is exceptionally good quality for Chinese woodwork. No traces of pigments, only the edges are lacquered in red as can be seen in a photo. The back of the panels is covered with a red layer of lacquer or oil paint which has cracked and degraded over time. There are some gaps, visible in the photos and the panels are slightly warped (see photo). Chinese work from the early Qing 18th century. 

The tube of the pipe is simply cut from a natural bamboo stem to which the artist has chosen to leave some secondary stem ends. The frame, mainly in bronze, is composed of several layers of metals, alloys of different colors, yellow , red-brown and grayish-black, finely cut with motifs, bats, swastikas and stylized Lingzhi,wishing 10,000 years of happiness and long life. There are some jadeite beads embedded in the decor. The main bat has a body made of green jadeite and eyes made of what appears to me to be small garnets,but perhaps pink jadeite. One tip is made of bone, the other is missing. There are two other stones that appear to be rock crystal and amber. Total length 565mm. Dimensions of jadeite beads. Eyes about 1mm 9mm 8mm and 4mm

Large Chinese porcelain vase. Incised decoration of dragons and clouds enamelled with colors on a yellow enamelled background. Probably from the Guanxu period. Accident with a long crack visible on photo. High: 46cm

Bamboo pot carved with several characters from Chinese mythology evolving in a raised garden. One can easily recognize Shoulao, god of longevity, accompanied by his deer and holding the peach of immortality in his right hand and his stick in the left. The deer holds in its mouth a Lingzhi mushroom of immortality. The work is important, the sculptures do not have the perfect but cutesy aesthetic of the 18th century and would suggest that this pot is a late popular clumsy creation. However the characters are powerful, as well as the trees and the rocks and this announces a sculpture prior to the Qing which an excellent very old patina confirms. It is not unreasonable to date this pot to the Ming period. Two slits that have not crossed the body of the pot. Insect holes visible below and formerly plugged with wax on the upper edge. Good condition, complete, no repairs but worn. H:12cm.

Very rare dropper in lost wax cast bronze representing an adorable little owl. The cast and chisel are perfect and the scraper finish is very neat. Slight cast iron defect below. The object plunges into the water and fills up through the beak and ears. The output of the drops is perfect. One by one as needed. Well thought out object is perfectly executed. Work from the 18th century or before, there is a good antique and beautifful patina. I think Chinese rather than Japanese because there are no traces of lacquer, but very often high quality Japanese bronze literate objects were lacquered. Even if the wear and tear of the centuries has often removed this lacquer, there is always residue left in inaccessible places. Long 6cm Weight 160g

2 belt buckles (or fibulae) in cast bronze and hot-gilded with mercury. Decorated in relief with bats and clouds on an engraved amati background. In the center are set white jade plates cut in the shape of stylized bats. Two half-pearls are set on the hooks, as they are very worn it is difficult to identify the material, probably reddish translucent stone but perhaps glass paste? Chinese work from the beginning of the Qing period, end of the 17th or beginning of the 18th century. Good condition, no repairs. Usual wear. Dimensions 62x49x20mm.

White jade jewelry representing a phoenix in flight among plants. The vigorous, angular sculpture and multi-level carving are typical of the period of the 15th-16th century during the Chinese Ming dynasty. However, it could be older. The color of jade is grayish white, it was inlaid on the lid of a pretty precious wooden box with beautiful veins, which contributed to protecting it. Two malachite flower vase are inlaid on either side of the jade pendant. This box and this assembly must have been created around 1900. 13 x 9 x 4.5cm.

Cast bronze incense burner. Rectangular shape, 4 feet, decoration of sacred pearls framed by stylized dragons, Greek friezes. Each of the feet comes out of the mouth of a Buddhist lion. The walls are very thick, the object is heavy. Lost wax casting has defects. The carving is not of high quality. No mark. However, this incense burner is powerful and has a very beautiful old patina, which makes it a venerable object with a strong presence. Probably Chinese work. Period 18th century or earlier. Height: 29cm. No restaure.

A mother-of-pearl and silver cup. The natural shell, without human intervention, is discreetly mounted in brush washer. The shell rests on three simple spherical silver feet which are held by three silver butterflies with outstretched wings. When the cup is filled with water, the butterflies stand at the edge of the liquid, like at the edge of a pond, in reality. The discretion of the decoration highlights the natural beauty of the shell, in particular the wild reverse side of the shell.Traces of paint attest that this cup was indeed used as a brush-rinse. In my online store there is a similar standing cup (n°67). It is important to note that the Victoria & Albert museum, presented in the 90s a standing cup absolutely identical to our standing cup n°67.Usually this kind of mother of pearl work is done for export. But they are always very decorative objects with a lot of ostentatious detail. Here the love of the magic of the natural, the subtlety are typically in the taste of a Chinese scholar. China late 18th century. Good condition.

The vase is cast in one piece. Inspired by archaic Chinese bronze ritual vessels, it bears a Taotie mask decoration. This decoration is reduced to two narrow bands instead of occupying more space as usually on the bronzes of the Ming period, this more austere character, the slender shape and the patina with a much more antique aspect allows us to think so. older, probably from the Song period or earlier. The base split on one side as shown in the photos. No welding, no hammering, no restoration. Below an antique verdigris patina. Height:26cm.

Lao tse on his buffalo. The clay is a reddish-brown color. There are traces of polychromy. Although it is an object of modest size and simple form, it is worth noting the quality of the sculpture, indeed the expression of the face of the philosopher although quickly and summarily executed by a few stabs by the artist is superbly expressive, her body is slightly bent by the weight of years and the fatigue of the journey. In contrast, the face of the buffalo is young, dynamic and lovable. Weï style and probably from the period. Bought in France in the 70s which excludes that it is a modern copy. Colors erased. The tip of a broken and lost horn. A buffalo's ear broken and glued. Long: 225mm