Catalog: Antiques: Regional Art: Asian: Chinese (197)

Pewter and bronze tea box imitating a drum. Decor incised with a chisel representing peony flowers on the sides, a symbol of longevity. Two handle in lion head.Bronze nails are arranged all around imitating a drum.The excellent quality of the workmanship, unusual for pewter, as well as the style suggests that this is an object dating from the very beginning of the Qing period. Good condition, no restoration or welding. One bronze nail is missing. No shock. Normal wear and tear for a centuries-old object, but the decor remains clean and precise. Inside we can see a mark of 4 Chinese characters. Very rare object. Height about 18cm.

A cast bronze vase. Finely executed. The finish is nice, made with a lathe and a scraper. Very elegant decoration of chains and tassels inlaid in gold and silver. At the neck a frieze of stylized dragons. Beautiful old patina, good condition, no restoration. No mark. High: 30cm.

Jade pendant (Talisman) representing a tigress and her cub. (Or devouring a prey?) Usual wear for this period. No lack or restoration. Drilled with a hole between the front legs. Ming or earlier. 40x26x18mm Exceptional note: This jade was part of a collection of hundreds of Chinese jades from all eras from Neolithic to Ts'ing (Qing) purchased in the auction room in the 1970s in France, as for other objects on offer on our site, for each one we will specify.

Painting on woven paper. An unusual and surprising technique. The paper is cut out then this woven paper is painted. However there is a subtlety because in some places only the vertical strips are painted and not the horizontal ones which shows us colored squares alternating with unpainted squares which gives a blurred effect anticipating our "pixels" and which, I think, gave the illusion of a woven fabric. Most certainly from the Qing period but perhaps before.It's a very rare technique. Moving condition.Stained,worn,faded,torn. 185cm x 50cm

Lost wax cast bronze incense burner. It is formed by a large peach opening by a lid, the fruit is represented with its branch, its leaves and other smaller peaches. In total there are 8 peaches but on closer examination, it appears that in one place a little surface of the bronze was not well scraped and finished like everywhere else, which would indicate that there was an additional peach, today now broken and disappeared and that the presence of this one had prevented the tool of the craftsman to maneuver under this fruit.There are also 2 bats All the fruits rest on a very old base which seems to be from the same period as the bronze and which is carved in a pretty hard wood with a fine grain which seems to me to be from Huang-Huali. It is very rare that this type of object still has its base. Beautiful patinas of bronze and wood. Good condition except that a small peach and a piece of the wood base are missing. All this is visible in the photos. Chine 18th century or earlier. Length: 23cm Height: 16cm

Extremely rare dish decorated in blue white, china late 18th century for export to Japan. The design is of high quality and the cobalt blue is perfectly fired. Deep blue color. The quality of the design is far superior to what we usually see on Chinese export porcelains and equals that of some imperial pieces. The decoration of the marli is particularly complex. The presence of 2 Japanese Mon allows us to think that it is a Japanese order. Probably a service for a wedding? Excellent condition. Diameter 28,5cm.

Rare carnelian bowl with a beautiful deep orange-yellow. The typical Chinese shape is classic, and the capacity is that of a tea bowl. The grinding work is meticulous, the shape is perfect, the Agate has an excellent color which shows shades of color ranging from yellow to orange through transparency. Difficult to date with precision but all these quality criteria seem to indicate a creation from the Qing period. Excellent condition except micro scratches invisible without magnifying glass. Diameter: 105mm

White jade pendant stained with rust representing a goose busy washing itself. The bird is represented resting on a large lotus leaf, its head preening its dorsal feathers, gracefully curving its neck which stands out from the body and serves as a natural handle for passing the silk cord. The compact shape, the whiteness of the rust-stained stone, the subject, the natural attachment and the quality of the sculpture as well as the details make it a jewel of excellent quality. Chinese lapidary work from the Qing period, probably 18th century but perhaps earlier. Length approximately 7cm.

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.

Rare Chinese hat in silk, silver and gold kesi. Built like a melon with 6 pieces of sewn kesi. The ponpon is original in silk and silver. Excellent quality the points are tight and thick for more strength. The decor is extremely rare, it is made up of assembled cubes. From memory I remember having seen on an imperial porcelain a similar cubic decoration, it was specified that they were stylized dragons. I think this is the case here, in the center the dragons above the equally cubic clouds and below the water represented by the horizontal lines. It is a high quality hat which certainly belonged to a very important person. I don't know of any other. Stitches are loose, which is usual for a kesi, others have given way but can easily be sewn up, however, 2 small pieces of silver kesi of one square centimeter are missing. I will give all the details on request. Flat dimensions: 25cmx18cm.

The head is carved in a grey stone that I think is limestone, it is harder than marble but it can be scratched with a steel tool. The naive sculpture seems to be made by a craftsman who was not a sculptor or a sculptor of a primitive people. It unquestionably represents a Buddha with his third eye in the middle of his forehead. There is some red pigment left in one nostril and in the corner of the mouth.The appearance of the stone seems very old. The style of the hairstyle reminds me of the Tang dynasty but it seems impossible to me that it is Chinese, the same type of wood and the same design as that of pedestals which I believe are found in Indonesia or elsewhere in South-East Asia and on which are mounted indigenous carvings in ivory or deer antlers for export since 1880. It is quite possible that this Buddha, which was life-size, was commissioned by a Chinese expatriate community to a native sculptor who would have done his best. The large eyes, thick lips and pointed skull are rather reminiscent of Africa. It is an intriguing statuary that is certainly unique. High about 35 cm (stone only)

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.

Chinese porcelain dish decorated in cobalt blue underglaze. Made for the European market.18° century. Very beautiful quality of design that is found only on some imperial porcelain (not on all) and almost never on export porcelain. Also this exceptional technique of pointillist to nuance the blue. The set of rocks is composed of 10 000 points. Seeing the buffalo on loan is a real pleasure, the movement of its tail, the position of the legs. No mistake. It is not a craftsman who painted this, it is an artist. Note the precision of the frieze and the complexity of the foliage of the trees.. The edges of the dish are nibbled what some authors call wormage, peculiarity of porcelain from a certain period due to the poor adhesion of the enamel on the edges. I have in my memory that this particularity was from the Kang-hi period. For my opinion I think that this dish is rather from the end of Kien-Long or early Kia King around 1800. The edges are therefore nibbled, there is one chip (see photos) no crack, no grinding or restorations. The white background is perfectly snow-white. Largest: 38cm

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

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.

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.

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

Guanyin carved from a piece of white jade. She is depicted standing, holding a vase of flowers in her hands. The simplicity of the sculpture, the strength it exudes make me think of an ancient time. I think early Qing or Ming period. The base is original because it is made of bamboo, although it is simple it is of good quality,its feet are carefully executed; perhaps of the same period. Height about 12cm without the base. Good condition, however I think part of a ribbon has been reground because it seems a little flat to me. The color is white as in the pictures. It's still not a bowl of milk but it's white. The stone is naturally deep cracked and there are some amber veins. All this is visible on photos.

Very rare sundial in cast bronze, enamel, glass paste and steel, Chinese work from the 18th century. Two similar examples are housed at the Palace Museum in Beijing and are illustrated in the catalog of scientific instruments in the collection. It is interesting to note, thanks to our sundial, that the feet are missing from the sundials of the Palace which was not remarkable at first glance, although on examination it was shocking that simple threaded rods acted of feet on such precious instruments. Ours is preserved in its original box which is carved from a single block of hardwood in a natural dark reddish-brown color. There are very few known examples of this type of sundial and we do not know of any other with its original box. Unfortunately the centuries have heavily oxidized it and damaged it, it has lost its enamel dial, its brass level which must have contained mercury, and some of its glass paste inlays. A restoration with the same materials is possible, with a perfect result. It is a work of art that deserves it. Dimensions: 85x128mm. Unfolded 173mm. Box: 100x140mm Some scholars attribute these sundials to the palace workshops that were inside the Forbidden City.

Black lacquer box finely incised with motifs of birds, dormice, vines and flowers, the golden designs stand out pleasantly against the black background with discretion. This Chinese lacquer technique called Ch'iang Chin is very old, it consists of making slight incisions on the dry lacquer then filling them with gold powder mixed with fresh lacquer for good, lasting adhesion. On the box presented here, the very thick and solid lacquer is a sign of excellent quality which has allowed it to calmly cross the centuries. In fact, despite the numerous frictions and shocks suffered, the lacquer has not flaked in any place. The Ch'iang Chin lacquers are rare and few examples are known, the V&A houses one, as well as the British, others are housed in the main temples of Japan, the Metropolitan has a magnificent example on a red background. But what is exceptionally rare in our box is the presence inside of small boxes of irregular shapes, offering a puzzle, difficult to put together, an amusing pastime for a scholar. It is believed that this lacquer was created on one of the islands of the Ryukyu "bow" between Taiwan and Kyushu because we perceive there a mixture of Sino-Japanese culture but this is not a certainty, it could be Chinese because the funds are lacquered in yellow ocher, a color found (accompanied by green and brown) on the best Chinese polychrome lacquers from the 18th century, predominantly cinnabar red. We do not know of Ryukyu ocher lacquers. If the majority of Ch'iang-Chin lacquers housed in the Temples and Museums are from the Ming period, ours is later, in fact a decoration of dormice among grapes appearing in the 4 corners of the cover allows us to date it to around 1800, because this decoration was often represented on Chinese porcelain from the Qianlong and Jiaqing periods. 246x246x45mm Interiors lacquered in red. Ocher yellow lacquered underside. Split lid. Usual wear. The frames are in pale yellow, almost white hard metal. ​

4 elements of a dragon in embossed copper or bronze and hot-gilded with mercury. 2 or 3 elements must be missing. The dragon's legs have 4 claws which would seem to exclude imperial affiliation, however the monumental size of more than 5 to 6 meters long would indicate an order for a temple or for the palace of an important person. You have to imagine the golden dragon writhing on an immense panel of dark wood carved with flames and clouds. We had thought that the dragon could be partly hidden by the clouds, as in certain paintings, but the fact that 2 of the 4 elements join end to end seems to exclude this hypothesis. The metal sheet is thick, the embossed work is of good quality and the details are finely executed. The eyes are made of copper alloy with a black patina. In certain places, small openings are made in the metal to accommodate small decorative elements, such as the mustaches which have now disappeared. The gilding is worn as shown in the photos. Some details are riveted. Beautiful old patina, oxidation on the reverse. This is an absolutely unique set. We do not know of any other example. Head dimensions: 820x500x65mm. The other elements have approximately the same size. It is difficult to give a precise date. Certainly during a prosperous period in China, we would say before 1850 probably 18th century.

Stoneware food jar covered with a brown glaze, probably ash-glaze. There are adhesions which I think are firing defects because they are very hard and not marine concretions due to long immersion which could scratch easily. The clay is beige in color. It would seem that the potter used the coiling technique to create this ambitious shape, I draw your attention to the difficulty of firing such a heavy jar with such a small base, there must have been a lot of breakage or sagging, so not many have been done. The work of the fire drew pretty flows by chance. Although it is a utilitarian jar, the shape is very elegant. It is an extremely rare form of jar of which we fortunately know of another model, although smaller, which was sold in Melbourne by Christie's in March 2004 under n° 515 (photo joint)and which had been discovered in a Chinese junk from the end of the 16th century. Apparently she was alone and had to serve as needed by the crew. So here is a much bigger second one. Curiously the Height is exactly equal to the width. 45x45cm.Very large. The one in Melbourne appears to have a mark printed in the clay.Probably of wanly period but perhaps earlier. Good condition. No restauration. Wears and alterations due to time.

Large pair of celadon glazed terracotta cremation urns.The bodies are in turned terracotta decorated in relief with animals and cast or sculpted figures. Groups of dignitaries, deer, cranes, turtle, dragons, horse completely surround the body. The lids are topped by large birds with outstretched wings. Chinese work from the Song period around the 12th century. This form is typical and there are many examples. Today these objects do not interest the Chinese for superstitious reasons, but very probably in the near future the evolution of thoughts will make them interested in these magnificent creations of their ancestors and love of art will prevail. These urns which are part of a set of 2 pairs were bought here in France about fifty years ago for 100,000frs(arround 100 000$ today) which was the market price in the 70s, at the time these archaic objects in a pure Chinese spirit were greatly appreciated while late Manchurian objects were considered a decadent ostentatious art. Quite the opposite of today. But in art, as in everything, the wheel turns. Very large size. about 870mm (33,5 inches). Good condition except the bulb at the top of an urn broken and glued. I have also an other pair but a little smaller and without cover.

Cast bronze vase of square shape. Beautiful casting and fine detailed chasing. Taotie mask decoration. The handles in the shape of birds'heads Fine finish. Archaic style but Qing period. Good condition. Nice old patina. Height: 41cm Weight: 7,5kg

The artist has represented a standing character, leaning on a broom, with a blissful and amused expression on his face turned towards the sky. This is probably Shih Te, a mischievous young Chinese monk who, according to legend, lived in the Kwo-Ching-Su temple in China during the Tang period around the 9th century. He is always represented with a broom because he was employed in the maintenance of the temple. As a young teenager rejected by his village, he was discovered wandering in the mountains by Feng Kan, a senior priest who brought him back and housed him at the Kwo-Ching-Su temple. He is almost always accompanied by his friend Han Shan and sometimes the priest Feng Kan and a Tiger. The terrible and feared animal served as a docile mount for Feng Kan. In Chinese symbolism Shih Te takes care of the body in particular. With his friend Han Shan who takes care of the mind, they are very respectful of nature and live in harmony with it, very simply almost in harmony. rags content with little. The peaceful presence of the tiger confirms this universal harmony with nature. The work is unfortunately not signed and only a specialist could identify the author and the period. The artist went to the essential, vigorously and without hesitation, his brushstrokes are precise and energetic revealing confidence and artistic maturity. The painting is done with black chinese ink, passed with a brush on centuries-old paper. The work was formerly reinforced by lateral strips of paper, it must have been kept rolled for a long time which explains the multiple horizontal slits, today it is presented in an old European wooden frame, very simple but of beautiful construction that we can date from the end of the 19th century. We have kept this framework. The painting is probably from the Ming period or earlier. Dimensions: paint only 675x1410mm with side margins 860x1410mm with the old wooden frame: 1060x1600mm.

The teapot is cast in bronze. The body has the shape of a melon and the spout that of a stylized bird. The handle supports have a typical shape for this period. The handle, which has now disappeared, must have been made of perishable materials, probably braided bamboo fibre. It is exceedingly rare to find a Chinese bronze teapot from this period. It is functional and perfectly pours the tea without uncontrolled drips. Good condition, the lid is crack (see photo), no restoration. Original antique patina. It seems to us that it is a production of the Tang period of the 8th-9th century. 225x130mm

Hard porcelain vase decorated with famille rose enamels depicting landscapes, antiques and flowers. Chinese work made for export, the style of the particularly slender drawn vases as well as the color palette lead us to think that it is a porcelain executed during the first part of the 18th century, during the reign of Yongzheng (1722-35) but it is not excluded that it was created earlier, indeed the significant presence of green enamels does not make impossible an earlier dating, either at the end of the reign of Kangxi, the presence of pink not being incompatible. This vase was mounted with a superb cast bronze mount, gilded with mercury. The finishes are neat, scraper, matting, burnishing, everything is perfect. Probably a Parisian job. I think that this mount was made as soon as the vase arrived in France and would therefore be datable to the beginning of the 18th century. Today the vase is mounted as a lamp by the addition of a long stem, but originally it must have been a potpourri with a very openwork lid, the grip button being now moved to the top of the vase. the stem. Photos show all parts separately. The vase was broken at the neck and was very well restored about ten years ago, to date the restoration has not evolved. It remains invisible except under close scrutiny. Several photos are taken of the restored part. The restorer made the right choice not to restore the interior so that we can see that the vase is complete. Height of the vase alone: 43cm. Height of the vase mounted as potpourri: 60cm. Total height of the lamp: 105cm

Unmarked bronze seal or scholar's weight? It represents a fantastic animal firmly camped on its legs. The artist has given it an interesting mischievous expression. It is in cast bronze, the finish is of the highest quality as well as the chasing. The perfection of the line of the hairs is the work of an excellent chiseller. The movement of the head which turns to the right makes the body tilt to the left while the tail compensates to the right only an excellent sculptor can make such a realism. Could this be a representation of a Kilin ? Good condition. Height 5,8cm.

Incense burner carved in turquoise, relief decoration of stylized dragons. The handles are in the shape of the heads of Buddhist lions. The cover is surmounted by a socket which is fixed by a screw cut in the stone. This censer is very elegant and of beautiful proportions, the sculptures are well executed. The stone has many defects (which are natural mineral inclusions) which did not put off the sculptor, it even seems that this stained effect was aesthetically sought. This kind of very stained turquoise seems to be typically Tibetan and it was the only turquoise used in China in the 18th century and probably until around the middle of the 19th century, a period during which the darker and purer turquoises from Australia or elsewere were imported, all those in which the chinese figurines are carved that are usually found in large quantities on the market. It should be noted that a single pearl of this Tibetan turquoise was worth a fortune if it was flawless. We believe this incense burner was carved in the early 19th century or earlier. Chinese work. A lid ring and part of its grip have been ostentatiously restored with gold lacquer, probably a Japanese Kinsugi restoration.It's very rare work of art.

A rare brushpot caved in coconut. On one side 1 temple surrounded by 1 dragon with a fish tail (Makara) and a fish. On the other side 2 dragons surrounding the sacred pearl which curiously has the shape of an inverted heart. We can see the same heart on a coconut box illustrated on page 96 of book 44 of the complete collection of the Palace Museum. A similar almost identical brush pot was sold in London on November 5, 2013 by christie's, lot 112 (see photos).The whole is covered with a thin layer of transparent brown-redish.There is a restoration at the top edge that I show on photo. Otherwise in good condition.H:97mm D:67mm. W:80g

The sculpture is of excellent quality. The Kouanyin is represented seated in a position of royal relaxation. Very heavy wood is covered with several coats of paint. The details are finely incised but are almost all covered by the paintings. The hand was made apart. The expression of the face is calm, attentive and benevolent. The movement of the fabrics is elegant.Traces of textiles.Yuan style but I am not able to certify the authenticity because there are so many copies. Having said that, all the copies I have seen are ugly and even the best still have some awkwardness that I can't find on mine. I bought it in a house here in France around 1990, but that doesn't prove anything. It can be seen here at the Sakura Conservatory in Nice. An interested buyer can take a piece of wood for dating tests. The wood in good condition just some part broken and glued, very little part wormage (mushroom or insect) Painting missing. Height 103cm Weight: around forty kilos.

Very red cast bronze censer,rich copper alloy. Partially gilded with mercury.The body is very thick,the object is heavy.The carving of the details is deep and it seems that the decor is entirely sculpted without prior molding which is quite unusual. Honestly I hesitate as to the construction technique.At first I thought it was a repoussé work but the metal is much too thick and the examination of the interior leads us to think that it was rather casted and ciseled. The handles are made apart and welded.The decor is drawn with energy,the dragons are powerful.The patina is natural and antique which guarantees an old object and not a recent fake. The mark of Xuande is incised below the base but it is certainly aprocryphal, because it would imply that it is an imperial censer but the 5 dragons represented all have only 4 claws. It is consistent to date it from the end of the Ming to the beginning of the Qing, 17th century. Some deformations, wear and dents due to the malleability of the copper metal but easy to straighten. Gilding normally worn with use. Original patina. No restorations. Width 23cm.

A Chinese porcelain water pipe made for the Imperial Palace in Hue. Decoration of dragons in cobalt blue underglaze. Below 4 characters in blue and, which is unusual, 4 other characters incised under glassure, perhaps the mark of the potter or the commander. The silver setting of very good quality is a fine example of fine goldsmith's work, it is perhaps -be Chinese but more probably Annamese. It is exceptional to find a water pipe of this quality. Beginning of the 19 ° perhaps a little before, the marks could give a precise date. Height of the porcelain alone about 15cm. There is a crack on the heel that does not spill over the body (see photo).

Rare porcelain vase with marbled decoration. The oxides are passed randomly to imitate marble.This type of decoration imitating stones is rare, the known examples are most often clumsily executed. Our vase is an exception because the imitation of marble is perfect both in the design of the veins and their color. Also the double gourd shape is interesting.Chinese work from the end of the 18th century, reign of Qianlong or Kiaking. In a perfect condition. No restoration. Height:22cm. A similar vase with an accident has been offered for sale by sotheby's . (see attached photo)

Hard stone cup, probably Jadeite. The more or less pale nuanced ocher colored stone is stained with a pretty green and veined with rust. The cut is very thin which required good control. Uneven grinding and a soft sheen suggest that this cut is ancient, difficult to date with certainty. Chinese work from the 19th century or before. Size:85x68x15mm Good condition.

Cast bronze "soliflore"vase.The neck is engraved in the archaic Chinese style of stylized cicadas and Greeks, it ends by flaring and closing to create a bulb in the shape of a head of garlic, hence the English term "Garlic" to name this style, the body is modeled in a slice of melon.Small vase, simple but very elegant.. Chinese work early Qing Dynasty.The beautiful old patina of this bronze confirms it as being centuries old.18th century or earlier. H:17cm.

The snuff box is made with a mold in 2 parts. On the sides are two Buddhist lion heads in relief, their eyes are made by 2 small clay balls. stuck to the slip. The decoration is painted in underglaze cobalt blue, the design is vigorous and goes to the essential, it represents 2 dragons pursuing the sacred pearl in the sky, surrounded by clouds and sparks. Below is written in 4 Chinese characters the apocryphal mark of the Ming emperor Tcheng-Hoa. The style of the dragons allows us to date this snuffbox to the second part of the 19th century. Good condition. Large, 78x78x37mm.

Small tripod miniature incense burner of simple form in cast bronze. The two handles are unusually very thin. Below we can see the 6 characters of the reign of Xuande of the Ming Dynasty. The bronze is old, the beautiful patina attests to it. However, it is difficult to date it exactly. Usually the bronzes bearing the mark of Xuande are from the 17th century. A wooden base and lid were added later, probably in the 19th century. The cover does not fit perfectly because it was made on the turn wheel and therefore is flat while the bronze is slightly domed. It's very subtle but you can guess it on the front photo. 45mm high, with the base 90mm. 85mm wide.it's very rare to find such a small censer. It is certainly a small censer for a scholar's table.

Cast bronze incense burner. Simple, tripod shape, with cut-out rather than welded handles. Despite its simplicity, this censer is of a good quality finish, in fact you can see on some photos the traces of the passage of the scraper tool which makes a perfectly smooth surface. Below cast in the mass the mark of Xuande. Although bearing this mark of the 15th century, this type of bronze is from the Qing period. The one presented here can be dated to the 18th century more or less 100 years. Good condition. Width about 12,5cm.

Set of fittings in cast and hammered bronze, suitable for 2 Chinese cabinets with one door or for a large cabinet with double doors. All the elements are decorated with chisel-engraved dragons. A padlock is part of the lot. Hand-threaded rods and nuts allow the installation of fittings on the furniture. Dimensions of the hinges: 150 x 55 mm Dimensions of the central plates: 252 x 50 mm Oxidized, patinated. Good condition.

Set of 8 panels carved in a beautiful hardwood probably rosewood. They are very finely openworked with stylized dragons moving in scrolls. In the center a bone inlay. The cutouts as well as the details are very skilfully executed. Probably pieces of furniture. Probably china but perhaps vietnam. The largest panel measures 215mm. Bone inlays are missing.

Rare cane in silver and precious wood. It is a real walking cane (and not a thin umbrella handle reemployed) as evidenced by the large ball knob that we have well in hand. The cast silver pommel is chiseled with two dragons fighting and scenes of daily life, fishermen, plowman, warrior? On the top of the pommel a Chinese character protrudes, it is finely chiseled with broken lines in the style of "ice crack" (frosted cracks) which here certainly have a meaning which unfortunately escapes us. The barrel is interesting because it is cut in a beautiful orange wood which seems to us to be the precious Huang-Hualy of the Chinese. The grain of the wood is very fine, the fibers dense and the color is natural, moreover it seems to be covered with a thin layer of transparent lacquer like all the best quality Chinese wooden furniture. The tip is in steel set with bronze, simple but also of good quality, it is certainly original tip. The whole is harmonious and very elegant. Good general condition, normal wear. Chinese or Vietnamese work from the end of the 19th century. Total length: 900mm Pommel diameter: 49mm

Porcelain Shou-Lao. In one hand he holds a stick ending in a deer's head which is usually his companion, and in the other hand a peach of longevity. The glassure is covered with enamels of the rose family. It is rare to encounter this type of porcelain Divinity of very small size. The Iron red is of the best colour. A lack of glaze on the tip of the nose and a crack on the right cheek,look photo. No restauration. High: 13.5cm

Chinese hard porcelain dish. Interesting and rare decoration in underglaze cobalt blue representing emblems and antiquities. The designs are very neat and beautiful. On the reverse of the dish, in a double circle is drawn a mark in the form of a tetrapod vase, one of the typical marks of the Kangxi period. The color of the blue is superb, it is a beautiful example of the finest creations of cobalt blue from the Kangxi period at the very beginning of the 18th century. There is a firing defect underneath, extended by a crack and 2 chips on the edge, one tiny and the other large in scale. The photos show all these accidents. Diameter: approximately 22cm.

Small cast bronze incense burner in the shape of a duck. The bird is lying on its folded legs and gracefully twists its neck to groom its plumage. There has never been a lid because the opening on its back is clean without grooves and without any trace of friction or wear. The carving is of good quality, the eyes and nostrils are particularly well executed. Chinese work from the 18th century or much earlier. Below, between the legs, the bronze cracked and was repaired with tin solder. Beautiful old patina. Length:95mm.

Small cast bronze incense burner. Ding (tripod) shape. Beautiful casting and neat finish. The sobriety of the decor and the perfection of the volumes giving this small creation a powerful yet elegant appearance suggest that it is a very old censer, probably from the Song period. An excellent very old patina stained with verdigris in places would be compatible with this earlier period. Height 82mm. Fine condition.

Small deer in cast bronze. The animal is shown lying down. It's a roe,stag or maybe a deer. Very good quality of sculpture. The perfection of the volumes, the search for detail and the neat finish are similar to those that we admire on the Netsuké. This little deer must be a Japanese work rather than a Chinese one, it is impossible to date it with exactness. Probably Edo or earlier. The deer was the protector of Buddhism. 85mm x 54mm The base pierced with a square hole. Very beautifull old patina. A horn is broken. 85x54mm

Round box in hard Chinese porcelain. Decor of a dragon painted in iron red enamel pursuing the sacred pearl, surrounded by flames and clouds. Details in black, green enamels and gilding. Chinese work from the second part of the 19th century. The design is of good quality for porcelain from this period. Good firing, careful work. Very many porcelains were created in China during this period, most often of mediocre quality without much interest, but this box is interesting because of its box shape and its dragon decoration. In the 1960s, these Chinese porcelains decorated in iron red on a white background were called "Sang et Lait" (blood and milk) and were very popular with European collectors. Good condition. 106mmx70mm.

The bowl is decorated inside with ducks and enamel plants in the style of the "Famille Verte" we find the colors fired at low temperature aubergine, green, some very rare touches of blue and the fragile iron red, detail in gold. The outlines of the subjects are either black or red. The circles are in underglaze cobalt blue fired higth fire. The white backgrounds are decorated with a secret decoration of plants, incised before firing in the clay, it is difficult to see, one of the photos suggests it. The exterior of the bowl is glazed in chocolate brown in the "Capucin" style. We can see traces of a golden decoration of flowers, almost completely erased. Good condition. No restaure. Height: 85mm Diameter: 194mm

This small carved jade plaque was certainly the element of the central part of a Ruyi scepter, a symbol of the power of Chinese leaders. The plaque is finely carved with deep patterns, we can distinguish a bat, a symbol of happiness, and a vase of lotus flowers. The vase could mean abundance and the flowers seem to be Buddhist Lotuses unless they are immortal peonies. On the body of the vase is represented the intertwined feminine-masculine symbol, Ying and Yang. The color varies, depending on the lighting and especially the background, the color is a pale greenish-celadon. Dimensions 83x44x10mm Chinese work from the middle Qing probably around 1800, Qianlong or Jiaqing reign. Transformed into a pendant by drilling a hole.

Large monochrome blue mazarin porcelain bowl. 18th century Chinese work. The white hard porcelain is coated with a beautiful deep cobalt blue glaze. It is presented on its wooden base, also Chinese, which is either original or made during the 19th century. The base is left unglazed. No mark. A chip on the edge followed by a crack. (view the photo). The wooden base is to be glued. Diameter: 39.5cm Bowl height: 17cm Total height: 29cm

This form of jug called a monk's cap is of Tibetan origin. The model was adopted in China from the beginning of the 15th century and very appreciated. Monks' cap jugs were made of porcelain. They are always of good quality. The example presented here is made of thick bronze (yellow copper alloy). I don't think it's cast but rather hammered bronze.The border of the top in strong relief would indicate a cast bronze. But it is not certain. The body seems casted and the handle and the foot seem hammered. Under the foot we can see traces of turning tools. Which does not help us much because the beautiful finish of a circular bronze was sometimes done on the lathe, whether the part was cast or hammered. The object is very old 18 ° or before. The handle was repaired with a bronze sleeve but that was a very long time ago because a strong old patina also covers the sleeve. I am not an expert in Tibetan art but I think that the craftsmen of Tibet like rather used copper,for jugs plates or vases, much easier to hammer. Ming period China or Tibet? H: 17cm. Usual wear and small accidents of centuries use

Buddha in very heavy cast bronze. Never been gilded. Very nice natural brown patina. Very well known model of the Kien-long period, which usually are gilded and marked with the reign and sometimes dated and which are always in embossed copper (see an example in my collection n°10). The one presented here is in cast bronze. Good condition, some minor wear and shocks, no restoration. Height: 17,6cm Weight: 1490g

part of a lance? of a chariot? in bronze inlaid with gold and silver.Lacquer traces. Part of highly oxidized iron. Beautiful natural antique patina on the bronze. Nice work in fair condition. 102x23mm

Blue silk chair cover, embroidered with a Phoenix, a Buddhist Lion, a cloud and a lemon in gold thread. Chinese work from the Qing period 19th century or before. Many disjointed gold threads but complete. A strip at the top cut should be missing 2 centimeters. 51x166cm

Lot of 7 medallions in gilded copper, cut, cloisonné and enamelled with Chinese characters and lotus flowers on a background cutted of Swastika. It seems that the pattern is related to wishes for great longevity. Very rare if not unique set. What was it used for? It would seem that the lightness of the medallions as well as their beautiful quality make them suitable for wearing as jewelry, sewn on a belt, a piece of clothing or a hat trick? Diameter of the 3 large medallions 80mm and 55mm for the 4 small ones.They are slightly domed as can be seen in an overall photo. Some small accidents visible on photos. We can separate them.

Cup with handles cut from white Celadon jade. Decorated with “nails” in relief in the archaic style. The two handles stand out widely from the cup. The handles of this type of cup were most often damaged and restorers have partially reduced or even completely eliminated them. The one presented here has exceptionally preserved its handles in their entirety. One of the two has probably been slightly damaged and ground as we can see in the photos. The studding design appears simple but is technically complex. The finish is neat. The top of the handles is incised with a pattern whose meaning escapes us. 104x27mm Good condition. Beautiful velvety appearance. Uniform celadon color. Chinese work from the 17th century.

Small jade buckle cut with a grinding wheel, representing a dragon (chilong) curved on itself in the archaic style of the Han period. It is said that this type of buckle was used to suspend a sword on the belt. artist has excellently represented the small animal harmoniously curled up on itself and ready to pounce. The details are perfectly sculpted. The jade is slightly greyish-celadon white, not "fat sheep white". Photos are correctly representative of the color. It is difficult to date with certainty this type of object which was created from the Han period in China, however it is customary to think that it was reproduced late from the Song dynasty. Only certain specialists will be able to venture to propose a very precise date but no technology will be able to confirm it. We will announce that this charming little jade dates from the Qing dynasty 19° or before. Good condition. 37mm.

Black and white print of Nagasena Ahrat. In the 9th century this portrait of the luohan was painted as well as those of 15 other Ahrats by the painter Guanxiu who was a Buddhist monk. 900 years later, in 1757, Emperor Kienlong during a visit to Shengyin Monastery in the former province of Hang admired the 16 portraits. In order to perpetuate them, he ordered the carving of 16 sculpted stones to produce numerous prints of these works of art, of which here is one of the rare examples. Since then, the original stones and paintings have disappeared. We still have, thanks to the emperor, the testimony of the prints. They were printed from 1757 and probably for part of the 19th century. We don't know how many copies. The Metropolitan Museum houses the complete series of 16 prints. One of them, identical to ours, represents the Ahrat Nagasena. Good condition, no repairs. Size: 110x50cm