Catalog: Antiques: Regional Art: Asian: Chinese (196)

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.

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).

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.

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.

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.

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.

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