Catalog: Antiques: Regional Art: Asian: Chinese (203)

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

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.

Rare porcelain or (porcelain stoneware?) dish from China, from the 17th century or before. The ceramic is thick and solid, the decoration of peonies is incised then painted in turquoise and aubergine enamels. The incised lines of the design demarcated surfaces comprising the enamels mixing during firing. The peonies are treated simply and energetically, the artist has gone to the essential, his drawing is powerful. This kind of decoration is unusual for this type of Chinese ceramics called "Fahua", usually, the decorations are complicated, cluttered with details. Here the design is minimalist. Which is the whole point of it. An old collection label mentions: No. 3.. Kishiu prince's oven. Diameter 332 Good condition. slight wear from use. Diameter between 332 and 328mm

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

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.

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.

Lithograph on black and white paper of a Lohan (Arhat). In the 9th century this portrait was painted, along with 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 Hangzhou Province discovered the 16 portraits there. Admiring and in order to perpetuate them, he ordered the cutting of 16 sculpted stones to produce numerous prints of these works of art, of which here is one of the rare proofs. Since then, the original stones and paintings have disappeared. We still have, thanks to the emperor, the testimony of lithographs which were printed from 1757 and probably during 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 is identical to  ours. Good condition, no repairs. Slightly creased, stained and faded. Dimensions: 110x50cm We keep 2 other lithographs from this series representing two other Lohan.

Chinese porcelain tea service. Decorated in “Famille Rose” enamels. Gilded details. In the cartouches are represented, in alternation, palace scenes, flowers, butterflies and birds, representative of the so-called "Canton" style. This style appeared in China around the middle of the 19th century and is still produced today, however production has continued to deteriorate over the decades. The quality of execution, the beautiful enamels and the careful designs of our tea service indicate production from the first period around 1850. If Canton porcelain is of little interest because it is so numerous, such a service in perfect condition, without a single accident, nor crack, nor chip and practically complete is very rare. This service should never have been used. It is composed of: Tea-pot. 145 x 210mm Milk pot. Sugar. 11 cups and saucers. D: 145mm D: 85mm A cake dish. A treat dish. A cup and a saucer are missing.

Cast bronze censer. Thick and heavy. It rests on 4 feet. The simply twisted handles seem to be part of the one and the same casting which would be a technical feat because I don't see any traces or rivets or welds. A frieze of stylized flowers surrounds the upper body. On the front part, the prestigious mark of Emperor Xuande cast in high relief is probably apocryphal. The exterior of the censer must have been regularly cleaned because the metal bears no patina except in the hollows of the patterns which are inaccessible to the cleaning cloth, on the other hand the interior shows us a beautiful very old patina. Despite the simplicity of the decor, this censer is very elegant and of good quality. Probably Chinese work from the 17th century. High: 128mm Weight: 750g Bon état,pas de restauration.

This handle is in cast bronze with 2 welded sides and gilded. The carving is of the best quality and the sculptur is powerful, announcing an excellent artist. It must have been part of a very large censer or vase in certainly imperial cloisonné enamel that is somewhere.Certainly Kienlong period or earlier. Hight about 22cm.

Superb hanging stand, carved in sandalwood with boxwood details. Decor of 2 dragons presenting a Chinese character, certainly that of longevity "Shou". The stand is carved with the greatest care, a perfect work of cabinetmaking with an excellent finish. In the upper part there remains a hook and a piece of chain in gilded bronze with mercury tecnical. The suspended object, now missing, must have been of exceptional quality, probably imperial. Maybe a jade? but not necessarily. A precious object which would be presented on this support will double its potentiality. Item is better than pictured. I will make better ones. Height about 25 to 30cm. Some légers accidents. Some little missing. Qing period ,probably qianlong or kiaking.

Poutaï in porcelain enamelled mainly in yellow, details in blue, green, pink, white and gold enamels. The deity is represented seated, relaxed as usual. The jovial expression is well treated. The subject was executed in large quantities but the one we present here today is more interesting than usual because its yellow color is particularly appreciated in China, its expression is beautiful and it is in perfect condition. Underneath there is an intaglio stamp, probably a workshop mark? The clay left without glaze, below, shows brown spots due to the presence of iron oxide in the clay, which is typical. Good condition. No restaured. Height about 27cm.

Covered vase in nuanced ocher jade, decorated in relief with a grinding wheel with Taotie masks. Very good quality of sculpture. The stone is probably fire-patinated to imitate the color of archaic jade as was usually the case in the Ming Dynasty. It is impossible for me to date such an object. It is old, probably from the 18th century but could be earlier. Good condition, except for a few dents on the lid that can be seen on an enlarged photo. Height: 12cm.

Writing box in lacquer imitating an ink stone. Fun and very rare item. The box in the shape of a gourd with its stem, its leaves and its flower, it is in green, brown and golden brown lacquered wood. The interior has a small receptacle representing a red gourd. The details are of high quality as can be admired on the perfect execution of the leaves. It is a very rare object of which we do not know of any other specimen. Chinese work probably from the 18th century. No mark. Length: 144mm; Height: 36mm. An accident some usual wear (look photos).

Container in 2 parts. Rare form. Perhaps an incense burner or a container to keep a liquid warm? A small undecorated white porcelain bucket fits into a porcelain container decorated with enamel birds. Below mark of Tong-Zhi, one of the last Chinese Emperor. The porcelains of this reign are usually of very low quality, our porcelain is an exception, indeed the birds are well drawn, precision and elegance. Technically, the cooking is perfect, no flaws, no splits or lacks, well-cooked enamels. Unusual shape and quality for porcelain from the Tong-zhi period which was the worst period in the history of Chinese porcelain. End of the 19th century. Good condition. Diameter: 92mm Height: 67mm

Cast bronze censer gilded with mercury. Decor of Greek friezes and incised precious objects. The gilding is largely worn, we still see some in the places most protected from wear and tear. It is thick and of good quality, it is a hot-pasted mercury gilding technique. The handles are attached to the body they were cast with it, they are not added, riveted or welded, they represent dragon heads. On the base foot we can see a vertical dark trace of solding that is probably an old restauration. Difficult to certified the antiquity of this bronze ,because cleaned intensively and the old patina missing, but the beautifull and correct gilding traces is encouraging. China Qing 18th centurie? Wide with the handles : 15cm. Weight 550g

Pair of hard porcelain vases, enamel decoration of butterflies, birds and flowers. Dragons chasing the sacred pearl surround the collar inside and out. Golden details. The flared shape is elegant and very rare, the enamels are of excellent quality, the patterns are well drawn and the presence of dragons is also rare on this type of porcelain which, almost always, was intended for Europe. Good general condition, no restoration. However one vase has a crack and the other a small chip, 2 photos show these 2 accidents.Chinese work Qing dynasty 19th century about 1850. Height: 285mm

Buddha in bronze cast with lost wax and gilded with mercury. The walls are very thick, the statuette is heavy. The gilding is original, certainly baked several times to obtain a nice thickness. The reverse of the dress is chiseled with stylized flowers. The base is closed by an incised copper plate of Vajra. The base does not appear to have been opened. The two arm bracelets were originally to have stone beads, today replaced by a colored coating. In the palm of the hand, we can see a hole left by the loss of the vase. Gilding slightly worn in rare places visible in photos. Otherwise good condition. No welding or restoration. The bronze has not been cleaned. Height 187mm.

Vase in the shape of 2 intertwined fish forming only one individual. Chinese ceramic enameled in turquoise blue with black details. The mount is in cast bronze and gilded with mercury, it is in 2 parts, thus allowing it to be assembled around the tail of the fish. It is of high quality "Rocaille" style and certainly from the early 18th century. The ceramic is a kind of stoneware fired at low temperature and is part of the large production of ridge tiles (tile work) and other Chinese ceramics of exteriors from the Ming and the beginning of the Qing, but this subject of two tangled fish is very artistic. and particularly rare. Moreover, the Chinese symbolism is strong, it is about marital happiness. It is an absolutely unique object. The vase has an abnormally high foot which would not make sense and would be unsightly for a  vase, so we think it is possible that it was specially ordered in China with this high foot for better fixing in the future bronze base, make in France. The vase has no restoration. Some accidents visible on photos. Tail, fin and lip. The mounting is of excellent quality ,certainly work of Paris. Original gilding, not cleaned, visibly in good condition under the dirt. Height:25cm

Stoneware vase covered with a thick sky blue glaze stained with dark blue shades and purple spots. The base left unglazed reveals the construction of the vase, the very thick clay body and it seems to be made in 2 distinguished layers, one cream and the other brown. The vitrified glaze is very thick and runs in several places forming large drops. One of them was ground because, being too voluminous, it must have stuck the vase in the kiln. The pierced underside allows us to judge the strong thickness of the base, otherwise the vase is in good condition. It would seem that this Chinese vase is from the Song or Jin period. Only a specialist could date it with accuracy. 158x103mm

Very rare lacquered wooden box, inlay of the "hundred precious items" type. The decoration represents sages and animals in a landscape, antiquity and friezes of stylized dragons. The inlays are mainly in mother-of-pearl, but also in stone, steatite and above all a superb lapis lazuli of a rare blue stained with green, details are in sculpted cinnabar lacquer and also inlaid, others are in tinted bone and horn, and finally details are painted with gold powder. Chinese work from the Ming period. The box must have stayed in the humidity for a very long time and the lacquer is destroyed. There is little lack of encrustation. Major restoration work is to be expected but the rarity of the object justifies. 29x19x12cm

Guan Yin in cast bronze. She is holding a stylized flower in her hand which serves as an incense holder. Her long-sleeved dress is reminiscent of the Tang style. Details are incised on the dress, the hair. The old patina is very beautiful corresponding to an object several hundred years old. Must be from the Ming period or earlier. A part of the ribbon is missing (visible on picture)Normal wear for an earlier period Height: 13,5cm Translated with www.DeepL.com/Translator (free version)