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

Small cabinet with drawers in precious wood. It opens with a sliding door revealing 3 drawers. The door is inlaid with silver threads depicting the Chinese character "Shou" meaning longevity, the other panels are inlaid with a simple silver thread. This small cabinet with a simple shape is made of very hard wood with a dense grain, almost black in color with red reflections. It is probably some kind of rosewood, perhaps red sandalwood, called zitan in China. The cabinet work is of good quality, the joints are perfect. The support handle is made of yellow metal alloy, bronze or brass? It is possible that it was changed because it seems to us that it should also have been made of silver. Beautiful old patina of the wood. Good condition, some silver wires have become slightly twisted as the wood has shrunk over time. 129x101mm.

The urn is made of very hard porcelain stoneware, the body and lid were turned. 5 cases were glued to the slip on the shoulder, as they are deeply hollow, without however crossing their support, I think that they must have served as a receptacle for incense sticks, a decoration of petals and stylized flowers is vigorously incised before firing, then covered with a cracked celadon glaze. Chinese work from the Song dynasty around the 11th-12th century. A chip in the setting, 3 of the five cases glued back together. No shortage or restoration. Hight 250mDiameter 132mm

Jar with pouring spout serving as an important ewer for tea, wine or water. Decor of a dragon energetically painted in underglaze cobalt blue, its eagle claws widely deployed. 4 sturdy handles allow you to hang the ewer. This type of hanging container is made of bronze and was used on boats, hence its name "sampan teapot". The pouring spout was formerly restored. All the rest of the object is in good condition.China 17th century or before.

Small iron in cast bronze, relief decoration in the traditional archaic style, exceptionally part of the handle is in jadeite. Usually these irons are simply made of bronze because they were utilitarian objects, which is why it is curious that this one has this precious contribution. The tip fits perfectly and seems to be well 'origin. It must be an iron used in an important family. Difficult to give a precise date, the bronze has a beautiful, very old patina, 19th century or much earlier. Good condition 141x84mm.

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

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.

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.

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.

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.

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.

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.

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.

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

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.

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

Spherical boxes in bronze (or copper) cloisonné in relief. The wires isolate the relief lotus flower decoration, leaving free spaces of enamel between the motifs which is an unusual, more complex technique. The fact of not completely filling the partitions with enamel weakens those which are at the edge of the decor. The wires must be welded and not simply glued before enameling, which is more difficult. If the old cloisonné enamel had all their wires welded, it would only be from the 19th century that the welding would be replaced by a cold adhesive. Around the base a frieze of stylized waves around the top of the lid a frieze of stylized clouds. The lid grip is made of a gilded bronze peach, a symbol of longevity, it is held in place by a screw and a copper nut cut and threaded by hand. The interiors are enameled in blue. Good condition. Height: 115mm.

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.

Soapstone pot. Sculpted decoration of a landscape animated by characters. In certain places, openwork crosses the walls. The cylindrical pot rests on three feet carved from the mass, it is covered with an openwork wooden lid, topped by a soapstone grip representing lotuses. It is possible that it is an incense burner, which would explain the presence of the Openworks for the evacuation of smoke and good ventilation, put into operation it has a very nice effect. It can also be a brush pot that we would have covered late. It is difficult to date it exactly, however there is, incised, a mark of 2 Chinese characters and a stamp in red which must indicate the name of the artist. A specialist should be able to find out who it is. Qing dynasty 17th-19th century or before. High 26cm. Good condition. Very worn. No repair. No gluing.