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

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.

Chinese hard porcelain dish with an elegant scalloped shape, decorated in famille rose enamels with 5 dragons competing for the sacred pearls. The vigorous dragons are very well drawn, their contortions are harmonious. They only have 4 claws. The marli is decorated with a Greek frieze enamelled in a pretty bright blue. The Greeks could indicate a European order, but the central, typically Chinese decoration of the 5 dragons circumscribed in a circle is more reminiscent of an order for the Chinese domestic market. The quality and style make us think that this dish was created around 1800, at the end of the 18th or beginning of the 19th century, probably in the kilns of Jingdezheng. Large crack and chip repaired with gold. 298x230x45mm

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).

Small Buddhist lion in almost solid cast bronze. The object is heavy. Beautiful active and fierce expression. Details meticulously chiselled with precision. It is probably work from Vietnam or South China. A very beautiful bronze patina announces a 19th century period or before. Underneath there is no fastening mark, so it was not the grip button of a lid. Not a weight either because part of the underside is hollow. Hight: 6cm. Fine condition.

Silver dish, incised central decoration of tree peony flowers and a bird.With a différent technic the border is decorated of flowering branches in the rembossed metal technique. The metal of the plate has been rolled or hammered by hand, creating imperfections, as seen in the photo below, an unusual technique that indicates a creation date prior to the late 19th century when silver plates were rolled mechanically. To be distinguished from the large quantity of Chinese or Vietnamese goldsmith's objects from the 1900s whose stereotyped decorations lack elegance and poetry. The construction technique and the elegance of the decoration allow us to date this dish to the beginning of the 19th century or earlier. Which makes it a very interesting chinese goldsmith object. Good condition. No restoration or welding. Usual wear. Length about 22cm.

Budai is the Chinese "Père Noël" ,the Japanese calls him Hoteï. He carries toys in a big bag and distributes them to children who adore him and are sometimes represented at his side. The god is seated, his half-open robe reveals his large belly, a symbol of his generosity. He holds his rosary in his hand. Oddly enough his big bag is missing. It is sculpted from a beige steatite ( soap stone) stained with pink, on the skull appear red veins of the stone. The artist knew how to breathe life into this laughing face with communicative joy. It is difficult to date this work precisely, however the simplicity of execution, the absence of mannerism, the wonderfully expressive face as well as a beautiful patina makes us think it is very old. Qing period or before. Good condition, small insignificant accidents that can be seen in photos. No restoration or grinding. H: 90mm W: 90mm

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

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.

Enamelled copper dish. Decor, in the center, of a palace scene painted in enamels of the "Famille Rose", surrounded by a deep Sèvres blue on which Chinese emblems stand out in gold and in silver armfuls of flowers which have lost their shine, silver having oxidized over the centuries. On the margin are represented in gold on a blue background dormouses feasting on grapes, this theme was very popular around 1800.  The white reverse clearly shows the stains of the old restorations which have yellowed with time. It should be noted that this type of European restoration is always "generous" and goes far beyond the rugged areas. The mountains are curiously stylized in the shape of a funnel. Chinese work from the beginning of the 19th century. Qing dynasty reign of Kia-king or Dao-Kouang. ​

Deity probably Taoist in soapstone. The god is standing, brandishing the Ying and the Yang. It must refer to a specific character and a story or legend. The work is finely executed and the style of the carving is unusual, cartoonish. In addition, the artist allowed himself to cheat by abnormally moving the left ear too close to the eye so that, seen from the front, the face is balanced. Like the columns of Greek temples which are bent to compensate for the optical effect or like certain porches of Renaissance palaces which are also twisted to appear straight. This kind of detail proves that special care has been taken in this sculpture and that it is not one of the low quality ones made in large numbers at the end of the 19th century. Damaged. Head cutted and glued, little missing at dress, impact on Ying & Yang symbol. Look the photos. Sure it's very old but précise datation difficult, seem to me ealier than 18°th but I don't know. Hight about 20cm.

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).

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.

A cast bronze censer representing a mandarin duck. Beautiful cast and excellent neat finish. Missing the cover and a broken leg lost and replaced. The bronze is covered with a beautiful old patina certifying the object 19th or before. Qing or Edo period. Long 17cm.

Carved hardwood box. The wood appears to be Huang-Hualy. The decoration is sculpted in relief with a peach tree in a stylized vase, the tree bears foliage and 5 peaches. The stylized vase is composed of a filiform dragon whose head can be seen from the front. The box opens with a lid pierced with 2 holes to receive a retaining wire, so you could open the lid by making it sink without losing it. Chinese work. We do not know what the use of such boxes was. According to the style and the good quality, we could date this box to the beginning of the 19th century. 13cm x 2.5cm Good condition, the wood well patinated. One chip on the edge visible on photo.

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. ​

Censer in form of Tripod vase (Ding shape) in Chinese porcelain. Underglaze decoration of dragons with 5 claws in cobalt blue and copper red. The dragons are chasing the sacred pearl. Below the mark of Wanly. It is probably an apocryphal mark. The object may simply be from the Kanghi period, the worm nibbles around the edge seem to confirm this period? Some experts believe that red copper was not used in the late Ming, but some examples of imperial Chiaching and Wanly porcelain in copper red exist. Width about 7cm. The two handles broken and missing. A split foot.

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.

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.

Thick cast bronze censer depicting a goose spreading its wings. I believe it is cast in two parts separately, the goose and the vessel then brazed together. Interesting subject, very nice finish and chasing. Old patina. No gilding, no restoration. Width the largest 14,5cm.

Pair of cast bronze cranes. The birds are fixed on rectangular bases, they carry a vase on their back and a ball in their beak. Sometimes these birds hold in their beak a flowering stem which ends in a candle holder, but here, examination with a magnifying glass reveals neither fracture nor grinding, it would seem that they are simply balls.Is this related to the funerary practice of placing a ball in the mouth of the deceased? A scholar must surely know what it is. Similarly, the vases are not hollowed out, which prevents the possibility of inserting incense sticks into them; they only have a decorative function. The cranes have an unusually fierce expression, the workmanship is rustic, the casting of the bronze has imperfections, and the chasing is weak. The patina is old. The bases are filled with lead to weight the birds and make them more stable. On the base you can see ferrous oxide stains because the inside of the legs is reinforced with iron rods, this is not a restoration but originally designed for the strength of the legs. Despite the rusticity (or thanks to it) there emerges a peaceful force from these 2 small statuettes. The vases were separated and resoldered with tin. Probably Chinese work from the Qing period or much earlier. Height: 17cm.

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.

Portrait of ancestor. Painting on paper representing a noble lady. The style of the furniture and its quality suggest that it is an important wealthy family of the 18th century, without however being of the imperial family because the dragons represented on the dress have only 4 claws. The face is admirably painted, the artist played with the light to give us this living-dead head and yet it is beautiful without anything macabre. China circa 1800. The painting alone measures 58x124cm Good condition, no repaints. There are paper cutouts at the bottom, I think part of the painting has been diminished, I will study on request.

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 base is made up of several small wooden parts finely cut with flowers, scrolls and Greek motifs. The majority of the wood is dark brown, almost black, small inserted panels are made of boxwood, the barriers are made of bone. These barriers were tinted green, a color today almost completely erased by light and time, however more pronounced shades of green remain in the most sheltered places. This barrier is carved with plum blossoms, bamboo stems and pine needles. These 3 plants, represented together, are called the 3 friends in China and are symbols of the essential qualities of the scholar. This precious base must therefore have been the property of a scholar and must have supported a jade Bi disc or an archaic bronze mirror. Chinese work from the Qing period late 18th century around 1800. Good condition, however there are small losses visible in photos. A bone barrier is missing. 26x24x10cm. This base is designed for a disc with a diameter of 255mm.

A rare very little Budai in porcelain enameled in "famille rose" style.The iron red enamel of beautiful vivid colour. The god is seating. Very little size, probably this divinity was make for travellers. Budai was the god of good fortune,abundance of good health. and perhaps a dealer travelling keep him with him. Good condition, no restoration. Normal wear for centuries-old porcelain. China later 18th century earlier 19th. Hight: 4,8cm.

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

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.

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.

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

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

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

Quadrangular vase in very thick and heavy porcelain stoneware covered with pâle blue glaze (Jun?)splashed with yellowish-brown stains (oil spots?). Interior also glazed. 118x50x75 mm Good condition, slight usual wear, no cracks or restoration. Cooking defects at the corners of the base. Possibly Jun with oil spot of the song period.

Cast bronze incense burner, supported by three feet, on the sides, two Buddhist lions form the handles. The object was not cast in one go, indeed the handles and the feet were cast separately and welded, which for the feet is unusual. This seems to announce a lack of technique due to modest provincial craftsmen working in isolated regions. The bronze has casting defects, holes and burrs and the finishes are sketchy. However, despite its rusticity, the object is interesting, this is due to the power of the lions and a beautiful patina of old oxidation. Difficult to date and locate. Probably Chinese work, but could it be Vietnamese? Undoubtedly old at least from the 18th century but probably well before. Wide: 190mm High: 95mm

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.

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

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)

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.

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.

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.

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

Libatory cup in Chinese soft porcelain. The cup is made with a mold in 2 parts, on the side you can see the junction mark. It is decorated in relief with 2 dragons, a crane in flight and a deer. The clay is white covered by a transparent glaze.Usually, these white Chinese cups are made of hard porcelain, those made of soft paste like this are rarer. The cup is in good condition there is only a small chip on the upper edge which is clearly visible in photos. China 18th century. No repair. Height approximately 8cm.

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.

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.

Porcelain dish, decoration in underglaze cobalt blue. Although this dish is made for export, its exceptional quality is identical to the finest creations made for the chinese imperial court. The mastery of the brush is total. The painter who executed this work was one of the best hands of King-to-chen. The very high cost of a service of this quality allows us to affirm that this was the order of an important character. . China end 18°. Diameter: 232mm Good condition but multiple chips all around the edge and the heel. This type of accident is found on certain porcelains from this period and seems to be due to firing defects.

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

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. 

An extremely rare gilt bronze folding sundial-compass. Enamel dial, details in glass beads. The metal is finely chiselled with elegant volutes and gilded in the oven using the technique of gold-mercury amalgam. Very beautiful thick gilding that has withstood wear and tear well over the centuries. Chinese work from the qianlong period towards the end of the 18th century.This type of scientific instruments ordered by the qianlong emperor, were manufactured in the workshops of the imperial palace, inside the forbidden city.There are in the collections of the palace 2 identical instruments, but smaller, worn, incomplete, and of less good quality. The one presented here is in perfect condition and has part of its original box. Length 16,5cm.

Large dish with scalloped edge, in the Louis XV style. Porcelain from China made for Europe "Compagnie des Indes". The dish is deep and beautifully decorated with enamel flowers from the 18th century "famille rose" period. Good condition. 38 x 31 cm 15 x 12 Inches

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).

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

The vase is in yellow bronze. It appears to have been taken down with a hammer because it has thin walls, however it may have been cast. It is a very simple design object but of excellent quality, the proportions are perfect, the finishes are very careful. Artisans capable of producing a bronze of this fine quality would have been entirely capable of producing such a fine casting. This elegant simplicity makes us think of this very old vase, probably dating from the 17th century, or before, a magnificent old patina confirms this dating. The wide opening makes us think that it may be an incense burner. Height: 135x135mm.

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

The padlock is made of thick bronze, solid construction, the partitions are thick. There is a secret system to clear the keyhole which is hidden. You can see in the photos the explanation of the system. The bronze has an excellent centuries-old patina and the object is discreetly decorated with chiselling at the ends. The rivets are in the shape of flowers. This padlock is simple but of good quality. The key is lost, but this type of key is technically easy to make. Dimensions: 150x55mm. Weight: 630g Probably Chinese work from the 18th century or earlier. Maybe Korean.

Small bat-shaped water container. It is in porcelain covered with a beautiful green glassure and is pierced with 4 openings, a small one at the mouth, 2 others on either side of the ears and a large one at the back. Was to serve as a water cup, either as a dropper, perhaps as an oil lamp or an incense holder, or several functions at the same time. It is a rare and charming object which is also auspicious. Good condition, normal wear for a centuries-old object. I think early Qing Kangxi period. 75x60x3 cm (2.95 x 2.36 x 1.2 inches)

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.

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.

Bamboo Poutai. Very finely carved. The artist knew how to make all the emotions and characteristics of the character. The delicacy of the movement of the hands slightly retracted in a precious attitude, the joy of the laughing eyes wrinkled with enjoyment, the softness of the mouth. The sympathetic fatness of the neck. All is benevolence.The grain of the fine wood fibers draws on the skull and on the chin a semblance of hair, as well as on the nape of the neck, the defects of the wood correspond to possible curls of hair, it is very likely that the artist knew how to play with the defects of the wood by sublimating them. The bamboo is nuturaly stained white in some places,perhaps minéral inclusions, these are not restorations but a natural colouring of the wood. As I am not a specialist in bamboo, I cannot say that this is an early Tsing sculpture. The object seems too good to be true, however nothing indicates a recent fake, the sculpture is of excellent quality, the patina and the aspect of the wood seems old, nothing betrays a fake. As it is not possible to decide on photo of the real period,It seems that the buyer should take it in hand before buying. The colour is unusually very red, like that of the late Ming brush pot in the palace museum, which is illustrated in the treasure book series. High: 13cm Fine condition. Larger size 19cm

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.

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.

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