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Collection of (8) Christie's NY Catalog Books: Fine Chinese Ceramics and Works of Art Part I & II" - "In Pursuit of Knowledge: Asian Art Reference Books Including Selections From the CT LOO Library" - "The Yiqingge Collection of Chinese Ceramics" - "In Pursuit of Refinement: a Legacy of the YC Chen Collection" - "The Imperial Sale Important Chinese Ceramics and Woods of Art" - "Fine Chinese Ceramics and Works of Art" - "Reverence and Perfection Magnificent Imperial Cloisonne Enamels From a Private European Collection." Size: 11 x 8 1/2 in.

Four Asian Art Books, titles: Masks From the Himalayas, Realm of the Gods, Awakenings Zen Figure Painting in Medieval Japan. Largest Size: 12 1/2 x 9 1/2 in.

Four Asian Art Books, titles include: The British Museum Book of Chinese Art, Huichun, Ming 50 years that changed China. Size: 11 1/2 x 9 in.

Collection of Sotheby's Catalogs & Book. - "Sotheby's The Arts of the Buddha" - "Sotheby's Indian & Southwest Asian Art" - "Sotheby's The Jucker Collection of Himalayan Paintings" - "Sotheby's Thirty Years in Hong Kong"-"The Art of Japan"-"One Hundred Famous Views of Edo"-"Crosscurrents: Masterpieces of East Asian Art from New York Private Collections."-"Blinding Beauty: Hooks and Belt Plaques from Wellington Wang Collection."Size: 12 x 8 1/2 in.

Six Christie’s Miscellaneous Asian Art Catalogs from 2005, 2006, 2007. Size: 10 12 x 8 1/2 in.

Collection of (6) Christie's Catalog Books: "Imperial Chinese Porcelain Treasures from a Distinguished American Collection" "For the Employment of Scholars Selections from Robert H Blumenfield Collection" "The Scholar's Vision The Pal Family Collection" "The Ideal Image: Eight Masterpieces of Indian and Southeast Asian Art" "Indian and Southeast Asian Art" and "The Sublime and the Beautiful." Size: 11 3/4 x 9 in.

Collection of (5) Asian Books: "Chinese Masterworks" Yishu: Journal of Contemporary Chinese Art" "Asian Art" "Dragon, Tigers & Bamboo." Size: 11 1/2 x 9 1/2 in.

Collection of (7) Christie's NY Catalog Books: "Indian and Southeast Asian Art Including Highlights from the Star Collection" "Masterpieces from the Zimmerman Family Collection" "Fine Chinese Ceramics and Works of Art" "Fine Chinese Ceramics and Works of Art Including Jades from the Fine Arts Museums of San Francisco" "Important Rhinoceros Horn and Jade Carvings" "Fine Chinese Ceramics and Works of Art" "Important Chinese Snuff Bottles from the J&J Collection, Part V." Size: 10 3/4 x 8 1/2 in.

Collection of (6) Oriental Books: "Oreintal Art" "Japan" "Tutanchamun" "Art Styles in Thailand" "The Shaping of Daimyo Culture 1185-1868" "Shunga The Erotic Art of Japan 1600-1979" and "Asian Art in the Arthur M Sackler Gallery." Size: 11 3/4 x 8 3/4 in.

Collection of (5) Christie's NY Catalog Books: "Fine Chinese Ceramics and Works of Art" "Important Chinese Snuff Bottles From the J&J Collection, Part III" "Indian & Southeast Asian Art" "Indian and Southeast Art Including Modern and Contemporary Indian Art" "Modern and Contemporary Indian Art." Size: 10 1/2 x 8 1/4 in.

A large collection of Volumes on Asian art including Elsworth, Hatfield, Robert. "Later Chinese Painting And Caligraphy 1800-1950" in a three-volume presentation case, and others including Beiren, Hou "Famous American Painter" in gilt tooled silk bound slipcase, Keping, Wang, and other volumes relating to Asian art, 24 editions.

Asian Art - a teak pierced window screen, 91cm x 81cm

A pair of South East Asian wall hanging hardwood cabinets for the display of snuff bottles or other works of art, mirror-backed, 84cm h; 11 x 53cm ConditionGood condition

A QUANTITY OF BONHAMS CHINESE AND ASIAN ART CATALOGUES Including Chinese Fine Paintings, The Reverend Richard Fabian Collection Collection of Chinese Paintings, Asian Decorative Works of Art, Modern and Contemporary Art, Ritual + Culture Fine Southeast Asian Arts Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

MAO ZEDONG MAO ZEDONG (1893 - 1976) Chinese statesman, commonly known as 'Chairman Mao, a communist revolutionary who became the founding father of the People's Republic of China, which he ruled as the Chairman of the Communist Party of China from its establishment in 1949 until his death in 1976. Mao helped to found the Chinese Workers' and Peasants' Red Army, and in 1949 Mao's forces defeated the Nationalist government of Chiang Kai-Shek. On October 1, 1949, Mao proclaimed the foundation of the People's Republic of China. AN OFFICIAL LETTER AND SIGNED ENVELOPE An excessively rare pair of signed items, including an official signed governmental letter and a signed transmittal envelope which enclosed the letter, both sent in 1950 to LIU LINSHENG (given name: Liu Kuiyi) (1878-1950), Mao's second cousin on his mother's side, and he carried the honorary title 'Linsheng'. At the time he received this letter, Liu was serving as Party Leader in Hunan Province, a patronage position granted to him by Mao. Liu and Mao had both grown up in the same small village, about 1,500 miles from Beijing, and Liu's brother had been a martyr in revolutionary activities against the Qing Government. The 8 x 11 inch letter, dated April 14, 1950, was hand-executed by an amanuenses on period Chinese ruled paper and is signed in Mao's hand. It reads in full: 'Mr. Linsheng: Thank you so much for the message on the 2nd of April. The local government has been asked to stop to return the deposit, which was originally requested by peasants. Best wishes and with regards, Mao Zedong, April 14th'. A red ink stamp at bottom reads: 'Internal Archive. Handle with Care', likely placed there by Liu prior to filing. The accompanying signed envelope, 9.75 x 4.75 inches, is entirely in Mao's hand and reads in full: 'Deliver to Comrade Wen Linsheng (signed) Mao Zedong ['Wen' was Mao's maternal grandmother's name - its use here was likely honorific]. To the left of Mao's signature appear eleven red ink stamped characters reading: 'The Central Committee of Chinese Communist Sealed'. With no address indicated, this letter must have been delivered by an official courier directly into Liu's hands. Above these characters appear to blue circular stamps, faded a bit, apparently reading: 'North Branch...Sold Only for Military Purpose/Service'. This letter was the last of a series of letters exchanged between Mao and Liu dealing with the theft of rice in Hunan Province. Liu would die a few months after its receipt, and the letter later found its way to auction in Australia where it was purchased by our consignor. Both pieces are mounted to paper which in turn was mounted to cardboard, probably by the family shortly after their receipt. Liu was not a major figure in the Chinese Revolution, but a biography of his life was written and is in the holdings of 30 national libraries (three in China). 'The Collected Works of Liu Kuiyi' was published by Hunan Renmin Publishing in 2008 and contains the original text of this letter. As Liu died shortly after receiving this letter, no instruction was left for it to be eventually sent to Beijing for inclusion among Mao's writings. Our consignor utilized an extensive network of experts to research and examine these items, and included with the letter and envelope is a 108pp. folder of the result of their efforts. Notable is the handwriting analysis of Forensic Document Examiner Reed C. Hayes, who used twelve known examples of Mao's span in his 21-page positive report. Expert Chelsea Juexi Wang, MA of Curating and Cultural Leadership, University of New South Wales and Asian Art Consultant also reviewed and compared twelve known examples of Mao's hand from various letters and documents to the letter offered here. Her 28-page illustrated report also reached a positive conclusion. Wang also wrote a multi-page analysis of the paper, envelope, chops, and stamps, and undertook additional research on Liu. Additional information includes an image of the letter as reproduced in Liu's 'Collected Works', a history of Liu's family, a biography of Mao Zedong, a study of Chinese calligraphy, and a recapitulation of facts concerning the document and its origin. All provenance is included with the lot, and available to potential bidders upon request. A hitherto undiscovered Mao letter, a directive sent to a direct relative and lost for over seventy years. With authentication having already been undertaken and available to all prospective bidders upon request, this lot is sold as is.

A LARGE SOUTH EAST ASIAN TRIBAL ART WEATHERED TEA WOOD CARVED FIGURE, in stylised human form, possible a Vietnamese or Laos grave markerCondition Report:There was no provenance supplied with this item.. L -64.5 cm W - 15 cm D -9 cm

° ° Bailey, F. M. - Mission to Tashkent, 1st edition in price-clipped dust wrapper, lacking the front free endpaper, London, 1946; Stein, Marc Aurel - Ruins of Desert Cathay. Personal Narrative of Explorations in Central Asia and Westernmost China. 2 volumes, Dover Publications, New York, 1987. Original pictorial paper wrappers in plastic protective covers; Lattimore, Owen - Inner Asian Frontiers of China. Oxford University Press, Hong Kong, 1988. Original cloth binding in dust wrapper, Spine of wrapper faded; Le Coq, Albert Von - Buried Treasures of Chinese Turkestan. With an Introduction by Peter Hopkirk. Oxford University Press, Hong Kong, 1985. Original pictorial wrappers; Lady Macartney - An English Lady in Chinese Turkestan. With an Introduction by Peter Hopkirk. Oxford University Press, Hong Kong, 1985. Original pictorial wrappers; Whitfield, Roderick and Farrer, Anne - Caves of a Thousand Buddhas Chinese Art form the Silk Route. All in their 4to., British Museum, London, 1990. Together with a small collection of books relating to China and the Silk Roads. (24).

A selection of books on Asian art etc

A FINE CHINESE WESTERN HAN DYNASTY PAINTED POTTERY COCOON JAR. Made from a relatively highly-fired grey pottery and decorated with coloured pigments in a design featuring cloud patterns within vertical bands. All original coloured pigments. Western Han Dynasty (206 BC - AD 8). Length of body 30.5cm, height 26.5cm. Reference: similarly decorated cocoon jars are described and illustrated in the 1991 Southeast Asian Ceramic Society book ?Spirit of Han?. Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

A LARGE SOUTH EAST ASIAN TRIBAL ART WEATHERED TEA WOOD CARVED FIGURE, in stylised human form, possible a Vietnamese or Laos grave markerCondition Report:There was no provenance supplied with this item.. L -64.5 cm W - 15 cm D -9 cm

* BLAIR THOMSON,TRANSLUCIDoil on canvas, signed, titled versooverall size 90cm x 90cmUnframed, as intended.Note: Blair Thomson is a full-time artist inspired by Scotland and Japan. Exhibiting since age 18 and graduating from GSA in 2002, his practice has widened from landscape/figurative to abstraction, photography and installation encompassing a poetic approach and interests from Scotland beyond. Regular visits to Japan began in 2002, when he began studying Sho with calligrapher Shujo Wakabayashi, then in his eighties. Thomson exhibited with him and other Asian artists in 09 and the next year represented the UK at the ART/X/TOYAMA International Exhibition. He had been on the committee of the Royal Glasgow Institute arts organisation and is a meditator, trustee and sometimes Tenzo at Glasgow Zen Group. Thomson is a multiple award winner and his work has been widely exhibited in London, Japan and Scotland. He has consistently attracted critical praise resulting in extensive media coverage, especially in Scotland. His paintings are in prestigious collections in the UK, Japan, USA, France and Holland. Known corporate collectors include McKinsey & Co. and Scottish Widows.

A GROUP OF SOTHEBY'S AND CHRISTIE'S ASIAN ART CATALOGUES Mostly Hong Kong and Singapore, Chinese and Southeast Asian Paintings auctions, also including The Lee Kuan Yew Family Collection, Sotheby's Singapore, 2003 (Qty) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A large modern Chinese blue and white bottle vase and assorted other Asian art, including: two abacus, wood printing blocks, vase stands, sandles and gaming counters etc

A Sèvres 'Coupe Réticulée', made for the Comte de Paris, circa 1845Modelled by Hyacinthe Régnier, the bowl with reticulated double-walled Asian motifs including stylised lotus flowers, the inside decorated with eight vignette still life scenes of flowers and vases, standing on subtle gilt fretwork bases, all surrounding a central rosette in of silvered single flowers placed in abstracted pointed arches in Islamic taste, placed on a circular reticulated baluster pedestal foot, in its original fitted green leather circular case, the coupe: 24.8cm high; the case: 34.5cm diam., crowned LP monogram and SEVRES 1845 (indistinct) within a circle stencilled in blue, gilder's mark B and incised 8VZ(?) - 43 -3Footnotes:Provenance: Delivered to the Comte de Paris on 19 November 1845Le Goût ChinoisIn November 1831 Hyacinthe Régnier was paid an advance for initial designs of elements of a déjeuner simply known as 'Chinois'. His inspiration was drawn from the Chinese objects he would have seen in the famous sale of Chinese art of the Parisian art dealer F. Sallé which began on 11 April 1826. This sale contained a section of 'Openwork Chinese Porcelain'. In a description of the pieces it reads: 'The Chinese make a kind of porcelain with openwork designs resembling paper cut-outs. In the centre is a vessel for liquid. This vessel forms one unit with the openwork' (T. Préaud, The Sèvres Porcelain Manufactory - Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847 (1997), cat.no. 73 and 76). The Sèvres factory was not the first to attempt these 'double walled' objects, indeed the Meissen factory had made similar technically precarious pieces in the earliest days of its existence, and a large double-walled Doccia coffee pot is in the Museo Internazionale delle Ceramiche di Faenza. But Régnier was the first to successfully adapt the intrinsic Chinese patterns to a modern eclectic taste, and manage the huge technical challenges of firing, in several stages, the very delicate pierced outer wall. Chinese influence began to have a major influence on the decorative arts, and many Sèvres piece were inspired by forms, glazes and decorations of authentic Chinese models. As Tamara Préaud notes (op. cit. p.275) careful scientific examination of Chinese wares also prompted the development of new techniques at Sèvres.The déjeuner chinois réticulé instantly became a success, and other shapes and objects, ever more ambitious, were realised in this new, exotic taste. The first design for the present Coupe Réticulée was realised in 1842, around the same time Brogniart decided to undertake a chinoiserie cabinet inspired by Auguste Borget's Sketches of China and the Chinese (1842). Brogniart wrote he took care to avoid imitation of Chinese ornament, whereby he meant that the decoration was closely modelled after 'authentic' Chinese examples, a historically correct approach that was quite new at the time. (Préaud op.cit. p. 307).The original designs for this coupe are kept in the archives of the Sèvres manufactory. Although slightly different, the reticulated walls also show the same stylised lotus flower and foot.Philippe, Comte de ParisThe present coupe is listed in the Sèvres sales register at 650 livres on 19 November 1845 as follows Livré à Son Altesse Royale Monseigneur le Comte de Paris. Le 19 Novembre 1845. Coupe réticulée, fond bleu (...) décor en or et couleurs dans le style chinois. [delivered to HRH the Count of Paris. 19 November 1845. A reticulated coupe, blue (...) with a decoration in gold and colours, in Chinese style.]Prince Philippe, Count of Paris (24 August 1838 - 8 September 1894), became the Prince Royal, heir apparent to the throne, when his father, Prince Ferdinand-Philippe, Duc d'Orléans, died in a carriage accident in 1842. Although there was some effort during the days after the abdication of his grandfather in 1848 to put him on the throne under the name of Louis-Philippe II, with his mother (Helene of Mecklenburg-Schwerin) as Regent, this came to nothing and the family fled as the French Second Republic was proclaimed. Philippe married the Infanta Maria Isabel of Spain in 1864, and during their early married life, the Count and Countess of Paris lived at York House, Twickenham. In 1871 after the Franco-Prussian War and the downfall of Napoleon III, they were allowed to return to France, and many of their properties were restored to them. They did not, however, succeed in claiming the throne in a restored monarchy after the fall of Napleon III. In 1886 the family was exiled again returning to England, where they first lived at Sheen House, near Richmond, and in 1890 they moved to the much grander Stowe House, where Philippe died in 1894.For further information on this lot please visit Bonhams.com

A RARE CHINESE CARVED BLACK AND RED TIXI LACQUER BOX AND COVER, MING DYNASTY, 15TH CENTURY明 十五世紀 如意雲紋剔犀蓋盒Arranged with four detachable sections of layered red and black lacquer, decorated overall with a sword-pommel design, the middle tray divided into quarters, the interior lacquered redHeight: 12cmDiameter: 18.5cmProvenance: Mike Healy Collection來源：Mike Healy私人收藏The strongly rounded sword-pommel design is reminiscent of other early Ming lacquers, including two such pieces in the Irving Collection: a tixi carved dish and an octagonal box, illustrated and discussed by James C.Y.Watt and Barbara B. Ford, East Asian Lacquer: The Florence and Herbert Irving Collection (New York: Metropolitan Museum of Art, 1991), no. 9, pg.53, and cat. no.12, p.57-58.Exhibited & Published: Masterpieces of Chinese Lacquer from the Mike Healy CollectionHonolulu Academy of Arts, 19th December 2002 - 27th April 2003, cat. no. 11此類如意雲紋的設計尤其出現在明代早期漆器作品中,兩件相似圖案的漆器出現於 Irving 收藏中,一件為漆盤,一件為蓋盒,這兩件也曾出版著錄於《East Asian Lacquer: The Florence and Herbert Irving Collection 》一書中,作者為James C.Y.Watt and Barbara B. Ford,圖 9,頁53 以及 圖12 頁57-58.此漆盒也曾著錄在 《Masterpieces of Chinese Lacquer from the Mike Healy Collection 》一書中,圖11, 同時於2002年12於19日至2003年4約27日展出.Condition ReportThis rare box has a 1.6cm., wide shallow rim chip to the internal middle tray section, the red lacquer interior has been re-freshed on the box and cover and tiered section and there are several hairline age cracks to each layer.

A CHINESE CARVED CINNABAR LACQUER ‘LYCHEE’ BOX AND COVER, LATE MING DYNASTY, 16TH/ 17TH CENTURY晚明 十六至十七世紀 荔枝紋剔紅犀蓋盒Finely carved with six lychee fruit to the cover, the base with an arrangement of pomegranate flowers, all reserved against a diaper pattern, the interior black, Spink paper label to the coverHeight: 3.6cmDiameter: 8.5 cmProvenance: Mike Healy Collection, Spink & Son Ltd.來源：Mike Healy私人收藏,購買於Spink & Son LtdSmall boxes of this type were popular both in China and Japan and the high sheen to the lacquer would suggest it has been well looked after, possibly in a Japanese collectionFor a very similar ‘Lychee’ box and cover, dated to the 16th century, see Christie’s Hong Kong, 11th June 2021, lot 3140A similar box is in the Metropolitan Museum of Art, New York, illustrated and discussed by James C.Y. Watt & Barbara B. Ford, East Asian Lacquer: The Florence and Herbert Irving Collection (New York: Metropolitan Museum of Art, 1991), no. 40. pg.105Exhibited & Published: Masterpieces of Chinese Lacquer from the Mike Healy CollectionHonolulu Academy of Arts, 19th December 2002 - 27th April 2003, cat. no. 29這種類型的小盒子在中國和日本都很受歡迎，漆面的高亮光澤表明它在收藏過程中得到了很好的照顧，可能曾被日本藏家所收藏一件類似的蓋盒收錄錄於《East Asian Lacquer: The Florence and Herbert Irving Collection 》一書中,作者為James C. Y. Watt and Barbara B. Ford,圖 40,頁105.此漆盒出版且展覽於2002年12於19日至2003年4約27日,著錄在《Masterpieces of Chinese Lacquer from the Mike Healy Collection》一書中,圖29.Condition ReportThe lychee box has two shallow chips (2 and 3mm., wide) to the inner flange and several hairline age cracks to the interior and exterior of the box and cover, some of which have been stabilised.

Nilima Sheikh Where Did They Hide You ?, 2022 Mixed Tempura on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Borrowing from and translating the vocabulary of Indian painting traditions, Nilima Sheikh's artworks have ranged from small paintings reminiscent of Mughal and Rajput miniatures, to vertical scrolls rooted in East Asian customs. Over her 50-year career, the Baroda-based artist has woven into her work her concerns with femininity, tradition, violence, poetry and national politics.   After studying painting at the Maharaja Sayajirao University of Baroda in the 1960s and 1970s, Sheikh's interests aligned with those of other emerging artists who strove to situate figuration and narrative in a contemporary context. Indicative of this concern, Sheikh's Songspace-exhibited in 1995 at Gallery Chemould, Mumbai, and at Africus, the first Johannesburg Biennale-was a set of vertical, casein on canvas scrolls. The series' delicate, translucent colours intoned painterly and lyrical rhyme in their suggestions of an imagined landscape. Comprising of six double-sided tempera-painted canvasses hung beneath a painted canopy, Shamiana was erected in 1996 for the 2nd Asia-Pacific Triennial at Queensland Art Gallery, Brisbane, and alluded to the temporary tents erected during some Indian weddings.   In 2001, the exhibition Conversations with Traditions: Nilima Sheikh and Shahzia Sikander at Asia Society, New York, exhibited the artists' distinct engagements with pre-modern Indian painting. Included was Sheikh's landmark series 'When Champa Grew Up' (1984), which described the tragic life story of a woman murdered for her dowry by her husband's family. In her 2018 conversation with Ocula Magazine, the artist reflected on her process of finding 'the right language' for the topic. Arising from her lasting interest in narration and writing, Sheikh offered the lyrics from Gujarati oral folk songs as accompanying texts for the series.   In The Country Without a Post Office: Reading Agha Shahid Ali-a solo exhibition at Gallery Chemould in 2003 that took its name from an anthology of Ali's writing-Sheikh presented a visualisation of poetics and politics. The artist's citing of Ali's poetry, which focused on the contemporary conflict in Kashmir, reflected on the inherent conflicts between aesthetics and trauma. As in some of Sheikh's earlier work, these paintings employed the syntax of free verse, with compositional narratives developing not from linear descriptions but from the flexibility of independent and layered readings.   Sheikh lives and works in Baroda, India.   Select Exhibitions/Awards   Solo Exhibitions include: Lines of Flight, Asia Art Archive, Hong Kong (2018); Each night put Kashmir in your dreams, The Art Institute of Chicago (2014), Chemould Prescott Road, Mumbai, and Lalit Kala Akademi, New Delhi (2010).   Group Exhibitions include: 4th Kochi-Muziris Biennale (2018); documenta 14, Athens and Kassel (2017); Landscape of Thinking slow: Contemporary Art from China & India, National Museum of Modern and Contemporary Art, Seoul (2013). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Nilima Sheikh At The Root of Which Tree?, 2022 Mixed Tempura on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Borrowing from and translating the vocabulary of Indian painting traditions, Nilima Sheikh's artworks have ranged from small paintings reminiscent of Mughal and Rajput miniatures, to vertical scrolls rooted in East Asian customs. Over her 50-year career, the Baroda-based artist has woven into her work her concerns with femininity, tradition, violence, poetry and national politics.   After studying painting at the Maharaja Sayajirao University of Baroda in the 1960s and 1970s, Sheikh's interests aligned with those of other emerging artists who strove to situate figuration and narrative in a contemporary context. Indicative of this concern, Sheikh's Songspace-exhibited in 1995 at Gallery Chemould, Mumbai, and at Africus, the first Johannesburg Biennale-was a set of vertical, casein on canvas scrolls. The series' delicate, translucent colours intoned painterly and lyrical rhyme in their suggestions of an imagined landscape. Comprising of six double-sided tempera-painted canvasses hung beneath a painted canopy, Shamiana was erected in 1996 for the 2nd Asia-Pacific Triennial at Queensland Art Gallery, Brisbane, and alluded to the temporary tents erected during some Indian weddings.   In 2001, the exhibition Conversations with Traditions: Nilima Sheikh and Shahzia Sikander at Asia Society, New York, exhibited the artists' distinct engagements with pre-modern Indian painting. Included was Sheikh's landmark series 'When Champa Grew Up' (1984), which described the tragic life story of a woman murdered for her dowry by her husband's family. In her 2018 conversation with Ocula Magazine, the artist reflected on her process of finding 'the right language' for the topic. Arising from her lasting interest in narration and writing, Sheikh offered the lyrics from Gujarati oral folk songs as accompanying texts for the series.   In The Country Without a Post Office: Reading Agha Shahid Ali-a solo exhibition at Gallery Chemould in 2003 that took its name from an anthology of Ali's writing-Sheikh presented a visualisation of poetics and politics. The artist's citing of Ali's poetry, which focused on the contemporary conflict in Kashmir, reflected on the inherent conflicts between aesthetics and trauma. As in some of Sheikh's earlier work, these paintings employed the syntax of free verse, with compositional narratives developing not from linear descriptions but from the flexibility of independent and layered readings.   Sheikh lives and works in Baroda, India.   Select Exhibitions/Awards   Solo Exhibitions include: Lines of Flight, Asia Art Archive, Hong Kong (2018); Each night put Kashmir in your dreams, The Art Institute of Chicago (2014), Chemould Prescott Road, Mumbai, and Lalit Kala Akademi, New Delhi (2010).   Group Exhibitions include: 4th Kochi-Muziris Biennale (2018); documenta 14, Athens and Kassel (2017); Landscape of Thinking slow: Contemporary Art from China & India, National Museum of Modern and Contemporary Art, Seoul (2013). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Nilima Sheikh In Which Sky?, 2022 Mixed Tempura on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Borrowing from and translating the vocabulary of Indian painting traditions, Nilima Sheikh's artworks have ranged from small paintings reminiscent of Mughal and Rajput miniatures, to vertical scrolls rooted in East Asian customs. Over her 50-year career, the Baroda-based artist has woven into her work her concerns with femininity, tradition, violence, poetry and national politics.   After studying painting at the Maharaja Sayajirao University of Baroda in the 1960s and 1970s, Sheikh's interests aligned with those of other emerging artists who strove to situate figuration and narrative in a contemporary context. Indicative of this concern, Sheikh's Songspace-exhibited in 1995 at Gallery Chemould, Mumbai, and at Africus, the first Johannesburg Biennale-was a set of vertical, casein on canvas scrolls. The series' delicate, translucent colours intoned painterly and lyrical rhyme in their suggestions of an imagined landscape. Comprising of six double-sided tempera-painted canvasses hung beneath a painted canopy, Shamiana was erected in 1996 for the 2nd Asia-Pacific Triennial at Queensland Art Gallery, Brisbane, and alluded to the temporary tents erected during some Indian weddings.   In 2001, the exhibition Conversations with Traditions: Nilima Sheikh and Shahzia Sikander at Asia Society, New York, exhibited the artists' distinct engagements with pre-modern Indian painting. Included was Sheikh's landmark series 'When Champa Grew Up' (1984), which described the tragic life story of a woman murdered for her dowry by her husband's family. In her 2018 conversation with Ocula Magazine, the artist reflected on her process of finding 'the right language' for the topic. Arising from her lasting interest in narration and writing, Sheikh offered the lyrics from Gujarati oral folk songs as accompanying texts for the series.   In The Country Without a Post Office: Reading Agha Shahid Ali-a solo exhibition at Gallery Chemould in 2003 that took its name from an anthology of Ali's writing-Sheikh presented a visualisation of poetics and politics. The artist's citing of Ali's poetry, which focused on the contemporary conflict in Kashmir, reflected on the inherent conflicts between aesthetics and trauma. As in some of Sheikh's earlier work, these paintings employed the syntax of free verse, with compositional narratives developing not from linear descriptions but from the flexibility of independent and layered readings.   Sheikh lives and works in Baroda, India.   Select Exhibitions/Awards   Solo Exhibitions include: Lines of Flight, Asia Art Archive, Hong Kong (2018); Each night put Kashmir in your dreams, The Art Institute of Chicago (2014), Chemould Prescott Road, Mumbai, and Lalit Kala Akademi, New Delhi (2010).   Group Exhibitions include: 4th Kochi-Muziris Biennale (2018); documenta 14, Athens and Kassel (2017); Landscape of Thinking slow: Contemporary Art from China & India, National Museum of Modern and Contemporary Art, Seoul (2013). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Nilima Sheikh Under Which Earth?, 2022 Mixed Tempura with Collage and Stencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Borrowing from and translating the vocabulary of Indian painting traditions, Nilima Sheikh's artworks have ranged from small paintings reminiscent of Mughal and Rajput miniatures, to vertical scrolls rooted in East Asian customs. Over her 50-year career, the Baroda-based artist has woven into her work her concerns with femininity, tradition, violence, poetry and national politics.   After studying painting at the Maharaja Sayajirao University of Baroda in the 1960s and 1970s, Sheikh's interests aligned with those of other emerging artists who strove to situate figuration and narrative in a contemporary context. Indicative of this concern, Sheikh's Songspace-exhibited in 1995 at Gallery Chemould, Mumbai, and at Africus, the first Johannesburg Biennale-was a set of vertical, casein on canvas scrolls. The series' delicate, translucent colours intoned painterly and lyrical rhyme in their suggestions of an imagined landscape. Comprising of six double-sided tempera-painted canvasses hung beneath a painted canopy, Shamiana was erected in 1996 for the 2nd Asia-Pacific Triennial at Queensland Art Gallery, Brisbane, and alluded to the temporary tents erected during some Indian weddings.   In 2001, the exhibition Conversations with Traditions: Nilima Sheikh and Shahzia Sikander at Asia Society, New York, exhibited the artists' distinct engagements with pre-modern Indian painting. Included was Sheikh's landmark series 'When Champa Grew Up' (1984), which described the tragic life story of a woman murdered for her dowry by her husband's family. In her 2018 conversation with Ocula Magazine, the artist reflected on her process of finding 'the right language' for the topic. Arising from her lasting interest in narration and writing, Sheikh offered the lyrics from Gujarati oral folk songs as accompanying texts for the series.   In The Country Without a Post Office: Reading Agha Shahid Ali-a solo exhibition at Gallery Chemould in 2003 that took its name from an anthology of Ali's writing-Sheikh presented a visualisation of poetics and politics. The artist's citing of Ali's poetry, which focused on the contemporary conflict in Kashmir, reflected on the inherent conflicts between aesthetics and trauma. As in some of Sheikh's earlier work, these paintings employed the syntax of free verse, with compositional narratives developing not from linear descriptions but from the flexibility of independent and layered readings.   Sheikh lives and works in Baroda, India.   Select Exhibitions/Awards   Solo Exhibitions include: Lines of Flight, Asia Art Archive, Hong Kong (2018); Each night put Kashmir in your dreams, The Art Institute of Chicago (2014), Chemould Prescott Road, Mumbai, and Lalit Kala Akademi, New Delhi (2010).   Group Exhibitions include: 4th Kochi-Muziris Biennale (2018); documenta 14, Athens and Kassel (2017); Landscape of Thinking slow: Contemporary Art from China & India, National Museum of Modern and Contemporary Art, Seoul (2013). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

A collection of works of art, including a Mauchline ware box for Sackville Street Dublin 14.5cm wide, a early 20th century Welsh tobacco tin, a group of mother of pearl tokens of differing sizes and styles, a modern compact, a modern Asian enamel clip, a collection of bone prisoner of war dominos in a cigar box, a collection of furniture handles, etc AF (qty)

A GROUP OF CHRISTIE'S AND SOTHEBY'S ASIAN ART CATALOGUES The majority Hong Kong from the 1980's/1990's, also including five Sotheby's 1968-74 London asian art catalogues, together with National Palace Museum Quarterly 1966, A Study of Ceramics in Blue & White, Lee Yu-Kuan 1971 etc. Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com Additional Information: All lots are on view at 23 Maple Avenue, Singapore, 277580 on Thursday 30 June, Friday 1 July and Saturday 2 July, between 10am and 5pm. Please do not attend the property at other times. No appointments are necessary.

A LARGE SOUTH EAST ASIAN TRIBAL ART WEATHERED TEA WOOD CARVED FIGURE, in stylised human form, possible a Vietnamese or Laos grave marker

Ⓜ TWO SOUTHEAST ASIAN IRON MOUNTS FOR EQUESTRIAN HARNESS, TIBET, 19TH/EARLY 20TH CENTURYthe first T-shaped, for the junction of the head stall, pierced with traditional scrollwork inhabited by a large unicorn and a horse, and with traces of copper (previously gilded); the second square, decorated with scrollwork inhabited by an exotic bird, on a perspex display standthe first: 15.0 cm; 6 in(2)Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

‡ Ⓜ A SOUTHEAST ASIAN SWORD (DHA), LATE 19TH CENTURY, PROBABLY LAOSwith curved single-edged blade broadening towards the tip and decorated with three grooves and dots, scalloped oval copper guard, and the grip encased with silver chased with bands of foliage between plaited borders (pommel missing), in its rattan-bound wooden scabbard with silver locket (chape missing)43.6 cm; 17 1/4 in bladePart proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

Ⓜ A SOUTH-EAST ASIAN COPPER-ALLOY PROCESSIONAL STANDARD (BABAO), VIETNAM, SECOND HALF OF THE 19TH CENTURYwith pierced tapering terminal spike formed with an ogee finial with two lugs beneath, large head formed of a pair of engraved solid drums with protruding drum sticks, a pair of fans, and flames, extending at the base to a short stem issuant from a gaping dragon head, on a portion of a red haft, on black steel display stand46.5 cm; 18 1/4 in headPart proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

Ⓜ A SOUTH EAST ASIAN GLAIVE, SECOND HALF OF THE 19TH CENTURY, PROBABLY BURMESEwith curved single-edged blade broadening towards the tip, engraved with a stylised wave pattern and with a slender central groove on each face, fitted at its base with a stout down-curved spike, on a wooden haft fitted at the top with a long tapering copper alloy collar decorated with flowers and beadwork on a blackened ground49.3 cm; 19 3/8 in headPart proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

‡ Ⓜ A SOUTH EAST ASIAN COPPER ALLOY SHIELD (PEURISE), ACEH, 19TH CENTURYof low convex form, the outer surface embossed with a pronounced central boss on a chased foliate star, six further bosses on matching stars around the circumference, decorated over all with a pattern of concentric circles (one area of the border slightly bent), and the inside with four small rings for enarmes26.3 cm; 10 3/8 in diameterPart proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

LÉA LAFUGIE (FRANCE, 1890-1972) SCHOOL OF TRAVELING PAINTER, GRADUATED FROM THE PARIS SCHOOL OF DECORATIVE ARTS Opium subject: ‘Sombrée dans la béate humeur de son extase solitaire...’ (lit. ‘Falling asleep in the blissful mood of her solitary enjoyment’) 1930 Watercolor and pencil on paper Signed on the lower right With an artist seal on the lower right Titled on the lower central part Dated on the lower left Framed with a glass Dimensions (as seen within the frame): 43 x 34 cm Publication: Didier HAMEL & Sandrine DAPSENS. ‘Léa Lafugie: Art et Aventure’. Hexart Publishing, 2016: p. 74, ref. b. LÉA LAFUGIE (PHÁP, 1890-1972) TRƯỜNG HỌA SĨ DU MỤC, TỐT NGHIỆP TỪ TRƯỜNG MỸ THUẬT TRANG TRÍ PARIS NOTICE TO BIDDERS: This lot has been authenticated by Sandrine DAPSENS. Note: A French explorer born in Paris with an atypical personality and life like Alexandra David-Néel (1868-1969) in Tibet and Edith Durham (1863-1944) in Albania, Léa Lafugie was fascinated by the Asian continent and, starting from the 1920s, traveled extensively to countries such as Burma, Tibet, India and Vietnam. Her talent as a drawer and portraitist, depicting peoples’ facial features as well as their souls, lead her to meet important peoples such as Jetsuma Dorjee Pagmo, the highest female reincarnation in Tibet Hierarchy (nr. 3 after the Dalaï Lama) and Nam Phương, the last Empress of the Nguyen Dynasty. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

LÉA LAFUGIE (FRANCE, 1890-1972) SCHOOL OF TRAVELING PAINTER, GRADUATED FROM THE PARIS SCHOOL OF DECORATIVE ARTS Opium subject: 'Le corps s'allège en un symbole tandis que l'âme ivre s’envole…’ (lit. in English: 'The body lightens into a symbol while the drunken soul flies away') 1932 Watercolor and pencil on paper Signed on the lower left With an artist seal on the lower left Titled on the lower left A further inscription on the lower left reading 'Contre les moustiques Nord du Siam' Dated on the lower left Framed with a glass Dimensions (as seen within the frame): 43,4 x 34 cm Publication: Didier HAMEL & Sandrine DAPSENS. ‘Léa Lafugie: Art et Aventure’. Hexart Publishing, 2016: p. 92, ref. b. LÉA LAFUGIE (PHÁP, 1890-1972) TRƯỜNG HỌA SĨ DU MỤC, TỐT NGHIỆP TỪ TRƯỜNG MỸ THUẬT TRANG TRÍ PARIS NOTICE TO BIDDERS: This lot has been authenticated by Sandrine Dapsens. Note: A French explorer born in Paris with an atypical personality and life like Alexandra David-Néel (1868-1969) in Tibet and Edith Durham (1863-1944) in Albania, Léa Lafugie was fascinated by the Asian continent and, starting from the 1920s, traveled extensively to countries such as Burma, Tibet, India and Vietnam. Her talent as a drawer and portraitist, depicting peoples’ facial features as well as their souls, lead her to meet important peoples such as Jetsuma Dorjee Pagmo, the highest female reincarnation in Tibet Hierarchy (nr. 3 after the Dalaï Lama) and Nam Phương, the last Empress of the Nguyen Dynasty. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001)  ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930) Bouquet de lys ou Nature morte au vase meiping fleuri d’hibiscus et au bol bleu blanc (Bouquet of Lily of Still life with a meiping vase with lily flowers and a bleu and white bowl) Gouache on paper Signed to the lower right  Framed with a glass  44,3 x 36,3 cm (the full leaf out of the frame)  Provenance: René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’.  + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60.  Notes: 1. One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. 2. Lily symbolizes purity and fertility. The sweet and innocent beauty of the lily flower has given it the association of fresh life and rebirth. In this painting, Lê Phổ pays tribute to the classic genre of still life, whilst bringing his fresh vision on it, thereby creating an image at the confluence of the Western and the East Asian pictorial traditions. The discreet and quickly painted low-tone grey background, possibly a reference to the Spanish Bodegones, contrasts with the vivid red of the round table. On the latter are depicted two antique Chinese porcelains: a Ming style blue and white bowl resting on a wooden legged-stand and a Yuan stype Meiping vase flowered with white lillies.  3. Bouquet of flowers was one of the main subjects depicted by Lê Phổ along with young women. In some paintings, he even combined both subjects, as one can see in a work entitled ‘Nostalgie’ sold at CHRISTIE’S Hong Kong, China, 2018-11-24, under lot number 44. The artist mastered at painting all varieties of flowers with bright colors and a rare freshness. The record price at auction for a bouquet of flowers was achieved at SOTHEBY’S Hong Kong, China, 2020-07-09, lot 268 at €273,153.  

+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930) La colombe (The Dove) Ink and colors on silk Signed to the lower right Framed with a glass 17,8 x 22,7 cm (as seen in the frame) *****DIMENSIONS SHOULD READ 17,8 x 22,7 CM***** Provenance: - René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’. + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. Notes: One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. Why would Lê Phổ have depicted a dove The dove represents purity, gentleness, devotion, beauty and faith but also hope and peace, and that has resonated well across the vast majority of religions and cultures. It may be possible to draw a link between the dove and the Vietnam war, during which the term ‘Dove’ was describing a person who opposed the war, as opposed to ‘Hawk’. In East Asia, the dove is associated with long life and fidelity as doves pair for life. It is also noted that Lê Phổ has depicted young women with birds such as in a painting sold in DROUOT Paris, France, by Fraysse & Associés, 2007-03-21 under lot number 56. Additionally, following the East Asian pictorial tradition, he has depicted birds and flowers, as seen in a painting sold by SOTHEBY’S Singapore, 2011-04-01, under lot number 70. Compare with a related ink and colors on silk by Lê Phổ entitled ‘Three doves’ from the collection of Madame Dorothy Fera Tajasque, wife of Georges Tajasque who served as Chef du Cabinet to Marie Antoine Pasquier, Governor General of French Indochina from 1928 to 1934. This work has been sold at public auction at BONHAM’S Hong Kong, China, 2017-11-27, under lot number 250. LÊ PHỔ (VIỆT NAM VÀ PHÁP, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG, KHÓA 1 (1925-1930) La colombe (Chim bồ câu) Tranh lụa vẽ bằng mực và màu Được ký ở phía dưới bên phải Đóng khung kính 28 x 33 cm (như thấy trong khung) Xuất xứ: - René và Raymonde Altobianchi, những nhà buôn đồ cổ hoạt động trong những năm 1960-1980 tại l'Escarène, gần Nice, French Riviera, nơi Lê Phổ định cư sau khi quân đội Pháp, mà ông đã nhập ngũ tại Carcassonne, bị quân Đức đánh bại. Cửa hàng của họ được đặt tên là “César de Peluet” theo tên cha đẻ của Raymonde. Có lẽ được mua vào những năm 1970 từ một Nhà bất động sản địa phương. René Altobianchi cũng là một nhà điêu khắc trang trí và đã được trao tặng Huân chương Công trạng Quốc gia Pháp cho vai trò tình nguyện viên với tư cách là giám đốc kỹ thuật võ judo, mà ông đã luyện tập cùng với Yves Klein, một họa sĩ nổi tiếng thế giới của Trường Nice được đánh giá cao, nổi bật, với tác phẩm nổi tiếng “Leap into the void” và “IKB blue” của ông. Lưu ý quan trọng đối với các nhà đấu giá tiềm năng: Nhà đấu giá thành công sẽ được cung cấp một giấy chứng nhận tác phẩm thật do Viện Findlay, Hoa Kỳ cấp. Tác phẩm này sẽ được đưa vào danh mục quan trọng của nghệ sĩ hiện đang được chuẩn bị. Người mua sẽ chịu chi phí cho giấy chứng nhận này. Vui lòng gửi e-mail cho bộ phận để biết thêm thông tin chi tiết: yuchen@adams.ie. Ghi chú: Là một trong những gương mặt hàng đầu của nền mỹ thuật Việt Nam hiện đại, Lê Phổ sinh năm 1907 tại tỉnh Hà Tây trong một gia đình quan lại danh giá, cha ông là tổng trấn cuối cùng của Bắc Kỳ. Có thiên hướng về hội họa và vẽ tranh, ông đã vào học khóa đầu tiên của Trường Mỹ thuật Đông Dương vào năm 1925. Ông đã nhanh chóng thu hút sự chú ý của giám đốc đồng thời là người sáng lập trường, Victor Tardieu, người mà ông đã gắn bó suốt cuộc đời. Năm 1931, ông đã đến Pháp để trình bày các tác phẩm của mình nhân Hội triển lãm Thuộc địa Quốc tế. Ông đã chọn ở lại Paris một năm để tham gia các lớp học tại École des Beaux-Arts, rồi thực hiện một số chuyến đi đến châu Âu. Ông đã trở về Việt Nam năm 1933 và giảng dạy tại Trường Mỹ thuật Đông Dương ở Hà Nội. Ông đã quyết định định cư lâu dài tại Pháp vào năm 1937 và nhanh chóng trở nên rất nổi tiếng. Vì sao Lê Phổ lại vẽ một con chim bồ câu Chim bồ câu đại diện cho sự thuần khiết, dịu dàng, tận tâm, vẻ đẹp và sự chung thủy nhưng cũng đại diện cho hy vọng và hòa bình, điều đó đã gây được tiếng vang lớn trong đại đa số các tôn giáo và nền văn hóa. Có thể rút ra mối liên hệ giữa chim bồ câu và chiến tranh Việt Nam, trong đó thuật ngữ “Chim bồ câu” mô tả một người phản đối chiến tranh, trái ngược với “Chim ưng”. Ở Đông Á, chim bồ câu gắn liền với cuộc sống lâu dài và chung thủy bởi vì chim bồ câu khi bắt cặp với nhau thì sống bên nhau trọn đời. Cũng cần lưu ý là Lê Phổ đã vẽ các thiếu nữ với các loài chim như trong một bức tranh bán ở DROUOT Paris, Pháp, bởi Fraysse & Associés, 21-03-2007 theo lô số 56. Ngoài ra, theo truyền thống tranh ảnh Đông Á, ông đã mô tả chim và hoa, như được thấy trong một bức tranh được bán bởi SOTHEBY'S Singapore, 01-04-2011, theo lô số 70. So sánh với một tác phẩm vẽ bằng mực và màu trên lụa có liên quan của Lê Phổ mang tên “Ba con chim bồ câu” trong bộ sưu tập của Quý bà Dorothy Fera Tajasque, vợ của Georges Tajasque, người từng là Trưởng Nội các của Marie Antoine Pasquier, Toàn quyền Đông Dương thuộc Pháp từ năm 1928 đến 1934. Tác phẩm này đã được bán đấu giá công khai tại BONHAM'S Hồng Kông, Trung Quốc, 27-11-2017, lô số 250. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

+ ALIX AYMÉ (FRANCE & VIETNAM, 1894-1989) PROFESSOR AT THE ÉCOLE DES BEAUX-ARTS DE L’INDOCHINE (EBAI - INDOCHINA FINE ARTS COLLEGE OF HANOI) Jeune fille assise aux fleurs – A seated young beauty with flowers Lacquered wooden panel Signed on the lower right Framed with an American case Dimensions (the sole lacquered panel, frame excluded): 77 x 49 cm   This lot will be included in the forthcoming catalogue raisonne of the artist in preparation by Mr. Pascal Lacombe.  Provenance: a Brittany private collection, France.  + NOTICE TO BIDDERS:  This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Bâtiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60.  Notes: 1. Born in Marseille as Alix Angèle Marguerite Hava, Alix Aymé (this last name being that of her second husband, Georges Aymé, who eventually became the Commandant of French Forces in Indochina) was a pupil of George Desvallières (1861–1950) and then Maurice Denis (1870-1943), with whom she maintained a close correspondence throughout her career. She first traveled to Asia (Shanghai, China then Hanoi, Vietnam) in the 1920s with her first husband, a milestone from which would grow her fascination for this continent. She returned to Indochina in the late 1920s together with her new-born child and then traveled extensively the South-Eastern Asia. Alix Aymé was inextricably linked to the French colonial experience in Indochina: she lived and worked for many years in Hanoi; she was instrumental in the revival of the ancient art of lacquer that she taught at the Ecole des Beaux-Arts de l’Indochine (Indochina School of Fine Arts) along with Joseph Inguimberty (1896-1971). Her work is at the crossing point between the Nabis style and the traditional Vietnamese painting. It is also inspired from the Byzantine icons with a notable taste for gilt backgrounds. She thereby brought traditional Vietnamese subjects, such as young beauties and maternities, under the light of Western Modernity. She was particularly talented at depicting the soul and intimacy of her models. In September of 2012, an exhibition about the Ecole des Beaux-Arts de l’Indochine (EBAI) opened at Paris Museum of Asian Art (Cernuschi Museum) that drew attention to the work of Alix Aymé with the display of a magnificent lacquered cabinet by hert that was arguably the ‘star attraction’. Today, her work is found in a number of important private and public collections worldwidely, including the Cabinet des Dessins of the Louvre Museum (Paris, France), the Musée des Années Trente (Paris, France), the Royal Palace in Luang Prabang (Cambodia) and the Evergreen Museum and Library of Johns Hopkins University in Baltimore (USA) 2. This portrait seems to belong to a series of lacquered wooden panels depicting women together with flowers and may possibly be the most notable one. Indeed, it stands out because of its size (it appears to be the largest one of the series) and also because the body of the model is made visible, whilst on the other panels, their sole busts are depicted. Alix Aymé captured the soul and intimacy or her model - a very young girl with almond eyes, half-long hair and a delicate smile - who appears to be serene and calm. She is wearing a long brown long robe as well as a flower necklace and his holding a bouquet of flowers. The sobriety of her tunisque is deeply contrasting with the bright pastel colors of the flowers and with the gold background. The latter makes it looks like an icon rather than a mere portrait, which conveys spirituality and invites to meditate. 3. Compare with a panel depicting a young girl with a dove of smaller size (45,5 x 38 cm) sold at AGUTTES, Paris, France, 2020-10-06, lot 24, for €27,000 hammer price. Also compare with a panel depicting a young girl with flowers of smaller size (48 x 38 cm) sold at AGUTTES, Paris, France, 2022-03-14, lot 30, for €87,000 hammer price. This last example is the closest one to our panel and gives a good idea on the most recent trend for prices.  

U NYAN SHEIN (BURMA, MYANMAR, 1925-2003) An animated view with a walking monk and a stupa Watercolor on paper Signed and dated on the lower left Framed with a glass 49 x 71,7 cm Provenance: A private Irish collection of Burmese and South-East Asian Arts. Notes: 1. U Nyan Shein studied art with famous artists such as U Ba Shwe, U San Shein, Saya Saung and U San Win from 1937 to 1954. In 1954, some of his paintings were exhibited in London, UK. He was awarded the PPrize of the Central Art Academy Committee in 1974 and eventually made his path as a professor, e.g. being the supervisor of the Art Education in Tangoon from 1973 to 1984. 2. Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

U MAUNG MAUNG THEIN OR THAIN (BURMA, MYANMAR, ACTIVE 20TH & 21ST CENTURY) The Golden Stupa of the Shwedagon Pagoda Yangon, Rangoon Watercolor on paper Signed on the lower right Framed with a glass 58,3 x 45,4 cm Provenance: A private Irish collection of Burmese and South-East Asian Arts. Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING KYAW SWAT View of a pagoda with monumental Singha sculptures Watercolor on paper Signed on the lower left Framed with a glass 22,9 x 32,4 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING KYAW SWAT View of a temple Watercolor on paper Signed on the lower right Framed with a glass 23 x 32,5 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING U KYAW NYUNT (C.1924-2003) A street market with ceramics, possibly that of the Old Bagan near Ananda Temple Watercolor on paper Signed on the lower right Framed with a glass 23 x 32,3 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING KYAW SWAT A young monk with two other boys Watercolor on paper Signed on the lower left Framed with a glass 23 x 32 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING KYAW SWAT A view of a street market Watercolor on paper Signed on the lower left Framed with a glass 21,5 x 30,5 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING KYAW SWAT Devotees at the temple Watercolor on paper Signed on the lower right Framed with a glass 23 x 32,2 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING U KYAW NYUNT (C.1924-2003) View of a temples Watercolor on paper Signed on the lower right Framed with a glass 23 x 32 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING U KYAW NYUNT (C.1924-2003) View of a street mark with squatting women, one dressed in a red traditional costume Watercolor on paper Signed on the lower right Framed with a glass 22,9 x 32,4 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A PAIR OF EARLY CAMBODIAN RIBBED GOLD EARRINGSCambodia, c. 1st - 2nd century. The gold earrings in form of a ribbed open circle.Condition: Very good condition, minuscule nicks, and soil encrustations.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 6.1 g and 4.4 gDimensions: Diameter 1.8 cm

A LARGE KHMER GOLD RING WITH AMETHYSTCambodia, 8th -12th century. The gold ring with hollow sides, is inset with an amethyst cabochon held in a claw mount.Condition: Very good condition, a few nicks, cracks and dents.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 7.9 gDimensions: Diameter 2.9 cmLiterature comparison:Compare a related gold ring with an amethyst inlay, dated to the 8th -12th century, published in The Zelnik Istvan Southeast Asian Gold Museum, page 55, Budapest 2013.

A FAHUA GLAZED BALUSTER VASE, MING DYNASTYChina, 17th century. The ceramic vase with a baluster body decorated with jeweled pendants cascading down the shoulder above birds, flowers, and figures, the neck enveloped in swirling clouds and the foot with a lappet band, painted in turquoise, white and yellow, all reserved on a deep blue ground. The glaze stopping shortly above the foot to reveal the reddish ware.Provenance: German private collection, assembled in the 1980s and 1990s.Condition: Good condition, minor wear, few burst glaze bubbles with glaze flakes.Weight: 4,388 gDimensions: Height 26.9 cmAuction result comparison: Compare a related Fahua baluster pottery jar, dated to the 17th century, of larger size (38 cm height), at Bonhams San Francisco in Fine Asian Works of Art on 29 June 2009, lot 8161, sold for USD 7,320.

A GE-TYPE LOBED BOWL, MINGChina, 1368-1644. The rounded sides rising from a short five-lobed foot to a five-lobed rim, covered overall in a soft gray glaze suffused with a network of black crackles, the glaze stopping irregularly at the foot ring.Provenance: French private collection.Condition: Excellent condition with minor wear and firing irregularities, extensive kiln grit to the well with an associated minuscule glaze loss. Weight: 86.4 g Dimensions: Diameter 9.8 cmLiterature comparison: For the prototype of this form and glaze, see several petal-lobed dishes of various sizes, in the Palace Museum, Beijing, illustrated in Selection of Ge Ware, Beijing, 2017, pls 42-46 and 63. Compare also a Ming dynasty Xuande mark and period dish, of circular form, now preserved in the Palace Museum, Beijing, illustrated in the exhibition catalog Power and Glory: Court Arts of China's Ming Dynasty, Asian Art Museum, San Francisco, 2008, pl. 76.Auction result comparison: A related dish of slightly larger size was sold by Sotheby's Hong Kong in Tiaminlou - A Small History of Chinese Ceramics on 30 May 2019, lot 14, for HKD 75,000.明代仿哥窯式梅花碗 中國，1368-1644年。短碗足呈五瓣形，梅花形碗，整個表面施一層柔潤的灰色釉，黑色開片裂紋，釉不規則的聚集在腕足処。 來源：法國私人收藏 品相：狀況極佳，磨損少，燒制不規則，爐膛粗砂過多，釉料損失極少。 重量：86.4 克 尺寸：直徑9.8 厘米 拍賣結果比較：一件相近但尺寸更大的碟子售于香港蘇富比Tiaminlou - A Small History of Chinese Ceramics拍場，2019年5月30 日，lot 14, 售價HKD 75,000。

A PAIR OF CHAM GOLD 'MARANGGA' EARRINGSCham kingdom, circa 10th century. The gold double-axe shaped earrings decorated with nandi on each side, surrounded by tendrils.Condition: Very good condition, minor bending, and soil encrustations.Published: The Zelnik Istvan Southeast Asian Gold Museum, page 140, Budapest 2013. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 13 g and 13.5 gDimensions: Height 7.2 cmNandi, the white bull of Shiva is a popular motif on Cham jewelry. He was known for his generative power and is usually depicted as a humped bull reclining peacefully near Shiva or alone, decorated with a string of bells around his neck.

A MOTHER-OF-PEARL-INLAID BLACK LACQUER RECTANGULAR TRAY, JOSEON DYNASTYKorea, 16th-17th century. With a wide flaring rim, superbly decorated with stylized lotus flowers on scrolling vines, to the interior with stylized auspicious symbols topping each flower, the base lacquered cinnabar red. Provenance: Gerard Hawthorn LTD Oriental Art, London, UK, 24 April 2008. A noted private collection in Abcoude, Netherlands, acquired from the above. A copy of the invoice, erroneously describing the piece as Chinese and from the Ming dynasty, accompanies this lot. Condition: Excellent condition commensurate with age, old wear, crackling, a small loss to one corner with associated touchup, the interior with four and the exterior with two replaced inlays (inspected under strong blue light) out of more than 200 inlays in total. Weight: 639 g Dimensions: Size 4.3 x 31.7 x 19.2 cmAlthough they superficially resemble and, indeed, are often incorrectly termed as orchids, or even peony blossoms, the flowers depicted on this tray actually are stylized lotus blossoms, as indicated by the appearance of the associated buds. The stylized blossoms, which are known as byeonryeon in Korean, likely first appeared in the silk textiles of China's Song dynasty (960-1279). Popularized in Chinese porcelains of the Yuan (1279-1368) and Ming (1368-1644) dynasties, the foreign lotus design, or fanlianwen, spread to Korea early in the Joseon dynasty (1392-1910) and was incorporated into the decorative schemes of Korean blue-and-white porcelain, buncheong ware, and inlaid lacquers. Though little is known of the earliest history of lacquer-making in Korea, archaeological evidence indicates that Korean craftsmen were making lacquered objects at least two thousand years ago, in the late Neolithic and early historic periods. By the Goryeo dynasty (918-1392) Koreans were producing elegant lacquer vessels and sutra-storage chests in black lacquer embellished with small floral designs inlaid in mother of pearl, the designs occasionally augmented with small, twisted, metal wires inset as borders and as the stems in floral arabesques. The tradition of inlaid lacquers continued into the succeeding Joseon dynasty (1392-1910), usually in black lacquer with bold floral designs inlaid in mother of pearl. Auction result comparison: Compare with a related foliate-shaped tray, of larger size and dated to the 17th-18th century at Christie's New York in Japanese and Korean Art on 18 April 2018, lot 141, sold for USD 137,500. Compare also with a related but larger stationery box at Christie's New York in Japanese and Korean Art on 22 September 2020, lot 252, sold for USD 81,250, and another at Sotheby's Hong Kong in Asian Lacquer on 27 May 2014, lot 902, sold for HKD 750,000.

A PAIR OF KHMER GOLD CONCH SHELL EARRINGSCambodia, c. 10th century. The earrings in form of a conch shell with an aperture for suspension on the thinner end.Condition: Commensurate with age, material loss, malachite and soil encrustationsProvenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 10 g and 10.5 gDimensions: Length 4.7 cm and 4.6 cm