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CHINESE SCHOOL (CHINA, ANONYMOUS, ACTIVE QING DYNASTY)Flowers, in the manner of Yun Bing 清於 (1735-1796)An album comprised of eight (8) flower paintings on silk laid on cardboard Five (5) of them bears a Mandarin Chinese handwritten label titling them: - 寒烟浦锦;- 青山挂雪;- 玉盘腊蕊;- 黄金钱;- 魏紫莲.Dimensions (each painting, approximately): 42,3 x 28,5 cm画集《鲜花八图》[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- silk paintings laid on soft cardboard within a book;- wormholes;- stains, russets and tears (mostly to the mounts and the pages);- paintings globally fresh.

HU YINGXIANG 胡应祥 (China, 1865-1951) Bird of Paradise and flowers Ink and colours on paper Inscribed with a calligraphy signing it Bears a sealFramed with a glass 21,5 x 50,4 cm画作《天堂鸟和鲜花》[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- folds;- russets.

TIAN JINJIANG 田锦江 (CHINA, ACTIVE 19TH CENTURY) HUNDRED FLOWERS 百花齐放 AFTER XU CHONGSI 徐崇嗣 (CHINA, LATE 10TH TO 11TH CENTURY) Ink and colours on silk Laid on wooden panel and framed  Inscribed with a calligraphy to the upper left Titling it “All years flowers” Locating it in Yishan (峄山), Shandong Province  Signing the painting Tian Jinjiang (田锦江) Cyclically dating it to the 9th day of the 9th month of a dingyou year (丁酉) corresponding to 1837 205 x 172 cm Notes: 1. The calligraphy reads as follow “天保丁酉秋九月重阳之日写诗 春秋群芳团具 又逋稚兄结玩崎山竹园 田锦江”, lit. “On this day of the double Yang (重陽), in the dingyou year (丁酉) of the Tianbao period, I offer to my elder (兄) Buzhi this painting depicting flowers of all seasons (羣芳). Written by the author, Tian Jinjiang, in the bamboo grove garden of Yishan”.  2. “Chongyang” (重陽), i.e. the “Double Yang”, is related to the ninth day of the ninth moon, i.e. the Chrysanthemum festival, also known as The Double Ninth Festival or Chongyang Festival. The festival began as early as the Warring States Period (475 - 221 BC). According to the yin/yang dichotomy that forms a basis to the Chinese world view, yin represents the elements of darkness and yang represents life and brightness. The number nine is regarded as yang. The ninth month also heralds the approach of winter. It is a time when the living need warm clothing, and filial Chinese sons and daughters extended this to make the festival a time for providing winter clothes for their ancestors. 3. This painting has been painted after a famous model by Xu Chongsi 徐崇嗣, a native of Jiangning and painter of the Northern Song Dynasty renowned for his paintings of flowers. His fame went throughout centuries and major painters took their inspiration from his work.  4. For a related Hundred Flowers painting after the same artist, please refer to a work by Yun Shouping 恽寿平 (1633-1690) also known as Nantian 南田 offered at Christie’s Hong Kong,China, 2003/07/06, lot 474. Please also refer to a painting by Cai Han 蔡含 (1641-1686) offered at Sungari International Auction Co., Ltd, Beijing, China, 2020/10/17, lot 893.丝绸水墨画《百花齐放》[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- the silk laid down on a large wooden panel; (it seems that there has been a thin paper put between the silk and the wooden panel meaning that a good restorer may remove it from the panel much more easily);- stains and russets;- tears;- restorations (a few cut down to and glued to the lower right amidst others);- a few parts re-painted.

A JADE ‘LOTUS AND HIBISCUS’ ONE-HANDLED LIBATION CUPChina, Ming Dynasty, 16th-17th centuryThe cup carved as lotus flanked by a gnarled branch of hibiscus flowers and buds, carved from different relief and partially open-worked to form the handle. The stone is of pale celadon tone with russet inclusions. Offered at auction together with a matching wooden stand.H: 5,3 cm – L: 12,3 cm – w: 10,3 cmWeight: 514 gramsProvenance: An important collection of jade carvings, mostly Ming libation cups, properties from a French private collector, assembled over 20 years, pieces either bought privately or at public auction.玉制‘莲花芙蓉’单柄酒杯中国，明朝，16-17世纪Provenance: PROPERTIES FROM A FRENCH PRIVATE COLLECTORA LARGE COLLECTION OF JADE CARVINGSASSEMBLED OVER 20 YEARS, PIECES BOUGHT EITHER AT PUBLIC AUCTION OR PRIVATELY[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Natural veins and inclusions.

A TURQUOISE EMBELLISHED GILT BRONZE FIGURE OF AVALOKITESHVARAChina, Qing Dynasty, 19th centuryMade in two parts, i.e. the base and the figure, lightly embellished with small turquoises. The God standing on a lotus-shaped base, the right hand in varada mudra and the left hand grasping lotus sprigs, the head topped by a hair bun and bearing a crown, in loose robes with floating ribbons.H: 21,3 cmWeight: 1026 gramsProvenance: Sotheby’s Paris, 2019/12/19, lot 150 (with original invoice).鎏金铜观音像中国，清代，19世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- SOTHEBY'S provenance;- a few missing turquoise;- faded gilt to some points and minor scratches.

A NEAR PAIR OF MING STYLE CLOISONNE ENAMEL ‘DRAGON’ TIBETAN TRUMPETS, DUNG-CHEN China, Late Qing Dynasty to Republic / Minguo period Made of cloisonne enamel and gilt copper, telescoping. Each adorned in bright and colourful enamels with eleven five-claw dragons flying amidst clouds over crashing waves, some of archaic frontal form (zheng long), some others seen from the side (xing long).  H (widely open): 186 cm – H (collapsed): 53,5 cm Notes: 1. The Dung-Chen is s a long telescopic trumpet or horn used in Tibetan Buddhist and Mongolian Buddhist ceremonies, preludes, processions and morning and evening call for prayers. It is the most widely used instrument in Tibetan Buddhist culture. It is often played in pairs or multiples, and the sound is compared to the singing of elephants.  2. In ancient China, it was unusual for musical instruments to be enamelled. This technique would mostly have been reserved for boxes or vases. It is acknowledged that examples of this type were among the many instruments made in China and sent as gifts to impress officials of bordering nations. Gifts of musical instruments and the musicians who played them were common in East Asia.3. A near pair of related trumpets dated to the Ming Dynasty are preserved at the Metropolitan Museum of New York (The Met), The United States of America, under accession number 1988.349.近一对明式风格景泰蓝龙纹小号中国，晚清至民国/现代[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition reports:- a few gilt copper rings with cracks;- some lacks of enamels;- restoration visible to one.

A THANGKA OF A EIGHT ARMED MAHAKALATibet, Presumably 17th centuryThe deity striding in alidhasana on two prostrated figures over a lotus base at center, holding various attributes in its hands including two swords and one drum, clad in a tiger skin tied with a snake belt, the head surmounted by a skull tiara, the deity encircled by a flaming mandorla and surrounded by various Buddhist deities, including two winged female deities in the sky, also in the sky are two suns, a yellow one and an orange one as well as one bird. H: 64,5 cm - w: 66 cm八臂马哈卡拉唐卡西藏，推测为17世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- folds;- tears;- stains;- faded colours; - laid on a more recent piece of fabric;- lots 171 to 174, same provenance, private collection French Riviera;- this lot was dated to the 14th / 15th century by the collector.

A THANGKA OF USHNISHA SITATAPATRA ALSO KNOWN AS DUKAR OR THE LADY OF THE WHITE UMBRELLA Tibeto-Chinese, 18th to 19th century The nine-headed Goddess of the White Umbrella is depicted standing triumphally within an aureole blazing with the fire of wisdom, thereby trampling the enemies of spiritual attainment with her feet. She holds the dharma wheel in her right hand and the white umbrella in her left hand. Framed with a glass. Dimensions (the sole thangka, as visible within its frame): 82 x 53,5 cm Note: The Goddess of the White Umbrella (the Buddhist deity Ushnisha-sitatapatra) is one of many powerful female deities. She manifests her power with her thousand heads, arms, and legs.唐卡，也称为杜卡或白伞夫人中国西藏，18-19世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition reports:- missing colours to several parts;- vanishing design to several parts;- lots 171 to 174, same provenance, private collection French Riviera;- insolated;- this lot was dated to the 18th century by the collector;- framed with a glass.

A THANGKA OF VAISRAVANA RIDING A LION ALSO KNOWN AS KUBERA OR NAMTOSETibeto-Chinese, 18th to 19th centuryThe Guardian of the North and God of Prosperity is seated on lalitasana on white snow lion. He is holding a mongoose in his left hand and an umbrella in his right hand. In the background, a pagoda type architecture. Numerous other deities are surrounding him. Framed with a glass.Dimensions (the sole thangka, as visible within its frame): 83 x 56 cmNote: Vaisravana is both a fearsome protector and a benevolent benefactor. In his right hand he holds a heavenly banner. In his left, a black mongoose. His robust form is adorned in heavy gold necklaces, anklets, bangles and earrings. His entire body is backed by a radiant double aureole, as he sits dynamically atop his white lion who looks up at him in devotion. Above, Vaisravana is flanked by two of his eight horseman: the black-skinned Atavaka on the left and the white-skinned Manibhadra on the right. The remaining six horseman form a semi-circle below, with Purnabhadra on the left, followed by Samjneya, Jambhala, Bija Kundalin, Kubera and Panchika on the right.多天王唐卡，或称财宝天王 中国西藏，18-19世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - lots 171 to 174, same provenance, private collection French Riviera;- insolated;- tears, folds, stains though mostly to the mount, not to the image itself;- globally fresh image / colours with loads of details including animals;- this lot was dated to the 18th century by the collector;- framed with a glass.

A BRONZE BUST OF A YOUNG GIRL WITH SHELLSVietnam, Bien Hoa School of Applied Arts, Second half of 20th centuryDark patina. A Bien Hoa 边和 mark to the back of her neck. Affixed to a wooden stand.H (stand incl.): 19 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A BRONZE BUST OF A WOMANVietnam, Attributed to Bien Hoa School of Applied Arts, Second half of 20th centuryOffered at auction together with a matching wooden stand.H (stand excl.): 15,5 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A LACQUERED BRONZE FIGURE OF GUANYIN / QUAN AMVietnam, Nguyen Dynasty, 19th centuryHeavy casted, unsealed, the inner part empty. The Goddess of Mercy is seated in padmasana, her hands in dhyana mudra, wearing a robe, her head topped by a hair bun. Futher finely casted details in low relief including flowers on the robe. Red, pink and green lacquer remains.H: 25,6 cmWeight: 2,7 kilograms[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- not sealed to the below;- missing lacquer parts;- polychrome lacquer maybe later than the piece itself;- missing the holy water vase;- a later small piece visible from the inner part;- scratches.

A BRONZE BUDDHA CALLING THE EARTH TO WITNESSThailand, Ayutthaya, 15th to 16th centuryThe Buddha is depicted seated in padamasana, the hands in bhumisparsa mudra. Two old collector’s labels to the inner part: the first one handwritten and reading “Ayuthya 14s = debut 15 s”; the second one, typed, the cartel of an auction, reading “272. – statuette en bronze de patine brune representant le Bouddha assis sur un socle a gradins”.H: 21,5 cmWeight: 1210 grams[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- crusty patina;- possibly missing a mandorla;- possibly a chip to the hair bun of the buddha (ushnisha).

A PAIR OF BRONZE BUDDHA’S HANDSThailand, 19th centuryBoth probably from the same sculpture of Buddha, the left one in Vitarka Mudra (lit. “Gesture of Discussion”), the right one in Abhayamudra (lit. “Gesture of Fearlessness”). Both offered at auction with their modern stands for presentation.H (the biggest hand, approx., stand excl.): 28,5 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A MIXED METAL INLAID ‘KHANH THO’ BOX AND COVERVietnam, Nguyen Dynasty, 19th centuryOf rectangular shape, adorned with a mixed metal and silver wire inlaid decor of “khanh tho”, flowers and inscriptions. The below bears two marks, the first one within a double square reading “松相” maybe for“thông rương”, the second one within a tree leaf reading “荡绿” maybe for “đãng lục”.H: 4,3 cm – L: 12,7 cm – w: 7cmNote:1. The design is a common one for a vietnamese piece of art, that of “khanh tho”, lit. longevity and happiness characters.2. In addition to the other inscriptions, there is a silver wire inlaid poetry to the top of the box reading “骨骼清奇存老树 芬芳白雪占花魁”.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- a few missing colours;- scratches.

A LARGE MIXED METAL AND SILVER INLAYS BRONZE THREE-LEGGED INCENSE BURNERVietnam, Nguyen Dynasty, 19th centuryResting on three curved legs, with a compressed body flanked by two dragon handles. Adorned in low-relief, mixed metal inlays and silver wire inlays with a decor of dragons, of flowers, and of longevity (壽 tho) and prosperity (慶 khanh). The below of the body inlaid with a four-character seal mark (unidentified).H: 24,5 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - maybe missing a lid (unlikely);- possibly missing a stand;- one leg has been restored.

A LARGE BRASS INCENSE BURNER, LID AND STANDVietnam, 20th centuryThe lid topped by a Foo Do dog finial.H (total, together with the stand): 50 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A PHAP LAM / HUE ENAMEL ON COPPER ‘BAMBOO AND PRUNUS’ WINE CUPS POSSIBLY FROM ONE THE SERVICES OF H.M. THE EMPERORS THIEU TRI AND TU DUC TOGETHER WITH TWO ORMULU MOUNTS BY MAISON BOIN TABURET OF PARIS The wine cups: Vietnam, Nguyen Dynasty, Presumably 1841-1883The mounts: France, Paris, 19th centuryThe outers all covered in night blue with a gold honeycomb pattern as well as bamboo sprigs and plum flowers. Both presented on three lion legs ormolu stands by Maison Boin Taburet in Paris, both bearing the mark of the maker to the below as well as engraved numbers. Dimensions (each): H: 5,4 cm – D: 7,5 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- losses of enamels to the cups;- bends to the cups;- hairlines, mostly to the inner of the cups;- faded gilt to some points to the stands;- one stand missing two screws.

A PHAP LAM / HUE ENAMEL ON COPPER ‘BAMBOO AND PRUNUS' DISH POSSIBLY FROM ONE THE SERVICES OF H.M. THE EMPERORS THIEU TRI AND TU DUCVietnam, Nguyen Dynasty, Presumably 1841-1883The obverse of the dish all covered in night blue with a gold honeycomb pattern as well as bamboo sprigs and plum flowers. The reverse of the wing painted with three chi dragons. D: 19,2 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - a few losses of enamels;- cracks.

A RARE BRASS AND SILVER INLAID MONK’S CAP WATER PIPEVietnam, Nguyen Dynasty, 19th centuryShaped after a Tibetan monk’s cap ewer (duomuhu), this water pipe is made of copper embellished with silver and brass inlays as well as applied chiselled plaques. The inlaid design depicts a paradise bird perched on a flowered branch as well as a flying sparrow. It also consists of a long-lasting calligraphy. The applied silver plaques are chiselled, one with a coiled dragon, the other with a bird amidst flowers. Offered at auction together with a bamboo pipe.H: 20 cmNotes:1. Vietnamese water pipes of similar shape made of mother-of-pearl inlaid wood are common on the market. Less common and more valuable are the bleu de Hue porcelain ones which regularly achieve good prices at public auction.2. Our water pipe is the only example made of metal we have handle over more than a decade on the market. It stands out fir the quality of its inlays introducing a nice polychrome effect. It also stands out by the of the chiselling of its silver plaques.3. For a blue de hue porcelain water pipe of related form at auction, see the one offered at Drouot Paris, France, 2019/06/14, lot 250, sold for €9.274 BP incl. Also see another related pipe offered at Drouot Paris, France, 2019/12/09, lot 206, sold for €8.060 BP incl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

§A MOTHER OF PEARL INLAID WOOD APOSTLE CROSSPossibly Macao, China, 18th to 19th centuryOf wood, inlaid with incised mother-of-pearl to depict fruiting vines, lotus, small flowers and foliage as well as the "Sacred Heart of Jesus".H: 44,6 cm - w: 24,5 cmNote: Compare with a related cross, though of much more bigger size, offered at Christie's London, United Kingdom, 2015/05/11, lot 14, sold for GBP27.500.§Bidders should be advised that importation regulations of several countries, including the US, prohibits the importation of ivory and that of coral, or any goods containing same. Therefore Adams advises prospective purchasers who intend to ship lots containing either ivory or other specimen that fall under CITES regulation, to another country to familiarise themselves with the relevant importation regulations prior to bidding. Adams will not be responsible for shipping items herein and the onus will be on the buyer to organise shipping at their own behest.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: A few missing inlays.

§A MOTHER OF PEARL INLAID WOOD APOSTLE CROSSVietnam, Tonkin, Nam Dinh, 19th centuryInlaid with flowers as well as with a cross.H: 44,5 cm - w: 25 cm§Bidders should be advised that importation regulations of several countries, including the US, prohibits the importation of ivory and that of coral, or any goods containing same. Therefore Adams advises prospective purchasers who intend to ship lots containing either ivory or other specimen that fall under CITES regulation, to another country to familiarise themselves with the relevant importation regulations prior to bidding. Adams will not be responsible for shipping items herein and the onus will be on the buyer to organise shipping at their own behest.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- a few missing inlays;- a chip to one end of the cross.

§AN UNUSUAL AND VERY LARGE MOTHER OF PEARL INLAYS MANDARIN WOODEN TRAYVietnam, Tonkin, Nam Dinh, Nguyen Dynasty, Circa 1900Richly adorned with a decor of butterflies and flowers.H: 17,3 cm - L: 55,5 cm - w: 33 cmNote: Please compare with a related tray sold by Adam's 2021/06/30, lot 309, for €2.000 BP excl.§Bidders should be advised that importation regulations of several countries, including the US, prohibits the importation of ivory and that of coral, or any goods containing same. Therefore Adams advises prospective purchasers who intend to ship lots containing either ivory or other specimen that fall under CITES regulation, to another country to familiarise themselves with the relevant importation regulations prior to bidding. Adams will not be responsible for shipping items herein and the onus will be on the buyer to organise shipping at their own behest.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - a few missing inlays;- possibly missing bars which would have linked the feet;- a few cracks mostly to the below;- a few glued points.

§A MOTHER OF PEARL INLAID WOODEN TRAYVietnam, Tonkin, Nam Dinh, 19th centuryOf ovate shape, adorned with characters on a boat sailing a river, notably.L: 54,5 cm - w: 36 cm§Bidders should be advised that importation regulations of several countries, including the US, prohibits the importation of ivory and that of coral, or any goods containing same. Therefore Adams advises prospective purchasers who intend to ship lots containing either ivory or other specimen that fall under CITES regulation, to another country to familiarise themselves with the relevant importation regulations prior to bidding. Adams will not be responsible for shipping items herein and the onus will be on the buyer to organise shipping at their own behest.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: A few missing inlays.

A LARGE BIEN HOA 边和 STONEWARE FOLIATE RIM ‘LOTUS’ DISHVietnam, Bien Hoa School of Applied Arts, Second half of 20th centuryHeavy potted, with a scalloped rim, adorned with blue and green lotus flowers against a yellow ground, a similar design also applied to the reverse of the wing. The below engraved with two marks, one reading “边和”, lit. for “Bien Hoa”, the other one (unidentified) likely an artist’s mark.D: 35 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- partially covered with a later glaze;- the footring later pierced for hanging on a wall.

A BIEN HOA 边和 STONEWARE ‘WARRIORS’ ARCHAISTIC VESSEL, HUVietnam, Bien Hoa School of Applied Arts, Second half of 20th centuryResting on a short ring foot, with a globular body, the neck applied with two dragon handles, all covered with a light beige slip ground against which are depicted dark brown slip warriors. The below engraved with the mark of the maker, likely reading "Huu Duc".H: 28,2 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A SIGNED BIEN HOA 边和 STONEWARE ‘DRAGON' LIDDED VASE Vietnam, Bien Hoa School of Applied Arts, Second half of 20th century Resting on a partially openworked spread foot, with a globular body and a lid. Slip decorated with coiled dragons. Different marks to the below including a Bien Hoa 边和 mark and the signature of the maker reading "Bon". H: 21,5 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Broken and restored lid with missing parts.

A LARGE BIEN HOA 边和 STONEWARE ‘ROOSTER’VASEVietnam, Bien Hoa School of Applied Arts, Second half of 20th centuryHeavy potted, resting on a ring foot, with an elongated ovoid body and a trumpet shaped neck applied with two handles, all covered with a celadon glazed ground against which are depicted roosters and flowers. The below engraved with a two-character mark, i.e. "边和", reading Bien Hoa.H: 54 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: MISSING DIMENSIONS

*A FINE AND RARE WHITE JADE 'DA JI' DOUBLE-GOURD PLAQUEChina, Qing Dynasty, Attributed to Qianlong periodThe flattened section of very even white stone attractively carved around the edges with thin borders of small double gourds on a continuous leafy branch, the top with a pierced loop for suspension, the obverse carved in crisp shallow relief with the auspicious characters “da ji” (大吉), the reverse also “tian xi” (天喜), 'Heavenly bliss',carved in crisp shallow relief with the auspicious characters mounted within a wooden table screen also set with a carnelian plaque.Dimensions:- the plaque: H: 8 cm – w: 5 cm – thick.: 5 mm- the table screen: 22,4 cmWeight (the jade): 50 gramsNotes:1. The inscription “dà jí” means “good fortune” while the inscription “tiān xǐ” means “Heavenly Bliss”.2. The Chinese name for gourd (葫芦 hulu) also contains a homophone for words for protection or guard (护 hu) and also for blessing (祜 hu). The gourd is popular as a charm symbol to ward off evil spirits and disease because its first character (hulu 葫芦) has the same pronunciation as the word to "protect" or "guard" (hu 护) and also the word for "blessing" (hu 祜). In some dialects, the Chinese word for gourd (hulu 葫 芦) sounds the same as fulu (福 禄) which means "happiness and rank (as in attaining a high government office)". Trailing gourd vines are described in Chinese as man (蔓). This character can also be pronounced as wan and has the exact same pronunciation and meaning as 万 which means "10,000".  Because the gourd contains many seeds, the Chinese associate the gourd with "10,000 children".  In ancient China, parents hoped for many sons and grandsons so the gourd became an important symbol for a family with many children.3. A related jade plaque from the Qing Court Collection is illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Hong Kong, 2008, no.71. Another related but smaller jade plaque was sold at Christie's New York on 22-23 March 2012, lot 1927. Also see a related plaque at Bonham’s London, United Kingdom, 2012/05/17, lot 41 sold for €57.656 BP incl.上乘珍稀白玉“大吉”双葫芦牌中国，清乾隆年间*This lot is under temporary importation. An extra VAT will be applied to the final invoice. Please contact our office (yuchen@adams.ie) for further information. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Minor natural veins and inclusions in the stone.

A BIEN HOA 边和 STONEWARE ‘WARRIOR’ VASE BY MAISON THANH LÊ Vietnam, Bien Hoa School of Applied Arts, Second half of 20th century Of ovate form, the outer slip-decorated notably with a warrior. The below engraved with a chu nom mark (unidentified) and with the signature of the Thanh Lê.  H: 19,2 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A BIEN HOA 边和 STONEWARE ARCHAISTIC VESSEL, HUVietnam, Bien Hoa School of Applied Arts, Second half of 20th centuryResting on a short ring foot, with a globular body, the shoulder applied with three ram handles, all covered with a green glaze mimicking the patina of archaistic bronzes. The below engraved with a two-character mark, i.e. “边和”, reading Bien Hoa.H: 32 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A TEMMOKU TYPE STONEWARE BOWLPresumably Vietnam and Tran DynastyThickly potted, of conical shape, resting on an unglazed ring foot, the inner part moulded with a flower design all covered with a beige glaze, the outer part with a temmoku type glaze. The below bears three old collector’s labels written in Frenc. The first one read: “Region de Phu Quoc Oai Province de Tonkin”, lit. “Phu Quoc Oai region Tonkin”. The second one reads: “Fabrication presumee chinoise”, lit. “Presumably made in China”. The third one reads: “Certainement du XIIIe Siecle ou meme anterieur”, lit. “Certainly 13th century or even before”.H: 6 cm – D: 17,1 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - imperfections in the glaze;- minor chips to the ring foot;- old chip to the rim.

A GROUP OF TWO ‘THEPANOM AND NORASINGH’ BENCHARONG WARE LIDDED POTSChina for Thailand / Siam, Bencharong ware, Ayutthaya Period, 18th-19th centuryBoth with a lotus bud shaped finial and reserved-decorated with red and yellow thepanom and norasingh on a black ground.Dimensions (the biggest): H: 10,8 cmAlso included in that lot:- a small ‘flower’ lidded pot, also a Bencharong ware, that one dating to the King Rama V (1868-1910) period - H: 7,5 cm- a small lidded silver pot dating to the King Rama V (1868-1910) period - H: 4,2 cmNotes:1. Sets of porcelain such as this example were commissioned from China, usually from the southern Jiangxi province, and exported to Thailand.2. The thepanom is a celestial being from Buddhist cosmology. The norasingh is a mythical forest-dwelling semi-deity with a human head, torso, and arms but with the hind-quarters of a lion and the tail and hoofs of a deer.3. Thai Minor Arts, The Fine Arts Department, 1993; Treasures from the National Museum, Bangkok, The National Museum Volunteers, 1987; McGill, F. (ed.), Emerald Cities: Arts of Siam and Burma, 1775-1950, Asian Art Museum, 2009; and Bromberg, P., ‘A passion for Bencharong’, in Arts of Asia, May-June, 2010.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:ALL PIECES UV / BLACK LIGHT CHECKEDThe biggest lidded jar:- chip? or at least loss of enamels on the finial of the lid;- a few chips to the inner rim;- losses of enamels around the rim due to frictions;- also few chips minor to the foot.The middle size lidded jar:- not its original lid;- two chips to the rim of the jar with a crack;- minor chips to inner rim;- loss of enamels around the rim of the jar due to frictions;- a chip to the foot;- also losses of enamels to the rim of the lid with one minor chip.The smallest jar:- both lid and jar restored with chips etc.Silver piece:- OK.

A BLEU DE HUE PORCELAIN LIME POTVietnam, Nguyen Dynasty, 19th centuryResting on a flat unglazed foot, with a globular boy and an arched handle, an original hole to the front part. Adorned in cobalt blue with a landscape.H: 15 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- a few minor firing cracks in the handle;- a tiny minor loss to the foot;- the hole for pouring is not glazed.

A BLEU DE HUE PORCELAIN BOWL CYCLICALLY DATED TO A JISI YEAR 己巳年制 Vietnam, Nguyen Dynasty, 19th century Adorned in cobalt blue with a continuous river landscape with banks erected with pavilions and planted with pine trees, as well as with daoist immortals and, inter alia, weiqi (chinese chess) players. A cobalt blue mar inscribed to the below reading 己巳年制 or jǐ sì nián zhì. H: 11,5 cm - D: 20 cm Note: The mark cyclically dates this bowl to a 己巳 year or a year of the snake maybe corresponding to 1869 or 1929.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - some “hairlines” in the glaze;- few chips to rim;- likely missing a metal circle to the rim.

A LARGE BLEU DE HUE ‘LOTUS POUND’ WATER PIPEVietnam, Nguyen Dynasty, 18th to 19th centuryAdorned in cobalt blue shades with a lotus pond with lotus and nenuphars, a couple of Mandarin ducks as well as three wild geese amidst bamboo. The below is adorned, also in cobalt blue, with a Tho (longevity) symbol. Set with a metal mount with a loose handle.H (the handle excl.): 12,4 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- wears and scratches;- two dark points in the glaze;- a tiny firing crack to the below.

A BLEU DE HUE ‘DRAGON, QILIN AND KHANH THO’ PORCELAIN PLATE INSCRIBED WITH THE MARK ‘KHANH XUAN THI TA - 慶春侍左 - ETERNAL SPRING, LEFT PALACE’ Vietnam, Presumably Nguyen Dynasty Finely painted in shades of blue with a dragon, a qilin or Chinese unicorn as well as a Khanh (福, happiness) and a Tho (寿, longevity) symbol, the outer also painted with a dragon chasing a qilin. The below inscribed in cobalt blue with a four-character mark reading “khánh xuân thị tả” (慶春侍左), i.e. Eternal Spring, Left Palace, a referring to the Trinh residence. The rim with a metal mount. D: 16,1 cmNotes: 1. Compare with a related plate preserved in the Museum of Royal Antiques of Hué as visible in 2018 as part of the exhibition titled “Signed porcelains from the Lê, Trinh and Nguyen Dynasties”. Also compare with a bowl with a similar decor and an identical mark preserved at the Musées Royaux d’Art et d’Histoire, Bruxelles, Belgium under accession number EO. 2738. 2. Also compare with a plate sold at public auction in Paris 06/14/2019, lot 680, for €101.400 BP incl. as well as with a bowl, also sold in Paris, 2019/10/16, lot 134, for €110.500 BP incl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- a very light and small crossed hairline to the below (in the glaze only).

A CHISELLED SOLID SILVER COMMEMORATIVE CUP Thailand / Siam, Indochina, February 1938The cup of circular form, resting on four dragon feet on a dome-shaped base, the outer adorned with lotus petals. The top of the base also finely chiselled with a makhala or a dragon face and inscribed with a commemorative inscription in French: "Souvenir de ses collaborateurs de la Police Municipale de Phnom-Penh Fevrier 1938", lit. "A gift / souvenir from his collaborators / colleagues of the Municipal Police of the city of Phnom-Penh February 1938". The outer of the base bears a mark reading "Dai", that of the maker. H: 14,5 cm - D: 27,7 cmWeight: 1797,5 gramsNote: This piece was ordered as a gift to a retiring by employees of the Municipal Police of Phnom-Penh, Indochina / Siam / Thailand to a local silver maker's workshop. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: As visible on the main pictures, slightly distorted, and maybe missing a lid.

THIEU TRI EMPEROR (1841-1847) SILVER LANG, 1 LANGVietnam, Dating to the reign of the EmperorObverse: On the upper part, the sun, the moon, five planets and five auspicious clouds. On the lower part, the earth surrounded by crashing waves. Inscribed with a poetry reading “紹治通寳萬世永賴”, lit. “Jade and cinnabar jewelleries in 1000 years transmute. The purest gold last forever. To reward the merit and to acknowledge the virtue. Wisdom being the sole virtue recognized as precious.”Reverse: Inscribed with a long-lasting calligraphy reading as follow: “玦澒千年化盪鏐萬世傳酬勳彰有德所寶者惟賢”, lit.D: 6,4 cmWeight: 38,4 cmNote: See an identical silver coin but for Emperor Tu Duc sold for 12.000 euros hammer price by MDC Monaco, 2020/10/29, lot 1200. Also see an identical coin for Emperor Thieu Tri, that one made of gold, sold by MDC Monaco, 2020/10/29, lot 1187.IMPORTANT NOTE TO BIDDER: that piece has been certified authentic by PCGS USA, Grade: Genuine AU Details (98-Damage), Region: Annam, Description: (1841-47) Lang Sch-241 KM-295[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - this lot has been certified authentic and graded by PCGS USA;- it is now in a blister;- Grade: Genuine AU Details (98-Damage), Region: Annam, Description: (1841-47) Lang Sch-241 KM-295.THE CONDITION REPORT HAS BEEN MADE BY PCGS USA WHICH AUTHENTICATE THAT COIN AS GENUINE, GRADED IT AS WELL AND PUT THEM INTO A CERTIFIED BLISTER

A PAIR OF GILT AND BLACK LACQUERED ‘IMPERIAL SENTENCES’ WOODEN PANELS OF EMPEROR DUY TAN  Vietnam, Nguyen Dynasty, Dated to the third year of Emperor Duy Tan reign corresponding to 1909 The first one inscribed with "眉酒觞分北海香" as well as with a date, “维新三年冬”, i.e. the third year of the reign of Emperor Duy Tan corresponding to 1909. The other one inscribed with “浣花堂補东京勝”as well as with a location, “河内” for Hanoi city. With Numbers inscribed to the back. Dimensions (each): 191 x 26,6 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Cracks in the wood.

A GROUP OF TWO (2) PERSIAN MINIATURESIran / Persia, Late 19th centuryThe first one depicts a couple. The second one depicts a scene of battle. Both are inscribed in Farsi with abstracts from the Shahnameh ferdowsi. Both framed with a glass with a label to the back: “Cardo Matignon 32, Avenue Matignon – BAL. 03-08”.The biggest leaf (as seen within is frame): 24 x 19,5 cmNote: The texts might be read as follows: "مکن خویشتن را ز مردم‌کشان کزین پس نیابی ز من خودنشان بسنده کنم زین جهان گوشه‌ای بکوشش فراز آورم توشه‌ای به خون برادر چه بندی کمر چه سوزی دل پیر گشته پدر جهان خواستی یافتی خون مریز مکن با جهاندار یزدان ستیز سخن را چو بشنید پاسخ نداد همان گفتن آمد همان سرد باد یکی خنجر آبگون برکشید سراپای او چادر خون کشید بدان تیز زهرآبگون خنجرش همی کرد چاک آن کیانی برش فرود آمد از پای سرو سهی گسست آن کمرگاه شاهنشهی" (lit. “O King, hast thou no fear of God, no pity for thy father? I pray thee destroy me not, lest God ask vengeance for my blood. Let it not be spoken that thou who hast life takest that gift from others. Do not this evil. Crush not even the tiny ant that beareth a grain of corn, for she hath life, and sweet life is a boon. I will vanish from thy sight, I will live in solitude and secrecy, so thou grant that I may yet behold the sun.”) and "به یک تختشان شاد بنشاندند عقیق و زبرجد برافشاندند سر ماه با افسر نام دار سر شاه با تاج گوهرنگار بیاورد پس دفتر خواسته یکی نخست گنج آراسته برو خواند از گنجها هر چه بود که گوش آن نیارست گفتی شنود برفتند از آنجا به جای نشست ببودند یک هفته با می به دست وز ایوان سوی باغ رفتند باز سه هفته به شادی گرفتند ساز بزرگان کشورش با دست بند کشیدند بر پیش کاخ بلند" (lit. "And the lovers were seated upon a throne, and Mihrab read out the list of the gifts, and it was so long the ear did not suffice to hear them. Then they repaired unto the banquet, and they feasted seven days without ceasing."[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A CELADON AND RUSSET ‘RICE-GRAIN’ PATTERN LIBATION CUP, YIChina, Ming Dynasty, 16th-17th centuryThe bulbous body is raised on a tapering oval foot with raised edge and the mouth rim is crisply carved with a narrow, double-channelled border. A ring handle shaped as a chi dragon is set opposite to the broad spout, and the body is carved with rows of bosses as well as with ideograms, one to each side, Fu (福) and a Shou (壽).H: 4,5 cm – L: 11 cm – w: 6,5 cmWeight: 121 gramsProvenance: - Christie’s South Kensington, London, United Kingdom, 2011/06/28, lot 22 (with original invoice);- An important collection of jade carvings, mostly Ming libation cups, properties from a French private collector, assembled over 20 years, pieces either bought privately or at public auction.青赤玉“米粒”纹杯中国，明代，16-17世纪Provenance: PROPERTIES FROM A FRENCH PRIVATE COLLECTORA LARGE COLLECTION OF JADE CARVINGSASSEMBLED OVER 20 YEARS, PIECES BOUGHT EITHER AT PUBLIC AUCTION OR PRIVATELY[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- natural veins, cracks and inclusions in the stone;- as well as russets;- please note the CHRISTIE'S PROVENANCE with original invoice.

A BIDRI SILVER-INLAID MASALADAN OR PANDAN BOXIndia, Possibly Bidar, Deccan and 17th centuryOf rectangular form the dome-shaped lid topped by a flower-bud shaped finial, both the box and the lid with detailed silver-inlaid flowers.H: 9,7 cm - L: 11,5 cm – w: 7,2 cmNotes:1. This box might have been made for spices (masaladan) or for betel (pandan). It may have been one of a set.2. Bidriware is believed to have originated in the city of Bidar in the Deccan. It is cast from an alloy of mostly zinc with copper, tin and lead. The vessels are overlaid or inlaid with silver, brass and sometimes gold. A paste that contains sal ammoniac is then applied which turns the ally dark black but leaving the silver, brass and gold unaffected.3. For more information about bidri wares and for related pieces, please refers to:- Mittal, J.,Bidri Ware and Damascene Work: in Jagdish & Kamla Mittal Museum of Indian Art, Jagdish & Kamla Mittal Museum or Art, 2011.- Stronge, S.,Bidri Ware: Inlaid Metalwork from India,Victoria & Albert Museum, 1985.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Missing inlays.

A TOMBAK SPEAR MOUNTED WITH A WOODEN 'KUBERA' KRISS HANDLEIndonesia, BaliThe spear possibly 17th centuryThe hilt probably 18th to 19th centuryThe hilt, depicting Kubera kneeling with a grimacing face, made of lacquered wood with remains of colours and a very desirable patina. The blade possibly earlier and made of tombak. Offered at auction together with a wooden stand for presentation.H (stand excl.): 40,3 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A BETEL NUT CRUSHERBali or Lombok, 19th centuryThe wooden lid carved as a kneeling winged beast. offered at auction together with a wooden stand for presentation.H (stand excl.): 21,8 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

IN THE MANNER OF VU CAO DAM 武高谈 (VIETNAM AND FRANCE, 1908-2000)  A VERDIGRIS PATINA BRONZE BUST OF THE BODHISATTVA AVALOKITESHVARAVietnam, Attributed to a School of Applied Arts, Possibly 1920s / 1930sAffixed to a wooden stand.H (stand incl.): 46 cmNote: This piece might have been done after a bust of Bayon style dating to the 12th century. Ones may identify it as a portrait of King Jayavarman VII. It may have been done by a Vietnamese artist who came to work in Paris and visited the rooms of the Guimet Museum. It is indeed known that Vu Cao Dam took his inspiration from Khmer sculptures preserved in the French National Museum of Asian Arts to conceive his bronze busts.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- cracks to wooden stand;- a tiny hole to the wooden stand;- faded patina to some parts and minor scratches;- look at the ears, one with a crusty patina and possibly with a chock.

VU CAO DAM 武高谈 (VIETNAM AND FRANCE, 1908-2000)  ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 7TH PROMOTION (1931)  Portrait of a young lady with a blue scarf  Circa 1950  Mixed media on silk laid on cardboard  Signed to the lower right  33 x 23,8 cm  Provenance: From a French Riviera Estate, France, where Vu Cao Dam has been working and living.Notes:  1. Biography: Vu Cao Dam was born in Hanoi in 1908 to a Catholic family of the local bourgeoisie. In 1926, he joined the Fine Arts School of Hanoi (Ecole des Beaux-Arts de l’Indochine), where he studied the art of painting and drawing and from which he graduated in 1931. With the support of his professor, Victor Tardieu (1870-1937), Vu Cao Dam participated in the 1931 edition of Paris International Exhibition following which he settled in France. He was, above all, known for his sculptures, which brought him numerous commissions upon his arrival in Paris. Marked by the Western avant-garde (Fauvism and the Paris School), Vu Cao Dam’s creations lie on the edges of Asian traditions in general, and Vietnamese and Chinese in particular. He was one of the four famous Vietnamese painters who emigrated in Paris, the others being Le Thi Luu (1911-1988), Mai Trung Thu (1906-1981) and Le Pho (1907-2001).  2. Comparison: This painting seems to belong to a series of portraits of young women of similar size painted in the early 1950s. For a portrait of this series at public auction, see Christie’s Hong Kong July 11, 2020, lot 251, painted in 1952 and sold for HKD525.000 BP incl. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- silk laid on a wooden panel;- stains;- traces of the frame;- scratches;- veneer stains;- UV / black light checked;- maybe a few old re-paints by the artist (one lower left hair, one front neck, one upper right shoulder = left + right as seen from the person looking at the painting);- a small chock above the forehead in the hairs;- dust;- PROVENANCE: ACQUIRED FROM A FRENCH RIVIERA ESTATE NEAR SAINT PAUL DE VENCE WHERE THE ARTIST USED TO LIVE.

A MUGHAL STYLE WHITE JADE ‘CHRYSANTHEMUM’ TWO-HANDLED CUPChina, Ming Dynasty, 16th-17th centuryThe cup of chrysanthemum flower shape is flanked on the sides by a pair of angular handles. The outer rim is engraved with a frieze of grecques. The top parts of the handles carved in low relief with Daoist scholars in landscapes. The semi-translucent stone of pale celadon tone.H: 3,6 cm cm – w: 12,3 cmWeight: 77,6 gramsProvenance: An important collection of jade carvings, mostly Ming libation cups, properties from a French private collector, assembled over 20 years, pieces either bought privately or at public auction.Note: The shape of the cup, that of the chrysanthemum, as well as the thin thickness of the cup, making the stone almost translucent, are typical of Mughal style pieces.白玉“菊花”双柄杯中国，明代，16-17世纪Provenance: PROPERTIES FROM A FRENCH PRIVATE COLLECTORA LARGE COLLECTION OF JADE CARVINGSASSEMBLED OVER 20 YEARS, PIECES BOUGHT EITHER AT PUBLIC AUCTION OR PRIVATELY[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Natural veins, cracks (notably to one handle) and inclusions in the stone.

LE PHO (VIETNAM AND FRANCE, 1907-2001)Maternite / Mother and childLithographCirca 1955Inscribed with “E.A.” (epreuve d’artiste) on the lower leftSigned on the lower rightDimensions (the sole print): 46 x 32,4 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - has been rolled but stay flat;- four light folds (not very visible and not destroying the whole image);- tape traces to the top of the back of the leaf;- maybe lightly insolated.

MAI TRUNG THU (Vietnam and France, 1906-1980)ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST PROMOTION (1930)“La toilette”1962Print in colours on silkBears a signature and a seal in the plate to the lower rightAutographed and signed by the artist to the lower part: “A Madame Colin Timard avec les compliments de l'auteur”FramedDimensions (the sole print): 54,2 x 45,5 cmNotes:1. Mai Trung Thu, known as Mai Thu, is born in 1906. He comes from a wealthy family, his father, Mai Trung Cat was governor of Bac Ninh and was granted the title of baron by the French government. He studied at the French high school in Hanoi. In 1925, Mai Thu joined the first class of the Indochina School of Fine Arts, under the direction of Victor Tardieu. It is during his years of studies that he became interested in painting illustrating scenes of Vietnamese rural life. He chose to paint them on silk, an expensive material that is as delicate as the palette of colours he uses.2. Compare with an identical print also autographed at Sotheby’s Hong Kong, China, 2015/10/05, lot 282, sold for €4.592 BP incl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - scratches;- "tears" (limited to the surface, so more scratches than tears, not destroying the silk);- minor missing parts to the print as a result.

TRAN VAN THO (Vietnam, Born in 1917)Fishermen returning home with a storm / Le retour de pêche par une bourrasqueInk and colours on silkSigned and sealed to the lower leftFramed with a glass 25 x 35,8 cmNote: Tran Van Tho graduated from the Ecole des Beaux Arts d'Indochine (Indochina Fine Arts College) in 1945. He leaft Hanoi, his native city, to settle in Saigon in 1954. He was notorious for his ink and silk paintings which were exhibited world widely.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

TRAN PHUC DUYEN (1923-1993)ECOLE DES BEAUX-ARTS DE L'INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 16TH PROMOTION (1942)Landscape of the Delta RegionCigar and music box, the top adornedCirca 1950Gilt and polychrome lacquer on a black mirror ground on woodSigned on the lower rightH: 7,5 cm - L: 26 cm - w: 19 cmNote: Tran Phuc Duyen was born in Hanoi in 1913. Fascinated with the art of drawing and painting, he embraced a career in that field, successfully passed the entrance exam of the Ecole des Beaux-Arts d'Indochine (Indochina Fine Arts), from which he majored in lacquerware in 1942, along with major artists such as Jean Volang (1921-). From 1945 to 1954, he was living and working in Hanoi, where he had his studio. He received numerous commands from bourgeois families and French officials. In 1950, three of his lacquers were selected to be gifted to Pope Pius and kept in the Vatican Museum. While in Hanoi, he was a close friends of artists like Bui Xuan Phai (1920-1988) and Nguyen Tien Chung (1914-1976), for whom he drew many sketches and whom had a strong influence on his work. In 1954, he moved to Paris, France, where he did study under the direction of Jean Souverbie (1891 - 1981) at the Ecole des Beaux-Arts de Paris (Paris School of Fine Arts). In 1961, he had a solo exhibition in Nice, France, with a total of forty lacquer and silk paintings.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: - Restorations- Missing the key- Minor scratches for example to below- A former cigaret and music box ( system not working)

NGUYEN QUANG BAO 阮光保 (Vietnam, Born in 1929)ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), LACQUER SECTIONVillage du Haut Tonkin / Upper Tonkin village An unsigned lacquered wooden panel24,1 x 31,1 cmNote: Compare with a related panel, though larger, at Lynda Trouvé Paris, France, 2020/03/18, lot 422, sold for €4.500 BP excl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE Condition Report: Condition report:- A few scratches;- Minor hairlines in the lacquer;- Few missing parts in the margins / corners, minor losses of lacquer;- very fresh and the gold is very nice.

NGUYEN QUANG BAO 阮光保 (Vietnam, Born in 1929)ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), LACQUER SECTIONVillage du Haut Tonkin animé / Upper Tonkin village with a peasantA lacquered wooden panelProbably dating to the late 1940sSigned with the seal of the artist to the lower right34,4 x 49,2 cmNote: Compare with a related panel at Lynda Trouvé Paris, France, 2020/03/18, lot 422, sold for €4.500 BP excl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- framed;- a few minor scratches and maybe minor losses of enamels (but we have not found a single one ourselves, so please review pictures carefully);- a few russets.

NGUYEN QUANG BAO 阮光保 (Vietnam, Born in 1929)ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), LACQUER SECTIONVillage du Haut Tonkin animé / Upper Tonkin village with a water carrierA lacquered wooden panelProbably dating to the late 1940sSigned with the seal of the artist to the lower right34 x 49,4 cmNote: Compare with a related panel at Lynda Trouvé Paris, France, 2020/03/18, lot 422, sold for €4.500 BP excl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- framed;- a few minor scratches and maybe minor losses of enamels (but we have not found a single one ourselves, so please review pictures carefully);- a few russets.

IN THE MANNER OF DO DINH HIEP (1914-1972)ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE)Le Fleuve Rouge, Paysans du Tonkin / The Red River, Tonkin peasantsA large lacquered wooden panelSigned (unidentified) and dated to the lower right: “50” for 195055 x 101,5 cmNotes:1. Do Dinh Diep (1914-1972) graduated from the Ecole des Beaux Arts d'Indochine (Indochina Fine Arts College) in 1937, one of his classmates being the renowned painter Luong Xuan Nhi (1913-2006). The same year he went to Paris, where he depicted the Eiffel Tower. Later on he settled in Saigon where he became the Director of The Ecole des Beaux-Arts de Saigon (Saigon’s Fine Arts College).2. Compare with a related panel by Do Dinh Diep (1914-1972) with a similar composition sold by Lynda Trouve Paris, France, 2019/10/18, lot 311 for  €128.000 BP incl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- minor scratches and frictions;- minor stains;- a few minor losses of lacquer mostly to the corners;- SEE THE COMPARISONS MADE SIDE BY SIDE AVAILABLE ON OUR WEBSITE, COMPARISON WITH THE PAINTING SOLD BY LYNDA TROUVE PARIS.

VIETNAMESE SCHOOL (Active 20th century)Sampans on the Red River, a thatched house on the bankAn unsigned lacquered wooden panelLikely dating to the late 1940s / early 1950s25 x 34,8 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: MISSING DIMENSIONS

VIETNAMESE SCHOOL (VIETNAM. 20TH CENTURY) Marché flottant ou Le port de Saïgon / Floating market or Saigon Harbour A lacquered wooden panel Unsigned Probably dating to the late 1940s or the mid 20th century 60,5 x 47,8 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE Condition Report: Condition report:- cracks;- losses of enamels.

NGUYEN QUANG MAU (VIETNAM, 20TH CENTURY)Poissons rouges de l’Abondance / Goldfish of Abundance / 金玉滿堂A lacquered wooden panelSigned to the lower left: “Ng Mau”40 x 59 cmNote: A lacquer artist sometimes wrongly referred to as Nguyen Mai.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- minor scratches;- a few losses of lacquer mostly to the sides of the panel;- partially faded gilt signature.

NGUYEN QUANG MAU (VIETNAM, 20TH CENTURY)Poissons rouges de l’Abondance / Goldfish of Abundance / 金玉滿堂A lacquered wooden shallow dishSigned to the back: “Ng Mau”D: 28,9 cmNote: A lacquer artist sometimes wrongly referred to as Nguyen Mai.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- minor scratches;- light cracks;- a few losses in the lacquer;- faded gilt signature to the back;- trace of label to the back.