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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.

VIETNAMESE SCHOOL (VIETNAM, 20TH CENTURY)ECOLE DE THU DAU MOT (SCHOOL OF THU DAU MOT)Poissons rouges de l’Abondance / Goldfish of Abundance / 金玉滿堂A lacquered wooden shallow dishSigned to the back (unidentified)D: 28,5 cmNotes:1. An artist whose signature has not yet been identified and sometimes referred to as Nguyen Son.2. For an important triptych by the same artist, please refer to Lynda Trouve Paris, France, 2018/06/21, lot 217, sold for €8.500 BP excl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - traces of metal mount for hanging on the wall;- minor scratchers;- minor chips.

VIETNAMESE SCHOOL (VIETNAM, 20TH CENTURY)ECOLE DE THU DAU MOT (SCHOOL OF THU DAU MOT)Poissons rouges de l’Abondance / Goldfish of Abundance / 金玉滿堂 A lacquered wooden panel set at the table  Inscribed to the lower right: 福祿壽, lit. “Happiness, Wealth and Longevity” Signed to the lower right (unidentified) Dimensions:- the panel: 40 x 80 cm- the table: H: 63 cmNotes: 1. An artist whose signature has not yet been identified and sometimes referred to as Nguyen Son. 2. For an important triptych by the same artist, please refer to Lynda Trouve Paris, France, 2018/06/21, lot 217, sold for €8.500 BP excl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- scratches;- minor losses of lacquer.

HOANG NGOC (Vietnam, Active mid 20th century)ECOLE DE THU DAU MÔT (THU DAU MÔT SCHOOL)Poissons rouges de l’Abondance / Goldfish of Abundance / 金玉滿堂Lacquered wooden panelSigned to the lower left 69,7 x 122,7 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

BUI HUU HUNG (Vietnam, Born in 1957) “忍” (nhẩn, tolerance, patience) A lacquered wooden panel Titled and signed in Chữ Nôm 71 x 50 cmNote: Bui Huu Hung began to focus on traditional lacquer painting after completing his studies at the Hanoi University of Fine Arts. He is a member of the International Association of Lacquer Painters and, since 1986, has worked to develop young artists at Nha Son Studio, the studio he founded in Hanoi. Hung is amongst Vietnam’s most famous contemporary artists. His work has been exhibited around the world, in both solo and group shows, and can also be found in prestigious collections.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

Jamini Prokash GANGOOLY (1876-1953) also known as J.P. GANGULY“Sunset Kanchenjunga”Oil on artist / student board (PREVIOUSLY DESCRIBED AS PANEL)Stamp to the back of the board: "PREPARED STUDENT ACADEMY BOARD WINSOR & NEWTON […] LONDON"Signed to the lower leftTitled and signed to the back22 x 29 cmNotes:1. J. P. Gangooly belonged to the extended Tagore family in Calcutta. Like many of his class of affluent gentlemen artists, Gangooly didn’t go to art school but was a product of private art training at home, initiated later into art by Abanindranath Tagore. Gangooly painted at the time of rise of new nationalist and modernist art movements. The skills he commanded in illusionist oil painting, realist portraiture and landscapes were all part of the essential training that marked the formation of the new professional artist in colonial India. Over the first decades of the 20th century, the artist demonstrated his flair in various genres, ranging from portraiture to neo-classical and mythological paintings. However, landscapes and riverscapes became his chosen genre where he developed his special style of densely mist-laden atmospheric effects of sunrise and sunsets on bathing ghats, river banks and mountain ranges. Gangooly especially surpassed himself in the picturesque views of the Himalayas, and in the village and river scenes of Bengal. He painted nearly a hundred oils of the sun setting on the river Padma, which earned him the sobriquet ‘Painter of Padma’. In 1905, he was elected the joint chairperson of the Bangiya Kala Samsad, Calcutta, and founded the Indian Society of Oriental Art, Calcutta, in 1907. In 1936, he was elected joint director of the Academy of Fine Arts, Calcutta. Gangooly became vice-principal of the Government College of Art & Craft, Calcutta, in 1916, a position he held till his retirement in 1928.2. Kangchenjunga, also spelled Kanchenjunga, is the third highest mountain in the world. It rises with an elevation of 8,586 m (28,169 ft) in a section of the Himalayas called Kangchenjunga Himaldelimited in the west by the Tamur River, in the north by the Lhonak Chu and Jongsang La, and in the east by the Teesta River. It lies between India and Nepal.3. Compare with a very close painting offered at Christie’s London, United Kingdom, 2016/06/25, lot 24, sold for €11.831 BP incl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- unframed to see how it is;- NEW DESCRIPTION: OIL ON STUDENT / ARTIST BOARD with a stamp to the back of the board: "PREPARED STUDENT ACADEMY BOARD WINSOR & NEWTON […] LONDON"- frictions and dust along the margins (not visible but when framed):- also few losses of painting along the margins (not visible when framed).

ZAO WOU-KI (FRANCE AND CHINA, 1921-2013)Untitled, Abstract composition1959Print / Aquatint in colors on Rives BFK paperEpreuve d’artiste / Artist proofInscribed and numbered to the lower left margin: “G.E.” (?) “1/4”Signed and dated to the lower right, in the margin: “59”Dimensions (the sole print): 34 x 58,5 cm- PENCIL INSCRIPTION TO THE BACK: "122" and "LE SAGE ESSAI DU BRUN" (litt. "the wise brown essay or test or attempt").[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - original rolled up but can be flat with no damage;- dimensions (the sole print): 34 x 58,5 cm;- a short tear on the upper part of the margin, central one;- a few stains;- damaged during preview by a customer: a tear starting from the lower part, 95% in the margin and a little in the plate;- PRICED REDUCED ACCORDINGLY AT 800 EUROS RESERVE;- we have not found the AGERUP reference but it is dated 59 and it seems consistent with what was done by the artist in the 1950s;- PENCIL INSCRIPTION TO THE BACK: "122" and "LE SAGE ESSAI DU BRUN" (litt. "the wise brown essay or test or attempt").

ZAO WOU-KI (FRANCE AND CHINA, 1921-2013)Untitled, Abstract composition in blue 1978Print / Aquatint in colors on Rives BFK paperEpreuve d’artiste / Artist proofInscribed with E.A. (epreuve d'artiste) in the margin, to the lower leftSigned and dated to the lower right, in the margin: “78”Dimensions (the sole print): 49,5 x 42,5 cmDimensions (with the frame): 81 x 61 cmReference: AGERUP 299.Note: Compare with an identical print, edition 91/99, sold at public auction at Drouot, Tessier-Sarrou, in Paris, 2013/11/27, lot 34, for €5.500. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- framed with a glass, but may not be glued (we have not open the frame);- light folds to the lower part of the leaf (margins, not to the print);- fresh colours;- collectors researches glued to the back of the frame.

T'ANG HAYWEN 曾海文 (China and France, 1927-1991)Abstraction in black and whiteA diptych of inks on paperUnsignedFramed with a glassDimensions (the two leaves together): 19,3 x 38 cmNotes: - The correct spelling of the name of the artist is T'ang Haywen, though he is sometimes wrongly referred to as Tang Haywen;- The eventual buyer will be able to obtain from T’ANG HAYWEN ARCHIVES and Mr. Philippe Koutouzis the inscription of this work in the catalogue raisonné of T'ang Haywen, after filling in a form and paying an administrative fee of 100 euros. Contact: info@tanghaywenarchives.com[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

T'ANG HAYWEN 曾海文 (China and France, 1927-1991)Abstraction in coloursWatercolour on paperSigned on the lower right9.7 x 10 cmNotes: - The correct spelling of the name of the artist is T'ang Haywen, though he is sometimes wrongly referred to as Tang Haywen;- The eventual buyer will be able to obtain from T’ANG HAYWEN ARCHIVES and Mr. Philippe Koutouzis the inscription of this work in the catalogue raisonné of T'ang Haywen, after filling in a form and paying an administrative fee of 100 euros. Contact: info@tanghaywenarchives.com[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

PAJONYUT PUVIJARN (THAILAND, BORN IN 1973)LiliesOil on canvasSigned and dated to the lower part: 2021176,5 x 180,5 cmNotes:1. The paintings of Pajonyut Puvijarn are inspired from the landscapes and peoples of his daily life in Bangkok, Thailand. He likes to travel around the city with his polaroid and to capture either Buddhist monks in their activities or the nature itself, with a preference for lilies floating on the surface of rivers or lakes. He uses a knife to apply a large quantity of oil painting on the surface of the canvas. He also likes completing his paintings by the adjunction of a thin gold leaf.2. Some of his works are preserved in renowned collections such as the Magrez Foundation, Bordeaux, France. His work has been extensively displayed in no less than 30 exhibitions, including one at the David Gallery, Hong Kong, China, back in 2000.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A MASSIVE JAPANESE IMARI CHARGERJapan, Edo to Meiji period, 19th centuryOf shallow circular form, decorated in red, blue and gilt against a white ground, centred with still life group and eight radiating panels, within a gilt edged rim.D: 54,7 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- scratches and wears, minor;- faded gilt decoration to some parts.

A PORCELAIN ‘TROMPE-L’OEIL’ TUREENJapan, Meiji to Taisho periodA trompe-l’oeil tureen mimicking a fish within a large ovate-shaped dish, the top one of a pile, the lid topped by a hermit crab shaped finial. Bears a mark inscribed to the inner part of the tureen and repeated to the inner part of the lid, interestingly, the below, which should not be visible, is also adorned with flower sprigs.H: 12,5 cm - L: 32 cm - w: 19 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A SATSUMA EARTHENWARE ‘SHICHIFUKUJIN 七福神’ BALUSTER VASE Japan, Meiji period Richly adorned in polychromed and gilt enamels with the Japanese Seven Gods of Happiness, i.e. the Shichifukujin (七福神). The below inscribed with a mark reading "大日本上州山松月" as well as with a Shimazu crest.  H: 22,3 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A BALUSTER SATSUMA VASE POSSIBLY BY SEIKOZANJapan, Meiji periodResting on a short ring foot, with a compressed globular body a slightly garlic neck. Richly adorned in gilt and polychrome enamels with flowers, including peonies, and cloudy curves. Bears a seal signature to the below possibly reading Seikozan.H: 28,8 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- a crack to the ring foot;- a "stain" in the clouds to one side (maybe removable);- a very light hairline to one side.

A PAIR OF SETO PORCELAIN BARREL-SHAPED GARDEN STOOLSJapan, Meiji periodOf barrel shape, with two dragon-shaped applied handles to the upper part, with open-worked coin / sapeques to the sides, adorned in blue, grisaille and pink enamels with chidori birds amidst sakura and kiku flowers.H: 47,5 cm - D: 22 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- a minor tiny chip to one of the bird tail (one of the top of the stool);- a chip with a small missing part to one handle;- scratches mostly located to the tops of the stools.

A NEAR PAIR OF SOFT METAL INLAYS ‘BIRDS’ BRONZE VASES BY MIYABE ATSUYOSHI 宮部篤良Japan, Meiji periodOf elongated ovate shape, with a narrow neck and a round rim. The grounds all covered with low-relief lozenge and flowers pattern with two reserved medallions on the bodies, the necks also reserved. Two of the medallions with Lake Biwa landscapes and Mount Fuji in the background, the two other medallions with birds, one with owls perched on leafy branches, a silver-patinated full moon in the sky, the other with a magpie and flying chidori birds around a lotus pond. The below engraved as follow: “一光堂宮部篤良” with a kao, lit. Ikkodo Miyabe Atsuyoshi.H: 23,5 cmNote: Miyabe Atsuyoshi is recorded in Wakayama Takeshi 若山猛, Kinko jiten 金工事典 (Dictionary of Metalworkers), Tokyo, Token Shunju Shinbunsha 刀剣春秋新聞社, 1999, p.1141, as a maker of sword-fittings and a pupil of Shinoyama Tokuoki (1813-1891), active in Kyoto during the late Edo period and early Meiji era.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- a few minor shocks to the rim of one;- a few missing inlays.

A PAIR OF CLOISONNE ENAMEL VASES BY OTA JIN’NOE (1858-1907) Japan, Meiji period Of elongated ovate shapes, both adorned in vivid enamels with flowers against a light cream white ground. Both below are incised with the mark of the artist: “太田造”. H: 24,4 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- hairlines / cracks around the neck of one;- a "stain" / trace to the vase with the cracks to the side;- a small stain to the same vase around the foot.

AN AMETHYST EMBELLISHED BRONZE INKPOT SHAPED AS A CRAB, KANI カニJapan, Taisho to Showa periodNaturalistically casted as a crab, all covered with a dark brown patina, the top embellished with an amethyst cabochon and opening as a lid.H: 9,7 cm - L: 19,7 cmWeight: 3993 grams[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A LARGE BRONZE JIZAI OKIMONO OF A LOBSTER / ROBUSUTA Japan, Taisho to Showa period Fully articulated jizai okimono with moving tail and legs. Brown patina. L: 33 cm Weight: 1000 grams[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: - A restored leg.

A LARGE CHICKEN BONE JADE CARVING OF A RECUMBENT DEERChina, Possibly Ming DynastyCarved as a recumbent deer or stag with curvy antlers and a coiled tail. Offered at auction together with a matching wooden stand.H: 5,5 cm – L: 9 cm – w: 4,4 cmWeight: 306 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 Chinese character for deer is “鹿” which is pronounced “lu”. Its homonym is the Chinese character “禄”, which refers to the salary a government official receives.  A picture of a deer is therefore expressing a wish for a top government office with a high salary. The Chinese believe the deer lives to a very great age and, as a result, has become a symbol for long life.鸡骨玉雕“卧鹿”中国，可能为明代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, infusions and inclusions in the stone.

A COLLECTION OF FIVE (5) COPPER INSECTS OKIMONOJapan, Taisho to Showa periodComposed of two rhinoceros beetles, a stag beetle, and a partially articulated locust and a wasp.L: from 5 to 13 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

AN EXTREMELY RARE JAPANESE MOUTH ORGAN SHOJapan, Edo periodThe circular air chamber is lacquered in gold hiramaki-e and nashiji style, shibuishi mouthpiece, bamboo tubes with shibuishi fittings.H: 43 cmNotes:1. The shō (笙) is a Japanese free reed musical instrument that was introduced from China during the Nara period (AD 710 to 794). It is descended from the Chinese sheng, of the Tang Dynasty era, although the shō tends to be smaller in size than its contemporary sheng relatives. It consists of 17 slender bamboo pipes, each of which is fitted in its base with a metal free reed. The instrument's sound is said to imitate the call of a phoenix, and it is for this reason that the two silent pipes of the shō are kept—as an aesthetic element, making two symmetrical "wings".2. Compare with two closely related  shō, one preserved at the Metropolitan Museum of New York (The MET), The United States of America, under accession number 68.62.2, the other one preserved at the Museum of Fine Arts of Boston (MFA), The United States of America, under accession number 2002.136.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- fresh lacquer with vivid colours;- missing two tubes.

A MAKI-E AND NASHIJI LACQUER ‘STAG AND REISHI’ INCENSE BOX, KOGO 香合Japan, Edo period, 19th centuryA box shaped as a crouching stag, its back opening by a lid topped by a ‘longevity fungus’ finial unveiling a container for incense powder. The below bears two labels, the one with a missing part inscribed with a calligraphy. H: 5,5 cm - L: 10,5 cm - w: 7,1 cmNote: A kōgō (香合) is a small lidded container for the incense that is added to the charcoal fire during the charcoal-laying procedure. Usually, kōgō made of lacquer ware or plain wood would be used for the chips of incense wood (kōboku) used in a portable brazier (furo). Kōgō is one of the tea utensils (chadōgu - 茶道具) used in the chadō, i.e. the art of Japanese tea.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- the two antlers have been restored at the point of junction with the top of the head;- a few minor scratches to the face of the stag, minor;- tiny losses in the lacquer to the back leg hoof;- tiny chips losses of lacquer to the rim of the lid / cover.

§A COLLECTION SIX (6) KANZASHI KOGAI HAIRPIN SETSJapan, Edo to Meiji periodEach matching set is composed of a kushi (comb) and a kogai (pin), decorated with floral patterns lacquer in gold hiramaki-e and nashiji, some with mother-of-pearl inlays.§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:- overall good condition;- made of lacquer and mother of pearl;- a few faded gilt parts;- a few minor losses in the lacquer.

A SUITE OF SIX (6) ‘RICE CULTURE’ ORNEMENTAL PANELS MADE IN THE OSHI-E (PADDED-SILK) TECHNIQUEThe painting possibly by Sekka, Meiji periodA series of six vertical painting, ink, colour and kirihaku on silk, depicting the methods of rice culture. The different panels show:1. Harvesting and threshing;2. Polishing rice and putting bales into storehouse;3. Winnowing;4. Planting rice;5. Flooding the rice paddies;6. Ploughing in spring (cherry blossom in flower).All the panels are signed and sealed at different places, possibly by an artist named Sekka. All the panels are framed with glass.Dimensions:- each single panel, frame excl.: 137 x 55,5 cm- each single panel, frame incl.: 143 x 61,5 cmIMPORTANT MODIFICATION: THERE ARE TWO DIFFERENT SIZES OF SILKS (AND ALSO OF FRAMES), 3 ARE OF THE SIZE ANNOUNCED IN THE CATALOG:- 3 are 136 x 51,5 cm (for the sole silk part without even the borders and without the frame);- 3 are 136 x 55 cm (for the sole silk part without even the borders and without the frame).Notes:1. Please note the interesting subject depicted with a peculiar attention to details including, in no. 2, a cat to keep mice away from the rice.2. Oshi-e, also referred to as kiritori zaiku, was a technique in which paper or silk wadding is covered with dyed and painted silk or paper to create padded relief designs. It is said that this technique probably dates back to the Muromachi Period. In the Meiji era, oshi-e was regarded as a feminine accomplishment alongside ikebana, tea ceremony and embroidery.3. Compare with a related work attributed to the same artist offered at auction at Bonham’s London, United Kingdom, 2017/05/11, lot 192, sold for GBP7.408 BP incl.Important note: there are two slightly different width, each for 3 panels.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- tears;- stains;- important note: there are two slightly different width, each for 3 panels.IMPORTANT MODIFICATION: THERE ARE TWO DIFFERENT SIZES OF SILKS (AND ALSO OF FRAMES), 3 ARE OF THE SIZE ANNOUNCED IN THE CATALOG:- 3 are 136 x 51,5 cm (for the sole silk part without even the borders and without the frame);- 3 are 136 x 55 cm (for the sole silk part without even the borders and without the frame).

A KYOGEN THEATER MASK OF BUAKUJapan, Taisho-Showa periodA lacquered wooden mask, the inner part with a seal mark reading “旭” (lit. “Asahi”?).H: 21 cm - w: 17 cmNote: The faintly comical demon mask of Buaku is the Kyogen version of the Noh theatre mask of Beshimi. Both the characterization and stylised carving of this mask reflect the original prototype. The mask is carved from a single piece of cypress, with the features in high relief. The eyeballs have had gold copper applied, with the edges emphasized by lines of ink accentuated by the rims. This follows the Noh theatre tradition of colouring the eyes of a demon red or gold.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- a few minor scratches;- a few minor losses of lacquer, mostly to the inner part.

A PROBABLY KYOGEN THEATER MASK OF AN OLD MANJapan, Taisho to Showa periodA polychromed and lacquered wooden mask, with hairs to render the eyebrows and the mustaches.H: 21 cm - w: 16 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: - Faded parts.

A NOH THEATER MASK OF KO-OMOTE 小面Japan, Showa periodA lacquered wooden mask with a nice crackled surface, lacquered inner part with a seal mark reading "理" (lit. “Ri”?).H: 21,2 cm - w: 14 cmNote: The mask Ko-Omote is one of the first masks of Noh Theater. It represents a young girl with round cheeks in a calm and meditative posture. It is an ideal representation of the youth.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- a few minor scratches;- a few hairlines / cracks in the lacquer;- frictions along the cord around the holes for hanging.

AN IMPRESSIVE NOH THEATER MASK OF SHISHIGUCHI 獅子口Japan, Taisho to Showa periodA gold lacquered wooden mask, lacquered brass eyes and teeth, the inner part with a seal mark reading "理" (lit. “Ri”?).H: 21,6 cm - w: 16,7 cmNote: A mask also known as “Lion’s mouth”, used for the second act of the play Shakkyō (Stone Bridge) for the role of the father lion who dances boisterously among the peony flowers in Monju Bodhisattva's paradise.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- minor scratches;- minor frictions;- minor losses of lacquer, two within the mouth;- two cracks, one to both sides of the mouth;- one crack to the top part to the back.

A NOH THEATER MASK OF KUROHIGE 黒髭Japan, Meiji-Taisho periodA lacquered wooden mask with brass eyes, black lacquered inner part.H: 21,1 cm - w: 14,1 cmNote: A mask also referred to as “Black beard”.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- minor frictions / scratches with minor losses of lacquer (notably around the holes for hanging);- the inner part with "stains";- the outer part with small dots;- faded lacquer to some points.