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λ A PAIR OF PORTRAIT MINIATURES OF HARVIE FARQUHAR AND LOUISA FARQUHAR MID-19TH CENTURY on ivory, inscribed 'M & E Hall' and 'E & M Hall', he with gilt inscription to verso, she with her dates inscribed to the frame and a locket of hair, in white and yellow metal frames (2) 7.2 x 5.7cm Provenance Redlynch House, Salisbury, Wiltshire.* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. 782AA5NH    

λ A CHARLES II OAK, WALNUT AND SNAKEWOOD CHEST C.1680 in two halves, with applied split mouldings, ivory rondels and cedar mouldings, fitted with three long drawers with geometric raised panelled fronts 92cm high, 97.5cm wide, 53cm deep* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No.2FCWBS8R

λ A NORTH ITALIAN CEDAR POKER AND PENWORK TABLE CABINET 17TH CENTURY AND LATER with a pair of doors, decorated with a fort and tents, with a port with sailing ships in a bay, the reverse with courtly figures, the interior with an arrangement of eight drawers with ivory handels around a central architectural cupboard, the sides decorated with cavaliers 45.5cm high, 47.7cm wide, 28.5cm deep* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No.TSZ9K62T

Victorian Brass & Mahogany Magic Lantern,English, c.1890, signed to an ivory plaque at the front 'Archer & Sons 49 Lord Street, London', the body constructed of French polished mahogany with lacquered brass fittings, push/pull focus with leather bellows, tinplate lined lamp housing, brass-bound lens housing with rack and pinion focusing with two lenses, in original black painted mahogany case Please note this lantern contains no asbestos CITES - this item contains ivory and cannot be exported from the UK. This item has been declared to HMRC as containing less than 10% ivory. The details of the registration are: Reference: PT4AB8VA Date of payment: 26 May 2022 

An Ancient Human Skull,mandible absent, teeth also missing apart from stump of right canine, dark patina, a small hole drilled in top of cranium, circular groove from a trephine to left parietal bone, in early 20th century mahogany case. Provenance: The vendor purchased a dental practice in Wimpole St, London in 1969, with the entire contents of the dental surgery. This skull was included in the sale. NOTE: FLINTS WILL ONLY SHIP THIS ITEM WITHIN THE UNITED KINGDOM. OVERSEAS BUYERS MUST MAKE THEIR OWN SHIPPING ARRANGEMENTS

Pair of mounted Cavalry Officer's Knee Boots. A rare pair of the high -low pattern worn by mounted officers pre 1902, of stiffened black leather, with high notched fronts. Back seams split. Remains a good display item. Toe to heel approx. 26 cm.

German Third Reich WW2 pair of 8 x 60 Kriegsmarine U Boat Binoculars A good scarce pair by Carl Zeiss Jena bearing stamps: Kriegsmarine Eagle, flanked by M IV/1. Also stamped M.M.S. 2223 and T BLC 8 x 60. Black crackle painted finish. Complete with later relacement rubber eye flaps to the eye pieces and brown leather strap. The binoculars appear in good condition, lenses may require cleaning. Retaining 90% of original black painted finish. Contained in a brown leather case with strap. Offered as an historical item only; the instrument's accuracy is neither warranted or implied.

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

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

LÉA LAFUGIE (FRANCE, 1890-1972) SCHOOL OF TRAVELING PAINTER, GRADUATED FROM THE PARIS SCHOOL OF DECORATIVE ARTS Opium subject: ‘On y hait tout bruit offensant’ (lit. [while smoking opium] ‘We hate all disturbing noise') Watercolor and pencil on paper 1930 Signed on the lower right With an artist seal on the lower right Dated on the lower central part Titled on the lower central part Framed with a glass Dimensions (as seen within the frame): 31,5 x 46 cm LÉA LAFUGIE (PHÁP, 1890-1972) TRƯỜNG HỌA SĨ DU MỤC, TỐT NGHIỆP TỪ TRƯỜNG MỸ THUẬT TRANG TRÍ PARIS NOTICE TO BIDDERS: This lot has been authenticated by Sandrine Dapsens. Note: A French explorer born in Paris with an atypical personality and life like Alexandra David-Néel (1868-1969) in Tibet and Edith Durham (1863-1944) in Albania, Léa Lafugie was fascinated by the Asian continent and, starting from the 1920s, traveled extensively to countries such as Burma, Tibet, India and Vietnam. Her talent as a drawer and portraitist, depicting peoples’ facial features as well as their souls, lead her to meet important peoples such as Jetsuma Dorjee Pagmo, the highest female reincarnation in Tibet Hierarchy (nr. 3 after the Dalaï Lama) and Nam Phương, the last Empress of the Nguyen Dynasty. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

IN THE MANNER OF VICTOR TARDIEU (FRANCE & VIETNAM, 1870-1937) CO-FOUNDER OF THE ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI) A view of an old laundry building with washing women and fishermen Oil on canvas Unsigned The back of the canvas bears two handwritten inscriptions attributing the painting to: ‘Victor Tardieu’ 38,5 x 68,2 cm THEO BÚT PHÁP CỦA VICTOR TARDIEU (PHÁP VÀ VIỆT NAM, 1870-1937) NHÀ ĐỒNG SÁNG LẬP CỦA THE ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG - TMTĐD) Note: Victor Tardieu studied at the Ecole Nationale des Beaux-Arts de Lyon (the National Fine Arts College, Lyon, France). He then transferred to Académie Julian in Paris and to the Ecole des Beaux-Arts de Paris (Paris Fine Arts College) with the support of the renowned painter Léon Joseph Florentin Bonnat (1833-1922). In 1925, he and his friend, the painter Nguyễn Nam Sơn (1890-1973), created the École des Beaux-Arts de l'Indochine (EBAI), where he served as Director until 1936, thereby contributing to the rise of prominent 20th century Vietnamese artists. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

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

MAI TRUNG THU 梅忠恕 (VIETNAM AND FRANCE, 1906-1980) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1930) “La toilette” 1962 Print Bears a printed signature and a seal in the plate to the lower right Autographed and signed by the artist to the lower part: À Madame Lola Saint Marceau avec les compliments de l'auteur” Framed Dimensions (the sole print): 52.8 x 40.9 cm Notes: Mai Trung Thu, known as Mai Thu, was born in 1906. He came 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 colors he used. Compare with an identical print also autographed at Sotheby’s Hong Kong, China, 2015/10/05, lot 282, sold for €4.592 BP incl. MAI TRUNG THỨ 梅忠恕 (VIỆT NAM VÀ PHÁP, 1906-1980) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG), KHÓA 1 (1930) “Trang điểm” 1962 Bản in thạch bản màu trên lụa Có chữ ký và con dấu trong tấm phía dưới bên phải Được đề tên và được ký bởi họa sĩ ở góc dưới: Gửi đến Bà Lola Saint Marceau với những lời chào trân trọng từ tác giả Được đóng khung Kích thước (bản in duy nhất): 52,8 x 40,9 cm Ghi chú: Mai Trung Thứ, còn được gọi là Mai Thứ, sinh năm 1906. Ông xuất thân trong một gia đình giàu có, cha ông là Mai Trung Cát làm Tổng đốc Bắc Ninh và được nhà cầm quyền Pháp phong tước vị là Nam tước. Ông học tại trường Trung học Pháp ở Hà Nội. Năm 1925, Mai Thứ vào học khóa đầu tiên của Trường Mỹ thuật Đông Dương, dưới sự chỉ đạo của Victor Tardieu. Chính trong những năm đi học này, ông đã bắt đầu say mê vẽ tranh miêu tả cảnh sinh hoạt nông thôn Việt Nam. Ông đã chọn vẽ cảnh vật trên lụa, một chất liệu đắt tiền nhưng cũng tinh tế cũng như bảng màu mà ông đã sử dụng. So sánh với một bản in giống hệt cũng có chữ ký tại Sotheby's Hồng Kông, Trung Quốc, 05/10/2015, lô số 282, được bán với giá €4.592 bao gồm phí của người mua. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

NGUYEN MAI THU (VIETNAM, ACTIVE CIRCA 1930S-1955) PROBABLY ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE) Scène de marché de rue ou Les marchandes de fruits (Street market scene or The fruit sellers) Oil on canvas Signed and dated to the lower right: ‘50’ (for 1950) 65 x 54 cm Provenance: A private collection, Paris, France. NGUYỄN MAI THỨ (VIỆT NAM, HOẠT ĐỘNG TRONG KHOẢNG NĂM 1930-1955) CÓ THỂ LÀ THE ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG) Notes: 1. If Nguyen Mai Thu is well known for his picturesque views of Halong Bay with fishing boats, rarer are his depictions of characters. In this street market scene, the artist choose to focus on two women wearing traditional clothes and headdresses: the first one is seated on the sand floor, grabbing fruits from a woven basket, another woven basket full of fruits next to the first one as well as a bunch of bananas; the second one is depicted standing, holding a basket of fruits and staring at us. On the middle ground is a barrel and a tree. In the background, a banana tree and a village house. The composition is packed and closed, whilst we can see a light blue sky in the back. The sunlight, going through the tree canopy, is delicately popping up the composition and creating shadows as visible on the floor. 2. Possibly one of the most sensitive paintings achieved by Nguyen Mai Thu. 3. Compare with a street market scene by the same artist sold in DROUOT Paris by Crait + Muller, 2018-12-10, under lot number 166, for €4,000. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

VO LANG DIT JEAN VOLANG (VIETNAM AND FRANCE, 1921-2005) GRADUATED FROM THE ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI), 16TH CLASS (1942-1945) Femme au chapeau et au bouquet de roses - Young woman with a hat and a bouquet of roses Oil on canvas Signed on the lower right Framed 73 x 60 cm VO LANG DIT JEAN VOLANG (VIỆT NAM VÀ PHÁP, 1921-2005) TỐT NGHIỆP TỪ THE ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG - TMTĐD), KHÓA 16 (1942-1945) Note: A graduate from the Ecole des Beaux-Arts de l’Indochine (EBAI) and a student of Joseph Inguimberty (france, 1896-1971), Vo Lang, also known as Jean Volang, mastered at painting with bright and vibrant colors and thereby is sometimes referred to as the ‘Vietnamese Renoir’ by collectors and connoisseurs. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

VO LANG DIT JEAN VOLANG (VIETNAM AND FRANCE, 1921-2005) STUDENT OF JOSEPH INGUIMBERTY (FRANCE, 1896-1971) GRADUATED FROM THE ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI), 16TH CLASS (1942-1945) 'Sous la veranda' Oil on canvas Signed on the lower right Titled and signed to the back of the canvas Framed 65 x 54 cm VO LANG DIT JEAN VOLANG (VIỆT NAM VÀ PHÁP, 1921-2005) HỌC TRÒ CỦA JOSEPH INGUIMBERTY (PHÁP, 1896-1971) TỐT NGHIỆP THE ECOLE DES BEAUX ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG - TMTĐD), KHÓA 16 (1942- 1945) Note: A graduate from the Ecole des Beaux-Arts de l’Indochine (EBAI) and a student of Joseph Inguimberty (france, 1896-1971), Vo Lang, also known as Jean Volang, mastered at painting with bright and vibrant colors and thereby is sometimes referred to as the ‘Vietnamese Renoir’ by collectors and connoisseurs. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

LÊ BÁ ĐẢNG 黎白璗 ALSO KNOWN AS DANG LEBADANG (VIETNAM & FRANCE, 1921-2015) GRADUATED FROM THE ECOLE DES BEAUX-ARTS DE TOULOUSE (TOULOUSE FINE ARTS COLLEGE) Poissons rouges de l’Abondance - Goldfish of Abundance - 金玉滿堂 Oil on canvas Signed on the lower right Further attributed three (3) times to the back of the canvas and of the stretcher together with a short description of the artist life A label of Galerie Double SARL on the stretcher Framed Dimensions (the sole painting, frame excluded): 27 x 35 cm Provenance: - a Normandy private collection; - acquired from Galerie Doublet SARL, Avranches, Normandy, France (according to the label). LÊ BÁ ĐẢNG 黎白璗 CÒN ĐƯỢC BIẾT VỚI TÊN DANG LEBADANG (VIỆT NAM VÀ PHÁP, 1921-2015) TỐT NGHIỆP ECOLE DES BEAUX-ARTS DE TOULOUSE (TRƯỜNG CAO ĐẲNG MỸ THUẬT TOULOUSE) Note: Lebadang was a Vietnamese-born French artist born in Bích La Đông, (in Quang Tri near Huê) in 1921. In 1939, he emigrated to France where he fought in the French Resistance Army against the Nazi invasion. Alone and without resources, he survived for a time in wartime France, and enrolled for a course in painting given by Mr. Espinasse and sculpture lessons given by Mr. Manin at the Ecole des Beaux-Arts de Toulouse (Toulouse Fine Arts College) form which he graduated (1942-1948). Today, Lebadang’s works are in the collections of the Cincinnati Museum of Art, the Rockefeller Collection in New York, and the Phoenix Museum of Art, among others. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

NGUYEN PHUOC (VIETNAM, B. 1943) SAIGON SCHOOL OF APPLIED ARTS (1960) THE NATIONAL UNIVERSITY OF FINE ARTS OF HO CHI MINH CITY ‘Autumn Evening’ 2002 Oil on canvas Signed on the lower left Bears an artist seal on the lower left Dated on the lower left: ‘02’ Framed 81 x 77 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. NOTICE TO BIDDERS: This work has been authenticated by the artist himself (www.nguyenphuoc.com). The successful bidder will be provided with a certificate of authenticity with the serial #US-02-032 matching that which is on the stretcher, on the back of the painting. Notes: 1. Born in Saigon, Vietnam, Nguyen Phuoc began to paint as a teenager and later on graduated from the School of Applied Arts of Saigon (1960) and from the National University of Fine Arts (also in Saigon, 1965). He later settled in Minnesota, USA. 2. A thoughtful and attentive artist, Nguyen Phuoc always devotes a great deal of care to his compositions, meticulously executed on large formats by an unfailing hand. His works are profuse in their themes, using a rich chromatic palette. The artist is deliberately neglecting the rules of classical perspective. Amidst his main subjects are depictions of women and still lives. Our painting is the perfect combination of the two. Two beautiful Vietnamese ladies dressed in áo dài are resting outside on a terrace overlooking a river. On the first ground is a flowered antique blue and white porcelain vase with a fruit dish next to it. On the second and third grounds are the two ladies, the first one resting against an opium bed, the second one against a garden stool. In the background is a river with sampan boats. They are enjoying a quiet autumn evening outdoors. They are similar both by the color of their clothes and by their positions in the composition with the two women depicted by the same artist on a painting sold at SOTHEBY’S Singapore, 2004-04-04, lot 193. 3. Currently, his works are preserved in several public collections such as the Singapore Museum of Arts, the Singapore Vietnam Heritage Foundation and the Singapore Emerald Hill Gallery. His record price at auction was achieved by SOTHEBY’S Hong Kong, China, 2020-10-06, lot 264, sold for €35,060. NGUYỄN PHƯỚC (VIỆT NAM, SINH NĂM 1943) TRƯỜNG MỸ THUẬT ỨNG DỤNG SÀI GÒN (1960) TRƯỜNG ĐẠI HỌC MỸ THUẬT QUỐC GIA CỦA THÀNH PHỐ HỒ CHÍ MINH “Buổi tối mùa thu” 2002 Tranh vải dầu Được ký ở góc dưới bên trái Có con dấu họa sĩ ở góc dưới bên trái Đề ngày ở góc dưới bên trái: “02” Được đóng khung 81 x 77 cm Xuất xứ: Một bộ sưu tập tư nhân của Nghệ thuật Việt Nam, French Riviera, Pháp. Lưu ý quan trọng đối với các nhà đấu giá tiềm năng: Tác phẩm này đã được chứng thực bởi chính họa sĩ (www.nguyenphuoc.com. Người đấu giá thành công sẽ được cung cấp một giấy chứng nhận tranh thật có số sê-ri #US-02-032 trùng khớp với số ghi trên khung căng vải, mặt sau của bức tranh. Ghi chú: 1. Sinh ra tại Sài Gòn, Việt Nam, Nguyễn Phước bắt đầu vẽ tranh từ khi còn là một thiếu niên và sau đó tốt nghiệp Trường Mỹ thuật Ứng dụng Sài Gòn (1960) và Đại học Mỹ thuật Quốc gia (cũng tại Sài Gòn, 1965). Sau đó ông đã định cư tại Minnesota, Hoa Kỳ. 2. Là một nghệ sĩ sâu sắc và tận tâm, Nguyễn Phước luôn dành nhiều tâm huyết cho những tác phẩm của ông, được thực hiện một cách tỉ mỉ trên khổ lớn bởi một bàn tay bền bỉ. Các tác phẩm của ông có chủ đề phong phú, sử dụng một bảng màu phong phú. Người nghệ sĩ cố tình bỏ qua các quy tắc của phối cảnh cổ điển. Đối tượng chính trong những bức tranh của ông bao gồm miêu tả phụ nữ và tĩnh vật. Bức tranh của chúng tôi là sự kết hợp hoàn hảo của cả hai. Hai người phụ nữ Việt Nam xinh đẹp mặc áo dài đang nằm nghỉ ngơi trên sân thượng nhìn ra sông. Ở tầng một là một chiếc bình sứ cổ màu xanh trắng in hình hoa với một đĩa hoa quả bên cạnh. Ở tầng hai và ba là hai người phụ nữ, người đầu tiên nằm nghỉ dựa vào giường thuốc phiện, người thứ hai tựa vào chiếc ghế đẩu. Ở cảnh nền là một dòng sông với những chiếc thuyền tam bản. Họ đang tận hưởng một buổi tối mùa thu yên tĩnh ngoài trời. Họ giống nhau cả về màu sắc quần áo và vị trí của họ trong bố cục với hai người phụ nữ được miêu tả bởi cùng một họa sĩ trong một bức tranh được bán tại SOTHEBY'S Singapore, 04-04-2004, lô số 193. 3. Hiện tại, các tác phẩm của ông được lưu giữ trong một số bộ sưu tập công cộng như Bảo tàng Nghệ thuật Singapore, Quỹ Di sản Việt Nam Singapore và Nhà Triển lãm Emerald Hill Singapore. Giá kỷ lục của ông tại cuộc đấu giá là €35.060 đạt được bởi SOTHEBY'S Hồng Kông, Trung Quốc, 06-10-2020, lô 264. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

TRẦN PHÚC DUYÊN (VIETNAM, 1923-1993) ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI), 16TH CLASS (1942-1946) ECOLE DES BEAUX ARTS DE PARIS (PARIS FINE ARTS COLLEGE, 1955-1959) Paysage de la région du delta - Landscape of the delta river Lacquer cigar box with gilt against a red ground Signed on the lower right of the lid H: 6,7 cm - L: 26,6 cm - width: 12,5 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. TRẦN PHÚC DUYÊN (VIỆT NAM, 1923-1993) ECOLE DES BEAUX ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG - TMTĐD), KHÓA 16 (1942-1946) ECOLE DES BEAUX ARTS DE PARIS (TRƯỜNG MỸ THUẬT PARIS, 1955-1959) Notes: 1. Tran Phuc Duyen was born in Hanoi in 1913. Fascinated by the arts of drawing and painting, he embraced a career in that field and successfully passed the entrance exam of the Ecole des Beaux-Arts d'Indochine (Indochina Fine Arts College), from which he graduated in lacquerware, along with major artists such as Jean Volang (B. 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 friend of artists such as Bui Xuan Phai (1920-1988) and Nguyen Tien Chung (1914-1976), for whom he drew many sketches and who had a strong influence on his work. In 1954, he moved to Paris, France, where he studied 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. 2. This box's lacquer style and tones is typical of the art of Tran Phuc Duyen and is related with, inter alia, a panel recently sold at public auction by LYNDA TROUVE, 2020-09-22, lot 265, sold for €38,000. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

VIETNAMESE SCHOOL (VIETNAM, ACTIVE 20TH CENTURY) PROBABLY A STUDENT OF THE ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI) La Moyenne Région (du Nord Vietnam, Tonkin) - The Middle Region (of North Vietnam, Tonkin) Lacquered wooden shallow dish with gilt against a red ground Not signed D: 30 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. TRƯỜNG VIỆT NAM (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) CÓ THỂ LÀ SINH VIÊN CỦA THE ECOLE DES BEAUX ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG - TMTĐD) Note: A lacquer piece undoubtedly by a skillful artist, possibly a student of the Ecole des Beaux Arts de l’Indochine, with striking gilt coco trees and palm trees along thatched houses. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

VIETNAMESE SCHOOL (VIETNAM, ACTIVE 20TH CENTURY) ATTRIBUTED TO HOÀNG TÍCH CHU (1914-1976) AND NGUYÊN TIÊN CHUNG (1897-1933) ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI), 11TH CLASS (1936-1941) La Moyenne Région (du Nord Vietnam, Tonkin) - The Middle Region (of North Vietnam, Tonkin) Lacquered wooden shallow dish with gilt against a red ground Not signed D: 30,5 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. Notes: 1. This impressive work may be linked with a major lacquered wooden panel sold at CHRISTIE’S, a common work by these two artists, students of Joseph Inguimberty (1896-1971) in the lacquer section of the Ecole des Beaux Arts de l’Indochine as well as close friends. See CHRISTIE’S Hong Kong, China, 2017-05-28, lot 325, sold for €549,320. 2. Please find below an abstract of the lot essay written by expert Jean-François Hubert, senior consultant at CHRISTIE’S, for the above-mentioned panel, that may also fit our shallow dish: ‘The execution of a joint work, might not be unique, but it certainly remains exceptional. In 1942, these two artists were in full force and at the peak of their talent. In this work, they both related the same way to this majestic and mysterious mountainous Tonkin, which Victor Tardieu and Joseph Inguimberty always encouraged students of the Beaux Arts to go admire. The sugar loaf mountains, such as those found in this region are magnified, as well as the vegetation, by an abundant use of gold lacquer in contrast to the rather dark atmosphere of the rice fields.’ TRƯỜNG HỌC VIỆT NAM (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) THUỘC VỀ HOÀNG TÍCH CHU (1914-1976) VÀ NGUYÊN TIÊN CHUNG (1897-1933) ECOLE DES BEAUX ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG, KHÓA 11 (1936-1941) La Moyenne Région (du Nord Vietnam, Tonkin) - Miền Trung (thuộc miền Bắc Việt Nam, Bắc Kỳ) Đĩa nông lòng bằng gỗ sơn mài có hoa văn mạ vàng trên nền đỏ Chưa được ký Kích thước: 30,5 cm Xuất xứ: Một bộ sưu tập tư nhân của Nghệ thuật Việt Nam, French Riviera, Pháp. Ghi chú: 1. Tác phẩm ấn tượng này có thể được liên kết với một tấm tranh gỗ sơn mài lớn được bán tại CHRISTIE'S, một tác phẩm chung của hai nghệ nhân này, họ là học sinh của Joseph Inguimberty (1896-1971) trong khoa sơn mài của Trường Mỹ thuật Đông Dương đồng thời cũng là những người bạn thân. Xem CHRISTIE’S Hồng Kông, Trung Quốc, 28-05-2017, lô số 325, được bán với giá €549.320. 2. Vui lòng xem dưới đây phần trích của bài luận văn về lô sản phẩm do chuyên gia Jean-François Hubert, chuyên gia tư vấn cấp cao của CHRISTIE'S, viết về tấm tranh sơn mài đề cập ở trên, cũng có thể phù hợp với cái đĩa nông lòng của chúng tôi: “Việc thực hiện một tác phẩm chung, có thể không độc nhất vô nhị, nhưng chắc chắn vẫn rất đặc biệt. Năm 1942, hai nghệ nhân này đang sung sức và ở đỉnh cao tài năng. Trong tác phẩm này, cả hai liên hệ với nhau thông qua cùng mối quan tâm sâu sắc đến vùng Bắc Kỳ có núi non hùng vĩ và huyền bí này, nơi mà Victor Tardieu và Joseph Inguimberty luôn khuyến khích các sinh viên của Mỹ thuật đi chiêm ngưỡng. Những ngọn núi có đỉnh núi giống cối đường, chẳng hạn như những ngọn núi được tìm thấy ở vùng này thật hùng vĩ, cũng như thảm thực vật, được phóng đại bằng cách sử dụng nhiều lớp sơn mài màu vàng tương phản với bầu không khí khá u ám của những cánh đồng lúa”. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

PUBLICATION DE L’ECOLE D’ART DE GIADINH, SAIGON (GIADING SCHOOL OF ART PUBLICATION) J.G. BESSON, CONTROLLER OF INDOCHINA’S SCHOOL OF ARTS (UNDER THE DIRECTION OF) MONOGRAPHIE DESSINEE DE L’INDOCHINE COCHINCHINE (DRAWN MONOGRAPH OF INDOCHINA COCHINCHINA) ASSOCIATION CORPORATIVE DES DECORATEURS, GRAVEURS ET LITHOGRAPHES DE GIADINH (CORPORATION ASSOCIATION OF THE DECOTORS, ENGRAVERS AND LITHOGRAPHERS OF GIADINH) PARIS, LIBRAIRIE ORIENTALISTE PAUL GEUTHNER, 12 RUE VAVIN (VITH DISTRICT), MCMXXXV (1935) PREFACE BY LOUIS MALLERET TOME I: SITES ET GENS (SITES AND PEOPLES) In-folio. Title page of the publication. Title page of the Tome. Plate summary. Complete preface of the publication by Louis Malleret (11 pages). 40 plates originally. 39 plates (missing one plate, no. 40). TOME II: SITES ET GENS (SITES AND PEOPLES) In-folio. Missing title page of the publication. Title page of the Tome. Plate summary. 40 plates originally. 12 plates (missing no. 1-5, 9-16, 18-20, 26, 28-35, 38-40). TOME III: SITES ET GENS (SITES AND PEOPLES) In-folio. Title page of the publication. Title page of the Tome. Plate summary. 40 plates originally. Complete. TOME IV: AGRICULTURE INDUSTRIE ET COMMERCE (AGRICULTURE INDUSTRY AND TRADE) In-folio. Title page of the publication. Title page of the Tome. Plate summary. 42 plates originally. Complete. TOME V: AGRICULTURE INDUSTRIE ET COMMERCE (AGRICULTURE INDUSTRY AND TRADE) In-folio. Title page of the publication. Title page of the Tome. Plate summary. 40 plates originally. Complete. TOME VI: AGRICULTURE INDUSTRIE ET COMMERCE (AGRICULTURE INDUSTRY AND TRADE) In-folio. Title page of the publication. Title page of the Tome. Plate summary. 40 plates originally. Complete. One tear to the title page of the publication. TOME VII: THEATRE SINO-ANNAMITE (CHINESE ANNAMESE THEATER) In-folio. Title page of the publication. Title page of the Tome. Plate summary. 42 plates originally. Complete. TOME VIII: CULTE (DEVOTION) In-folio. Title page of the publication. Title page of the Tome. Plate summary. 42 plates originally. Complete. [TOTAL: +/- 300 LITHOGRAPHS - ALL NUMBERS GIVEN IN THAT DESCRIPTION ARE APPROXIMATE] PUBLICATION DE L’ECOLE D’ART DE GIADINH, SÀI GÒN (TRƯỜNG XUẤT BẢN NGHỆ THUẬT GIA ĐỊNH) J.G. BESSON, TRƯỞNG BAN QUẢN TRỊ CỦA TRƯỜNG MỸ THUẬT ĐÔNG DƯƠNG (THEO CHỈ ĐẠO CỦA) Notes: 1. All the plates are lithographs. 8 tomes from a series of 13 tomes. A very rare publication. Such a lot with that many tomes has never been seen at auction previously. 2. Compare with a single tome (no. 3) of this collection of 13 tomes offered at auction at Lynda Trouve Paris, 2019/04/01, lot 190 sold for €2.000 BP excl. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

TOSHIO BANDO (JAPON ET FRANCE, 1895-1973) ECOLE DE MONTPARNASSE (SCHOOL OF MONTPARNASSE) Nature morte aux oignons (Still life with onions) Oil on canvas With its original frame and stretcher Signed on the upper right corner Pencil inscriptions (possibly numbers) to the back on the stretcher 19 x 23,7 cm NOTICE TO BIDDERS: This painting has been authenticated by the Toshio Bando Committee, Paris, France. The successful bidder will be provided with a certificate of authenticity established by Mrs. Sylvie BUISSON and Mr. Jacques BOUTERSKY. It has been listed in the Toshio Bando Archives under number 26.003.++. Note: Born in 1895 in Tokushima, Japan, the grandson of two samurai lineages, Toshio Bando set up in Paris in 1922 in Montparnasse where he became the student of Leonard Tsuguharu Foujita, who was already an established and praised artist and for whom he had a great admiration. Between the two world wars, many Japanese artists came to study in Paris and then returned to their home country, whilst Foujita and Bando stayed there for the rest of their lives. Bando is regarded as a member of the School of Montparnasse, but also as a member of the larger School of Paris, a well-known ‘family’ of cosmopolitan artists who were exhibiting their paintings at the ‘Salon d’Automne’, ‘Salon des Tuileries’ and ‘Salon des Independants’. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

ZHU XINJIAN 朱新建 (CHINA, 1953-2014) Fermme à l’éventail à manche - Young beauty with a round fan Circa 1990s Ink and colors on paper Signed and located on the middle right part: ‘Dafeng’ - ‘大豐新建制’ Bears an artist seal on the middle right part 52 x 53 cm Provenance: a Parisian private collection. Notre: Born in Dufang, Jiangsu, China in 1953, Zhu Xinjian studied painting, ancient Chinese painting and old texts at the Nankin Academy of Arts from which he graduated in 1980. Following this academic cursus, he extensively traveled China and developed an interest in classical Chinese literature. Like major Chinese painters of the 20th century, such as Xu Beihong and Zao Wou-Ki, he went to France, a milestone for any artist, and studied at the Ecole des Beaux-Arts (Paris Fine Arts College). He then developed a fascination for women subjects and even drew erotic sketches. In 1990, several of his paintings were exhibited at the Paris Academy of Fine Arts. 美人图-朱新建 (中国, 1953-2014) NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BẢO ĐẠI 保大 - ANNAM: A GOLD MEDAL AWARD VIETNAM, LATE NGUYEN DYNASTY, EMPEROR BẢO ĐẠI 保大 (1926-1945) Female version of the award. A gold medal of scalloped shape, the upper and the lower part pierced with attachment holes (originally for beaded tassels, here missing). Nicely chiseled, a central cartouche on both sides flanked by two confronted flying phoenix. The obverse inscribed with ‘保大年造’, i.e. in Chữ Nôm ‘Bảo Đại Năm Tạo’ (lit. ‘Made under the reign of Emperor Bao Dai); The reverse inscribed with ‘琼瑶永好’. H: 6,7 cm - width: 4,87 cm Weight: 14,4 grams BẢO ĐẠI 保大 - ANNAM: GIẢI THƯỞNG HUY CHƯƠNG VÀNG VIỆT NAM, CUỐI TRIỀU NHÀ NGUYỄN, VUA BẢO ĐẠI 保 大 (1926-1945) NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A VERY FINELY CHISELED SILVER HILTED WALK STICK WITH AN INSCRIPTION VIETNAM, LATE NGUYEN DYNASTY, CIRCA 1900 The grip, shaped as a bird, is finely chiseled in high relief with characters as well as with an inscription (unidentified). L: 89,5 cm GẬY CHỐNG CÓ ĐẦU GẬY BẰNG BẠC ĐƯỢC CHẠM TRỔ RẤT TINH XẢO CÓ KHẮC CHỮ VIỆT NAM, CUỐI TRIỀU NHÀ NGUYỄN, KHOẢNG NĂM 1900 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A SILVER HILTED ‘DRAGON’ WALK STICK VIETNAM, CIRCA 1900-1920 With a fluted wooden stick and a hilt or grasp of globular shape finely chiselled with a dragon and with plum flowers. Bears a mark, possibly that of the maker, possibly reading 'Kyuku' (). L: 90 cm GẬY CHỐNG CÓ ĐẦU GẬY BẰNG BẠC ĐƯỢC CHẠM TRỔ HÌNH “RỒNG” VIỆT NAM, VÀO KHOẢNG 1900-1920 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A RARE SNAKE HANDLES ‘QILIN AND PHOENIX - KỲ LÂN AND PHƯỢNG HOÀNG’ THREE-LEGGED SILVER BOWL AND COVER BY VINH DUC 永德VIETNAM, POSSIBLY LATE NGUYEN DYNASTY OR SLIGHTLY LATER, CIRCA 1900-1930 Resting on three leggs, the body of compressed globular shape, the mouth of quatrefoil shape, with two realistic entwined snake handles, and a lid topped by a mythical beast shaped finial. Finely and deeply chiseled with different patterns such as phoenix and qilin. The base also chiseled with a floral pattern, demonstrating a rare attention to details, and inscribed with the mark ‘永德 VINH DUC’. H: 14 cm Weight: 1439,4 grams MỘT BÁT CÓ NẮP BẰNG BẠC BA CHÂN TRANG TRÍ “QILIN VÀ PHOENIX - KỲ LÂN VÀ PHƯỢNG HOÀNG” CÓ CÁC TAY CẦM HÌNH RẮN ĐỘC ĐÁO CỦA VĨNH ĐỨC 永德 VIỆT NAM, CÓ THỂ LÀ CUỐI TRIỀU NGUYỄN HOẶC SAU ĐÓ MỘT CHÚT, VÀO KHOẢNG 1900-1930 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A RARE DRAGON FOOT CHISELED SILVER ‘NAM GIAO CEREMONY - ĐÀN NAM-GIAO’ TAZZA OR CENTREPIECE BY MY-THANH 美清 OF HANOI VIETNAM, POSSIBLY LATE NGUYEN DYNASTY OR SLIGHTLY LATER, CIRCA 1900-1930 Resting on stepped foot or pedestal around which a finely and deeply chiseled dragon in high relief is coiled. The inner part of the cup is also very finely chiseled, its central part with a nice subject, possibly that of the Annam Emperor Procession and his escort during Nam Giao Ceremony at Hue, on the way to Esplanade of Sacrifice to the Heaven and Earth, together with numerous sapeques or pierced coins, in the outer border four dragons and the wish ‘Phúc Thọ Khang Ninh’ (‘福壽康寧’, lit. ‘Happiness, longevity, health and composure’). The base is incised with the maker’s mark and city: ‘美清 MY-THANH A HANOI’. H: 16,5 cm - D: 18,4 cm Weight: 1035,7 grams MỘT ĐĨA CÓ CHÂN ĐẾ “NAM GIAO CEREMONY - ĐÀN NAM GIAO” BẰNG BẠC ĐƯỢC CHẠM TRỔ VUỐT RỒNG ĐỘC ĐÁO BỞI MY-THANH 美清 HÀ NỘI VIỆT NAM, CÓ THỂ LÀ CUỐI TRIỀU NGUYỄN HOẶC SAU ĐÓ MỘT CHÚT, VÀO KHOẢNG 1900-1930 Note: The Esplanade of Sacrifice to the Heaven and Earth (‘Đàn Nam-giao’, ‘南郊坛’) is an imperial altar situated south of the city of Huế, central Vietnam. It is also known as the Nam Giao altar. The complex was visited by the monarchs of the Nguyen dynasty for annual praying ceremonies, although the worship of the realms predates the dynasty. During the ceremony, the king would ride elephants in a grand procession from the imperial city to the temple, accompanied by the playing of the Đăng đàn cung (‘登壇宮’, lit. Melody on the Ascent to the Esplanade) Anthem. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

FORMERLY THE PROPERTY OF ALEJANDRO LASTRA (1902-1985), AN ARGENTINIAN AMBASSADOR A FINELY CHISELED ‘HOÀN KIẾM LAKE’ SILVER TRAY BY XUAN MAI VIETNAM, POSSIBLY LATE NGUYEN DYNASTY AND CIRCA 1900 Of flat oval shape with a recessed central part, it is flanked by two loose rings handles retained by dragon faces. The wing is finely adorned with landscapes with peasants and tanka boats. The recessed central part is finely engraved with a view of Hoàn Kiếm Lake in Hanoï, Vietnam. It also bears a long dedication inscription in Russian (lit. 'Made for or offered to the Ambassador of the Republic of Argentina in USSR Alejandro Lastra in good memories of the diplomatic corps Moskow 1966'. The base bears three marks: ‘Vietnam’, ‘0900’ and ‘Xuan Mai’. L (the two loose ring handles included): 43,5 cm Width: 25 cm Weight: 641,7 grams Provenance: - a private collection; - Alejandro Lastra (1902-1985), a prominent Argentinian Diplomat, once the Ambassador of Argentina to the Soviet Union (1964-1965 - according to the inscription in Russian). TRƯỚC ĐÂY LÀ TÀI SẢN CỦA ALEJANDRO LASTRA (1902-1985), ĐẠI SỨ NGƯỜI ARGENTINIA MỘT KHAY BẠC ĐƯỢC CHẠM TRỔ HỒ HOÀN KIẾM TINH XẢO BỞI XUÂN MAI VIỆT NAM, CUỐI TRIỀU NHÀ NGUYỄN, CUỐI THẾ KỶ 19 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A PINK PHÁP LAM - HUẾ ENAMELS ‘THREE ABUNDANCES’ CUP INSCRIBED WITH THE MARK THỌ - LONGEVITY VIETNAM, LATE NGUYEN DYNASTY, LATE 19TH CENTURY Enamels on copper. Of circular shape, it is finely painted in famille rose enamels with flowers and flower scrolls, as well as with the ‘Three Abudances’ and a total of five bats. Bears a mark to the base: ‘Thọ’ (longevity). D: 16,4 cm TÁCH MÀU HỒNG “BA SỰ THỊNH VƯỢNG” TRÁNG MEN PHÁP LAM HUẾ ĐƯỢC KHẮC CHỮ THỌ VIỆT NAM, CUỐI TRIỀU NHÀ NGUYỄN, THẾ KỶ 19 Notes: 1. According to Vietnam Annal Records, it is during the 8th year of the reign of Emperor Minh Mạng(1820-1839), i.e. 1827, that the technique of enamel on metal, originating from Canton / Guangzhou, China, was introduced to Vietnam. At that time, a workshop was established under the responsibility of the official court painter Vũ Văn Mai. 2. Five bats together stand for the ‘Five Blessings’, namely longevity, wealth, health and composure, virtue, and the desire to die a natural death in old age. The Three Abundances (sanduo - 三多), also known as the ‘Three Plenties’ consist of the peach (longevity), the pomegranate (descendants or progeny) and the citron (happiness and longevity). NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A PHÁP LAM - HUẾ ENAMELS ‘DRAGON - RỒNG’ DISH POSSIBLY FROM THE SERVICES OF H.M. THE EMPERORS THIÊU TRI OR TU DUC Polychrome enamels on copper. Of circular shape, with a foliate rim and a shallow or recessed central part. It is finely painted in polychrome and bright enamels including pink with four dragons flying amidst clouds on the wing and with flowers and Daoist immortals in a reserved medallion in the recessed central part. D: 23 cm MỘT ĐĨA TRANG TRÍ HÌNH “DRAGON - RỒNG” MEN PHÁP LAM HUẾ CÓ THỂ DÙNG ĐỂ PHỤC VỤ CHO CÁC VỊ VUA THIỆU TRỊ HOẶC TỰ ĐỨC Notes: According to Vietnam Annal Records, it is during the 8th year of the reign of Emperor Minh Mạng(1820-1839), i.e. 1827, that the technique of enamel on metal, originating from Canton / Guangzhou, China, was introduced to Vietnam. At that time, a workshop was established under the responsibility of the official court painter Vũ Văn Mai. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A LARGE BRONZE RAIN DRUM VIETNAM OR SOUTHEAST ASIA, POSSIBLY 19TH CENTURY Finely cast in bronze, fine crusty patina with green and rust accents, the top with concentric bands of decoration and with four groups of frogs piled on top of one another, the tapering body with further decorative bands and double-strap handles, a procession of five elephants in relief descending down one side. H: 56,5 cm - D: 64 cm Provenance: A private Irish collection of Burmese and South-East Asian Arts. TRỐNG MƯA BẰNG ĐỒNG KÍCH THƯỚC LỚN CỦA VIỆT NAM HOẶC ĐÔNG NAM Á, THẾ KỶ 18 HOẶC 19 Notes: 1. Bronze drums are ancient artefacts found in various cultures in Southeast Asia and southern China. The drums were cast in bronze using the lost-wax casting method. The drums were both musical instruments and cult objects. They are decorated with geometric patterns, scenes of daily life and war, animals and birds, and boats. 2. Compare with a related drum with five elephants sold at CHRISTIE’S , New York, USA, 2015-03-21, lot 1011, for USD 32,500. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A LARGE PARCEL GILT WOODEN SCULPTURE OF A BUDDHA - PHẬT VIETNAM, NGUYEN DYNASTY, 19TH CENTURY A large wooden sculpture with gilt lacquer remains depicting a Buddha seated in padmasana, his hands joined in dhyana mudra, with a serene round and plain face, half-closed eyes, elongated earlobes and a hairs rendered by a juxtaposition of coiled knots. Wearing loose robes. H: 59,5 cm TÁC PHẨM ĐIÊU KHẮC ĐỨC PHẬT LỚN BẰNG GỖ MẠ VÀNG MỘT PHẦN VIỆT NAM, TRIỀU NHÀ NGUYỄN, THẾ KỶ 19 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A BLUE AND WHITE PORCELAIN ‘PHOENIX - PHƯỢNG HOÀNG’ PORCELAIN WATER POT POSSIBLY VIETNAM, LÊ DYNASTY AND 16TH CENTURY With a slightly recessed and almost flat unglazed foot, a globular compressed body, a waisted neck and an everted rim. The spout, shaped as a phoenix head and pierced with a hole, opposites an applied phoenix tail. The piece is adorned in underglaze blue and white with, amidst others, flower scrolls. The beast bears a collector label with the mention ‘Ming Dynasty’. H: 8,1 cm MỘT CHẬU NƯỚC SỨ HỌA TIẾT “PHƯỢNG HOÀNG” SỨ MÀU XANH VÀ TRẮNG CÓ THỂ LÀ VIỆT NAM, TRIỀU NHÀ LÊ VÀO THẾ KỶ 16 Note: The phoenix is a mythical bird known as the fenghuang (凤 凰) and symbolizes joy and peace. It is believed that the phoenix only makes an appearance during periods of prosperity, peace and good government. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

*A BLUE AND WHITE PORCELAIN ‘FISH’ SCALLOPED SHALLOW DISH VIETNAM, LÊ DYNASTY, 15TH OR 16TH CENTURY A shallow dish of circular form with scalloped rim. It is finely painted in underglaze cobalt blue with a carp as well as with lotus scrolls. The reverse of the wing is also painted with stylized cicadas. The base is unglazed and shows an orange tone paste. D: 24,5 cm *MỘT ĐĨA NÔNG LÒNG KIỂU VỎ SÒ HỌA TIẾT CÁ BẰNG SỨ MÀU XANH VÀ TRẮNG, VIỆT NAM, TRIỀU NHÀ LÊ, THẾ KỶ THỨ 15 HOẶC 16 IMPORTANT NOTICE: *This lot is under temporary importation. An extra VAT will be applied to the final invoice. The rate will depend on the final country of destination. The sole buyers based in Ireland will be subject to an extra 13,5% VAT. Please contact our office (yuchen@adams.ie) for further information. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A BLEU DE HUE PORCELAIN BOWL ‘CRAB AND LOTUS POND’ BOWL INSCRIBED WITH THE MARK NGOẠN NGỌC 玩玉 VIETNAM, NGUYEN DYNASTY, 19TH CENTURY Lightly potted with thin rounded sides rising from a straight foot, with a metal rim. Finely painted in delicate underglaze cobalt blue shades with two crabs amidst a lotus pond. The base is inscribed in cobalt blue with the mark ‘ngoạn ngọc’, lit. ‘Jade trinket’. Sold together with a collector wooden stand. H: 7,2 cm - D: 18,7 cm BÁT HỌA TIẾT “CUA VÀ AO SEN” BÁT SỨ MEN LAM BLEU DE HUE ĐƯỢC KHẮC DẤU NGOẠN NGỌC 玩玉 VIỆT NAM, TRIỀU NHÀ NGUYỄN, THẾ KỶ 19 Notes: 1. A lotus shown with two crabs and reeds has a particular meaning: it is associated with a wish to come top in the Civil Service examinations. 2. Usually, such bleu de hue porcelains with crabs would bear the mark ‘內府侍南’, ie. ‘Nội phủ thị nam’, lit. ‘Made for the Southern Palace’. For a bleu de hue combining that design (crabs) and this mark, please refers to ASIUM, Paris, France, 2020-11-03, lot 57 , sold for €26,000. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A BLEU DE HUE ‘DRAGON - RỒNG’ PORCELAIN PEAR-SHAPED BOTTLE VASE VIETNAM, LATE NGUYEN DYNASTY, LATE 19TH CENTURY It rests on a short ring foot and has a pear-shaped body surmounted by a long tubular neck with a slightly everted rim with a metal mount. It is finely painted in underglaze cobalt blue shades with one four-clawed dragon flying amidst clouds in pursuit of the flaming pearl. The base bears several old collector labels including ‘#2 dec 1800’. H: 20,2 cm Provenance: - a private collection; - formerly the property of Otto Gürgen, a German prominent industrialist in Buenos Aires, Argentina, in the 1930s (by repute). MỘT BÌNH HOA CỔ CAO HÌNH QUẢ LÊ ĐỒ SỨ MEN LAM BLEU DE HUE HỌA TIẾT “DRAGON - RỒNG”, CUỐI TRIỀU NHÀ NGUYỄN, CUỐI THẾ KỶ 19 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A BLEU DE HUE ‘PHOENIX - PHƯỢNG HOÀNG’ PORCELAIN PEAR-SHAPED VASE OR WATER SPRINKLER INSCRIBED WITH THE MARK NỘI PHỦ 内府 VIETNAM, LATE NGUYEN DYNASTY, LATE 19TH CENTURY Finely painted in underglaze cobalt blue enamels with two flying phoenix amidst clouds. H: 25 cm MỘT BÌNH HOA HOẶC BÌNH XỊT NƯỚC HÌNH QUẢ LÊ ĐỒ SỨ MEN LAM BLEU DE HUE HỌA TIẾT “PHƯỢNG HOÀNG” ĐƯỢC KHẮC DẤU HIỆU NỘI PHỦ 内府 VIỆT NAM, CUỐI TRIỀU NHÀ NGUYỄN, CUỐI THẾ KỶ 19 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A PAIR OF BLEU DE HUE ‘MANDARIN DUCKS AND LOTUS POND’ PORCELAIN LIDDED POTS VIETNAM, POSSIBLY LATE NGUYEN DYNASTY Finely painted in underglaze cobalt blue with Mandarin ducks frolicking on a lotus pond. H: 20 cm MỘT CẶP HŨ CÓ NẮP BẰNG SỨ MEN LAM BLEU DE HUE HỌA TIẾT “VỊT UYÊN ƯƠNG VÀ HỒ SEN” VIỆT NAM, CUỐI TRIỀU NHÀ NGUYỄN, CUỐI THẾ KỶ 19 Notes: 1. Mandarin ducks are believed to mate for life and, therefore, a pair of mandarin ducks symbolize fidelity, conjugal affection, peace and prosperity. 2. Compare with a related a bleu de hué water pipe with an identical decoration sold in these rooms 2021-11-23, lot 205, for €5,000. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A LARGE BLEU DE HUE TYPE ‘KUI DRAGON’ PORCELAIN TRUMPET-SHAPE VASE, YENYEN VIETNAM, 20TH CENTURY Adorned in cobalt blue with kui dragons, dragons faces, stylised cicadas and possibly peaches or pomegranates. On the neck, two repeated ideograms: '王壬' (vương nhâm). Sold together with a matching lacquered wooden stand by the studio of Thanh Lê. H (stand excluded): 43,5 cm MỘT BÌNH HOA LỚN HÌNH KÈN BẰNG SỨ MEN LAM BLUE DE HUẾ HỌA TIẾT “RỒNG XANH”, YENYEN VIỆT NAM, CÓ THỂ LÀ CUỐI TRIỀU NHÀ NGUYỄN HOẶC SAU ĐÓ MỘT CHÚT, VÀO KHOẢNG 1880-1930 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A BIEN HOA 边和 STONEWARE ‘FISHERMEN’ PLAQUE VIETNAM, BIEN HOA SCHOOL OF APPLIED ARTS, 20TH CENTURY Of square shape, it is molded with a design of fishermen removing fish traps from the river. Blue, green and brown colors enhance the composition and contribute to its liveliness. The back bears an impressed mark reading ‘边和’ for Bien Hoa. With a probably original wooden frame. Dimensions (the sole plaque): 22,5 x 23,3 cm Note: Compare with a related plaque sold at ASIUM Paris, France, 2022-04-01, lot 80, for €2,400. MỘT TẤM ĐỒ GỐM ĐÁ BIÊN HÒA 边和 HỌA TIẾT “NGƯ DÂN” VIỆT NAM, TRƯỜNG MỸ THUẬT ỨNG DỤNG BIÊN HÒA, THẾ KỶ 20 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A GROUP OF THREE (3) BIÊN HÒA 边和 STONEWARE HORSE RIDERS / WARRIORS BIÊN HÒA 边和 SCHOOL OF APPLIED ARTS VIETNAM, 20TH CENTURY One bears an impressed Marks ‘边和’. The two other ones bear an impressed mark of circular shape: ‘BIEN HOA VIETNAM COOPERATIVE [...]’. One also bears an handwritten inscription: ‘Bien Hoa [...] Saigon’). L (the biggest): 35,5 x 28,3 cm MỘT NHÓM GỒM BA (3) KỴ SĨ/ CHIẾN BINH ĐỒ GỐM ĐÁ BIÊN HÒA 边和 TRƯỜNG MỸ THUẬT ỨNG DỤNG BIÊN HÒA 边和 VIỆT NAM, THẾ KỶ 20 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A LARGE LOTUS-SHAPED BIÊN HÒA 边和 STONEWARE SHALLOW DISH OR CHARGER BIÊN HÒA 边和 SCHOOL OF APPLIED ARTS VIETNAM, 20TH CENTURY Heavy potted, it rests on a short ring foot and has a round body surmounted by an everted rim of foliate shape. It is adorned in light brown, green, blue and white lotus scrolls and flowers. The base bears three marks in total: ‘边和’ as well as two Western language marks (unidentified), possibly those of the artist and the studio. H: 7,3 cm - D: 34,5 cm MỘT ĐĨA NÔNG LÒNG HOẶC ĐĨA ĐỊNH VỊ LỚN ĐỒ GỐM ĐÁ BIÊN HÒA 边和 HÌNH HOA SEN TRƯỜNG MỸ THUẬT ỨNG DỤNG BIÊN HÒA 边和 VIỆT NAM, THẾ KỶ 20 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A BIÊN HÒA 边和 STONEWARE ‘WARRIORS’ SHALLOW DISH OF ROUND SHAPE VIETNAM, BIÊN HÒA 边和 SCHOOL OF APPLIED ARTS, SECOND HALF OF 20TH CENTURY This shallow dish, of round shape, has a foliate rim. It is adorned in yellow, blue and green. Its wing is enhanced with a floral pattern together with a geometric pattern whilst its central part is adorned with a war scene with horse riders and infantrymen. Its base is engraved with two marks. D: 41,5 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. MỘT ĐĨA NÔNG LÒNG HÌNH TRÒN HỌA TIẾT “CHIẾN BINH” ĐỒ GỐM ĐÁ BIÊN HÒA 边和, TRƯỜNG HỌC MỸ THUẬT ỨNG DỤNG BIÊN HÒA 边和, NỬA SAU THẾ KỶ 20 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A LARGE BIEN HOA 边和 STONEWARE ‘ANGKOR VAT - KHMER FIGURES AND NAGA’ VASE VIETNAM, BIEN HOA 边和 SCHOOL OF APPLIED ARTS, 20TH CENTURY Resting on a short ring foot, with an elongated egg-shaped body surmounted by a waister neck and an everted rim. It is adorned in brown against a cream ground with a decor laid out in registers: swimming fish on the lower register; a procession of Khmer figures holding a snake or naga on the medium register; on the upper register, underlining the rim, a floral pattern. The base bears an impressed mark reading ‘边和’ for ‘Biên Hòa’. Offered at auction together with an old wooden collector stand, not perfectly fitted for it. H: 54,5 cm MỘT BÌNH HOA LỚN ĐỒ GỐM ĐÁ BIÊN HÒA 边和 HỌA TIẾT “ANGKOR VAT KHMER VÀ TƯỢNG RẮN BẢY ĐẦU” VIỆT NAM, TRƯỜNG MỸ THUẬT ỨNG DỤNG BIÊN HÒA 边和, THẾ KỶ 20 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A LARGE ‘RIVER LANDSCAPE’ BIEN HOA 边和 STONEWARE FACETED VASE OF PHOENIX-TAIL SHAPE, FENGWEIZUN BY THE STUDIO OF NGUYEN THÀNH LÊ (1919-1923) VIETNAM, BIEN HOA 边和 SCHOOL OF APPLIED ARTS, 20TH CENTURY Heavy potted, it rests on a short foot and has as a faceted elongated body of trapezoidal shape surmounted by a faceted trumpet shape neck. It is adorned in brown, blue and green with a river landscape planted with pine trees. The base bears an impressed mark both in chữ nôm and Western language reading ‘Thành Lê’ as well as a number: ‘6’. H: 57 cm MỘT BÌNH HOA LỚN NHIỀU VẠT HÌNH ĐUÔI CHIM PHƯỢNG ĐỒ GỐM ĐÁ BIÊN HÒA 边和 HỌA TIẾT “PHONG CẢNH SÔNG NƯỚC” CỦA XƯỞNG CỦA NGUYỄN THÀNH LÊ (1919-1923) VIỆT NAM, TRƯỜNG MỸ THUẬT ỨNG DỤNG BIÊN HÒA 边和, THẾ KỶ 20 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

*A LARGE BIÊN HÒA 边和 STONEWARE VASE OF ARCHAISTIC HU BRONZE SHAPE VIETNAM, BIÊN HÒA 边和 SCHOOL OF APPLIED ARTS, SECOND HALF OF 20TH CENTURY This bronze imitation vessel is heavily potted. Of faceted shape, it rests on a spread foot, has an elongated pear-shaped body, a waisted shoulder and an everted neck. The neck and the body are linked together with two applied handles. The vessel is painted all over in green to imitate bronze patina but for reserved biscuit parts shaped as cicada and taotie masks. The base bears an impressed mark: ‘边和’, lit. ‘Biên Hòa’. H: 32,8 cm *MỘT BÌNH HOA LỚN ĐỒ GỐM ĐÁ BIÊN HÒA 边和 HÌNH DẠNG GIỐNG ĐỒ ĐỒNG CỔ XƯA VIỆT NAM, TRƯỜNG HỌC MỸ THUẬT ỨNG DỤNG BIÊN HÒA 边和, NỬA CUỐI THẾ KỶ 20 IMPORTANT NOTICE: *This lot is under temporary importation. An extra VAT will be applied to the final invoice. The rate will depend on the final country of destination. The sole buyers based in Ireland will be subject to an extra 13,5% VAT. Please contact our office (yuchen@adams.ie) for further information. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

§ A VERY FINELY MOTHER OF PEARL INLAID TRAY OF NATURALISTIC SHAPE VIETNAM, TONKIN, NAM DINH, LATE NGUYEN DYNASTY, CIRCA 1880-1900 It is very finely carved and shaped as the ‘Three Abundances’ (Sān Duō - 三多), i.e. the pomegranate, the peach and the fingered citron, together with a bat. The base is also finely carved with branches and leaves. It is very finely inlaid with a naval battle scene as well as a crab, a fish and lotus pond, amidst others. The craftsman used the variety of colors of the mother of pearl to introduce a polychromy. $ MỘT KHAY KHẢM NGỌC TRAI RẤT TINH XẢO CÓ HÌNH DÁNG TỰ NHIÊN VIỆT NAM, BẮC KỲ, NAM ĐỊNH, CUỐI TRIỀU NHÀ NGUYỄN, VÀO KHOẢNG 1880-1900 Note: The Three Abundances consists of the peach ( longevity), the pomegranate (descendants or progeny) and the citron (happiness and longevity). Additionally, ‘a bat descending from the sky’ (fuzi tianlai - 蝠子天来) sounds exactly like ‘happiness descends from heaven’ (fuzi tianlai - 福子天来). §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 familiarize 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 organize shipping at their own behest. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

§ A MOTHER OF PEARL INLAYS ‘CRANE AND BUTTERFLY - MÁY TRỤC CON BƯỚM’ WOODEN BOX AND COVER VIETNAM, TONKIN, NAM DINH, LATE NGUYEN DYNASTY, CIRCA 1880-1900 The box is of round or circular shape. It is finely inlaid notably with a standing crane amidst rocks and two flying butterflies. H: 11 cm - D: 27 cm MỘT HỘP GỖ CÓ NẮP KHẢM NGỌC TRAI HỌA TIẾT “CRANE AND BUTTERFLY - HẠC VÀ BƯỚM” VIỆT NAM, BẮC KỲ, NAM ĐỊNH, CUỐI TRIỀU NHÀ NGUYỄN, VÀO KHOẢNG 1880-1900 Note: The butterfly is a symbol of long life because the second character in butterfly (hudie - 蝴蝶) has exactly the same pronunciation as the character ‘‘die’ (耋) which means ‘70 or 80 years of age’ The crane (he 鹤) is believed to live to a very old age and therefore is a symbol of longevity.. § 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 familiarize 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 organize shipping at their own behest. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

AN INTRICATELY CARVED ‘DRAGON, QILIN AND BAT - RỒNG, KỲ LÂN AND CON DƠI’ WOODEN INCENSE BURNER STAND OR ALTAR TABLE VIETNAM, LATE NGUYEN DYNASTY, CIRCA 1880-1900 Of square shape, resting on four tubular legs. The apron is openworked on each side with open-worked confronted qilin and centered by a bat together with a coin. The legs are unusually and very finely carved on two layers with coiled dragons. H: 85 cm - Side (the top): 56,5 cm MỘT BÀN THỜ HOẶC ĐẾ LƯ HƯƠNG BẰNG GỖ CHẠM KHẮC TINH XẢO HỌA TIẾT “DRAGON, QILIN AND BAT - RỒNG, KỲ LÂN VÀ CON DƠI” VIỆT NAM, CUỐI TRIỀU NHÀ NGUYỄN, VÀO KHOẢNG 1880-1900 Note: The iconography of this wooden incense burner stand is rich. Amongst the numerous elements, one can point out the combination of a bat (fu 蝠) with a coin (zai 在). Such a design is referred to as an eye coin (yanqian, 眼钱) and creates a visual pun since saying there is a ‘bat on the coin’ (fu zai yan qian) sounds exactly like saying ‘happiness is before your eyes’ (fu zai yan qian 福在眼前). NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

NGUYEN QUANG MAU (VIETNAM, 20TH CENTURY) Poissons rouges de l’Abondance / Goldfish of Abundance / 金玉滿堂 A lacquered wooden vase Signed on the base H: 27,4 cm NGUYỄN QUANG MẬU (VIỆT NAM, THẾ KỶ 20) Poissons rouges de l’Abondance / Cá vàng Thịnh vượng / 金玉滿堂 Note: A lacquer artist sometimes wrongly referred to as Nguyen Mai. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

TRAN VAN HA (VIETNAM, 1911-1974) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1935TH CLASS Les Quatre Saisons ou Les Quatre Gentilshommes (The Four Seasons of the Four Noblemen) A large lacquered wooden quadriptych Inscribed with a calligraphy on the far-right panel Also signed on the far-right panel Framed 33 x 67,4 cm TRẦN VĂN HÀ (VIỆT NAM, 1911-1974) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG), 1935 KHÓA Les Quatre Saisons ou Les Quatre Gentilshommes (Bốn mùa của Bốn chàng quý tộc) Notes: 1. The Four Gentlemen (sijunzi 四君子), also known as the Four Plants of Virtue, include the plum, orchid, bamboo and chrysanthemum. Each plant represents a season and the four plants together represent a year. On this quadriptych, the theme is enriched with birds such as sparrows and flying butterflies. 2. In this accomplished work by Tran Van Ha, possibly originally a folding screen, the combination of gilt designs against a silver grey background creates a striking visual effect. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

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 peasants A large lacquered wooden panel Signed (unidentified) and dated to the lower right: 50 for 1950 55 x 101,5 cm THEO BÚT PHÁP CỦA ĐỖ ĐÌNH HIỆP (1914-1972) THE ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG) Le Fleuve Rouge, Paysans du Tonkin / Sông Hồng, nông dân Bắc Kỳ Notes: 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 Ôé¼128.000 BP incl. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

VIETNAMESE SCHOOL (VIETNAM, 20TH CENTURY) Bamboo grove A gilt and red lacquered wooden panel Inscribed with a calligraphy on the middle right part Possibly signing it: ‘公 [...]’ (lit. Công [...]) 50,5 x 40 cm TRƯỜNG HỌC VIỆT NAM (VIỆT NAM, THẾ KỶ 20) NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BÙI MAI HIÊN (VIETNAM, B. 1957) Chat vert et vase fleuri (A jumping green cat with a flowered vase) Lacquer wooden panel Signed and dated on the lower right: ‘02’ () Unidentified artist Framed 48,8 x 69,2 cm BÙI MAI HIỀN (VIỆT NAM, Sinh năm 1957) Chat vert et vase fleuri (Chú mèo xanh nhảy lên bình hoa) Tấm gỗ sơn mài NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

TRƯƠNG VĂN THÀNH (VIETNAM, ACTIVE 20TH CENTURY) THE CO-FOUNDER OF THE THÀNH LÊ STUDIO OF HANOI, SCHOOL OF THỦ DẦU MỘT La cité royale de Huế - The Royal City of Huế Lacquered wooden panel Signed on the lower right Also bearing an artist symbol / seal or monogram on the lower right 120,5 x 60 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. TRƯƠNG VĂN THÀNH (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) NHÀ ĐỒNG THÀNH LẬP XƯỞNG THÀNH LỄ TẠI HÀ NỘI, TRƯỜNG THỦ DẦU MỘT La cité royale de Huế - Hoàng thành Huế NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

STUDIO OF NGUYEN THÀNH LÊ (1919-2003) Lotus pond Lacquered wooden panel Signed on the lower right 50 x 70 cm XƯỞNG CỦA NGUYỄN THÀNH LÊ (1919-2003) Tấm tranh gỗ sơn mài Hồ sen NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

STUDIO OF NGUYEN THÀNH LÊ (VIETNAM, 1919-2003) Le retour de pêche (Returning Fishermen) A large lacquered wooden panel Signed on the lower right Framed 60 x 160,3 cm XƯỞNG CỦA NGUYỄN THÀNH LÊ (VIỆT NAM, 1919-2003) Le retour de pêche (Ngư dân trở về) Một tấm tranh gỗ sơn mài lớn NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A ‘GOLDFISH OF ABUNDANCE’ LACQUER BUFFET OR CREDENCE BY THE STUDIO OF NGUYEN THÀNH LÊ (1919-1923) VIETNAM, 20TH CENTURY It opens by two front panel doors unveiling shelves. It is all lacquered in red on which are depicted ‘Les Poissons Rouges de l’Abondance’ (‘金玉滿堂’, lit. Goldfish of Abundance). The inner part of the right door bears a label signing it: ‘THÀNH LÊ VIETNAM’. H 92,3 cm - L: 150 cm - depth: 45 cm TỦ BÁT ĐĨA HOẶC TỦ LY SƠN MÀI HỌA TIẾT “CÁ VÀNG THỊNH VƯỢNG” BỞI XƯỞNG NGUYỄN THÀNH LÊ (1919-1923) VIỆT NAM, THẾ KỶ 20 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.