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Click here to subscribeMoorcroft Pottery - a Spring Pearl pattern vase, designed by Philip Gibson, ovoid form, signed and dated 2004, numbered 124, 19cm.Condition report:There are no cracks or chips, just very light crazing in places. It appears to be first quality. Please see additional uploaded image of the base.
Moorcroft Pottery - a small Pomegranate pattern vase, signed WM in green, 7cm; and a modern Pansy pattern vase, bulbous form, 10cm.Qty: 2Condition report:Please see the added photos online. The older vase has a chip to the rim and has been coloured. Otherwise some light crazing. The other has no cracks or chips. There are no cracks or chips, just light crasing.
A French Crystal glass butterfly paperweight; Murano glass paperweight; another glass paperweight; glass vase in tones of pink and purple; a cranberry glass ewer with a pair of matching glasses; and a Mary Gregory style cranberry glass bonbon bowl, with lid, metal feet and rim, painted with winter scenes..
A Clément Massier 'Golfe Juan' iridescent lustre vase,of mallet form with a slender neck, with flower heads to the body and spotting to the neck, glazed, filled, impressed marks, and faint painted marks, 22cm highCondition ReportCrazing throughout the body, lustre is worn. Old Piasa labels to the base.
A Clément Massier 'Golfe Juan' iridescent lustre vase,of mallet form, with a tapering square neck with pinched details, decorated with flower stems in gold, blue and purple lustre, painted 'Clement Massier' and impressed 'Clement Massier Golfe Juan A.M',34cm highCondition ReportSome flecks to the glaze on the impressed areas to the body. Scuffing and some wear to the base rim and edge. Some marks to the top rim. Lustre is slightly worn.
A Clément Massier 'Golfe Juan' iridescent lustre vase,of ovoid form with a tapering neck, decorated with fruiting flowers on a blue-pink ground, in purple, red and gold lustre, painted marks indistinct and glaze filled, impressed 'Clement Massier Golfe Juan A.M',14.2cm highCondition ReportSome scratches to the base rim, remnants of tape to a small area on the base. Minor rubbing to the body.
An Art Nouveau sang-de-boeuf glazed vase, c.1900, of squat form with a short ribbed neck, mounted with a silver rim and a silver collar on the shoulder, stamped 'AD', the underside inscribed 'B', 11.5cm highCondition ReportRim is loose, but fixed, The collar is loose - stamped 'AD' either side a bird. Some discolouration to the collar and rim. Diameter 12 cm. The collar with remnants of blue tack to the underneath holding it in place. Additional images uploaded.
A Clarice Cliff 'Sunray Leaves' shape 341 vase,decorated in sunburst patterns of green and orange, raised on a waisted foot, stamped with 'Fantasque' mark to the underneath, 17cm diameter14cm highCondition ReportThe exterior with some craquelure. WIth some patches of fading to the orange foot. The base with rubbing.
A Clarice Cliff 'Gayday' vase,1930s, designed by Clarice Cliff for Newport Pottery, shape number 362, of ovoid form, raised on a waisted ribbed foot, stamped to the underneath with 'Bizarre' marks, 21.5cm highCondition ReportSome slight fading to the yellow band surrounding the rim. Some scuffs to the underneath of the foot.
A German Art Nouveau pottery vase, c.1900, by Max Laeuger, the ovoid vase with a green ground decorated with a flowering tree, stamped marks and 'Muster Gesetzl Geschtzt' and inscribed '38', 37cm high,a blue tapering vase,with spiralling branches, stamped marks and numbered '151', 26cm high, and a vase, decorated with pine branches to the body, on a cream glaze, unmarked, 20cm high (3)Condition ReportBlue vase - chips and flakes to the glaze on the rim. All with some crazing.
A pair of German Art Nouveau pottery vases, c.1900, by Max Laeuger, each of cylindrical form decorated with fruiting branches in shades of green, brown and yellow on a deep blue ground, with stamped marks and 'Muster Gesetzl Geschutzt' and inscribed '402', 20cm high, andan ovoid vase, c.1900, with a band of leaves, stamped marks and inscribed '910', 16.5cm high (3)Condition ReportChips to the rim on one of the pair. Rubbing and scratches to the base of all.
An Art Deco yellow Daum vase, 1930s, with ribbed sides over acid-etched relief, raised on a squat ribbed foot, signed to the underneath 'Daum Nancy France' and marked with the Cross of Lorraine, 15.5cm diameter13.5cm highCondition ReportWith a cluster of small frits to one of the ribs. With some rubbing to the foot. Some of the recesses with dried in dust, would benefit from a clean. Additional images uploaded.
A pair of Rozenburg den Haag candlesticks,each painted with stylised flowers, painted marks and numbered '1031', 15cm high, and a Rozenburg den Haag vase, painted with flowers and a butterfly, painted marks and numbered '1130' and with artist's monogram, 25cm high (3)Condition ReportCandlesticks - with restoration to the edges. vase - small chip to the rim.
A Kronach porcelain vase, c.1900, designed by Professor Joseph Vetter for Bauer, Rosenthal & Co., Kronach, of ovoid form decorated with applied figures of a nymph and Pan with a blue lustre glaze with gilt details, incised signature to the side 'J Vetter', with gold printed mark,28cm highCondition ReportSome rubbing to the rim of the vase. Gilt rubbing to the body.
A Muller Frères cameo glass vase,c.1920, made at the Croismare glassworks, cased in amethyst over pale blue, cut and polished with flowers, engraved 'Muller Croismare' signature,25.7cm high, andanother Croismare cameo glass vase,c.1920, cased and cut with flowers, engraved 'Croismare Nancy' signature,25cm high (2)Condition ReportScratches and surface wear commensurate with age. No chips or cracks.
Émile Gallé (1846-1904),c.1900, a cameo glass vase, cased, cut and polished with trees before mountains, in blue, purple and green, with a later silver rim, cameo signature,19.7cm highCondition ReportDespite the addition of the collar, it does not appear to have been cut down given the fullness of the decoration. Nibbles to the edge of the foot, possibly due to manufacture. General scratching and wear commensurate with age. Rim tests silver - unmarked.
RARE VASE EN PORCELAINE DE LA FAMILLE ROSEÉpoque Qianlong (1736-1795)AN UNUSUAL FAMILLE ROSE 'FOUNTAIN' VASEQianlong (1736-1795)Of baluster form, decorated on the rounded sides with a profusion of blossoming flowers, flanked with four small spouts shaped as animal masks, the shoulders with a geometric band enclosing diaper designs, attached pierced stand. 52.5cm (20 5/8in) high. (2).Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021) 乾隆 飾獸首粉彩花卉紋瓶來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
VASE GLOBULAIRE COUVERT EN TERRE CUITEDynastie Han (206 avant J-C - 220 ap. J.-C)A PAINTED POTTERY HIGH-FOOTED GLOBULAR VASE AND COVERHan Dynasty (206 BC-220 AD)The compressed globular body rising from a tall spreading foot to the high waisted neck, surmounted by a slightly domed cover, decorated with red painted borders heightened with triangular white-dot designs reserved on a dark red ground, alternating with orange painted plain borders. 27.3cm (10 6/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021)漢 陶胎彩繪高足蓋壺 來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
VASE RITUEL EN BRONZE ARCHAÏQUE, GUFin de la dynastie Shang (ca XII-XIe siècles av. J.-C.)A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, GU Late Shang Dynasty (circa 12th-11th century BC)Finely cast with a slender flanged central section decorated with taotie masks, between the neck rising to the trumpet shaped mouth decorated with a foliate border below the cicada blades, and the splayed tall flanged foot similarly cast with taotie masks, all against leiwen ground, raised on a short straight circular foot, the interior plain and the underside with three pictograms reading Ding Ji and a clan sign, the bronze with attractive encrustation and verdigris. 29cm (11 3/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981); according to a note by Jean-Pierre Rousset this gu was found in Houjiashuang, Xibeigang Royal cemetery at Anyang in 1934Jean-Pierre Rousset, Paris (1936-2021)Bronze gu vessels such as the present lot were among the most important objects used in State rituals of the late Shang dynasty. Similar archaic bronze gu vases from the late Shang dynasty can be found in a number of important museum collections.Compare with two similar gu illustrated in Bronzes in the Palace Museum, Beijing, 1999, pp.68-69, nos.40 and 43; see another similar gu dated to the middle/late Anyang period, illustrated in Shang Ritual Bronzes in the National Palace Museum Collection, Taipei, 1998, pp.280-283, no.41l; and another example in the Henan Provincial Museum, illustrated in Zhongguo Meishu Fenlei Quanji: Zhongguo Qingtongqi Quanji: Shang, vol.IV, Beijing, 2006, p.67, no.69.The blade motif at the neck of these slender vessels is an Anyang innovation. See R.Bagley, Shang Ritual Bronzes in the Arthur M.Sackler Collections, p.229. A similar gu, late Shang dynasty, excavated in Anyang, now in the Institute of Archaeology, The Chinese Academy of Social Sciences, Beijing, is illustrated by Li Jianwei and Niu Ruihong, Zhongguo Qingtong ji tulu, vol.I, Beijing, 2005, p.118 (top); see also a related excavated example, unearthed at Yongdoucun, Majiahe, Yanchuan county, Shaanxi Province, in the Cultural Relics Institute of Yan'an, Shaanxi Province, illustrated in Bronzes from Northern Shaanxi, vol.II Chengdu, 2009, p.155; and another excavated from the Shang tomb at Xiaqiyuan, Ci county, in the collection of the Hebei Museum, illustrated in National Treasures of Hebei Province, Hebei, 2008, p.100.Compare with a related archaic bronze ritual wine vessel, gu, late Shang dynasty, which was sold at Bonhams London, 11 May 2021, lot 12.商晚期 青铜饕餮纹觚來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏據Jean-Pierre Rousset記錄記載，本拍品於1934年出土於安陽侯家莊西北岡For further information on this lot please visit Bonhams.com
VASE EN TERRE CUITE À GLAÇURE PLOMBIFÈRE VERTE, HUDynastie Han (206 av. J.-C. - 220 ap. J.-C.)A LEAD-GREEN POTTERY VASE, HUHan Dynasty (206 BC-220 AD)Of compressed baluster form with flaring neck and dish shaped mouth, the shoulder with twin moulded taotie mask and ring handles on a continuous decorative band moulded with mythical creatures amongst foaming waves. 36cm (14 1/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) See two similar green-glazed vases, Eastern Han dynasty, illustrated in Spirit of Han: Ceramics for the After Life, Singapore, 1991, p.124, nos.107 and 108.漢 綠釉雙耳壺來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
VASE COUVERT TRIPODE EN BRONZE DORÉ À DÉCOR INCISÉ DE SCÈNE DE CHASSE ET D'ANIMAUX FANTASTIQUES, LIANDynastie des Han occidentaux (206 av. J.-C. - 9 ap. J.-C.)A VERY RARE GILT-BRONZE INCISED 'HUNTING SCENE' TRIPOD CONTAINER AND COVER, LIANWestern Han Dynasty (206 BC-9 AD)The cylindrical vessel raised on three kneeling bear supports, divided into registers by three bowstrings, variously decorated around the sides with an intricate incised designs of lappets and scrollwork with a scene of a man wielding a spear hunting a mythical beast, flanked with a pair of taotie-mask and ring handles, the cover with an external border decorated with a similar hunting scene, around the internal medallion with lappets alternating with six animals including an owl and a toad around a four lappets encircling an aperture. 23.5cm (9 2/8in) diam. x 23.5cm (9 2/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Cast as a miniature 'mountain' decorated with spear-armed men hunting mythical beasts, the present vessel was once entirely gilt and thus particularly precious. Although the shape is probably inspired by ritual wine containers, zun, produced during the Warring States period (475-221 BC), the vessel could have been used also as a cosmetic box or in the ritual context, may have acted as a visual aid for the tomb occupant to envision the mythical Immortal land of Penglai which they were hoped to reach in their afterlife.According to the Classic of Mountains and Seas, Shanhai Jing, likely compiled during the 4th century BC, Penglai was one of the Immortal islands located in the Eastern Bohai sea, which vanished from sight as voyagers glimpsed them and hoped to land on them in their search of Immortality-granting elixirs. These islands were defined by high mountains dotted with caves where Immortals were thought to live. Based on the Daoist idea of a peaked island, the miniature landscape presented on this vessel may have represented the deceased's journey through a winding obstacle-laden landscape, in search of the elixir of eternal life. '(..) Having transcended sacred mountains, one will gain supernatural powers, controlling the wind and rain, and finally reach to Heaven, the Abode of the Celestial Emperor', mentions the 'Masters from Huainan', Huainanzi, in the 2nd century BC. See A.G.Wenley, 'The Question of the Po-Shan-Hsiang-Lu', in Archives of the Chinese Art Society of America, no.3, 1948, pp.5-12.Mountains were highly regarded in China as primary components of the universe, because of their ability to produce water, the life-giving element, from the clouds swirling around them. They were linked with a profound interest in meeting the Immortal spirits inhabiting their naturally high peaks, which provided the closest connection with heaven. From at least the time of emperor Wudi (r.141-87 BC), the mountains located on the Immortal islands in the Eastern Sea were thought to be reached in two ways, wither during one's earthly lifespan, through the ingestion of magical potions, or following one's death, through the preservation of the body and soul in the burial. See J.Rawson, Mysteries of Ancient China: New Discoveries From the Early Dynasties, London, 1996, pp.172-173; see also S.Erickson, 'Boshanlu: Mountain Censer of the Western Han Period: A Typological and Iconographical Analysis', in Archives of Asian Art, 1992, vol.45, pp.6-28. The animals populating the mythical mountain depicted on the present vessel were probably inspired by the mythical creatures inhabiting the wondrous realms described in the Shanghai Jing (Classic of Mountains and Seas), the Huainanzi, compiled sometime before 139 BC, and the Zhuangzi (Master Zhuang) of the late Warring States period (476-221 BC). It is also quite possible that the animals may have been inspired by those involved in the imperial hunts that were carefully staged in the royal parks during the Han dynasty. The Han emperors had an unprecedented passion for building brilliant parks of great size where the rulers staged symbolical conquests of the natural world through ritual hunts and animal combats. See E.H.Schafer, 'Hunting Parks and Animal Enclosures in ancient China', in Journal of the Economic and Social History of the Orient, 1968, vol.11, no.3, pp.318-343.The taotie mask designs decorating the ring handles and the three bears shaping the feet were probably aimed at protecting the deceased against the evil influences they may encounter in their afterlife. Although the actual significance of the taotie motif is still the subjects of extensive academic research, it is mentioned in the 'Spring and Autumn Rituals' as bodiless monster swallowing hostile tribes. By the same token, the 'Classics of Mountains and Seas' praises the bear for its bravery and refers to the creature as the gate guardian of the mythical mountains invoked by Daoists. See D.Jenkins (et al.), Mysterious Spirits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, pp.34-35.Compare a closely related gilt openwork lian and cover, Han dynasty, in the Cleveland Museum of Art (Leonard C. Hanna, Jr. Fund 1972.44); see also a related gilt and silver bronze example, Han dynasty, in the Minneapolis Institute of Art (acc.no.50.46.49a,b).A related bronze un-gilt and plain lian and cover, Han dynasty, with tiger supports and ram finials, was sold at Sotheby's New York, 22 March 2011, lot 195.Réalisé à l'image d'une montagne miniature et décoré d'hommes armés de lances chassant des animaux fabuleux, ce vase tripode était à l'origine entièrement doré et donc particulièrement précieux. Bien que sa forme soit probablement inspirée des récipients rituels à alcool de type zun, produits durant l'époque des Royaumes Combattants (475 – 221 av. J.-C.), ce récipient a aussi pu servir de boîte à cosmétiques ou, dans un contexte rituel, faire office de support visuel pour aider l'occupant de la tombe à imaginer l'île mythique des immortels Penglai, dans l'espoir d'atteindre l'au-delà.Selon le Classique des Montagnes et des Mers, Shanhai Jing, sans doute compilé au IVe siècle av. J.-C., Penglai était une des îles des Immortels situées dans la mer orientale de Bohai, îles qui disparaissaient une fois aperçues par les voyageurs espérant y parvenir dans leur quête de l'élixir d'immortalité. Ces îles étaient formées de hautes montagnes parsemées de grottes où vivaient, pensait-on, les Immortels.Basé sur l'idée taoïste d'une île formant un pic montagneux, le paysage miniature présenté sur ce récipient pourrait avoir représenté le voyage du défunt à travers un paysage sinueux plein d'obstacles, à la recherche de l'élixir d'immortalité. « (...) Après avoir dépassé les montagnes sacrées, on obtiendra des pouvoirs magiques, contrôlant le vent et la pluie, et on accèdera finalement au Ciel, « la Demeure de l'Empereur Céleste » dit le Huainanzi (Le Maître de Huainan) au IIe siècle av. J.-C. Voir A. G. Wenley, «The Question of the Po-Shan-Hsiang-Lu », dans Archives of the Chinese Art Society of America, n°3, 1948, pp.5-12.Les montagnes étaient considérées avec un grand respect, en Chine, en tant qu'éléments primordiaux de l'univers, en raison de leur capacité à produire de l'eau, l'élément donnant la vie, depuis les nuages tourbillonnant autour d'elles. Elles étaient associées au d... For further information on this lot please visit Bonhams.com
RARE STATUETTE DE BODHISTTAVA EN PIERRE SCULPTÉEDynastie des Zhou du Nord/dynastie Sui (557-581/589-618)AN EXCEPTIONALLY RARE STONE FIGURE OF A BODHISATTVANorthern Zhou/Sui Dynasty (557-581 AD/589-618 AD)The deity, probably representing Avalokiteshvara, standing with its body naturalistically slightly swayed to the front and right, holding a vase in its left hand containing the nectar of Immortality, wearing flowing robes naturalistically draped in folds around its shoulders and arms, folded over its waist and reaching its bare feet, adorned with beaded bejewelled and tasselled necklaces with a central lotus pendant, the right arm raised, the serene face gazing forward with well detailed features flanked by pendulous ears with adorned with earrings, below the high beaded and bejewelled tiara with ribbons set around the coiffure, the back displaying the robe with its folds and overlapping pleats, tied below the neck and folded over the waist, with a bracket section on the back of the head, with red, green and black pigments and gilding, supported on an inverted circular base, stand. 54.3cm (21 1/2in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), according to a family note, acquired from Tchou Teh Hoo, Beijing, 10 January 1925Jean-Pierre Rousset, Paris (1936-2021) Characterised by regal countenance and adornment, the present figure bridges the aesthetic style of the Northern Zhou and Sui dynasties. The Sui dynasty utilised the patronism of Buddhism to unify China in 589, with craftsmen merging the artistic achievements of the preceding quarter century of the Northern Qi and Northern Zhou styles.See a stone figure of Guanyin, Northern Zhou dynasty (550-581), with similar proportions of large head atop narrow shoulders, illustrated by O.Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, vol.I, Bangkok, 1998, pl.266A (reprinted from the Ernest Benn 1925 edition). Sculptures from this period are rare and the closest example to the present lot may be a pair of standing bodhisattvas, Northern Zhou dynasty, discovered in 1992 in Xi'an, Shaanxi Province, illustrated in China: Dawn of a Golden Age, 200-750 AD, New York, 2004, no.170. The present exceptional figure with its opulent decoration and rich jewels was thus clearly influenced by the Northern Zhou style.The bodhisattva most likely represents Avalokiteshvara, known as Guanyin in China. Characteristically, the deity carries in her left hand a vase, a 'pure water bottle', one of the eight symbols of good fortune. The vase was believed to contain pure water capable of relieving suffering. The right hand probably once held a willow branch used to sprinkle the divine water. Compare with a related stone figure of Guanyin similarly holding a bottle vase and draped with long necklace, Sui dynasty, and another related stone figure of Guanyin, Sui dynasty, illustrated by O.Siren, ibid., pls.311 and 316. See also two limestone figures of a bodhisattva, Sui dynasty, from the Avery Brundage collection, in the Asian Art Museum San Francisco (acc.nos.B60S37 and B60S423). Compare also two stone figures of Bodhisattva Avalokiteshvara (Guanyin), in the Freer Gallery of Art, Washington DC, the first dated by inscription to 592 AD, (acc.no.FSC-S-52), and the second to the Sui dynasty (acc.no.S2012.9.4531).Caractérisé par une attitude majestueuse et sa parure, cette statue fait le lien entre le style esthétique des Zhou du Nord et celui des Sui. La dynastie des Sui fit de son patronage du bouddhisme un outil de l'unification de la Chine en 589, ses artisans mêlant les styles développés durant le quart de siècle précédent par les Qi du Nord et des Zhou du Nord.Voir une statue de Guanyin en pierre, dynastie des Zhou du Nord (550-581), aux proportions similaires, une large tête et des épaules étroites, illustrée dans O. Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, vol. I, Bangkok, 1998, ill. .266A (réédition de l'original 1925 chez Ernest Benn). Les sculptures de cette époque sont rares et l'exemple le plus proche de ce lot pourrait être une paire de bodhisattvas debouts, dynastie des Zhou du Nord, découvert en 1992 à Xi'an, au Shaanxi, illustrée dans China : Dawn of a Golden Age, 200-750 AD, New-York, 2004, n°170. L'exceptionnelle statue présentée ici, avec ses riches ornements et joyaux, est ainsi clairement influencée par le style des Zhou du Nord.Le bodhisattva représente probablement Avalokiteshvara, appelé Guanyin en Chine. Il porte de façon caractéristique dans sa main gauche un vase, « bouteille à eau lustrale », un des huit symboles auspicieux. Ce vase était censé contenir une eau pure pouvant soulager les souffrances. La main droite tenait probablement une branche de saule, utilisée pour asperger cette eau sacrée.A comparer avec une sculpture de Guanyin tenant de la même manière un vase et portant de longs colliers, dynastie Sui, et une sculpture comparable de Guanyin, dynastie Sui, illustré dans O. Siren, Ibid., ill. 311 et 316. Voir aussi deux statues en calcaire de bodhisattva, dynastie Sui, dans l'Avery Brundage Collection, à l'Asian Art Museum de San Francisco (inv. n° B60S37 et B60S423). Comparer encore avec deux statues de bodhisattva Avalokiteshvara (Guanyin) à la Freer Gallery of Art, Washington DC, la première datée par une inscription de l'an 592 (inv. n° FSC-S-52), la seconde de la dynastie Sui (inv. n° S2012.9.4531).北周/隋 石雕菩薩立像來源：巴黎Robert Rousset（1901-1981）舊藏據家族記錄，於1925年1月10日購自北京Tchou Teh Hoo巴黎Jean-Pierre Rousset（1936-2021）舊藏該立像寶相莊嚴，衣飾華麗，集北周與隋之韻致於一身。隋代在589年重新統一中國，其帝王皆護持佛法，並以佛教作為鞏固統治手段之一。因此隋代二帝時全國建立經像，盛極一時。此時佛教造像發展及技藝亦臻於完善，上承北齊、北周之大成，下啟盛唐風氣。與本像頭闊肩窄之比例相似者，可參見一例北周石雕觀音像 ，收錄於喜仁龍（O. Siren），Chinese Sculpture from the Fifth to the Fourteenth Century（五至十四世紀之中國雕塑），卷一，曼谷，1998年，圖版266A（重印自1925年Ernest Benn版）。本拍品應為觀音造像。其左手所持'淨瓶'為八吉祥之一。右手或曾持楊柳枝，&#... For further information on this lot please visit Bonhams.com
STATUETTE DE LIUHAI EN BRONZE PARTIELLEMENT DORÉDynastie MingA PARCEL-GILT BRONZE FIGURE OF LIUHAI Ming Dynasty (1368-1644)The Daoist Immortal cast in a typical posture standing with one leg raised the left arm raised and the left lowered, the face with a smiling expression below the tonsured hair encircled with a diadem, wearing flowing long-sleeved robes open to reveal the rotund belly, with a leaf skirt around the waist tied with belt suspending a sack with a foliate terminal, the hems finely incised, carrying a double gourd vase at the back which may have been used as joss stick holder, stand. 11.8cm (4 1/2in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) 明 局部鎏金銅劉海像來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
QUATRE VASES APPLIQUES EN GRÈS À GLAÇURE VERTE ET OCREXVIIIe siècleFOUR GREEN AND OCHRE GROUND BISCUIT WALL-VASES18th centuryThe wall vases of pear shape flattened at the back, applied with a taotie mask-ring handle above a cartouche enclosing a relief-moulded chrysanthemum issuing leafy tendrils, supported on a splayed foot, with an aperture for hanging at the back, variously decorated in green, cream, aubergine and ochre tones, stands, 15.2cm (6in) high; together with a pair of 'Buddhist lion' sancai-glazed biscuit joss-stick holders, Kangxi (1662-1722), comprising the male with a brocade ball and the female with a cub, both with articulated eyes, decorated with ochre, green, aubergine and cream, standing atop an openwork pedestal and supporting on their backs a lobed vase, 20.5cm (8in) high. (6).Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021) 十八世紀 素三彩壁瓶四件 及清康熙 素三彩佛獅一對來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
DEUX STATUETTES DE GARÇONS EN PORCELAINE DE LA FAMILLE VERTEÉpoque Kangxi (1662-1722)TWO FAMILLE VERTE FIGURES OF BOYSKangxi (1662-1722)Each standing on a pedestal and wearing long flowing robes, carrying a white vase in his hands. 17cm (6 6/8in) high. (2).Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021) Compare with a related famille verte figure of a standing boy, probably Shunzhi, illustrated by Sir M.Butler, M.Medley, S.Little, Seventeenth Century Chinese Porcelain from the Butler Family Collection, Alexandria, 1990, p.130, no.80.清康熙 五彩童子 一組兩件來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
VASE EN PORCELAINE À GLAÇURE TURQUOISE ET VASE BOUTEILLE EN PORCELAINE À GLAÇURE LANGYAOLe vase turquoise d'époque Kangxi (1662-1722), le vase langyao du XIXe siècleA TURQUOISE-GLAZED VASE; AND A LANGYAO-GLAZED BOTTLE VASEThe turquoise vase, Kangxi (1662-1722); the langyao vase, 19th centuryThe first of baluster form rising to the waisted neck and trumpet-shaped mouth, covered with a turquoise glaze with fine network of craquelure running short of the slightly everted foot ring, 19.4cm (7 5/8in) high; the small langyao-glazed bottle vase, defined by a globular body rising from a short foot to a long and gently flaring neck, 11.5cm (4 1/2in) high. (2).Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021) 清康熙 孔雀藍釉觀音瓶 及 十九世紀 郎窯紅釉長頸瓶 一組兩件來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
STATUETTE DE DAME DE COUR EN TERRE CUITE À GLAÇURE JAUNE PAILLEDynastie Sui (589-618 ap. J.-C)A STRAW-GLAZED POTTERY FIGURE OF A COURT LADYSui Dynasty (589-618 AD)The slender figure attired in long and voluminous robes falling in folds above the slippers, holding a large hu vase, the hair pulled up and bound in wide bun on top of the head. 22.4cm (8 6/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Compare the hairstyle and facial features of the present figure with three pottery figures of ladies, Sui dynasty, from the Robert Rousset collection, in the Musée Guimet, Paris, illustrated by J-P.Desroches, Compagnons d'Eternite', Paris, 1981, pp.142-143.隋 黃釉仕女俑來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
STATUETTE DE PADMASAMBHAVA EN BOIS SCULPTÉ POLYCHROMEBhoutan, XVIIIe siècleA POLYCHROME WOOD FIGURE OF PADMASAMBHAVABhutan, 18th centurySeated cross-legged on an overlapping triple lobbed lotus base, modelled with an alert face adorned with beaded earrings, wearing a distinctive pointed cap and a pleated robe decorated with floral hems, holding a vajra in his raised right hand and a skull cup in his left. 36cm (14 1/8in) high.Footnotes:Provenance:Artcurial, Paris, 11 December 2017, lot 192Jean-Pierre Rousset, Paris (1936-2021), acquired from the above salePadmasambhava is widely revered across all Tibetan Buddhist orders, given the endearing appellation, Guru Rinpoche ('Precious Teacher'). As the founder of the Nyingma tradition, he is typically identified by an iconic feathered cap. Other iconographic markers of this legendary teacher, who is credited with introducing Buddhism to Tibet, are the skull cup containing a vase of plenty, and the vajra he holds in his hands. For comparison of the footed base and Bhutanese-style lotus leaves, see a Padmasambhava sold at Nagel Auktionen, Stuttgart, 30 October 2015, lot 141, and another sold at Bonhams New York, 14 March 2017, lot 3209.不丹 十八世紀 木雕加彩蓮花生坐像來源：巴黎Artcurial, 2017年12月11日，編號192巴黎Jean-Pierre Rousset（1936-2021）舊藏，得自上述拍賣For further information on this lot please visit Bonhams.com
A Poole pottery Atlantis vase - 18cms high, together with two retro coffee and sugar jarsCONDITION REPORTNo visible damage to vaseGood conditionCondition disclaimerOur team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.
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