Asian art

INDE - GANDHARA, art gréco-bouddhique, IIe/IVe siècle - Buddha head in gray schist, eyes open with wide eyelids, wearing urna and ushnisha (accident to nose and ear, erosions). H. 17 cm

A VERY FINE AND RARE MUGHAL ENAMELLED DAGGER (KARD) WITH VELVET COVERED SHEATH Probably Jammu und Kashmir, North India, dated AH 1189/1775-76 AD L. 35 cm Steel blade, the hilt, locket and chape decorated in various deity figures with polychrome enamels on blue enamelled ground, the spine with Shi'a avocations and prayers in gold on blue enamel, the tip of the pommel with a prayer and dated AH 1189. In Arabic, on the back edge of the hilt - ‘O Lord, for the sake of Muhammad and the family of Muhammad, ‘Ali, and Fatima the daughter of Muhammad, Hasan and Husayn’ In Arabic and Persian, on the front edge of the hilt - ‘For every catastrophe that occurs recite seventy times / There is no hero but ‘Ali no sword but Dhul-Fiqar’ In Arabic and Persian, on the base of the hilt - from the Qur’an, LXI, suraal-saff, part v.13: Help from God and speedy victory / Brings forth an answer at the court of God In Arabic, on the side of the scabbard - an invocation to ‘Ali In Arabic, along the edge of the scabbard - invocations to God - ‘O Judge of Needs! And O Sufficient in Necessities! And O Answerer of Supplications!’ Box. Al Thani Collection, Qatar sold by Christie's New York, sale 'Maharajas & Mughal Magnificence', 19 June 2019, lot 379 - Private collection purchased at the above noted sale Published and exhibited: The Doge’s Palace, Venice 2017, p. 190, no. 127 The Palace Museum, Beijing 2018, pp. 214-245, no. 131 The decoration on this dagger and scabbard displays a rare combination of Muslim prayers alongside images of Hindu deities. The inscriptions are derived from both the Qur’an as well as Shi’a sources. The figures of Indian gods and goddesses including the multi-armed goddess Durga, Vishnu seated under a five-headed serpent and the monkey god Hanuman illustrate an influence of eighteenth century North Indian painting from Kashmir and Pahari states (Beijing 2018, p.214). The turquoise enamelling used for the ground on the hilt as well as the fittings on the scabbard is highly unusual.

BUDDHA GANDHARA REGION - GRECO-BUDDHIST ART, IIE/IVE CENTURY Stucco Seated, standing out in high relief against a stele background, with clasped hands holding Sujata's alms bowl (Restoration to the neck). A stucco figure of a seated Buddha Gandhara region - Greco-Buddhist period, 2nd/4th century H. 43 x 28 cm Provenance : - Former French private collection

NAITÔ TOYOMASA (1773-1856) - Hare Wooden netsuke Legs tucked under him, head raised, coat finely incised. Eyes inlaid with blond horn. Signed Toyomasa. Naitô Toyomasa (1773-1856) A wood netsuke of a hare H. 2.8 cm Provenance : - Former French private collection

MASATOMO - JAPON - Epoque EDO (1603 - 1868), XVIIIe siècle - Octopus Wooden netsuke Folded in on itself, its tentacles run up its head. Ivory-encrusted eyes. Signed Masatomo Masatomo : Japan - edo period (1603 - 1868), 18th century A wood netsuke of an octopus H. 3 cm Gross weight : 18,8 g. Provenance : - Former French private collection

JAPAN, 19th century. Stingray-sheathed Katana with menuki and kashira in bronze with two patinas, the tsuba in patinated iron. In its scabbard, complete with kozuka with multi-patinated bronze handle. L_67.5 cm

A RARE ANHUA UNDERGLAZE BLUE AND IRON-RED DECORATED PORCELAIN DRAGON DISH China, Chenghua six-character mark, late Kangxi/ early Yongzheng period, ca. 1710 - 30 D. 20,2 cm The shallow rounded sides rising from a slightly tapered foot to a gently flared rim, brightly decorated in underglaze blue against a contrasting iron-red ground, the interior with a central medallion enclosing a five-clawed dragon writhing above a tempestuous sea, its powerful scaly body issuing flames, the foaming crests reserved in white and shaded in red, all within blue double lines repeated at the rim, the inner walls left white with four kui-dragons in ‚anhua’, the outside decorated with nine similar blue dragons striding above red crested waves, the base inscribed with a six-character Chenghua mark within a double ring in underglaze blue. Trübsbach Collection Dresden. (Dr. phil., Dr. rer. nat. Paul Trübsbach, 1872 - 1948), according to his family collected in Asia prior 1914. Sold by a family member from his estate at Nagel, 14.11.1999, lot 2365 and bought by the present owner, inventory no. 100 Published: Suebsman/ Antonin ‚Porcelain Treasures of the Kangxi Period‘, Hetjens-Museum Duesseldorf 2015, p. 106, no. 13 Exhibited: ‚The Dancing Dragon/ China Contemporary‘ Hetjens Museum, Duesseldorf, 19.7.2015 - 17.1.2016, no. 13 The dragon design is rarely seen in this colour scheme and is much more common in reverse, with a red dragon among blue waves. The combination seen on this dish was, however, already in use in the early Ming period; compare an apparently unmarked dish from the Qing court collection and still preserved in the Palace Museum, Beijing, attributed to the Xuande reign (AD 1426-35), with an additional key-fret border at the rim on the exterior, illustrated in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglazed Red, vol. 1, Shanghai, 2000, pl. 228. Another unmarked dish of this design attributed to the late 15th century was in the British Rail Pension Fund collection, sold at Sotheby‘s Hongkong, 16.5.1989, lot 25, and illustrated in Sotheby’s Hong Kong -Twenty Years, 1973-1993, Hong Kong, 1993, pl. 155. Compare a very similar dish of this design, also with a spurious Chenghua mark and with nine blue dragons among red waves on the reverse, from the Gulexuan collection, illustrated in Regina Krahl with Clarissa von Spee, Chinese Ceramics from the Gulexuan Collection, Lünen, 2003, cat. no. 112. A Kangxi version of this pattern is in the Art Institute of Chicago, included in the exhibition Masterpieces of Chinese Arts from the Art Institute of Chicago, Museum of Oriental Ceramics, Osaka, 1989, cat. no. 92; another was included in the exhibition Chinese Porcelain. The S.C. Ko Tianminlou Collection, Hong Kong Museum of Art, Hong Kong, 1987, cat. no. 94 - Very small restored glaze chip or frit to rim

* WEIGHT CHINA - HAN DYNASTY (206 BC - 220 A.D.) Bronze with traces of gilding In the form of a recumbent tiger, stylized body, open mouth, feculating. A bronze tiger-shaped weight China - Han dynasty (206 BC - 220 AD) Diam. 6.5 cm Provenance : - Former French private collection

* GUANYIN CHINA - MING DYNASTY (1368 - 1644), XVIE CENTURY Gilded bronze Seated, wearing a hood covering her hair, in the headdress, the image of Amitabha Buddha. Right hand making the teaching gesture (vitarka mudra), left hand holding a bowl. She is adorned with a pectoral adorned with flowers. A gilt-bronze figure of a seated Guanyin China - Ming dynasty (1368 - 1644), 16th century H. 39 cm Provenance : - Former French private collection, acquired in the 2000s Reference: - A similar bronze reproduced in Jacques van Goidsenhoven, Héros et divinités de la Chine, 1971, sp.

* WHITE TARA TIBET - 17TH CENTURY Bronze and gilded repoussé copper and cabochons Seated in padmasana on a double lotiform plinth, the right hand in the gesture of giving (varada mudra), the left in the gesture of teaching (vitarka mudra), each holding a lotus stem, richly adorned. A gilt-bronze and repoussé figure of white Tara Tibet - 17th century H. 53 cm Provenance : - Former Guy Kaufmann collection (1923-2010), major donor to the Musée Guimet, before 2000

China, Jiaqing period (1796-1820) Chinese white porcelain statuette with pink-gray polychrome highlights depicting an elephant walking with its trunk lowered. Size: 15.8 x 22.5 cm

A TIGER RUG Tibet, um 1900 145 x 85 cm Striped design on a copper red field. From an important South German private collection, assembled before 2007 - Cf. Lipton (1988), no. 107 - Losses to pile, repiled areas, damages to sides, stains

Siegelstein - Seal stone China, Qing dynasty. Blanc-de-Chine porcelain. Oval seal, crowned with a playing chilong with forked tail. With inscription. H 4.5 cm.

* INSCRIBED MIRROR OF THE CUNDI DHARANI SUTRA CHINA MING DYNASTY (1368 - 1644), 17TH CENTURY Bronze Esoteric Bodhisattva surrounded by inscriptions on the edges of the Cundi Dharani Sutra in Ranjana and Chinese, with a central representation of the sutra's incarnate goddess. A bronze mirror inscribed with the Cundi Dharani Sutra China - Ming dynasty (1368 - 1644) Diam. 15,4 cm A later base in wood carved with dormice in the vineyard and plum blossom branches. Provenance : - Former French private collection, acquired in Asia at the end of the 19th century.

A TIBETAN KHADEN WITH DRAGON AND PHONIX DECORATION BETWEEN LOTUS FLOWERS Tibet, early 20th c. 167 x 92 cm North German private collection, assembled between 1950 and 1999 - Traces of age

AN IMPORTANT ROBE FOR A TIBETAN NOBLEMAN MADE OF IMPERIAL YELLOW SILK Tibet, silk from China, Qianlong period, 18th c. B. 192 cm, L. 145 cm Outer fabric: silk satin (imperial yellow), additional pattern weft: silk (blue, red, green, yellow, pink, gray in graduated tones, white, black), gold thread, brocaded. Lining: cotton, tabby weave, printed with flowers, probably imported from India. Ribbons of red and white striped woven fabric. Eight five-clawed dragons between clouds in five colors are woven in golden thread into the imperial yellow silk satin of the robe. The moving, slender bodies of the dragons, the design of the clouds, the deep water with wavy diagonal lines and the waves curled into large spirals with treasures floating between them are all pointing to date the silk to the Qianlong period. The dragons in the lower section depicted in profile have each grasped the flaming pearl with their front foot. This is interpreted as a sign that the robe was intended for the emperor himself or a member of his immediate family. This is also supported by the first-class quality of the design and workmanship, as well as the materials used. To remake the robe (chuba) for a Tibetan nobleman or high-ranking Buddhist, the usual adjustments were made and so the sleeves are composed of pieces. The use of a cotton fabric printed and dyed with stamps in India as a lining and the accentuation of the hems by the bands of red and white striped fabric, which was used diagonally here, are unusual. From a Franconian private collection, collected between 1960 and 1990 - Cf. Chuba made of very similarly designed silk: Art Gallery of New South Wales, Sydney, Edward and Goldie Sternberg Chinese Art Purchase Fund 2000, Inv. No. 137.2000, publ.: Rutherford/Menzies: Celestial Silk, Sydney 2004, p. 43. Chuba robe of imperial silk; Hong Kong Museum (ed.): Heavens Embroidered Cloths, Hong Kong 1995, pp.220-221 - Signs of age and use, slightly faded, surface somewhat wear

CHINE - XIXe siècle - BUDDHA sketching the dhyana mudra, seated on a double lotus Chased and gilded bronze H. 13 cm Missing vase

A KATANA Japan, 19th c. L. 67,7 / 92,6 cm Shinogi-zukuri, choji.midare hamon, itame-masame hada. Koshirae: tsuba, fuchi-kashira and menuki made of shakudo with depictions of samurai, gilded details, black wrapping over same, saya: lacquer with red and black horizontal stripes. Blade and tang unsigned. From a German private collection, acquired prior to 2007 - Minor wear

CHINE - XXe siècle - DIGNITARY Carved coral branch H. 13 cm Net weight: 163.3 g

IMPERIAL SEAL IN SPINY-GREEN JADE, China, Qing dynasty, Jiaqing period (1795 - 1820) Rectangular in cross-section, the top finely carved with a dragon holding a sacred pearl, the underside bearing four characters Ji Gu Guan Lan 汲古观澜 H.7 cm (2 ¾ in.) L.: 6.4 cm (2 ¼ in.) l.3.6 cm (1 in.) Provenance: French private collection since the late 19th century Then by descent into the same family An imperial spinach-green jade "Ji GuGuan Lan" seal, China, Qing dynasty, Jiaqing period (1795 - 1820) 清嘉庆 碧玉龙钮玺 印文：汲古观澜 Jiaqing was the fifth emperor of the Qing dynasty. During a period of his twenty-five-year reign (1795 - 1820), Jiaqing's father Qianlong, the fourth emperor, still held decision-making power, enabling Jiaqing to inherit a greater number of systems from the Qianlong era, notably in the artistic field, and in particular in the attention paid to porcelain work, jade, goldsmithing, embroidery and so on. Jiaqing's production and use of seals was similar to that of his father Qianlong, who commissioned a wide variety. According to court reports, there were many types of imperial seal under the Qing dynasty, covering a wide range of fields. They can be divided into several types: function, patronymic, reign title, palace seal, poem and so on. Although these seals have different characteristics, they share a common value, reflecting the emperor's thoughts and interests. The present seal has a rectangular shape, the top carved with a powerful dragon. It holds a puffed-up chest, head slightly raised, looking straight up, manes flying, scales finely chiselled and four heavily carved claws. The underside bearing four Ji Gu Guan Lan汲古观澜 characters, which translates as "Draw from the Ancients and contemplate the depths of things". The idea expressed is that studying antiquity and referring to the Ancients helps to understand the root cause of events and inspire political action. The expression Jigu汲古 can be traced back to an ancient-style pentasyllabic poem 五言 古诗 by Han Yu韩愈 (768 - 824 ) of the Tang dynasty, one line reads: 汲古 得脩绠 "To draw lessons from the Ancients, take a good rope". Guanlan观澜 from Mengzi孟子 (Book of Master Meng) XIII-24. Master Meng says: Master Kong climbed Mount East and found the principality of Lu insignificant; he climbed Mount Tai and found the world small. For those who have seen the ocean, rivers are hardly worth talking about; for those who have learned from a sage, common talk is not worth considering. There's a way to look at rivers: pay attention to the big waves they make. 孟子曰: " 孔子登东山而小 鲁，登泰山而小天下。故观于 海者难为水，游于圣人之门者 难为言。观水有术，必观其 澜。" The impression of the present Ji Gu Guan Lan 汲古观澜 seal appears in fascicule IX (Jiaqing II), p. 124 A, of the Qingdai dihou xiyinpu 清代帝后玺 印谱 (Great Seals of the Rulers and Empresses of the Qing Dynasty). Jiaqing is the fifth emperor of Qing dynasty. During his twenty-five-year reign (1795 - 1820), for a time, his father Qianlong, the fourth emperor, still held decision-making power, which allowed Jiaqing to inherit large systems of the Qianlong era, especially in the field of art, such as porcelain, jade, metal works, enamel, embroidery, etc. In the production and use of seals, Jiaqing, like his father Qianlong, ordered a wide variety. According to court records, there were many types of imperial seals in Qing Dynasty, covering a wide range of areas. They can be divided into dignity, surname, reign title, palace seals, poem etc. Although these seals have different characteristics, they share a common value which reflects the thoughts and interests of the emperor. The present seal has a rectangular shape, the top carved with a powerful dragon. The raised chest and head, looking straight, flying manes, fine scales and strongly carved claws. The bottom is inscribed with the four characters Ji Gu Guan Lan汲古观澜, which translates as "Draw from the Ancients and contemplate the depths of things", The idea expressed is that the study of Antiquity and the reference to the Ancients allows to understand the root cause of events and inspire political action. The expression Jigu汲古 dates back to an ancient style pentasyllabic poem 五言古诗 by Han Yu韩愈 (768 - 824) of Tang dynasty, a verse says: 汲古得脩绠 "To draw lessons from the Ancients, take a good rope". Guanlan

RHYTON CHINA - MING DYNASTY (1368 - 1644) Pale celadon jade (nephrite) with rust veins The body carved with climbing qilongs, their legs and tails forming scrolls, resting on a base made of a qilong emerging from the waves. (natural veins) A pale celadon jade rhyton China - Ming dynasty (1368 - 1644) H. 17 cm Provenance : - Former French private collection.

CHINE - Fin XIXe siècle - Four-lobed BITONG decorated with pagodas in a landscape Cloisonné enamel on gilded copper H. 13 cm - W. 9.5 cm - D. 9.5 cm

FEMALE DIVINITY CAMBODIA ANGKORIAN PERIOD, ANGKOR VAT, XI CENTURY Sandstone Standing, wearing a long sarong evenly pleated all around. She wears a tiara with registers decorated with vegetal motifs and a conical headdress (posterior lacquer, cleaned). A grey sandstone figure of a standing female Deity Cambodia - Angkorian period, Angkor vat, 12th century H. 96 x 29 cm Provenance : - Former French private collection, acquired 1950/60

STUPA COVER PLATE GANDHARA REGION - GRECO-BUDDHIST ART, IIE/IVE CENTURY Grey schist Depicting a standing Buddha, preaching, surrounded by devotees, one of whom is leaning against an altar in front of him. A grey schist relief of a standing Buddha Gandhara region - Greco-Buddhist period, 2nd/4th century 45.5 x 45 cm Provenance : - Former French-American private collection, before 1960

CHINA - KANGXI period (1662 - 1722) A pair of porcelain balusters decorated in blue underglaze and polychrome enamels in the wucai style with court ladies and children in a garden (major restorations, cracks). Wooden bases. H. 40 cm Please ask for the condition reports before the sale: they are not included in the data sheets. Expert : Cabinet Portier Alice Jossaume contact@cabinetportier.com +33 (0)1 48 00 03 41

A SIX-PANEL SCREEN WITH A SCENE FROM THE TALE OF GENJI Japan, signed Kanzan Shokore, Edo period 170 x 371 cm Fine depiction of a courtly complex in a landscape between golden swirls of clouds with a few trees such as two pines, a blossoming cherry tree and bushes with white flowers. The bird's eye view gives the viewer an insight into the interior of the palace. Ink, colours and gold on paper. From an old South German private collection, in the family since before the Second World War - Minor traces of age, slightly rest.

AN UNUSUAL SILVERED-COPPER CHAMPLEVÉ VASE WITH GILT CHILONG China, 19th c. H. 27,7 cm Old German private collection, assembled before 2000 Champlevé vases of this form and decoration are extremely rare, a gilt-dedorated vase of that type was offered at Sotheby's Hongkong, 11.4.2008, Lot 2804. A cloisonné vase of identical form and similar lotus scroll decoration and borders, without an applied dragon, was sold at Sotheby's New York, 24th October 1980, lot 145 - The form of the present vase is closely related to bronze bottle-vases with garlic-mouth and entwined dragon around the neck attributed to the 17th/18th century, such as those illustrated in Rose Kerr, Later Chinese Bronzes' - Minor wear

CHINA CICADA - HAN DYNASTY (206 BC - 220 A.D.) Rust and yellow jade (nephrite) Shown in stylized form, wings closed. A russet jade cicada China - Han dynasty (206 BC - 220 AD) H. 7 cm

AN UPPER PART OF A COURT ROBE WITH DRAGON China, 17th c. 164 x 144 cm, R. Silk velvet (black-blue), patterned with stylized clouds and Buddhist treasures, sewn together lengthwise from two panels. Embroidery: silk, partly twisted threads (beige, blue, green, white, faded colors), satin stitch, stem stitch, gold thread in lay-on technique, in larger sections in braided pattern. The four-fold lobed form is intended for the upper part of a court robe (chaofu). The head of a five-clawed dragon was placed on the chest and back. On one side, a diagonal seam is visible to the left of the dragon's head, over which the tail of the other dragon was applied. This was once the side closure of the robe on the chest. A small square embroidery has been applied in the center of the dragons, which was originally attached to the waistband of the skirt. The frame borders with opposing running dragons also originate from the robe. From the collection of Dr. Herbert J. Exner (1928-2023), collected from the 1960s to the mid-1990s - Cf. a similar, but yellow-rounded textile, Kangxi period: Christie's, Auction 2339, 17.9.201, Lot 1073 The fact that the dragons have each grasped the flaming pearl with their right front paw is often interpreted in the literature as an indication that this garment was intended for a person of the highest rank or for the emperor himself. The use of silk velvet as the embroidery ground is also unusual - Signs of use and age, embroidery colors slightly faded, streched and mounted on a wood frame

A BLUE AND WHITE AND COPPER-RED THREE FISH VASE China, Kangxi period H. 23,2 cm (o.S.) The elegantly potted swelling body supported on a tall spreading foot and rising to a waisted neck and flared rim, painted with three large mandarin fish, the details of the spotted skin, face, tail and fins in varying shades of cobalt blue and copper red, the base with a double circle in underglaze blue. Finely carved wood stand. Collection Ferdinand Wagenseil (1887-1967), acquired in China between 1922 and 1931 by descent to a family member For a similar vase see Sotheby’s New York, 17.3.2021, lot 270 - Small restored chip to mouth rim with a short hairline into the neck, small restored chip to stand

Buddha Shakyamuni - Buddha Shakyamuni Tibet, 18th/19th century Bronze, fire-gilded. The historical Buddha sits on a double lotus pedestal. His face appears elegant and calm, with half-closed eyes, in a moment shortly before his enlightenment. The right hand shows the varada mudra of wish-granting, the left holds a bottle in his lap. Bottom closed, with vajra. H 22 cm.

A WELL CAST TRIPOD BRONZE CENSER IN ARCHAIC STYLE WITH FINE CARVED WOOD STAND AND COVER WITH CARVED SOAPSTONE DRAGON HANDLE China, the bronze Yuan/ Ming dynasty, the stand and cover 18th/ 19th c. B. 24,8 cm, H. 26,5 cm (mit Stand und Deckel) Weight censer: 3,255 kg. Old South German private collection by repute collected before 1920 - Very minor traces of age

A VERY RARE FESTIVE ATTUSH ROBE OF THE AINU Japan, Hokkaido, 19th/20th c. B. 121 cm, L. 130 cm Elm (attush) bast fibers (ohyo), plain weave. Border and collar: cotton (indigo blue), plain weave, imported from Japan; embroidery: cotton (white) chain stitch. The long over-garment (attush) is characteristic of the Ainu cultures in northern Japan in terms of its manufacture, material and pattern. The Ainu are an indigenous people of Japan and were once spread over large northern areas. Later, they were continuously pushed back by the Japanese, conquering more and more space. Under this pressure, only smaller groups survived in the 19th century, mainly dwelling in Hokkaido, Sakhalin and the Kuril Islands. Some scientists attribute their origins to the Jōmon cultures. In addition to their own language, which is almost forgotten today, the Ainu express their cultural identity through numerous handicrafts. The production of textiles, from fiber to the finished garment, belongs to the realm of the women. Due to the climatic conditions of the northern latitudes in which the Ainu live, fibers are primarily obtained from the bast of trees, mainly elms, but also linden trees. The bark is stripped directly from the tree while it is still standing and the bast, the fibrous inner layer, is separated from the dark bark on the outside. These fibers are boiled and pounded to make them softer. The bast is then divided into finer fibers and finally twisted into threads. The weaving equipment used by the Ainu is simple. The weaver hangs the bundled warp threads with a hook on the house pillar or in summer on a tree and puts a belt around her back to maintain the tension of the threads. The fabric length is sewn together to form a kind of coat, similar to a kimono, and decorated with ribbon-like appliqués made from imported Japanese cotton, which are then embroidered over. These appliqués run along the hems, the openings of the garment and are placed on the back. They have an apotropaic character and are intended to protect the person wearing the robe from evil. The robes used by the Ainu themselves almost always feature triangularly cut or folded sleeves. Robes with wide sleeves such as this one are a concession to the Japanese culture and are more in keeping with the cut of a Japanese kimono, or overgarment. The very rare robes of the Ainu were and still are highly prestigious and were also used in parts of Japan as a festive garment and as a symbol of power. The robe can be fastened with pairs of ribbons on the inside and outside. Inside the robe an apocryphal inscription with eight characters, some of which are barely decipherable is written in black ink. It possibly consists of a name and mentions an “island lord”. It is not clear how this designation is to be interpreted and for what purpose the robe may have been made. From an old German private collection, collected since the 1950s - Minor signs of wear, good condition

* SHO-KANNON JAPAN - EDO PERIOD (1603 - 1868), DATE 1686 Gold-lacquered wood Standing on a lotus-shaped base, wearing a long, pleated monastic robe decorated in gold lacquer with geometric motifs. She is leaning against a mandorla with openwork foliage. Her right hand makes the gesture of teaching (raigo-in), while her left hand repels evil spirits. She stands on a lotus-shaped pedestal on an octagonal base. A gilded-wood figure of a standing Sho Kannon Japan - Edo period (1603 - 1868) Total dimensions 62 x 21 x 18.5 cm Provenance : - Former French private collection

CHINE - Epoque KANGXI (1662 - 1722) - Porcelain ginger pot decorated in blue underglaze with young women playing with children on a terrace. H. 21 cm Lid and base in later wood

CHINE - NECKLACE of amber beads L. 27 cm

A FINE BLUE AND WHITE ‚DRAGON‘ DISH China, underglaze blue zhi yuan tang zhi hall mark, Qianlong period D. 24,2 cm With rounded sides rising to a slightly everted rim, the interior decorated with a brightly painted five-clawed dragon leaping amidst clouds. The exterior brightly also painted in rich cobalt-blue tones with two five-clawed scaly dragons striding amongst scrolling clouds, their mouths opened revealing sharp fangs, all above tumultuous waves crashing on stylised rocky mountains, the rim and the foot encircled by double line borders, inscribed to the base with a hallmark reading Zhiyuan Tang zhi ('Hall of Extended Remoteness') within a double square. From an old Dresden private collection, according to tradition collected in China in the 1920s, auctioned by Nagel, 7 November 2003, lot 681 and acquired by the present owner Zhiyuan Tang is recorded by Gerald Davison, The New & Revised Handbook of Marks on Chinese Ceramics, Sparkford, 2010, no. 1112, who translates it as 'Hall of Extended Remoteness', pinpointing it as a hall mark used in the Qianlong period. A similar dish was sold at Christie’s New York, 19.3.2008, lot 604. Another smaller dish of this type with the same deep blue painted dragons was sold at Sotheby’s, Hong Kong, 7.4.2015, lot 3702 - Two tiny, restored chips

CHINE - XIXe siècle - OPIUM PIPE White jade pipe, spinach jade beak, gilded metal plate with bat motif L. 54 cm Missing stove

CHINE - XIXe siècle - Volatiles, flowers and pierced rocks Embroidered fabric in a patinated wood frame inlaid with burgau mother-of-pearl in imitation of bamboo H. 108 cm - L. 45 cm One back panel missing Good overall condition. A hole in the lower left corner. A small stain. Damaged glass in lower left corner. Very slight mother-of-pearl chips in the frame.

TWO BRONZE VAJRA Tibet, 17th/ 18th c. L. 13 - 15 cm North German private collection, collected between 1950 and 1999 - Wear

CHINA - 18th/19th century Set including: - belt buckle inlaid with three pieces of beige moss agate. L. 10.5 cm - white agate buckle and brown rubbed agate plate. L. 7 cm - gilt bronze openwork dragon buckle. L. 6.5 cm - gilt bronze and openwork rectangular buckle with two dragons around a pearl and ring supporting a ring. L. 5.5 cm - Gilt bronze rectangular buckle inlaid with a coral plate (corallium rubrum) and ring. L. 4 cm - mandarin necklace pendant in gilded copper and red glass plate. L. 4.2 cm - fan case in embroidered silk and gold thread Please ask for condition reports before the sale: they are not included in the listing. Expert : Cabinet Portier Alice Jossaume contact@cabinetportier.com +33 (0)1 48 00 03 41 Please note that this lot contains coral, a protected species. Aponem is unable to assist buyers with the export and transport of lots containing protected species outside France. The buyer's inability to export or import these lots does not justify late payment or cancellation of the sale.

FEMALE DIVINITY CAMBODIA - ANGKORIAN PERIOD, ANGKOR VAT, 12TH CENTURY Grey sandstone Standing, wearing a long sarong evenly pleated all around, her head crowned by a tiara with registers decorated with plant fleurons and a conical headdress with registers incised with chevrons and plant friezes. (Breaks and restorations) A grey sandstone figure of a standing female Deity Cambodia - Angkorian period, Angkor vat, 12th century H. 97 x 40 x 13 cm Provenance : - Former French private collection before 1960

FIVE TEXTILE FRAGMENTS FROM CENTRAL ASIA - TANG DYNASTY (618-907) AND SONG DYNASTY (960 - 1279) Silk samit and embroidered silk Two sogdians embroidered with two ducks facing each other in round medallions on a red background. A pair of squares embroidered with lotus flowers in foliage. A red silk fragment embroidered with a bird in flight in the clouds. (Stains and accidents). A set of five textile fragments Central Asia - Tang dynasty (618-907) and song (960 - 1279) Provenance : - Acquired on the Hong Kong market

A FINE AND LARGE COPPER-RED AND BLUE AND WHITE PORCELAIN VASE China, lozenge mark, Kangxi period H. 49,5 cm Of square section, with sides tapering toward the base, each side painted in shades of underglaze blue and copper-red with depictions of herons flying over a lotus pond, pairs of birds on flowering plum branches and butterfies hovering over chrysanthemum sprigs, the flat shoulder painted with four flowering branches representing the 'four seasons' including lotus, peony, chrysanthemum and prunus, rising to a tall cylindrical neck with flared rim painted with clusters of bamboo, the base with a lozenge mark in underglaze blue. German private collection, according to tradition acquired in the Netherlands in the early 1920s from a famous artist Compare with a vase of similar form from the collection of the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum 36. Blue and White Porcelain with Underglazed Red, Hong Kong 2010, p.22, no.18 - The edges with very few small glaze chips or frits, small glaze imperfection to shoulder, the mouth rim with a short hairline (4 cm)

CHINA Small white jade seal surmounted by a sinuous chilong H. 2.9 cm Please ask for the condition reports before the sale: they are not included in the data sheets. Expert : Cabinet Portier Alice Jossaume contact@cabinetportier.com +33 (0)1 48 00 03 41

CHINE - XIXe siècle - Very large CLOCHE with trigram, leiwen and double-headed dragon decoration on several registers Bronze, formerly silver-plated H. 98 cm - L. 45 cm Traces of oxidation and scratches

China, circa 1920 Small rosary of 17 coral beads with openwork shou motifs alternating with small discs and round beads. Weight 37 g

* LINGA CAMBODIA - ANGKORIAN PERIOD, ANGKOR VAT, 12TH CENTURY Sandstone Overhanging a canted base, itself on a cubic base. A sandstone linga Cambodia - Angkorian period, Angkor vat, 12th century 86 x 18 cm Provenance : - Former French private collection, by reputation acquired from Galerie Orient-Occident, Jean-Claude Moreau-Gobard, in the 1980s

A FINE IMPERIAL DOUCAI MEDAILLON BOWL China, underglaze blue Jiaqing six-character seal mark and period D. 15,2 cm The flared sides are intricately decorated to the exterior with roundels of fruiting trees separated by branches of pomegranate, above a lappet border to the foot. Georg Weishaupt Collection (1906-2004), Berlin bought accroding to records in London in the 1980s Bowls with this decoration appear to be based on Kangxi period prototypes, such as the example in the Qing Court collection, illustrated in The Complete Collection of Treasures of the Palace Museum - Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, p. 216, no. 197.The pattern continued in the subsequent reigns, with known examples from the Qianlong, Jiaqing and Daoguang periods. A Daoguang-marked pair of bowls from the collection of Dr. Elizabeth Shing was sold at Christie's Hong Kong, 1 June 2011, lot 4007 - Cracks and two small re-stucked pieces to body

Très grand vase ou présentoir en bronze à décor de carpes et d'un dragon - Very large bronze vase or display stand decorated with carps and a dragon Japan Meiji period (1868-1912) The upper part molded in relief with carp decoration, with a pierced frieze on the rim, the base with a dragon. H. 60 cm D. 43 cm