Asian art

TAOIST IMMORTAL CHINA - MING DYNASTY (1368 - 1644) Bronze Seated figure in bronze with brown patina, wearing a robe with dragon embroidery in the clouds evoked by incisions and holding his belt in his right hand. A bronze figure of a seated daoist immortal China - Ming dynasty (1368 - 1644) H. 42.6 cm Provenance : - Former Bettini collection, acquired in the 1970s

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

* GUANYIN CHINA - EARLY 20TH CENTURY Jadeite Standing, left hand holding a pearl, Amitabha Buddha seated in his headdress hidden by a veil. His robe is pleated, falling down his legs, his headdress hidden by a hood. A jadeite figure of a standing Guanyin China - Early 20th century H. 43 cm Provenance : - Former French collection, before 2000, acquired in the 1960s

* VASE, FANGHU CHINA - LATE MING DYNASTY (1368 - 1644), 17TH CENTURY Gilt bronze and cloisonné enamels The sides decorated with archaizing taotie motifs surmounted by stylized kui dragons and banana leaves alternating with two friezes of ormolu foliage buds, the foot decorated with horses running above the waves, the corners enhanced with geometric protruding edges. (Restorations) A gilt bronze cloisonné-enamel vase, 'Fanghu' China - Late Ming dynasty (1368 - 1644), 17th century H. 37 cm

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

* 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

Shakyamuni Buddha statuette in gilded copper alloy, Nepal, Khasa Malla kingdom, 13th-14th century The Buddha is seated cross-legged in dhyanasana, his right hand in bhumisparsha mudra touching the ground. He is dressed in a diaphanous shangati with chiseled rice-grain trim, elegantly draped over his left shoulder with fishtail ends and gathering into fan-shaped folds between his legs. Her rounded face, with large eyes lowered beneath high arched eyebrows and a finely drawn mouth, is flanked by long, slightly curved, pierced hanging earlobes. His hair is set in tight curls rising to a domed ushnisha. The underside is not gilded, and three places can be seen that were formerly plugged with square pieces. Height: 22 cm; weight: 3838 g Gilded bronze Buddhas from the Khasa Malla kingdom represent a remarkable example of 14th-century Nepalese Buddhist art. These sculptures reflect a distinctive artistic style blending Indian and Tibetan influences. Created using the lost-wax casting technique, these works demonstrate great technical mastery and intricate detail. Buddhas were depicted according to traditional Buddhist iconographic conventions, with symbolic gestures (mudras) and characteristic attributes such as alms bowls. Richly adorned with jewels and ornaments, these sculptures embody the divine nature and elevated status of the Buddhas. Beyond their artistic value, these representations were devotional objects for the Buddhist faithful, embodying the wisdom and presence of the Buddha. They bear witness to the artistic and religious prosperity of medieval Nepal, representing a precious cultural heritage. In short, the gilded bronze Buddhas of the Khasa Malla kingdom are significant examples of Nepalese sacred art, fusing local traditions with the universal principles of Buddhism, and continue to inspire with their timeless beauty and spiritual depth.

* 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

* MANJUSRI CHINA - 19TH CENTURY Bronze, Chengde (Jehol) bronze style Standing on a lotiform base, in a haunted attitude, carrying the fruit in his left hand, the right held the stem of a lotus now lost. Gold-lacquered face. A bronze figure of a standing Bodhisattva China - 19th century H. 50.5 cm

LIN Fengmian (Lin Fongmin) (1900-1991) Beautiful lady, early 1950s Ink, gouache on Xuan paper. 66 x 66 cm Slightly cut at the top. Provenance: According to the owner, acquired directly from the artist in the 1950s. Exhibition: Chinese Artists in Paris, September 9 - December 31, 2011, Musée Cernuschi. Reproduced in catalog, p. 36. The painting depicts a stylized female figure seated in the center. Her features are simplified and her limbs elongated, rendered in shades of white and green. The background is divided into dark vertical sections. Signed and stamped upper left. This subject is recurrent in Lin Fengmian's work and considered by specialists to be a reminiscence of his mother, from whom he was separated at an early age in difficult circumstances. The type of paper used by Lin Fengmian during the war, when he couldn't paint on canvas, was called 宣紙 (xuān zhǐ), also known as xuan paper. It's a fine, absorbent paper made from mulberry fibers, traditionally used for Chinese calligraphy and painting. Xuanzhi is prized for its resistance to ink and its ability to capture the subtle nuances of brushstrokes. Its smooth, uniform surface was ideal for Lin Fengmian's style of painting, which emphasized fluid lines and soft colors. What's more, xuanzhi was relatively inexpensive and easy to find, making it a practical choice for Lin Fengmian during the wartime period of economic hardship. Lin Fengmian, a major Chinese artist of the 20th century, shaped his country's art history by fusing the influences of European modernity with traditional Chinese artistic heritage. Born into a family of poor artisans in 1900 in Guangdong province, he overcame financial obstacles through determination and unexpected good fortune, winning the lottery to study in France. In Paris, he trained at the École Nationale des Beaux-Arts after a spell at the Ecole des Beaux-Arts in Dijon, and discovered a vibrant Franco-Chinese artistic community. Back in China, he became a key figure in artistic reform, promoting modern art and fusing Chinese and Western techniques. As director of the National Art School in Beijing, he played a key role in promoting contemporary art. However, political upheaval and social instability forced him to leave Beijing in 1927, but he found refuge in Hangzhou, where he founded the National Academy of Arts. World War II and the Chinese Cultural Revolution marked tumultuous times for Lin Fengmian. Forced underground and forced to destroy his own works during the Cultural Revolution, he was imprisoned as an "enemy of the people". After his release, he lived in precarious conditions until his departure for Hong Kong in 1977. Despite his ordeal, Lin Fengmian continued to create and to commit himself to preserving his artistic heritage. He died in Hong Kong in 1991, leaving behind a remarkable artistic legacy and a lasting influence on modern Chinese art.

* CHINA BOX - MING DYNASTY (1368 - 1644) Carved red lacquer Decorated on each side with peonies in foliage on a lattice background (Restoration) A cinabar lacquer circular box China - Ming dynasty (1368 - 1644) Diam. 7.5 cm Provenance : - Former French private collection

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

Shinto katana Length: approx. 65 cm

Painting of a Korean dignitary, Korea, Joseon dynasty (1392-1897) Ink and pigments on silk depicting a Confucian scholar. He is wearing a tanggeon, the traditional headdress of a scholar, and a simui, a Korean scholar's robe tied with a red cord. Inscribed on the left of the painting, and at the top right the inscription: 滄洲翁周甲真 - Cāngzhōu wēng Zhōu jiǎ zhēn. The painting is marouflaged on canvas and framed under glass. 100 x 52 cm on view

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.

TIBET - XVIIe/XVIIIe siècle - Shaman's apron bone element carved with a dakini holding the cranial cup (kapala) and ritual cleaver (kartika) in the dancing attitude on a console supported by a kirthimukha face. Above her, seated in a high chattri stupa, the dikpala Amitabha. H. 17.5 cm

* CHINA - YUAN DYNASTY (1279 - 1368) Gold The interior incised with a blossoming peony and foliage, the outer rim of the body with a frieze of flowers in waves, the handle in the form of a coiled dragon biting the rim (Accidents). A gold cup China - Yuan dynasty (1279 - 1368) Dim. 7.8 x 10.3 x 3.4 cm Weight : 109 grammes Provenance : - Acquired on the Hong Kong market, before 2000

A RARE GEM SET GOLD ARCHER’S RING South India or Deccan, possibly Tanjore, 1750 - 1850 2,6 x 3,3 x 4,1 cm Set with diamonds, rubies and emeralds. Al Thani Collection, Qatar, sold sale Maharajas & Mughal Magnificence, Christie's, New York, 19 Juni 2019, Lot 14 - Private collection purchased at this sale Published: From the Great Mughals to the Maharajas: Jewels from Al Thani Collection, Grand Palais, Paris 2017, p.183, no. 137 Treasures of the Mughals and the Maharajas: The Al Thani Collection, Palazzo Ducale, Venice 2017, p. 210, no. 143 Treasures from the Al Thani Collection, Palace Museum Beijing, 2018, p. 233, no. 144 Minor traces of age

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

NAGINI STELE INDIA - PALA PERIOD, XTH/XIE CENTURY Basalt The serpent goddess is seated in lalitasana on a lotiform base, holding a snake in her left hand. The hoods of a polycephalic naga unfold around her head. She is accompanied by an ascetic in mortification, a bodhisattva and several hybrid nagas. On the front of the base, two orants in anjali mudra. (Restorations and fillings) A basalt stele of a Nagini India - Pala dynasty, 10th/11th century 28 x 17 cm Provenance : - Former French private collection

FIVE ORNAMENTS CHINA - HAN DYNASTY (206 BC - 220 A.D.) Nephrite (jade) celadon, brown and gray Comprising a bi disc adorned with a qilong, a stylized dragon, two silkworms, a child on a lotus. A set of five jade ornaments China - Han dynasty (206 BC - 220 AD) Diam. disc bi 2,3 cm L. 3.3 to 5.7 cm Provenance : - Former Dr. F. Jarricot collection, listed in Jean-Claude Moreau-Gobard's old inventory, January 17, 1972

CHINE, XVIIIe siècle - Rare and important carved celadon jade group Taking the form of a rock in which is nestled the meditating Arhat Ajita, holding his staff and prayer book in one hand, and a rosary in the other. The rock is planted with numerous pine branches. The other side features a richly landscaped scene of two fallow deer among bread. The celadon-toned stone is delicately_x001e_veined_x001e_with rust. An inscription on the main face_x001e_referring to the subject depicted._x001e_ " ???????? ???? ????????? ????? ???? ?????_x001e_" Height_x001e_: 14,5cm_x001e_ Width_x001e_: 11 cm_x001e_ Depth_x001e_: 6 cm Provenance:_x001e_ - Former collection of Vice-Admiral Edgar Eugène Humann (1838- 1914), Navy Chief of Staff who served in the China Seas. seas. -By descent

HARNESSED HORSE CHINA - TANG DYNASTY (618-907) Earthenware with 'sancai' glaze (three colors) Sealed and harnessed with pompons, mouth open. (Broken legs and neck) A 'Sancai' glazed pottery figure of a horse China - Tang dynasty (618-907) H. 51 x 46 cm ASA thermoluminescence test, n°16.18.5-TL207.191, dated July 31, 2002 Provenance : - Former French private collection

Libationsgefäss - Libation vessel China, Qing dynasty. Rhinoceros horn. Curved shape, deeply hollowed inside. The wall with relief and openwork depicting a mountain landscape with river, pines and pagoda. The interior with open-worked, gnarled branches. H 12 cm. With wooden base and box. Weight approx. 292 g.

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.

MARAVIJAYA BUDDHA LAOS - 17TH CENTURY Gold and polychrome lacquered bronze Seated in padmasana on a lotiform base, wearing a monastic robe covering his left shoulder, he makes the gesture of taking the earth as witness (bhumisparsa mudra). His half-closed eyes are painted with pupils, and the ushnisha is adorned with a large flame. A gilt-lacquered bronze figure of a Buddha Maravijaya Laos - 17th century H. 47 cm Provenance : - Former French private collection

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

Carved bamboo brush pot with lacustrine decoration, China, 18th century Finely carved in light relief of a lake and mountain landscape. We can distinguish a sampan sailing on a river and scholars strolling under pine trees between pierced rocks. A silver-plated metal frame is attached to the neck and base on three feet. Height: 14.3 cm Large filled-in crack.

Shinshinto katana, Meiji period (1868-1912) Signed (mei): Yamashiro Kuni ju Fujiwara Toshimune. Blade (sugata): shinogi zukuri, iori mune. Forging pattern (hada): mokume. Temper (hamon): midare. Rocket (nakago): ubu keitai, iriyamagata nakagojiri, un mekugi ana. Length (nagasa): 63.5 cm Scabbard (saya): Mounted in tachi, in black lacquer decorated with twelve butterfly môn, mount with four môn on each side. En suite shibuichi and gilded copper menuki with three butterfly môn.

Shinto katana, early Edo period (1603-1868) Signed (mei): Mimasaka no kuni Tsuyama ju Kanemitsu. Blade (sugata): shinogi zukuri, iori mune. Forging pattern (hada): masame. Temper (hamon): suguha. Rocket (nakago): ubu keitai, iriyamagata nakagojiri, two mekugi ana. Length (nagasa): 64 cm Scabbard (saya): mounted in tachi, nashiji lacquer and môn, gilded copper mounts with môn crane motif, en suite mounts with crane motif, gilded copper menuki featuring plants.

NYO GESSHO (ACTIF XVIIIE SIÈCLE) - * Boxwood netsuke Standing slightly swaying, his hair up in a high bun, wearing a huge straw sandal 'zori' on his back, which he holds with both hands. Signed Gessho on the back. Gessho (Active 18th Century) A wood netsuke of standing Nyo H. 9 cm Provenance : - Glendining's sale, Henri L. Joly collection, June 9, 1921, lot no. 785, sold for £42. - Former Trower Collection Reference: - Reproduced in Frederick Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part A, p. 80 - Reproduced in Henri L. Joly & Kumasaku Tomita, Japanese Art & Handicraft, An illustrated record of the Loan exhibition held in aid of the British Red Cross in October-November 1915, Sawers - Valansot, London, 1976, n°42, plate XLVIII.

Utagawa Hiroshige (1797-1858) - Utagawa Hiroshige (1797-1858) Japan, 19th century Print by Hiroshige. Oban yoko-e from the Tokaido gojusan tsugi no uchi series, The Tokaido's fifty-three stations: station 49:Sakanoshita. Under the tea pavilion, two travelers rest, two discuss. Two other figures admire the beauty of the site stretching out at their feet. Signed Hiroshige ga, publisher Hoeido. Sight size (21.5 cm x 34 cm). Framed under glass, darkened.

STANDING VISHNU CAMBODIA - PRE-RUP, XTH/XIE CENTURY Stoneware Wearing a stepped "pagoda tiara", his sampot adorned with parallel folds all over, a double fishtail easement fold, a pocket fold plated on the thigh (Restorations). A grey sanstone figure of Vishnu Cambodia - Pre-rup, 10th/11th century H. 117 cm Provenance : - Former French private collection, acquired in 1976

JAPON, Période Momoyama/ Période Edo, fin du XVIe-début du XVIIe siècles - Rare "Namban" lacquer travel chest Quadrangular in shape, richly decorated in gold hira-maki-e lacquer and mother-of-pearl inlays, on a glossy black ground, with various seasonal flowers. The back is decorated with foliate scrolls. Opening with a flap revealing nine drawers. 23.5 x 31 x 23.5 cm Some wear and stains. Provenance: Private collection from a château in Brittany. Presented to Seigneur de la Saudray, Squadron Leader under Louis XV, who died in the Spanish naval war before 1770.

CABINET, KANGGUI CHINA - EARLY QING DYNASTY (1644 - 1911), XVIIE/XVIIIE SIÈCLE Longyanmu and Tielimu Two-leaf opening, the strut openworked with two lingzhi. A 'Longyanmu' and 'Tielimu' cabinet, 'Kanggui' China - Early Qing dynasty (1644 - 1911), 17th/18th century 113 x 82 x 39 cm Provenance : - Former French private collection - Christie's Paris sale, lot 251, June 7, 2011

ALIX AYMÉ (1894-1989) Jeune fille d'Hanoi" ("Young girl from Hanoi") Lacquer panel with gold ground and polychrome highlights, depicting a Vietnamese girl in bust form, head slightly tilted, lips pinkish, eyes and hair flaming, dressed in a traditional red garment with gray collar, surrounded by flowers and fruit trees. Signed lower right. Dim. 48.6 x 38 cm Etude préparatoire in pencil on paper signed lower left. Dim. 46.8 x 35.5 cm

CHINE, marque et époque Yongzheng - Extremely rare blue-glazed "robin's egg" mallet vase Elegantly proportioned and tapering towards the base, it features a broad, angular shoulder crowned by a cylindrical neck. It is coated with a luminous turquoise-blue opaque glaze, embellished with purple-brown coulures. Its recessed base, coated in the same glaze as the body, bears a four-character mark. It is exceptionally rare to find a mallet-shaped vase from the Yongzheng period decorated with the "robin's egg" glaze. This two-tone glazing technique involves blowing a turquoise glaze onto a blue-glazed base, creating a finely speckled effect. In China, this method is also known as lujun or "Jun de four", due to the relatively low temperature used to fire the glaze. Early examples were frequently marked by drips and irregular texture, making Yongzheng vases of this type particularly rare and precious. Height: 16 cm Ground neck. Provenance: From the former collection of Madame Liliane de Mora, great-grandmother of the current owner and wife of Edouardo de Mora, Cuban consul in Paris and London. This vase was most probably acquired on the Paris art market in the first half of the 20th century and passed down through the generations. Parallel: Yongzheng period pieces covered in robin's egg glaze include a miniature vase from the Qing court collection, still in Beijing, published in "The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain", Hong Kong, 1999, pl. 187. For a market comparison, see a similar vase in the Sotheby's Hong Kong sale, October 9, 2020, lot 37. 极罕见的青花 "鸟蛋 "釉锤形瓶 中国，雍正年间标志和时期 此瓶体形优雅，自底部逐渐收窄，上部宽大并带有棱角明显的肩部，顶部为圆柱形颈部。全身覆盖着明亮的蓝绿色不透明釉料，点缀以紫棕色流淌纹。其内嵌底部也涂有与瓶身相同的釉料，刻有四字款识。这种锤形瓶在雍正时期极为罕见，采用 "鸟蛋 "双色釉技术，通过在已施蓝色釉的容器上吹涂青绿色釉，产生细腻的斑点效果。在中国，此类釉料亦称为炉钧，因其烧制釉料时炉温较低而得名。早期产品常常因流淌和质地不均而闻名；因此，如此瓶子在雍正时期尤为珍贵。 出处：源自Liliane de Mora女士的旧藏，她是现持有者的曾祖母，也是曾任古巴驻巴黎及伦敦领事的Edouardo de Mora的妻子。此瓶极可能在20世纪上半叶通过巴黎艺术市场购得，并由家族传承。 比较：雍正时期使用 "鸟蛋 "釉的作品包括一件迷你瓶，藏于北京清宫御藏，发表于《故宫博物院藏文物珍品全集-单色瓷》，香港，1999年，图版187。为了市场比较，类似的一个瓶子在2020年10月9日香港苏富比拍卖，拍品号37。 ★ To bid on this lot, a deposit will be required. To bid on this lot, a deposit will be required. 若您希望参与竞拍此拍品，需缴交一笔保证金。

Amber and jadeite bead necklace, China, 19th century, reassembled in the 20th century Consisting of 103 translucent amber beads, four large fotou beads and two green jadeite fotouta gourd-shaped elements. This is a whimsical 20th-century reassembly of elements from an old mandarin necklace. Length: 150 cm; gross weight: 295 g

Four chased and repoussé silver boxes, Vietnam, 19th century - One decorated in lobed cartouches with plum blossoms, bamboo, peonies on the short sides and a lotus blossom in vermeil, lotus buds and leaves on the lid. Fen Hai hallmark - 扮海. - One decorated with two cranes around a knotty pine in a polylobed medallion on the lid and peony flowers, bamboo and bird in a prunus on the small sides. Xin Mei hallmark - 新美. - One with peony branches and bamboo on each side. - One decorated in lobed cartouches with birds among peonies and plum blossoms, and ducks among lotuses on the short sides. On the lid, two dragons chase the flaming pearl around a "good fortune" sign in caoshu. Cong Hai hallmark - 琮海. Max. length 9 to 14.5 cm; gross weight: 964 g

Léa LAFUGIE (1890-1972) Tibetan prayer Pencil, gouache and watercolor on paper depicting two seated Tibetan monks chanting sutras, one beating a lag rnga drum, the other operating a dril-bu with his right hand and holding a vajra with his left. To the left, a butter lamp burns in front of rows of offering bowls. In the background, a fierce deity and her consort appear, with human skulls on their right, seemingly animated in the ether, and tiger paws and skins. Signed lower right "Tibet-Lafugie" with two red seals. 49 x 37 cm

* CHINA BRUSH, CANTON - QIANLONG PERIOD (1736 - 1795) Copper and Canton painted enamels Of four-lobed form, decorated with gourds and foliage in leaf medallions on a background of bajixiang Buddhist objects, bats and clouds. On the reverse, the four-character kaishu mark of Qianlong (minor restorations). A painted enamel water dropper China, Canton Ware - Qianlong period (1736 - 1795) H. 8 cm Provenance : - Former French private collection

* DISC, BI CHINA - HAN DYNASTY (206 BC - 220 A.D.) Celadon and rust-colored calcified jade (nephrite) Surface incised with scrolls. A jade disk, 'Bi China - Han dynasty (206 BC - 220 AD) Diam. 17.2 cm Provenance : - Former collection of the Marquis de Ganay

MILITARY ORDER BOX, HUFU CHINA - HAN DYNASTY (206 BC - 220 A.D.) Green patina bronze In the form of a posed buffalo, the neck folds finely chiseled in a natural manner. An ox-shaped bronze amulet, 'Hufu' China - Han dynasty (206 BC - 220 AD) L. 18 cm Provenance : - Former collection of Mme Laure Feugère, former curator of the Musée Guimet, acquired from Charles Vignier Reference : - Published in Télérama, Histoire Chine - Occident, May 2003, p.22

INDE - GANDHARA, art gréco-bouddhique, IIe/IVe siècle - Fragment of a bas-relief in grey schist carved with an offering bearer wearing a monastic robe covering the left shoulder (missing, erosion). H. 16 cm

A KATANA BLADE IN SHIRASAYA Japan, 16th c. L. 70 cm shinogi zukuri, gunome midare hamon, boshi: komaru, itame hada. Nakago: suriage, 3 mekugi-ana, mei: Kanefusa. Very good state of polish. Silk bag. From an old Wuerttemberg private collection, assembled between the 1950s and 2000 - Green certificate of the NBTHK dated 4 December 1976 (Shôwa 51): Kanefusa.

Nguyen Mai Thu (première moitié du XXe siècle)b - Nguyen Mai Thu (first half of the 20th century) "Ha Long Bay at sunset". Oil on canvas, signed lower right. 54cm / 70cm circa 1935

A STONE PILLAR Central-India, ca. 13th c. H. 59 cm The rectangular pillar carved with two niches placed above each other, the lower one with possibly the dancing Ganesha and the upper one with perhaps the emaciated Chamunda, on stone base. From an old German private collection, assembled in the late 1980s until 1999 - Damages due to age

Shinshinto katana, Showa period (1926-1945) Signed (mei): Yoshida Kanegawa and Showa sakura flower hallmark. Blade (sugata): shinogi zukuri, iori mune. Forging pattern (hada): not visible. Temper (hamon): suguha. Rocket (nakago): ubu keitai, haagari nakagojiri, un mekugi ana. Length (nagasa): 67 cm Scabbard (saya): tachi-mounted, brown lacquer, brass môn paulownia mounts, metal dragon menuki.

Important wooden head of a young noblewoman, China, Yuan - Ming period, 14th - 15th century She wears an elaborate hairstyle held in front and behind by an accessory tightening the bun. The finely sculpted eyes are inlaid with a black stone representing the iris. The mouth is narrow and the thin lips are enhanced by red polychrome. The ears have large pierced lobes, which may originally have been adorned with earrings. The finely carved wood is covered with gauze to which gesso has been applied, most likely to solidify the multi-part sculpture. Height: 46 cm; h. with base: 57 cm Missing parts, traces of polychromy. Provenance: Acquired from Oscar Meyer in Los Angeles between 1950 and 1971 (copy of a photograph).

Grillenkäfig - Cricket cage China, late Qing dynasty. Calabash with ivory lid. Open-worked lid with applied flowers in green. L 10 cm.