Asian art

LÊ PHỔ (1907-2001) - Sur la terrasse, circa 1940 Ink and color on silk, signed upper left 57 x 38,1 cm - 22 7/16 x 15 in. LÊ PHỔ Considered as 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. Lê Phổ assimilated to perfection the teachings of his teachers. The school promoted Vietnamese artistic traditions such as painting on silk or lacquer, while sensitizing this new generation of artists to Western history and artistic techniques. Indeed, one can read with ease the influences of the Italian Primitives or the Impressionists in Lê Phổ‘s works. 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 Ecole 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 gained a certain notoriety. “The work of Lê Phổ is not a compromise between between Vietnamese art of Chinese origin and Western Western art. It is a fusion of two mentalities, of two worlds and two continent”. It is in these words that describes the art critic Waldemar-George, a former student of the of Fine Arts of Indochina. This double dimension present in the work of Lê Phổ is also found in the handling of his subjects. On the Terrace is situated halfway between tradition and modernity. Under the guise of a traditional vision, the artist proposes a modern approach to the woman, made in the very early 1940s. If the model apparently embodies a traditional Vietnam, she nevertheless stands out with a touch of modernity. Her traditional tunic called áo dài with dark colors, is delicately highlighted by a bright yellow border and sparkling red buttons. The fabric hugs her body and highlights her curves. Small rebellious locks escape from her traditional turban worn on a parting in the middle. Her oval face, her slightly made-up lips and her almond-shaped eyes make her a universal Vietnamese model. The fineness of her features but also the refinement of her dress underline her social status. More than a simple portrait of a woman, this scene is also a maternity. Far from the maternities of tenderness, it is here an intimate moment shared between a mother and her son. The mother watches over her little boy with a tender look. The state of mind of this woman is captured through her gestures and facial expression. Lê Phổ immortalizes here characters who do not engage in a posing session but rather are living the moment. The boy with surprisingly blue eyes stands out from the characters usually represented. Through a technique mixing the West and the Far East, the artist immortalizes the beauty and grace of the women of her country. If the medium made of ink and colors on silk is specific to the teaching of the Indochina School of Fine Arts, the posture of the model borrows from the Italian Mannerists of the 16th century. Her serpentine figure accompanied by the movement of the scarf pays homage to the European masters he admired during his travels in the early 1930s. The pyramid-like composition is punctuated by movement: the creeping foliage climbs while the boy’s arm undulates. The wooden balustrade of the terrace provides a certain perspective and completes this refined decor with Asian resonance. A soft and serene atmosphere emanates from this work. The Olympian vision of Indochina in the 1940s allowed Lê Phổ to be noticed by the gallery owner Romanet who exhibited it in Algiers at the Galerie Pasteur from 1942 to 1944. This work was part of the exhibition entitled Maï-Thu, Le Pho, Vu Cao Dam, Peintures Indo-Chinoises. Almost a century later, the undeniable charm of On the Terrace still operates.

JAPON XIXe SIÈCLE - ~ Netsuke in openwork carved ivory representing a dragon in the clouds. D. 3,5 cm Weight : 10 g PROVENANCE Randier Collection.

CHINE POUR LE VIETNAM XIXe SIÈCLE - Blue-white porcelain set including a tea cup and a small dish decorated with a scene representing Meng Haohan looking for a prunus branch in winter. He is represented on his mule, followed by a disciple holding a branch of prunus, crossing the Baqiao bridge. The lip is encircled with metal. The base with a Nha Ngoan ("Elegant trinket") mark in blue underglaze. H. 5,5 cm - D. 11,7 cm PROVENANCE Collection of a family established in Indochina since the end of the 19th century, then by descent. CONDITION REPORT Cup: Good condition, condition of the porcelain under the mount not guaranteed. Dish: Good condition, condition of the porcelain under the mount not guaranteed.

HUYNH VAN GAM, PORTRÄT EINES MÄDCHENS - HUYNH VAN GAM, PORTRAIT OF A GIRL Vietnam, 1960 Lacquer on wood, framed. 48.5x32.5 cm (65x49.3 cm with frame). The artist uses the technique of inlaying eggshells to express the texture of the girl's long skirt and headband, signed in the upper right and lower left corners. With slight traces of age. unten links. Huynh van Gam (1922-1987) was a Vietnamese painter and politician, he attended the Hanoi College of Fine Arts and was winner of Ho Chi Minh Prize for Literature and Art in 1990. HUYNH VAN GAM, PORTRÄT EINES MÄDCHENS Vietnam, 1960 Lack auf Holz, gerahmt. 48.5x32.5 cm (65x49.3 cm with mit Rahmen). Der Künstler verwendet die Technik des Einlegens von Eierschalen, um die Textur des langen Rocks und des Stirnbands des Mädchens zum Ausdruck zu bringen, signiert oben rechts und unten links. Huynh van Gam (1922-1987) war ein vietnamesischer Maler und Politiker, er besuchte das Hanoi College of Fine Arts und war Preisträger des Ho-Chi-Minh-Preises für Literatur und Kunst 1990. Literatur: Mit leichten Altersspuren.

Manises - 17th century Large round dish with metallic luster and decoration of palms, foliage and flowers. D. 40 cm Restored damages, hole of suspension

CHINE DYNASTIE QING, PÉRIODE GUANGXU (1875 - 1908) - = Important porcelain basin with incised and enamelled brown, green and white decoration on a yellow background, in the center two imperial dragons chasing the sacred pearl among clouds and flames. The wing slightly rounded, decorated with chrysanthemums, peonies, lotus and prunus. The rim with a frieze of six passing dragons. The reverse of the wing with four dragons chasing the pearl while the rim is decorated with cranes in flight alternating with clouds. The base with a Chu Xiu Gong Zhi mark in blue underglaze. D. 47 cm PROVENANCE Private Parisian collection of Mr. L. built up over three generations since the end of the 19th century. NOTE The Chu Xiu Gong Zhi mark can be translated as "Made for the Palace of the Collection of Excellence". This building, located in the "Six Western Palaces" wing of the Forbidden City, is famous for having been the residence of Empress Dowager Cixi (1835 - 1908). CONDITION REPORT Wear, light scratches, a crack on the back of the cavetto, a crack on the cavetto

CHINE DYNASTIE QING, ÉPOQUE KANGXI (1661 - 1722) - Small blue-white porcelain sprinkler decorated with birds among flowers and rocks, the lip circled with metal. H. 17 cm PROVENANCE Collection of a family established in Indochina since the end of the 19th century, then by descent. CONDITION REPORT Small chips to the foot, few small scratches, condition of porcelain under the mount is not guaranteed

TIBET XVIIIe SIÈCLE - Ink and polychrome thangka on canvas depicting Padmasambhava seated on a lotus emerging from the water, holding a vajra in his left hand, a kapala in his right hand and a katvanga, resting on a large circular nimbus surmounted by a representation of Amithaba Buddha. Lotus stems blooming on the sides of the composition and supporting representations of the patriarchs of the Gelugpa and Nyingma sects. Dim. at sight 44 x 32 cm PROVENANCE Acquired in January 2000 from the gallery Gérard Lévy, Paris.

Nepal, late 19th/early 20th century Statue of Avalokitesvara with eleven heads and "a thousand arms" in bronze, standing on a round base with two rows of lotuses, wearing dhoti and adorned with jewels, a scarf floating to his feet in volutes, the three superimposed rows (of decreasing size) of three serene heads crowned with tiaras, surmounted by a wrathful head and a head of Amitabha at the top, his eight main arms holding on one side bow and arrows, kundika, and lotus, on the other rosary, bell, and in varada mudra, with two arms joining in front of him around a jewel (cintimani), his numerous other arms grouped behind in two removable parts attached in the back, the whole on a wide trapezoidal stepped and openwork base decorated with lotus petals and elephants H. 187 cm ; L. 100 cm LDM Accident (missing) in the center of the main tiara

CHINA - 19th century Small lenticular box on a high pedestal in cloisonné enamel, with polychrome decoration on a blue background of flowers and Buddhist scrolls, the lid centered on three swimming fish H. 8 cm

Lot of small Asian objects including: - square brass box with ideograms decoration, China - wooden netsuke "Fô Dog", Japan - lacquered snuff box from Beijing, China - hard stone subject "Monkey", China - Woman with a parasol", wooden subject, China 20th century (the parasol is missing) Lot to be picked up in Pantin, on June 1, 2023 - by appointment -

EIN THANGKA DES AMITABHA - A THANGKA DEPICTING AMITABHA China (Tibet), 18th/19th century Distemper on cloth. 77.5x50 cm. The Amitabha is seated on a lotus base holding the alms bowl with eight Bodhisattvas inside a halo, surrounded by Buddhas and teachers as well as deities. With traces of age, partially damaged and stained. mit Altersspuren. Provenance: From an old private collection in the Rhineland. EIN THANGKA DES AMITABHA China (Tibet), 18./19. Jahrhundert Leimfarbe auf Stoff. 77.5x50 cm. Der Amitabha die Almosenschale haltend sitzt auf einem Lotussockel mit acht Bodhisattvas in einem Halo, umgeben von Buddhas und Lehrern sowie Gottheiten. Part. besch. u. fleckig, mit Altersspuren. Provenienz: Aus einer alten Privatsammlung im Rheinland.

CHINE, XIXème siècle Lot de trois flacons tabatières en porcelaine : un flacon de forme méplate à décor d'émaux polychromes de scènes de palais sur une face, d'un cavalier sur l'autre (H. 5,6 cm) ; un flacon de forme balustre à décor d'émaux polychromes de jeux d'enfants sur une face, d'un vieillard avec des enfants sur l'autre, une marque apocryphe Qianlong sous la base (H. 6,1 cm) ; un flacon de forme balustre à décor en rouge de fer sur couverte de lotus dans leurs rinceaux, une marque apocryphe Qianlong sous la base (H. 6,8 cm).

A COPPER-INLAID IRON PHURBHA, TIBET, 15TH-16TH CENTURY - A COPPER-INLAID IRON PHURBHA, TIBET, 15TH-16TH CENTURY The tripartite blade issuing from the fangs of a makara and with snakes meandering down the sides, the mid-section of biconical form with lappets framed on both ends by pierced endless knots, rising to the head of a wrathful deity with circular eyes, the hair tied in a high chignon and surmounted by a skull crown, inlaid in copper to the head of the makara and at the connecting element above. Provenance: British trade. Condition: Very good condition with expected traces of use, old wear, some corrosion, few nicks and dents, light surface scratches, and casting flaws. Weight: 351.2 g Dimensions: Length 25.9 cm The phurbha is thought to be the only implement capable of transmuting the powerful negative energy of vice and egocentrism into benevolent compassion, see Rhie & Thurman, Worlds of Transformation, New York, 1999, page 435. According to legend, Padmasambhava introduced the magic dagger to Tibet to subdue forces hostile to Buddhism. It is the embodiment of Vajrakila, who is one of the eight Herukas (wrathful deities) of the Nyingma Mahayoga. Auction result comparison: Type: Closely related Auction: Sotheby’s New York, 17 March 2015, lot 1042 Price: USD 27,500 or approx. EUR 32,500 converted and adjusted for inflation at the time of writing Description: Two iron phurbha with copper inlay, Tibet, ca. 16th Century Expert remark: Compare the closely related form, decoration, and material. Note the size (34.3 cm) and that the lot also comprises a smaller phurbha. Auction result comparison: Type: Related Auction: Bonhams New York, 17 March 2014, lot 23 Price: USD 10,000 or approx. EUR 11,800 converted and adjusted for inflation at the time of writing Description: An Iron Vajrakila Purbha, Tibet, circa 13th century Expert remark: Compare the related form, decoration, and material. Note the size (35.6 cm). 十五至十六世紀西藏鐵錯銅普巴金剛橛 三棱鉄匕首從摩迦儸的尖牙中伸出，蛇從兩側蜿蜒而下，雙錐形的中間部分，兩側是兩個球形“無盡結”，直到大眼圓睜的忿怒相神頭上，發成高髻，忿怒護法神，頭戴骷髏冠。 來源：英國古玩交易。 品相：狀況極好，有使用痕跡、磨損、一些腐蝕、少量刻痕和凹痕、輕微的表面劃痕和鑄造缺陷。 重量：351.2 克 尺寸：長25.9 厘米 Phurbha，藏傳佛教儀式中的匕首，被認為是唯一能夠將邪惡和自我中心主義的強大負能量轉化為仁慈同情心的工具，見 《Rhie & Thurman，Worlds of Transformation》，紐約，1999年，圖435。相傳，蓮花生大士將金鋼鐝匕首引入西藏，以製服敵對佛教的勢力。它是寧瑪派大瑜伽部八尊忿怒本尊之一金剛杵的化身。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2015年3月17日，lot 1042 價格：USD 27,500（相當於今日 EUR 32,500） 描述：兩件約十六世紀西藏鐵錯銅普巴金剛橛 專家評論：比較非常相近的外形、裝飾和材料。請注意尺寸 (34.3 厘米) 和此有一件較小的普巴金剛橛。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2014年3月17日，lot 23 價格：USD 10,000（相當於今日 EUR 11,800） 描述：約十三世紀西藏鐵普巴金剛橛 專家評論：比較相近的外形、裝飾和材料。請注意尺寸 (35.6 厘米)。

Large ginger pot China 17th/18th c. Blue and white porcelain. Painted with a qilin in landscape. Completed wooden lid. Mouth somewhat chipped Call date: 01.06.2023 Approximate call time: 11:03

China, 20th century Enameled porcelain vase with a thousand-flower design on a gold ground surrounding two large round cartouches representing a peacock on a rock on one side, and a falcon perched in the middle of the waves on the other, the handles in the form of a ruyi scepter from which hangs a swastika, a double fish and a sounding stone, the interior and base in turquoise, apocryphal Qianlong sigillary mark on the base H. 33,5 cm. LDM Wear to the gold

CHINE DYNASTIE QING (1644 - 1911) - = Important grey schist stele engraved with a long inscription in lishu, possibly a temple foundation dedication, mentioning the wuzi year of the Kangxi emperor's reign (1708). It is dated to the 48th year of the reign of the Qianlong emperor (1784). Dim. 148 x 79 cm NOTE According to the legend, around a thousand BC, King Mu of the Zhou Dynasty went to Xiwangmu, the Queen Mother of the West, to obtain the secrets of eternal life. On his return, he had the story of his journey engraved on a mountain wall. This legend prefigures the intense epigraphic activity that China will experience throughout its history. The oldest known Chinese stele dates from the first century and relates the career of a deceased minister. This stele prefigures the importance of epigraphy in Chinese society, as a support for an epitaph, an object of thanks, and an element of promulgation of imperial decrees... Temples, whether urban or rural, constitute an important reservoir of texts engraved on stele, although in the vast majority of cases the sponsors intend to celebrate the foundation or the restoration of the sanctuary. However, one can sometimes find traces of events that marked the life of the temple (donation, granting of an honorary title to a religious person, origin of the name of the temple,...). CONDITION REPORT Heavy wear

EIN FEINES HOLZGESCHNITZTES NETSUKE EINES YAMAINU UND EIN NETSUKE EINER RATTE AUS EBENHOLZ - A FINE WOOD CARVED NETSUKE OF A YAMAINU AND AN EBONY NETSUKE OF A RAT Japan, 19th century Japan, 19. Jahrhundert Wood. H. 3.3-3.8 cm. One netsuke is carved as an emaciated wild dog with inlaid eyes holding a turtle with forepaws, signed "Masanao" within a rectangular reserve, the second is carved as a rat coiled tightly into a ball. With traces of use. Schildkröte mit Vorderpfoten hält, signiert "Masanao" in einer rechteckigen Reserve auf Provenance: From a Hessian private collection. EIN FEINES HOLZGESCHNITZTES NETSUKE EINES YAMAINU UND EIN NETSUKE EINER RATTE AUS EBENHOLZ Japan, 19. Jahrhundert Holz. H. 3.3-3.8 cm. Ein Netsuke ist als abgemagerter Wildhund mit eingelegten Augen geschnitzt, der eine Schildkröte mit Vorderpfoten hält, signiert "Masanao" in einer rechteckigen Reserve auf der Unterseite. Das andere ist als Ratte geschnitzt, die eng zu einer Kugel zusammengerollt ist. Mit Gebrauchsspuren. Provenienz: Aus einer hessischen Privatsammlung.

JAPON, période Meiji (1868-1912). Inro en laque fundame décoré en hira maki-e et kirigane, d'un côté d'un personnage traversant une rivière sur son cheval, de l'autre de deux personnages tenant un parasol; l'intérieur en laque nashiji or. Non signé. H.7,6 cm. L'ojime en laque fundame à décor gravé en katakiri-bori d'un rocher avec des graminées, et d'une chauve-souris. Le netsuke en bois sculpté du blaireau tanuki assis, habillé en moine, un chapelet dans la main, frappant sur une mokugyo. Non signé. H. 3,5 cm.

CHINE DYNASTIE MING, XVIe - XVIIe SIÈCLE - Small covered porcelain pot with green, red and yellow decoration on cover, the shoulder decorated with chevrons and geometric patterns, the body decorated with scholars in a rocky landscape, the foot with a frieze of stylized lotus petals. With a base in natural wood H. 18,5 cm CONDITION REPORT Cracks and hairlines, wear, small scratches, fabric and paper glued inside the cover

JAPAN, No theater mask, Meiji period, H : 24 cm Lot exposed in the house of the artist Christian Oddoux

TIBET, late 19th or early 20th century Thangka in tempera on cotton or silk, featuring five mandalas centered on monks and deities in the clouds. H. 82 cm. L. : 46 cm.

ZWEI PHURBAS AUS BRONZE UND EIN PHURBA AUS HOLZ - TWO BRONZE PHURBAS AND A WOODEN PHURBA Nepal/Tibet, 19th/20th century Bronze. H. 25-26.5 cm. With traces of age, partially damaged. Provenance: From an old private collection in Düsseldorf. ZWEI PHURBAS AUS BRONZE UND EIN PHURBA AUS HOLZ Nepal/Tibet, 19./20. Jahrhundert Bronze. H. 25-26.5 cm. Part. besch., mit Altersspuren. Provenienz: Aus einer alten Düsseldorfer Privatsammlung.

EIN SCHWARZ LACKIERTES KABINETT MIT FLORALEN DARSTELLUNGEN - A BLACK LACQUERED 'FLORAL' CABINET Japan, 18th century Wood. 109x69x43 cm. The cabinet of rectangular shape has two doors opening to two lockers and six drawers. The doors and drawer fronts are decorated with floral motifs and equipped with engraved brass fittings. The cabinet is on a separate stand. With traces of use, partially damaged. EIN SCHWARZ LACKIERTES KABINETT MIT FLORALEN DARSTELLUNGEN Japan, 18. Jahrhundert Holz. 109x69x43 cm. Das Kabinett in rechteckiger Form hat zwei Klapptüren vor zwei Schließfächern und sechs Schubladen. Die Türen sowie Front der Schubladen sind mit floralen Motiven dekoriert und mit graviertem Messingbeschlägen ausgestattet. Das Kabinett steht auf einem separaten Stand. Part. besch., mit Gebrauchsspuren.

A THANGKA OF RED AMITHABA, TIBET, 18TH-19TH CENTURY - A THANGKA OF RED AMITHABA, TIBET, 18TH-19TH CENTURY Distemper and gilt on canvas. With a silk brocade frame, mounted as a hanging scroll. The Buddha seated in dhyanasana on a lotus throne, his hands in dhyana mudra holding an alms bowl, wearing an orange and green monk’s robe open at the chest and tied at the waist, backed by a mandorla with Manjushri and Vajrapani in the lower corners, and three bodhisattvas in the upper register. The background with scrolling clouds above green mountains. Provenance: British trade. Condition: Very good condition with minor wear, little creasing, minor losses and soiling. The frame with tears, loose threads, and some losses. Dimensions: Image size 50 cm x 35 cm Auction result comparison: Type: Related Auction: Christie’s Paris, 11 June 2014, lot 385 Price: EUR 59,100 or approx. EUR 75,500 adjusted for inflation at the time of writing Description: A thangka of Amithaba, Tibet late 18th century Expert remark: Compare the related motif and design. Note the larger image size (72 x 52 cm). Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 1 June 2015, lot 616 Price: HKD 50,000 or approx. EUR 6,900 converted and adjusted for inflation at the time of writing Description: A finely painted thangka of Amitabha buddha, Tibet, 18th / 19th century Expert remark: Compare the related motif and design. Note the larger image size (63 x 45 cm) and the significant condition issues. 十八至十九世紀西藏紅色阿彌陀佛唐卡 布面膠彩描金，掛軸。阿彌陀佛結跏趺坐在寶座上，手施禪定印並捧著一個缽，身著橘色和綠色相間的僧袍，袒胸，身後是曼陀羅，旁邊文殊與金剛手菩薩，下方三位菩薩。背景祥雲與群山環繞。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損、摺痕、微小缺損和汙漬。框架有撕裂、鬆線和一些缺損。 尺寸：畫面50 x 35 釐米 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2014年6月11日，lot 385 價格：EUR 59,100（相當於今日 EUR 75,500） 描述：十八世紀末期西藏阿彌陀佛唐卡 專家評論：比較相近的主題和設計。請注意畫面尺寸較大(72 x 52毫米). 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2015年6月1日，lot 616 價格：HKD 50,000（相當於今日 EUR 6,900） 描述：十八 / 十九世紀藏傳阿彌陀佛唐卡 專家評論：比較相近的主題和設計。請注意畫面尺寸較大(63 x 45毫米) ，以及有明顯的品相問題。

VIETNAM XVIIIe - XIXe SIÈCLE - A partially gilded lacquered wood statue of Shakyamuni Buddha seated in padmasama on a lotiform base, wearing a long robe covering his shoulders, his hands in dhyana mudra resting on his legs. H. 37 cm PROVENANCE Collection of a family established in Indochina since the end of the 19th century, then by descent. CONDITION REPORT Slits, lacks of lacquer, traces of gilt, lacks to teh lotus

CHINE, HEBEI DYNASTIE TANG, IXe SIÈCLE - Rare four-lobed glazed stoneware bowl, possibly Ding yao. The bowl delicately hemmed, the center incised with two concentric circles, resting on a short circular foot, with a beautiful shiny cover. D. 14,5 cm PROVENANCE Bavarian private collection. CONDITION REPORT Small chips to the rim

TIBET, RÉGION DU KHAM XVIIIe SIÈCLE - Iron beer pot with gold, silver and copper damascene decoration. The body, round in shape, rests on a high foot decorated with stylized lotus petals. The body is decorated in the center, on each side, with a medallion featuring a Chinese-style dragon, surrounded by a scroll of lotus populated by the Eight Buddhist Emblems. The brass spout represents a makara head while the "S" shaped handle represents a stylized dragon head. The high stopper, with a lotus bud finial. H. 38,5 cm PROVENANCE Collection A.D., Prix de Rome. NOTE This type of jug, for both domestic and ritual use, is inspired by the forms of the Silk Road pilgrims' flasks known as "moon flask". It also combines typically Chinese decorative motifs, such as the dragon medallion and lotus scrolls, with Tibetan-inspired motifs such as the makara-shaped spout. A similar piece in the collections of the Victoria and Albert Museum, London (IM.22-1928). Another similar piece in the collections of the British Museum, London (1959,1216.3).

CHINE DYNASTIE QING, XIXe SIÈCLE - ~ A carved ivory seal, the four-character Wu Da Zheng Yin imprint (possibly "Seal of Wu Dazheng"). The carved grip of three rams. The San Yang ("Three Rams") motif represents a change of fortune with the arrival of spring and the new year. H. 7,5 cm - 4,5 x 5 cm Three carved ivory objects are attached, including a card holder decorated with characters in an interior, an element of a prayer wheel and a ball with Buddhist decoration. H. 8 cm - 5,7 cm - 5 cm PROVENANCE Collection A.D., Prix de Rome.

CHINA Bottle-shaped vase in polychrome enamelled porcelain on a ruby background engraved underglaze with sgraffito motifs, the body and the neck decorated with stylized flowers in foliage. H 26,2 cm

JAPON, XIXème siècle Ensemble de 7 assiettes en porcelaine à décor bleu, rouge et or dit "Imari". Diam. : 22,5 à 23 cm Accidents.

VIETNAM XIXe SIÈCLE - Pair of statues in polychrome and gilded lacquered wood representing two waiters standing on quadragonal pedestals, presenting vases. H. 39 cm PROVENANCE Collection of a family established in Indochina since the end of the 19th century, then by descent. CONDITION REPORT Figure 1: small lacks of lacquer, lack to the vase, small lacks, wear, slits, missing part at the back Figure 2: small lacks of lacquer, slits, wear, small lacks, missing part at the back

CHINE DYNASTIE QING, XIXe SIÈCLE - Black and gold lacquered wood chest decorated with characters in a lacustrian landscape, the sides painted with imposing polychrome flower motifs. Dim. 63,5 x 90 x 57,5 cm

Pair of cups with saucers China 19th c. Thin porcelain. Finely painted with historical figures and script cartouches in the "Famille rose" palette. Gold somewhat rubbed Date of call: 01.06.2023 Approximate time of call: 09:39

Big Buddha Muchalinda Cambodia, Angkor Wat style, according to expertise Khmer 12th/13th c. Gray stone. The Buddha is sitting in meditation posture on a coiled naga, the seven heads of the snake form a mandorla. On pedestal. Traces of weathering Expertise of Bernard le Gall Purchased 2017 at the "Galerie Arts et Civilisations". Call date: 01.06.2023 Approximate time of call: 09:44

EINE SITZENDE FIGUR VON BUDDHA AUS BRONZE - A BRONZE SEATED FIGURE OF BUDDHA Laos/Thailand, 16th century or later Bronze. H. 20.7 cm. Buddha is seated in meditation on a base with an engraved inscription on the back. The two hands in dhyana mudra rest on the lap. With traces of age, partially damaged or deformed. Altersspuren. Provenance: From a private collection in Düsseldorf, acquired in a state shop in Thailand in the 1990s. EINE SITZENDE FIGUR VON BUDDHA AUS BRONZE Laos/Thailand, 16. Jahrhundert oder später Bronze. H. 20.7 cm. Buddha sitzt im Meditationssitz auf einem Sockel mit gravierter Inschrift auf der Rückseite. Die beiden Hände in dhyana mudra ruhen im Schoß. Part. besch. o. best., mit Altersspuren. Provenienz: Aus einer Düsseldorfer Privatsammlung, in den 90er Jahren in einem staatlichen Geschäft in Thailand erworben.

EINE STEHENDE FIGUR VON BUDDHA AUS BRONZE - A BRONZE STANDING FIGURE OF BUDDHA Thailand, probably 17th/18th century Bronze. H. 50.8 cm (63.2 cm with base). The buddha stands in samabhanga on a wooden base, both hands in abhaya mudra. With traces age, partially damaged or cracked. Provenance: From an old private collection in Baden. EINE STEHENDE FIGUR VON BUDDHA AUS BRONZE Thailand, wohl 17./18. Jahrhundert Bronze. H. 50.8 cm (63.2 cm with base). Der Buddha steht in samabhanga auf einem Holzsockel, mit beiden Händen in abhaya mudra. Part. besch., mit Altersspuren. Provenienz: Aus einer alten badischen Privatsammlung.

EINE CLOISONNÉ EMAILLE VASE DEKORIERT MIT DRACHEN UND PHÖNIX - A CLOISONNÉ ENAMEL 'DRAGON AND PHOENIX' VASE Japan, Meiji period Cloisonné. H. 40.5 cm. The vase is mainly decorated with two dragons frolicking with a pearl on one side and phoenix among flowers on the other side. The rest part is full of flowers and tendrils as well as dragon and phoenix in medallions. With traces of use, slightly damaged. EINE CLOISONNÉ EMAILLE VASE DEKORIERT MIT DRACHEN UND PHÖNIX Japan, Meiji-Zeit Cloisonné. H. 40.5 cm. Die Vase ist mit zwei tollenden Drachen auf einer Seite und Phönix zwischen Blumen auf der anderen Seite dekoriert. Der Rest ist voller Blumen und Ranken sowie Drachen und Phönix in Medaillons. Min. besch., mit Gebrauchsspuren.

EIN THANGKA DES AMITAYUS - A THANGKA DEPICTING AMITAYUS China Distemper on cloth, framed. Ca. 71.5x54 cm (74x57 cm with frame). Amitayus is seated in the middle surrounded by deities and eminent monks. With traces of age, partially damaged and stained. EIN THANGKA DES AMITAYUS China Leimfarbe auf Leinen, gerahmt. Ca. 71.5x54 cm (74x57 cm mit Rahmen). Amitayus sitzt in der Mitte, umgeben von Gottheiten und bedeutenden Mönchen. Part. besch., mit Altersspuren.

CHINE, XIXème siècle Pot à gingembre en porcelaine à décor d'émaux polychromes de la famille vertte d'objets mobiliers. Une marque Kangxi sous la base . H. 29,4 cm.

CHINE, Lot en porcelaine à décor dit de famille verte à motif de scènes de palais comprenant : -Une assiette -Deux tasses et sous tasses. Accidents, usures au décor.

AN IMPRESSIVE SILK EMBROIDERED THANGKA OF MAHAKALA - AN IMPRESSIVE SILK EMBROIDERED THANGKA OF MAHAKALA Inner Mongolia, circa 1780-1850. Finely woven with the wrathful protector trampling upon Ganapati atop a lotus pillow with diapered top, holding a flaying knife and blood-filled skullcup in his main hands, his four other hands holding various attributes, surrounded by flames amid clouds and mountain peaks, flanked by the sun and moon above. Provenance: Purchased by a Swedish collector at Spink Gallery in London, during the 1970s (invoice lost), and thence by descent in the family. London trade, acquired from the above. Condition: Very good condition with minor wear, minimal soiling, few loose threads, few tiny losses. Dimensions: Size 101.5 x 73.5 Literature comparison: Compare a related silk embroidered temple hanging depicting Palden Lhamo, attributed to Inner Mongolia and also dated ca. 1780-1850, in the collection of the Victoria & Albert Museum, accession number IS.9-1976. Note the similar embroidering technique, dyeing method and applied colors, particularly to the diaper decoration on the lotus pillow, whereas other details such as the clouds and flames are somewhat reminiscent of Chinese painting. 清代大黑天唐卡 内蒙古，約1780-1850年。精美刺綉六臂大黑天。主尊全身黑藍色，頭戴五骷髏冠，三目怒視，腰圍虎皮裙。六手皆持有法器，中間兩手置於胸前，左手托骷髏碗，右手持鉞刀，其餘四手分置身體兩側。站立姿勢，右腿曲，左腿伸，兩足分別踩在象頭天神的胸和腿上。身後有火焰形大背光，象徵智慧和威力無比。左右兩側可見日月。 來源：瑞典藏家上世紀七十年代購於倫敦Spink 藝廊（發票遺失），保存在同一家族；倫敦古玩交易，購於上述收藏。 品相：狀況極好，小磨損，少量污漬與絲線鬆動，些微缺損。 尺寸：101.5 x 73.5 厘米 文獻比較： 比較一件相近的絲質刺繡內蒙古1780-1850年吉祥天母寺廟掛毯，收藏於維多利亞和亞伯特美術館，編號IS.9-1976。請注意相似的刺繡、染色技術和使用的顏色，特別是荷花枕上的紋飾，而其他細節如雲彩和火焰則有點類似中國畫作。

CHINE DYNASTIE QING, FIN DU XIXe SIÈCLE - Ribbon skirt composed of fourteen small bands of polychrome silk embroidered with floral motifs and finished with silk tassels and bells, alternating with the two main panels of red silk embroidered, one of a five-clawed dragon chasing the sacred pearl in the clouds, the other of a phoenix overcoming tumultuous waves and finished with a fine net embellished with silk tassels. With the original orange linen belt. Dim. 105 x 91,5 cm

EIN PRUNKPOKAL AUS SILBER MIT FIGURENDARSTELLUNG - A CHINESE EXPORT SILVER 'FIGURAL' PRESENTATION CUP China, late 19th century Silver. H. 24.2 cm. The cup is finely decorated in high relief with a military scene from "Romance of the Three Kingdoms" around a shield, raised on a foliate stem and a shaped dragon at foot. The cup is engraved with marks "Quan Ji" and "Kwong Wa". With traces of use. EIN PRUNKPOKAL AUS SILBER MIT FIGURENDARSTELLUNG China, spätes 19. Jahrhundert Silber. H. 24.2 cm. Der Pokal ist fein in Hochrelief mit einer Militärszene aus "Der Geschichte der Drei Reiche" um einen Schild herum verziert, der auf einem blättrigen Stiel und einem Fuß mit geformten Drachen steht. Der Pokal ist mit den Marken "Quan Ji" und "Kwong Wa" graviert. Mit Gebrauchsspuren.

China, Kangxi period (1662-1722) Octagonal porcelain dish with enamelled decoration of the Green Family with various flowers and birds, a band of cartouches of cricket and butterflies on a green background on the rim 33 x 27,3 cm LDM Chips, wear of the gold

JAPON, XIXème siècle 3 assiettes en porcelaine à décor rouge, bleu et or dit ''Imari'' de jetés de fleurs sur le bassin, et de compositions florales sur le marli. Diam. : 22,5 cm.

INDIA. Sandstone stele representing Apsara. Late 19th - early 20th century. Height : 28 cm (accidents, missing parts)

A STONE FIGURE OF VISHNU, PRE-ANGKOR PERIOD, PHNOM DA STYLE - A STONE FIGURE OF VISHNU, PRE-ANGKOR PERIOD, PHNOM DA STYLE Ancient region of Funan, Mekong Delta, 7 th century. Well carved standing, holding a conch and disk in his uppermost hands, each connected by carved brackets to the cylindrical headdress, wearing a pleated sampot, the serene face with almond-shaped eyes and full lips forming a calm smile, flanked by long pierced pendulous earlobes. Provenance: From a notable collector in London, United Kingdom. Condition: Excellent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Dimensions: Height 50 cm (excl. base) and 75 cm (incl. base) Mounted on an associated base. (2) The present figure encapsulates the subtle elegance of the late Funan style; the confident, noble presentation represents an established local aesthetic, although some aspects of its appearance recall the Indian Gupta tradition. Nevertheless, the embellishment one would find in north Indian sculpture of the period is absent, enhancing the svelte physique and cerebral strength, without reducing the sense of majesty. The slender body form replicates the ethnic Southeast Asian appearance, being both fine boned but physically powerful. Vishnu stands in a slightly relaxed pose, with his right knee bent; his chest and shoulder muscles are enlarged to accommodate the four arms and the effect is elegant both at the front and the back, illustrating an understanding of human anatomy, which is not always evident in sculptures of the period. The short, thick neck is widened further by the long ears and strengthens the otherwise vulnerable area around the head. The face has strong features, arched eyebrows and a generous, sensitive mouth encapsulating the beauty of the finest Funan images. Vishnu wears a knee-length garment, a practical local fashion, unlike the long robes of earlier sculptures that maintain the Gupta, Indian tradition. This garment, the sampot can kpin, is created from a long length of cloth wound once around the body and then pleated to form a scarf that passes between the legs from back to front, fastening at the waist. The central pleat provides additional reinforcement to the sculpture. Stone images from the late Funan period reflect an extraordinary degree of confidence and technical expertise; this suggests that sculptors followed prototypes evolved during earlier centuries that have not survived. Unlike their Indian contemporaries, who preferred to work in the relatively easily carved sandstones, Funan’s sculptors seem to have deliberately chosen hard, difficult-to-work stones. There was a shortage of workable stone in the region; the earliest stone sculptures were possibly fashioned from boulders retrieved from the River Mekong and carried downstream during the annual floods. Later on, stone was carefully sourced and brought to the delta region. Almost all found stone sculptures in the Phnom Da style seem to belong to the realm of Vishnu and his incarnations, like this example. The Phnom Da style also seems rather homogenous compared to other stylistic phases. Expert’s note: A detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Vishnu images in the Mekong Delta, and showing many further comparisons to examples in both public and private collections, is available upon request. To receive a PDF copy of this academic dossier, please refer to the department. Literature comparison: Compare a related sandstone figure of Vishnu, attributed to Southern Vietnam and dated late 6 th to early 7 th century, 56 cm high, in the collection of the Fine Arts Museum, Ho Chi Minh City, reference number BTMT 187, exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014–July 27, 2014, cat. no. 67. Compare a closely related stone figure of Vishnu, dated to the second half of the 7 th century, 96.5 cm high, also originally with structural supports between the crown and attributes which are lost, in the Metropolitan Museum of Art, accession number 1992.53. Compare a related stone figure of Harihara, dated to the first half of the 8 th century, 94 cm high, in the Metropolitan Museum of Art, accession number 1993.387.5. Auction result comparison: Type: Closely related Auction: Christie’s Paris, 20 November 2003, lot 407 Price: EUR 43,475 or approx. EUR 63,500 adjusted for inflation at the time of writing Description: A sandstone figure of Vishnu, pre-Angkor, Phom Da style, 7 th century Expert remark: Note that the figure is carved from soft sandstone (unlike the present lot) and is of slightly smaller size (43 cm). 13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.

A GILT-LACQUERED BRONZE FIGURE OF SEATED BUDDHA SHAKYAMUNI, RATTANAKOSIN KINGDOM - A GILT-LACQUERED BRONZE FIGURE OF SEATED BUDDHA SHAKYAMUNI, RATTANAKOSIN KINGDOM Thailand, reign of King Rama III, 1824-1851. Seated in virasana on a stepped lotus base with petal and floral decoration, his hands resting in dhyana mudra above the lap, the close-fitting sanghati finely cast with diapered floral designs and embellished in ‘gesso’ conveying a lavishly embroidered cloth, finely inlaid with red glass. The face showing a meditative expression with downcast eyes inlaid in mother-of-pearl, arched eyebrows, and a subtle smile, flanked by long earlobes, the hair tightly arranged in small spikes and surmounted by a flaming ushnisha. Provenance: From an old German private collection, acquired before 2007. Condition: Very good condition, some wear and flaking to the gilt, light scratches, small nicks, few dents, some inlays lost, casting flaws, and signs of weathering. A minor old repair to the peg at the lower end of the flame. Weight: 20.5 kg Dimensions: Height 67.7 cm The flame is original to the statue but separately cast. (2) Buddha images wearing such patterned robes, a symbol of royalty, were introduced during the reign of King Rama III (reigned 1824-1851) and disappeared thereafter. It is thus most likely that this majestic sculpture was one such royal commission produced under King Rama III’s reign. Literature comparison: See further examples of Rattanakosin period gilt-lacquer bronze Buddha images discussed in Rod-Ari, The Buddha as Sacred Siamese King: Brocaded Buddhas of the Third Reign, The Walters Art Museum Journal, vol. 73, 2018, figs. 1-5. Auction result comparison: Type: Related Auction: Christie’s New York, 5 June 2004, lot 998 Price: USD 4,541 or approx. EUR 6,500 converted and adjusted for inflation at the time of writing Description: A Thai gilt-lacquered bronze figure of Buddha, late Rattanakosin period, 19th century Expert remark: Compare the related pose and gilt-lacquered decoration. Note the similar size (73.5 cm). Auction result comparison: Type: Related Auction: Bonhams Los Angeles, 30 August 2021, lot 113 Estimate: USD 8,000 or approx. EUR 8,000 converted and adjusted for inflation at the time of writing Description: A gilt lacquer copper alloy figure of buddha, Thailand, Rattanakosin period, 19th century Expert remark: Compare the related pose and gilt-lacquered decoration. Note the near-identical size (68.6 cm).

CHINE DYNASTIE QING, XIXe SIÈCLE - Painting mounted in a scroll with ink and colors on silk, the composition mixing roses, lilies and wild grasses among the rocks, at the foot of a pomegranate tree whose branches loaded with flowers and fruits bloom in the center of the scroll. The whole inhabited by three birds perched, one of which holds an insect in its beak. Dedication, signature and seal in the upper left part. Possibly signed Li Jingfei. Size at sight 116 x 39 cm PROVENANCE Collection of a family established in Indochina since the end of the 19th century, then by descent.