Collection 2017

Famille rose Buddhist Emblems dish, ‘Bajixiang’ SOLD

View More Images China, Guangxu four characters mark in iron red and of the period (1875-1908)

Decorated to the interior with a central roundel including lime-green enameled lotus scroll. The surroundings all encircled by the eight Buddhist emblems, bajixiang, including the wheel of dharma, ‘lun’, image of the knowledge. The conch shell, ‘luo’ representing the thoughts of Buddha. The victory banner, ‘san’, attribute of the victorious battle of the Buddha’s teaching over all hindrances. The parasol, ‘gai’, symbol of protection as well as spiritual power. The lotus flower, ‘hehua’, for purity and enlightment. The treasure vase,’guan’, emblem of inexhaustible treasure and wealth. The fish pair, ‘yu’, representation of conjugal happiness and freedom from restraint and finally the endless knot,’panchang’ image of harmony. The exterior enameled with three floral sprays.

15.2cm (6in) diameter

Large pale and russet jade figure of a Bactrian camel

View More Images China, late Ming dynasty

The stone of an attractive pale celadon and yellowish areas and including brown inclusions, formed as an exotic two-humped camel with its head turned to the right and mouth open with the tongue out. The long saddlecloth draped between the humps, a finely carved rope-like rein running from the saddle to each nostril of the animal. The legs ending in four cloven hooves tucked underneath the body. Presented on a finely carved hardwood stand.

16.5cm (6.1/2in) large 10.1cm (4in) high

Phyllite stone stele depicting Vasudhara

View More Images India, Pala period. 12th century

The six-limbed incarnation of the female Bodhisattva here carved seated with her right leg pendant in lalitasana supported by a single lotus flower, her six arms radiating around her holding a gem, a Padma, the vase of Amrita (Nectar of Immortality), a harvest bundle and a manuscript or pustaka, wearing a flowing dhoti secured by a belt, further adorned with various jewelry, her face with a pleasant expression and her hair pulled in a high chignon secured with a tiara. In visual representations, Vasudhara can have as few as two arms and as many as six. The two-armed representations are more common in Tibetan art and Indian art, while the six-armed representations are almost exclusive to Nepalese art. Although the six-armed image originates from India, they are rare and only few examples have been found. Vasudhara whose name means ‘stream of gems’ is the Goddess of well-being granting everything that is needed for a life blessed with prosperity, wealth, fertility and without hardship. Depicted in its six arms tantric form, she is seen as the partner of the god of wealth Jambhala. Compare a figure of Vasudhara smaller in size and not as well kept although earlier in style, 11th century kept in the Ashmolean Museum collections under the accession number EA1994.50

14cm (5.1/2in) high 8.5cm (3.1/3in) large

Silver wire inlaid bronze vase SOLD

View More Images China, Ming Dynasty

Of elegant baluster form, the elegant pear-shaped body supported on a splayed foot, rising to a waisted neck, cast with a pair of circular handles at the shoulder, intricately inlaid in silver with a narrow band of stylized confronting taotie masks, the front and reverse with an intricate decor of stylized dragon and chilongs. The foot delicately enhanced with an inlaid key fret band. The patina of a rich dark-brown. Although unsigned, this vase can be attributed to the very typical scholar’s desk works of Shisou. Gerard Tsang and Hugh Moss in Arts from the Scholar’s Studio, Hong Kong, 1986, no. 157, p. 178, believe that Shisou was a skilled late Ming dynasty metalsmith who rarely signed his works. They believe that in response to Shisou’s fame, his name was added to pieces made as early as the 17th century. The thickness and heavy cast together with the shape and pure decor style of our present unsigned vase reminds us of an early work and could definitely be dated from the 16th century which would then bring it in the category of genuine works made by the hands of Shisou himself. See another group of four scholar’s objects in the Victoria and Albert’s Museum including a bronze brush rest under the accession number 5373-1901

10.2cm (4in) high

Carnelian agate water pot

View More Images China, 19th century

Cleverly carved with two color, the top of the washer formed with two chilongs each holding a branch with leafs and a lingzhi in their mouth, the stone of a pinkish-red color. The lower part carved roundly with a small splayed foot, the agate turning into a milky white tone.

9cm (3.6/11in) large, 4.5cm (1.3/4in) high

White jade ‘lady on a raft’ pendant

View More Images China, 18th century

Finely carved with the lady holding a stick in her hands to lead the raft, wearing a long robe and several carved ribbons flowing around her, the hair pulled in a top chignon, holding a flower basket in her back. The raft formed by the trunk of a peach tree with fruits hanging in the upper part. The stone of a pale even tone.

5.2cm (2.1/21in) high 4.6cm (1.4/5in) large

White jade archer’s ring

View More Images China, 18th century

The ring of typical round form, carved around the exterior with a fisherman on the banks of a river under two trees including a pine tree. Remains of gilding in the carving.

2.9cm (1.1/7in) high 2.5cm (1in) diameter

Pale celadon jade ‘peach and bat’ brush washer SOLD

View More Images China, 18th century

Carved in the form of a hollowed peach growing from a crisply carved leafy branch twisting around the fruit with elaborate spreading, curling leaves, a small flower bud and another blooming flower. The branch supporting a bat with spreading wings resting on top of the fruit. The smooth interior deeply hollowed. The stone of a pale even tone including a few russet inclusions. Intricately carved hardwood stand. This carving, formed as a peach, represents the wish for longevity, and the addition of the bat represents the wish for happiness and prosperity.

13cm (5.1/8in) large

Unusual two color jade belt buckle

View More Images China, late 18th century

Pierced and carved in relief with a crouching dragon of pale celadon color, clambering towards a dragon head terminal. The lower part of the buckle and the dragon head of a greyish color.

10cm (3.15/16in) long

Enamel and silver mounted ‘burgauté’ lacquer vanity case

View More Images China, 18th century and France, 1925

Of rectangular shape with rounded narrow sides. The cover designed with a ‘lacque burgauté’ panel depicting landscape and a pagoda with two figures discussing. Silver and black enamel mounts. The silver and silver-gilt interior revealing a mirror, lipstick holder and powder compartment. Several hall marks around the lock and in the powder compartment.

9.5cm (3.3/4in) long

Huanghuali brushpot, ‘bitong’

View More Images China, 18th century

Of cylindrical form, well hollowed with gently waisted walls, the wood of a rich brown caramel hue with a natural grain and typical ‘ghost faces’. The underside has a circular central plug.

16.4cm (6.1/2in) high 14.2cm (5.3/5in) diameter

Dayazhai grisaille decorated yellow ground dish

View More Images China, Guangxu period (1875-1908)

The shallow rounded sides rising to a slightly everted rim, the exterior finely painted en grisaille with a bird perched on a wisteria branch with blossoming trellises, rose and peony flowers. The three caracters ‘Dayazhai’ mark and a ‘Tian Di Yi Jia Chun’ (Springtime throughout Heaven and Earth) seal mark below the rim in iron red, all reserved on a bright yellow enamel ground. The interior enameled with a blue ground eight Buddhist emblems band below the rim and three groups of pomegranates, peaches and fingered citrons (or Buddha’s hands) on the inside of the dish. The base with an iron-red four-characters ‘Yong Qing Chang Chun’ (eternal prosperity and enduring spring) mark. This type of bowl is said to have been made for the empress Dowager Cixi. Compare with a similar but smaller bowl in the Metropolitan Museum of Art collections under the accession number 1984.286

24.2cm (9.1/2in) diameter

Carved jade ritual axe

View More Images Decorated with stylized dragons running around the upper hole and a band with geometric design in the central part. The stone of beige color with varying brown tones.

30.2cm (11.8/9in) long

Green tourmaline lion seal

View More Images China, 19th century

The seal of oval form carved to the upper terminal with a small Buddhistic lion with long bifurcated tail falling down along one side of the seal. The stone of a translucent pale green tone. Adapted ivory stand.

5.1cm (2in) high

‘Snowstorm’ glass red-overlay ‘foreigner’ snuff bottle

View More Images China, late 18th century

Transparent ruby-red and colourless glass, suffused with air bubbles of various sizes and small white flakes which gives it the ‘snowstorm’ adjective. With a flat lip and recessed convex foot surrounded by a protruding convex footrim. Carved as an overlay with a foreigner and a bat on each main side. Mask-and-ring handles carved on the narrow sides. Jadeite and metal stopper.

6.3cm (2.1/2in) high

‘Snowstorn’ glass red-overlay ‘three friends of the winter’ snuff bottle

View More Images China, late 18th early 19th century

Of compressed pear form with flat lip and recessed convex foot surrounded by a footrim, well carved through the ruby-red layer to the bubble suffused ‘snowstorm’ ground with a continuous scene of birds perched on rocks and branches of prunus, pine and bamboo trees covering the body. Jadeite and horn stopper.

7.4cm (2.10/11in) high

Ruby-red overlay snuff bottle

View More Images China, 19th century

Transparent ruby-red and colorless glass with a flat lip and recessed convex foot. The red overlay carved all around the body with two stylized dragons scrolling around. The mouth rim decorated with a leaf like pattern. White glass stopper.

7.1cm (2.4/5in) high

Black overlaid white glass snuff bottle

View More Images China, 19th century

Milky white glass ground with a flat lip and recessed convex foot. The black overlay carved all around the body with a stylized dragon scrolling on each side. Mask-and-ring handles carved on the narrow sides. White glass stopper.

6.1cm (2.2/5in) high

Brown overlay white glass snuff bottle

View More Images China, Yangzhou School 1800-1850

Of slender rectangular form with rounded corners, waisted neck, flat lip, oval foot ring, applying a thin layer of green-tinged brown overlay, carved to one side with a figure holding a ruyi scepter suspending a double-happiness pendant, standing next to a deer carrying a basket of peaches on its back, with a bat in flight, the verso depicting a figure pushing a cart with a banner and filled with gold ingots, the upper left with Wu Xing Xie Hui mark possibly representing a studio name, flanked with two lion masks-and-ring handles.

7.4cm (2.10/11in) high

Rock crystal ‘cameo’ snuff bottle

View More Images China, 19th century

Of circular shape with flat mouth rim above a straight neck with a conforming foot ring, the body decorated with cameo carving in a greyish-green stone skin to depict a figure in a landscape. The reverse of translucent flowing tone with a prunus branch carved across the panel. Jadeite, coral and metal stopper.

7cm (2.3/4in) high

Spinach-green jade mountain boulder

View More Images China, Jiaqing period (1796-1820)

Carved in various relief, the front with a pine tree and a pagoda in a mountainous landscape, the top left corner smoothed in the corner to form a flat surface enhanced with a poem ‘Someday I will retreat from my bureaucratic world and here precisely, to be the place where my ego anxiety is dissolved in the green mountains’. The reverse carved with bushes and clouds. The mottled stone of a deep spinach-green tone with lighter inclusions, carved wood stand.

15cm (5.9/10in) large 11cm (4.1/3in) high

Pair of black lacquer embellished hexagonal trays SOLD

View More Images China, Kangxi period (1661-1722)

With canted corners, decorated to the center in low relief with red and green lacquer and inlaid with mother of pearl and hardstones, showing river landscapes and figures within a delicate ‘lacque burgauté’ flowerhead borders.

14.5cm (5.5/7in) diameter

Large green-celadon jade figure of a Bactrian camel

View More Images China, 18th / 19th century

The slender and elegantly smooth carving shows the camel lying down the head turned back to the shoulder, its hoofed legs tucked underneath the body, the humps, mane and tail carefully worked to represent the hair. The other features, eyes, jaw, limbs, muscles and sinews shown in fine grooves. The stone of a rich grey-green opaque tone with some dark brown areas. Hardwood stand.

20cm (7.7/8in) long

Gilt bronze figure of Buddha SOLD

View More Images China, Sui dynasty (581-618)

Finely cast, seated in dhyanasana on a cloth-draped base with right hand raised in vitarka mudra, the left hand resting on the knee. Wearing a loosely draped robe held by a delicate knot on the chest, cascading in ripples over the lower body and covering the legs. The broad face flanked by large ears, the hair left undecorated and tucked in an ushnisha.

15cm (5.9/10in) high

Bronze figure of standing medicine Buddha

View More Images Korea, Koryo Dynasty, 14th / 15th century

Depicting Bhaishajyaguru, standing with feet apart fitting onto an adapted wooden base, his left hand bearing an alms-bowl and his right hand held out, the face with crisply cast features and very large ears beneath a domed usnisha all covered in tight curls forming the hair. The hips gently lopsided. The thickly lobed drapery particularly well cast. Compare with a similar figure with extensive corrosion but same style and period in the Metropolitan Museum collections under the accession number 38.79.

17.5cm (6.8/9in) high

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