Asian and Far Eastern Art
Two to three cataloged auctions each year
Featuring objects from China, Japan, and throughout Asia—from the East to the Southeast—the Far Eastern Art auctions invite you on a journey through cultures and eras. From Tang-dynasty terracotta to Kangxi porcelain, Ming-dynasty bronzes, Meiji-period netsuke, and Noh theater masks, the objects on offer are remarkably diverse, both in terms of materials (porcelain, jade, lacquer) as in their decorative styles (blue-and-white, famille rose, famille verte). These specialized auctions attract an international clientele seeking exceptional objects. Buyers will pay particular attention to the history and provenance of the lots up for auction. Identifying an imperial memento, Emperor Qianlong’s mark, or a relic from the Song or Qing dynasties is sure to pique the interest of collectors.
Expert Insights
“The market’s enthusiasm for Asian art dates back to the 19th century, a time when collectors—mostly French—became fascinated by these exotic works. These discerning connoisseurs constantly researched the objects by consulting specialized works and whatever information was available at the time. We are committed to conveying the spirit and curiosity of these scholars through the auctions we organize, via the descriptions and information we provide. The pieces we hope to have the opportunity to appraise one day would have particularly appealed to these 19th-century collectors. In the field of Chinese art, these are snuff boxes. Produced beginning in the 18th century, these small snuff boxes are crafted from every conceivable material (glass, ivory, coral, mother-of-pearl, etc.) and range from everyday to imperial pieces.”
Contacts
Magdalena Marzec
magda.marzec@ader-paris.fr
Quentin Severelli
quentin.severelli@ader-paris.fr
Experts:
Laurence Souksi
and Frantz Fray
3 Rue Favart, 75002 Paris
Phone: +33 (0)1 53 40 77 10
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N'guyen Van Ty (1917-1992), six-panel lacquered wood screen on black background, Vietnam, dated MCMXLII (1942) In the background, the mountainous jungle creates an enigmatic backdrop that captures the wild, untamed essence of nature. Shades of deep browns and light browns intertwine, evoking the mystical shadow that reigns over the craggy peaks of this mountainous region. In the foreground, the tumultuous black river of Upper Tonkin comes to life; sampans, traditional boats, glide over the Cho Bo rapids, defying the bubbling white water. The sailors, elegant figures dressed in shades of white, skilfully steer their boats with long poles. The overall composition, bathed in a sober, elegant palette, reveals N'guyen Van Ty's artistic mastery. Engraved signature Nguyen Van Ty lower right and dated MCMXLII. 96 x 247 cm Provenance : René Gilles, representative of Maison Denis Frères in Haïphong. By descent. Under the influence of Joseph Inguimberty, professor of lacquer at the Hanoi School of Fine Arts, who was passionate about Indochinese landscapes, some particularly talented students chose to depict the Cho Bo rapids scene. Pham Hau, Lê Thy, Lê Quoc Loc, and of course Nguyen Van Ty created several works on this theme, marked by their teacher's inspiration and their attachment to Indochinese landscapes.
AUCUNE ENCHERE INTERNET POSSIBLE POUR CE LOT ONLINE BIDDING SERVICES ARE NOT AVAILABLE FOR THIS LOT CHINE - époque QIANLONG (1736 - 1795) Vase de forme bouteille à col étroit et légèrement évasé avec renflement près de l’épaulement en porcelaine émaillée polychrome et or sur fond jaune sur le col et sur la panse, dans un bandeau entouré d’une frise rose en forme de lingzhi à décor à la façon sgraffiato de fleurs de lotus dans leurs rinceaux, et de motifs de brocart formés par des triangles rappelant le patchwork. Les anses en forme de dragons émaillées or. La partie inférieure du col ornée d’une frise de grecques bleue. Le vase repose sur un piédouche ourlé. Au revers de la base, la marque en rouge de fer à six caractères de Qianlong en zhuanshu sur fond bleu turquoise. (Petits manques d’émail). H. 26,3 cm Références : - Un vase similaire sur fond rubis et blanc vendu le 8 avril 2009, lot 1692, chez Sotheby’s Hong Kong. - Un vase au motif similaire de patchwork en émaux cloisonnés, époque Qianlong, conservé au Metropolitan Museum, New York, n° 29.110.92 Provenance : Ce vase a été collecté par monsieur G. G., capitaine au cent deuxième régiment d’infanterie de ligne, lors d’une expédition en Chine au XIXe siècle, campagne au cours de laquelle il a été décoré. Il a par ailleurs été nommé chevalier de la Légion d’honneur. Ce vase est depuis lors resté dans la famille. Ce vase jaune émaillé polychrome et or, qui peut être rapproché des émaux dits yangcai, est représentatif de l’innovation technique avancée dans la fabrication de porcelaine sous le règne de l’empereur Qianlong (1735-1796). Non seulement original par sa forme, il l’est aussi par ses motifs. Au cours de cette période, l’ingéniosité technique et la créativité de la dynastie Qing se trouvent à leur apogée, avec la création de nombreuses porcelaines destinées à satisfaire le plaisir de l’empereur et celui de la cou
TIBET - XVIE SIÈCLE Groupe en bronze doré représentant Hayagriva debout sur des corps humains allongés sur des lotus enlaçant Cakti en yabyum. Haut.: 33 cm
Gilded copper-alloy statuette of the crowned Buddha Aksobhya, Tibet, 16th-17th century Seated in dhyanasana on a double lotus base, with a vajra at his feet. Hands in bhumisparsa and dhyana mudra. The fingers of the right hand lightly touch the ground, representing the moment of Buddha's enlightenment and connection with the Earth, while the left hand, palm up, symbolizes deep meditation and inner tranquility. He is dressed in a sanghati, a traditional monastic robe symbolizing simplicity and material renunciation, the hem of which is adorned with finely chiseled decoration, leaving his shoulder bare. In the middle of his forehead appears the urna, and his head is encircled by a crown encrusted with semi-precious stones, whose presence underlines his position as the Buddha transcending obstacles and passions. The body is gilded with mercury, the head painted with cold gilding. He still carries his charge and consecration plate, the underside of which is engraved with a double vajra surrounded by the ashtamangala (Chinese: 佛門八寶 - fómén bābǎo), eight auspicious Buddhist symbols: parasol, conch, treasure vase, endless knot, canopy and conch lotus and fish. Height: 20 cm; weight: 1572 g
Large white porcelain bitong brush pot with blue underglaze, Transition period, China, 17th century Of cylindrical form resting on three feet, with continuous decoration of several lohans. Two are standing with an assistant holding books near them. Two are seated near a low table where a brush pot and a vase rest, one holds a needle in his hand and seems to be sewing a textile while the other observes him, a rosary in his left hand. Near them another lohan is riding a buffalo followed by his assistant holding a xizhang*. Around them, a landscape of rocks, pines and mountains in stylized clouds. The unglazed underside. Height: 14.9 cm; diameter: 21 cm Tiny crack from a foot, a chip on the lower edge. *Also known as the "tiger pewter stick", it was originally used to announce the presence of a monk and to scare animals. Over time, it was adapted to be used as a rhythmic instrument during chanting and recitation of sutras, as well as a weapon. Its designation as the "tiger tin stick" (虎錫) is due to its traditional use to ward off predatory animals. 十七世纪 - 青花山水人物图大笔筒 Paris private collection - lots 78 to 127, 219 and 220
CHINE - Période Transition, XVIIe siècle Vase rouleau en porcelaine décorée en bleu sous couverte de la légende «Ji Zha zeng jian», représentant Ji Zha offrant son sabre à un jeune lettré accompagné de sa mule, surmonté par un poème de l’époque Tang racontant cette légende datant de la période des Printemps et Automne. (Petite fêlure de cuisson sous la base). Hauteur : 38 cm
VIETNAM - 20th centuryWorkshop of Pham Quang Hau ( 1905 - 1994 )Rectangular box in black, red, green and gold lacquer with decoration of a village scene . Signed Pham Hau master lacquerer. (Restorations at two angles). 7,7 x 18,9 x 27,8 cm
Grey schist Buddha sculpture, Greco-Buddhist art of Gandhara, 2nd-3rd century Depicted standing in samapada, with a halo behind his head, he is dressed in a pleated monastic robe. His face is serene, his mouth perfectly defined and his eyes surmounted by arched superciliary arches. The earlobes are elongated. The forehead is adorned with the urna and the wavy, delicately sculpted hair is topped with the ushnisha. Height : 80 cm Base. Missing right part and legs. Provenance : John Eskenazi Ltd. acquired in November 1998 (label on base). Published in his catalog "Art Of Gandhara - 10th-28th November 1998 - Asian Art In London".
Important light celadon nephrite "wedding" bowl, China, Qianlong period (1736-1795) Round in shape, resting on four lobed feet extended on the body by a fine, archaic-style kui dragon motif in light relief. Each side of the body is embellished with a handle carved in the shape of a pixiu head. The snout is flat, the chin bearded and the eyes bulging. Long eyebrows and a stylized mane extend from either side of the skull, the latter bearing a central horn. Two wings incised with a frieze of Greciques extend on either side of the animal's torso and continue along the edge of the bowl. Each handle supports a mobile ring. Height: 7 cm; diameter: 20 cm (26 cm with handles) A tiny chip on the naseau of a pixiu. Objects of this type, known as "wedding cups", were very popular in the 18th century, their production made possible by the large quantities of high-quality jade available during the Qianlong reign. They take their name from the auspicious motifs used in the decoration (bats, butterflies, lingzhi mushrooms, Bajixiang, etc.), which allude to wishes for a long and happy married life and were therefore often offered on the occasion of a wedding. The pixiu, archaic winged dragons forming the handles and finely sculpted, are a symbol of luck, wealth, good fortune and protection.
Flat-rimmed junyao bowl with a beautiful lavender-blue glaze, Song period (960-1279) The stoneware is covered with a slightly bubbled lavender-blue glaze, forming a milky ring around the bottom and taking on a buff tone on the descent of the rim and on the edge. The glaze spreads in a thicker layer on the outside of the dish showing nice purple traces and forms drips and retractions on the foot edge. Five beads surround a recessed circle in the center of the base. Height : 3 cm ; diameter : 18,5 cm Streaks under the cover. Labels: - E. T. Chow collection, Sotheby's, n°272. - Mostra d'Arte Cinese, Venezia 1954, n°473. - Oriental Ceramic Society, 1952, n°39 -AIC, n°520. Provenance : - Mrs Alfred Clark. - E. T. Chow Collection. Exhibition : - O.C.S. Exhibition of Sung Dynasty Wares, Chun and Brown Glazes, 1952, Catalogue n°39. - Marco Polo Seventh Centenary Exhibition of Chinese Art, Venice, 1954, Catalogue n°473. Publication: - Basil Gray, Early Chinese Pottery and Porcelain, pl. 84. Similar: - Visser, Asiatic Art in Private Collection of Holland and Belgium, pl. 230, from the Schoenlitch Collection, sold at Sotheby's December 13, 1955, lot 78. - Seligman Collection Catalogue, vol. 2, pl. XXXIII, no. D91. - Hoyt Collection Catalogue, vol. II, n°54, Museum of Fine Art, Boston. - Berlin Exhibition of Chinese Art, 1929, catalog n°569, from the Steiner Collection, sold at Sotheby's on May 4, 1948, lot 100, then on February 17, 1959, lot 76. - The O.C.S. Exhibition of the Arts of the Sung Dynasty, 1960, catalog n°44, from the Wright Collection. - The Tokyo Exhibition of Chinese Arts of the Sung and Yuan Periods, 1961, Catalogue n°154. - The Osaka Exhibition of Sung and Yuan Art, 1978, Catalogue n°I-85. - The Idemitsu Museum of Arts Exhibition of Sung Ceramics, 1979, Catalogue n°69. - Two deeper blue dishes are in the National Palace Museum in Taiwan, illustrated in The Illustrated Catalogue of Sung Dynasty Porcelain, pls. 79 and 80. 宋-钧窑天蓝釉折沿盘 Private collection from Paris - lots from 78 to 127, 219 and 220
White porcelain bitong brush pot glazed in blue underglaze, China, Transition period (1630-1644) Of cylindrical form, slightly flared at the top, decorated with a woman under a willow tree welcoming a soldier flanked by men of his guard holding banners, a soldier brandishing a halberd and a groom holding his horse. The scene takes place in a landscape of rocks and mountains in clouds. Stylized geometric frieze incised around the base and top of the brush pot. The unglazed base. Height : 21 cm ; diameter : 20,4 cm Label: Transitional Wares and Their Forerunners Exhibition 1981, the OCS of Hong Kong, No. 79. Exhibition: Exhibition of The Oriental Ceramic Society of Hong Kong and the Urban Council, Hong Kong at the Hong-Kong Museum of Art - 29 January to 29 March 1981. Publication : Transitional Wares and Their Forerunners, Oriental Ceramics Society, Hong Kong Museum of Art, Hong Kong, 1981, no. 79, p. 120. 十七世纪 过渡期 - 青花人物故事图笔筒 Private collection from Paris - lots from 78 to 127, 219 and 220
Albert Cézard (1869 - ca. 1916) Scene at the water's edge Oil on canvas. Signed lower right. 145 x 95 cm (Small restoration). A young Annamite fisherman on the bank of a river near a hut on stilts. He is standing on the bank near a jar, his hair up in a bun, wearing a white turban and a loose pair of white pants with a green textile tied above his hips, a woman sitting in the shadow. Three fishermen's canoes are moored in front of the house where various utensils are deposited. We see some white sails in the distance on the river and on the other bank a village in the trees overhung by a high mountain. Originally from Nantes, painter, draftsman and passionate about Indochina, Albert Cézard joined Tonkin as a young soldier. He served there for three years before regaining his freedom. He then became a typographer at the Schneider printing house in Hanoi and successfully launched his caricature weekly "La Vie Indochinoise". He returned to France at the dawn of the 20th century and took courses to perfect his drawing, which led to his success at the 1903 exhibition of colonial painters and to an artistic mission in Indochina. Back in France, he started a successful career as an illustrator, regularly exhibiting at colonial exhibitions. He was co-founder of the "French of Asia" group.
Vase of meiping form in white porcelain enamelled in blue underglaze with decoration in the Ming style, China, 18th century The body is continuously decorated on two registers with fruits and branches of pomegranates, peaches, persimmons and lychees. The shoulder is decorated with a radiating pattern of stylized ruyi heads and the foot with a frieze of banana leaves. Height : 34 cm Provenance: Sotheby's, Hong-Kong, May 1985, n°105. Similar: - Neave-Hill, W.E.R., Chinese Ceramics, pl. 160. - Reitlinger Collection catalog, no. 120, in the Ashmolean Museum. - Clarke and Edward T. Chow Collection, Sotheby's, 21st May, 1980, lot 164. The decoration of this vase is based on a classical 15th-century design and the underglaze blue glaze showing small dark blue dots imitates the effects called "heaped and piled", is also typical of the Ming period. 十八世纪 - 青花仿明如意垂肩折枝瑞果纹梅瓶 Private collection from Paris - lots 78 to 127, 219 and 220