Lot 223. Rare white-glazed and carved 'dragon' jar, inscribed Run Yuan, late Yuan-early Ming dynasty; 35.5cm wide. Estimate £25,000 - £35,000. © Lyon & Turnbull

the globular body tapering to the foot, finely carved on the broad rounded shoulder with a crane and a deer against a wide lotus meander, the large flowers borne alternately upright and pendent on an undulating leafy stem, above two sinuous three-clawed dragons striding amongst crashing waves, the foot encircled by a band of lappets enclosing trefoils, applied overall apart from the base with a clear bluish tinged transparent qingbai glaze, inscribed 'Run Yuan' on the shoulder.

Provenance: Private London collection.

Note: For a similar white-glazed carved jar from Yuan Dynasty, 14th century, see Christie''s sale in their Hong Kong rooms on 01.12.2009, lot 1866, sale 2731.

Lyon & Turnbull. Fine Asian Works of Art, London, November 7, 2018, 4:00 PM

Lot 28. Naro Dâkinî (Na-Ro Mkha’-Spyod-Ma), Chine-Tibet, ca 17°-18° siècle. Alliage cuivreux doré. H. 47 cm. Estimation €22,000 - €28,000. © Cornette de Saint-Cyr Paris. 

portante représentation d’un aspect de Vajrayogini, réputé avoir transmis le Paramasukha-Chakrasmavara Tantra au grand maître Indien Naropa (956-1040). Une autre épithète de cette divinité est Sarvabuddhadakini, ou « Dakini de la quintessence de tous les Buddhas ». Elle est traditionnellement représentée debout fendue vers la gauche. Son bras gauche levé devait initialement maintenir une coupe crânienne pleine de sang (kapala) dont elle s’abreuve, et la droite un couperet (kartrika). Son corps nu est simplement recouvert des parures en os humain (le tablier rapporté qui lui ceignait la taille est ici perdu) qu’elle transmit également à Naropa, également associées aux initiations du Samvara Tantra.

Provenance : Collection privée Française.

Arts d’Asie - Art Tribal chez Cornette de Saint Cyr Paris, 75008 Paris, le 22 Novembre 2018 à 14h30. Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13 – www.aaoarts.com.

Lot 25. Guanyin, Chine, dynastie Yuan (1279 – 1368). Marbre polychrome. H. 36,5 cm. Estimation €15,000 - €25,000. © Cornette de Saint-Cyr Paris. 

Le bodhisattva est assis dans l’attitude dite d’aisance royale (Mâhârâjalîlasana), en appui sur son bras droit, le gauche venant reposer sur son genou relevé tout en maintenant un rosaire. Sa poitrine est ornée de bijoux, et son front ceint d’une couronne à cinq fleurons ornés des cinq tathâgata. Le socle arbore encore les restes d’inscriptions dédicatoires.

On notera les restes de polychromie, et un accident visible au bras droit. 

Provenance : - Ancienne collection Française. 
- Galerie Jacques Barrère (Paris) 
- Acquis de cette dernière par ses propriétaires actuels en 2003 
- L’objet est accompagné d’un certificat d’authenticitéétabli par Jacques Barrère le 28 février 2003.

Arts d’Asie - Art Tribal chez Cornette de Saint Cyr Paris, 75008 Paris, le 22 Novembre 2018 à 14h30. Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13 – www.aaoarts.com.

Lot 29. Importante tête de Buddha, Nord Thailande-Laos, ca 16°-17° siècle. Alliage cuivreux. H. 45,5 cm. Estimation €10,000 - €15,000. © Cornette de Saint-Cyr Paris. 

Cette tête de dimension exceptionnelle est un bon exemple de la diffusion du style siamois développé durant la période dite d’Ayutthaya dans le nord de la Thaïlande et au Laos. On notera les profondes cavités oculaires attestant qu’elles furent autrefois incrustées d’inclusions destinées à créer un regard, les oreilles aux classiques lobes distendus, et la coiffure composée de petites boucles classiques recouvrant la protubérance crânienne (usnîsa) qui fut autrefois surmontée d’un motif flammé caractéristique de l’aire stylistique. 

Provenance : - Ancienne collection Française. 
- Galerie Jacques Barrère (Paris) 
- Acquis de cette dernière par ses propriétaires actuels en 2003 
- L’objet est accompagné d’un certificat d’authenticitéétabli par Jacques Barrère le 28 octobre 2003.

Arts d’Asie - Art Tribal chez Cornette de Saint Cyr Paris, 75008 Paris, le 22 Novembre 2018 à 14h30. Expert : Cabinet Daffos-Estournel. Tel. : +33 6 09 22 55 13 – www.aaoarts.com.

Frans Hals (Dutch, 1582/83–1666), The Van Campen Family in a Landscape (fragment), ca. 1623–25, oil on canvas. 151 x 163.6 cm. Toledo Museum of Art, Toledo, Ohio, inv. 2011.80.

TOLEDO - This exhibition is the first devoted to the family portraiture of Frans Hals (1582/83–1666), one of the foremost painters of the Dutch Golden Age. Organized by TMA and the Royal Museums of Fine Arts of Belgium in Brussels, the exhibition was prompted by the Museum’s acquisition in 2011 of Frans Hals’s Van Campen Family Portrait in a Landscape, as well as the recent conservation of Brussels’ Three Children of the Van Campen Family. These two works originally formed one composition, separated for unknown reasons likely in the late 18th century or early 19th century. The exhibition reunites the sections of the Toledo/Brussels painting along with a third fragment from a private collection, which will be shown with the three other family portraits painted by the artist. After the exhibition is featured in the Toledo Museum of Art and the Royal Museums of Fine Arts of Belgium, the exhibition will travel to the Fondation Custodia in Paris, France. 

Defining "Family"

Frans Hals’s fresh, charismatic images give the impression of real people with real relationships. The TMA installation of the exhibition will also incorporate the voices of Toledo community members. Taking the separation and reunification of the Hals Van Campen family portrait as a catalyst, a host of affiliated programs – including storytelling, art making and workshops – will address issues surrounding the shifting definition and evolving nature of families today.

 Frans Hals (Dutch, 1582/83–1666), Children of the Van Campen Family with a Goat-Cart (fragment), ca. 1623–25, oil on canvas. 152 x 107.5 cm. Royal Museums of Fine Arts of Belgium, Brussels, inv. 4732. ©Royal Museums of Fine Arts of Belgium, Brussels.

Proposed Reconstruction of Frans Hals’s complete The Van Campen Family in a Landscape. Liesbeth De Belie and Catherine van Herck. © Liesbeth De Belie and Catherine van Herck.

Frans Hals (Dutch, 1582/83–1666), Portrait of a Boy of the Van Campen Family, oil on canvas, about 1623–25. 54 x 47.4 cm. Private Collection.

 Frans Hals (Dutch, 1582/83–1666), Marriage Portrait of Isaac Massa and Beatrix van der Laen, ca. 1622, oil on canvas. 140 x 166.5 cm. Rijksmuseum, Amsterdam, inv. SK-A-133. ©Rijksmuseum, Amsterdam.

Frans Hals (Dutch, 1582/83–1666), Family Group in a Landscape, ca. 1645–48, oil on canvas. 202 x 285 cm. Museo Thyssen-Bornemisza, Madrid, inv. 1934.8. ©Museo Thyssen-Bornemisza, Madrid

Frans Hals (Dutch, 1582/83–1666), Portrait of a Dutch Family, mid-1630s, oil on canvas. 111.8 x 89.9 cm. Cincinnati Art Museum, Cincinnati (Ohio), inv. 1927.399

Lot 159. A 'boneless'famille rose'floral' bowl, Yongzheng six-character mark and of the period (1723-1735); .7cm (7 1/2in) diam. Estimate £ 10,000 - 15,000 (€ 11,000 - 17,000). © Bonhams.

Delicately potted with deep rounded sides rising from a straight foot, superbly decorated in the 'boneless' technique in soft pastel enamels with two large peonies in blush pink tones with smaller attendant blooms and buds, borne on broad leaves furled to reveal their undersides and rendered in varying shades of vivid green, accompanied by two chrysanthemums depicted sprouting across the surface, with a single descending butterfly depicted on the reverse.

Note: The present lot is notable for its unique style of enamelling which reflects the innovative developments and fresh confidence of craftsmen working during the Yongzheng emperor's reign. Decorated in a technique known as the 'boneless style' for its virtually skeleton and outline-free design, the only lines incorporated into the composition are the lines used to define the veins on the leaves and butterflies. Although this technique was known in painting, it was not widely used on porcelain decoration, most likely because it was too complicated to use on a mass-production scale. It represented a great challenge to the artists as lesser-skilled painters would require outlines to complete their sections of decoration, and if not handled correctly it would give the impression that the piece was unfinished.

Compare with a similar famille rose bowl, Yongzheng mark and of the period, illustrated in The Complete Collection of Treasures of the Palace Museum: Falangcai and Famille-Rose, Hong Kong, 1999, pl.73. 

See also a very similar bowl, Yongzheng mark and period, which was sold at Sotheby's Hong Kong, 6 April 2016, lot 3620.

Lot 156. A fine doucai conical 'floral' bowl, Daoguang seal mark and of the period  (1821-1850); 15.5cm (6 1/8in) diam. Estimate £ 10,000 - 15,000 (€ 11,000 - 17,000). © Bonhams.

Thinly potted in flaring conical shape, the exterior with a frieze of flowering peach tree medallions interspersed with pomegranate sprays in shades of blue, yellow, red and green, above a band of overlapping petals encircling the base.

Provenance: According to family history, which is supported by family records illustrating the progress of British troops in Beijing at the time, this lot was acquired by a military attaché posted to Beijing at the time of the Boxer Rebellion in 1900. He was attached to the staff of Brigadier-General A.Gaselee, the commander of the British contingent assisting in suppressing the Boxer Rebellion on behalf of the Imperial Court, as one of the Eight Allied Powers.

Note: A very similar bowl, Daoguang seal mark and period, is illustrated in Imperial Porcelain of Late Qing, Hong Kong, 1983, no.32.

Compare with a very similar pair of bowls, Daoguang seal marks and of the period, which were sold at Sotheby's Hong Kong, 7 April 2015, lot 3708.

A pair of doucai'Floral' bowls, Seal marks and period of Daoguang  (1821-1850); 15.2 cm., 6 in. Sold for  475,000 HKD at Sotheby's Hong Kong, 7 April 2015, lot 3708. © Sotheby's

Cf. my post: A pair of doucai 'Floral' bowls, Seal marks and period of Daoguang

Bonhams. Fine Chinese Art, London, 8 november 2018 10:30 GMT 

Lot 155. A rare doucai'Anbaxian' ogee bowl, Qianlong seal mark and of the period (1736-1795); 20cm (7 7/8in) diam. Estimate £ 10,000 - 15,000 (€ 11,000 - 17,000). © Bonhams. 

Exquisitely decorated in the interior with a swirled roundel enclosed by interlinked scrolls issuing alternating leafy peaches and floral blooms, surrounded by the anbaxian emblems adorned with long billowing ribbons, the exterior densely decorated with stylised floral blossoms wreathed by undulating leafy scrolls above a band of ruyi-heads and upright lappets bordering the foot.

Provenance: According to family history, which is supported by family records illustrating the progress of British troops in Beijing at the time, this object was acquired by a military attaché posted to Beijing at the time of the Boxer Rebellion in 1900. He was attached to the staff of Brigadier-General A.Gaselee, the commander of the British contingent assisting in suppressing the Boxer Rebellion on behalf of the Imperial Court, as one of the Eight Allied Powers.

Note: Compare with a similar bowl in the Nanjing Museum, illustrated in Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Hong Kong, 1995, no.106.

Lot 154. A blue and white bowl, Qianlong seal mark and of the period (1736-1795); 18.3cm (7 1/4in) diam. Estimate £ 10,000 - 15,000 (€ 11,000 - 17,000). © Bonhams. 

With deep rounded sides rising from a short foot to a gently flaring rim, the exterior painted with four ruyi-bordered roundels enclosing stylised characters reading Wanshou wujiang (Boundless long life), interspersed with lotus sprays supporting beribboned bajixiang, the rim with a classic scroll and the foot with a lappet band, the interior with a shou character medallion encircled by the bajixiang.

Provenance: According to family history, which is supported by family records illustrating the progress of British troops in Beijing at the time, this object was acquired by a military attaché posted to Beijing at the time of the Boxer Rebellion in 1900. He was attached to the staff of Brigadier-General A.Gaselee, the commander of the British contingent assisting in suppressing the Boxer Rebellion on behalf of the Imperial Court, as one of the Eight Allied Powers.

Note: Compare with a very similar pair of blue and white bowls, Qianlong seal mark and of the period, which were sold at Sotheby's London, 7 November 2012, lot 495.

Lot 136. A pair of famille verte jars and covers, Kangxi period (1662-1722). Each 30.8cm (12 1/8in) high. Estimate £ 10,000 - 15,000 (€ 11,000 - 17,000). © Bonhams. 

Each of ovoid form rising from a recessed base to a short tapering neck, brightly enamelled around the exterior with large shaped panels enclosing birds and insects perched on or hovering above flowers issuing from rockwork and the 'Hundred Antiques', all reserved on a green diaper ground, the domed covers similarly decorated with precious objects.

Provenance: Chait Galleries, New York (label)
Christie's New York, 21 January 2009, Lot 39
An English private collection.

Note: Compare with a related famille verte jar and cover, Kangxi, illustrated by C.J.A.Jorg, Famille Verte: Chinese Porcelain in Green Enamels, Amsterdam, 2011, p.38, no.26.

Lot 127. A pair of blue and white hexagonal vases, Kangxi period(1662-1722), CD monograms. Each 30cm (11 7/8in) high. Estimate £ 10,000 - 15,000 (€ 11,000 - 17,000). © Bonhams. 

Each with a compressed body rising from a flared foot to a long narrow neck and flared mouth, painted in bright cobalt-blue with shaped reserves of elegant ladies, alternating with panels of 'Hundred Antiques' or a scholar and attendant in a landscape, on a 'cracked-ice' ground, the neck with florets between varying foliate and lappet bands, the foot encircled with wide lappets to each facet.

Provenance: An English private collection.

Note: The exact meanings of the marks on the bases of the present lot remains a matter of conjecture among scholars. Some argue that it was the monogram of a European client who commissioned the group, while other argue that they were copying Delft wares and that the marks should be read as 'D'. A discussion on the subject of the meaning of the monograms can be seen in D.Suebsman and D.Antonin, Kangxi Porcelain Treasures of the Kangxi Period, Dusseldorf, 2016, no.148.

Lot 123. A fine white-glazed carved bottle vase, 18th century; 29.7cm (11 3/4in) high. Estimate £10,000 - 12,000 (€ 11,000 - 14,000). © Bonhams. 

The compressed globular body finely carved around the exterior with a frieze of lotus, peony and camellia flowers, bordered by a band of stiff petal lappets around the base and ruyi heads on the shoulders, the tall neck with upright plantain leaves rising from a key-fret border, the everted rim encircled by a ruyi-head band, wood stand and box.

Provenance: E.T.Chow Collection (1910-1980)
Sotheby's Hong Kong, 25 November 1980, lot 59
A European private collection.

Note: Edward T. Chow resided in the French Concession of Shanghai and lived briefly in New York, before moving to Hong Kong in 1949 and then Switzerland in 1967. He was amongst the most respected dealers of his generation and known for his three fundamental tenets in building his collection: rarity, quality and decoration.

Compare with a carved white-glazed bottle vase similarly carved with floral scrolls to the globular body below upright stiff leaves to the waisted neck, illustrated by R.L.Hobson in The George Eumorfopoulos Collection Catalogue of the Chinese, Corean and Persian Pottery and Porcelain, vol.5, London, 1927, pl.LXI, no.E344.

Lot 142. A rare blue and white 'Romance of the Western Chamber' bottle vase, Chenghua six-character mark, Kangxi period (1662-1722); 42.5cm (16 3/4in) high. Estimate £ 8,000 - 12,000 (€ 9,200 - 14,000). © Bonhams. 

The compressed globular body set with a tall cylindrical neck with a lipped mouth, finely painted around the exterior in cobalt-blue with a continuous scene of Lady Cui Yingying sitting on a terrace of an elegantly decorated pavilion, gazing at her lover Zhang Junrui and his attendants carrying cases, fans and a qin, a poem written on the neck.

Note: The Romance of the Western Chamber, written by Wang Shifu (1250-1300) was immensely popular among all levels of society. Woodblock illustrations in the many editions helped conventionalise images that were instantly recognisable to the general public, thus creating a corpus of motifs that was widely used by painters, silk embroiderers, lacquer workers and other craftsmen.

The scene on this vase is from Act III, Part 4, when Lady Cui Yingying sends Zhang Junrui off to the capital to take the Imperial examination. The poem on the vase, however, is adopted from another story, Yangjiafu Shidai Zhongyong Tongsu Yanyi (the story of courageous and loyal generations of the Yang family), first published in 1606, it reads: 

遲遲麗日布韶光, 春到人間景異常。
雨後江山增秀麗, 風前花柳競芬芳。
尋香戲蝶輕翻拍, 求友嬌鶯巧奏簧。
景物撩人無限好, 不妨收拾入詩腸。

Which may be translated as:

'Late in the gloaming evening, Spring arrives with unusual scenery.
After the rain the mountains and rivers increase in beauty, before the breeze the fragrant willows and flowers vie.
Searching for incense the fluttering butterflies, seeking a friend to play the flute.
Nothing compares to the scenery, so you may wish to etch it on your poetic heart'

Compare with very similar scene on a vase, Kangxi, in the Victoria and Albert Museum, London (acc.no.635&A-1903).

Vase and lid, porcelain painted in underglaze blue, China, Qing dynasty, Kangxi period (1662-1722). Height: 27.9 cm, Diameter: 10.5 cm. Bequeathed by W. H. Cope, Esq; acc.no.635&A-1903. © Victoria and Albert Museum, London

Lot 132. A familleverte square baluster vase, Kangxi period (1662-1722); 47.5cm (18 2/3in) high. Estimate £ 8,000 - 12,000 (€ 9,200 - 14,000). © Bonhams. 

The stoutly potted body with tapered rectangular sides supporting a waisted cylindrical neck and everted rim, each side painted in bright enamels with mythical and legendary figures including Immortals and elegant ladies, the neck with scholars with a mountainous landscape.

Provenance: an English private collection.

Lot 783. A Very Fine and Important Jadeite Bangle. Estimate Upon Request. © Poly Auctions

The round bangle of emerald green color and high translucency, weighing 220.59 carats, inner diameter approximately 53.68mm, thickness 9.05mm.

Accompanied by report no. SJ160869 dated 24 November 2017 from the Hong Kong Jade & Stone laboratory Limited stating that the jadeite tested is natural, known in the trade as “A Jade”. 

Poly Auctions. Important Jewels and Prestige Collections, Grand Lisboa Hotel Macau, 29 November 2018 3:30PM 

Lot 784. An Exceptionally Fine and Impressive Jadeite Necklace. Estimate Upon Request. © Poly Auctions

Lot 748. A Magnificent Jadeite Bead and Diamond Necklace. Estimate HKD 10,000,000 - 15,000,000 (USD 1,277,250 - 1,915,875). © Poly Auctions

Lot 758. An Important Colombian Emerald and Diamond Bracelet. Estimate HKD 4,500,000 - 6,200,000 (USD 574,763 - 791,895). © Poly Auctions

Lot 776. A 22.01 Carat Colombian Emerald and Diamond Ring. Estimate HKD 4,000,000 - 5,000,000 (USD 510,900 - 638,625). © Poly Auctions

Lot 782. A Jadeite and Diamond Ear Pendants. Estimate HKD 3,800,000 - 4,800,000 (USD 485,355 - 613,080). © Poly Auctions