2011
Ink and color on paper
44 x 36.5 cm
With two seals of the artist

2007
Ink on paper
41.5 x 57.5 cm
Signed Yifu in Chinese
With one seal of the artist

Ink on paper
43 x 26.5 cm
Signed lower left Yu in Chinese and SANYU in English

1998
Pen on paper
21.08 x 13.91 cm x 2

1954
Ink on paper
43.2 x 36.5 cm

2011
Ink and color on paper
58 x 89 cm
With one seal of the artist

L: 9.6 cm
H: 3.1 cm

H: 3.6 cm
D: 7.5 cm

Ink on paper
57 x 16 cm
Signed Pingshan in Chinese
With one seal of the artist

L: 39.5 cm
W: 25.5 cm
H: 3 cm

Ink on paper
70 x 33.5 cm
Signed Pingshan in Chinese
With one seal of the artist

Ink and color on paper
137 x 70 cm
Signed Peng Wei in Chinese
With two seals of the artist

2013
Ink on paper
52 x 38 cm (107 x 79.5 cm with frame)
Signed upper right Lanbo in Chinese and lower left Lampo Leong in English
With two seals of the artist Liang (upper right) and Lanbo (bottom left)

1953
Ceramic
D: 22 cm
H: 2.5 cm

NUMBERED:
143/200, with the Madoura and Empreinte Originale de Picasso stamps

2006
Ink on paper
90 x 63 cm
Signed Qin Ai in Chinese
With one seal of the artist

H: 16 cm
D: 13 cm

This ewer has a short body curves into the base, whose thick round form provides it with ample stability. A short spout elegantly extends out from its shoulder. White glaze gives the piece a nice sheen. Xing province was the main production area for the Tang Dynasty Northern white-glazed porcelain. It was a great significance in the Chinese history of ceramics. This ewer is a fine white porcelain that is elegant and graceful, which reflects the silvery snow quality in Tang Xing Kiln porcelain.

D: 9 cm
H: 4 cm

2008
Ink and watercolor on paper
30.5 x 64 cm
Signed bottom center Lanbo in Chinese and bottom center Lampo Leong in English
With two seals of the artist Liang (center right) and Lanbo (bottom left)

D: 14.5 cm
H: 4.2 cm

Most Tang Dynasty ware falls in two categories: white ware from the northern Xing Kiln and celadon or green ware from the southern Yue Kiln, a distinction often summed up as southern celadon and northern white. This lot shows a shape and design seen in both Xing and Yue ware, with a broad mouth, slanting belly, and a flattish round foot. The bowl has fairly thick walls and is entirely covered in light brownish-green glaze. In the book The Classic of Tea (Cha Jing), Tang author Lu Yu writes, When it comes to tea bowls, Yue ware is superior to ware from other regions, such as Dingzhou, Wuzhou, Yuezhou, Shouzhou, or Hongzhou. I also don’t agree that Xing ware is to be placed above Yue ware, for Xing white ware may look like silver, but Yue celadon ware looks like jade. Secondly, if white ware reminds one of snow, celadon reminds one of ice. Last not least, Xing ware makes tea appear reddish, while celadon bowls give it a pleasant green hue. For all these reasons, Yue ware is to be preferred. There can be little doubt that Yue celadon ware was considered to be a high end product at the time.

2013
Ink and watercolor on paper
64 x 75 cm
Signed center right Lanbo in Chinese
With three seals of the artist Liang (center right), Liang (center left), and Lanbo (bottom left)

H: 17.5 cm
D: 8 cm

This vase featured a round mouth, long concave-neck, and plump lower body. The ceramic body is white and glazed in yellow; the neck is decorated with the pattern while the lower body is decorated with ocean wave pattern. The decoration is very smooth and detailed, which matches the classical style from the Jizhou kiln of the Song Dynasty.

D: 10.3 cm
H: 3.3 cm

This small washbowl has a gently curved belly, a rim that is slightly arching outward, and a round foot. On its inner walls is imprinted an intertwined decorative pattern, while the bottom shows a chrysanthemum design. The entire bowl is covered in Yaozhou celadon glaze of a somewhat darkish, elegant hue. The vessel’s shape has a simple, straightforward design. Imprinted patterns were one of the most important decorative features of Yaozhou ware, including floral and animal designs, as well as human figures. This particular type of bowl is rare, making this a worthy addition to any collection.

D: 10.5 cm
H: 8.5 cm

This cup has an outwardly curved rim and a deep, wide belly. The white body is thin and light, and glazed on the inside and outside. The glaze is evenly applied, but there are some tear-stains where it ran towards the round foot during the firing process, leaving a slightly thicker coating of a faint celadon hue. Both the outer and inner walls show some fine crackling, and the surface of the glazing has a particularly vitreous texture and luster, while the coloring is smooth and pure. These features are all proof of the high level of craftsmanship reached during the Sui Dynasty, in particular in the production of white ceramics, where its standards are still unsurpassed.

H: 10.5 cm
D: 8.7 cm

This high-stemmed cup has a fairly wide mouth, deep belly, and outward-arching round foot. Only the inside is covered with celadon glaze of faint hue but smooth luster. The central part is engraved with a plum blossom design, with the outlines of the petals clearly discernible. The outer parts are plain and unglazed, the only adornment being two simple lines running around the stem. This is a special piece of Longquan ware, well worth a collector’s attention. When the cup is filled with liquid, the play of the plum blossoms at the bottom makes for an entertaining diversion.

D: 11.5 cm
H: 4.8 cm

This dish has a very broad mouth, a short round foot, and a wide, curved belly. The interior bottom has a somewhat oval center, and where the glaze has been scraped away, the brownish body is visible. On the outside, a decorative pattern runs along the edge of the mouth, while the vessel’s interior is engraved with floral designs. The main motif are two intertwined broken-branch-style peony flowers whose petals are arranged in layers, creating an impression of full bloom. This dominant design is further accentuated by intertwining leaves and branches that fill up all the lower interior’s remaining space. An olive celadon glaze is applied to the whole dish, with the finish thicker in the receding parts of the ornamental design, making for sharper contours and a shade-like effect. During the Northern Song, Yaozhou ware was a designated tribute item of that area, and in the remains of the Yao Kiln pottery shards were found with reign titles engraved on them, such as Xining, Daguan, and Zhenghe. This explains the mostly elegant and sophisticated design of such ware.

D: 14 cm
H: 4.8 cm

This bowl is shaped like an East Asian broad-brimmed hat, or douli, with a wide, outward-curving mouth and a deep belly tapering towards the small round foot. The vessel is covered inside and out with evenly applied celadon glaze of a darkish plum green hue. The douli is the most famous and widely recognized design of Song Dynasty teabowls. Simple yet elegant, douli bowls were very much favored by the Song literati class. This item features a classic design and attractive color, showing all the widely admired aesthetic features of Song era ceramics.

2016
Ink and color on paper
75 x 46.5 cm
Signed Li Jing in Chinese with one seal of the artist

D: 15.6 cm
H: 4.5 cm

This teabowl is conical shape reminiscence of amboo hat (douli), its rim is curving slightly outwards, and it rests on a small round foot. Inner side of the bowl is glazed black, with iron-rust colored splashed irregularly as decoration. This visual effect is pleasant to the eye and invites fancy reveries. Brown iron-rust glaze extends to the foot on the outside. This kind of decorative straked black glaze is typical for Song Dynasty Cizhou ware, and during the Song/Jin period this technique had reached a high level of maturity and popularity.

D: 10 cm
H: 4 cm

Blue glazed earthenware first appeared during the Sui-Tang era, using cobalt pigments as colorant. Since cobalt was initially rare and expensive, and not easy to work, thus raising the production costs, blue glazed ware for a long time remained the prerogative of the nobility, in particular the emperor and his family. This lot is entirely covered in evenly applied blue glaze of a faint, darkish sapphire hue. Near the foot, where the finish is thinner, the body’s tawny ocher is visible. The round foot is slightly wider than usual and embellished with two lines of a swirling design. The item shows a decorous design and excellent workmanship in keeping with its aristocratic roots.

2015
Ink and color on paper
75 x 46.5 cm
Signed Li Jing in Chinese and dated 2015
With two seals of the artist

2007
Ink, Japanese pigment powder, metal powder on paper
181.8 x 492 cm
Signed Natsuki Urushihara in Japanese on the reserve

1989
Ink and color on paper
76 x 89 cm

L: 28.5 cm
W: 17 cm
H: 2 cm

1990
Ink and color on paper
64 x 48.8 cm
Signed Jiang Zhaoshen in Chinese and dated 1990
With two seals of the artist

2000
Ink on paper
68.5 x 67 cm
Signed Zhang Yu in Chinese and dated 2000.11

H: 17.4 cm

USHNISHAVIJAYA vajrasana sitting on a double lotus-shaped pedestal, eight arms radiating gracefully around the body, the head and the three faces slightly bent, each decorated with a third eye on forehead and overcame by a double chignon behind a crown, wearing a dhoti with finely carved flower borders.

H: 18.7 cm

AMITAYUS vajrasana sitting on a double lotus-shaped pedestal, hands of dhyana mudra holding a vase, the serene expression is framed by long ears and a crown.

H: 17.5 cm

Vajra pestles are religious utensils used in Tibetan Buddhism that trace their origin back to an ancient type of Indian weapon. In the Tantric tradition, vajras are an implement used to overcome all sort of doubts and demons, a tool for dispelling evil influences with the power of the Buddhist law. Vajra pestle is also a symbol of indestructability and power, and often used in combination with a bell, which represents feminine wisdom, the vajra symbolizes the masculine attribute of skillful means or compassion. This lot is entirely gilded and features meticulously cast decorative designs.

1946
Gelatin silver print and photograph
46.5 x 58 cm
Signed Nobuyoshi Araki in English on the reverse

H: 39.2 cm

Estimate on request

H: 23.5 cm
D: 11.5 cm

L: 16 cm

H: 22.5 cm
W: 18 cm

Seated in dhyanasana on a double-lotus base with beaded rims, his right hand raised in vitarkamudra and his left holding a manuscript in his lap, dressed in voluminous patchwork robes with hems incised in a floral pattern, the face with smiling mouth flanked by prominent ears, the base sealed and incised with a double-vajra.

H: 18.6 cm

Statues of Shakyamuni Buddha usually come in two basic varieties: sitting and standing posture. In addition, there are a number of mudras, or hand gestures, the five most commonly seen of which are the dhyana mudra, varada mudra, bhumyakramana mudra, dharmachakra mudra, and the fear not mudra. This statue shows Shakyamuni in the lotus position making the bhumyakramana gesture, also known as the overcoming demons mudra. This is the most common way of representing Gautama Buddha’s moment of enlightenment under a sacred fig tree in Bodh Gaya, as well as one of the most important images in Buddhist iconography. The Buddha is dressed in the kasaya, the monk’s robe, and his expression and overall appearance are serene and dignified. He is sitting on a lotus seat, his right hand making the bhumyakramana mudra, and his left placed in the dhyana mudra position. The entire statue is gilded, and the craftsmanship excellent. In particular, the fine adhesive gold coating of the face is very typical of Ming Dynasty style and technique.

D: 10 cm
H: 4 cm

This bowl has a lipped rim and round foot. Faint casting marks are visible on the outer walls. The entire bowl is glazed except for the foot, where the ceramic body is visible, which is slightly on the thick side, white and smooth. The finish is clean and glossy with a faint tint of celadon. A spiral pattern running along the item’s lower part gives an aesthetically pleasing effect. This kind of pattern is based on decorative elements often found in Tang Dynasty gold and silver utensils; in terms of design and glazing this bowl displays all the typical features generally found in late Tang and early Five Dynasties Xing ware. Although well over a thousand years old, the item is in excellent condition.

Ink on paper
48 x 67 cm

D: 12.4 cm
H: 3.5 cm

1959
Ceramic Vase
15.5 x 20 x 16 cm

NUMBERED:
137/500, inscribed 'Edition Picasso', with the Madoura and Edition Picasso stamps

2013
Silver Gelatin Photographic Paper
5 Editions
40.64 x 50.8 cm

2014
Fine Art Paper Print
5 Editions
61 x 50 cm

2006-2009
Polaroid unique
8 x 8 cm x 2

With certificate of authenticity issued by Taka Ishii Gallery

2006-2009
Polaroid unique
8 x 8 cm x 3

With certificate of authenticity issued by Taka Ishii Gallery

1991
Ink and color on paper
88 x 95 cm
Signed LI Yihong in Chinese and dated 1991
With three seals of the artist

H: 3.5 cm
W: 4 cm

1967
Ink on paper
15 x 51.2 cm
Signed Li Yihong in Chinese
With two seals of the artist

1983
Ink and color on paper
15 x 51.2 cm
Signed Li Yihong in Chinese
With two seals of the artist

1997
Ink and color on paper, hanging scroll
19.5 x 72.5 cm；141 x 72.5 cm
Signed Wan Qingli in Chinese and dated 1997 April
With nine seals of the artist

L: 17 cm
H: 15.5 cm

L: 11.5 cm
W: 7 cm

A set of indented tin saucers in prime condition. The saucers’ edges are slightly raised, curving very gently towards the middle, which has a round, deeper indentation to receive the teacup. The outer rim is in the shape of a stylized flower blossom with eight lobes of varying size, while a lianzhu decorative design runs around the upside’s central indentation, which is itself embellished with the auspicious Chinese character shou (longevity), also executed in the lianzhu style. The central part of the underside shows the characters “Shang Tian Tai” in bas-relief.

H: 15 cm
D: 13.5 cm

This jar is a representative work of Cizhou ceramics. It was produced by carving ridgelines onto the halfly dried pottery to form raised vertical rib patterns in the sides. Ithas a pair of small strap loop handles on the shoulder, covered overall in a black glaze and thinning to pale brown at the raised ribs, exposing the buff coloured body. During the high temperature firing process of the pottery, the black glaze was allowed to flow naturally through the carved lines. This created distinguishing black and white contrast in tonality where the rhythmic lines became the pattern, a significant representation of the bold characteristics of the Northern kilns.

1967
50.5 x 34 cm
Ink and color on paper, hanging scroll
Signed Chunbo in Chinese
With four seals of the artist

H: 10 cm
D: 10 cm

D: 12.5 cm
H: 4.5 cm

This type of Teabowl is a popular artifact among the upper class in Song Dynasty, among which, porcelain produced from Hutian kiln is of majestic elegance. This teabowl was designed with six pedals, which depicts a lotus in full bloom, a representation of nobility and purity. The glaze is highly transparent with a hint of faint blue, the ceramic body is white as jade, extremely thin that is translucent under light, just like conveying the peacefulness of a clear lake.

H: 10.5 cm
W: 7 cm

An elaborately engraved round tin can. On the side is carved a picture showing the Immortal of the Ancient Pine resting under a pine tree, fanning himself with a plantain leaf fan. Also engraved are two lines of poetry: the words enrich the image and vice versa, making for an aesthetically satisfying effect.

The lines of poetry read: The heat of the summer’s day doesn’t dissipate until late in the night; sitting deep in the shade of the pine tree, I unbutton my shirt.

L: 6.3 cm
W: 5 cm
H: 2 cm

H: 10 cm
W: 7 cm

Through long use and much handling, the can’s oxidized surface shines with a rich luster, rendering it very pleasing to the eye. The artist Deng Kui, who styled himself Fu Sheng, was a renowned calligrapher and pottery artist during the Qing Emperor Daoguang’s reign. He was one of the representative terracotta (zisha) artists of his time, who frequently worked together with other zisha specialists, including Yang Pengnian and others.

D: 9.5 cm
H: 5.1 cm

This teabowl has a gently curved belly and a round foot. It is covered in brown glaze inside and out, with the exception of the bottom rim of the foot. Ceramic body is white and smooth. The finisheing is evenly applied, and has a glossy luster free from impurities. Purple-red glaze is a medium-high quality product produced by Cizhou kiln, its uniformity, firmness, glossiness, and smoothness make it comparable to Ding ware.

L: 48 cm
H: 12 cm
W: 25 cm

2011

Stainless steel, Glass, LED, PCB boards, Electrical wire, CPU, LED driver, Power supply
110 x 110 x 15 cm

D: 6.7 cm
H: 2 cm

Iron has low ductility and malleability, making it a difficult to work material. Repeated hammering is required to beat every part into the right shape, angle, and thickness, and make the individual elements fit into each other. The seamless look of the finished product, as if made from one piece, is in truth the result of a time-consuming, painstaking process. This kind of iron craft is therefore considered to be one of the most challenging forms of metalwork. It is a type of skill that originated in Japan during the Edo period, and today this tradition is gradually disappearing. Hammered iron objects with decorative patterns of inlaid silver are even harder to make, taxing the craftsman’s patience and skill to the utmost. This hammered iron censer features an inlaid silver design of high filigree and exquisite execution. The item’s aesthetic appeal is further enhanced by its gilded interior, emphasizing the blend of classical elegance and simple beauty that best describes its overall appearance. Any avid incense aficionado will be interested in acquiring this piece with its smooth, free-flowing design and attractive solidity.

2011
Ink jet paper
8 Editions
61 x 48.5 cm

2011
Ink jet paper
8 Editions
61 x 48.5 cm

L: 30 cm
W: 42 cm
H: 70 cm

2010
Fine Art Paper Print
5 Editions
40 x 110 cm

2010
Fine Art Paper Print
5 Editions
40 x 110 cm

1967
Ink and color on paper
79 x 29 cm
Signed Xinyu in Chinese
With two seals of the artist

H: 35 cm
W: 20.5 cm