11 June 2026 | Paris | full auction details

This season’s sale begins with a selection of Buddhist devotional art, including two superb Chinese bronze figures from the fifteenth century (lots 7 and 8), and a rare Tibetan appliqué thangka (lot 9). Bridging the gap between Buddhism and the Chinese court is an important Ming dynasty jade seal, purportedly belonging to the Dharma King of Great Compassion (lot 10), and a Tang dynasty marble head acquired by a European family in the early twentieth century (lot 21).

Other Chinese works of art emerging fresh to the market from historic sources include the monumental carved lacquer box for the first scroll of the Qianlong Emperor’s Southern Inspection Tour (lot 25); a pair of ‘lion’ seals (lot 27); and an imperial silver flask dated to the second year of the Xianfeng reign (lot 28). The sale continues with a selection of classical Chinese furniture, including a huanghuali cabinet and square table (lots 40 and 41), before turning to a comprehensive selection of ceramics – most notably an exceptional numbered Jun flowerpot formerly in the collection of John Gardner Coolidge (1863-1936) (lot 53); a wucai brush box of Wanli mark and period (lot 59); and a variety of imperial Qing porcelain from private European sources. The first session concludes with a return to India with a fine gilt-copper seated Buddha from the Pala period (lot 88); a large thirteenth-century dancing Sambandar (lot 92) and a selection of Indian paintings (lots 95-106).

The second session continues to celebrate the breadth of Chinese craftsmanship with a selection of jades from important European sources including a monumental Qianlong period covered vase (lot 134); and a selection of cloisonné enamels, including an important imperial panel inscribed in the hand of Yu Minzhong (1714–1779) (lot 147). Two paintings by Lin Fengmian (1900-1991) (lots 148 and 149) are followed by a number of important Vietnamese works including a screen by Pham Hau (lot 150) and three works by Mai Trung Thu (1906–1980), two of which have never appeared before on the market (lots 151-153).

Finally, the sale turns to Japan with a comprehensive group of ko-sometsuke wares produced in China in the seventeenth century for the Japanese market (lots 157-173); a rare early Shinto figure (lot 180); and extensive collections of ukiyo-e prints including complete sets of Hiroshige’s Fifty-three Stations (lot 228) and Suzuki Harunobu’s Marriage series (lot 235) .