Colonial Sri Lankan

Hand-turned garden chair made of solid satinwood, Colonial, Sri Lanka, circa 1900. Hand-caned seat and back.

Eyecatching Ceylonese rectangular porcupine quill box with decoration of ebonised casing and striking porcupine quills and infills of white and black bone 'dots' Sliding lid reveals...

Petite and charming Ceylonese rectangular porcupine quill box with ebonised casing and inlaid bone decoration. The sliding lid reveals a plain cedar wood interior. Superb variation o...

Superb Ceylonese porcupine quill lidded pot in a most unusual conical shape Fashioned in dark wood and decorated with quill pieces All quills are present and in excellent order. Int...

The exceptionally fine curvilinear carved base & conforming lid are embellished with finely engraved paktong mounts, bail-handles & backplates. The underside of the lid is fi...

I’ve never come across another story quite like the one attached to these little Sri Lankan Buddhas. They were reportedly unearthed around 1900 by the previous owner’s grandfather w...

Handmade in Sri Lanka, where both satinwood and ebony are indigenous, the cabinet was made with no nails, using dowels only.

Handmade in Sri Lanka, where both satinwood and ebony are indigenous, the cabinet was made with no nails, using dowels only.

British Colonial Ceylonese Solid Satinwood & Hand Caned Armchair Made entirely out of satinwood. Gentle curved back. Hand caning seat - still in good condition. Spiral arms are a un...

Executed in nadun, a dense tropical hardwood native to Sri Lanka, the figure is remarkable for its robust baroque stylization, compact proportions, and inlaid eyes — a high-status fe...

Rare late 17th century Dutch colonial, probably Sri Lankan, Macassar ebony document box having deeply molded raised panel lid, original richly patinated brass studs, carry handles an...

This desk was likely made in Ceylon, now Sri Lanka. A remarkable Dutch Colonial piece with English influence.

The Grandfather shell mark chair, shown here, is from Ceylon, circa 1820. Featuring an exquisite carved ebony frame—distinguished with a shell mark detail on the top rail—and hand-c...

Beautiful form from the Dutch colonial era of modern day Sri Lanka.

Handmade in the Dutch style with a Ceylonese twist on the base in Sri Lanka. Various woods include: Nadoun, satinwood, mahogany, and ebony inlay.

A ebony two door cabinet decorated with a profuse pattern of stylized vegetation in low relief. The interior reveals an arrangement of six drawers. The fittings comprise two side han...

These lanterns were handblown in Sri Lanka for the British expats. They were referred to as 'glow lamps' rather than bell jar lanterns there.

These lanterns were handblown in Sri Lanka for the British expats. They were referred to as 'glow lamps'.

Another stunning 19th century Anglo-Ceylonese piece. Made circa 1880 in Ceylon (Now Sri Lanka) of Coromandel wood and specimen woods. This is a simply gorgeous and quality item!!...

This rare box was likely made in the Dutch East India possession of Sri Lanka, or made in Holland with ebony imported from there. 18th or early 19th century.

Made in Ceylon which was the colonial name for Sri Lanka. Porcupine quillwork objects of this quality were produced in limited numbers by Sinhalese artisans for the colonial and expo...

Drawing from her experiences as a Sri Lankan navigating colonial spaces in Canada, her art challenges one-dimensional portrayals of women of color often centered around labor.

Drawing from her experiences as a Sri Lankan navigating colonial spaces in Canada, her art challenges one-dimensional portrayals of women of color often centered around labor.

Drawing from her experiences as a Sri Lankan navigating colonial spaces in Canada, her art challenges one-dimensional portrayals of women of color often centered around labor.

Drawing from her experiences as a Sri Lankan navigating colonial spaces in Canada, her art challenges one-dimensional portrayals of women of color often centered around labor.

Drawing from her experiences as a Sri Lankan navigating colonial spaces in Canada, her art challenges one-dimensional portrayals of women of color often centered around labor.

Drawing from her experiences as a Sri Lankan navigating colonial spaces in Canada, her art challenges one-dimensional portrayals of women of color often centered around labor.

Drawing from her experiences as a Sri Lankan navigating colonial spaces in Canada, her art challenges one-dimensional portrayals of women of color often centered around labor.

Drawing from her experiences as a Sri Lankan navigating colonial spaces in Canada, her art challenges one-dimensional portrayals of women of color often centered around labor.

Drawing from her experiences as a Sri Lankan navigating colonial spaces in Canada, her art challenges one-dimensional portrayals of women of color often centered around labor.

Drawing from her experiences as a Sri Lankan navigating colonial spaces in Canada, her art challenges one-dimensional portrayals of women of color often centered around labor.

Drawing from her experiences as a Sri Lankan navigating colonial spaces in Canada, her art challenges one-dimensional portrayals of women of color often centered around labor.