Asian Art and Furniture

Vintage turtle metal brass box Box with bird finial on wheels. The large heavy brass turtle shape with a beautiful patina metal box open to a large container to use as a trinket box,...

A fine antique 19th century Chinese Qing dynasty Imperial green Celadon Gu shaped porcelain vase, circa 1850. The vase of Gu shape, originally an ancient shaped tall and slender wine...

Description Kawase Hasui - Kiyomizu Temple in Kyoto, woodblock, 1933, published by The S. Watanabe Color Print Co., with the 7mm and Heisei seals, 15.25" x 10.25". This item is in ex...

Precious Natural and exquisite Burl Wood "shikiita" display stand embodies the traditional Japanese appreciation for natural beauty and craftsmanship. Made from high-quality burl woo...

A fantastic original woodblock print by famed French artist Paul Jacoulet titled "Le Dieu Vivant, Nagano, Japon. (The Living God, Nagano, Japan)" Jacoulet was famed for his technique...

Art Deco Oriental Carved camphor wood chest This Beautiful Carved Chest is made from Camphor Wood, for those of you who do not ...

A small elegant glazed ceramic tea bowl (chawan) by Japanese American artist Toshiko Takaezu (American, 1922 - 2011). The well-balanced form is hand b...

Material: marble 57 cm high 52 cm wide and 29 cm deep Weight: 61.55 kgs Mandalay style Bhumisparsha mudra Originating from Burma 19th century The stone seems more 'alabaster', it is...

Antique Chinese Qing dynasty blue and white ginger jar, hand painted with two double happiness characters on scrolling foliage background with large peony blossoms in cobalt blue. ...

A professionally framed antique hand-woven Turkish textile from Anatolia circa late 19th century. The panel was likely a storage bag face. It features a striking joined panels that s...

Pair of charming polychrome ceramic Foo Dog / Lions in the Qing Style. Fantastic detail and a beautiful color combination of ochre, green, brown and blue. Foo dogs are symbolic, pro...

A pair of famille verte porcelain plates, the left made in China during the Kangxi period (r. 1662–1722) and the right a copy by Meissen made circa 1740. Chinese porcelain has alw...

This special antique Burmese lacquerware betelnut box is a remarkable example of 19th-century craftsmanship from Burma (modern-day Myanmar), showcasing the rich cultural heritage and...

PRESENTING a LOVELY Large Vintage Chinese Ceramic Guanyin Statue. Made in China circa 1950-60 of salt glazed pottery, bisque porcelain for face, chest, hands and feet, with hand pai...

Very unique tall Japanese vase with abstract pattern in a variety of brown tones. The deepest brown glaze is raised, giving the vase a wonderful tac...

Featuring Seven Japanese Macaques Form our Japanese collection, we are delighted to offer this Japanese Bronze Monkey Group by Shosai. The Japanese Bronze Group displaying a male father monkey and his infants playing around and being mischievous with Persimmon fruit. The monkeys modelled as Japanese macaque monkeys (snow monkey). The bronze okimono is beautifully patinated with a highly lifelike and naturalistic casting signed to the underside Shosai 正齊鋳. The Bronze group dates to the Meiji Period (1868-1912) circa 1885. Japanese macaque (snow monkey) is a terrestrial Old World monkey species that is native to Japan. They are known as snow monkeys because some live in areas where snow covers the ground for long periods each year hence their nickname. No other non-human primate lives further north or in a colder climate than the snow monkey. Individuals have brownish grey fur, pinkish-red faces, and short tails. Two subspecies are known and their conservation Status is of least concern. In Japan, the species is known as Nihonzaru ニホンザル, 日本 (Japan/Nihon) and saru 猿 (monkey) to distinguish it from other primates, but the Japanese macaque is the only species of monkey in Japan. The Japanese macaque features heavily in the religion, folklore, and art of Japan, as well as in proverbs and idiomatic expressions in the Japanese language. They are often seen in paintings, block prints and represented in all manner of carvings from Okimono to netsuke. Many of these art forms reside in the world’s most famous museums and collections, some of the most prominent pieces by artists such as Mori Sosen and Kawanabe Kyosai. In Shinto belief (Japan’s indigenous religion/nature religion) legendary mythical beasts known as raiju sometimes appeared as monkeys and kept Raijin (the god of lightning/storms) company. In another well known tale the three wise monkeys who warn people to “see no evil, hear no evil and speak no evil” can be seen depicted in relief over the door of the famous Tosho-gu shrine in Nikko. Meiji Period was an era of Japanese history that spanned from 1868 to 1912. It was the first half of the Empire of Japan, when the Japanese people began to build a paradigm of a modern, industrialised nation state and emergent great power, influenced by Western countries and aesthetics. As a result of radically different ideas, the changes to Japan were profound and it affected the social structure, politics, economy, military, and foreign relations across the board. The period corresponded to the reign of Emperor Meiji and was preceded by the Keio era and was succeeded by the Taisho era. Cultural Art during the Meiji Period was of particular interest to the government and they overhauled the art export market which in turn promoted Japanese arts via various world’s fairs, beginning in Vienna at the world fair in 1873. The government heavily funded the fairs and took an active role organising how Japan’s culture was presented to the world including creating a semi-public company named Kiritsu Kosho Kaisha (First Industrial Manufacturing Company). The Kiritsu Kosho Kaisha was used to promote and commercialise exports of Japanese art and established the Hakurankai Jimukyoku (Exhibition Bureau) to maintain quality standards. For the 1876 Centennial International Exhibition in Philadelphia, the Japanese government created a Centennial Office and sent a special envoy to secure space for the 30,000 items that would be displayed. The Imperial Household also took an active interest in arts and crafts, commissioning works by select artists to be given as gifts for foreign dignitaries further emphasising the high quality and importance of Japanese art. Just before the end of the 19th century in 1890, the Teishitsu Gigeiin (Artist to the Imperial Household) system was created to recognise distinguished artists. These artists were selected for their exceptionally high quality wares and talent in their own industry. Over a period of 54 years Seventy artists were appointed, amongst these were ceramicist Makuzu Kozan and cloisonné enamel artist...

Antique Chinese Republic Famille Verte vase with Qianlong mark on the base Condition: Excellent.

An antique Persian Iranian Safavid dynasty hand woven embroidered textile. The textile is decorated with hand woven floral motif on a beige background. Circa: 17th century. The Safav...

On offer on this occasion is one of the most stunning, mirrored paintings you could hope to find. This is an ultra-rare opportunity to acquire what is, unequivocally, the best of the...

An Imari Porcelain Barber's Bowl/Basin, used for shaving, bleeding and much more. Late 17th or early 18th century, Painted with central flowers, hares and Birds. Size: 25.8x6.5cm dia...

An absolutely gorgeous Shino ware pottery Chawan tea bowl by Japanese master potter Kitaoji Rosanjin (1883-1959) who was arguably one of if not the gr...

Illustration to an unidentified chapter of the Tale of Genji (Genji Monogatari) Tosa School (second half of the 17th Century) Ink, pigment, gofun and...

A large ancient Timor stone ancestor carving from the Belu district of central Timor .

This petite mother-of-pearl carving is a delightful example of the button-like toggles worn by men and women throughout the Qing dynasty. Because traditional Chinese clothing didn't ...

This 19th-century Japanese Tansu clothing chest produced in the Meiji period is made of Japanese cedar wood (cryptomeria Japonica) in its inner parts, while for the outer parts it is...

If you love the look of De Gournay wallpaper but not the price, this is for you. Measures: 36" wide x 91" height The colorways in this sections present our latest colorways, which c...

A Chinese vintage lacquered coffee table from the mid-20th century, with carved gilt floral motifs. Born in China during the mid-century period, this exquisite coffee table attracts our attention with its subtle charm and delicate décor. Presenting a linear silhouette beautifully complimented by a dark lacquered finish with red undertone, the table is adorned with an incised floral décor highlighted with gilded accents. Featuring a shaped skirt and horse hoof extremities, this vintage Chinese coffee table...

Rare pair of large Chinese carved stone foo dog guardian lions. Originated from a house of a mandarin (a public official in the Chinese Empire), located on The Silk Road. Here they were placed in front of the gate, with the gate doors mounted on the base behind the lions. The pair consist of a male with a ball on his back, and a female holding a puppy. The ball represents the world and the puppy represents nature or a nurturing spirit. One stand lightly carved with a horse, the other with a deer. The front of the stand is carved with camel...

This antique Japanese chest of drawers dates back to the Meiji period. This chest is made from sturdy cedar wood with a lacquer finish, and the iron handles add industrial elegance....

Japanese Satsuma vase, Meiji period of ovoid form with slightly domed cover, decorated with monkeys in robes frolicking in a landscape beside a river. Condition Overall Conditio...

This extraordinary piece of art from Southeast Asia exudes an ancient charm that transcends time, telling stories of distant traditions and cultures. Dating back to the late 19th century, this work is a testament to the skill and dedication of the artisans of that era, who infused life and soul into every detail. The gong, the undisputed protagonist of this composition, is made of copper and features a dark patina that accentuates its antique and mystical character. This aged surface, which softens its original shine, adds depth and mystery, almost whispering the stories and rituals for which it was used. Supporting the gong is a solid wooden structure, painted in a lacquered red that, despite the marks of time, retains a timeless beauty. The traces of wear reveal layers of underlying color, giving the piece a lived-in and authentic charm, as if it had witnessed countless ceremonies and sacred moments. Alongside the main gong, two small gongs...

4.5in(D) x 4.5in(W) x 8.5in(H) are the dimensions of the vase only (not including the wooden base); the wooden base shown in the pictures is included with this item; vase is decorate...

Hannya (般若) Noh Mask attributed to Takada Fuki (高田 冨季, 1935–2008) Mask: Hannya (般若) SKU: TBA15 Size: W: 17cm, H: 21 cm (W/horns 25.5cm) The Hannya mask represents a female demon w...

Antique Chinese Floral Cloisonne Enameled & Lidded Ginger Jar c1920. 8 1/8" x 7 1/4" x 7 3/4". This antique Chinese ginger jar, dating to circa 1920, showcases the intricate ar...

14th century Northern Sukhothai Walking Buddha Head-Museum quality. Near monumental- the full figure would have stood between 7 and 8 feet tall. Very l...

These boutique barstools are top lacquered wood with polished metal details. available in counter and bar height.

A vintage pair of Country style Burmese hand woven rattan chairs from the mid 20th century, with arching backs and double H-Form cross stretchers. Created in Burma (nowadays called M...

The Inro is comprised of three stacked compartments and features a deer motif with mother of pearl accents, an ojime and a wooden frog netsuke. Inros were used to store items like m...

Antique Chinese Deeply Carved Rosewood Figural King Throne Chair with Dragons C1920 Measures - 48.25"H x 29"W x 25"D

On offer is a large Korean ceramic storage jar (hangari) with white glaze and iron red underglaze dragon design. The globular shaped jar derived its form from the Moon Jar of the ear...

A large Ming-style sculpture of Chinese Bodhisattva Guanyin, circa 1900s, from a century-old US collection. Dated circa 1900s based on the face (b...

An Indian open iron design coffee table made of an antique brass window grate with iron geometric design top and delicate floral motifs. Born in India dur...

Original ancient Indian window depicting two dancers, a female and a male, intent in their moves and in typical customs. Floral themes in the frame. The window is made of hand painte...

A set of 3 beautiful porcelain handle Chinese calligraphy brushes. The handles with hand painted round and oval porcelain balls of longevity motifs and basketweave, in classic, timeless blue and white...

Antique Batik Tulis Kemben Cloth – Tiga Negri Style – Hand-Drawn Wax Resist Textile, Indonesia (1930s) An exceptional example of traditional Indonesian textile artistry, this antiq...

This antique wooden Indian temple panel is an exceptional 18th-century artifact, originally part of a traditional temple chariot used in sacred processions. Expertly hand-carved from...

Heron & Plovers Ink and silver leaf on paper Maekawa Bunrei (1837-1917) A pair of low six-panel Japanese screens by Maekawa Bunrei, a later master of the Kyoto based Shijo school of painting. On the right screen a solitary white heron stands motionless in a stream. On the left screen plovers play along a shoreline. The elegant forms are executed employing fluid, minimalistic ink brushstrokes. The soft brushstrokes and the sharp light of the silver leaf lend the scenes a sense of translucence. The sophisticated composition superbly exploits the long, horizontal pictorial surface of the pair of folding screens...

Spectacular 19th century Japanese late Edo period six-panel byobu screen depicting Yoshitsune and Benkei, two heroes of Japanese folklore. Crafted in ink and natural color pigments on mulberry paper with thick gold leaf borders on each panel. The character Yoshitsune is seated under a blossoming cherry tree in full armor holding a fan. The warrior priest or monk Benkei is depicted kneeling on a leopard skin...

This is a traditional Japanese noren (fabric shop curtain) dating to the Taisho period (1912–1926), crafted from cotton dyed with persimmon tannin (kaki...

An antique Persian Iranian Safavid dynasty hand woven embroidered textile wall hanging. The textile is adorned with a traditional paisley ornament. Circa: 17th century to 18th centur...

An Asian style screen offers four Chinoiserie decorated ebonized panels with landscape scene having garden with tree, birds and pond, raised on square l...

Description: A singular example of Guanyin. Deviating from the Bodhisattva’s conventional pose of ‘royal ease’, the figure is instead seated in the meditative padmasana, or ‘lotus position’, rendering this Guanyin something of a rarity. An Apana more typically associated with depictions of Buddhas, Guanyin assuming this pose immediately signifies this figure as one of particular spiritual reverence. Both feet are revealed crossed upon one another from beneath fabric which spills before her, her left palm turned upward with her hand resting upon her left knee and her right raised in a relaxed gesture. Adorned with a diadem housing a depiction of Amitabha Buddha, her own spiritual guide, she exudes an air of tranquil regality, further characterised by her numerous strings of beads and elaborately fastened dhoti, attire traditionally reserved for Indian princes. Though the figure’s dress is Indian her face is undoubtedly exemplifying artistic Chinese beauty standards. Her face is soft and rounded, full in both the lips and cheeks, with eyes that restfully peer down, as though she is watching over the worries of mankind with compassion. Notes on the item: Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia. Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent. The Indian Avalokiteshvara is unequivocally recognised as male, whilst the supposed gender of Guanyin remains contentious. Although there is a clear shift from the masculine Avalokiteshvara towards a more feminine representation, it is unclear if Guanyin is understood to be entirely feminine, to inhabit qualities of both genders or to be elevated beyond gender entirely, embodying neither. Depictions of Guanyin are highly androgynous, which some believe lends credence towards Guanyin symbolising the unity of dualistic forces as recognised in Daoism, displaying the anthropomorphism of yin and yang. Comparative Analysis: Market comparisons of similar Qing Dynasty polychrome figures of Guanyin include lot 767 (no.2) From Christies ‘Important Chinese Ceramics and Works of Art,’ New York, 25 March 2022, with the price realised USD 52,920 (Estimate USD 20,000 – USD 30,000). Christies also auctioned a comparable polychrome Guanyin...

Exceptional Antique Carved Stone Bust of Vishnu Mounted On a Wooden Base. Ca. 7th-12th Century AD. An ancient carved stone sculpture depict...

Anonymous Summer willow and sparrows Taisho period, circa 1920 Framed painting. Mineral pigments, mica, gold, ink and gofun on silk Dimensions (framed): H. 98 cm x W. 135 cm x D...

Nicely made Tsuba. The piece is unmarked. Dating to the Edo or Meiji period A Tsuba is a Japanese sword mountings are the various housings and associated fittings (tosogu) that hold...

This distinctive vinegar pot is from Shan Xi province, northern China, renowned for its exceptional aged vinegars. Exhibiting an unique form with a single small sprout. The rounded b...

Mid-Century Modern large Rationalist wood bench. Manufactured in France, circa 1960. In original condition with minor wear consistent of age and use, preserving a beautiful pat...

Presenting a beautiful Chinese cloisonné enamel egg depicting a dragon flying in the cloud of the sky with a wood stand, early 20th century.

Antique Anglo-Indian quill box handcrafted and decorated with porcupine quills and bone dots. Made in Ceylon which was the colonial name for Sri Lanka.

A large Japanese Wedding Kimono with bold embroidery designs. The auspicious attire was known as Uchikake and was worn by the bride during the wedding ceremony made from silk and hea...