Asian Art and Furniture

A large, beautifully designed and colored, dramatically composed print by Japanese master printmaker Yoshitoshi Mori who was famed for his kappazuri stencil printing technique. In th...

This Persian Yazd carpet circa 1910 consists of a hand-knotted handspun wool pile and natural vegetable dyes. The size is 10' x 16'9" and it is in excellen...

This exquisite four-case lacquered inro was dated to the latter part of 18th century to early 19th century (Edo period) and made by Shigehide. The opposite sides of the inro together features a lavish flower arrangement in a bamboo basket (ikebana). The detailed craftmanship was a true pleasure to behold. Mostly Takamaki-e (high relief) were used to texturize the delicate petals of the chrysanthemums, on which different shades of gold were used to create contrast. Raden (mother of pearl) shells were also used to highlight some leaves, rendering the piece an interesting balance of color and material. The interior was completed in a mottled gold finish. It was signed Shigehide on the bottom with a Kao. There is a small carved rabbit ojime bead...

Hongō Toshihiko bronze vase with lotus bud form, slightly bulbous having a narrower base. The relief design is of overlapping lotus petals and a verdigris finish on the yellow bronze...

A rare and poetic set of five cups attributed to Kitaōji Rosanjin (1883–1959), one of Japan’s most revered ceramic artists and a leading figure in the mingei and shibui aesthetic mov...

A Chinese Qing Dynasty period large armoire from the 19th century with red lacquer, gilt décor, two doors and front apron. Created in China during the Qing Dynasty period in the 19th century, this large armoire features a linear silhouette perfectly complimented by a red lacquer accented by a gilt hand painted décor. The piece showcases a rectangular top overhanging a stunning façade. Chinese figures attending to their business are walking in landscapes or standing under pagodas while children are playing with flags or kites. Two doors, fitted with ornate pulls...

This is a very unique item, It was a bench used on the rear of an old ship. There are handles made of iron that were used to move it on an off the ship when it wasn't needed. The ori...

A vintage Chinese Ming Dynasty style low square-shaped coffee table from the mid 20th century with green lacquer top and horse hoof legs. Created in China during the Midcentury period, this Ming style table features a dark green lacquered top with central board, sitting above a waisted apron with curving accents. Raised on four legs with horse hoof extremities, the table boasts a nicely distressed patina, slightly different on all sides. With its clean lines, contrasting colors and rustic flair, this vintage Ming Dynasty style Chinese low coffee table...

A Chinese vintage lacquer game box from the mid 20th century, with gold leaf hand-painted landscape and floral décor. Created in China during the midcentury period, this vintage game box features a black lacquer ground perfectly accented with gilded hand-painted traditional landscapes and pagodas. The circular body, flanked with straight splaying supports, is topped with a lid revealing the small storage space. With its elegant lines and complimenting colors, this vintage Chinese game box...

A classic Chinese form chest In a reddish-brown stain. With a banded top over two deep drawers with carved floral lattice patterns, metal drop pulls and locking bars (lacking the closure pin). Double doors below with carved pots of flowers...

This is an old Japanese drawer storage shelf. This was made during the Meiji period. All the shelves are made from solid chestnut wood. After more than 100 years, it has become more ...

Famille Verte vases, Kangxi period, 1662-1722 Famille Verte, Kangxi 1662-1722 Chinese porcelain vases with beautiful colors, especially the blue ...

A six-panel painted folding floor screen from Korea circa early 20th century. This type of screen is called Chaekgeori (books and things) which is quite unique to Korea. It became popular at the end of 18th century favored and encouraged by King Jeongjo (1752-1800) as a political tool to promote social conservatism such as the traditional Confucianism value, especially considered important in a time when waves of new ideology influx came to Korea. Initially commissioned for the royal court, they became increasingly popular with the scholars of noble and affluent households and were used widely in their halls and studies. Early screens were painted with trompe-l’oeil bookcases displaying books and arrays of collectibles. Later, the bookcases were eliminated to focus on the assemblage of neatly stacked books and objects of scholarly pursue. On this screen, the six panels were neatly presented and framed in woven brocade borders. Among the stacked volumes, one can find many fine porcelain vases with flowers, potted orchids, pen holders with brush pens and scroll paintings, incense burner, ink stone, teapot, fan with ink painting, vessels of fruits, exotic plants such as lotus, plumeria and even a pair of glasses. It feels like a pleasant visual measure hunting for the viewers. Several words in Chinese found their way into the picture as well, including filial (xiao), longevity (shou) and luck (fu). The painting was done in a meticulous way with no details overlooked and also with a rather western still-life dimensional perspective. In a rather unusual maximal but also minimalistic way, the screen exudes a historical charm with a folky flair but appears modern at the same time. Each panel is 17.5"w by 70.2"h. For general information on the subject see reference: Chaekgeori the Power and Pleasure of Possessions in Korean Painted Screens...

Vintage African Wood Decorative Mask, hand-carved African mask from Ghana of a smiling lady face with a nice hairdo. African mask, hand-carved wood wall sculpture decoration. The Afr...

This Antique Wooden Burmese Offering Vessel is a remarkable piece that beautifully showcases the craftsmanship of the Shan (Tai Yai) people. Crafted from high-quality wood, this vess...

Large Antique Victorian Dutch Brass Jardiniere having a quality antique Victorian Dutch brass jardiniere, Having lions heads ring handles to the sides, decorated with traditional sce...

This stunning Chinese screen is an exceptionally well-crafted piece, beautifully decorated with intricate semiprecious hardstone carvings. Measuring ...

Korean hardwood chest on stand 18th Century A rectangular top projecting over four short frieze drawers and three panels of mounted floating panel doors within concave mounted border...

This 1890 Haji Jalili Persian Tabriz rug consists of a cotton warp, handspun wool weft and hand-knotted handspun wool pile. The bright copper hues, soft blues, indigos, cream and bei...

Late 19th-early 20th century grand scale Chinese wedding basket. 4 containers with cover; decorated with happiness & long life symbols in carve...

Folding screen depicting a landscape by a painter of the Rinpa school, early 19th century. Six panels painted in ink on gold leaf and "gofun" on vegetable paper. Rinpa is one of the ...

This gorgeous luohan daybed anchors its surroundings with its monumental scale and incredible carved decoration. Known as a luohan chuang, or couch bed, this form of low-backed daybe...

ANDO CLOISONNÉ COMPANY - Extraordinary cloisonné vase with roses and transparent green enamel over raised bamboo decoration - green enamel to the interi...

This wooden statue is a relic from Japan's Edo period, and within it lies a deep history that transcends time. Originally, it was part of a more intricate statue, likely adorned with...

Bucket burns perfume in bronze resting on three feet. The body is sculpted with a band frieze with an archaic motif. Two inverted U-shaped handles punctuate the edge. This type of bronze bucket was cast with lost wax from molds in several parts and assembled when the piece was poured, these are the traces that can be seen on the back of the bucket. . The bronze has a beautiful green and dark gray excavation patina. This perfume burner was originally to have longer feet, no doubt arched, cut very long ago since the place of the cut has the same patina as the rest of the piece. China Zhou Dynasty...

A large and powerful pair of Japanese calligraphic works, mid 20th century, Japan. One reading "Dragon", the other reading "Tiger". Ink on handmade paper, framed. The brush strok...

Calligraphy, folding screen Material: Paper, wooden frame 1 piece: Width 590 x Height 1700 x Depth 15 mm Expanded size: Width 3580 mm Folded size: Width 610 x Height 1700 x Depth 10...

Lovely and very detailed piece. Unsigned. Japan 19th or 20th century. Weight: 25 grams Provenance: Collected in the 1980's. From the collection of Clemens Merkelbach van Enkhuizen,...

A Chinese antique six-panel folding screen from the early 20th century, with green, blue and yellow stained glass, geometric motifs and wooden panels. Created in China during the first half of the 20th century, this large folding screen features six panels each adorned with a careful arrangement of opaque octagonal motifs surrounded by colorful stained glass with scrolling or textured motifs. The lower section is made of delicately raised panels surrounded by recessed accents. Folding screens likely originate back to the Han Dynasty, circa 200 BC as evidence in tombs shows. The Chinese considered screens as objects of contemplation and a source of spiritual and creative inspiration. The screens were used to protect from drafts, to provide a sense of privacy or to simply partition a room. With its nice proportions and complimenting colors, this Chinese antique stained glass folding screen...

This is a very good Chinese porcelain circular deep plate or dish, made for the export (Canton) market, which we date towards the end of the first half of the 18th century, in the ea...

A 19th century terracotta male figure modelled after the Han dynasty figures dating 206 BC-220 AD. Beautifully rendered with downcast eyes and soft colors. A full face with plump che...

A wonderful green glaze typical of Chinese "Shiwan" pottery adorns this early 20th Century Chinese storage jar. The jar likely occupied a private home to store grains or other househ...

Large Impressive Indo Persian Table Box Handcrafted from Papier Mache Engraved and skillfully hand painted Dating from mid 1900's Good vintage condition with gentle signs of wear c...

Extraordinary natural work, one of a kind. Custom framed This Chinese extraordinary round natural stone painting of a possible mountain fishing stream could remind us of a unique experience and view in our lives. The powerful and colorful depiction is executed in natural white, light blue and iron rich red colors. This is called a dream stone Shih-Hua. They are cut from historic Dali marble...

This is a Japanese beautiful Kimono belt called 'Han haba obi'. Both side are with motifs but different motifs. It is a belt for kimono but you can use as a table runner or wall deco...

A fantastic, wonderfully glaze stoneware Banko ware vase with beautifully detailed craftsmanship. Banko ware pottery is thought to have originate...

archaistic motif on yellow ground

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 3rd quarter of the 20th-century Tibetan rug with a dragon motif on a brown field Size: 3'1'' x 58''.

A Chinese Ming Dynasty style square-shaped wooden coffee table from the 19th century, with original distressed finish and hand-woven rattan top. Created in China during the Qing Dynasty period in the 19th century, this coffee table features the stylistic characteristic of the Ming Dynasty. The table presents a square top with woven rattan inset, adorned with a reeded edge on all sides. Showcasing its original finish with a nicely distressed patina revealing its age and use, the table is raised on four straight legs connected to one another through humpback stretchers. With its elegant Ming lines and great patina, this Qing Dynasty wood and rattan coffee table...

Large decorative Indian Hindu woodcarving depicting a horse with an attendant (possibly shiva), used for processions. Indian Temple Horse. Polychrome woodcarving. In fair condition,...

Extraordinary unique Japanese Contemporary large framed and signed traditional Oshie decorative art piece in black and cream, known as oshie (literally, “pressed pictures”) that goes back to the Edo Period (1603-1868). It is said this art form was born of the reluctance of ladies of the court and elite aristrocratic women to discard the magnificent silk kimonos and brocaded obi they had donned for a lifetime. The solution was to recycle these opulent fabrics into stunning works of art. The creator of this signed piece prides herself in using the best antique and vintage kimono and obi fabrics...

Rare set of four Japanese Showa period door panels known as Fusuma in Japanese architecture. Similar to a Shoji room divider but made of an opaque materia...

The Uzbek silk embroidery suzani cushion cover is a true masterpiece of textile art, originating from the vibrant and culturally rich region of Uzbekistan. Handcrafted with meticulou...

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...

Very unique Ethiopian processional cross, brass, early 20th century. Base is covered in Yves Klein Blue lucite measuring 12.5" D x 16.5" W x 6" H Provenance: Collection of Lillian Florsheim...

Antique Monumental Chinese Quan-Yin Sitting Mandorla Carved Polychromed Wood Sculpted Statues - Set of 2 This set of two antique monumental Chinese Quan-Yin sitting mandorla carved ...

Sharing with you this fantastic Chinese Porcelain Plate Kangxi period. Fantastic decoration in blue and white and marked with Chenghua at the base. Please enjoy Condition Some rimf...

This 1910 Bakhtiari rug from the village of Chahal Shotor consists of a cotton warp and handspun wool weft and hand-knotted pile. Its beautiful bright colors are derived from organic...

A beautiful antique Khmer hand carved wooden Buddhist figure. Originating in Cambodia, Laos, Vietnam or Thailand, 19th century or earlier, the exceptional Southeast Asian antique...

This piece is a small ceramic vessel with a distinctive silhouette modeled after a pomegranate, notable for its full, well-balanced curves. The mouth, reminiscent of the fruit’s caly...

Reika Yoshikawa (Reika Yoshikawa, Meiji eight years (1875) May 4 days-Showa 4 years (1929) March 25), the Meiji Taisho era Japan painter. His real name is Hitoshi, commonly known as Saburo. Yamato-e basic widely while the oriental of classical learning in art, line drawing, especially in Seiga paintings representation by taking advantage of beautiful thin line, such as flow, "draw" from "null" to the center of gravity is going modern...

An antique Japanese plate adorned with a polychrome cloisonne enamel design. The front side is decorated with floral ornaments and two medallio...

This is a large Chinese 17th Century Stoneware Martaban Jar. Martancan Jars were created to store food items such as grain, tea, oil, etc. The ...

A Sri Lankan ebony and cane ‘Easy chair’ or 'planter's chair' Galle, mid-19th century H. 101 x W. 61 x D. 78.5 cm H. 38.5 cm (seat height) Ebony f...

1794 Antique Japanese breaded catch all with incised floral center design. Signed

An antique Chinese famille rose fencai decorated porcelain saucer dish, finely painted with 5 groups of flowers and insects, thinly brown glazed mouth rim, with five lively bats in d...

Traditional Tribal Mandau (Parang Ilang) Sword – Dayak People, Borneo The Mandau is a traditional sword of the Dayak people of Borneo, revered both as a cultural artifact and a weap...

An exceptional 19th century satinwood Carlton House desk attributed to Gillows of Lancaster, the curved superstructure with pierced brass gallery, fitted with two banks of three drawers to the centre, flanked by cupboard doors, the left & right with a document slot above, the reverse inlaid with oval panels, with a gilt tooled burgundy leather writing surface, above three frieze drawers on turned gadrooned and fluted tapering legs with brass caps. Circa 1880 Dimensions: H: 41 1/4 in / 104.8 cm W: 61 in / 154.9 cm D: 32 1/2 in / 82.5 cm Footnote: This particular design of desk owes its name to the one supplied to the Prince of Wales for Carlton House by the court cabinet maker John Kerr in 1790. Its design was later published by George Hepplewhite in 1792 and in 1793 by Thomas Shearer. The publication in Sheraton’s The Cabinet-Maker and Upholsterer's Drawing-Book of several plates illustrating the interiors of Prince George’s recently built palace raised the interest for its interior decoration. Three years later, the name Carlton House desk appears for the first time in the Estimate Sketch Book of Gillow of London and Lancaster. A Gillow’s sketch from 1798 differs slightly from Hepplewhite’s and it is closer in design to the present lot, most noticeably displaying the turned and fluted legs and the pierced brass gallery. The design of this desk similar to known Gillow’s stamped models, the type of construction and the typical square brass handles strengthen an attribution to this firm. Literature: ‘H. Roberts, 'The First Carlton House Table...

A stunning gilt bronze statue of Avalokiteshvara, the Great Compassion Green Tara. Seated in lalitasana with the right foot supported on a lotus stem that projects from the front of ...