Chinese Antiquities

A Chinese export silver bowl circa 1890, with later blue glass liner. The bowl is pierced and has wonderfully detailed chrysanthemum decoration and sits on a plain collet foot. The r...

A Set of 4 Chinese Export Silver Candlesticks with Glasgow import marks for the firm of George Edward & Sons, 1899. The Scottish firm was one of the few UK companies that stocked Chi...

This figure appears to be a terracotta statuette, possibly representing a court official or a deity given the distinct headgear which could signify a rank or divine attribute. The st...

A Chinese Export Silver Card Case embossed and chased with figural scenes on a matte background, including playing Go and horse-riding. The top has a plain oval cartouche. It was ret...

This teapot is intricately decorated with patterns of flowers, leaves, and scroll-like designs. Period : Qing Dynasty, Yongzheng Period Production Date : C 1725 Made in : Jingdezhen...

This statue appears to be a stone sculpture of an apsara, a celestial nymph from Buddhist and Hindu traditions. Despite its fragmentary state, the sculpture conveys grace and movemen...

"Three Friends of Winter" motif: pine (song), bamboo (zhu), and plum (prunus or mei), which are known for their ability to thrive during the winter months. The pine and plum blossom in cold conditions, while the bamboo remains upright under the weight of snow, collectively representing steadfastness, perseverance, and resilience. This motif became a popular auspicious design by the 17th century, not only in ceramics but also in wood carvings and paintings of the period. An example of this motif can be seen in a saucer-dish from the Qing dynasty, specifically from the Qianlong period (1736-1795). The dish features the "Three Friends of Winter" in underglaze cobalt blue, centered within a medallion. This design reflects a combination of aesthetic beauty and symbolic meaning, illustrating the high level of craftsmanship and cultural significance embodied in Qing dynasty ceramics...

A Yue celadon vessel from the Jin Dynasty period, notable for its characteristic greenish-glazed pottery which was prominent during this time. The vessel features a globular body wit...

19th century Qing period Chinese storage basket intricately hand woven with bamboo and cane. Iron hinges and pull. Measures 20" X 20" X 16" tall . Warm aged patina. Wonderful condition.

The plate depicted here exhibits the intricate floral patterns and lotus motifs that are typical of Southern Song designs. The central floral motif captures the essence of Oriental b...

During Yongzheng era, such miniatures were appreciated for their craftsmanship and aesthetic value. They were also often used in scholars' studios as part of the 'wenfang', or study ...

Hand carved bamboo vase/brush pot/bitong. This hand-carved Chinese bamboo bitong or dried flower vase dates from the late Victorian period, circa 1880. The bitong, or brush pot, is...

Famous late ming dynasty chinese blue and white porcelain plate, double phoenix, from the shipwrecked binh thuan Period: Ming Dyn...

The dish is decorated to the centre with a moulded appliqué dragon chasing the flaming pearl surrounded by a carved stylised foliage band at the cavetto. The moulded fluted exterior ...

A pair of pottery dignitary tomb figures from the Ming Dynasty era.

This guardian figure represents a fusion of human and beast, a common motif symbolizing protection in Chinese lore. Crafted from pottery, the figure is a testament to the era's sculp...

Graceful and simple beauty in the tea set decorated with floral patterns Period : Qing Dynasty, Yongzheng Period Production Date : C 1725 Made in : Jingdezhen Destination : Netherla...

This stunningly enameled porcelain vase has a double mouth opening with hand-painted images of boys playing among the vines, gourds and gourd blossoms. There is a border of bat-like ...

ITEM: Statuette of a Fat Lady MATERIAL: Pottery CULTURE: Chinese, Tang Dynasty PERIOD: 618 – 907 A.D DIMENSIONS: 655 mm x 265 mm x 210 mm CONDITION: Good condition. Includes Thermoluminescence test by Laboratory Kotalla (Reference 05B101123). Includes Certificate of Authenticity from Dutch gallery PROVENANCE: Ex Belgian private collection, acquired from Dutch art gallery Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks. Due to the fragility and size of this piece, it can only be shipped within the European Union, United Kingdom and neighbouring countries that can be transported by road by private courier (door to door). This beautifully-finished ceramic attendant was made during what many consider to be China’s Golden Age, the Tang Dynasty. It was at this point that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The Tang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best- known painters and artists. The Tang Dynasty was created on the 18th of June, 618 AD, when the Li family seized power from the last crumbling remnants of the preceding Sui Dynasty. This political and regal regime was long-lived, and lasted for almost 300 years. The imperial aspirations of the preceding periods and early Tang leaders led to unprecedented wealth, resulting in considerable socioeconomic stability, the development of trade networks and vast urbanisation for China’s exploding population (estimated at around 50 million people in the 8th century AD). The Tang rulers took cues from earlier periods, maintaining many of their administrative structures and systems intact. Even when dynastic and governmental institutions withdrew from management of the empire towards the end of the period – their authority undermined by localised rebellions and regional governors known as jiedushi –the systems were so well- established that they continued to operate regardless. The artworks created during this era are among China’s greatest cultural achievements. It was the greatest age for Chinese poetry and painting, and sculpture also developed (although there was a notable decline in Buddhist sculptures following repression of the faith by pro-Taoism administrations later in the regime). It is disarming to note that the eventual decline of imperial power, followed by the official end of the dynasty on the 4th of June 907, hardly affected the great artistic turnover. During the Tang Dynasty, restrictions were placed on the number of objects that could be included in tombs, an amount determined by an individual’s social rank. In spite of the limitations, a striking variety of tomb furnishings – known as mingqi – have been excavated. Entire retinues of ceramic figures – representing warriors, animals, entertainers, musicians, guardians and every other necessary category of assistant – were buried with the dead in order to provide for the afterlife. Warriors (lokapala) were put in place to defend the dead, while horses/ camels were provided for transport, and officials to run his estate in the hereafter. Of all the various types of mingqi, however, there are none more elegant or charming than the sculptures of sophisticated female courtiers, known – rather unfairly – as “fat ladies...

ITEM: Statuette of a Fat Lady MATERIAL: Pottery CULTURE: Chinese, Tang Dynasty PERIOD: 618 – 907 A.D DIMENSIONS: 645 mm x 260 mm x 180 mm CONDITION: Good condition. Includes Thermoluminescence test by Laboratory Kotalla (Reference 04B101123). Includes Certificate of Authenticity from Dutch gallery PROVENANCE: Ex Belgian private collection, acquired from Dutch art gallery Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks. Due to the fragility and size of this piece, it can only be shipped within the European Union, United Kingdom and neighbouring countries that can be transported by road by private courier (door to door). This beautifully-finished ceramic attendant was made during what many consider to be China’s Golden Age, the Tang Dynasty. It was at this point that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The Tang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best- known painters and artists. The Tang Dynasty was created on the 18th of June, 618 AD, when the Li family seized power from the last crumbling remnants of the preceding Sui Dynasty. This political and regal regime was long-lived, and lasted for almost 300 years. The imperial aspirations of the preceding periods and early Tang leaders led to unprecedented wealth, resulting in considerable socioeconomic stability, the development of trade networks and vast urbanisation for China’s exploding population (estimated at around 50 million people in the 8th century AD). The Tang rulers took cues from earlier periods, maintaining many of their administrative structures and systems intact. Even when dynastic and governmental institutions withdrew from management of the empire towards the end of the period – their authority undermined by localised rebellions and regional governors known as jiedushi –the systems were so well- established that they continued to operate regardless. The artworks created during this era are among China’s greatest cultural achievements. It was the greatest age for Chinese poetry and painting, and sculpture also developed (although there was a notable decline in Buddhist sculptures following repression of the faith by pro-Taoism administrations later in the regime). It is disarming to note that the eventual decline of imperial power, followed by the official end of the dynasty on the 4th of June 907, hardly affected the great artistic turnover. During the Tang Dynasty, restrictions were placed on the number of objects that could be included in tombs, an amount determined by an individual’s social rank. In spite of the limitations, a striking variety of tomb furnishings – known as mingqi – have been excavated. Entire retinues of ceramic figures – representing warriors, animals, entertainers, musicians, guardians and every other necessary category of assistant – were buried with the dead in order to provide for the afterlife. Warriors (lokapala) were put in place to defend the dead, while horses/ camels were provided for transport, and officials to run his estate in the hereafter. Of all the various types of mingqi, however, there are none more elegant or charming than the sculptures of sophisticated female courtiers, known – rather unfairly – as “fat ladies...

This jar features a carved design, which is typical of Cizhou ware. It has a creamy white and brown color scheme, and the prominent decoration of lotus flower, which is a common motif in Chinese art and culture, symbolizing purity and enlightenment. The carving technique involves coating the vessel with a layer of white slip (liquid clay), then carving away parts of it to create the design, revealing the darker clay body beneath. This technique allows for a strong contrast between the background and the carved motif. Period : Song-Yuan Dynasty Type : Jar Medium : Cizhou Ware Size : 21.5 cm(Height), 11cm(Mouth Diameter) Provenance : Acquired in 1999, Hongkong * Cizhou Ware Cizhou is the name given to a number of stonewares, grey or buff, of varying degrees of hardness, with painted, incised or carved decoration on a clay slip. These stonewares were not only made in the region of Cizhou, Hebei Province, but in several provinces of China during the Song, Yuan and Ming periods. The great centres of production were in the north of China in the provinces of Hebei, Henan and Shanxi. Cizhou wares seem to have been very popular, made for a clientèle of rich merchants, at a period when the paintings of famous...

This pottery has a bulbous body with two small, protruding handles near its widest part. The pottery features horizontal bands of patterns, which include a sequence of geometric shap...

The form of Longquan celadon vases from the Northern Song dynasty evolved from an early design with a long neck and tapering body to a later ovoid body with a shorter neck. Over time, the glaze developed a more olive tone, and the carved decorations became more pronounced and intricate. Examples of such vases include one without a cover dated to the Yuanfeng era (1078~1085) and documented in literature, and another similar vase without loop handles preserved by the Qingyuan County Cultural Relics Bureau. An earlier example featuring loop handles and a lotus-like cover is also mentioned in historical texts. The use of Longquan covered vases, especially as funerary jars for offerings like wine and grains, was highlighted by an inscription on a piece from the Sir Percival David Collection, London. This inscription wishes for the vessel to preserve fragrant wine for centuries, blessing the owner with prosperity, longevity, and a vast lineage, dated to the third year of the Yuanfeng period (1080). This practice was common in the regions of Southern Zhejiang and Northern Fujian. A similar celadon vase from the Linyushanren collection was auctioned at Christie’s Hong Kong, emphasizing the cultural and historical significance of these artifacts. Period : Five Dynasties or Northern Song Dynasty Type : Celadon, Zhejiang province Medium : Celadon Size : 31.5 cm(Height) x 11.5(Diameter) Provenance : Acquired in late 1990s from Hongkong Reference : 1) The British Museum image id - 01613270570 2) Christies New York 23–24 MAR 2023 - Important Chinese Ceramics and Works of Art - Lot 1012 (Price Range : USD 18,000 – USD 25,000 / Type : Related) 3) National Gallery of Victoria - Accession Number - AS5-1973 * Celadon from Five Dynasties (907~960) to the early Northern Song Dynasty (960~1127) The period from the Five Dynasties (907~960) to the early Northern Song Dynasty (960~1127) marked a significant transitional phase in the development of Chinese celadon ceramics...

It is the rare earthenware among those excavated from the Ca Mau Ship, and it is a green-glaze work that is especially unique. Although it is in very worn condition, it is a valuable...

Flying two heavenly beings depicted in the stone. They are celestial beings called an Apsara. While having the same fragment and shape, another work I uploaded exhibits small dots on...

Antique Chinese pottery standing cow. Age: China, Tang Dynasty, A.D. 618 - 907 Size: Length 16 C.M. / Width 6.7 C.M. / Height 11.3 C.M. Conditio...

The crane, a traditional symbol of longevity and auspiciousness, is prominently placed at the center, creating a harmonious and aesthetically balanced effect. The border of the dish ...

This cute square box could have been used as an incense burner, and flowers could have been inserted one by one. Period : Qing Dynasty, Yongzheng Period Production Date : C 1725 Mad...

An attractive GU vase hand painted in cobalt blue with typical kangxi flower panels painting separated by lined borders. Period : Qing Dynasty, Kangxi Period Production Date : 1690-1699 Made in : Jingdezhen Destination : Netherland Found/Acquired : Southeast Asia , South China Sea, Vung Tau ship Size : 14cm (Height) x 8.5cm (Diameter) Condition : Excellent Reference : Double checked with reference to the original catalogues 1) Christies Amsterdam 1992 - Vung Tau Cargo / Christies 2) Qing Dynasty Export Blue and White from Vung Tau Cargo(淸代外销靑花瓷) / Guangxi Fine Art Publishing House 3) Asian Ceramic Found along Maritime Silk Route / National Maritime Museum of Korea * Vung Tau Cargo Porcelain...

Antique Chinese pottery Hu jar decorated with bands of raised lines and a pair of monster masks on the shoulder. Age: China, Han Dynasty, 206 B....

The Boshan incense burner is particularly notable among Han dynasty incense burners for its unique shape. Designed to resemble a mountain or even a mythical mountain, it is characterized by its pointed peaks that rise upwards. These peaks often function as vents for the smoke, creating an effect reminiscent of a volcanic eruption. The body of the incense burner is typically round, with multiple small peaks surrounding a central, larger peak. The material used is mainly ceramic, although there are instances where they were made of bronze. It is presumed that this incense burner was used for religious or ceremonial purposes during its time. The colors of these burners are usually in shades of pale green or greyish brown, with the application of glaze to achieve a variety of colors on occasion. Such incense burners are often found in tombs or ritual sites, and their purpose was to burn incense for purification of space or to produce pleasant aromas. The Boshan incense burner also represents a significant cultural heritage, showcasing the craftsmanship and artistic values of the period. Today, it is considered a quintessential example of ancient Chinese art. Period : Han-Jin Dynasty Type : Incense Burner Medium : Yue celadon...

The table bearing pig head, rice cakes, dishes of meat, fish and fruit. Known as Mingqi, these terracotta models were customarily included in Chinese burial practices, particularly among the affluent, to aid the deceased in their journey through the afterlife. This tradition extends back to the Neolithic Period. A unique terracotta funeral table...

Han Dynasty green-glazed tripods are comparatively rare, especially ones that have retained their structural integrity and glaze over millennia. Pieces in good condition are scarce b...

Antique Chinese pottery brick tile with musician flute player. Age: China, Song Dynasty, 10th - 12th Century Size of brick tile only: Height 27 C.M. / Width 16.2 C.M. Height includi...

The jar features a balanced and robust form, typical of the Transitional period, which was a time of significant change and innovation in Chinese porcelain art. The decoration is exu...

The painting features a typical Kangxi blue and white style depiction of a female figure. Period : Qing Dynasty, Kangxi reign Production Date : 1690-1699 Made in : Jingdezhen Destination : Amsterdam Found/Acquired : Southeast Asia , South China Sea, Vung Tau Ship Reference : Double checked with reference to the original catalogues 1) Christies Amsterdam 1992 - Vung Tau Cargo...

Antique Chinese pottery Hu jar decorated with bands of raised lines and a pair of monster masks on the shoulder. Age: China, Han Dynasty, 206 B....

Cloisonné enamel vase of baluster form and lobed sides decorated with foliage and flowers on a black background, gilt copper neck and base. Around 1900 Period: Qing Dynasty Type: Va...

Very pretty and old tea pot, gourd shaped, in sculpted coconut, chiseled and mounted on pewter. The cap is also made of pewter. The coconut is decorated with imperial motifs. Chinese...

The wear on its surface is a testament to its age and underwater journey, giving it a unique patina that only time and nature can create. The overglaze enamel decoration that adorns ...

Very beautiful Taoist statue in polychrome and gold lacquered wood. It is carved from solid wood, with hand-painted details and embossed ornaments on the clothing. This Statuette ma...

Superb old Taoist statue in polychrome and gold lacquered wood, representing a Dignitary seated on a throne, armchair. It is carved from solid wood, with hand-painted details and emb...

This antique Chinese silver tea caddy is an exquisite piece of art that is sure to add a touch of elegance to any collection. The intricate...

This statue is a representative piece excavated from the Ca Mau shipwreck and is so rare that there are only a few pieces like it worldwide. It is even featured on the cover of the c...

Potted with the fluted sides rising from a recessed base, carved to the interior with Chrysanthemum, covered overall with a grayish-green glaze, save for a ring to the underside left...

The vase is raised on a slightly splayed foot and flanked on the tall cylindrical neck by a pair of mask handles. The body is molded with lotus scroll pattern between a floral scroll...

This censer is characterized by its tripod form, which means it stands on three feet. Incense burners from the Ming dynasty are often highly regarded for their craftsmanship and the quality of the glaze texture and coloration. This piece features finely carved patterns that likely draw inspiration from traditional Chinese motifs. Such items were commonly used for burning incense and sometimes served as significant decorative pieces in ceremonial spaces or the homes of the elite. Period: Ming Dynasty (1368~1644) Region: Longquan, China Medium: Stoneware - Celadon glazed Type: Tripod censer Size : 24.2 cm(Diameter) , 10.8cm(Height) Provenance : Acquired in 1999, Hongkong Reference : Sotheby's Newyork 26 September 2023 - CHINA / 5000 YEARS - Lot1135 * Ming Dynasty Longquan Celadon Longquan celadon from the Ming Dynasty typically exhibits a more robust and heavier stoneware body compared to its Song Dynasty predecessors. The Ming era saw an evolution in celadon glaze, achieving a wider spectrum of green hues, from olive to bluish-greens. Ming celadons...

The artwork, with its foliage and floral motifs, suggests a connection to the natural world—a common theme in Vietnamese art. Such items were highly traded, and their recovery from shipwrecks helps us understand the extent of maritime commerce in Southeast Asia during the 15th and 16th centuries. This piece embodies the craftsmanship and aesthetic values of the period, providing insights into the cultural and economic contexts of its time. Dates : 15th century Le Dynasty Region : North Annam Type : Bowl Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : Double checked with reference to the original catalogue Butterfield Treasures Hoi An Hoard Auction Catalogs / San Francisco Butterfields 2000 * Vietnamese trade ceramics Around the mid-14th century, Vietnam developed its ceramics production technology by producing blue and white porcelain, and began to export it overseas. During this period, China Ming Dynasty implemented a policy of lifting the ban from 1371 to 1657 and restricted foreign trade. This served as a good opportunity in the trade history of Vietnamese ceramics...

Archaic Jade knife with relief carving of beast. Probably 20th Century.

This Han Dynasty green-glazed dish exhibits significant signs of wear, indicative of its age and the long passage of time it has witnessed. The glaze, once vibrant, now shows substan...

This small ewer is an exquisite example of Qingbai ware, known for its pale blue-tinged glaze. The vessel showcases the advanced ceramic techniques and artistic sophistication of the...

The drawing captures a scene of trade on blue and white porcelain, where a woman and a man are engaged in a transaction. The woman, dressed in traditional attire, stands with a poise...

The interior painted with two spotted horses at play beneath a willow tree, the exterior with a cafe-au-lait glaze. Tea saucer and teabowl set. Period : Qing Dynasty, Yongzheng Peri...

Beautiful single hand made calligraphy brush with exception turquoise marble beads ,bone , ferrule and horse hair. Slight variation in each bead due to characteristics of genuine s...

Beautiful single hand made calligraphy brush with exceptional asian red color coral beads ,bone , ferrule and horse hair. Slight variation in each bead due to characteristics of ge...

Beautiful single hand made calligraphy brush with exceptional wine color marble beads ,bone , ferrule and horse hair. Slight variation in each bead due to characteristics of genuin...

Chinese, 19th century. A Peranakan porcelain or Nyonya ware vase decorated with flowers and a flying bird. Approx: 17.5" H x 4.25" W (vase measur...

The lamp shaped as a kneeling female figure wearing long robes, her face with a large nose, deep-set eyes and pronounced cheeks, holding an infant in her lap, her cylindrical and elo...