Metalwork

A Pair of Japanese Edo Period (1603–1867) iron, silver inlaid, and red lacquered stirrups (Abumi). Each of typical form, made of iron with silver inlay on the front with floral bloss...

Brass tray with paisley design.

A large Chinese cloisonné dish with dragon decoration from the 19th century Good condition, no chips or loose enamel parts Diameter 36.5 cm Cloisonné is an ancient technique for dec...

Two Chinese silver vases of cornucopia form, both decorated with applied bamboo and chrysanthemum and on a circular base. The vases are similar yet were made by different silversmith...

A bronze Chinese Gu vase.

Drop-shaped bronze vase, with peonies in relief, decorated to simulate a delicate and light fabric that ends with a bow near the top of the neck. Using mixed metals to create visual...

Exceptional Set Of 9 Pectoral Ornaments South East Asia,Cambodia,11-13th Century broze material with great oxidation patina stands with different heights 21/22/23/23/25/27/27/27/30 c...

This exquisite cloisonné set, meticulously crafted, is a testament to the timeless artistry of this ancient technique. Each piece, adorned with intricate...

Chinese export silver bowl on plain round pedestal base. The decoration is of two applied opposing dragons against a plain background. The bow...

Larger quantities available upon request, with 8 weeks production time. Description: Bronze Vase, The Stem Color: Bronze Size: 10Ø x 38.5H cm Material: Bronze Collection: Mid Centur...

Original signed wooden box. Signature reads: Ryohei Saku. Outside of box reads: Ota Ryohei saku. Notes about the artist: Ota Ryohei (often spelled Oota Ryohei), 1913-1997, was born i...

Of typical form with a shibuichi ground worked in shakudo, silver and gold with a central continuous frieze showing a 3-toed dragon amongst roiling clouds and spume-flecked waves, the shoulders with fields of shakudo bosses between triple vertical lines, the knop formed by paired dragons...

In the shadows of the 18th century, when intrigue and subterfuge thrived, a remarkable artifact emerged as a testament to the ingenuity of the era's skilled craftsmen. Behold the ext...

A Meiji bronze vase by Nobuhira, of baluster shape with a spirally twisted neck, the body decorated with four high relief crabs and several partially...

Chinese floral Islamic style cloisonné enamel and ormolu vase Chinese, early 20th century Dimensions: Height 13cm, diameter 13cm This beautiful bowl...

Bronze intended for hanging (? dô kakenanaike, « hanging bronze ») depicting a hawk, placed on a branch. The inside is hollow so a bouquet a flowers can be put inside and thus, serve...

Iron tsuba in the shape of a chrysanthemum (kikugata), openworked in negative with foliage and geometric patterns. Chrysanthemum shaped tsuba were quite popular in the Edo period as...

Highly collectible pair of enameled copper mugs by South Korean artist Kwangho Lee. With their stunning and explosive design, these copper mugs are a ne...

Chinese silver repousse goblet by Wang Hing. Depicts Chinese garden scenes. Drgon base with emanating fire. Marked WH for Wang HIng maker and 90 Chinese silver. Weight 7.4 oz

A fabulous vintage Boho firewood holder. A chic monumental design in wrought iron. Perfect indoors or outside. You decide! Acquired from a Westport estate.

A large brutalist wall hanging or wall art. Belgium, c1960-70s. Good quality, this wall hanging remains remarkable contemporary in...

This hand-forged metal sculpture, with its delicate appearance and whimsical shape, was once an integral tool to a 19th century Chinese cobbler’s trade. Made of iron, these scissors ...

Chinese silver repousse and openwork bowl, decorated with dragons and flaming pearl. The bowl is marked on the bottom with a Chinese character, "90" for silver purity, and " WH" for ...

Large Tibet bronze and copper vase with handles: exceptional and perfect. Sizes: diameter at the top cm. 52, with handles cm. 61. Base 35 cm. High cm. 43....

Fragment of Bronze Head of Buddha Thailand 16th Century

Chinese Export silver tankard with detailed repousse dragons and dragon handle. The tankard is 5 3/4" tall, 3 1/4' in diameter, 4 1/8" at the handle....

19th century superior quality Japanese bronze vase with grape vine handles. Beautifully shaped Edo period (first half of the 19th century) vase with c...

This vintage cast iron mortar from China's Shanxi province is patterned in low relief with a simple floral design. Originally used in a traditional ap...

A most unusual silver and gold leaf cloisonné vase by Sukiku, 1981, the ovoid body decorated in abstract designs with wispy silver shapes and moriage gold leaf scattered over a mottl...

Wood storage box.

A Japanese patinated bronze vase of outstanding color with a lotus bud form top.

Group of fourteen Japanese Meiji period gilt metal plaques Japanese, Late 19th Century Height 2cm, width 2cm These beautiful Japanese Meiji period plaque...

Chinese silver repousse and openwork bowl, decorated with dragons and flaming pearl. The bowl is marked on the bottom with a Chinese character, "90" for silver purity, and "WH" for W...

Hongzhi Period (1487 - 1505) sculpture of an important man, possibly Confucius. Comes with box.

Chinese Ormolu and Cloisonné enamel vase for the Islamic Market Chinese, early 20th century Dimensions: Height 19cm, diameter 23cm Crafted in China...

Beautiful necklace of cultured pearls, extra quality (Akoya Japan) and amethysts. 11 mm diameter Secure clasp and 18k golden silver hinges. Long: 50 cm.  

In the shape of kaede leaves. Used on top of a large festival cart carried through the streets.

Antique Chinese ormolu and cloisonné enamel vase for the Islamic Market Chinese, early 20th century Dimensions: Height 10cm...

Set of three Japanese bronze vases Measures: high 27 cm diameter 9 cm high 27 cm diameter 7 cm high 21 cm diameter 7 cm.  

Exceptional set of 3 Bronze Recipients with decorations and beautiful green patina, called Thap Dong Song period, 2000-1000 BC South East Asia, Vietnam. Measures: Height 22 cm, di...

The wave bench designed by Zhoujie Zhang continues to implement his design philosophy of spontaneity. By applying the laws of its own gravity, the bench naturally faces downward and ...

A Meiji period bronze vase with two frogs against a rough textured ground, signed ‘Hyakusei’, Japanese, circa 1880.    

Raised Detailing of Dragons and Flowers with Vibrant Colors in Reds, Blues, Greens. Hibachi is Bronze,

Very antique and rare almoner trays from Samarkanda or Bokara - Ghaznevide Dinasty from 11th-12th century A.D. Interesting for Your desk! From private collection - O/1655.

Pair of Bronze Chinese Wine Pitchers, with Leopard Handles

Beautiful necklace of cultured pearls, extra quality (Akoya Japan) and amethysts. 11 mm diameter Secure clasp and 18k golden silver hinges. Long: 50 cm.  

A Monumental Gilt-Lacquered Bronze Ornamental Buddha Sculpture of Vajravidarana: A Masterpiece of Sino-Tibetan Craftsmanship, Late 19th Century, Qing Dynasty This monumental gilt-lacquered bronze ornamental sculpture of Vajravidarana is an extraordinary and commanding piece of art, showcasing the pinnacle of Sino-Tibetan craftsmanship from the late 19th century. The figure of Vajravidarana, a powerful purification deity in Tibetan Buddhism, is meticulously sculpted to embody both spiritual authority and artistic excellence. Vajravidarana is primarily known for his role in removing spiritual impurities and negativities. Unlike other deities associated with wisdom or compassion, Vajravidarana’s function is centered on purification and healing. He is typically depicted holding a vajra and a bell, symbolizing the cutting away of delusions and the resonance of divine truth. In this striking sculpture, Vajravidarana is shown holding a vishva vajra (the double vajra), a unique and powerful variation of the traditional iconography, which signifies ultimate protection and the dispelling of negative karma. Vajravidarana: The Supreme Purifier and Protector Vajravidarana is revered in Tibetan Buddhism as the deity of spiritual purification, called upon to cleanse practitioners of defilements and negative influences. His vajra represents the indestructibility of truth, while his bell signifies the wisdom that resonates through purification rituals. In this sculpture, the presence of the vishva vajra, or double vajra, enhances his association with supreme protection, ensuring the destruction of all spiritual obstacles and afflictions. The figure’s powerful yet composed expression conveys a sense of unwavering resolve and divine authority. His posture, along with the carefully sculpted details of his robes and ornaments, highlights his function as a guardian against impurity. The inclusion of the vishva vajra rather than the usual single vajra reinforces his role as a supreme protector, capable of dispelling all forms of negativity and restoring balance. Symbolism of the Mantras and Aureole: Unlike deities that embody wisdom through duality, Vajravidarana’s iconography is centered on purification and exorcism. The aureole surrounding him is inscribed with sacred purification mantras rather than depictions of a consort. These mantras emphasize his function as a remover of obstacles and impurities, reinforcing his role in Buddhist healing rituals. The presence of the sacred inscriptions elevates the sculpture’s spiritual significance, making it a focal point for meditation and ritual purification. Practitioners often visualize Vajravidarana radiating purifying light, dissolving afflictions and negative karma. This theme is mirrored in the sculptural repetition of the purification symbols on the aureole, reinforcing the deity’s role as a divine cleanser. Gilt-Lacquered Bronze: The Artistry of Sino-Tibetan Metalwork: The craftsmanship of this monumental figure reflects the expertise of late 19th-century Sino-Tibetan metalwork, where traditional Tibetan themes were infused with Chinese artistic sensibilities. Cast in bronze and finished with a rich gilt lacquer, the statue has an otherworldly glow, giving it an ethereal, almost divine presence. The gilding process—applied with exceptional skill—gives the sculpture a striking luminosity that enhances the fine details of the facial features, flowing robes, jewelry, and other elements of the deity’s attire. The technique employed to create this figure speaks to the high level of craftsmanship that flourished during the late Qing Dynasty and early modern Tibetan art. The ornate details of the robes and the fine texture of the sculpture highlight the exceptional skill of the artisans who brought this work to life. The use of gold and lacquer not only reflects the preciousness of the sculpture but also its spiritual significance as an object meant to inspire reverence and meditation. An Ornamental Sculpture of Monumental Scale: Unlike smaller devotional objects, this sculpture is designed as an ornamental masterpiece, intended to make a grand visual and spiritual statement. Its monumental size allows it to dominate any space, offering a commanding presence that is both physically and symbolically impressive. In Buddhist practice, large sculptures of this nature are often placed in temples or meditation halls, where their imposing size and serene presence would encourage contemplation and devotion. The grand scale of the statue further amplifies the spiritual power it is meant to convey. As a representation of Vajravidarana, it is not only a physical object of beauty but also a conduit for meditation, purification, and enlightenment. The scale of the sculpture also emphasizes the divine stature of the deity, highlighting his importance in the Buddhist tradition as the ultimate force for spiritual cleansing and protection. Provenance: Acquired in China in circa 1900 1905 Private Buddhist Temple, Northeast, USA Private Sale Solomon Treasure...