Chinese Metalwork

A Chinese export silver goblet with prunus decoration on a matte background, and the base and stem formed as prunus tree branch root. The body has a single round cartouche engraved "...

decorated in relief; floral motif on yellow ground

Leeching Chinese silver card holder. Solid silver card holder. Origin China (Canton) Circa 1840 1870. Signed on its base (stamp). Canton manners...

decorated with stylized scrolls on blue ground

A lovely Chinese silver bowl, embossed and chased with three birds and chrysanthemum against a textured matte background. Made by the firm of Shao Ji'绍记’, and retailed by Luen Hing '...

A bronze Chinese Gu vase.

Chinese silver censer, circa 1910. Drum-form agate body set in silver gilt mounts with scrollwork and lunettes. Leaf-capped side bracket handles. Upward tapering support and stepped ...

A set of Chinese Export silver drinking set consists of a pinch bottle and five cordials circa 1910s-1920s. Featuring matching elaborate chased relief dra...

archaistic motif on blue ground

This very finely cast bronze urn in an archaistic form was made in the very late 19th century approximately 1895-1900. Done with an apocryphal feeling to honor the ancient past, the vase is beautifully rendered in low relief in bronze covering almost the entire body of the urn. The predominant features are the divided taotie masks that compose the swelling middle body of the vase and also at the corners of the upper section. Crisp but subtle, the casting is clearly handled with great attention to linear form. The patina is very nice and consists of a modeled golden brown with a slight but very lite Verdigris color. The urn has an old rosewood base and lid that seems to have been purpose made for the object. Finally, the whole is set off with a carved jade finial...

A rare pair of Chinese export silver mugs/tankards, each with figural Court scenes, bamboo, and dragon handles. They have the mark for Hoaching of Canton, circa 1860, and the Chinese...

Early 19th to mid 19th century Chinese, Iron, water bath. With the patina of decades, this cast-iron sarcophagus-shaped bath has its original handles and exudes a timeless floral dec...

An interesting and delightful Chinese export silver mug, of double-skin construction and decorated with bamboo leaves against a matte backgro...

A Chinese Export Silver Biscuit Box, round with a collet foot and profusely decorated with applied prunus. against a smooth plain background. The box has...

Chinese 18th century bronze vase with mottled patina. Evidence of a small, old repair.

Pair of Chinese silver vases with all-over bamboo decoration and each with a wavy-edge flared rim. They were made by 涂茂兴, TuMaoXing, a retailer in JiuJiang (九江), next to the Yangtze ...

Chinese Ormolu and Cloisonné enamel vase for the Islamic Market. Chinese, early 20th century Dimensions: Height 18cm, diameter 26cm Crafted in Chin...

Pair of Chinese Export silver candlesticks with the character for "Luck" on one and "Longevity" on the other. They are attached to round wood stands. Marked with SW, for Shing Wo, “...

A Chinese Export silver mug with a bamboo handle, and decorated with a bird and moth amongst profuse bamboo decoration on a matte background. T...

A Pair of Chinese Export Silver Flower Vases of trumpet form, each with circular base and rising to a flared, shaped top. The vases, which are decorated with applied prunus, were ret...

A pair of Chinese Export silver candlesticks, marked with TC, for Tuck Chang, 德祥 公记(DeXiangGongJi), a Shanghai retailer from 1901-1934, and with the maker's mark of 培记 (PeiJi). 230gm...

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

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...

Chinese export repousse beaker, circ 1890. Wieght 3.3 oz., 4 3/8" tall

This large Chinese bronze censer dates to circa 1860. It is made in three parts, stand, vessel, and lid. The lid has pierced decorative panels with pine trees and a bold Buddhist lion finial for lifting. The censer has lifting handles in the shape of bamboo to each side and again also has panels with pine forests with mythical beasts and side mounts in the form of Buddhist lion mastheads. It is raised on four shaped legs with a beast mask head at the top and sits on the raised and pierced stand. The decoration on this piece is all hand finished with chasing and engraving giving good detail. The censer has a green/brown patina. Circa 1860 Censers are a type of vessel for burning incense. In many cultures burning incense has spiritual and religious connotations which influence the design and decoration of the censer. The lion is one of Buddhism’s most potent symbols. Traditionally the lion is associated with regality, strength and power. It is therefore an appropriate symbol of Buddha who, tradition has it, was a regal prince. As Buddhist priests and monks from India, they brought with them stories of stone Asiatic lions...

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

Chinese bowl adorned with cloisonné enamel and Arabic inscriptions Chinese, early 20th century Measures: Height 20cm, diameter 23cm This beauti...

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...

Large Japanese, Bronze Relief Enameled Vase, Early 20th Century The vase's surface is adorned with intricate relief work that depicts a stunning tableau of flowers and birds. The re...

Chinese floral Cloisonné enamel and ormolu vase for Islamic Market. Chinese, early 20th century Dimensions: Height 20cm, diameter 23cm This beaut...

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 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

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

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...

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...

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...

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 ...

Pair of Bronze Chinese Wine Pitchers, with Leopard Handles

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...