East Asian Metalwork

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

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...

Japanese bronze Koro (Incense Burner) in the form of a Badger, Edo Period (circa 1800) bronze incense burner with removable top. Badger face and t...

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

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...

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 ...

Bronze okimono depicting a study of a puppy playing with a ball. The puppy has a playful and curious expression as he interacts with the ball. The...

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

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...

Japanese silver bowl with handles by Konike. Finely decorated with repousse irises and cast floral handles. Marked on the bottom for the maker. Weight 272 g or 8.7 t.oz

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 small fine quality Meiji period cloisonne enamel vase, with silver wires and gilt rims decorated with lappets of dragons of ho-ho birds on a brown ground, with textile designs arou...

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...

Cloisonné potiche with a hexagonal shape, embellished with delicate floral decorations on reserves held by silver threads with geometric motifs. The lid features a spherical socket. ...

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...

Bronze sculpture representing an owl on a tree stump covered with ivy. The owl, detachable from its base, has shakudo eyes. It is certainly an Ryûkyû scops ...

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

Bronze Koro (Japanese incense burner) in the shape of a rooster Removable top.

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...

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...

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

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...

A pair of Meiji period solid silver bowls by Eigyoku, each of lobed oval form on four scroll feet, deeply embossed with continuous chrysanthemum hea...

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

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...

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...

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.  

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...

Beautifully crafted vintage Japanese urn shaped vase, featuring elephant head double handles in bronze and enamel. Colorful enamel adorns the vase...

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...

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....

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...

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

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...

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...

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

Pair of antique Japanese Buddhist temple headdress and necklace ornaments. Gilt bronze with decorative stones and beads, and intricate metalw...

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...

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.

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.  

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 ...

Asian Japanese bronze floor vase with 2 owls figures standing on branches with a leaf relief around a round base.

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

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...