East Asian Asian Art and Furniture

Antique unique Qing dynasty very large 20” pair of shell inlaid black lacquer big Chinese book boxes with bail handles two sides, with keys, each with hinged lid reversing to a mothe...

Pair of red lacquer chests with open doors and removable shelf inside on each chest, one drawer inside each chest.

Material: Silver paper, wooden frame One sheet: W870×H1740mm, unfolded size: W1740mm, 5kg Folded size: W870×H1740×D35mm Estimated packaging (sandwiched with 5-10mm plywood): 12cm x 1...

decorated with birds and flowers

These antique screens feature the classic ice crackle pattern. A symbol of self esteem and purity, the ice crackle motif was a favorite of the ancient scholars. The design is formed ...

Monumental Ming Dynasty Style Blue & White Anthropomorphic Horned Horse Deity This imposing Chinese porcelain figure is a testament to the artistry and craftsmanship of the era. St...

A charming late 19th-century to early 20th-century, Chinese export reverse glass painting, depicting a lady seating in the living room and an outdoor garden behind. The decoration in the room is presenting a very traditional Chinese character with paintings, lantain, bonsai, furniture, etc., playing with a bird. The painting comes with its original hardwood frame and the old pins...

exterior decorated with panels alternating between figural scenes, and flower and bird scenes

A pair of hand painted Chinese porcelain lamps with simple carved wood bases. These are in a classic Rose Medallion pattern. The wiring is in great condition and ready to use. The sh...

A LARGE JAPANESE SATSUMA BALUSTER VASE. MEIJI PERIOD (1868 - 1912) Signed by Kitamura of hexagonal form, decorated with a scene of Japanese saints surrounded by attendants, ano...

A rare complete suite of five Dames Chinoises et Madchoues, from the Bat Series, created in 1942 by Paul Jacoulet (French, 1896-1960). These woodblock prints (dai-oban) were perhaps ...

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 an old Japanese "Kobo Daishi" wooden figure. "Kobo Daishi" means "Kukai". "Kukai" was a monk from the early Heian period. His posthumous name was "Kobo Daishi". He is the fou...

Two-tier bento box in holder with carry handle, with gilded leaf decoration, 6 1/2" high, 6 1/2" x 5 1/2"

Pair of Korean Bandaji (blanket) chests on stands with intricate brass-work and hardware, and original interior printed rice paper lining. Were used as night stands by prior owner. ...

Japanese kimono, richly decorated with polychrome embroideries with silk and metallic threading, featuring a motif of flowering prunus to a cream-white ground. Lined with bright red ...

Japan, a handsome and large natural organic shaped stone water basin planter -tsukubai- created from a natural granite mountain boulder and sourced from...

A Chinese Qing dynasty period altar console table from the 19th century, with everted flanges and open fretwork. Created in China during the 19th century, this Qing dynasty altar table...

Laying Foetus From our Japanese collection, we are pleased to offer this Japanese Edo Period Skeleton Netsuke. The Skeleton Netsuke is carved from Boxwood depicting a skeleton in t...

An antique Japanese Meiji period two-part tansu chest from the late 19th century with dark red lacquer, iron hardware, small safe and carrying handles. Created in Japan during the Meiji period (1868-1912), this wooden chest called an Isho-Dansu chest is a fine example of Japan's traditional mobile cabinetry. Tansus were portable chests...

Waling cane from the Meiji Period (1868-1912). This is a fabulous antique walking cane created in the imperial Japan during the Meiji period (1868-1912), circa 1880's. The cane was ...

PAIR of Chinese painted ceramic identical figures in a matte glaze, depicting a mustached, hatted emperor in a formal elaborate yellow robe with dragon medallion, his left arm cradli...

This finely hand-painted ginger jar dates to the Qing Dynasty, circa 1850, and features a classic blue and white porcelain design. The surface is richly decorated with intricate flor...

This is a set of 4 panels of Chinese antique double sides open carved wooden screen which can be used as the room section panels in ancient China that are put together to make into a screen. Screens have been known to grace the rooms of wealthy Chinese homes since ancient times. In those ancient days, screens were an indispensable item of furniture in all households. They were used to section off a portion of the room to provide additional privacy for the users for dinning, greeting guests, etc. These screens are often made into not only functional articles but are works of art too as with this 4-panels intricately open carved and hand-made wooden screen. These 4 panels are not only a piece of Chinese history but also a work of art! It will be a wonderful collectible item in you room. Look at the pictures, this high end quality of Antiques Chinese screen...

A truly beautiful, wonderfully aged, alluring mask made for Japanese Noh theater. The naturally faded beauty and unique character drew us to this mask immediately. The mask is handcrafted and hand-carved from natural wood, clearly by a master of his trade. We believe this mask is of the Noh theatre character Otobide. This mask dates back to the Edo Period (1603-1868). It comes with a wooden storage box (which may have been added at a later date). A rare, unique, and exquisite mask. Finely carved and executed. Would be a great addition to any Japanese or Asian art/artifacts collection or an eye-catching stand-alone accent piece in about any setting. Mask dimensions: 7.7" high, 5.7" wide, 2.1" deep...

Impressive Chinese export four panel lacquered coromandel screen featuring hand-carved soapstone beauties in a floral landscape with gilt clo...

Circa 1890s signed Imari plate, Japanese. With reserves of white pine trees with their colorful Spring cones alternating with burnt orange cartouches with...

A Tibetan hand-painted cabinet from the 19th century, with two pairs of doors and floral motifs. Created in Tibet during the 19th century, this cabinet captures our attention with it...

Pair of antique Chinese Qing Dynasty porcelain polychrome plaques, pai ted with flowers and si ging birds. Signed and inscribed in Chinese upper right and left corners. Framed in red...

A fine Japanese miniature kodansu constructed from Kaki wood (Persimmon) circa 19th century, late Meiji period. With its expressive exotic wood grains and exposed tenon construction,...

Vintage Chinese Rosewood and Glass Display Case. A wall mounted or table top display case with hinged glass door, frame of light colored rosewood, interior with 18 individual shelve...

China Monumental Pair (2) Antique Stone “Spirit Pathway” Tigers, middle Qing period 1750-1850. Please view our video. Dimensions: 115cm, 46” high and 60cm, 24” in width. Likely utilized as spirit pathway tomb markers, these powerful, benign carved sitting effigies perched on haunches and front paws with round heads and faces exposing defined eye sockets, ears and two fangs a top bases that feature curled tails on side each whole atop a block shaped base and hand-carved from limestone whose surfaces show considerable weatherization from exposure and good age. Reference: 35 Years Collecting 35 Treasures, Schneible Fine Arts catalog Number 30, p. 66. Provenance: originally found in Fujian Province. Fujian has the distinction of being home to China’s last remaining wild tigers and famous “tiger” mountain. No wonder then that these early stone works...

This is a woodblock-printed folding screen made in Japan during the Showa period, featuring writings by a Chinese calligrapher. It is a passage from a story written by a famous Chin...

Celadon Bi Disc Sculpture, Mineral and Forging, 20th century – China Exquisite and sophisticated Bi disc made in the early 20th century in China. It is an extraordinary disc carved ...

The vase exhibits a finely crafted structure, characterized by its wide shoulders and elongated, tapering sides, topped with a compact, ribbed cylindrical neck. Its exterior is adorn...

This antique Qing Dynasty elm side table, dating back to circa 1900, is a captivating piece of traditional Chinese craftsmanship. Crafted from premium elm wood, this side table boast...

This is a hand painted 17th century, late Ming dynasty, porcelain Jar or small Vase which we attribute to the Hatcher shipwreck cargo, this piece being from the Wanli /transitional period, circa 1625- 1640. The Jar/ Vase is fairly thickly potted with a very white glaze to the porcelain. It is decorated with a man and a boy stood against a tree with rocks, mountains and flying bats in the background all hand painted in various shades of a clear under-glaze cobalt blue. The irregular shaped head, bald high forehead, and straight pencilled beard with moustache support this date and period. Notes: The Hatcher Cargo...

Royal House Antiques Royal House Antiques is delighted to offer for sale this highly collectable Chinese export Circa 1900's Mahjong set with the original heavily inlaid and super d...

Asian hand painted wood panel depicted imperial officers, children, birds and flowers.

A stunning pair of excellent quality bronze Pixiu wealth dragon mythical creatures with visually striking scattered verdigris bluish green patina! Well known in Chinese culture and...

This an exquisite and spectacular piece. One of our favorites. Quite rare. We have not seen anything quite like it. Likely worn at one time by a bride in a Chinese wedding ceremon...

A fine antique Chinese Export Rose Mandarin porcelain cup & saucer. Each with enamel painted decoration on a white porcelain ground. Both cup & saucer decorated with painted scene...

Crafted in 19th-century Tibet, this extraordinary cabinet is beautifully decorated from end to end with hand-painted floral motifs. Brushed in a cool palette of green, red, blue and ...

This large glazed Chinese ceramic jar was once used for pickling foods. It features a jade green finish and outer surface that features a ribbed t...

An impressive depiction of Guanyin, the Bodhisattva of compassion, whose name bears the meaning ‘One who hears the cries of the world.’ The rather androgynous figure is adorned with beaded jewellery and the princely regalia of a dhoti, draped across her body and spilling out over to partially obscure what she is resting upon. The goddess’ profile exhibits idealised features of Asian artistic convention; her face is soft and rounded, with full lips and relaxed eyes that provide a serene quality of youthfulness to the figure. Adhering to Chinese iconography of Guanyin, the figure is marked by an urna on her forehead, denoting her own enlightenment, as well as a diadem displaying Buddha Amitabha, the spiritual teacher of Guanyin. Seated in the Lalit asana pose, translated as ‘royal ease’, the figure exudes a fine example of the relaxed majesty typical in the characterisation of Guanyin. Whilst the figure’s left hand is placed restfully upon the left leg pendant, the right is raised in the gesture shuni mudra, the second finger held gently against the thumb. Otherwise known as the seal of patience, this gesture indicates the figure as one intended to bestow this virtue, along with compassion and understanding, upon the beholder. 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...

Chinese wood puppet head, 19th century, mounted on contemporary stand. Simple puppet head of a male figure, carved out of a single piece of wood, with ...

This is a hand-painted Chinese Export Kraak porcelain blue and white Side Plate or Dish, which we date to the Ming, Wanli period,( 1573-1620 ), datin...

This is an incense burner which was made in Japan around 1970s in Showa era. This incense burner is made with ceramic. Dimensions: 8 x 8 x H10 cm

A quite beautiful, expertly crafted, sumptuously glazed large Japanese Mashiko Ware Mingei (folk craft/folk art) pottery plate/ charger quite similar to the works of master potter Sh...

Fantastic diminutive Japanese Edo period table top screen depicting a lively water landscape with flora and fauna. The screen is beautifully painted o...

Early 20th Century Chinese porcelain blue and white vases. Colors of each vase are not exactly the same and denote the age and hand painted technique.

A Chinese Qing Dynasty period elm wood noodle cabinet from the 19th century, with brass hardware, tapering lines and hidden drawers. Created in China during the Qing Dynasty period i...

A quite beautiful and expertly crafted Japanese Mashiko Ware Mingei (folk craft/folk art) bamboo decorated pottery plate/low bowl quite similar to the works of master potter Shoji Ha...

This large antique scroll is unsigned and presumed to have originated from China and date to approximately 1860 and done in the period Qing Dynasty style. The scroll is hand painted ...

An antique Japanese Shunga woodblock print in gilt frame depicting a man and a woman making love. Created in Japan, this woodblock print called...

Pair of Earths Spirits "Zhenmushou" from the China Tang Dynasty 618-907 AD. A beautiful and rare pair of "Earths Spirits guardians" from the Yunnan province region in the ancient China. This was created in clay earthenware pottery during the Tang Dynasty period between 618 and 907 AD. Featuring the molded figures of two seated guardians with decorations with polychrome pigmentations. The figures are seated on their haunches with cloven hooves planted firmly on the base looking forward with their front legs in a straight position. Both with face and body alert expressions on a rectangular base. Earth spirits usually appear in pairs, one with a human head and the other with a lion head. Their supernatural powers, indicated by antlers, spiky flanges and flames, enable them to confront evil spirits and protect any precincts within their gaze. Have been believed to protect the living by keeping the spirits of the dead from inappropriately roaming the world outside the tomb. Zhenmushou or guardian deities, developed from a line of protective spirits found normally in pairs at the front of Tang dynasty tombs. They served both to protect the figure from untoward spirits, and the outside world from the roving spirit of the dead. Combining features from a number of animals to form the perfect mythic beast, these mythical creatures were perceived to be the ideal guardians of the dead The semi human faced figure has a measures of 11.25 by 4.5 by 5.75 inches (28.57 x 11.43 x 14.60 Cm). The mythological lion animal figure has a measures of 10 by 5 by 5.8 inches (24.5 x 12.7 x 14.73 Cm). Tang dynasty or Tang Empire, was an imperial dynasty of China that ruled from 618 to 907, with an interregnum between 690 and 705. It was preceded by the Sui dynasty and followed by the Five Dynasties and Tend Kingdoms period. Historians generally regard the Tang as a high point in Chinese civilization, and a the golden age of cosmopolitan culture. Tang territory, acquired through the military campaigns of its early rulers, rivaled that of the Han dynasty. The Li family founded the dynasty, seizing power during the decline and collapse of the Sui Empire and inaugurating a period of progress and stability in the first half of the dynasty's rule. The dynasty was formally interrupted during 690–705 when Empress Wu Zetian seized the throne, proclaiming the Wu Zhou dynasty...

A wonderful example of Chinese embroidery, this framed silk textile uses the infamous forbidden stitch to depict a fine blue-and-white porcelain vase....

A two-tier stacking storage cabinet on comforting stand, known as Nong in Korean, circa early 20th century (end of Joseon to Korean Empire Period). Each cabinet is fitted with a pair of paneled doors opening in the center to ample storage. The upper cabinet also has a row of four small drawers on top. The stacking cabinet directly sit directly on top of the support stand. Constructed in pine frame with exposed finger joints, they were simply finished in black lacquer on top and the sides. The facade of the cabinets, however, showcases meticulously chosen persimmon wood panels. The striking wood veneer with the bold black grains were perfectly matched in mirrored fashion. Visually arresting, the dark wood grains appear like bold strokes on an abstract ink painting. The yellow brass hardware is of relatively smaller sizes with subdued motifs in order not to overtake the beauty of the wood. They consist of drawer pulls, corner brackets, petal-form hinges and larger lock plates with cutout coin design. The interior was stripped clean showing the natural wood and some residues of old lining rice paper. We can trace the Nong cabinet on offer here to the more southern providences of the Korean Peninsula where Persimmon trees grow and were harvested, such as Jeolla Do or Chungcheong Do. The wood was beloved by Korean furniture makers in Yi dynasty and used on eye-catching pieces to emphasize the natural beauty of the wood. Examining the piece, one can see extensive and deep patina incurred from its age and previous use, yet the cabinet remains aesthetically stunning as an antique piece with an unexpected modern flare. For a similar two-tier chest with near identical configuration, size and wood used, see relic no 007182 in the collection of National Folk Museum of Korea in Seoul. The piece is also illustrated on the cover as well as page 46 of the book "Korean Antique...

This tabletop display stand was once used to elevate an opium smoker's collection of pipe bowls, a removable element of the opium pipe often made of fine materials such as jade, yixi...

Well painted with oval cover with finial over conforming body with handles and conforming tray.