1960s Asian Art and Furniture

Beautiful set of Terracotta sculptures representing Xian Warriors. This set of figures is incredibly detailed and presents 4 warriors and a horse. Intrica...

A beautifully realized, deeply colored abstract work titled "Cause, Blue" by renowned Japanese modern artist Hodaka Yoshida who was the second son of one of Japan's most celebrated a...

A decorative hand made pair elephant sculptures or statues. Some wear but this is old-age. Made of brass or bronze. We think it is from Asia and was mad...

A beautifully designed and composed woodblock print by famed Japanese printmaker Kiyoshi Saito. Many consider Saito to be one of the most important, if not the most important, contem...

An iconic and highly collectible work by Hans J. Wegner, this “Papa Bear” chair and ottoman set was produced by A.P. Stolen in the 1960s and remains one of the most celebrated achiev...

A refined Japanese lacquer tea caddy, natsume, with a maki-e design of soaking cart wheels, Showa Era, circa 1960's, Japan. The elegant nat...

Pair of antique 20th century Chinese hand painted porcelain vase. One has rim short light hair line inside, outside no hair line, s...

An early ceramic long-neck vase with a brilliant copper red glaze by Benedictine monk potter Brother Thomas Bezanson (1929-2007). The minimalistic an...

3-956 Chinese hand cast zodiac incense censor Removable grid cover and incense cup.

A beautifully composed woodblock print by famed Japanese printmaker Kiyoshi Saito. Many consider Saito to be one of the most important, if not the most important, contemporary Japanese printmakers of the 20th century. This print, titled "Katsura Kyoto...

Wonderful brass statue of Krishna with Nandi. Brass Krishna with Nandi Statue vintage handmade using lost wax technique for casting. Krishna's mount is N...

A beautifully designed and composed woodblock print by famed Japanese printmaker Kiyoshi Saito. Many consider Saito to be one of the most important, if not the most important, conte...

A precisely composed, darkly hued woodblock print by famed Japanese printmaker Kiyoshi Saito. Many consider Saito to be one of the most important, if not the most important, contempo...

An entrance hall set composed of two coat racks with a drawer and a bench with a storage unit, designed by Carlo de Carli for FIARM in 1960s. This set is made with curved plywood and...

Amazing vintage Moroccan Caftan, gold silk damask gold threads trim, Circa 1960's The light gold damask kaftan was entirely finish by hand. One of a kind...

Japanese wireless cloisonne vase.

A bold and well crafted Indonesian Yogya (Jogja, Djokja) silver bowl by Tom's Silver, Yogyakarta, Java, Indonesia, circa 1960's. The elegant bowl features a striking design of a Kala face, a protective monster often found above temple doors, and representative of time, death, and rebirth. A pair of makara flank the wide open, smiling mouth. A stylized foliate design surrounds the Kala. Kala are analogous with the Kirtimukha, or face of glory, originating in India and associated with Shiva. Both beings are devourers of evil and tasked with protection The bowl features two beaded borders, and a scalloped rim. The bowl set on three short out-swept feet. Stamped mark to the underside reading "TOM" "800" "DELUX". TOM stands for Tom's Silver, perhaps the most famous silver workshop in Yogyakarta. 800 is the purity of the silver (80%). DELUX is a common mark on Yogya silver...

Faces (4 Faces), 1969 Tomio Kinoshita (1923-2014), Japan Woodblock print Paper, pigment, sumi ink Image: 27 high by 18.25 inches wide (68.5 by 46.4 cm) Paper size: 28 high by 19...

On offer on this occasion is one of the most stunning and rare, rattan panels divider set you could hope to find. Outstanding design is exhibited throughout. The beautiful set is sta...

2-342,Japanese Folk Art carved gilt wood mask on brass base.

Asian hand carved marble Foo Lion garden sculpture.

A beautifully and serenely composed woodblock print by famed Japanese printmaker Kiyoshi Saito. Many consider Saito to be one of the most important, if not the most important, contem...

A large, earthly toned, dramatically composed print, with just the right touch of humor, is by Japanese master printmaker Yoshitoshi Mori who was famed ...

A finely decorated vintage Japanese box for precious incense, kogo, in the shape of a male mandarin duck, oshidori, by Zohiko, Showa Era, 1960's, or earlier. The lovely and whimsic...

Introducing the 1960s Danish teak and tile coffee table by Johannes Andersen, crafted for CFC Silkeborg. Adorned with intricate Royal...

Offered are a pair of post war Japanese Kabuki paddles circa 1960, featuring a male and female Kabuki character actors in full traditional Japanese r...

A beautifully composed woodblock print by famed Japanese printmaker Kiyoshi Saito. Many consider Saito to be one of the most important, if not the most important, contemporary Japanese printmakers of the 20th century. This print, which is titled "Daitoku-ji Kyoto (D)" is from a series of Kyoto temple images that Saito created. The woodblock print features strong, contrasting colors, beautiful wood grain, and a complex design - the cross-shaped walkway pattern which is highlighted by the small precisely placed stones is repeated on the temple wall. The wood grain in the yard, temple walls and sky add another layer of compositional depth. The print is signed in black ink and stamped/sealed in red within the image It is likely titled, dated (1960), and numbered (from a limited edition of 150) in pencil by the artist in the lower margin but hidden below the mat. Saito's "self-carved, self printed Kiyoshi Saito" personal label with his red chop seal...

Dubbed as production of the "Chinese Modern Official Kiln", a small group of porcelains of the highest standard were produced in Jingdezhen from 1962-1967, The production was aimed as a revival of the Chinese porcelain after the foundation of the Republic in 1949 in order to serve the purpose of decorating the meeting halls for the newly renewed diplomatic relations around the globe. The best available materials and artists, including the painters and potters, were employed to achieve a high quality that rivaled the pieces produced during the pinnacle years in the porcelain production in the previous Qing dynasty. Due to the breakout of the Cultural Revolution, most of the pieces failed to be used as intended. Most if not all signatures, such as found on this vase, were added later as a hallmark to distinguish them. "Zhong Nai Hai Huai Ren Tang Treasures Porcelain Research Bureau year of 1962". Zhong Nai Hai is the residential and working compound for Chinese political elites in Beijing and Huai Ren Hall being an important meeting hall. The pieces from "Modern Official Kiln" ubiquitously showcase perfectly balanced forms with precision in symmetry. The use of very high quality Gaolin clay resulted in a semi translucent body, often quite thinly potted. The superbly underglaze paint were sandwiched between a pre-applied glaze and then an overglaze, and the elaborate designs were drawn by master painters. Often, there is a hidden red Chinese National Emblem on the interior wall. These features were all well reflected in this piece. The decoration of the blue paint on the vase is of a classic regal composition and the cobalt blue is of a vivid radiating color. Blooming peonies, an old laurel tree with blossom and scholar rocks provide the background and anchor for a pair of pheasants. One raises its head to crow while the other one looks down. These motifs are commonly found in classic Chinese scroll paintings, a genre called "Flower and Bird Painting". On the back of the vase, there are Chairman Mao's head portrait watermarked in the glaze as well as a cursive poem with a collection number as shown. For a pair of blue and white vase of the same production, see sale by Singapore International Auction PTE ltd on July 21st, 2019 lot 2014. For a pair of blue and white urns...

Amazing vintage caftan, royal blue silk velvet heavily hand embroidered with silver trim, circa 1970s The velvet kaftan is handcrafted and embel...

Signed wood sculpture.

New to our collection, this stunning Danish sofa from the 1960s is a true standout. It features a solid Brazilian rosewood base, elegantly contrasted by a light, neutral-toned fabric...

Just in: a breathtaking set of Danish dining chairs designed by Johannes Andersen for Mogens Kold in the 1960s. Crafted from richly figured, solid old-growth Brazilian rosewood, thes...

Set 15 individual stylized long stem gilt metal flowers. Each intricately crafted with an oxidized gilt finish, some with patches off white paint. The bouquet is a striking addition ...

An exceptionally rare four-leg version of the iconic “Roundette” dining set designed by Hans Olsen for Frem Rojle, Denmark, circa 1960s. This masterfully engineered set features a bu...

A beautifully composed woodblock print by famed Japanese Sosaku Hanga printmaker Kiyoshi Saito. Many consider Saito to be one of the most important, if not the most important, contem...

Royal House Antiques Royal House Antiques is delighted to offer for sale this lovely suite of five original Watercolour paintings dating to the Ch'ien Lung Period 1736-1796 publishe...

This work uses a vintage kimono fabric with marble pattern, that makes it look like a real piece of marble. The line in the middle symbolizes “kintsugi” - concept of wabi-sabi, which values imperfection, impermanence, and the beauty of aging. It is elegantly framed with paulownia wood originally used for kimono chest-of-drawers, and is filled with storytelling and sense of luxury. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. << Explanation and meaning of pattern and colors >> Kintsugi (金継ぎ), which translates to "golden joinery" or "golden repair," is a traditional Japanese art form of repairing broken pottery with lacquer mixed with powdered gold, silver, or platinum. I used this tecnique here to "repair" antique kimono by transforming it into art work. Beyond its literal meaning of mending broken ceramics, kintsugi carries profound philosophical and cultural significance in Japanese tradition: ・Embracing Imperfection: Kintsugi celebrates imperfection and impermanence. Rather than disguising or concealing flaws, it highlights them, treating the breakage as part of the object's history. This philosophy encourages acceptance of imperfection as an essential aspect of life, beauty, and human experience. ・Wabi-Sabi Aesthetic: Kintsugi embodies the principles of wabi-sabi, an aesthetic worldview centered on the acceptance of transience and imperfection. Wabi-sabi values simplicity, authenticity, and the beauty of things that are imperfect, impermanent, and incomplete. Kintsugi exemplifies these principles by turning what might be considered flaws into features that enhance the object's beauty and character. ・Resilience and Transformation: The act of repairing broken things with precious metals symbolizes resilience and transformation. Instead of discarding or replacing the broken object, kintsugi honors its history and transforms it into something new and valuable. This reflects broader philosophical themes of overcoming adversity, finding beauty in imperfection, and embracing change. ・Honoring the Past: Kintsugi preserves and honors the history of the object. Rather than erasing or ignoring its past, it acknowledges and celebrates it. This aspect of kintsugi can be seen as a metaphor for honoring our own personal histories, including the challenges and setbacks we have faced, and recognizing how they have shaped us into who we are today. ・Spiritual and Philosophical Symbolism: Kintsugi has spiritual and philosophical implications, reflecting concepts such as the interconnectedness of all things, the cycle of life and death, and the pursuit of harmony and balance. The process of repairing broken objects with precious metals is seen as a metaphor for spiritual growth, enlightenment, and the journey towards wholeness. Overall, kintsugi represents not only a practical technique for repairing ceramics but also a profound philosophical and cultural perspective on life, beauty, and the human experience. It embodies values such as resilience, acceptance, and the transformative power of embracing imperfection. << Characteristics of the fabric >> This vintage textile is hand-painted with a traditional painting technique where the colors are added on wet surface, which creates an effect of marble. << About the frame >> Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

Beautiful 20th century Maison Charles gilded brass Heron table lamp from the 1960s. The lampshade is damage but it's the originale one. Adjustable height. Blackened wooden base. ...

Fresh from restoration, we are thrilled to present the newest edition to our esteemed Brazilian furniture collection. Designed by Jorge Zalszupin for L'atelier in the 1960's, this ea...

This is a charming vintage elephant planter base. An Oriental, ceramic conservatory or garden jardiniere stand, dating to the mid 20th century...

A wonderfully composed and colored, limited edition woodblock print by famed Japanese artist Junichiro Sekino This print, which is titled "Mr. Ozek's Daughter", is pencil signed, sealed in red, dated (1966), and numbered (5/100) by the master printmaker. A beautiful snapshot of a child and her favorite doll, an ever-trusted companion. Notice how the doll holds her hand in a protective gesture. Junichiro Sekino was largely considered, along with Kiyoshi Saito, to be one of Japan's paramount 20th century master print artists. Both were prominent leaders of the Sosaku Hanga movement. Sekino's works can be found in many museums including: The Museum of Modern Art, N. Y., the Art Institute Chicago, the Museum of fine Art, Boston, the British Museum, and the Portland Art Museum among many other fine museums throughout the world. This listing is for print only (no frame). Would be a fantastic addition to any modern Japanese print...

A standout of Brazilian mid-century design, this 1960s “Saci” sofa by Jean Gillon for WoodArt is an exceptionally rare find—the only known example currently available for sale worldw...

Yasumi Nakajima II (1906-1988) Ikebana vase, circa 1960, Japan. Trumpet form, Tomoe model, with nice patinated brown-red (seido) bronze. Signed underneath. Dimensions: 26 cm H, 9 ...

The frame for this work is made of paulownia wood taken from antique Kiritansu - chest-of-drawers for kimono. I use antique kiritansu that can’t be used as furniture anymore to crea...

This work is inspired by traditional Japanese nature colors symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. It is filled with storytelling ...

A sculptural and rare Mid-Century Modern floor lamp by Italiana Luce, made in Italy circa 1960s. This elegant and refined piece features a ...

Amazing vintage Moroccan Caftan, gold silk damask threads trim, Circa 1960's The gold floral damask kaftan was entirely finish by hand. Feel li...

Exceptional vintage Chinese style trinket box. Features an enamel design of flowers and a bird flying ever so high.

The art piece uses two sides - front and reverse - of the same kimono, to show beautiful sea surrounding Japan, in hues and in late sunset, as a timelapse. The frame for this work is made of paulownia wood taken from antique Kiritansu - chest-of-drawers for kimono. I use antique kiritansu that can’t be used as furniture anymore to create basis and frames for my works. It adds them even more authentic atmosphere of traditional wabisabi spirit. Can you feel it? << Period / Story >> The kimono used in this piece was originally crafted during Showa period (around 1960ies). << Explanation and meaning of pattern and colors >> Sea waves, depicted in two color variations here, are a symbol of transience and Impermanence in Japanese culture. The ebb and flow of the tides, the ever-changing currents, and the relentless motion of the waves serve as reminders of the fleeting nature of life. This artwork featuring the sea convey themes of impermanence, reminding viewers to cherish the present moment and appreciate the beauty of life's fleeting moments. The theme of impermanence is strengthen by two colors of the sea - the lighter in early hues and the darker when the sun is just about to set in the sea. << About the frame >> This artwork frame is crafted from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos, and it serves to convey the refined beauty of Japanese nature. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. Paulownia wood is closely linked to kimono culture. During the Edo period (17th cent.~), it became customary to store cherished kimonos in paulownia chests...

Italian Teak Wood Trolley Bar 1960s. Very typical design for that era, two storage compartamnet. One top compartment and one draw at the back of the trolley. A small crack next to t...

This work uses an antique tomesode (festive kind of kimono) with fern design to evoke feelings of tranquility, harmony, and appreciation for the beauty of the environment. Can be used both vertically and horizontally. It is elegantly framed with paulownia wood originally used for kimono chest-of-drawers, and is filled with storytelling and sense of luxury. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. << Explanation of colors and patterns >> In Japanese traditional culture, ferns, particularly the Japanese painted fern (Athyrium niponicum), hold several meanings and symbolisms: ・Elegance and Beauty: Ferns are admired for their graceful, delicate appearance and intricate leaf patterns. In Japanese aesthetics, they are appreciated for their natural beauty and are often used in gardens, landscapes, and floral arrangements to add a sense of refinement and elegance. ・Resilience and Perseverance: Ferns are known for their ability to thrive in diverse environments, including shady forests, rocky cliffs, and damp soil. Their resilience in the face of challenging conditions is seen as a symbol of endurance and perseverance. In Japanese culture, ferns may represent the ability to overcome adversity and flourish despite obstacles. ・Connection to Nature and Tranquility: Ferns are native to forested areas and are often associated with the natural world. In Japanese traditional culture, they symbolize a deep connection to nature and the importance of maintaining harmony with the environment. The lush green foliage of ferns evokes feelings of tranquility and peacefulness, making them popular motifs in Zen gardens and traditional landscape paintings. ・Purity and Simplicity: Ferns are emblematic of simplicity and purity in Japanese aesthetics. Their unassuming beauty and understated elegance reflect the principles of wabi-sabi, an aesthetic worldview that values imperfection, impermanence, and simplicity. Ferns may be used in tea ceremonies, Ikebana (flower arranging), and other traditional arts to evoke a sense of tranquility and appreciation for life's fleeting moments. Overall, ferns in Japanese traditional culture symbolize elegance, resilience, connection to nature, purity, and simplicity. Their presence in art, literature, and landscape design underscores their enduring significance as symbols of natural beauty and spiritual resonance. << Characteristics of the fabric >> This vintage textile is hand-painted with a traditional Japanese technique called "yuzen". << About the frame >> Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

This work is inspired by traditional Japanese nature motifs symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. In this artwork, the aim was to capture the the auspicious symbol of camellia used in antique kimono. Traditional Japanese culture, represented by the kimono, and wood, an integral element of Japanese craftsmanship, were used to bring this vision to life. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. << Explanation and meaning of pattern and colors >> This delicate piece features hand-drawn camellia motifs flowing gracefully on a softly brightened grayish background. Camellias, native to Japan, bloom from winter to early spring. As an evergreen tree with green leaves throughout the year, it symbolizes the anticipation of spring and is considered an auspicious plant. Due to its seasonal significance and auspicious meanings, camellias have been used as motifs symbolizing good fortune. Additionally, they were highly valued for their use in oil, cosmetics, and medicine, representing nobility. Believed to possess the power to ward off misfortune, camellias also carry the meaning of "protection from calamity" and have strong ties to traditional ceremonies. In this artwork, camellias are delicately depicted alongside flowing branches, subtly representing good fortune with their pale pink and white hues. "Sora-iro nezumi 空色鼠" refers to a light grayish color with a hint of blue, reminiscent of the slightly brightened sky on a lightly cloudy day. Popular during the late Edo period (19th cent.), it elegantly captures the slightly brighter sky pattern seen on lightly overcast days. Notably, the term "nezumi-iro" (mouse gray), popular during the late Edo period, was paired with brown tones, collectively known as "Forty-eight Teas and a Hundred Mice 四十八茶百鼠." Colors within the "nezumi" (gray) spectrum, particularly "sora-iro nezumi," were favored by young people for their cool and sophisticated appeal. << Characteristics of the fabric >> The fabric features intricately woven patterns that reveal subtle gradations through dyeing, creating a grid pattern that transforms depending on the light conditions. Originally, this fabric was part of a formal kimono known as a "hōmongi 訪問着," featuring motifs along the hem, shoulders, and sleeves. These motifs have been carefully selected and combined to create a unified piece of artwork. << About the frame >> Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

This work is inspired by traditional Japanese nature colors symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. It is filled with storytelling ...

SPECIFICATIONS - Dimensions: 58”H x 11”W X 4"D (1960's) - Material: Genuine African Ebony Wood - Construction: 100% Handmade / Carved from Mpingo Ebony Bark - This is "NOT" self sup...

This work is inspired by traditional Japanese nature motifs symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. It is elegantly framed with pau...

Indian embroidery fabric - N°1221 Thanks to our Restoration-Conservation workshop and also Our know-how, we are pleased to present to you works ...

A true Danish modern gem, this rare 1960s coffee table by Arne Wahl Iversen brings sculptural sophistication to any space. Crafted in richly grained teak, the unique triangular top w...

Beautiful and unique wood bowl by David Auld. World renowned American-born Haitian wood working artist David Auld creates one of a kind pieces that catapu...