19th Century Asian Art and Furniture

A well cast Khmer style bronze figure of an adorned Buddha sheltered by a Naga, Buddha Muchalinda, 19th century or earlier, Cambodia. The sculpture in th...

Japan, a beautifully handmade and hand carved black lacquer colored antique shop sign -kanban- for a Japanese currency exchange shop. The kanji translates to "currency exchange". Many antique Japanese shop signs...

A pair of Tongzhi Period (1862-1874) Chinese polychrome plates. Dated on the reverse 1873. Beautiful muted colors in these plates. With wall hangers.

Black lacquer sideboard with multiple drawers and two doors. From Hebei, circa 1880-1900. This sidebord is perfectly useable as a freestanding centerpiece given the depth: 68 cm / ...

Antique Japanese wooden Noh mask. Age: Japan, Meiji Period, 19th Century Size: Length 20 C.M. / Width 14.8 C.M. / Thickness 9.5 C.M. Condition: Nice condition overall (some expected...

On offer is an impressively large and finely cast Sino-Tibetan gilt antiquebronze statue of Vajrasattva Bodhisattva, circa 19th century maybe earlier. The deity is depicted seating i...

An antique Korean wood Bandaji circa 19th century of Joseon Dynasty. Relatively rare, this Bandaji was likely from the southern part of the Pyongan province near Hwanghae province (i...

This is an old Japanese Bellows. In Japan, it is called "Fuigo". It was used in a private house in the Tohoku region of Japan. To make swords, etc., it is necessary to melt jade st...

With a banana leaf palm on the left, at water's edge with geese. Perhaps a scene from the southern islands. Mineral pigments on mulberry paper with gold leaf and a silk brocade border.

This Chinese vase is made of brass with a lovely enamel cloisonné floral design. The elegant vase sits on a narrow round base with a short funnel neck. The cloisonne floral and leaf ...

A Chinese Qing Dynasty period elm wood reclining lounge chair from the 19th century with bamboo slats and cloud-themed carved spandrels. Created in China during the Qing Dynasty in the 19th century, this elm wood lounge chair features a reddish brown lacquered elm wood frame supporting a reclining seat made of bamboo slats. The back delicately scrolls out to support the body in a comfortable manner and rests on curving supports. The apron attracts the attention with its auspicious cloud-carved spandrels flanking the straight legs and adorning both sides. The ensemble is strengthened by lateral stretchers. Dating back to Ancient Egypt, the lounge chair was soon adopted by the Chinese who used it outdoors as a way to relax surrounded by nature and fresh air. With its elegant lines and skillfully carved apron, this Chinese Qing Dynasty period elm and bamboo reclining...

A very unusual antique Chinese pottery roof tile depicting Guanyin riding on the back of a goose and believed to date from the late Qing period. The hollow formed earthenware figure stands raised on a rounded ridge tile...

19th century Japanese Edo period six-panel screen painted in Haboku (splashed ink) style. Depicts Four Seasons landscape scenes with two portraits of Chinese sages. One sage is trave...

Large Antique Thai Bencharong Stem Plate. A stoneware tazza having a domed pedestal base under a foliate rim dish. Traditionally enameled in a green an...

Rare two-tone Copper and Brass hand tooled Chinese garden stool. Versatile and exuding character to be used indoors, on the porch or exposed to the elements. The hollow centre can be...

A Pair of Chinese Cloisonne Baluster Vases, Late 19th Century Each of baluster form with an everted lip and trumpet neck descending to broad shoulders and a flared base, the enamelw...

A Chinese antique Qing Dynasty side table from the 19th century, with split bamboo top and pillar strut motifs. Created in China during the Qing D...

Antique Japanese wooden Noh mask. Age: Japan, Meiji Period, 19th Century Size: Length 21.7 C.M. / Width 15 C.M. / Thickness 8.5 C.M. Condition: Nice condition overall (some expected...

A truly beautiful and supremely serene Japanese Amida Nyorai Buddha. A magnificent work. Meticulously hand carved in such fine and amazing detail (see hands and flowing robes). Gilded throughout. Seated with narrowed eyes in deep meditation and hands in Buddhist Abhaya Mudra position offering a blessing of protection, reassurance, peace, and benevolence. This hand position, also known as the "fear not" gesture, was achieved by Buddha immediately following his enlightenment. This work is from the late Edo period, (1603-1868)/ early Meiji period (1868-1912). From a California collection. Would be a fantastic addition to any Japanese or Asian artifacts/buddha collection or eye-catching stand-alone accent work in about any setting. One of the best Japanese Buddha sculptures...

Antique Thai wood carving with angel, carved as Naga under leaf-shape, painted with lacquer and golden color, decorated with mirror-tiles, used for temple decoration...

A striking round polychrome cloisonné charger with running deer, scrollwork, various characters, and a geometric border , all on a teal blue ground, ...

A gorgeous pair of late 19th century carved cinnabar urns with their original hand-carved rosewood stands. The 17" tall urns are a perfect match, though not identical. Each side disp...

A Pair of Wooden Clogs (Namaskin), Korea, Joseon Dynasty, 19th Century with curved tips. Provenance: Private Australian Collection. Dimensions: Height: 12.5cm. Width: 28cm. Depth: ...

Description: A singular example of Guanyin. Deviating from the Bodhisattva’s conventional pose of ‘royal ease’, the figure is instead seated in the meditative padmasana, or ‘lotus position’, rendering this Guanyin something of a rarity. An Apana more typically associated with depictions of Buddhas, Guanyin assuming this pose immediately signifies this figure as one of particular spiritual reverence. Both feet are revealed crossed upon one another from beneath fabric which spills before her, her left palm turned upward with her hand resting upon her left knee and her right raised in a relaxed gesture. Adorned with a diadem housing a depiction of Amitabha Buddha, her own spiritual guide, she exudes an air of tranquil regality, further characterised by her numerous strings of beads and elaborately fastened dhoti, attire traditionally reserved for Indian princes. Though the figure’s dress is Indian her face is undoubtedly exemplifying artistic Chinese beauty standards. Her face is soft and rounded, full in both the lips and cheeks, with eyes that restfully peer down, as though she is watching over the worries of mankind with compassion. 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...

A monumental 9 feet 8 inches solid wood sideboard from early 19th century. The top is made of solid boards in 2.5" thickness. Immediately under the top are 6 large drawers with carve...

Since the 12th century people in China have used folding screens and doors to partition and decorate their homes—the vivid scenes backing the screens added life and color to a room. ...

19th century chinoiserie collector's cabinet on gilt and ebonized decorated apron over Queen Anne's style cabriole legs.

Set of five 19th century Ming style Chinese antique window screens featuring stylized, hand-carved ruyi and small cube design. The cubes are form...

19th century auspicious carved panel story board. Chinese carved wooden panel of one solid piece of carved wood set in a wooden frame. A C...

Presenting a famous netsuke artist, Yoshitoshi from Japanese, a carved netsuke "The Pig" dated around the late 19th to early 20th century.         

A lovely antique 19th-Century English black tole tray with a hand painted gold gilt leaf and floral border. It displays beautifully, a perfect addition to any room. Dimensions 13.9ʺ...

This whimsical pair of porcelain figures depict kneeling Chinese boys holding square containers suitable for single blossoms. The symmetry is graceful from all angles and the color p...

A set of four Chinese silk kesi embroidered panels, Qing Dynasty, 19th Century. larger pair: 11 ⅞ by 38 ½ inches smaller: 11 ½ by 37 ½ inches

Colorful late 19th century late Meiji period four-panel byobu screen featuring 12 scenes of a festival preparation. The intricately painted scenes have vibrant natural color pigments...

A pair of matching antique Japanese copper serving trays with polychrome cloisonne enamel design. Meiji period, 1868 to 1912. Rectangular shape with rounded corners. Peacocks and peo...

9th century Chinese Canton famille rose porcelain garden seat Porcelain garden seat modelled as a drum with nail head bosses to top and bottom, the sides with two large panels depict...

This late 19th century standing figure depicts the sacred form of the bodhisattva Guanyin, known in Japanese Buddhism as Sho Kannon, or Guze Kannon. ...

A Chinese Qing Dynasty red cabinet from the 19th century, with oval hand painted medallions and hand carved motifs. Created during the 19th century, this Qing Dynasty red cabinet fea...

A Chinese Qing Dynasty period side table from the 19th century, with red lacquer, woven rattan top, horse hoof legs and waisted apron. Created in China during the Qing Dynasty period...

Step into the golden age of Thai Buddhist artistry with this Antique bronze Thai Sukhothai Buddha statue, a monumental 19th-century masterpiece that embodies the spiritual elegance a...

A fine and charming set of three hand-painted Imari porcelain bowls, dating to the late Edo to early Meiji period (19th century). Each bowl features traditional underglaze blue and o...

Antique 19th century Asian, Middle Eastern style Turkish tinned copper ewer. Antique Turkish ottoman Islamic Ewer Tombak pitcher brass copper Ibrik. Nic...

Eugene Boudin 1824 - 1898 - Watercolor painting - Ships in Normandy Signed lower left E Boudin Boudin was born at Honfleur, the son of a ship's captain. ...

This is a gorgeous late Qing Dynasty Chinese altar table made of Rosewood. Scroll ends carved with dragons and beautiful mother-of-pearl inlay on all sides, including top, back, legs...

This Very large and special antique Buddha statue is a truly unique and special collectible piece. Made of wood, this statue stands at 139 cm hi...

A late 19th century large carved cabinet from Dong Yang city, Zhejiang province, China. This cabinet is a distinct design of cabinets from this region, who are famed for their wood c...

A large and heavy well cast bronze image of the Buddha seated in meditation, late or just post Kandyan period (1597 - 1815), early to mid 19th century, Sri Lanka. The Buddha sits ...

Chinoiserie hand painted 19th century Chinese export jewelry cabinet circa 1880; is fronted by a pair of raised panel double doors; decorated in gilt with scenes of Chinese figures, ...

Pair of late 19th century Japanese hand-painted and gilded porcelain kutani vases. These vases are signed.

A pair of Satsuma ceramic plates made by Kinkozan studio circa 1880-1900s during the late Meiji Period. Each dish features miniature enamel decoration o...

This pair of children’s chairs has a back frame in the Southern Official hat style. The seat is made of a solid plank of wood. The aprons are do...

Japanese mixed metal shakudo vase from Meiji Period. The vase depicts silver iris flowers on bronze base. Signed on the side by the maker, and marked on t...

An unusual and fine antique Chinese Qing lacquered and inlaid papier mache handled sewing box with decorative panels dating from latter 19th or early 20th century. The sewing box is of round cylindrical shape with a swing carry handle and is inlaid with mother of pearl and abalone. The body is made up of eight oval shaped scenes of typical Chinese style with buildings and people picked out with inset abalone and mother of pearl and highlighted and contained within a gilded border. These are set between bands of patterned abalone and against a blue silk background. A similar band of abalone is applied to the swing handle. The cover sits within a recess and is made up of bands on inset abalone with cut out triangular designs and set over blue silk with a small finely carved mother of pearl handle...

An antique Korean ritual incense burner circa 19th century (late Joseon dynasty). This type of porcelain incense burner was made in Bunwon Kiln in Gwangju, Gyeonggi Do, near Seoul. U...

Antique Japanese Imari Porcelain Plate #6, Circa 1890's. This is the very last plate of a set of 6 that we initially had. *Ple...

Chinese 19th century lady's chair in original condition is very hard to come by, especially in pairs. Here we have a pair of extraordinary ones in remarkable condition, with fabulous...

A stunning pair of ceramic vases with gilt, paint and high-relief decoration by imperial artist Makuzu Kozan (1842-1916, also known as Miyagawa Kozan) circa 1876-81 (late Meiji period). These vases belong to early period (1876-1881) of Kozan's repertoire, during which time the high relief sculpturing (known as Takauki ware) was used as a distinguished technique on top of the traditional gilt and paint ornaments of satsuma ware. Due to the relatively limited production and the fragile nature of these wares, not a large quantity of the examples remained in the first place, not mentioning a fine matching signed pair in such impressive sizes. Not only a rarity, this pair of vases is also superb in workmanship, thus the fine example of the work from that short and unique period of the artist's career before he switched to the underglaze period. In a conceptually mirrored fashion, the surface is richly decorated with flying cranes among large lotus leaves and flower, like an idyllic aqua scenery of pure poetry on a circular scroll. The high-relief appliques were rendered and composed in realistic fashion but with a dramatic touch. They are literally about to break the surface free, alive and in motion. The dark colors of the glaze were used to set a moody tone. The approach to create this type of ornamentations is more akin to sculpturing an ink painting in three-dimension than ceramic making. It is not hard to imagine the demand of both the artistry and the technique. Both vases were signed as "Makuzu Kozan Kiln" and each further with another name and seal, which are most likely the individual artist involved in the making process. Similar signatures can be seen in the reference book below. For similarly Takauki vases, see Miyagawa Kozan Makuzu...

A stunning and rare antique Chinese armorial games box of rectangular form with over 110 matching armorial mother-of-pearl gaming counters. The black lacquer box is finely decorated with a central Chinese landscape scene, the centre with an armorial for Smith impaling ABBOT. the box opens to reveal five lidded boxes each with similar decoration to that on the box outer and each with a central armorial crest. The box also contains 12 gaming trays, four of which are decorated with the same armorial as is the addition of the Pope Joan...

An exceptional and stunning Japanese bronze handled mirror within a fitted black lacquered case. The mirror is polished to one side with the other s...

The vase has a hexagonal shape, with a structure that extends seamlessly from the rim to the base, creating a sense of visual stability. The neck features sculpted handles in the for...