Late 19th Century Asian Art and Furniture

A two-piece set sterling silver creamer and sugar signed "CUT" and "TienXing" in Chinese, circa second half of 19th century. Cutshing was a Chinese silversmith located at 8 New China...

Pair of fine circa 1880 bamboo armchairs with lattice style pattern. Old bamboo furniture is much rarer than the wood furniture as few have survived. The j...

Japanese two-panel screen: Three Jewels of Buddhism. Meiji period (1868-1912) painting. The three jewels of Buddhism are the teacher, the lesson, and the ...

Antique Early Meiji Japanese Cloisonne Goldstone Enamel Double Dragon Lidded Jar An antique Japanese copper ginger jar with polychrome cloisonne enamel design. Early Meiji period, ca...

Asian Chinese (19th Century) red and gold lacquered cornice (valence) with dragon carving.

Antique Cloissone Chinese Asian Floor Vase 39”

Late 19th Century Chinese Export Painted Leather Chest on Later Stand. Deep red paint on leather wrapped wood trunk/chest. The front is adorned in beautiful gold painted Chinese ves...

Hand-carved Japanese natural wood stand.

Antique silver document case from Burma Burmese, late 19th century Measures: Length 48cm, diameter 6cm This wonderful object is a Burmese marriage d...

Japanese four panel screen: Bijin At Leisure. Ladies in a tea house with a small dog. Seal reads "Ensan dai" (drawn by Ensan). Meiji Period (1868 - 1912) pa...

19th century Japanese black and gold lacquer Suzuribako box with firefly and plum blossom design.

A rare set of four hand painted Japanese porcelain Imari bottle form vases. The vases of square tapering form with classic Imari iron red and cobalt blue ...

Very antique Central Asia silk Ikat, backed on original linen, suitable for wall, bed, table. Particular design, part of my personal collection. (Interesting price for closing activi...

Unusual Casting of a Pheasant in Flight From our Japanese collection, we are delighted to offer this Japanese bronze okimono of a Pheasant upon a naturalistic root wood base. The Ph...

Vintage Chinese Large Hand Carved and Gilded Wood Panel Elaborate and deeply carved wood panel dates from the end of the 19th century. The d...

Of typical form with a shibuichi ground worked in shakudo, silver and gold with a central continuous frieze showing a 3-toed dragon amongst roiling clouds and spume-flecked waves, the shoulders with fields of shakudo bosses between triple vertical lines, the knop formed by paired dragons...

This Meiji-period lacquer tray represents the mastery of Japanese craftsmen in the art of lacquer work. Precious materials are precisely inlaid in the lacquer base, creating a highly...

A porcelain incense burner (koro) made by Japanese potter Makuzu Kozan (also known as Miyagawa Kozan, 1842-1916) circa 1890s-1900s (end of Meiji Period). The koro features an elegant...

An antique pair of gilt bronze mandarin duck screen holders. Meiji period, Japan. Very rare.

A garlic bottle vase in an archaic Chinese form, but likely Japanese in origin. Several circumventing grooves however, suggest a more modern age. It was done in a brilliant purple glaze over a robin egg blue background glaze. The bubbling and bursting effects during the firing renders the surface an artistic spotting effect. The color pallet recalls the Classic Jun Yao...

A Chinese Export Silver Jardiniere circa 1890, of rectangular form and variously pierced to all four sides. The side with the vacant cartouche has two opposing dragons separated by a...

An exceptional, fine and impressive antique Indian silver tea caddy, an addition to our silver teaware collection. This exceptional antiqu...

Material: wood 60 cm high 49 cm wide and 26,5 cm deep Weight: 8.7 kgs Gilded with 24 krt. gold Mandalay style Originating from Burma Late 19th century.  

Antique Tabriz rugs are distinguished by their excellent weave and by their remarkable adherence to the classical traditions of Persian rug design. The city of Tabriz, situated in Northwest region of Persia, was the earliest capital of the Safavid dynasty, and it can claim to have been a centre of carpet production longer than any other city in Persia. This Tabriz carpet has a fabulous Shah Abbas...

The 'ishime' lacquered case consisting of two conforming molded sections with one sliding overtop the other, both sides decorated with hand painted gilt, silver & burnt dark russet (kasshoku) lacquers, depicting motifs in low relief of a rat with an acorn on one side and two acorns on the opposing. In Japanese culture rats are considered auspicious symbols of fertility & wealth, acorns symbolize prosperity & growth. Signed with characters and a mon on one edge. Takamaki-e is a lacquer technique in which metallic powders such as silver, gold, copper, pewter etc., are used in combination with lacquer & clay-dust to build up motifs in low relief. Please note that the color tones & hues of the lacquered motifs appear somewhat more vibrant in the images due to ambient lighting conditions. Regarding the opinion stating the superior quality of this fine example being likened to works associated with those by Shibata...

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...

Italian/French Enamel and Silver Snuff Box. Late 19th Century, the interior lid impressed 22, no other visible marks. The rectangular hinged box with an interior gilt wash, the lid ...

A framed silk needlework consisting of hand made pieces of 19th century Chinese clothing in a fine custom frame and matt.

A charming late 19th-century to early 20th-century, Chinese export reverse glass painting, depicting a lady in the garden, playing with a bird. The painting comes with its original hardwood frame and the old pins...

A fine quality pair of Japanese Meiji period 1868-1912 Miyao bronze figures of Samurai warriors, each with a wonderful patina and gilded highlights. Each mounted on hand carved hardw...

Believing that the departed continue to hold influence over the lives of the living, many Chinese households honor their ancestors in private family rituals, invoking their spirits for long life, health, and prosperity. Commemorative portraits, which came into vogue in the late Ming and Qing dynasties, were commissioned specifically for ancestor worship and were believed to house the spirits of the deceased. When properly cared for, one's ancestors were believed to be a powerful source of honor, protection, and good luck. This pair of ancestor portraits was hand-painted in the late-19th century and beautifully depicts a Qing-dynasty couple. While some ancestral portraits offer a more stylized representation of one's ancestors, this particular pair is painted with incredible realism and life-like expressions. Rather than depict the pair in a regal hall wearing elaborate finery, the couple is shown in a quiet home environment, seated at either end of a square tea table. Their surroundings are minimal, practically undecorated, and they wear simple, matching blue silk robes. Two young children stand beside them, each trying to capture the attention of their grandparent. We love the painting's close attention to detail and the glimpse it offers of Qing-dynasty interiors - from the carved apron of the marble-top table to the red silk lotus slippers...

The 19th century Chinese black lacquer work box has most of the interior with handles on each side. With dragon feet

A Pair of 19th century Indian columns in European style, with removable base and crown.  

A 19th century Japanese Imari pattern bowl on hardwood stand Circa 1885

Experience the elegance of traditional Chinese craftsmanship with this Late 19th Century White Jade Beads Wood Square Abacus, a stunning combination of...

This Meiji-period lacquer tray represents the mastery of Japanese craftsmen in the art of lacquer work. Precious materials are precisely inlaid in the lacquer base, creating a highly...

A 19th century Japanese Bronze temple lantern decorated with finely cast animals and bells. The pagoda top above the open fret work lantern section with a door that opens. Circa 1880

This exceptional Chinese Shoushan stone carving is a fine example of Qing artistry and craftsmanship, featuring a Sage in a semi-seated position...

An interesting bronze sculpture of a seated mouse holding a small corn knob. Realistic treatment of the fur, eyes, hears nose and mouth, its tail is curving on the left side of the s...

Japanese Satsuma miniature tripod teapot and cover, Meiji period A circular flattened form miniature teapot with cover painted in enamels and gilt...

This exquisite late 19th-century Chinese carved hardwood figure depicts an immortal holding a bat, symbolizing happiness and good fortune in Chinese culture. The workmanship is exemp...

Beautifully carved Qing dynasty tea caddy from Elmwood (yumu), with floral motifs. Beautiful original patina, the body is in a brown lacquer and the handle is finished with an red color lacquer. The large size is very usual and was used in a large family compound. The tea caddy is designed to hold and keep warm, large tea pot filled with tea. The tea pot’s spout comes out the front opening for pouring. The horizontal bar used as the container’s handle has a pivoting lock when open, the handle bar can be removed and closing of the pivoting lock, the handle is secure for use. The wooden tea caddy...

A rather fascinating silk embroidery panel that depicts an American eagle perched on a shield, with laurel branches and shooting arrows under the...

A well-executed Chinese export reverse painting on glass depicting an elaborate interior scene with many figures engaged in various domestic activities. This is a finely drawn compos...

This is an antique Aubusson tapestery made in Europe during the end of the 19th century and measures 302x196 CM in size. This piece has a floral design with two bouquets inside of b...

PRESENTING a GORGEOUS and EXTREMELY RARE Meiji Period High Quality Japanese Bronze Vase by Yoshida Zo. Made in Kyoto, Japan circa 1885, by the famous bronze sculptor, Yoshida Zo. I...

A rare 19th century Thai carved wood stupa made from the heart wood of the Teak tree. This stupa is from Isan region of the Thailand (northern Thailan...

Print Toyohara Chikanobu Japan Woodcut 1880

Bronze intentded for hanging (銅掛斜生, 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, ...

A Chinese export silver bowl, profusely decorated with dragons among clouds on a matte background. The bowl has a vacant cartouche, and is fro...

A HIGH QUALITY JAPANESE SATSUMA VASE, MEIJI PERIOD PERIOD. Signed By Kozan of square tapered form, decorated with individual scenes of figures, surrounded by floral and foliage. ...

Print Toyohara Chikanobu Japan Woodcut 1880

Four-legged table with a rectangular board slightly protruding from the body of the piece of furniture and a front carved in relief not too pronounced, clearly distinguishing each of...

Beautiful 19th century Alfred Jacquemart (French, 1824-1896) bronze figural seated group of a dog and his puppy. Golden patina. Signed a Jacquemart on base.

Chinese Export Silver Goblet, with prunus decoration. The goblet weighs 258g and dates from around 1885. Marked WH for Wang Hing '宏兴‘ whi...

Pair of 19th century vases Famille Rose / Qing dynasty.

Okimono of a Chinese cabbage made in boxwood. The texture and veins have been delicately detailed. Native from China, it is an herbaceous plant of the ...

A 19th century enthroned Mazu Quan Ying from the Qing Dynasty. This is a beautiful antique sculptural figure of an enthroned Mazu Quan Yin, cast in bronze in high relief in the late...