1850s Scholar's Objects

A sublime and rare pair of Chinese white glazed porcelain figures of Guanyin, attributed to Tang Ying (1682 - 1756), Qing Dynasty, Qianlong Period, China. This ethereal pair of white glazed porcelain figures depict the revered Buddhist Goddess of Mercy, Guanyin. Guanyin is portrayed standing, wearing heavy robes that drape beautifully around her figure. Bare feet peek out from under the hem of the robes. Her hair piled in a high chignon and covered by a cowl. The treatment of the hair, finely textured, unglazed, and with remnants of darker pigment, is typical of works by Tang Yin (1682 - 1756), who was the head of the imperial porcelain works at Jingdezhen. Guanyin's beatific face is set in a serene smile, with a small, flat nose, and downcast, heavily lidded, almond shaped eyes. A simple beaded necklace graces her chest. Her hands held out, and may have once held attributes. The hands were originally removable, but have since been permanently attached. The figures crafted of a fine porcelain and glazed all over in a supple white glaze. One figure bears a label from the Rafi Mottahedeh collection to the back. Provenance: Chinese Porcelain Company...

An exquisite late Qing dynasty display Stand of longyan wood, carved as a miniature "kang" table. The center panel features an amazing grain that delights the eye, while a soft glo...

Pair Of Chinese Turquoise Glazed Porcelain Foo Dogs. A large pair of Chinese turquoise glazed foo dogs dating from the first half of the 20th c...

Pair of charming polychrome ceramic Foo Dog / Lions in the Qing Style. Fantastic detail and a beautiful color combination of ochre, green, brown and blue. Foo dogs are symbolic, pro...

Large Pair of Chinese Export Sancai Glazed Foo Dogs China, 20th Century An exquisite, large-scale Sancai glazed pair of Foo Dogs, featuring elaborately decorated Foo Dogs with rema...

A Large Pair of Chinese Export Turquoise Foo Dogs  China, 20th century  This impressive pair of Chinese export porcelain foo dogs, made in the 20th century, highlights exquisite cra...

Great pair of mid-century polychrome glazed ceramic foo dogs from China, circa 1950s. Great detail with each dog holding a coin medallion in its mouth and a beautiful color combinati...

A tri-pod ceramic incense burner (koro) by Japanese Imperial potter Makuzu Kozan (1842-1916) circa late Meiji to the start of Taisho period (1890-1910s). A fine example of the artist's work belonging to the late part of his underglaze paint phase (started around 1887 until his death), the surface of the koro was painted in beautiful shades of blue to depict a continuous landscape not unlike a traditional ink and watercolor hand scroll. The rise and fall mountains recede and fade into the horizon and are dotted with groves of pines. The sky is painted with a beautiful subtle shade of pink, suggesting a time of sunrise or sunset. The koro is fitted with an ensuite reticulated sterling silver hoya (incense cover), pierced with swirling cloud and marked with "pure silver' in Kanji. The base is signed in underglaze blue "Makuzu Kozan Sei" within a double ring. The piece is beautifully potted in form and the decoration was done with expertise using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking landscape known as "Mountain and Water" with sense of dimensions and gradient, the poetic effects normally conveyed only by sumi ink staining on paper. The piece comes with an unsigned tomobako (wood storage box) of a recent age. Also known as Miyagawa Kozan (1842–1916), Makuzu Kozan was one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama around 1870s and later became one of the appointed artists to the Japanese Imperial household. His work was exhibited in many international fairs that the Meiji government participated at the turn of the century and won many grand prizes. Being one of the most creative ceramists, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze around 1880s. New colors allowed him to create underglaze designs that appeared bright, smooth and glossy. He even invented his own receipt of cobalt blue to achieve a much brighter yet softer shade, as evident on this vase. To create landscape that is realistic and dimensional, more common in the western paintings, he was inspired by the native Japanese ink painting technique developed around 1900 by Yokoyama...

A wonderful pair of turquoise glazed Chinese Foo dog statues- circa 1880. Foo dogs were actually lions, yet they resemble a Chow Chow and/or Shih Tzu (dog breeds) which led them to b...

a female and a male foo lion/dog

Each seated on pedestals one stepping on a ball the other clutching a reptilian creature. Painted in the spinach and egg color.

A Collection of Two Pairs of Turquoise Chinese Export Foo Dogs China, 20th century  An instant collection of two pairs of Chinese export porcelain f...