Asian Boxes

Chinese hand-painted pillow box with copper latch and handles on the sides Width 10.5 inches / height 6 inches / depth 6 inches 1 available in stock in Italy Order reference #: FABIO...

A long rectangular ceramic box in a Southwest or Geometric motif. We've never seen a box like this before. The sides are painted in a deep blue with geometric patterns in bright gree...

Offered is a lovely sculptural split reed decorative box designed by Betty Cobonpue for her "Scultura" line produced in the 1980s. This could also function as a jewelry box. Cobon...

This is a good papier mâché, rectangular shaped black lacquered lidded box, hand enamelled and gilded, made in Asia, possibly Japan during the mid 20th Century. This rectangular s...

A pair of beautiful vintage natural lapis boxes. Crafted from the finest grade AAA natural lapis lazuli, these boxes use carefully selected pieces with matching stone patterns resemb...

This treasure chest shaped box is luxuriously decorated and dates from the final decades Of the Imperial period. The box was produced by the workshop of Maria Semonova and Is formed of 875 grade silver with silver-gilt utilised throughout. the box is of traditional Shape, having two hinged handles and a clasp, boxes like this were used in treasurys Around the globe in the early days to keep valuables inside, this small box can be used To hold tobacco or just sit on your table as a statement piece, a great addition to any Silver and especially Russian silver collection. The exterior surface of the box is profusely decorated with polychrome cloisonné Enamel, the cloisons set into a variety of shapes, such as scrolling arabesques, and Infilled with shaded enamel in tones of red, blue, and Semenova’s idiosyncratic violet. The cloisons are bounded by silver-gilt rope twist cloison wire. The underside of the box Is marked with ‘MC’ for Semonova’s workshop, ‘84’ for 87.5% silver with a Kokoshnik mark (Kokoshnik is a traditional Russian head...

Teak and Brass nautical chest with inlaid brass corners, inlaid keyhole brass, carry handles, corners. etc., Weight: 36 lbs. Overall Dimensions: 17"H x 23"W x 16"D Made: India Mater...

PRESENTING A LOVELY 19C Anglo Indian Vizagapatam Bone and Shell Domed Stationery Box – ‘Alice’s Box’. Made in Vizagapatam, India, circa 1860-80. We call this one: “Alice’s Box”! It has lived ‘a hard, well used and traveled life’, as is evident from the number of losses and repairs, as is obvious from the photos, especially to the faux ivory panels and bands to the top. The bonus to the loss of the frieze panels to the dome has a ‘bonus’, however, as their loss has revealed the most GORGEOUS faux blonde tortoiseshell underneath! The box is dome/casket shaped. The top has 3 bands, with the center one being the original. The 2 side bands are later ivorine. The faux ivory and hand-painted medallions on the domed lid, have been saved and they depict Hindu Gods, Vishnu and Shiva. The front and side panels are still in pretty good shape and are decorated with lac ink (indelible ink made from crushed beetles) depicting lovely floral designs. The domed lid open to reveal a series of open compartments for envelopes, writing paper etc. and one lidded panel for stamps. Inside the box are 2 paper labels: one probably being the original item ticket and the other with: ” Alice’s address is 272 Ashworth Ave, Toronto 4, Ontario”. Probably, the original owner? Hence, we call it ‘Alice’s Box’. What a journey/life this box has had! Made in India, made its way to Canada, back to Ireland and then to Texas! This is why, WE LOVE ANTIQUES...

Dot Box is a limited edition functional object d'art carved from a single cube of Travertine. Hand-finished by a growing artisan atelier in Rajasthan, India it is produced exclusively by Anastasio Home...

Vintage Chinese box in sealing wax. China Mid-20th Century. 4x10x8 cm. Good conditions.

A late Qing Dynasty Chinese wooden box from the early 20th century with brass hardware and lateral handles. Immerse yourself in the rich cultural hi...

PRESENTING A LOVELY 19C Anglo Indian Highly Carved Padouk Wood with Sadeli Mosaic Inlay Sewing Box. Made in Bombay, India, circa 1880. The box is made of sandalwood with highly carved raised padouk wood panels on all sides, depicting temple scenes, animals and foliage. The box is in a sarcophagus form. It is edged in bone (and we can tell it is bone and not ivory, from the color and evidence of capillaries, which are not found in ivory), and banded with Bombay Sadeli mosaic and ebony veneer. The lid opens to reveal a removable tray with various open compartments and lidded compartments. 5 lidded compartments, 1 unlidded compartment and 8 holders for thimbles, etc The tray lifts to reveal a blue velvet (original) lined section, for storing jewelry etc, with sections for collars etc. The inside of the lid has a removable mirror (the mirror is missing on this one but can easily be replaced). Behind the mirror is the original green velvet lining. It has its original brass carry handles on the sides and sits on 4 silvered button feet (of recent origin). Some repairs to the exterior and condition issues (priced accordingly), but still a LOVELY COLLECTIBLE box! These boxes were made by superb Indian craftsmen, specifically for sale to the ruling British elite. These types of boxes, carved padouk and sandalwood, (whilst beautiful and superbly crafted) were of a lesser quality, than the more profusely and intricately mosaic inlay, tortoiseshell and ivory boxes, made for the British ‘Upper Classes’ in the areas of Bombay and Vizagapatam. These type of boxes were much more affordable back in 1880 (and indeed today) and would probably have been bought by mid-level diplomats, civil servants or visitors. Sewing boxes (in general), were in EVERY Victorian home in Britain in the 19th century and like other boxes etc were ‘status symbols’ of your place in society! The more ornate the box, the more ‘Upper Class’ you were! SADELI MOSAIC: “Anglo Indian boxes were made in India for the English residents from the early part of the 18th century. They were brought back or sent back to England usually by the people who had commissioned them. From the beginning of the nineteenth century they were imported more commercially, although not in any significant numbers until the middle decades. They were very highly valued, especially the early ones, to the extent that the designs were copied on late 19th and early 20th century tins. The ancient art of Sadeli Mosaic is said to have been introduced from Shiraz in Persia via Sind to Bombay, a long time before the Anglo Indian boxes were made. It was a technique, which required a high degree of skill and patience. It was executed very lavishly, in that the frequent cuts wasted a great amount of the precious materials used. The workmanship was however more than commensurable to the value of the materials. Ivory, silver, pewter (or other metals), wood and Horn were cut into faceted rods which were bound together to form geometric patterns. When the glue has set, the rods were sliced in transverse sections. This gave the maker a number of angled circular pieces in the original pattern. Several variations of patterns could be achieved by combining the materials in different ways. The ivory was sometimes dyed green to give an extra color. The mosaic pieces in a combination of patterns, often separated by ivory, ebony, Horn or silver stringing were used to veneer sandalwood boxes. In the early boxes, which date from the turn of the 18th to the 19th century, there are large panels of mosaic covering tops and sides of boxes. It took incredible skill to cover such large areas without any shakes or wavering of the pattern. The corners and joins on these boxes are impeccably matched. The makers (reputed to be Persian) of Sadeli mosaic made in the first two decades of the 19th century displayed a total understanding of the qualities of the different materials they used. They combined substances, which can expand and contract according to atmospheric conditions with others, which are hard and unyielding. The result was a sharp definition of the lines and patterns, which made up the whole design. On the early boxes the designs look deceptively simple. The fact is, they emerged from a culture, which had mastered geometry and understood how to generate a pattern from a set number of points. The patterns are so harmoniously combined that their incredible complexity is not immediately apparent. The earliest Sadeli boxes...

An asian wood and brass jewelry box. Dark red mahogany colored wood with with brass drawer pulls and decorative accents. Two doors open to reveal thr...

19th Century Indian Chest with Wooden Frame Covered in Embossed Brass with Handles

19th Century Indian Chest with Wooden Frame Covered in Embossed Brass with Handles

Beautiful Maitland Smith box with resin-encased stem-end finish, mahogany inlay, and brass accents, handcrafted in the Philippines, circa 1980s. Intriguing, organic construction out ...

A fine and elegant Korean black lacquer and abalone mother of pearl inlay "longevity" box, circa 1930s, Korea. The box, most likely used to sto...

Nice Japanese glove box in red and black lacquered wood dating from the end of the 19th century. It is decorated with delicate gold, black and white flowers and foliage on all its vi...

An antique Japanese Meiji Era covered enamel brass kogo or box for incense. Circa: late 19th century to early 20th century. The box is enameled with polychrome floral and foliage pat...

Tessellated horn and pen shell jewelry box attributed to Maitland Smith

A set of 3 antique Korean paper mache sewing boxes from the Choson period.

This handled box is a Japanese tabako-bon, or 'tobacco tray,' used to store tobacco and smoking accessories. Believed to have evolved from the traditional...

A snuff gold box designed by Henrik Wigström. Beautiful neo classic snuff box, created in St, Petersburg Russia, at the workshop of Henrik Wigström, back in the 1908. This piece has been carefully crafted in the Russian imperial and Louis XVI styles, in solid yellow gold of 56 zolotnik (14kt) and embellished with applications of white enamel. Decorated around with garlands and intricates dotted patterns. Fitted with an invisible hinge and close perfectly well. Weight: 36.65 Grams, (23.49 Dwt). Measurements: 41 mm by 39 mm by 14 mm (1.61 x 1.53 x 0.55 Inches). Hallmarks: Stamped on both parts with Russian marks; the kokoshnik post 1908 mark with the letter a for the city of Saint Petersburg, the maker's mark HW associated to Henrik Wigström inside an oval cartouche, scratched with his inventory numbers 86111 and the 56 zolotnik mark for the assay and warranty of the gold. Other Hallmarks: Stamped in the outside border, with German importation marks; the German Crown mark, the retailer mark AT inside an oval and the 585 mark for the assay and warranty of the gold. Henrik Immanuel Wigström born on 1862 and was a Finnish silver & goldsmith. He was one of the most important Fabergé workmasters along with Michael Perchin. Perchin was the head workmaster from 1886 until his death in 1903, when he was succeeded by his chief assistant Henrik Wigström. These two workmasters were responsible for almost all the imperial Easter eggs. Henrik Wigström was born in Ekenäs, Finland, and was apprenticed to a local Danish born goldsmith named Peter Madsén, a successful manufacturer of silverware who was familiar with the jewellery trade in the city of St. Petersburg, as at one time he had had a workshop there. Once in Madsén's employment, his master's trade with Russia, as well as his numerous business contacts here, brought him to work in St. Petersburg. Goldsmith Werner Elfström employed Wigström as a apprentice on his arrival in the capital in 1875. Wigström became assistant in 1884, at the age of 22, to Perchin, whose shop at that time was already working exclusively for Fabergé. Wigström became head workmaster at Fabergé after Perchin's death in 1903. The number of craftsmen in Wigström's workshop diminished drastically with the outbreak of World War I. By 1918, the Revolution forced the complete closing of the House of Fabergé. Aged 56, Wigström retreated almost empty-handed to his summer house, on Finnish territory, and died at Terijoki in 1923. His art is similar to Perchin's but tends to be in the Louis XVI, Empire, or neo-classical style. Nearly all the Fabergé hardstone animals...

Beautiful little box lacquered with red and black Cinnabar forming a peony decoration. Cinnabar lacquer is an Asian technique that comes from cutting an...

A Japanese Nagasaki export lacquer box with mother-of-pearl depiction of the Amsterdam ‘Trippenhuis’ Edo-period, circa 1830 H. 12.5 x W. 24 x D. 15 cm ? The house depicted on t...

A scarce fine quality antique silver-inlaid solid brass betel nut box (Lutuan), dating to the second half of the 19th / early 20th century, hand-crafted in Mindanao, Philippines. Boxes such as this were used to store the areca nut (also known as the betel nut) which would be wrapped in a betel leaf with lime paste and other ingredients, often tobacco, for chewing. Similar to the European tea caddy, these boxes often served as a way to impress while showing off ones wealth. Betel chewing was prevalent in the southern Philippines as in much of the rest of Southeast Asia. Wealthier Maranao families on Mindanao were able to afford elaborate silver-inlaid brass betel boxes such as this example. Such boxes were used to show off to guests and from which they were offered betel and the other component such as leaves and lime to make up the betel quid. Rare large size, most extant examples of such boxes tend to measure around 5 inches in length. At slightly more than 7.75 inches the example here is larger than most. The distinctive decorative box features a very heavy strong-box like rectangular shaped chest form with canted corners, copper handles, and a conforming hinged lid, lifting open to reveal an interior divided into three compartments covered by four hinged lids. Each of these doors is inlaid with silver in stylized orchid flower patterns. Exceptionally executed throughout, the arabesque silver inlaid exterior is decorated to the top with a large orchid motif within scrolling obid-obid (stylized rope) borders. The front, back and sides are inlaid with sets of stylized tail feathers of the sari-manok bird beneath which are unusual, highly stylized whimsical zoomorphic faces that appear like cat or tiger faces. (Such stylisation is accounted for by Southeast Asian Islamic preferences to avoid the overt and this potentially idolatrous representation of animal and human forms. Designs such as these are drawn from a local design repertoire that has its origins in wood carving. Although the spread of Islam in the Philippines began in the 14th century, mostly through the influence of Muslim merchants from the western Malay Archipelago, decorative arts in this design remain exceptionally rare. This lutuan represents a fine example of Islamic metalwork from the most eastern outreach of Islamic art and civilisation: Mindanao island being significantly further east than even China – artwork from Islamic Southeast Asia remains chronically under-represented in the world’s major collections of Islamic art. PROVENANCE / ACQUISITION Acquired from highly reputable auction house, Austin Auction Gallery, established 1983, Austin, Texas. References Brownrigg, H., Betel Cutters...

PRESENTING A GORGEOUS 19C Anglo Indian Highly Carved Padouk and Sandalwood Sadeli Mosaic Sarcophagus Sewing Box. Made in Bombay, India circa 1860-80. Box made of sandalwood with highly carved padouk wood reliefs and panels on all sides. Edged with bone and ebony veneers and glorious sadeli mosiac, made from tiny pieces of faux ivory, pewter, green semi-precious stone. The box is in a sarcophagus form with domed lid. The original brass carry handles are on the sides. The interior is in great condition and consists of a removeable mirror under the lid portion, with the original red velvet lining behind it. The base is removeable and contains a number of lidded compartments. 6 of the interior lids on the base, are each inlaid with sadeli mosaic banding. The rest are also carved and chased. The interior is fully complete with 7 lidded faux ivory/bone, thread canisters with sadeli domes and the original bone thimble. The box sits on 4 brass ball or bun feet with the original velvet lining on the base. Some minor repairs and losses, but this box is fully complete. This is ‘rare’ as many of these boxes have not survived in such condition! Included in the sale are 2 photos that were in the box (under the base tray). Interestingly, one of them is a view of downtown Nassau, New Providence (Bermuda) from the early 20C and stamped on the rear. What a ‘journey’ this piece has made! Made in India … travelled to Bermuda, probably via Britain … back to Ireland (where we bought it) …. then to Texas! These boxes were made by superb Indian craftsmen, specifically for sale to the ruling British elite. These types of boxes, carved padouk and sandalwood, (whilst beautiful and superbly crafted) were of a lesser quality, than the more profusely and intricately mosaic inlay, tortoiseshell and ivory boxes, made for the British ‘Upper Classes’ in the areas of Bombay and Vizagapatam. These type of boxes were much more affordable back in 1880 (and indeed today) and would probably have been bought by mid-level diplomats, civil servants or visitors. Sewing boxes (in general), were in EVERY Victorian home in Britain in the 19th Century and like other boxes etc were ‘status symbols’ of your place in society! The more ornate the box, the more ‘Upper Class’ you were! Of it’s type, this one, is one of the very higher quality one’s, than the norm! SADELI MOSAIC: “Anglo Indian boxes were made in India for the English residents from the early part of the 18th century. They were brought back or sent back to England usually by the people who had commissioned them. From the beginning of the nineteenth century they were imported more commercially, although not in any significant numbers until the middle decades. They were very highly valued, especially the early ones, to the extent that the designs were copied on late 19th and early 20th century tins. The ancient art of Sadeli Mosaic is said to have been introduced from Shiraz in Persia via Sind to Bombay, a long time before the Anglo Indian boxes were made. It was a technique, which required a high degree of skill and patience. It was executed very lavishly, in that the frequent cuts wasted a great amount of the precious materials used. The workmanship was however more than commensurable to the value of the materials. Ivory, silver, pewter (or other metals), wood and horn were cut into faceted rods which were bound together to form geometric patterns. When the glue has set, the rods were sliced in transverse sections. This gave the maker a number of angled circular pieces in the original pattern. Several variations of patterns could be achieved by combining the materials in different ways. The ivory was sometimes dyed green to give an extra color. The mosaic pieces in a combination of patterns, often separated by ivory, ebony, horn or silver stringing were used to veneer sandalwood boxes. In the early boxes, which date from the turn of the 18th to the 19th century, there are large panels of mosaic covering tops and sides of boxes. It took incredible skill to cover such large areas without any shakes or wavering of the pattern. The corners and joins on these boxes are impeccably matched. The makers (reputed to be Persian) of Sadeli mosaic made in the first two decades of the 19th century displayed a total understanding of the qualities of the different materials they used. They combined substances, which can expand and contract according to atmospheric conditions with others, which are hard and unyielding. The result was a sharp definition of the lines and patterns, which made up the whole design. On the early boxes the designs look deceptively simple. The fact is, they emerged from a culture, which had mastered geometry and understood how to generate a pattern from a set number of points. The patterns are so harmoniously combined that their incredible complexity is not immediately apparent. The earliest Sadeli boxes...

A gorgeous Majolica ceramic trompe l'Oeil asparagus covered box By Fitz & Floyd Japan, circa 1980s Measures: 7.25"W x 4"D x 3.13"H Very good original vintage condition.

Exquisite Maitland Smith Tessellated Rosso Levanto Marble Box, ca 1990s. This octagonal slope sided box is clad in a beautiful tessellated rosso levanto marble and accented with a ...

Antique Indochina first half of 20th century carved wood caddy with a dragon carving. Caddy is carved in high relief of repetitive dragon patterns, the...

Vintage hand painted and gold gilded papier-mâché box with removeable lid - featuring three gilded lotus flowers to the lid and an intricate double band of decoration to the edge - u...

Beautiful 1.1 lb octagonal box made of the finest, grade AAA natural lapis lazuli from Afghanistan. All 8 sides are single panel lapis. A round lid with elegant finial and fine carra...

Chinese famille jaune porcelain covered jar with floral designs and foo dog wooden finial Height 29.5 inches / Diameter 16 inches 1 available in stock in Italy * some repairs have be...

An antique Japanese copper trinket box with floral cloisonne enamel design. Late Meiji period, before 1912. The box has a lobulated round shape. There is a figurative finial on the lid. Collectible Oriental Decor...

Russian snuff box designed by Ivan Sergeyevich Lebedkin. Beautiful snuff box, created in Moscow Russia, at the workshop of Ivan Sergeyevich Lebedk...

An absolutely lovely Chinese export pink Canton enamel round stacking box and cover, late Qing Dynasty, circa 1900, China. The circular stacking box consists of a bowl form base, ...

Chinese silver box, with an intricate design showcasing birds, floral, and other natural motifs, measuring 2 7/8'' by 2 7/8'' by 1 7/8'' in height. Please feel free to ask us any q...

Antique collectible opium container Mughal Art round lidded box. This stylish lidded box is veneered with ivory color white bone sections engraved and hand painted with floral Mughal design int he same work as in the Taj Mahal palace.. Beautiful round Bombay box...

Beautiful blue Lapis Lazuli and Carrara marble stone jewelry box. Created from genuine blue Lapis Lazuli, this box is low in profile and rectangular in form. This lovely jewelry or trinket box features a lid that fits onto its base. Both of which are completely covered in this beautiful blue stone. The interior of the box's base and lid, are created using Carrara marble. The lid features stays, which retrofit into the base, and allow the top to hold to the base without sliding or moving. The exterior is flanked with the gorgeous richly hued blue lapis lazuli. How we would style it: This blue stone box...

Chinese Gilt Silver Cloisonne Box with Jade medallions, circa 1900, jeweled with jade, carnelian Shaded enamel, Elevated wires. Heart shape. Addition...

Nice condition for its age. Does not have key. Has original sewing box utensils inside - spools, etc.

Here is nice large Chinese rosewood jewelry box with ornate solid brass fitting with a round longevity symbol carved in the middle and light peach felt lining inside. Comes with lock...

A good antique silver-gilt Imperial Russian cigar box or humidor, 1896. The box of rectangular form with a hinged lid and ribbed decoration, the interio...

Rectangular and flat lacquer Kobako (small box) representing a furoshiki knot seen from above. Fundame background, furoshiki in takamaki-e with floral pattern, inside the folds of the fabric with black and gold sayagata pattern with togidashi maki-e technique. The saya (or sayagata) pattern is composed of Chinese swastikas...

circa 1870s Chinese wedding ceremonial hat box, Zhijang Province. Woven rattan & bamboo with brass hardware. The pedestal base has lost some of the molded floral decoration. Note the...

Tebako box with three compartments in golden and nashi-ji lacquer, decorated with golden, red, and kirigane lacquer, golden persimmon tree leaves, among rocks. The compartments are of increasing size from the top. The decoration is in continuity. Persimmon has been cultivated in southern China for more than 2500 years and is believed to have been introduced to Japan in the 8th century. The veneer is a tree with very hard wood, similar to ebony. According to a legend, one specimen survived the atomic bombing of Nagasaki on August 9, 1945, close to the epicenter. It is therefore in Japan a symbol of strength and longevity. It is also the national fruit of the country. It is eaten as a traditional dish during New Year's Day celebrations. Tebako literally means "portable box...

19th Century Burmese (Myanmar) solid silver betel box on stand, of traditional shape, highly-decorative, each part is chased in very high-relief with various scenes from Burmese folk...

A Japanese covered silvered and enamel kogo or box for incense. The box is enameled with polychrome images of grape vines with berries made in the Plique a Jour technique on burgundy...

A fine antique Japanese Meji Period lacquer box decorated with a fan and a stylized star shaped window in the maki-e technique. The fan at the top right corner, fully opened depictin...

Vintage Asian Octagonal Lacquer Box With Turtle Closure. Lovely 20th century Asian lacquer box with Greek key design and a metal turtle closure. Th...

A small and quite unusual antique Chinese bronze repousse' ink box with interesting, fanciful images of nature and a great patina. This box is perfect for storage of small rings and other jewelry next to your bedside or when traveling. Signed on the bottom of the piece, this small antique bronze...

Silver box, in filigree motif, probably Russian or Chinese, showcasing intricate floral and geometric designs, from the early 20th century, measuring 3 1/4'' in length by 2 1/4'' in ...

Stained leather covered wood in deep oxblood and dark brown tones. With three stitched plaques with raised characters on the front. A brass mount with lock on the front (lacking the ...

An elegant modern style tessellated bone trinket box with black felt-lined interior. Mostly cream in color, but does have hints of light pink througho...

Chinese Huanghuali wood box decorated with bronze mountings and motifs of bats, fish and moths. The top features a classic Chinese medallion mounted to the centre of the lid. In un...

Rajasthani Mughal Decorative Copper Lidded Betel Spice Pandan Caddy Box. Handcrafted decorative North India round metal Asian copper Mughal Raj, Indian lidded , spice, pandan betel box with latch and a top handle. Of dome form with lotus-shaped finial, with spiralling bosse designs, Delicately and intricately hand-chased and hammered with geometric Anglo-Indian designs. Consuming betel leaves with several ingredients such as wet lime paste, katechu, areca nut, cloves and even tobacco leaves has been popular in India from the fourth century AD. The box was probably used to store the betel leaf used in the preparation of paan. Lime paste is mixed with grated areca nut and flavourings and the resulting mixture is rolled in the betel leaf to form a small parcel which can then be chewed. As well as being an integral part of Indian hospitality paan is believed to possess medicinal properties and was also taken as an aphrodisiac. The present box, which was elaborately designed for this purpose, would have been taken out ceremoniously on special occasions. Exquisite conversation museum quality piece with a very nice antique patina. Fine intricate artwork with conical form lid with Moorish pierced designs. Islamic Mughal Indo Persian...

This simple lacquered box is a 19th century snack box, presented as a gift during holidays and special occasions. To the delight of the recipients, the unassuming box would have open...

Modernist keepsake, document box clad in Black, White resin stripes accented with brass inlay stripes.