Asian Decorative Objects

A ceramic vase in tapered square form made by Japanese studio Seikozan circa 1890-1910s (late Meiji Period). One of the many artist studios that specialized in satsuma ware, Seikozan...

Husk Vase, Small, in Moonlit Puddle. Husk vessels are exquisite, original iridescent sculptures. Between 15 and 20 layers of lacquer are brushed o...

On offer is a large Korean ceramic storage jar (hangari) with white glaze and iron red underglaze dragon design. The globular shaped jar derived its form from the Moon Jar of the ear...

Large qajar and enamelled ghalian section with brass Hookah Base circa 1900, Persia The gold waisted body decorated with European scenes and portrait...

A resin carp vase or desk caddy from Taiwan Glass Company. 6 inches wide by 4 ½ inches deep by 7 ½ inches tall

Although abundant, the many shapes, colors, and associations of calcite make for a seemingly infinite number of permutations. This allows collectors to have entire suites consisting ...

This small glazed jar from China's Shanxi province exemplifies the timeless appeal of handcrafted pottery. Once used in an apothecary to hold ground herbs and oils for traditional me...

Book-End in White marble inlaid with semi precious stones. Available size=4" x 8" x 8". Material= White marble, semi precious stones, Hand carved. Customization is our specialty...

Traditional Chinese Rose Canton porcelain vase. Made in the 19th century. Dimensions: 14"H x 7.5"D

Intricately handcarved and gilt in 24K gold leaf Japanese temple lotus flowers in a brutalist green glazed ceramic vase / pot. Ceramic vase is not Japanese and not signed. Lotus flo...

Batavia (Jakarta), 19th century, apparently unmarked H. 5 x W. 18 x D. 13 cm Before settling down to business in the former Dutch East Indies, sirih had to be offered in the most e...

Revered for centuries for its elegant designs and rich cobalt blue and pure white colors, traditional Chinese blue-and-white porcelain lives on in this hand-painted bottleneck vase. ...

A pair of large symmetrical antique Japanese Meiji period enamel over brass vases. Each vase has an amphora shaped body and a narrow neck. Each vase is enameled with a polychrome ima...

This is a beautiful papier mâché, circular lacquered St of Cups, which we attribute to being made in Japan during the early 20th century, circa 1910. This is a very decorativeset ...

Vintage Modernist footed bowl features wooden bowl and base and sculptural brass foot. The wood has beautiful grain and age-appropriate patina. The bowl is signed on the bottom wit...

Stunning large bronze bird sculpture with wood base by Hattakitkosol Somchai.

J'Jute is a luxury all-natural, sustainable brand based in Bondi Beach, Australia. Each piece is designed in Australia and handwoven by skilled artisans in India. Product Informati...

Vintage Chinese porcelain ornamental oriental vase dating from the early 1900s. The vase is entirely hand painted, depicting flowers and birds. The vintage Chinese porcelain vase...

This is a vintage hand painted leather clad dresser box. This dresser box was handmade in Canton China. This box has two small drawers at the front and a lid that opens up and presen...

The Paris based label has distinguished themselves since their launch, with their iconic use of shagreen mixed with brass and other exotic materials. All furniture is handcrafted by skilled artisans, ultimately making each piece unique, designed in Paris and produced in the Philippines. The set of 4 pedestal boxes are the perfect home accents to add elegance and functionality to your space. These can be used as a vanity set for your bathroom, in your office to store desk...

This is a good papier mâché, circular, black lacquered tray, hand enameled and gilded, made in Japan during the 19th century, Meiji period. This circular tray is very decorative, ...

A wonderful period Tang Dynasty Pottery Figure of a Fat Lady. Tomb Pottery China Height: 15 Inches No TL Test A COA by Avantiques will accompany the sale of this item. Condition: Ve...

Hofu - ( 豊富 ) Abundance The Hofu vase is a decorative wide lipped vessel. The organic curves and traditional silhouette gives it a modest but impactful pre...

A tall chinoiserie famille rose ceramic vase. This piece is very tall and could be used as a floor vase, or to decorate a credenza or dining table. The top of the vessel is hand-pain...

1 kg plus Massive Aquamarine Crystals Attached With Big Feldspar From Pakistan Weight: 1 kg plus Dimension: 16.4 x 15.7 x 11.8 Cm Origin: Shigar Valley, Skardu District, Gilgit Ba...

Vintage Citizen navy slave clock designed during the 1980s in Japan. These clocks were used on large Japanese tankers and cargo ships. It features a light green iron body, a metal di...

An antique Indian iron lidded water vessel from the 19th century with brass geometric accents and tapering lines. This alluring antique Indian iron lidded water vessel from the 19th ...

Bring timeless character to your space with this vintage Anatolian clay jar, a handcrafted vessel that reflects the rich pottery traditions of Anatolia. With its earthy tones, organi...

Beautiful rare design solid teak butcher block large candle holder with brass insert designed by Quistgaard circa 1980's.

A wonderful glaze typical of Chinese "Shiwan" pottery adorns this early 20th Century Chinese storage jar. The jar likely occupied a private home to store grains or other household dr...

A matched pair of antique Japanese vases of elongated shape with long flared necks. Meiji period, 1868-1913. The pieces are decorated wi...

A wonderful Joseon Dynasty (1392-1897) Korean pottery bowl/ dish with a beautiful muted glaze, color, and nicely aged patina. As this is not our area of expertise, we are listing...

This petite glazed jar from China's Shanxi province exemplifies the timeless appeal of handcrafted pottery. Once used in an apothecary to hold ground herbs and oils for traditional m...

Refined polychrome porcelain jar Japanese 1980s. Beautiful hand painted decoration. Ideal for decorating an Asian Style home. Brand at the base.

AA quality polished Indonesian zebra amber freeform. Amber is a powerful cleanser and healer of the mind, body, and spirit. It absorbs pain and negative energy, helping to alleviate ...

Once a common sight in courtyards throughout rural China, this textured stone vessel was used as a grain or water trough for chickens and other barnyard fowl. Chiseled from a block o...

"Pair of Chinese white porcelain vases decorated with umber and pink floral motifs wrapping the bulbous forms, accented in blue, pink and yellow patterned bands around the tops and b...

This petite glazed jar from China's Shanxi province exemplifies the timeless appeal of handcrafted pottery. Once used in an apothecary to hold ground herbs and oils for traditional m...

This is a lidded light green-black color jade urn adorned with multiples branches of kelp leaves that are attached to it. The urn stands over an asymmetrical ...

Presenting an astonishing Japanese Antique Carved Bone bamboo-form snuff bottle, museum quality. Dimension: 2.5" H x 1 " Dia. Condition: Excellent Condition

A vintage Chinese multicolor Cloisonne metal vase decorated with large flower pattern on the white background. The rim and the circular base b...

A pair of Japanese vintage gold lacquered candleholders from the mid 20th century with lotus bobèches from a Hinamatsuri set. Created in Japan during the midcentury period, each of this pair of candleholders features a lotus shaped bobèche sitting above a simple shaft resting on a gadrooned base. Showcasing red undertones, this pair of gold lacquered candleholders, taken from a Hinamatsuri set (Hinamatsuri being a festival also called Girls...

Exquisite contemporary Japanese large three-piece porcelain box, intricately hand-painted in cobalt blue underglaze on an elegantly shaped body, a signed masterpiece by highly acclai...

Embodying a seamless balance between fluidity and strength, the Thaddeaus sculpture by Patrick Coard Paris is a triumph in modern abstract art. Handcrafted from a luxurious black oak...

An antique Japanese cloisonne enamel lidded koro jar from the Meiji period standing on a foot and featuring traditional ornamentations to the center with tw...

Stunning handmade cast brass palm leaf sculpture with a raw finish. Dimensions: H 47cm x W 76cm x D 31cm / H 18.5in x W 30in x D 12.2in Slight variations in the hand-cast brass fin...

The surface of this triangular Fabergé style table clock is ornamented with green guilloché enamel, the exterior edge bounded by yellow gold inset with a strip of white enamel. The surface of the clock body is set at each corner with a yellow gold 8-shaped ribbon-tied laurel wreath, the 8-shape containing inset gemstones...

PRESENTING A GORGEOUS 19C Anglo Indian Highly Carved Sadeli Mosaic Sarcophagus Sewing Box. Made in Bombay, India circa 1860-80. Box made of sandalwood with highly carved teak wood reliefs and panels on all sides. Edged with bone and ebony veneers and glorious sadeli mosaic, 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...

Lovely PRoC period Red ground dish with a relief scene of a flower bouquet. China 1970-1990. Unusual piece and marked at base. Additional information: Material: Porcelain & Pottery ...

The REDA AMALOU DESIGN boxes echo Asian, and more specifically Vietnamese, culture, by which Reda Amalou has been inspired over time. The boxes that...

A stunning Japanese porcelain vase, featuring vibrant blue hues and adorned with exquisite peony motifs. This globular vase boasts meticulous hand-painted detailing, adding to its...

A fine Pair of 19th century Japanese Imari Porcelain and French Gilt-Bronze Mounted Thirteen-Light Celadon Torchere Candelabra. The bottle-shaped Japonisme vases with a Royal red background, decorated with parcel-gilt and black soaring eagles in the hunt within a forestall scene. Each Vase fitted and surmounted with a French 19th century Louis XV Style 13-Light scrolled candelabrum and all raised on a circular pierced gilt-bronze plinth. circa: 1880. Imari Porcelain (????) is the name for Japanese porcelain wares made in the town of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe extensively from the port of Imari, Saga, between the second half of the 17th century and the first half of the 18th century. The Japanese as well as Europeans called them Imari. In Japanese, these porcelains are also known as Arita-yaki (???). Imari or Arita porcelain has been continously produced up through the present day. Characteristics Though there are many types of Imari, Westerners' conception of Imari in the popular sense is associated only with a type of Imari produced and exported in large quantity in mid-17th century. This type is called Kinrande. Kinrande Imari is colored porcelain with cobalt blue underglaze and red and gold overglaze. The color combination was not seen in China at that time. Traditional Ming dynasty color porcelain used dominantly red and green, probably due to scarcity of gold in China, whereas gold was abundant in Japan in those days. The subject matter of Imari is diverse, ranging from foliage and flowers to people, scenery and abstractions. Some Imari design structures such as kraak style were adopted from China, but most designs were uniquely Japanese owing to the rich Japanese tradition of paintings and costume design. The porcelain has a gritty texture on the bases, where it is not covered by glaze. There is also blue and white Imari. Kakiemon style Imari is another type of Imari, but it tends to be categorized separately in Europe. History "Imari" was simply the trans-shipment port for Arita wares. It was the kilns at Arita which formed the heart of the Japanese porcelain industry. Arita's kilns were set up in the 17th century, when kaolin was discovered in 1616 by the immigrant Korean potter, Yi Sam-pyeong (1579–1655). (He may also be known by the name, "Kanage Sambei".) Yi Sam-Pyeong, along with his extended family of 180 persons, left Korea on the offer of a privileged position in Japan. This decision was made after the occurrence of certain Japanese invasions of Korea. After Yi Sam-Pyeong's discovery, his kilns began to produce revised Korean-style blue and white porcelains, known as "Shoki-Imari". In the mid-17th century there were also a lot of Chinese refugees in Northern Kyushu due to the turmoil on Chinese continent, and it is said one of them brought coloring technique to Arita. Thus Shoki-Imari developed into Ko-KutaniImari. Ko-Kutani was produced around 1650 for both export and domestic market. Blue and white porcelain continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are accordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon style Imari, which was produced for about 50 years around 1700. Imari achieved its technical and aesthetic peak in Kakiemon style, and it dominated European market. Blue and white Kakiemon is called Ai-Kakiemon. Kakiemon style transformed into Kinrande in the 18th century. Kinrande used blue underglaze and red and gold overglaze, and later some other colors. Imari began to be exported to Europe because the Chinese kilns at Ching-te-Chen were damaged in the political chaos and the new Qing dynasty government stopped trade in 1656–1684. Exports to Europe were made through the Dutch East India Company, but the designation "Imari Porcelain" in Europe connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China began export to Europe again, since Imari was not able to compete against China due to high labor cost. By that time, however, both Imari and Kakiemon style were already so popular among Europeans, Chinese export porcelain copied both Imari and Kakiemon style, which is called Chinese Imari. At the same time, European kilns, such as Meisen also tried to copy Imari and Kakiemon. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe. Thus in western world today, two kinds of Imari can...

A vintage Japanese two-tiered candelabra with eight arms and verdigris patina. Immerse yourself in the serene elegance of Japanese design with this vintage two-tiered candelabra, a piece that marries the aesthetics of Japan with the timeless beauty of traditional lighting. This candelabra, featuring eight arms and a captivating verdigris patina, is a testament to the craftsmanship and understated elegance of vintage Japanese décor...

Elevate your space with the captivating allure of these handcrafted modern abstract sculptures, "The Birds Eye," by Patrick Coard Paris. Meticulously formed from luxurious bronze pat...

A small low table with lacquer and intricate mother-of-pearl inlay design from Ryukyu Islands kingdom circa 17-18th century. Ryukyuan kingdom was used to be an independent island cou...

A special statue of the Tibetan Bodhisattva Maitreya, the Future Buddha. Depicted sitting on a high lotus throne, wearing a large decorated crown before a flame-shaped mandola and pair of flower posts, long earrings that touch the shoulders and ornate necklace...

Exquisite handcrafted geometric wood box with micro mosaic inlays of mother of pearl in Khatam artistry, an Ancient Persian technique of inlaying. Moorish style box also features geo...

An antique Japanese Meiji Era covered enamel over brass jar. The cover of the jar is adorned with a polychrome image of a Phoenix bird surrounded by a swirl motif made in the Cloison...