16th Century Chinese Terracotta Ceramic Figure of a Woman in Traditional Dress

20th century Chinese soapstone Guanyin figure sculpture.

Chinese pair of wood carved and polychrome sculptures of Chinese warriors.

1980s Chinese Terracotta Horse with Remains of Polychromy

16th century Castilian gold-leaf gilded painted wood sculpture of Saint Roch, where the quality shows in the exceptional realistic skin tone. He is represen...

16th century German hand carved painted wood St. Sebastian.

16th century high relief limestone bust that topped a stone arch. Side heraldic decorations indicate a patron Saint. The face is weathered but the general condition is good.  

A tall Chinese green and amber glazed figure of an attendant, Ming Dynasty, 16th-17th century, China. The figure stands upon an integral plinth, dressed in long robes...

A decidingly charming Chinese polychromed and gilt cast bronze figure of Nanhai Guanyin, Guanyin of the South Sea, Ming Dynasty, 16th/17th century, China. Guanyin, the bodhisattva of compassion, is portrayed here as a beatific figure seated upon a raised lotus pedestal over waves. Guanyin is dressed in heavy robes, and wears an elaborate headdress. The small figure of Amitabha Buddha in the headdress positively identifies this figure as Guanyin. Guanyin rests one hand in his lap, holding a cup of pure water said to be able to alleviate all suffering. His other hand is raised, holding a willow branch which is used to sprinkle the healing waters. The two lotus blossoms to either side of Guanyin would originally have supported figures of the acolytes...

A Ming dynasty period 15th or 16th century painted stone sculpture of the Bodhisattva of Compassion Guanyin in a seated position. Created in China during the Ming dynasty, this marble statue features Guanyin, the Bodhisattva of Compassion, depicted in a seated position, wearing a large Chinese monastic dress and a headscarf. Her clothes are accented with the red color that is characteristic of Guanyin representations. The drapery demonstrates the undeniable mastery of the Chinese stone carving...

The Amitabha (Amida in Japanese) Buddha is shown standing with his hands forming the Amida raigo-in mudra. The face has a serene expression, with closed eyes under delicately arched brows and a severe face. The hair is arranged in rows of coils that also cover the "ushnisha", the protuberance on the head. The drapery is folded in elegant pleats falling from the shoulders to the feet. The antique sculpture is placed on a lotus flower which is located on a richly decorated base. Faith in Amida Buddha remained largely confined to a small segment of the Japanese population until the Kamakura Era (1185-1333) when it was popularized by new Pure Land sects committed to bringing Buddhism to the illiterate commoner. These sects expressed concern for the salvation of the ordinary person and stressed pure and simple faith over complicated rites and doctrines. Amida Nyorai...

A lovely carved sandstone torso of the Buddha, Ayutthaya period (1350-1767), Thailand. Wonderfully simplistic, the only ornamentation this torso displays...

A striking pair of large Chinese glazed and painted pottery figures, Ming Dynasty (1368 to 1644), circa 16th century, China. The impressive and realistically modeled figures each portrayed standing upright upon a sancai (three color) glazed pedestal of kang table form. The man is dressed in a short black surcoat over a long robe and pants, a smart cap upon his head. His face is warm and welcoming, with wide eyes and a slight smile on his lips. He holds his hands out in front of him, palms up, almost as if shrugging, though presumably originally holding an object or offering, now lost. The woman of slightly smaller stature, and dressed in a longer surcoat over a long robe and skirt. She wears a fitted cap upon her head. Her hands also held out in front, grasping long lost objects. Her face is slightly more severe, with a somewhat pinched look, and slight frown upon her lips. The size of these figures is remarkable, as is the realism and attention to detail, almost as if they were modeled after real people, as opposed to the more common and generic Ming Dynasty pottery...