Lacquer Furniture

A fine Japanese maki-e lacquer natsume, tea caddy for matcha powder, with phoenix design, Meiji or Taisho period, circa 1910's, Japan. The small round container of typical form for...

Antique 19th century hand painted Chinese fan with mother of pearl faces, Qing dynasty, the fan features black and gold lacquered handled a colorful screen with a figural, hand painted, scene in shades of blue, green, purple and brown and red. With antique lacquer fan box...

Burma (Myanmar), Mandalay Period, 19th Century Material: Wood with traces of original gilt and lacquer Dimensions: 160 cm length × 40 cm height This finely carved reclining Buddha...

Incredible example of Asian lacquer carving. Standing over seven feet tall, this monumental display shelf was produced in Japan at the end of the Ed...

A wonderful Chinese leather and brass lidded lacquered trinket box, circa 1970s. The handcrafted box measures 6.25"W x 3.75"D x 4"H and has a great look with tapered brass trim. It...

Asthila Dining Chair in Solid Ash Wood with Lacquer by Pendhapa. Dimensions: W 58.5 x D 44 x H 74 cm. Materials: Solid ash wood. This listing features our Asthila Dining Chair in so...

Antique Oriental Chinese Export Black Lacquered Gilt Painted Covered Box 1940s. Large Asian Chinese black lacquered tea box with numerous figures and gilt detail. Chinoiserie black l...

Burgundy Lacquer Paint Rocky Coffee Table By OMER OZTURK Dimensions: W 125 x D 60 x H 40 cm. Materials: Burgundy Lacquer Paint. About: Design, in particular the subtlety of quiet lu...

Antique Two Japanese Gosho Ningyo (Palace Doll) stand on a lacquer table depicting plump children with finely painted features, featuring white gofun finish, and silk clothing. Tot...

Antique 19th century export Chinese lacquer gaming box with hand painted scenes gilt export black lacquer with 4 pair of two dragons playing a ball, the...

A Masterpiece of Contrasts: Where Day Meets Night This substantial statement piece celebrates the eternal dance between light and darkness through the artistry of handcrafted rattan...

Chinese Black Lacquered Apothecary Cabinet, 19th century, labels with calligraphy to the faces of the 54 drawers. 73" H x 44.5" W x 21" D. Provenance: From an Upper East Side Townh...

A beautiful and rare tall two-panel byôbu (folding screen) decorated with a colourful collection of sensu (folding fans) scattered across a flowing stream, crafted from pieces of sil...

Various flowers on water's edge with a garden fence and gold dust with heavy gold leaf clouds. Mineral pigments on gold with a silk brocade border and black lacquer trim. Back of scr...

This antique Burmese manuscript – Kammavaca book is a rare and exquisite 19th-century artifact from Burma (Myanmar). Crafted from lacquered palm leaves and gilded with 24-karat gold,...

Antique 18th century export Chinese lacquer gaming box with hand painted scenes gilt export black lacquer, there are 7 gaming boxes and 12 trays, size: ...

This late 19th-century Chinese coromandel lacquer eight-fold screen showcases exquisite craftsmanship and artistry. One side features a vibrant scene with traditional architecture an...

Vintage Burmese yun-de lacquerware serving tray - medium size - featuring the twelve signs of the Burmese zodiac in rectangular panels to the center, surrounded by floral work and sc...

Bunny, always in search of the next perfect drinks table for her projects, began Bunny Williams Home because she couldn’t always find the right one. Our newest is a three-tiered lacquered drinks...

Black Chinese wood coffee table with chinoiserie painted decoration. A glass top sits on top to protect the table and provides a flat surface.

Chinese Carved Cinnabar Lacquer Charger with Five Dragons, Circa 1900 A magnificent Chinese carved cinnabar lacquer charger of impressive scale, masterfully decorated with five impe...

Circa 1870 Meiji era lacquer & papier mache box, Japan. Black with red divided interior. Painted with a fascinating scene of figures in a garden examining a miniature temple with hol...

On offer on this occasion is one of the most stunning and rare, dining table and wood chairs set you could hope to find. In its original condition. No restoration. Outstanding design...

Mid to late 19th century, elaborately carved, antique Chinese bed Chambers was used to greet visitors and usually was furnished with two chairs and a cente...

The Lego Bench looks exactly like its name, with several blocky feet that give it an anthropomorphic feel. It’s not only sculptural but practical as you can...

A very nice box Highly detailed! 18-6-18-Spe-2330 Condition Overall Condition very good, minor use ware. Period 19th century Meiji Periode (1867-1912).

Antique Burmese Betel Box “Kun-It”, a cylindrical woven container with a deep lid and interior tray all covered in layers of black, red and green lacquer having incised decoration of...

Bunny, always in search of the next perfect drinks table for her projects, began Bunny Williams Home because she couldn’t always find the right one. Our newest is a three-tiered lacquered drinks...

19th century antique Chinese hand painted lacquer scene gilt fan with original lacquer box.

Description A fantastic richly decorated lacquer box. Condition Some damages to rims and expected ware. Size: 32.8cm Period 18th century Qing (1661 - 1912)

19th century golden black lacquer Chinese tea caddy with pewter and a key, the special shape body decorated with hand paint courtyard, a very beautiful piece. See more pictures, meas...

A striking Japanese mid-century two-panel lacquer screen depicting layered mountain silhouettes reflected across still water beneath a glowing sunrise. Rich lacquer pigments create r...

An extremely fine, elegant and rare late 17th Century Japanese lacquer cabinet, from the Eco period, on later lacquered black stand. Japanese circa 1690 Provenance A private Scottish collection This outstanding cabinet is a fascinating fusion of east and west. The cabinet itself would have been made in Japan, c.1690, and is decorated to the outside with hiramaki-e lacquer. This technique involves the use of sprinkled gold powder which adheres to the lacquer surface. On the best pieces, as with this example, many layers are added in order to create areas of high relief and give depth to the surface decoration. The taste of the Japanese workshops in this period was often for quite restrained pieces with plenty of the black background visible, unlike some of the busier Chinese lacquer or European japanned examples produced around the same time. The Japanese makers seemed content to rely on the outstanding quality of the lacquer itself, regarded by most experts as the finest lacquer ever produced, and did not see the need to cover every surface believing that less was more in this respect. The lacquer here is used to produce a mountainous scene with buildings on the bank of a river, the other side of the river with more buildings and a contrasting flatter and forested landscape. The fine perspective achieved is the result of the clever use of raised and flatter areas in the lacquer itself in combination with the drawing of the design itself. Another remarkable aspect of this piece is the fine metalware throughout, but particularly the lockplate / hasp, hinges and foot mounts to the front. This is all beautifully cast and engraved contrasting against the black background. Interestingly another cabinet on stand with near identical metalwork was advertised in the Burlington Magazine, November 1913, with the dealer W. Williamson and Sons of Guildford. The lacquer on that piece is similarly refined and it seems likely that both pieces came from the same workshop. The European influence in our piece can be seen in both the later ebonised stand and in the japanned decoration which has been applied to the inside of the doors and is also very fine indeed. This consists of two panels with birds of prey perched on branches in colours set against a golden background. The cabinet has a recent Scottish provenance and so it is likely that the ebonised stand was made in Britain though such pieces were made throughout Europe as a way of quite literally elevating these imported pieces of eastern lacquer as in Japan these would have been used on the floor. Inside the cabinet there is a combination of more Japanese lacquer and lock plates and European drawer handles. Most of the lacquer drawer fronts incorporate mountainous scenes and birds in combination, with a few purely one or the other of the two subjects. Again the lacquer is in excellent condition and is of exceptional quality with multiple layers of relief used in one single scene in many cases. As mentioned above, Japanese lacquer is the most technically brilliant of the eastern lacquers and, as such, was highly prized by collectors and connoisseurs throughout Europe when this piece was made. The acquisition of such pieces would only have been possible for a small group of incredibly wealthy individuals, largely royal or high ranking courtiers or merchants connected with the East India trade...

Vintage Japanese red lacquer Sakazuki Sake Set with Stand. Square ceremonial stand & 3 nesting cups (storage in the stand). Elegantly decorated. Repair to one leg. Stand: 6.25" x 6.2...

The Ark Low Console by Hermhaus is a striking example of modern designer furniture, combining sculptural form with practical storage. Finished in a vibrant blue 4 cover, the console ...

Pair of Japanese Meiji Miniature Gold Maki-e Lacquer Takatsuki Stands A finely executed pair of miniature Japanese takatsuki pedestal dishes dating to the Meiji period, circa 1890–1...

Japanese Meiji Miniature Gold Maki-e Ceremonial Sake and Dining Set An unusually detailed miniature Japanese ceremonial sake and dining service from the Meiji period, circa 1880–190...

Heavy, large and low round tea/coffee table in the Taishō-Style in negoro lacquer (orange/coral surface rubbed to reveal an underlying layer of black) - ca. mid 1920s-1930s, Japan. S...

just in this very good looking vintage Chinese painted screen. made in Hong Kong, early 20th C. This Chinoiserie Red & Gold Painted LacquerScreen With Black & Gold Border. ha...

A Monumental Gilt-Lacquered Bronze Ornamental Buddha Sculpture of Vajravidarana: A Masterpiece of Sino-Tibetan Craftsmanship, Late 19th Century, Qing Dynasty This monumental gilt-lacquered bronze ornamental sculpture of Vajravidarana is an extraordinary and commanding piece of art, showcasing the pinnacle of Sino-Tibetan craftsmanship from the late 19th century. The figure of Vajravidarana, a powerful purification deity in Tibetan Buddhism, is meticulously sculpted to embody both spiritual authority and artistic excellence. Vajravidarana is primarily known for his role in removing spiritual impurities and negativities. Unlike other deities associated with wisdom or compassion, Vajravidarana’s function is centered on purification and healing. He is typically depicted holding a vajra and a bell, symbolizing the cutting away of delusions and the resonance of divine truth. In this striking sculpture, Vajravidarana is shown holding a vishva vajra (the double vajra), a unique and powerful variation of the traditional iconography, which signifies ultimate protection and the dispelling of negative karma. Vajravidarana: The Supreme Purifier and Protector Vajravidarana is revered in Tibetan Buddhism as the deity of spiritual purification, called upon to cleanse practitioners of defilements and negative influences. His vajra represents the indestructibility of truth, while his bell signifies the wisdom that resonates through purification rituals. In this sculpture, the presence of the vishva vajra, or double vajra, enhances his association with supreme protection, ensuring the destruction of all spiritual obstacles and afflictions. The figure’s powerful yet composed expression conveys a sense of unwavering resolve and divine authority. His posture, along with the carefully sculpted details of his robes and ornaments, highlights his function as a guardian against impurity. The inclusion of the vishva vajra rather than the usual single vajra reinforces his role as a supreme protector, capable of dispelling all forms of negativity and restoring balance. Symbolism of the Mantras and Aureole: Unlike deities that embody wisdom through duality, Vajravidarana’s iconography is centered on purification and exorcism. The aureole surrounding him is inscribed with sacred purification mantras rather than depictions of a consort. These mantras emphasize his function as a remover of obstacles and impurities, reinforcing his role in Buddhist healing rituals. The presence of the sacred inscriptions elevates the sculpture’s spiritual significance, making it a focal point for meditation and ritual purification. Practitioners often visualize Vajravidarana radiating purifying light, dissolving afflictions and negative karma. This theme is mirrored in the sculptural repetition of the purification symbols on the aureole, reinforcing the deity’s role as a divine cleanser. Gilt-Lacquered Bronze: The Artistry of Sino-Tibetan Metalwork: The craftsmanship of this monumental figure reflects the expertise of late 19th-century Sino-Tibetan metalwork, where traditional Tibetan themes were infused with Chinese artistic sensibilities. Cast in bronze and finished with a rich gilt lacquer, the statue has an otherworldly glow, giving it an ethereal, almost divine presence. The gilding process—applied with exceptional skill—gives the sculpture a striking luminosity that enhances the fine details of the facial features, flowing robes, jewelry, and other elements of the deity’s attire. The technique employed to create this figure speaks to the high level of craftsmanship that flourished during the late Qing Dynasty and early modern Tibetan art. The ornate details of the robes and the fine texture of the sculpture highlight the exceptional skill of the artisans who brought this work to life. The use of gold and lacquer not only reflects the preciousness of the sculpture but also its spiritual significance as an object meant to inspire reverence and meditation. An Ornamental Sculpture of Monumental Scale: Unlike smaller devotional objects, this sculpture is designed as an ornamental masterpiece, intended to make a grand visual and spiritual statement. Its monumental size allows it to dominate any space, offering a commanding presence that is both physically and symbolically impressive. In Buddhist practice, large sculptures of this nature are often placed in temples or meditation halls, where their imposing size and serene presence would encourage contemplation and devotion. The grand scale of the statue further amplifies the spiritual power it is meant to convey. As a representation of Vajravidarana, it is not only a physical object of beauty but also a conduit for meditation, purification, and enlightenment. The scale of the sculpture also emphasizes the divine stature of the deity, highlighting his importance in the Buddhist tradition as the ultimate force for spiritual cleansing and protection. Provenance: Acquired in China in circa 1900 1905 Private Buddhist Temple, Northeast, USA Private Sale Solomon Treasure...

Hans-Agne Jakobsson Pine Table Lamp for Yamagiwa First introduced in the 1950's, Jakobsson's collection of pine lamps provides uniquely architectural offerings with an enduring appe...

Lunisolar Three Seater Couch in Lacquered Wood, Shell, and Wool by Artempo Dimensions: D 93 x W 254 x H 73,5 cm. Materials: Solid wood, lacquer, plywood, shell, and wool. The design...

A Rare Hinoki Mask of ‘Ja’ Painted with an earthen red polychrome over gesso, with fine sparse hair, the cheeks with distinctive v-shaped markings, suggestive of dragon’s whiskers, t...

Introducing an extraordinary and exceptionally rare pair of Chinese Cinnabar Carved Lacquer Vases from the Qianlong period. These monumental vases stand as magnificent examples of Ch...

Japanese Two-Panel Screen: Snow Scene on the Marsh This Japanese two-panel screen, dating to the Edo period (circa 1700), depicts a tranquil winter marsh inhabited by a heron amid s...

Quin Dynasty Decorative Plate w/ Dragon & Phoenix Cinnabar Lacquer China Ca. 1900 DIMENSIONS Height: 1 inch Diameter: 8 inches CONDITION: Good antique condition, with minor w...

19th century golden black lacquer Chinese tea caddy with big pewter and a key, the rectangular-section body decorated with panels of landscapes, a very beautiful piece. See more pict...

Pair of 19th century black lacquered Chinese compound cabinets circa 1840. Fine pair of Qing-dynasty compound cabinets, in the Ming style.  Complete in their original blackened matt...

Antique 19th century hand painted Chinese fan with mother of pearl faces, Qing dynasty, the fan features black and gold lacquered handled a colorful screen with a figural, hand painted, scene with antique lacquer fan box...

This stunning Chinese hand carved cinnabar lacquered plate has Intricate lacquer carving arts of Chinese traditional archetecture and landscape design. It named The Sense of Tough, a...

A finely proportioned Chinese hardwood table dating to the 19th century, crafted in richly figured hongmu with a floating panel top framed by a mitered border. The restrained silhouette is elevated by elegant recessed legs and delicately shaped scroll-form spandrels, details rooted in the refined furniture traditions of the Qing dynasty. The warm reddish-brown wood displays beautiful natural grain variation throughout, with dark mineral streaking visible in the legs and apron adding depth and character to the surface. The top exhibits expected age-related shrinkage and wear, lending the piece an honest patina accumulated over generations of use. Originally intended as a wine table, incense table, or small altar table, its versatile scale translates effortlessly into contemporary interiors. It functions equally well as a console, lamp table, entry table, bedside table, or sculptural accent piece. The clean architectural lines and balanced proportions appeal to both traditional and modern sensibilities, making it particularly well suited to interiors inspired by the work of designers such as Axel Vervoordt, John Pawson, and Rose Tarlow, where age, material authenticity, and quiet craftsmanship are celebrated. A handsome and highly usable example of 19th-century Chinese hardwood furniture.

This item is an antique Chinese lacquer trinket box in a pumpkin shape. It mad of carved wood coated in multiple layers of red and black lacquer. It has hand painted with Chinese tra...

Dated to the late 19th century, this clean-lined console table was likely used as a small offering table or as a dressing stand in the women's quarters of a Qing-dynasty home. The na...

Large Japanese screen with 4 leaves composed of lacquer panels with naturalistic decoration, of several sizes: the largest panels are decorated with golden tigers and lions on a blac...

Vintage Burmese Betel Box “Kun-It”, a cylindrical woven container with a deep lid and shallow interior tray, all covered in layers of red black and...

An impressive  Japanese Chinoserie style carved wood display cabinet, circa 1880 showcases intricate craftsmanship and artistic detail typical of the period. Standing elegantly, the ...

Large Antique Thai Buddhist Manuscript Storage Cabinet. A tapering upright cabinet made of teak with black lacquered exterior and red interior. The decoration of gold on a black ground on three sides is created by the Lai Rot Nam...

A large and splendid blue lacquered charger depicting crabs. Of broad circular form with a gently undulating rim. The surface is finished in a lustrous deep blue lacquer. The well i...

Antique A Chinese Carved Gilt Lacquered Box with a Peach Shape, depicting many peaches, leaves, and branches throughout.

An amazing, tall six-panel byôbu (folding screen) presents an elaborate Tosa School genre painting set against a backdrop of gold leaf, capturing lively celebrations across various s...