Qing Furniture

A beautifully understated 19th century Chinese walnut bench, showcasing the honest craftsmanship and timeless simplicity of traditional Northern Chinese provincial furniture. Crafted...

This is a beautiful hand painted blue and white Chinese porcelain large diameter deep plate or charger, dating to the first half of the 18th century, circa 1720, Qing dynasty, either...

A beautifully proportioned 19th century Chinese elm coffee table, featuring two practical drawers and a wonderfully rich dark patina that highlights generations of use and craftsmans...

A Chinese Qing Dynasty period lacquered cabinet from the 19th century, with natural color and two doors over two drawers. Created in China during the 19th century, this Qing Dynasty cabinet...

A finely embroidered silk civil rank badge panel presented with elaborate lattice mat and a wood frame circa mid to late 19th century (late Qing dynasty). The square rank badge is kn...

A late Qing Dynasty period hand-painted cabinet from the early 20th century with hand-painted floral décor, two doors and six drawers. This Qing Dynasty period cabinet is a captivati...

This is a hand-painted Chinese Export porcelain Dish, which we date to the second half of the 18th century, Qing, Qianlong period, circa 1770, or possibly earlier. The dish is circu...

A small and elegant Chinese cloisonné vase for incense tools, Qing Dynasty, 18th/19th century, China. Made for the scholar's studio, this small refined vase, was used to hold incense tools, including a small pair of tongs or chopsticks and spoon. The tools no longer present. Of miniature baluster vase form, the vase beautify proportioned and decorated in the cloisonné enamel technique, with gilt wires forming the cloisons, or partitions. Within the cloisons, colorful enamels have been expertly laid. The small incense tool vase...

A Chinese late Qing Dynasty period bedside cabinet from the early 20th century, with red lacquer, two doors, hidden drawers, carved décor and brass hardwa...

19th century Chinese famille rose porcelain bowl from the Qing Dynasty. Profusely decorated wish Chinese courtly scenes, flowers and birds.

This terracotta garden stool from the early 20th century honors tradition with its simple, drum-form shape. A pattern of raised dots rings the top and bottom, imitating the boss-head...

This 19th century monumental elmwood daybed from China's Shanxi province features an outward-curving apron with cusped edges and a tightly-woven rattan top. The daybed's abbreviated ...

A fine pair of Monumental antique Chinese late Qing dynasty period Famille Rose Porcelain vases. The vases of baluster form with applied handles modeled as dragons, each vase is very finely a hand-painted with polychrome scenes of immortal figures in a garden setting. Each vase having a red Qianlong six character mark to the base. Excellent condition, no damage or retoration. This monumental pair of antique...

This antique Chinese porcelain vase is hand-painted in cobalt blue on a softly luminous ground with a distinct pale green, celadon-toned undertone rather than a stark white body. The...

Stone dimensions: 11 × 8 cm, thickness 5.5 cm, height on base 13 cm A natural dream stone (scholar's rock) with an organic and asymmetrical shape, pierced in its center, thus creatin...

Set of two 19th Century Chinese porcelain vases Chinese, 19th Century Height 57cm, diameter 32cm The vases feature bodies of cylindrical form with retracted bases and stepped retrac...

Big beautiful lacquered chinese sewing box from the 19th century of the Qing dynasty .it is a 14 inch wide big sewing box , Decorated all-over with...

A CHINESE CANTON ENAMEL POT AND COVER 19th Century, in the Qianlong manner, of compressed form and painted with panels enclosing birds perched amidst flowering peonies, 18cm diameter...

Antique 19th century small Chinese lacquer sewing table with hand painted scenes and beautiful legs. Gilt export black lacquer all-over th...

This large Chinese Imari porcelain charger dates to the Qianlong period of the Qing dynasty, circa 1760. It is finely crafted with a beautiful, glossy white glaze and hand-painted in...

Exquisite Pair of Century Chinese Famille Rose Decorated Porcelain Vases with Striking Foo Dog Handles, 1800s. Presenting an awe-inspiring and opulent duo of antique Famille Rose Chinese Porcelain vases, adorned with elaborate motifs and breathtaking craftsmanship. Standing almost waist-high, these vases command attention with their majestic presence and captivating artistry. The prominent aqua background, gracefully envelops each vase, setting the stage for an enchanting display of visual splendor. Delicate white rectangular panels on the neck of each vase feature whimsical scenes portraying highly detailed pheasants, resplendent flowers, intricate foliage, and gracefully entwined tree limbs. The necks culminate in a tulip-edged gold dipped design, lavishly adorned with turquoise enamel that gracefully flows from the lips of the vases into the very heart of their being. The body of each vase showcases larger white rectangular panels, showcasing meticulously hand-painted graceful tree limbs, vibrant pheasants, sprightly sparrows, and charming lyre birds. Amidst this lively scene, an array of multi-colored flowers and leaves effortlessly breathe life into the composition, while charming aqua blue funghi add a touch of whimsy to the spectacle. The aqua background of the remaining surfaces of the vases, is skillfully adorned with enamels in relief, showcasing a plethora of resplendent hand-painted multi-toned colorful blossoms and foliate, meticulously hand painted in mild relief and scattered to create an elegantly harmonious and evenly spread-out design. Gracing the upper belly of each vase, magnificent tiny dragons take center stage in intricate high relief, lavishly painted with 24K gold enamel. Their sinuous forms and exquisite detailing bring a sense of majestic energy to the vases, adding a touch of awe-inspiring grandeur. However, it is the handles of these vases that truly steal the limelight. Crafted with unparalleled artistry, they feature larger Foo Dogs...

Superb quality to this mid 19th century Chinese watercolor pith painting depicting a consort (perhaps one of Emperor Xianfeng's), being served tea by her personal and loyal eunuch; b...

A Chinese Qing Dynasty period low coffee table from the 19th century, with horse hoof legs and distressed patina. Created in China during the Qing Dynasty, this low coffee table feat...

Chinese Baijiu bottle made in blue-glazed stoneware with hand-painted Chinese calligraphy on both lid and body. Baijiu translates as “white spirit” and is China’s national liquor, s...

An impressive and timeworn peg constructed Antique Altar Table with unusual and commanding height and a strong traditionally carved apron having scrolls, foliage and fruits. The top ...

A large Chinese Qing Dynasty period mahogany stained coffee table with rattan top, carved apron and scrolling legs. Created in China during the Qing Dynasty period, this large coffee...

Description: A fine depiction of Guanyin, possessing the regal tranquillity that the Chinese Bodhisattva of compassion has come to be visually associated with. Marked by an urna signifying her spiritual enlightenment and crowned with a diadem depicting the Buddha Amitabha, the figure is immediately recognisable as Guanyin. Her androgynous figure is gracefully poised in the Lalit asana or “royal ease”, the pose classical in representations of the deity. The figure is asymmetric, with the weight of her supple form falling upon her left hand placed against the base, her right knee raised and left pendant. Her right hand rests upon her raised knee, delicately pinching at her draped attire. At first unassuming, this gesture may be suggestive of the Apana Mudra, the seal of purification. This Mudra is associated with physical wellbeing, fecundity and the cleansing of the body. Though she is adorned in the princely garb of dhoti, she bears features of idealised feminine beauty as prescribed in Asian art. With plump cheeks and near pouted lips, her full face gazes down upon the viewer with an empathetic and half-lidded gaze, upholding her title as ‘One who hears the cries of the world.’ Notes on the item: Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia. Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent. The Indian Avalokiteshvara is unequivocally recognised as male, whilst the supposed gender of Guanyin remains contentious. Although there is a clear shift from the masculine Avalokiteshvara towards a more feminine representation, it is unclear if Guanyin is understood to be entirely feminine, to inhabit qualities of both genders or to be elevated beyond gender entirely, embodying neither. Depictions of Guanyin are highly androgynous, which some believe lends credence towards Guanyin symbolising the unity of dualistic forces as recognised in Daoism, displaying the anthropomorphism of yin and yang. Comparative Analysis: Market comparisons of similar Qing Dynasty polychrome figures of Guanyin include lot 767 (no.2) From Christies ‘Important Chinese Ceramics and Works of Art,’ New York, 25 March 2022, with the price realised USD 52,920 (Estimate USD 20,000 – USD 30,000). Christies also auctioned a comparable polychrome Guanyin...

This is a beautifully hand-painted Chinese porcelain blue and white Dish from the Qing, Kangxi period, 1662-1722. The dish is finely potted with an octagonal shape using a clear w...

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

A unique pair (2), valuable and powerful Protection Amulet Dzi from Tibet An old Tibetan or Central Asian nine and four eye agates Dzi Beads dating to the ...

A large wedding cabinet from the 19th century, with two pairs of double doors and large butterfly hardware. This armoire cabinet features two pairs of double doors, each fitted with ...

A Large Chinese Doucai Bowl Depicting four pomegranate cartouches interspersed with vining floral and foliate motifs. Executed in four colors, including yellow, red, blue, and green....

Pair of Qing Dynasty Embroidered Imperial civil officer rank badges with pheasant alighting astop a rock emerging from cloud and waves surrounding with auspicious symbols. Each singl...

20th century rare Qing dynasty crackled (GE) glazed vase with molded three dimensional dragon forms. This very fine quality vase is particularly interesting by the presence of a kiln...

A lovely antique Chinese famille rose enamel vase converted into a lamp with a storied heritage and provenance. The term famille rose (French meaning “pink family”) refers to its pr...

A classic piece of Chinese furniture, this striking red lacquer cabinet was likely part of a traditional wedding dowry, bestowed upon the groom by the bride's family filled with fine...

refined Chinese brush painting of landscape, scholars practicing arts in garden, ink and color on silk, 19th century Conservation framed Conservation framed is the quality of using b...

This Chinese blue and white Meiping vase is not only a masterful example of ceramic artistry but also a tribute to traditional craftsmanship. Meticulously hand-painted and exceptiona...

This early 20th century tea table and set of four stools were carved of a fine hardwood with a tight grain and beautiful, warm coloring. The detailed style of carving on the legs and...

Asian woven grain & rice basket

Bamboo and wooden slips - jiandú- were the main media for writing documents in China before the widespread introduction of paper during the first two centuries AD. This substantial group, 59 pieces, of one-of-a-kind slips with painted and applied hand calligraphy appeals to book lovers and antiquity sleuths We believe them to be circa 1900 Qing dynasty and are offering this group from a collection of old works of art. Dimensions: bamboo slips...

A Chinese Qing Dynasty silk embroidered mirrored panel, 19th century. Sight: 9 by 21 inches frame: 10 ¼ by 22 ¼ inches

This vintage Chinese soy sauce jar showcases a stunning green glaze with beautiful natural variations that flow organically across its surface. The ribbed upper body adds subtle text...

An 18th/19th Century Chinese cinnabar circular box with multiple cartouches of Families. This is a marvelous piece with very fine details on the main top panel of the box. The top pa...

A female flautist is proudly on display in this circa 1850 Chinese watercolor pith painting; as the subject portrays an element of Chinese culture wanting to be expressed and shown t...

We are pleased to present this extraordinary antique Chinese altar fruit stack, a masterful work of art that epitomizes the zenith of Chinese ceram...

Beautiful Shunzhi or Early Kangxi Period Chinese Porcelain Bowl – c.1655–1670 – Marked A charming and highly decorative blue and white porcelain bowl dating from the Shunzhi to earl...

Designed to resemble a scroll-form altar table, this narrow footed box has an elegant silhouette with waterfall sides and minimal ornamentation. Dated to the late 19th century, the b...

A large and magnificent near life-sized Chinese carved and lacquered wood figure of a Buddha, Qing Dynasty, 19th century or earlier, southern China. The figure likely represents one of the Five Tathagatas, also known as Dhyani Buddhas or Wisdom Buddhas. More specifically, either Amitabha or Amoghasiddhi. Amitabha is the Buddha of infinite light, and represents the wisdom of observation and recognition. Amoghasiddhi is the Buddha of accomplishment, and represents the wisdom of perfected practices. The size and scale of the Buddha indicates it was made for temple worship. The large Buddha is portrayed seated in vajrasana, or full lotus position, with the soles of both feet facing up. His elegant hands, with impossibly long and slender fingers, perform shuni mudra, the gesture of bestowing patience. His right arm is bent at the elbow, the right hand raised to heart level. The left arm resting gently in his lap, the left hand at navel level. The Buddha is dressed in voluminous robes that wrap around his shoulders and body, and tied at the waist. The heavy fabric draping and pooling elegantly all around his robust body. His broad chest and right arm exposed. The Buddha's face is both solemn and beatific - his expression seeming to change depending on the angle of view. The most notable feature of his face is the large urna to the center of his forehead, set between a pair of painted, high arching brows over heavily lidded almond shaped eyes. A strong nose is set above a small mouth pursed in an ever so slight smile. Long pendulous earlobes touch his shoulders. The Buddha's hair arranged in the typical fashion, with "spikes" representing tight curls. A prominent ushnisha rises from the crown of his head, covered by more hair, and topped with a rounded protuberance. The Buddha is constructed from several blocks of wood, joined, carved and lacquered a deep red-brown with gold flecks...

A Chinese Qing Dynasty period cabinet with original red lacquer and gilt hand-painted court scenes décor. Created in China, this cabinet features its original red lacquer serving as ...

Beautiful pair of decorative porcelain jars with richly polychrome decoration, featuring a deep blue ground and adorned with delicate flowers, butterflies, and botanical motifs in vi...

A fixture of the Chinese scholars' studio, the inkstone was among the "Four Treasures of the Study" and was used in calligraphy and landscape painting along with paper, ink and brush...

This extraordinary 16-foot Chinese embroidered silk mural dates to the 19th century and exemplifies the richness of Qing dynasty court-style textile production. Executed in silk thre...

A fine antique 19th century Chinese cloisonne ding shaped lidded censer/incense burner on stand, circa 1870. The twin handled censer having a gilded foo dog finial to the lid, the li...

A wonderful work complete with a unique wood-carved and hand-painted face and original textile garment. From a group of 7 Chinese opera puppets, we acquired from a collector. Each puppet shows clear signs of previous stage use. Likely from the early 1900s. Would make for a great addition to any Chinese artifacts...

By the 18th century, opium use had become as central to Chinese social life as taking tea or smoking tobacco, fostering a subculture rich with its own customs, traditions, and exquis...

A hallmark of Chinese architecture, tall door panels such as these were used in provincial courtyard homes to easily open up a room to the outdoors. Designed with solid wood panels instead of lattice windows, these door panels were likely installed facing the street, used to protect the home rather than provide decoration. The doors were originally linked by hinges set in opposite directions, allowing the doors to fold upon themselves as they open. Instead of the elaborate carvings often found on Qing-dynasty doors...

Rare Huanghuali Tabletop Cabinet Qing Dynasty 17th/18th C., Provenance. Well balanced and solid structured tabletop cabinet made from huanghuali, (Chinese Rosewood). It dates to the 17th/18th century Qing dynasty. The chest is composed of two framed doors, which when open, reveal two inner shelves. The lower shelf suspends a pair of drawers. The door panels and the chest are raised over aprons elaborately carved with classical Chinese foliate tendrils. The cabinet is fitted with baitong hardware. The sides are set with metal bail handles. A typical feature of cabinets of this form is to use the two doors to display the natural beauty and grain of the wood. Huanghuali Rosewood is known for its beauty and rarity. Huanghuali furniture...

This Chinese Qing Style hardwood side table features a circular top with a distinctive raised lip and an intricately carved apron. The carvings include traditional Asian motifs, such...

During winter in the colder provinces of China, life revolved around the kang, a heated brick platform that harnessed warmth from the kitchen fire. Used while seated atop the kang, l...