Qing Furniture

This small treasure box from the late 19th century exemplifies the lavish splendor of the Qing-dynasty (1644-1911) decorative arts, finished with intricate surface embellishment and ...

Collection of Eight Chinese Blue and White Porcelain Articles, comprising: two ink bottles, one with hand-painted phoenix motif and one with landscape scene, pair of small dishes wit...

An exceptional scholar's rock lingbi (灵璧石), traditionally intended for Chinese scholars, on a very elaborate Qing period wooden base. It is presented with the larger end above the sm...

Description Nice and Beautifully painted color setting. 20th century Condition Perfect, only some baking flaws. Size: 23.2cm Period 20th century Qing (1661 - 1912)

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...

A large Chinese Qing Dynasty period elm wood opium bed coffee table from the 19th century, with hand-woven rattan top and original lacquer. Crea...

A luminous blue-green glaze cloaks the exterior of this vintage Chinese garden pot, dripping down the sides with irregular movement and an allover crackle. The sides are molded in th...

Famille Verte style porcelain temple jar. Crafted in China towards the end of the 20th century in the 1970s. This piece is made from white undergl...

Pair of Imperial yellow Gu form cloisonné vases.

This masterfully carved celadon jade figure represents the epitome of Chinese artistry and craftsmanship. The sculpture features a beauty dressed in flowing traditional attire, capturing the essence of grace and elegance. She is depicted holding a plate that presents a branch bearing three peaches, a symbol of longevity and prosperity in Chinese culture. The jade used for this carving is of a refined celadon hue, adding a layer of sophistication and tranquility to the piece. The intricate detailing on the flowing dress and the lifelike representation of the peaches attest to the skill and precision involved in its creation. This celadon jade carving...

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...

This exceptional Chinese Shoushan stone carving is a fine example of Qing artistry and craftsmanship, featuring a Sage in a semi-seated position...

This rather beautiful Chinese made snuff bottle has been made in the Qianlong style but likely dates to the early 20th century. The timber snuff bottle has been entirely clad in smal...

Chinese emerald green shiwan pottery teapot, Chinese, Qing Dynasty, late 19th century. In the shape of a traditional Chinese water carrying bucke...

Chinese Soapstone Carving Bird and Fruit on Wooden Stand in different natural colors, H 5 cm(2 in.) x W 16 cm(6.5 in.) Wood base: 3/4".

A refined and elegant bamboo corner stand, four black lacquer shelves with rounded front, lattice fret work railing. First two photos shown two st...

Antique unique Qing dynasty very large 20” pair of shell inlaid black lacquer big Chinese book boxes with bail handles two sides, with keys, each with hinged lid reversing to a mothe...

A Chinese Qing Dynasty period large armoire from the 19th century with red lacquer, gilt décor, two doors and front apron. Created in China during the Qing Dynasty period in the 19th century, this large armoire features a linear silhouette perfectly complimented by a red lacquer accented by a gilt hand painted décor. The piece showcases a rectangular top overhanging a stunning façade. Chinese figures attending to their business are walking in landscapes or standing under pagodas while children are playing with flags or kites. Two doors, fitted with ornate pulls...

A six panel screen in black paint with overall gilt scrolled and carved and painted wood applied low relief decoration with some Mother-of-Pearl details. Scenes with pavilions and fi...

Sculptural Chinese bronze depicting a ram and gazelle intertwined, their elongated, ribbed horns forming a continuous, sinuous vertical composition. The two animals are rendered in d...

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...

The extra large, extraordinary 17" Chinese calligraphy brush captivates with its fusion of history, symbolism, and artistic finesse. Comprising a collection of seven jade Archer's ri...

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...

This vintage Chinese seal is an exquisite example of craftsmanship, intricately carved to feature a Pixiu, the legendary son of the dragon, perched majestically atop a square mound. The Pixiu is vividly depicted, complete with water flowing from its mouth and eyes that bulge with mythical intensity. Pixiu is considered a creature of wealth and is believed to have the power to attract and protect its owner's fortunes. It is often used in Feng Shui for this purpose. Pixiu figures are often used as talismans or ornaments to attract wealth and good fortune. The square mound itself serves as a canvas for archaic decorations, featuring stylized dragons that are intricately carved into the detailed ground. These dragons not only add aesthetic appeal but also imbue the piece with historical and cultural significance, linking it to ancient Chinese traditions and folklore. What elevates this seal further is the material's yellow hue, which displays characteristics of the highly prized field yellow "Tian Huang...

A tall, cylindrical Chinese monochrome porcelain vase, made in the 1970s and finished in a refined cornflower blue glaze. The simple vertical form, often described as a spill vase, i...

A late Qing Dynasty period red lacquer wooden side table from the early 20th century with single drawer and horse hoof feet. This late Qing Dynasty period side table dates back to th...

A fine Chinese porcelain wine cup, hand painted in underglaze blue with figures in various martial arts pursuits, with a four character Daoguang mark within the footring, and of the ...

A pair of antique Chinese side chairs circa 19th century, late Qing Dynasty. Made from highly grained Hong Mu, a hard wood that resembles the Chinese rosewood, Huanghuali. These chai...

Seasonal autumn Chinese hanging scroll featuring a painting of delicate flowers with a calligraphy signature and date. Crafted on hand-made mulberry paper...

Pair of Chinese Blue and White Ceramic Vases Mounted as Lamps, with floral design on carved wood bases. 20.5" H x 5" W x 5" D. Provenance: From a Connecticut Estate.

Antique Chinese Smokey Quartz Snuff Bottle. A beautiful flattened rectangular form with sloping shoulders of a desirable smokey quartz material, footed oval base, round neck, narrow...

These glazed Chinese ceramic jars from the turn of the 19th century were once used for pickling foods. They feature a jade green finish and outer surface that features a ribbed textu...

Chinese Qing Dynasty Mother-of-Pearl Inlaid Hardwood Wood Scholar's Seal Stand, 19th Century An exceptional 19th-century Chinese scholar’s seal s...

Large pair of blue and white Chinese double gourd vases decorated with flowers and scrolling foliage.

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...

The warm tones and active grain of natural pine wood are the focus of this unusually articulated Dongbei sideboard. Made for a provincial home in northeastern China, this table was o...

Chinese Qing Dynasty chest with drawers. Accentuated raised panels with scalloped edges make up all the front and side panels. Adorned with red lacq...

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...

A phenomenal hand carved and painted wooden antique wedding dowry stacked drawer carriage chest from China. Commissioned in the 19th century to commemora...

We are delighted to showcase this exquisite Chinese porcelain covered ginger jar, a piece that embodies the pinnacle of craftsmanship and artistic excellence. The jar captivates the ...

Antique Chinese Honey Quartz Dragon Snuff Bottle, a flat rectangular form with rounded shoulders and footed base of a golden coloured translucent material with horizontal striations ...

With no stretchers or spandrels, this petite Chinese table flows like a ribbon, rounding the bend to solid panel sides carved to resemble table legs. Known as a scroll table, this ki...

Nice and Beautifully painted Cantonese dish with lots of highly detailed figures, flowers and animals. Additional information: Material: Porcelain & Pottery Region of Origin: China ...

Chinese Qing Dynasty Yongzheng Period-style famille rose mille fleurs porcelain bowl with a "thousand flower" pattern that covers the bowl in suc...

A Large Chinese Celadon Crackle-Glazed Bowl (A/F), Qing Dynasty, 18th Century Description: The bowl is covered in a celadon glaze suffused with a complex network of light and dark c...

Large rare vase painted with petal-shaped panels of 'Landscapes and Flowers' pattern. Period : Qing Dynasty, Kangxi Period Production Date : 1690-1699 Made in : Jingdezhen Destination : Netherland Found/Acquired : Southeast Asia , South China Sea, Vung Tau ship Size : 51cm (Height), 20cm(Diameter), 12cm(Mouth Diameter) Condition : Excellent Reference : Double checked with reference to the original catalogues 1) Christies Paris 30 NOV – 14 DEC 2023 - Art of Asia - Lot 618 2) Christies Amsterdam 1992 - Vung Tau Cargo / Christies 3) Qing Dynasty Export Blue and White(淸代外销靑花瓷) - Vung Tau Cargo Catalogue / Guangxi Fine Art Publishing House 4) Asian Ceramic Found along Maritime Silk Route / National Maritime Museum of Korea * Vung Tau Cargo Porcelain...

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...

This dish features a rockwork design that was popular during the Mid to Late Ming dynasties. The blue-and-white underglaze effectively captures the vibrant tones typical of the late ...

Introducing an Antique Qing Dynasty Butterfly Cabinet from the 1800s, a rare and exquisite piece that embodies the elegance and craftsmanship of the ...

A striking pair of Chinese bronze Hu-form vases with finely executed champlevé enamel decoration, dating to the Republic period, circa 1920–1935. The baluster-shaped bodies are deco...

Originally used for pickling and food preservation, this 19th-century ceramic pot is decorated with two serpentine dragons winding around the exterior towards a flaming "pearl of wis...

19th century large Chinese lacquer wedding or travel box from the Qing dynasty. Beautiful intricate designs all-over with images of ancient Chi...

Late 19th century, Qing style Chinese hammered and engraved brass jardinière planter. Heavy duty and weigh about 10lbs. Measures 13" wide, 9.5...

Antique Chinese side cabinet. Small Elm wood side cabinet with two upper drawers and a lower cabinet. Also know as a Kang Cabinet. This diminutive low decorative cabinet was placed on the kang, a raised heated platform used as living space in cold climates. An unusually sized visually interesting piece that provides interesting storage space, doors, drawers and or compartments. This particular kang cabinet is a good Size to use for side cabinet - table next to a chair. These pieces are very useful as platforms, tables with storage, stands and many other functional decorative uses. Great for tight spaces, wonderful as book table a fantastic small antique cabinet.

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 large Chinese basin or bowl crafted out of peachwood, with red lacquer and forged bronze braces, circa 1880.

Trunks and storage chests were the most ubiquitous form of household storage throughout the Ming and Qing dynasties. Used to store clothes, linens, kitchen utensils, and other miscel...

Description: A singular example of Guanyin. Deviating from the Bodhisattva’s conventional pose of ‘royal ease’, the figure is instead seated in the meditative padmasana, or ‘lotus position’, rendering this Guanyin something of a rarity. An Apana more typically associated with depictions of Buddhas, Guanyin assuming this pose immediately signifies this figure as one of particular spiritual reverence. Both feet are revealed crossed upon one another from beneath fabric which spills before her, her left palm turned upward with her hand resting upon her left knee and her right raised in a relaxed gesture. Adorned with a diadem housing a depiction of Amitabha Buddha, her own spiritual guide, she exudes an air of tranquil regality, further characterised by her numerous strings of beads and elaborately fastened dhoti, attire traditionally reserved for Indian princes. Though the figure’s dress is Indian her face is undoubtedly exemplifying artistic Chinese beauty standards. Her face is soft and rounded, full in both the lips and cheeks, with eyes that restfully peer down, as though she is watching over the worries of mankind with compassion. 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...

A magnificent pair of Qing Dynasty (1644-1912) antique Chinese architectural elements with beautifully aged patina. circa 1900 Most impressive large scale, likely sculptural corbels from a Buddhist temple or imperial palace, late 19th / early 20th century, each intricately hand carved with very fine detailing, similarly styled pair, modeled as guardian foo lion, depicted with outstretched arched body, mouth ajar, clutching floral ball, having elaborate openwork carvings, with scattered remnants of original polychrome paint remaining. The highly decorative architectural salvaged ornamental building elements presented on custom made hand carved wooden sculpture stands...

China rare antique stone inlaid wine table, middle Qing dynasty (1644-1911), 18th/19th century. Elm wood (Humu) with original pudding stone inlay. All ...