Qing Furniture

Antique Chinese Qing dynasty (1644-1911) late 19th century bottle vase. The vase with a red crackle glaze to the outisde and a cream crackle glaze to the interior. The vase of bottle...

19th Century Chinese Silk Embroidery ( 3' 3" x 6' 10" - 99 x 209 )

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...

A stunning antique Chinese Qing porcelain famille rose vase decorated with bats with Qianlong mark and possibly of the period. The impressive vase of lobed form is painted with shou ...

19th Century Bookcase Round Corner Display Case Shanxi. Wonderful Round Corner Bookcase, Display case, Scholars Shelf. This case features an open façade having four large spacious ...

This porcelain brush pot, crafted on a white body, is delicately decorated with copper red (hongcai 紅彩), depicting a figure in traditional attire amidst a landscape of pine trees, ro...

Antique ginger jar with lid, porcelain, China, Qing Dynasty, 19th century, pumpkin-shaped featuring boys at play in Famille Rose colors. This elegant piece, an antique ginger jar...

Antique Chinese Agate Master Snuff Bottle, 19th century. Larger scale bottle of pale translucent color with varied caramel inclusions, symmetrical rectangu...

A rare & important set of four large antique Chinese Qing dynasty hand-painted porcelain plaques; of the "Four Seasons", housed in the original Hongmu wood frames, circa 1890. Each ...

With minimalist form and luminous, warm brown color, this early 20th-century storage coffer layers effortlessly into modern interiors. Crafted of walnut with mortise-and-tenon joiner...

A pair of finely cast and incised burnished bronze candlestick elephants, Chinese school, 18th-19th Century, Qing Dynasty (1636-1912). Each elephant is standing foursquare with head...

From Northern China comes a piece of great antiquity. The 18th century bowl of natural granite, hand cut and carved, in conical form with a round base. Of...

A stunning pair of excellent quality bronze Pixiu wealth dragon mythical creatures with visually striking scattered verdigris bluish green patina! Well known in Chinese culture and...

Pair of Qing Dynasty gilt and incised bronze elephants with gray cloisonné from the 19th Century. The elephants are carrying cloisonné vases with gilt lion head ring handles. The har...

A 1930s hand-crafted Chinese porcelain ginger jar, also known as a large melon jar for its distinctive, rounded shape. In very good condition for its age and use, this collectible p...

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...

18th Century Blue and White Delftware Bottle, English and probably from the Lambeth pottery in London, tin glazed earthenware with a hand painted oriental scenes. Height 9" inches (2...

This glazed Chinese ceramic jar from the turn of the 19th Century was once used for soy sauce production. It features a wonderful green glazed finish and out...

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

ANTIQUE CHINESE CLOISONNE TRINKET BOXES Extremely tactile little boxes in the form of a male and female quail with polychrome enamels. Very characterful and charming depiction of t...

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 ‘Yongzheng-style’ Famille Rose (Fencai) Chinese porcelain punch bowl, handcrafted around the 1950s in China. Decorated with a vibrant central springtime scene of four birds ...

A decorative 1980s gold and pastel toned Chinese porcelain charger plate, handcrafted and adorned in the Mille Fleur style; a design known as the "thousand flowers" pattern. The M...

This is a finely hand painted Chinese porcelain bowl from the 18th century, Qing dynasty, Qianlong period, 1736-1795. The bowl is beautifully decorated with two panels of figure s...

This 19th-century Chinese coffee table is a stunning example of Chinese Provincial craftsmanship, made from solid elm wood with an original, time-worn finish. Its simple rectangular ...

A Very Fine & Rare Example of an Eighteenth-Century Chinese Porcelain Export Circular Lidded twin handle blue and white Deep Dish Tureen or Centerpiece Bowl of generous proportions and of the period Chien Lung 1736-1795. Exquisitely hand decorated depicting typical Chinese scenes of garden landscapes within trellis border on an off-white ground. The octagonal edge dome shaped cover with similar decoration and an attractive central finial. *This is one of a pair currently listed Condition: This piece is offered in exceptional condition for such an early piece, no losses or hairlines anywhere, and no restoration, possibly never used, no staining inside the bowl. This piece is typically unmarked. Width: (including handles) 10.75” (27.5cm). Diameter: (top cover rim) 10” (25.5cm). Height: 7.75” (19.75m). Location: Dublin City, Ireland. Affordable fixed price Worldwide Store to door shipping offered by Seller. Please take time to scroll down below and click "View All From Seller" or favorite our Shop PATRICK HOWARD...

This antique Chinese ginger jar, from the Qing Dynasty, is beautifully decorated in the Famille Rose palette, known for its delicate pinks, greens, and intricate detailing. The jar d...

A late Qing Dynasty period elm sideboard with carved floral vases, drawers, removable panels and doors. Rich with history and timeless charm, this antique sideboard embodies both fun...

An antique Chinese Canton Qing wooden jewelry box carved in high relief with figural panels and dating from the 19th century. This stunning box of rectangular casket shape stands on a pedestal shaped base with a carved edge and has relief carved figural panels...

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...

This glazed Chinese ceramic jar was once used for pickling foods. It features a jade green finish and outer surface that features a ribbed texture. A great example of Chinese pottery...

A large ‘Yongzheng-style’ Famille Rose (Fencai) Chinese porcelain punch bowl, handcrafted around the 1950s in China. Decorated with a vibrant central springtime scene of four birds ...

Pair of charming polychrome ceramic Foo Dog / Lions in the Qing Style. Fantastic detail and a beautiful color combination of ochre, green, brown and blue. Foo dogs are symbolic, pro...

These are a very good pair of antique Chinese foo or lion dogs, sometimes called temple lions made of a hardstone, hand carved with fine detail and polished, dating to the mid 20th c...

This large glazed Chinese ceramic jar was once used for pickling foods. It features a jade green finish and outer surface that features a ribbed t...

This is a very beautifully hand painted Chinese porcelain blue and white Dish or Plate from the Qing, Kangxi period ( 1662-1722), dating to Circa 1680 or slightly earlier This is a well potted dish with 16 lobes or ribs, a wavy barbed rim, a very well cut foot rim and a very white glaze. The plate is very finely hand painted in a free flowing style, characteristic of the period, in varying shades of a clear cobalt blue, from the very dark to the very light blue. The central well is hand decorated with an iconic outdoor...

With simplicity of form and an understated presence, these elegant lacquer cabinets exemplify the timeless appeal of classical Chinese furniture. Used in traditional homes in lieu of...

Antique mid Qing hand carved black hardstone snuff bottle. Produced in China towards the end of the 19th century. Beautiful shape with strong body and shoulders. Very well hollow...

This 19th-century altar coffer displays many traditional elements of Chinese cabinetry, such as its overhung, floating panel top flanked by curving spandrels or its painted doors sec...

A Monumental Antique Chinese Qing Dynasty Sang de Boeuf Flambé Porcelain Vase, Circa 1890. The vase of monumental proportions, the globular body and tall cylindrical neck all under ...

A stunning Taihu scholar stone in an unusual horizonal balanced form perched on a custom wood stand. The stone, in a nearly pure greyish white color, display a weathered smooth surfa...

A matching pair of Chinese blue and white porcelain vases, hand-made in China circa 1980s. Perfectly hand-painted in a rich cobalt blue enamel set against a white underglaze porcel...

Chinese Famille rose medallion export porcelain jardiniere, 19th century.  

This antique late Qing handpainted oval shaped reticulated Chinese export porcelain Famille Rose Medallion bowl with underplate is a stunning piece o...

An Exquisite Suite of Three French Silver-Mounted Chinese Porcelain Snuff Bottles with Coral and Sapphire Adornments by Cartier, Presented in Original Fitted Box This exceptional su...

This is a beautifully hand-painted Chinese Export porcelain blue and white, large deep plate or dish which we date to the Qing, early 18th Century, Yongzheng period, Circa 1730. The...

An 18th Century Chinese Beijing enamel snuff box finely painted to the lid and sides with typical Chinese scenes, the base painted with a leafy gourd. The lid is mounted in gilt bron...

Unique garden accents This delightful round hand-carved stone in the form of an old "cash coin" with its square hole and dates to the 19th century. This was likely a mill stone for ...

A Chinese Red Lacquer Lidded Jewelry Box, Early 20th Century Provenance: Private Australian Collection. Dimension: Width: 19cm Height: 22.5cm Depth: 21cm.

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 ...

A beautiful pair of Chinese Porcelain Qianlong inspired table lamps. Features a hexagonal form with flared mouth. The vases are white with blue painted nature scenes showcasing an al...

These are a very good pair of antique Chinese foo or lion dog sculptures, sometimes called temple lions, made of bronze, with good detail, which we date to the Qing dynasty, 19th Century. These pieces are well cast with very good detail, showing wear to the high points as expected from use and polishing over a long period, the lustrous copper bronze metal below. The places on the castings where one would not normally polish ( eg. the underside, the back and neck area) are fairly rough to the touch in keeping with their age These are a substantial pair of bronzes, weighing over 900gm unpacked Overall a lovely pair of antique Chinese foo dogs...

This is a very good 19th century Chinese Export, (Canton) deep plate or dish, which we date to the early 19th century, circa 1820 of the Qing dynasty. The plate has a light green,...

A remarkable pair of late 19th-century Chinese solid elmwood horseshoe hunting chairs, known as Jiao-Yi. These chairs, steeped in history and tradition, were reserved for individuals...

A good antique Imperial Chinese Qing dynasty, Guangxu period yellow glazed and incised decorated dragon bowl, mark & period, circa 1875. The bowl...

19th Century Window Lattice Screen. Very special Lattice Screen Window Panel from Shanxi China 19th century. Wonderfully assembled sculpted pieces of Cypress wood with each face ro...

A very fine French Chinese Qianlong (18th century) style porcelain teacaddy and cover attributed to Samson of Paris and dating from the 19th century. The tea caddy is beautifully mad...

An antique Qing Dynasty Chinese sweetmeat (confectionery or sweet food) box, dating to the early 20th century, featuring a lacquered and parcel gilt painted box decorated in a stylized naturalistic scene, opening to reveal five-piece polychrome famille rose porcelain sweetmeat dishes...

Early large 20th century bronze Qing style cloisonné center table. Thisl large form table features extraordinary workmanship with stunningly rare Impe...

19th century Chinese black lacquered tray table circa 1880. Beautifully hand painted and decorated tray table.  Black lacquered base colour, profusely painted in gold leaf, depictin...

An ideal garden ornament, sturdy weather proof planter display base or a rock solid all weather stone base for a special sculpture. From China, comes this large 20.5 inch rectangu...

This glazed Chinese ceramic jar from the turn of the 19th Century was once used for soy sauce production. It features a wonderful green glazed finish and out...

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...

This pair of Chinese portraits depicting young women & their dogs were painted using a reverse glass painting technique. Painting in reverse on the opposite side of a piece of glass ...

An antique Chinese famille rose fencai decorated porcelain saucer dish, finely painted with 5 groups of flowers and insects, thinly brown glazed mouth rim, with five lively bats in d...

This magnificent six-panel Chinese folding screen depicts a lively battle scene with gilt brushwork and fine inlay of soapstone, agate, jade, jasper, mother-of-pearl and bone. The sc...

A matching pair of vintage Chinese porcelain ginger jars, handcrafted in the 1960s and decorated in the Famille Noire style. Each jar features a bold Famille Noire figural scene tha...

This exquisite late Qing Dynasty porcelain vase captures the timeless elegance of traditional Chinese blue-and-white artistry. Adorned with intricate cobalt underglaze patterns, the ...

Antique Chinese porcelain ginger jar lamp with panels of tranquil home scenes amidst a Hawthorne pattern ground. Great color and beautiful detail. Circa 18th/19th century. Shade not ...

This finely lacquered box was once presented as a gift, filled with popular snacks like roasted melon seeds, dried fruit, and cinnamon-toasted soy beans. Dated to the late 19th centu...

A very fine and attractive Chinese Qing Dynasty turquoise glazed figure of Guanyin dating from the 19th Century or possibly earlier. The hollow biscuit porcelain figurine...

This is a Chinese handcrafted Red Clay Yixing teapot and cover, which we date to the 20th century, circa 1950. The Teapot and lid are handcrafted in an ...

A late Qing Dynasty blue and white porcelain lidded jar from the early 20th century with dragon motifs. This blue and white porcelain jar exudes timeless elegance with its intricatel...