Qing Furniture

During winter in the colder provinces of China, life revolved around the kang, a heated brick platform that household members would sit or recline upon. Placed on top of the kang, lo...

A hallmark of Qing-dynasty domestic architecture, tall lattice panels such as these were used in traditional courtyard homes to allow light and air into a room whilst maintaining privacy. With grand proportions and elongated windows, this set of six lattice door panels...

A Chinese Qing Dynasty period cabinet from the 19th century, with traditional hardware, two hidden drawers and a removable panel. Created in China during the Qing Dynasty, this woode...

An impressive depiction of Guanyin, the Bodhisattva of compassion, whose name bears the meaning ‘One who hears the cries of the world.’ The rather androgynous figure is adorned with beaded jewellery and the princely regalia of a dhoti, draped across her body and spilling out over to partially obscure what she is resting upon. The goddess’ profile exhibits idealised features of Asian artistic convention; her face is soft and rounded, with full lips and relaxed eyes that provide a serene quality of youthfulness to the figure. Adhering to Chinese iconography of Guanyin, the figure is marked by an urna on her forehead, denoting her own enlightenment, as well as a diadem displaying Buddha Amitabha, the spiritual teacher of Guanyin. Seated in the Lalit asana pose, translated as ‘royal ease’, the figure exudes a fine example of the relaxed majesty typical in the characterisation of Guanyin. Whilst the figure’s left hand is placed restfully upon the left leg pendant, the right is raised in the gesture shuni mudra, the second finger held gently against the thumb. Otherwise known as the seal of patience, this gesture indicates the figure as one intended to bestow this virtue, along with compassion and understanding, upon the beholder. 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 Late Qing Dynasty Japanese inspired Chinese lacquered six-panel screen. This magnificent Chinese lacquered screen, dating from the late Qing Dynasty, exemplifies expert craftsmansh...

An unusually large vintage Chinese carved and pierced gilt wood story panel, early to mid 20th century, Southern China. The intricately carved panel depicts images from "The Romance...

An everyday example of Chinese blue-and-white ceramics, this petite cup from the late Qing dynasty is appreciated for its delicate simplicity and charming imperfections. Used for dri...

A Chinese late Qing Dynasty period side cabinet from the early 20th century with two drawers, two doors and custom reddish black lacquer. Created in China during the late Qing Dynast...

An unusual and fine antique Chinese Qing lacquered and inlaid papier mache handled sewing box with decorative panels dating from latter 19th or early 20th century. The sewing box is of round cylindrical shape with a swing carry handle and is inlaid with mother of pearl and abalone. The body is made up of eight oval shaped scenes of typical Chinese style with buildings and people picked out with inset abalone and mother of pearl and highlighted and contained within a gilded border. These are set between bands of patterned abalone and against a blue silk background. A similar band of abalone is applied to the swing handle. The cover sits within a recess and is made up of bands on inset abalone with cut out triangular designs and set over blue silk with a small finely carved mother of pearl handle...

A fine matching pair of embroidered silk civil rank badge panels (known in Chinese as Buzi) unframed. The panels feature borders of fret archaic key a...

Large 8-winged lacquer shade, richly carved with garden scenes, symbols, ornamentation, trees and birds. Early 20th century. H. 224 W. 320 cm. Age-related wear; marks, cracks and cra...

This is a very good Chinese glass snuff bottle, which is beautifully inside hand painted and with a spoon top, all coming complete with a b...

Chinoiserie Lacquer Box. Beautifully hand painted Chinoiserie Box decorated with auspicious Chinese scenes. The box is constructed of wood having polychrome painting lacquered with...

This glazed Chinese ceramic jar from the turn of the 19th Century was once used for soy sauce production. It features a brown finish and outer surface that f...

Chinese glazed porcelain roof tile of a warrior. The manufacture of glazed tiles was standardized in the Ming Dynasty and during the Qing Dynasty into the Republican Era, glazed tile...

These are a well made very decorative small cloisonné salt and pepper pot, made in China and dating to the mid-19th century. Both pieces a...

This is a finely hand painted Chinese porcelain tea bowl from the 18th century, Qing dynasty, Qianlong period, 1736-1795. The bowl is well decorated, continuously around the body ...

Sharing with you this lovely painting. Additional information: Material: Porcelain & Pottery Region of Origin: China Period: 19th century Emperor: Guangxu (1875-1908) China Dynasty ...

Set of framed 19th century Chinese embroidered sleeve panels, likely the Qing Dynasty (1644-1911). The panels depicting figures in a garden ...

This remarkable glass snuff bottle, crafted by the esteemed artist Ya Qing in the spring of 2009, is a masterful example of inside painting. The bottle showcases...

Chinese Red Lacquered Carved Hardwood Altar Table, with floral and bird motif top. 30.5" H x 52" W x 16.5" D. Provenance: From a New York City Collection.

Antique blue and white porcelain tea caddy - hand painted in cobalt blue with birds and butterflies among flowering branches - non glazed lip and b...

Early 20th Century Chinese Peking Carpet 8'2" x 9'8" - 249 x 295

Antique Plate 18th Century Chinese Porcelain Blue and White Plate Kangxi Period. A very nicely decorated plate with flowers. Additional information: Material: Porcelain & Pottery D...

A Mid 19th Century Chinese Lacquered Elmwood Ten-Drawer Document Chest. Measures: 22.5" in width, 21.25" in depth and 35.75" in height

A Large Cloisonné Ginger Jar handcrafted by skilled Chinese artisans in the 1960s. This impressive ginger jar showcases exquisite Chinese cloisonné work. Finely decorated with a s...

This pair of elegant low-back armchairs date to the late Qing dynasty (1644-1911), designed with spindle-back frames and clean-lined silhouettes. Known as a rose chair (meiguiyi) or ...

Tea drinking has been an integral part of Chinese culture for centuries, resulting in a wide range of social customs and material traditions. In addition to tea leaves, water, and heat, the art of drinking tea (chayi) calls for a variety of teaware and utensils - both practical and decorative. This charming teapot dates to the late Qing dynasty and is hand-carved from a hollow length of bamboo in the shape of a ripe pomegranate. The handle is carved to resemble a thin branch, which forks to either side of the teapot bearing long, slender leaves. The teapot has a squat, rounded form and a dark brown finish, reminiscent of Yixing red clay teapots...

Distinctive pair of matching Chinese export garden drum stools or drinks tables made in the Qing style. Beautifully crafted from rich, dark rosewood with a drum, or tabouret form. Th...

Circa 1860 Chinese blue & white domed form brush washer. Porcelain. From the Qing Dynasty artist or scholar's table. Landscape decoration. 2" dia., 1 5/8" h. We are a family busines...

Large 20th century Chinese head of Guanyin. This piece is quite large and has been hand crafted by a skilled artisan from a single log. It measures 27 1/2” ...

A Chinese porcelain dish from the first half of the 18th century. Condition 4 small chips to rim and 2 or 3 fritspots. Size: 22.5CM Diameter Period 18th century

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 vintage Chinese inside painted faceted glass snuff bottle, hand decorated with 3 court ladies in traditional dress on one side, with poetic versus to verso, and raised on a carved ...

The elegantly simple 19th century elmwood bench has the clean restraint of Classic Chinese Minimalist forms, Elegantly simple in design from China's Zhejiang province celebrates the...

An exquisite antique Chinese Hand Carved Peking Glass Snuff Bottle. Hand crafted in beautiful imperial yellow colored glass. The glass is slightly translucent almost looking like mil...

A Chinese late Qing Dynasty period opium mat coffee table from the early 20th century, with woven rattan inset top, carved apron and scrolling legs. Elevate your living space with a ...

A very nicely decorated plate. Part of the late Kangxi/ early Yongzheng Famille Everything. At this point in time the potter is Jingdezhen used all techniques and colors on export pl...

A Chinese Qing Dynasty apothecary / pharmacy medicine chest. Front in original red lacquer with 45 drawers (42 small drawers + 3 larger drawers at the bottom). ach drawer with hand written Chinese calligraphy in black lacquer. These were used to store and organise Chinese herbs...

A wonderful, large, hand-woven rattan and bamboo Chinese three-tiered handled wedding basket. From a Los Angeles Asian/Chinese art and artifacts collection. We are listing it as ea...

Fantastic and unually large teaset in Blue and white, all of moulded shape. Sixteen blue and white porcelain cups and saucers, plus one extra dish All depict fishermen in a watery landscape surrounded by flowery ornamental bands. Not marked. Additional information: Material: Porcelain & Pottery Decoration Type / Colour: Blood & Milk Region of Origin: China Emperor: Yongzheng (1722-1735) Period: 18th century China Dynasty Period: Qing (1661 - 1912) Condition: 8 dishes with a hairline, 2 dishes perfect, 7 dishes...

A Chinese Qing Dynasty period red cabinet from the 19th century with hand painted decor and gilt accents. Created in China during the Qing Dynasty, this red cabinet captivates with i...

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...

Large 19th century Chinese hard wood marble inset table circa 1880. Good quality hard wood Chinese table with a dark grey marble panel inset into the top.  Marble has a great patina...

Finely crafted of elmwood and brass, this lovely wooden bucket is a 19th-century Chinese water pail used for drawing up water from wells and rain jars. An especially elegant example,...

Pair of large Canton style famille rose porcelain vases. Chinese, Late 19th century. Measures: Height 64cm, diameter 25cm. Crafted in Qing dynasty China in the late nineteenth century for the export market, these fine porcelain vases...

A Chinese Qing Dynasty period dark brown lacquered armchair from the 19th century with out-curving stickback and low stretchers. Created in China during the Qing Dynasty period in th...

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...

A Chinese Shagreen Glasses Case, 19th Century This Chinese spectacle case is carved from wood with a striking shagreen covering. The case dates from ...

Finest Quality Dreamstone Inlaid Chair China- an extraordinary prolifically crafted example of an antique hand carved hardwood chair inlaid with multiple natural dream stone "paintings" plus "butterfly and mother of pearl" inlays in its hardwood arms and seat, late 19th century. This type of old Chinese furniture art form with marble inlay is centuries of years old dating as far back as the Ming dynasty (1368-1644). Fine round and rectangular dream stones depicting mountains and the natural outdoor scenery are inlaid in the seat, back and interior sides of this fine furniture example. Thin marble inlaid stone "paintings" are approximately 1/4" thick and are cut from a large slab of rough material revealing incredible patterns in soft white and gray colors. The hardwood (elmwood) frame is tenon joined. The natural stone "paintings" were hand especially for fine export chairs as in this example. Chair dimensions: Height 38.75 inches Width 25.75 inches Depth 19 inches Period : late Qing period, 19th century Provenance: Private American Chinese collection Reference: Dreaming of Dreamstones China’s Extraordinary Natural Stone Paintings, Schneible Fine Arts. Dreaming of Dreamstones – World’s first comprehensive English text publication covers China’s extraordinary natural Stone Paintings, by author and dream stone lecturer Douglas Schneible, 35 pages, softcover, ISBN 978-0-578. See photos. We have been dealing in authentic Chinese natural stone paintings...

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

A large Chinese mid-19th century dinning table, originally a calligraphy table, with original red lacquer. Table top with traditional Chinese design featuring a "floating panel", all...

Antique Chinese Peking Red Overlay Snowflake Glass Snuff Bottle, of flattened ovoid shape with sloping shoulders, round neck, thin and flat mouth rim, raised oval foot and countersun...

Oversized vintage celadon glazed Vietnamese water jar vessel with elegant urn shape. The jade-green glaze, with its subtle crackle, exudes timeless sophistication. Versatile for indo...

A very nicely decorated bowl. Dating to around 1730/1740 10-10-19-2-1 Additional information: Material: Porcelain & Pottery Decoration Type / Colour: Polychrome Region of Origin: ...

Circa 1860 Chinese blue & white jar form brush washer. From the Qing Dynasty scholar's table. Porcelain. Landscape decoration. Rim chips. Chinese government antiques shop wax seal. 2...

Pair of Qing Dynasty Kesi Imperial civil officer rank badges with pheasant alighting astop a rock emerging from cloud and waves surrounding with auspicious symbols. Overall in very ...

Pair of early 20th large Chinese Cantonese vase lamps circa 1910. Beautifully hand painted in green, pink and orange on a white background. These are a left and right pair and have ...

Miniature Huanghuali wood Chinese sideboard. An expertly crafted miniature architectural model in Huanhuali wood with brass hardware. A late 20th centu...

19th Century Chinese Red Lacquered Cabinet. A beautiful 19th Century Red Lacquer Gilt Painted Qing Dynasty Cabinet. Early 1800's a wonderful piece from Shanxi Province. The warm w...