Continental US - Metalwork

A bronze Chinese Gu vase.

Chinese silver censer, circa 1910. Drum-form agate body set in silver gilt mounts with scrollwork and lunettes. Leaf-capped side bracket handles. Upward tapering support and stepped ...

A set of Chinese Export silver drinking set consists of a pinch bottle and five cordials circa 1910s-1920s. Featuring matching elaborate chased relief dra...

Pair of antique Japanese Buddhist temple headdress and necklace ornaments. Gilt bronze with decorative stones and beads, and intricate metalw...

archaistic motif on blue ground

This very finely cast bronze urn in an archaistic form was made in the very late 19th century approximately 1895-1900. Done with an apocryphal feeling to honor the ancient past, the vase is beautifully rendered in low relief in bronze covering almost the entire body of the urn. The predominant features are the divided taotie masks that compose the swelling middle body of the vase and also at the corners of the upper section. Crisp but subtle, the casting is clearly handled with great attention to linear form. The patina is very nice and consists of a modeled golden brown with a slight but very lite Verdigris color. The urn has an old rosewood base and lid that seems to have been purpose made for the object. Finally, the whole is set off with a carved jade finial...

Depicting Buddha in his royal attires resting on a throne made of coiled naga body and sheltered by the canopy of the seven headed snake king, this Buddhism iconography is perhaps on...

Early 19th to mid 19th century Chinese, Iron, water bath. With the patina of decades, this cast-iron sarcophagus-shaped bath has its original handles and exudes a timeless floral dec...

Available from Shogun's Gallery in Portland, Oregon for over 40 years specializing in Asian Arts & Antiques. This is a beautiful Japanese Meiji era (c. 1870-90's) ornate cloisonné v...

Chinese 18th century bronze vase with mottled patina. Evidence of a small, old repair.

Early 20th century iron cooking utencil from India This is a cool and unusual decorative object.  

An incense burner in the shape of a boy playing a flute while riding a bull. The boy is the removable top to the incense receptacle located inside the bull's body.

Japanese bronze Koro (Incense Burner) in the form of a Badger, Edo Period (circa 1800) bronze incense burner with removable top. Badger face and t...

Chinese export repousse beaker, circ 1890. Wieght 3.3 oz., 4 3/8" tall

Japanese silver bowl with handles by Konike. Finely decorated with repousse irises and cast floral handles. Marked on the bottom for the maker. Weight 272 g or 8.7 t.oz

A beautiful French patinated bronze figure of a standing Japanese geisha in a traditional kimono with an obi. This geisha is exceptionally cast with immense detail. Starting from the...

Bronze Koro (Japanese incense burner) in the shape of a rooster Removable top.

A Pair of Japanese Edo Period (1603–1867) iron, silver inlaid, and red lacquered stirrups (Abumi). Each of typical form, made of iron with silver inlay on the front with floral bloss...

A fabulous vintage Boho firewood holder. A chic monumental design in wrought iron. Perfect indoors or outside. You decide! Acquired from a Westport estate.

Beautifully crafted vintage Japanese urn shaped vase, featuring elephant head double handles in bronze and enamel. Colorful enamel adorns the vase...

This hand-forged metal sculpture, with its delicate appearance and whimsical shape, was once an integral tool to a 19th century Chinese cobbler’s trade. Made of iron, these scissors ...

Chinese silver repousse goblet by Wang Hing. Depicts Chinese garden scenes. Drgon base with emanating fire. Marked WH for Wang HIng maker and 90 Chinese silver. Weight 7.4 oz

This exquisite cloisonné set, meticulously crafted, is a testament to the timeless artistry of this ancient technique. Each piece, adorned with intricate...

Brass tray with paisley design.

This vintage cast iron mortar from China's Shanxi province is patterned in low relief with a simple floral design. Originally used in a traditional ap...

19th century superior quality Japanese bronze vase with grape vine handles. Beautifully shaped Edo period (first half of the 19th century) vase with c...

Wood storage box.

A Japanese patinated bronze vase of outstanding color with a lotus bud form top.

Hongzhi Period (1487 - 1505) sculpture of an important man, possibly Confucius. Comes with box.

Chinese silver repousse and openwork bowl, decorated with dragons and flaming pearl. The bowl is marked on the bottom with a Chinese character, "90" for silver purity, and "WH" for W...

In the shape of kaede leaves. Used on top of a large festival cart carried through the streets.

Raised Detailing of Dragons and Flowers with Vibrant Colors in Reds, Blues, Greens. Hibachi is Bronze,

Pair of Bronze Chinese Wine Pitchers, with Leopard Handles

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...