Manhattan - Asian Art and Furniture

This beautiful area rug has been signed by Master Weaver Lajevardi Qom rugs (or Qum, Ghom, Ghum) are made in the Qom Province of Iran, around 100 km south of Tehran. Although rug we...

A fine pair of Chinese porcelain bottle-shaped vases, painted in the Islamic style, Daoguang period (1821-1850). Each vase finely handpainted in Henn...

Pair of Chinese San-T'Sai glazed dogs, circa 1860.

This extremely finely woven, densely detailed modern central Persian silk pile scatter shows a particularly dense design of leaves, blossoms and stems on a midnight ground with a cen...

Antique Sarouk Farahan Rug 4'7'' x 6'8''. The cusped, flattened red medallion hosts escutcheon red pendants, each developing chains of secondary pendants. The navy field is set off b...

A fine pair of Chinese Celadon Crackle finish porcelain vases mounted in beautiful two-toned French gilt bronze mounts in the Louis XVI style, which are finely hand chiseled. Porcela...

Although Persian silk rugs with hunting themes go back to the 16th century, most are from the 20th, with generally light backgrounds. Rarer are the dark blue ones, as here, with five...

Vintage Persian Tabriz Rug 8'1'' x 10'1'' A Tabriz rug/carpet is a type in the general category of Persian carpets. From the city of Tabriz, the capital city of East Azarbaijan Prov...

Antique Serapi Rug 12'0'' x 19'6''. This majestic NW Persian village carpet shows a madder field supporting a powerful navy octogramme medallion with four ivory rosette panels and a ...

Tabriz Rug 4'9'' x 6'11''.

Qum Rug 2'0" x 2'9''

Qum weavers are also known for producing prayer rugs with elegant tree of life designs, as well as compartment designs derived from classical Persian garden carpets...

Tabriz is believed to have incorporated curved lines that were commonly used in ottoman rugs to Persian weaving while working as the first seat of the royal weaving workshops of Safavid rugs...

A Tabriz rug/carpet is a type in the general category of Persian carpets from the city of Tabriz, the capital city of East Azerbaijan Province in North West of Iran totally populated...

This Chinese standing screen has a main panel, and a lower panel flanked by two smaller ones, which were made in the 19th century as fretwork window panels for a house. In the 20th century they were salvaged, assembled, and mounted in a matching hardwood stand as a freestanding screen...

Usak carpets, Ushak carpets or Oushak carpets (Turkish: Usak Kilimi) are Turkish carpets that use a particular family of designs, called by convention after the city of Usak, Turkey ...

each decorated with a landscape motif and an inscription; wooden stands shown in pictures are not included with these dishes

green glazed multi-lobed double gourd vase

This lacquered 18th century Edo period altar table was probably made for the private shrine of an aristocratic home. There, it would have been placed before an image of a deity, and ...

gold decorated border; each painted with a vase of flowers; the box shown in the pictures is not included with these items

An antique 19th century Russian Uzbek five-color pure silk wrapped tribal weaving ikat, with original Russian Roller Printed cotton backing/lining. In fantastic condition for its age...

the base that is shown in the pictures is not included with this vase; 6in(D) x 6in(W) x 11in(H) are the dimensions of the vase without the base

provenance: Christie's; decorated with floral motif in iron red and green colors on white ground

7.5in(W) x 4in(D) x 1.4in(H) are the dimensions of the larger jug; larger dish: 7.4in(W) x 5.5in(D)

A shield-shaped architectural detail from Thailand, Late 18th Century. Reclaimed from old constructions and preserved in time, these architectural details are a decorative staple in...

Impressive organic teak sculpture or table top with beautiful wood detail and patina. This rare large slab has beautiful natural erosion on the side and can either be installed on a ...

The Following Item we are offering is A Magnificent Large Pair of Beautiful Exquisite Original Estate Bronze and Glass Asian Centerpiece Vases. Beautifully done with Fine Ornate Bron...

Japanese Two-Panel Phoenix Screen, Edo Period, Ca. 1850 Japanese Edo Period (1603-1868) DIMENSIONS Height: 24 inches Width: 28 inches

Antique hand carved teak chair from Sumatra with lovely angel wings and “ Take A seat " carved in the back rest. C 1950. This chair was sou...

Pair of Japanese Imari chargers showing cranes and Mount Fuji.

This iconic woodblock print by Chikanobu Toyohara (1838-1912), titled 'A Mirror of Japanese Nobility,' depicts Emperor Meiji, his consort, and the heir t...

An original Asian clay container made into a table lamp. The vase has a basket weave motif throughout and has two big black crabs and a small black conch as ornaments. There is an un...

Beautiful aged teak wood container originally used to store rice. We have added the shell inlay by hand to the top section. A multiple of uses such as storing towels, magazines, firewood etc etc This antique container...

From the 1890s until his death in 1914, John Bradstreet, the important American Arts and Crafts furniture and interior designer, worked from The Crafts House, his landscaped orientalist compound in Downtown Minneapolis. There, he also received his clients, and dealt in Asian art acquired on frequent trips to the Far East. He used similar bronze Japanese lotuses...

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 ...

This organic modern wool, 5' x 6' Orley Shabahang Gabehrez carpet in undyed handspun wool features a higher hand-knotted pile, making it exceptionally plush and silky in texture. Whi...

A pair of gilded bronze Chinese lanterns in traditional style with inlaid Jade Plaques. The design of the fret work includes floral motifs as well as meand...

Sarouk rugs have been produced for much of the 20th century. The early successes of the Sarouk rug are largely owed to the American market. From the 1910s-1950s, the "American Sarouk", also known as the "painted Sarouk...

Chinese blue and white vase mounted as lamp, Kang Hsi, circa 1720.

A Highly Rare Pair of Monumental Qing Dynasty Rouleau Porcelain "Dragon" Vases A Masterful Display of 19th Century Chinese Artistry: The mid-19th century Qing Dynasty marked a period of artistic innovation and imperial grandeur, as exemplified by this rare and monumental pair of Rouleau vases. These exceptional porcelain works, notable for their commanding size and vibrant palette, are a testament to the unparalleled craftsmanship that flourished during this era. Embellished with a dynamic tableau of dragons rendered in bold hues of red, green, blue, brown, and yellow, these vases embody both artistic brilliance and the deep cultural symbolism woven into Chinese decorative arts. Artistic Excellence and Symbolism: At the heart of these magnificent vases lies a visual narrative that channels the power and mystique of the dragon, a central motif in Chinese culture symbolizing imperial authority, strength, and cosmic energy. The intricate depiction of dragons in motion, intertwined amidst stylized ocean waves, conveys a sense of fluidity and dynamic movement. Each color used—the crimson reds, verdant greens, striking blues, earthy browns, and golden yellows—has been meticulously applied, reflecting a mastery of the high-fired, polychrome enameling techniques perfected during the Qing Dynasty. The Rouleau form, with its cylindrical body, short neck, and slightly flared mouth, was a favored shape for large-scale vases in the 18th and 19th centuries. The form’s structured elegance allowed for expansive decorative panels, serving as an ideal canvas for intricate, multi-layered designs. This pair demonstrates how artisans skillfully balanced the flowing movement of the dragons with the rhythmic motifs of waves, resulting in a harmonious composition that engages the viewer from every angle. Craftsmanship and Technique: These vases represent the pinnacle of porcelain artistry achieved under the Qing Dynasty, showcasing techniques that reflect centuries of refined craftsmanship. The precision in the application of overglaze enamels and the expert manipulation of kiln temperatures to achieve vibrant and consistent coloration are indicative of the expertise within the imperial kilns. The dragons' scales, rendered with remarkable detail, create a textured effect that contrasts beautifully with the smooth, undulating waves, enhancing the three-dimensional quality of the design. The depth of color and the crisp delineation of each element point to a rigorous and time-intensive process. These qualities signify the involvement of highly skilled artisans who adhered to the imperial standards set by the royal court, ensuring that each piece was a fitting representation of the empire’s wealth and cultural prowess. Historical and Cultural Significance: Vases of this caliber were not merely decorative; they were imbued with profound symbolic meaning and often commissioned for imperial use or gifted as prestigious diplomatic offerings. The dragon motif, deeply embedded in Chinese folklore and philosophy, was associated with the emperor himself—known as the "Son of Heaven"—and symbolized his divine right to rule. These vases also reflect the Qing Dynasty's flourishing export trade and the global fascination with Chinese porcelain during the 19th century. European collectors and royal patrons prized such pieces for their artistry and the exoticism they represented, contributing to a legacy that elevated Chinese porcelain to a revered status in the annals of decorative art history. Provenance and Collectability: The extraordinary scale, exceptional craftsmanship, and rarity of this pair establish them as museum-quality works. Such vases would have held a place of honor in a palace or wealthy estate, reflecting not only the owner’s status but also an appreciation for the profound cultural and artistic traditions of China. Their provenance—potentially tied to an imperial commission or significant historical collection—underscores their importance as objects of study and admiration. Provenance: Private American Collection, acquired in London, circa 1905. Thence by descent to the current owners Solomon Treasure...

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...

A Rare Mughal Indian Gold and Enamel Mother of Pearl Spoon with Diamonds Discover the exquisite craftsmanship of Mughal India with this rare and...

Haku Maki (1924-2000) Japanese Woodblock Poem 69-17. This art is from the Poem collection. Signed and numbered in pencil. Edition 15/86. Color wood blocking with embossing. Measures ...

Born of the collaboration between a Parisian antiques dealer and a rural Vietnamese artists' community, these impressive monumental urns are a testam...

Born of the collaboration between a Parisian antiques dealer and a rural Vietnamese artists' community, these sculptural furniture pieces are made wi...

Born of the collaboration between a Parisian antiques dealer and a rural Vietnamese artists' community, these sculptural furniture pieces are made wi...

Born of the collaboration between a Parisian antiques dealer and a rural Vietnamese artists' Community, these sculptural furniture pieces are made wi...