Palm Springs - Asian Art and Furniture

Khmer Lime Pot. A squat globular stoneware jarlet in the form of a bird covered in an olive-brown glaze stopping short of the elevated string cut foot displaying the beige biscuit, a...

Annamese Blue and White Ceramic Jar, Chu Dau kiln, Vietnam, circa 1500. A globular form with narrow neck decorated in under glaze cobalt blue of lotus petals, ...

Vintage Burmese Betel Box “Kun-It”, a cylindrical woven container with a deep lid and shallow interior tray, all covered in layers of red black and...

Annamese Blue and White Ceramic Box, Chu Dau kiln, Vietnam, circa 1500. A circular form with flat top, decorated in a stylized floral spray on center, framed by a band of water plant...

Vintage Indonesian Kain Batik Tulis Parang, Solo (Surakarta), Java 1960. A fine hand drawn wax resist painting by canting on cotton of a variation of the Parang Rusak pattern of a br...

Cambodian Silver Stag Box. A traditional sturdy crouching stag form with front legs stretched out before him and the hind legs slightly splayed underne...

Burmese Karen Frog Drum, a small bronze tribute drum (Heger Type III), Pazi  (Burmese), pam klo’ (Karen) also known as “The Magical Bronze Pond” (Cooler - ...

Annamese Blue and White Ceramic Box, Chu Dau kiln, Vietnam, circa 1500. A covered flat top circular box with lid decoration in under glaze cobalt blue of a peony blossom with leafy b...

Annamese Blue and White Ceramic Box, Hoi An Hoard, Chu Dau kiln, Vietnam, circa 1500. A covered flat top circular box with lid decoration in under glaze cobalt blue of a lotus blosso...

Annamese Blue and White Ceramic Box, Chu Dau kiln, Vietnam, circa 1500. A globular form with concave depression on center of the flat lid, decorated with flower blossom on center sur...

Antique Thai White Elephant Painting on Cloth, Rattanakosin School, 19th Century. A painted scene of two white auspicious elephants in a landscape setting. In Thai Buddhist folklore,...

Vintage Indonesian Kain Panjang Batik Tulis Pagi-sore Buket, Demak, Java 1950. A fine hand drawn wax resist painting by canting on cotton of a tradit...

Khmer Lime Pot. A small squat globular stoneware jarlet in the form of a bird covered in a brown glaze stopping short of the elevated foot displaying the sandy beige biscuit, an owl...

Burmese Mandalay carved wood figure of the standing Buddha on a square base, the left hand is in the varada or boon-granting mudra the right held up towards the chest, costumed in ed...

Antique Chinese Silvery bronze lobed “Beast and Birds” Mirror, Tang Dynasty. The eight-foliated barbed form having a a center cast relief knop in a four legged Beast form surrounded ...

Khmer Ceramic Lime Pot. A squat globular stoneware jarlet with a high shoulder in the form of a bird covered in a brown glaze stopping short of the elevated foot displaying the beig...

Vintage Indonesian Kain Batik Tulis, Solo (Surakarta), Java, 1960. A traditional meticulously hand drawn wax resist painting by canting on cotton of an Udan Liris pattern of lyrical ...

Antique ceramic covered box from the Sawankhalok kilns, Thailand of squat globular persimmon form with pinched sepal ridge and curled stem finial top decorated in a caramel brown and translucent white glaze on the stoneware biscuit in a saw tooth design at the shoulder and foliate vine scroll pattern on the body, two incised bands near the foot with a trimmed countersunk unglazed base with traces of the pontil firing scar. The interior of the base with a thin translucent glaze the interior of the lid unglazed. Tight fit of top to bottom. Evidence of a repair to a large chip to the interior rim of the base and two further small chips unrestored, the top clean without any restorations, overall fine condition. Measuring 2-3/4 in. high x 4” in diameter. (7cm x 10.2cm) Weight: 11 oz. (300g.) 14th/15th century. Ex Collection: by descent, Don Christensen, Penang, Malaysia. For similar examples see: Siamese Pottery...

Annamese Molded Blue and White Ceramic Box, Chu Dau kiln, Vietnam, circa 1500. The cover delicately decorated with a central floral medallion from which radiate six conjoined ruyi la...

Indonesian Vintage Kain Batik Tulis, Solo (Surakarta), Java, 1960. A traditional hand drawn wax resist painting by canting on cotton, dyed in three colors. beige, dark indigo blue an...

Vintage Hand Dyed Cotton Batik Slendang (Selendang), Java. A length of cotton fabric used as a shoulder cloth, hand dyed in two colors: red and blue painted over a wax resist design,...

Vintage Indonesian Kain Batik Tulis, Jogja (Yogyakarta) , Java, 1970. A traditional hand drawn wax resist painting by canting on cotton of a classic ceplok pattern of repetitive rows...

Antique Thai Fish Bowl, Sukhothai Kilns. A deep stoneware bowl with black slip painting of a fish with his tail extending beyond the concentric band on center, further band decoratio...

Vintage Burmese Kalaga, Mandalay. A wall hanging embroidered tapestry inspired from a scene in the Jataka Tales. The embroidery depicts a prince riding...

Vintage Indonesian Kain Batik Tulis Supit Urang, Solo (Surakarta), Java, 1950. A traditional meticulously hand drawn wax resist painting by canting on cotton, of an aquatic theme Sup...

Vintage Hand Dyed Cotton Batik Slendang (Selendang), Java. A length of cotton fabric used as a shoulder cloth, hand dyed in three colors of rust brown, indigo and a dark blue painted...

Antique Gilt-Carved Red and Black Lacquer Javanese Ceremonial Circumcision Chair. A low teak chair carved having cabriole legs, claw feet, skirt detail in a tendril floral relief, so...

Antique Thai Ceramic White War Elephant. A hand sculpted stoneware figure of elephant and rider. The solid elephant stands firmly four square on a rec...

Large Antique Thai Bencharong Stem Plate. A stoneware tazza having a domed pedestal base under a foliate rim dish. Traditionally enameled in a green an...

Antique Sawakhalok Celadon Bowl, Thailand, 14th/15th century. A sturdily potted wheel thrown stoneware bowl with everted rim and chamfered lip. The cavetto has vertical combed lines...

Annamese Blue and White Ceramic Box, Chu Dau kiln, Vietnam, circa 1500. A ceramic covered flat top circular box with lid decoration in under glaze cobalt blue of a landscape scene co...

Traditional Silk Shaman’s Shoulder Cloth, Tai Daeng, Houaphanh Province, Laos. This is a man/woman healing cloth or shaman’s shawl, so named as the center se...

Antique Sawakhalok Celadon Bowl, Thailand 14th/15th century. A sturdily potted wheel thrown stoneware bowl with everted rim and flattened lip. The deep cavetto has an upper decorativ...

Antique Thai Silver Buddha, rendered in incised and hammered sheet silver over wood & clay core. The Lord Buddha seated in padmasana with the soles of the...

Large Antique Thai Bencharong Stem Plate. A stoneware tazza having a domed pedestal base under a foliate rim dish. Traditionally enameled in a green an...

Antique Burmese Shan Wood, Lacquer and Gold Leafed Buddha, 19th Century. The image sits on a waisted lotus base with raised lacquer  details, seated in padmasana, the lotus position ...

Chinese Painted Grey Earthenware Standing Female Tomb Figure, Western Han Dynasty. The tall slender court lady stands with knees and elbows slightly bent to reveal the hands, now lost with sockets remaining. The detachable rounded head has a delicately modeled face with small features and painted accents. The neck serves as an extended plug into the neckline of the hollow body ata slight cant as if eyes are downcast and bowing. The hair full at the hairline in form and painted black continuing on the back of the body on center to the waist. The body form of draped layers of long robes, crossing left over right over sloping shoulders with a stiff collar, deep full sleeves tied with a sash low on the waist and trumpet flared at the base, all outlined in red, white and black pigments. Custom black silk storage box in Chinese hinged lid style. Weight: 15.5 lbs. Western Han Dynasty 206 B.C. -  A.D. 9 Thermoluminescence testing of head and body with Bortolot Daybreak Corporation, Guilford, CT, 1989 sample #379A1. Date of firing 2300 +/- 600 years ago. Provenance: Upon Request For similar examples see: Oriental Ceramics, The World’s Great Collections, The Freer Gallery of Art, Washington D.C., Vol. 9, 1975, pl. 8 & 9. Mayuyama, Seventy Years, Vol. 1, 1976 p.53, pl.123 Sotheby’s New York, The Bernat Collection, November 1980, lot # 19. With hands covered and folded in front of the figure. Yutaka Mino and James Robinson, Beauty and Tranquility: The Eli Lilly...

Chinese Yaozhou Celadon Ceramic Bottle Vase, Northern Song, Shaanxi Province. A high fired bottle form with narrowed base, bulbous body, high shoulder,...

Antique Thai Buddhist Temple Gable Panel. The teak triangular shape featuring a carving of a seated Buddha on a lotus plinth, depicted with legs crossed in the virasana position wit...

Vintage Indonesian Kain Batik Tulis Parang, Jogja(Yogyakarta), Java 1940. A fine hand drawn wax resist painting by canting on cotton of a traditional...

Antique Burmese Buddhist Decorative Backboard Mandorla Panel. A style of surround for a seated Buddha image reminiscent of a Burmese transom in shape. The peaked triangular panel in...

Annamese Blue and White Ceramic Dish, Bird Design, Chu Dau kiln, Vietnam, circa 1500. A sturdily potted plate with raised rim, decorated in under glaze cobalt ...

Thai ceramic covered box from the Sawankhalok kilns. Globular fruit form with pinched foliate rim and sepal stem finial on top decorated in brown a...

Vintage Indonesian Kemben Batik Tulis (Breast cloth), Jogja (Yogyakarta), Java 1970. This kemben batik has a hand-drawn design on cotton by wax resist canting. The traditional ceremo...

Vintage Savunese Ikat Sarong (Ei), a tubular warp ikat cotton ankle length garment with two large wide decorative bands with five large abstract (Hubi Ae) floral motifs in reserve on...

Antique Chinese Cinnabar Lacquer Tray/Stand with Dragon Design, Guangxu Period (1875-1908). A dark vermillion red carved cinnabar lacquered Scholar’s tray on raised and footed supports. The top and sides of the tray carved in tight geometric diminishing square hatch ground with blossom centers. The aprons carved in deep relief on each side with two opposing auspicious five-clawed dragons chasing the flaming pearl amongst the clouds. The four corners with square curved feet supports. The underside lacquered black and unmarked. 4.75 in. high x 15 in. wide x 12.75 in. deep (12 x 38 x 32.5 cm). 4 lbs. 6 oz. (1983g.) Guangxu Period (1875-1908) Provenance: Property removed from a residence at the Pierre Hotel, New York, 2021. U.S.A. art market. For similar cinnabar dragon...

Chinese red lacquered painting table, soft wood construction with unusual detailed relief skirt carving depicting figures and flowers, three deep drawers with inset brass hardware, i...

A rectangular lightweight silk textile with traditional Palembang decoration by means of plangi (rainbow tie-dye) and tritik (stitched and gathered resist) processes in one dye lot o...

Thai ceramic covered box from the Sawankhalok kilns of globular persimmon form with pinched foliate rim and sepal stem finial on top decorated in i...

Large Antique Thai Bencharong Stem Plate. A stoneware tazza having a domed pedestal base under a foliate rim dish. Traditionally enameled in a green an...

Thai ceramic covered box from the Sawankhalok kilns. High shouldered round form with a flat lid having a neatly trimmed shoulder and peaked stupa ...

Vintage Indonesian Kain Panjang and Matching Selendang Batik Tulis, Cirebon, Java 1960. A fine hand drawn wax resist painting by canting on cotton of a traditional flora and fauna pa...

Cambodian wood votive urn, carved of turned wood creating a stupa like form with tiered lotus bud finial and urn on pedestal base, decorated in monochro...

Chinese Shanxi 2 - Drawer Cabinet,  a sturdy and broad traditional altar coffer cabinet from Shanxi Province. Constructed of Elm (Yumu) having a wood pl...

Chinese ink rubbing printing depicting Panthaka Arhat, no.4 of the 16 arhat images immortalized in stone at the former stupa at Shengyin Temple. Depicted here sitting on a rock with a book in his left hand and snapping his fingers in his right hand, symbolic of the speed at which he obtained enlightenment, accompanied by a beggar’s bowl and an incense burner, complete with colophons and silk scroll mounting. The Emperor Qianlong ordered the stone stele to be carved in 1764 after the arhat designs painted by the famed artist Guanxiu (832-912). Even though the temple was destroyed in the Taiping rebellion, the steles remain and have been reinstalled at the Hangzhou Stele Forest. Condition: Creases from rolling, otherwise fine condition. Mounting: 58” x 22”. 19th Century. Ex Collection: Frank “Till” & Peggy Durdin, San Diego. For other rubbings of this stele see: Penn Museum, object number 2010-26-4 The Metropolitan Museum of Art AN#: 59.195.15 Fine Arts Library of Harvard University, record id: W280021_urn-3:FHCL:478850 For another example of this image rendered in jade and lacquer see: “Screen Paintings of Guanxiu’s Sixteen Arhats in the Collection of the Palace Museum” Luo Wehhua translated by Bruce Doar, Orientations, September 2010, p. 104. In this article the image is identified as the sixteenth arhat Abheda, It is explained in this article that Qianlong re-identified the arhats, thus the 16th Arhat attribution for this image. Also in this article the identical colophon by Qianlong above the image is translated as: “These accurate portraits of the Sixteen Arhats were created by the Tang Dynasty painter Guanxiu, as recorded in Xuanhe Huapu (Record of paintings in the Xuanhe Reign), and during the millennium from the Guangming reign period to the present day, the original works were to be found in Zhejiang, where they were housed in the collection of Shengyin Temple in Qiantang (Huangzhou). In spring of the dingchou year (1757) of his reign, the Qianlong emperor undertook a southern tour of inspection and stayed at an imperial lodge on the West Lake. He went to the temple to pay his respects and there he saw the arhats on display and wrote a description of these marvels. The sequence of the arhats and their names had been passed down since ancient times, but they did not correspond to their Sanskrit titles; the sequence of the arhat names conformed instead to the interpretation of the Sanskrit classics by the Zhangjia State Preceptor. The emperor penned the original names and positions in the sequence below each of the figures in accordance with the readings supplied in Tongwen Yuntong (Unified Rhymes), and below each he penned an encomium, which he signed. Then the images were returned to the collection, to be passed down as a perpetual treasure. Now, the fourth great arhat had long gone missing and we did not know where his painting was. But it was merely a trifling matter of matching the images with the names, and now surely we have found him! This I, the emperor, believe.” All 16 of these rubbings can be found in the Rubel Chinese Rubbings Collection at the Fine Arts Library of Harvard University with the following descriptive historical note: “Rubbing from stele depicting No. 4 of 16 arhats (Lohans, Buddhist saints) -- Nan ti mi duo luo qing you, Panthaka Arhat. Original painting attributed to Guanxiu, 832-912. Inscriptions written by Hongli, Emperor Qianlong (Gaozong, 1711-1799) of Qing Dynasty. 7 seals of Qianlong follow the inscriptions. Script style: in xing shu. Shi liu zun zhe -- "The 16 noble ones" are 16 lohans. Lohans are also called "a-lo-han" based on the transliteration of the Sanskrit term "arhat." (Japanese: Rakan; Chinese: Lohan; Tibetan: Gnas-brtan). Arhats or Arahants are saints or sages said to have renounced nirvana (freedom from the cycle of suffering and rebirth), vowed to remain in the world to protect the Dharma and propagate the Law of the Buddha in order to devote themselves more effectively to the relief of human misery, like the Bodhisattvas. These 16 Arhats, personal disciples distinguished by the Buddha, formed part of the 500 claimed by tradition to have attended the First Council in Rajagrha. The names and abodes of these 16 arhats are given in a work entitled "Record on the Duration of the Law, spoken by the Great arhat Nadimitra," which was translated into Chinese by the famous pilgrim Xuanzang (596-664) in 654. 16 lohans are quite often represented, especially in China and Japan, in sculpture and painting, in poses and with attributes. Every lohan can be easily with special icongraphic characteristics. Guanxiu (Jiang Deyin or Deyuan, a Buddhist monk also named Master Chan Yue, 832-912) -- painter during late Tang to Five Dynasties, specialized in painting lohan figures. Legend has it that the first portraits of the 18 Lohans...

Chinese Shanxi 2 - Drawer Chest,  a sturdy and broad traditional altar coffer cabinet from Shanxi Province. Constructed of Elm (Yumu) having a frame and...

Vintage Burmese Betel Box “Kun-It”, a cylindrical woven container with a deep lid and shallow interior tray, all covered in layers of red black and...

Antique Thai Mother-of-Pearl Inlaid Offering Tray. Crafted of assembled wood in an elevated and footed rectangular shape with rounded corners, lacquered red on the interior and black...