South Coast - Asian Art and Furniture

17th century a pair of Ming dynasty Chinese ZiTan inlaid silver cups, the exterior carved in high relief and undercut around the sides and base with Chi dragon, 5 edges with silver l...

Antique 19th century Chinese agate brush washer, decorated in the from of a flower diameter 10cm, high 6cm.

Japanese horse festival black lacquer medallion with tassels with bells, Edo period. When horses participate in festivals they are adorned with horse trappings and other decoratio...

Unusual Chinese Scholars’ Incense Tray, beautifully crafted of wood covered in a parquetry of small pieces of coconut wood in a “Cracked Ice” pattern, small footed base with flared rim with beaded edge. Complete with a Japanese Collectors’ wood storage box labeled: “Chinese coconut...

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...

Qing Dynasty Chinese wooden red lacquered presentation box, lovely and beautiful red lacquer box with popular snacks like roasted melon seeds, dried fruit, this auspicious objects ar...

A beautiful hand carved white agate sculpture featuring three angel fish swimming among sea grass. Three dimensional and lively. Skillful carving. Fish in the Chinese culture symboli...

A pair of page turners we recently acquired out of an estate. the first is a Chinese Spinach Jade beauty with a band of gold. It is presumably gold filled as it’s not marked but may ...

Bronze female figurative sculpture. She sits atop a wood base, both showing some wear and discoloration. Not signed, undated.

Antique ceramic covered box from the Sawankhalok kilns, Thailand of paneled globular form with a brown glazed flat top having incised bands around ...

Beautiful vintage framed lithograph of the New York Stock Exchange. This piece is evocative and beautiful. This piece was originally provided...

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...

Late 19th-early 20th century tribal guardian figure, Northwest Nepal The mere essence of a protector figure remains in this weathered fragmen...

Antique Chinese Guan-type Meiping, 19th century. A well-potted small porcelain vase with broad shoulder, narrow waist, short narrow neck and everted lip. The glazed base countersunk ...

A beautiful, gilded bronze statue of Padma Sambhav, the founder of Tibetan Buddhism. This 2 lb statue is very finely made showcasing every detail from top to base, with hand painted ...

Beautiful contemporary handcrafted furniture. Created by Anthony Kahn, this piece of furniture embodies an absolute commitment to fine craftsmanship and a...

An extraordinary, oversize Chinese calligraphy brush with a collection of 14 jumbo marble rings divided by white satin ribbons. This massive brush weighs a whopping 4.5 lb with a gia...

20th Century Hollow Abstract Iron Sculpture, Japan This heavy hollow iron sculpture by an unknown Japanese metalsmith is a knockout from every angle. It measure 9 inches high by 9 i...

Batik, Kain, hip-wrap clothing garment, java, mid-20th century. Worn by both men and women. Black, blue, soga brown and ecru. Designs are applied using the wax resist-dye method. Typical of those made in Surakarta (Solo) one of the two central Javanese cities known for its highly developed batik art...

Cotton double ikat kimono, Japan, Early 20th Century A graphically compelling example of a Bingo-gasuri kimono, produced in Hiroshima Prefecture, Japan. ...

Antique ceramic box with cover from the Sawankhalok kilns, Thailand of shouldered globular form with a flat top having incised foliate vine plant d...

Featured a beautiful silvered bronze sculpture of Tibetan Tara with an recumbent goose. The Tara is decorated with flowers, lariats, ankle bracelets and cuffs. She wears an elaborate...

For sale is ONE brush. Please message us to inform choice of color (Red, Yellow, Green Only. Blue is sold out). Beautiful calligraphy brushes in fine cloisonné featuring dragons. A t...

A large, beautiful gilt bronze, 6.35 lb statue of Tibetan Bodhisattva Manjushree. This special piece features Manjushree with lowered head in the motion of observing and taking actio...

19th century 3 antique Victorian gold topped canes or parasol handles, some monogrammed, one with mother of pearl, see more pictures.

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...

A large peacock form centerpiece water fountain, features the depiction of a peacock resting atop a flowering branch, water circulates through the birds hollow body, with central and bordering water spraying nozzles, finished with small mounted parrots and hanging shell adornments, includes water fountain pump...

Nest of three graduating side tables featuring burled wood tops and stainless steel metal bases. Contemporary style that can enhance, complement or blend with a variety of other styl...

Big golden black lacquer Chinese Style arrow barrels, beautiful golden painting.

19th century Chinese pagoda. Sterling silver sculpture and golden sterling silver filigree, decorated with poly chrome enamels. Not marked. Cast wood base. Failures and minor defects...

A 19th century antique Chinese heavily carved rosewood chair with lotus, rosewood apron with design, see more pictures. Measures: 37.5" height x 21” x 17".

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,...

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...

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 ...

Japanese Tomyodai, a temple light stand created of hand wrought iron in an upright form of a circle or "tama" ( flaming jewel of spiritual enlightenment )...

A fine set of 5pieces Chinese bamboo tea cups with silvered interiors from the 17th century Qing Dynasty, the faces each of each decorated t...

Chinese Propaganda Poster 1974 Vintage Chinese Poster from the period of the Chinese Proletarian Cultural Revolution. 1974 People's Publishing House, He Bei Province. Unlined. Proven...

Late 19th to early 20th century Trio of puppets, China Two puppet torsos and one puppet head from China, all mounted on custom bases. The heights are 16, 9 and 13.5 inches (40.6, 23...

A beautiful, one of a kind, bronze candelabra. Scalloped edged lotus leave with a frog perched on top makes the piece come alive. Bamboo bodice intercepted by lotus flowers provide v...

Antique Shan (Tai Yai) Jambupati Buddha Image, wood, lacquer and gold leaf, Konbaung Empire (1752-1885) A crowned style that displays Northern Thai iconography merged with the aesthetic of Burmese rule in the region. The figure is depicted in the popular Theravada seated position of padmasana, (interlocking legs position) and the hand mudra in bhumisparsa (earth touching) wherein the feet are souls  up, the fingers of the right hand extend beyond the right shin and the left hand palm up resting above the lap. Remnants of the leaf-like kirita crown remain.  The image is dressed in Burmese royal costume with thayo rolled lacquer relief decoration modeled into cuffs, epaulettes, knee pads and a detailed “U” shaped necklace covering the chest. There is also a lappet of clothing between the legs draping down toward the base. The figure is seated upon a tall and waisted throne pedestal having rows of lotus petal grooves on the diagonal portions . The  base and body are carved from one solid piece of hard wood. All covered in black lacquer with thayo lacquer details, red pigment for the lips and gold leaf overall. The Jambupati style Buddha illustrates the tale of the Buddha’s life when he came across the arrogant King Jambupati, a king who terrorized his subjects and who lacked humility and compassion for his people. The Buddha on meeting the King asked that he forsake his evil ways and instead practice kindness to his fellow man. Ignoring the Buddha’s request, the King continued to terrorize the people. The Buddha then in his efforts to change the King of his evil ways, one day magically appeared to him in resplendent royal attire. King Jambupati was in awe of the Buddha’s appearance prostrated himself in obeisance and from that day onward accepted the Buddhist precepts. In Southeast Asian countries like Burma, where rulers have very high if not semi-divine status, tales of this type, reinforced the need for the leader to worship the Buddha, the King of Kings. Condition: Heavy deterioration of the underside of the base as well as the interior portion of the crown, other losses include crown flanges, the crown spire, earrings, the tip of the left thumb, one base corner edge, rolled lacquer losses and general wear of the gold leaf surface, all commensurate with age and wear. Measuring: 22.25 in. high x 8.75 in. wide x 7.75 in. deep(56.5cm x 22.2cm x 29.7cm). Weight: 10.8 lbs. Age: Late 18th century. Provenance: Lark...

Collection of 6 Chinese cloisonne teapots in varying shapes and designs of flora and fauna. The highest one is 5.5'' H x 2 W x 2.5'' D. the sm...

Thai ceramic covered box from the Sawankhalok kilns. High shouldered round form with a slightly convex flat lid and small boss finial on top decora...

Chinese Decorative Lacquered Wood Jardiniere, small, elegant form carved from a single segment of wood, raised high on four cabriole curving legs, top consisting of a rectangular ope...

Pair of Japanese Abalone and Lacquer Inlaid Kiri Hibachis with copper inserts, Late Meiji period, early 20th century. Signed. The images of birds and...

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...

A 19th century antique Chinese carved rosewood two tiered flower stand table with rouge griotte marble top insert, the inset marble top over carved ...

Beautiful single Chinese calligraphy brush with handmade olive jasper barrel beads. An unique brush that is perfect for making art or as an design element....

Japanese colors, gofun and metallics on silk painting of Noh/Kabuki Dancers, depicting two figures of actors dancing in the play Shakkyo portraying a pair of shishi (lions), one on a...

A charming Han Dynasty pottery figure, capturing a moment of joyous dance. Dressed in vibrant orange and pastel hues, the figure’s expressive face and fluid movements convey a sense ...

Antique Japanese Yokogi, a fish shaped fulcrum for the pot hook assembly over the hearth, a naively carved Tai (Sea Bream) with large head pierced for the hooked pole and the large tail pointed upward with a metal loop for the cord attachment, incised carving for facial details and scales, encrusted patina from use. Wood storage box made of hinoki. Excellent condition. 5-7/8 in. high x 14-3/4 in. long x 4 in. wide. Weight: 4 lbs. 4 oz. Late Edo, Circa 1800. Published in a Japanese newspaper in 1964 (article and translation available). Provenance: with Kingo Kondo, Kyoto 1964 Ken Domon...

Japanese bamboo and rosewood display stand, used for Ikebana or an Okimono in the Tokonoma, center floating panel with upright bamboo veneer dec...

Ainu Bear with baby and fish, Hokkaido, Japan, Keyaki, Showa period. Hewn from one solid piece of Keyaki wood, this bear flashes a ferocious expression or...

Japanese Rosoku-tate or Shokudai (candle stand) a lathe turned wood in a slender baluster form with attached concave circular base and broad circular wood candle base tapering down ...

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...

1950s Silvered Nickel Mounted Boar Tusk And Horn Beer Stein Or Mug Retaining Original Leather Gucci Made In Italy Label On Bottom.

Offered by ANDRES MORAGA Yao Shaman's Mask Guizhou Province, China Late 19th or early 20th century Covered inside and out with printed and handwritten protective prayers It come...

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...

Japanese Rosewood Square Tea Table in Chinese style having tapered legs with bracket hoof feet, elbowed cross struts and center floating panel. Minor shrinkage, surface scratches, an...

Antique 19th century Chinese agate bottle with lid with Chi dragons, decorated in the form of a flower diameter 5 cm, high 8 cm.

Thai gilded copper alloy sculpture of Phra Malai visiting the damned to hell, a standing monk image with a basket slung over his right shoulder costumed in ...