Texas - Antiquities

A charming Korean high fired gray pottery stoneware footed vessel, Three Kingdoms Period, Silla Kingdom, circa 6th century. The vessel of traditiona...

Pair of late 19th century Chinese patinated bronze Pi Xiu. Traditionally, it is an auspicious Chinese mythical hybrid creature that possess mystical powers capa...

A wonderful Han Dyansty (206 BC-200 AD) storage vessel. The circular body set upon three legs and fitted with a lid. The entirety covered in heavy leaded green glaze, imitating bronz...

A gorgeously patinated bronze pedestal offering tray, talam, Central Javanese Period, Java, 8th-10th century. The offering tray of beautiful form and proportions, with a splayed a...

A tall and dramatic Chinese high fired gray pottery model of a standing lady wearing a hood and a flared skirt, Western Han Dynasty (202 BCE - 9 CE), Shaanxi, China. This striking ...

A well modelled pair of Tang dynasty painted pottery soldiers. The warriors portrayed standing, dressed in form fitting, elaborate layered Armor with fitted helmets. The breastplate...

A sublime Chinese archaic bronze wine vessel, called a bianhu, Han Dynasty (206 BC - 220 AD), China. The bianhu with a flattened oblong body,...

A gorgeous and striking late Warring States (475 to 221 BC) or early Han Dynasty (221 to 206 BC) cast bronze and silver-decorated garlic head hu vessel. Of elegant bottle form, w...

A stunning and rare Javanese bronze footed offering vessel and cover, Central Javanese Period, 8th-10th century. The ritual offering vessel of elega...

A sublime Chinese neolithic burnished red pottery jug, Qijia Culture (2200 BC - 1600 BC), modern day Gansu Province, China. The simple jug of alluring form, with a voluptuous body, short, narrow neck with slightly everted mouth, and a single ear handle. The red pottery of gorgeous shades of terracotta, and slightly burnished. Overall surprisingly contemporary for a piece over three thousand years old. The Qijia Culture was a late Neolithic...

A large and attractive pre-Khmer red pottery kendi, pouring vessel, 6th - 8th century, Cambodia. The large vessel crafted of a red pottery, with a wid...

Brass Tree Stomp Base 12”x32”

19th century French carved and parcel gilt barometer. Circa 1880. A favorite of top designers. 38H x 10W x 2D

Shakyamuni, the original Buddha sculpted in schist stone. Originally from a cave. Sui dynasty '589-618' AD Gautama Buddha, also known as Siddhartha or simply the Buddha. He was an a...

A lovely Chinese amber glazed pottery pouring vessel, Liao Dynasty (907 to 1125 AD). The vessel featuring a globular body with an elongated neck sligh...

Emmanuel Villanis comes from a family of Italian origin. From 1861, his parents returned to Italy to settle in Piedmont. He had fled Italy because the war of independence broke out, under the threat of Napoleon Bonaparte. In 1871, the artist enrolled at the Albertina Academy of Fine Arts in Turin; he follows the teaching of the sculptor Odoardo Tabacchi (1831-1905). As soon as he finished his studies, his master encouraged him to exhibit: his bust Alda, for example, was presented in Milan in 1881. In 1885, Villanis moved to Montmartre, a district of Paris that he never left. The artist's fame is built on his production of female figures. Aida, Judith, Delilah, Lucretia, Cinderella: her work brings together the great heroines of opera, literature, mythology and the Bible. Villanis also discusses certain types - the Bohemian, the Châtelaine, or the Parisienne - and several allegories, including Painting and Sculpture. Made mainly in bronze, sometimes chryselephantine, his sculptures subtly bear the mark of Art Nouveau, including the lettering of the title, which regularly adorns the base. His play on the patinas further adds to the finesse of the line, making Villanis one of the major sculptors of Art Nouveau. Regarding the casting of bronzes, he worked mainly with the Société des Bronzes de Paris and with Eugène...

Very elegant terracotta dignitary in blue and red robes standing with the hands joined at the chest. He wears a blue headdress with a bird at its center. Orange Terracotta This gorg...

A Tang dynasty sancai (three color) glazed pottery model of a Taoist official, TL tested by Ralf Kotalla - worldwide oldest private laboratory specialized for genuine thermoluminesce...

19th c. Chinese Qing Dynasty children's hat

This wood carving sculpture origins from China, circa 1880.  

Beautiful and impressive early Tang white marble sculpture of headless Buddha, dressed in an elegant pleated toga. China. 618-907 AD. A true collectors piece. This magnificent piece...

This exquisite 19th-century Chinese slim brass water vessel stands as a testament to the artistry and craftsmanship of its era. Its elongated cylindrical form, gracefully arched hand...

Slab pottery constructed Model of a Paper Mill, in Green and Cream Color Glazed Terracotta having a peaked roof – open walled form with a mechanical pounder and a large round storage container. Light blue-green mottled glazed surface with some iridescence patina to the glaze. The Iridescence is a refraction of the layers on the glass that produces multicolor hues & metallic luster, and only develops after one thousand years of being buried in the ground. An unquestionable mark of antiquity, impossible to falsify. Han Dynasty, dated 206 B.C-220 A.D. Condition: Excellent, wear commensurate with age, an unusual example. This fantastic piece is accompanied by a Certificate of Authenticity. Sculptural effigies of domesticated animals were often interred in the tombs of nobility and elite members of the social hierarchy. Models like this one were made to represent everything from simple goat or pig pens to the most elaborate towers and palaces. Because very few ancient Chinese buildings have survived intact, these models, along with descriptions from ancient texts, give a good representation of what the buildings might have looked like. Burial figurines of graceful dancers, mystical beasts, and everyday objects reveal both how people in early China approached death and how they lived. Since people viewed the afterlife as an extension of worldly life, these figurines, called mingqi, sometimes referred as “spirit utensils” or “vessels of ghosts” disclose details of routine existence and provide insights into belief systems over a thousand-year period. For the first time in Chinese history, we have images of rural and daily life during the Han in the form of contemporary records...

Slab pottery constructed barn workshop having a peaked roof – open walled form with a mechanical pounder and a large round covered storage container. Light blue-green mottled glazed surface with some iridescence patina to the glaze. Condition: Intact, excellent condition, an unusual example. Provenance: The Living Torah Museum, Brooklyn; ex. Sands of Time, 2002. Sculptural effigies of domesticated animals were often interred in the tombs of nobility and elite members of the social hierarchy. Models like this one were made to represent everything from simple goat or pig pens to the most elaborate towers and palaces. Because very few ancient Chinese buildings have survived intact, these models, along with descriptions from ancient texts, give a good representation of what the buildings might have looked like. This fantastic piece is accompanied by a Certificate of Authenticity. Burial figurines of graceful dancers, mystical beasts, and everyday objects reveal both how people in early China approached death and how they lived. Since people viewed the afterlife as an extension of worldly life, these figurines, called mingqi, sometimes referred as “spirit utensils” or “vessels of ghosts” disclose details of routine existence and provide insights into belief systems over a thousand-year period. For the first time in Chinese history, we have images of rural and daily life during the Han in the form of contemporary...

Chinese bronze door pulls.