17th Century Tibetan Green Tara Thangka, 49.5 x 29.5 inches, 126 x 75 cm. Most of these thangka were photographed through glass frames, so there may be a little blurriness. This thankga was in an exhibition at the University of Texas Art Museum.

17th Century Tibetan Padmasambhava Thangka, 24.25 x 18 inches, 61.5 x 45.5 cm. Most of these thangka were photographed through glass frames, so there may be a little blurriness. This thankga was in an exhibition at the University of Texas Art Museum.

17th Century Tibetan storage chest with two large front doors. Hand painted with spiraling lotus designs over green background. The interior is roomy with a single shelf. Very heavy in weight. Beautifully naturally worn original finish. Size: 34" height, 40.75" width, 19.5" depth

17th Century Tibetan Sakyamuni Thangka, 32 x 24.25 inches, 81 x 61.5 cm. This thankga was in an exhibition at the University of Texas Art Museum.

17th Century Tibetan Thangka of Avalokitesvara with original silk mount and silk cover from a renowned and published collection. Mount: 46 x 28 inches (117 x 71 cm), Painting: 28 x 20 inches (71 x 51 cm).

17th Century Vajravarahi Tibetan Thangka. Fine Antique Tibetan Thangka of the Sakti of Samvara, Vajravarahi (Tibetan: Hod-zer Chan-ma), Goddess of War and Victory, with a necklace of skulls, a staff of skulls, a skull bowl, and a crown of skulls. She is dancing on a lifeless body surrounded by a mandorla of flames. Most of these thangka were photographed through glass frames, so there may be a little blurriness. This thankga was in an exhibition at the University of Texas Art Museum. Mineral pig...

17th Century White Tara Tibetan Thangka. The White Tara goddess symbolizes transcendent knowledge and purity. In ancient Tibet, it was believed that Tara was reincarnated in every virtuous and pious woman. She was born from the eye of Avalokitesvara, the Bodhisattva of compassion, and became his wife. Most of these thangka were photographed through glass frames, so there may be a little blurriness. This thankga was in an exhibition at the University of Texas Art Museum. Mineral pigments on silk....

17th Century White Tara Tibetan Thangka. The White Tara goddess symbolizes transcendent knowledge and purity. In ancient Tibet, it was believed that Tara was reincarnated in every virtuous and pious woman. She was born from the eye of Avalokitesvara, the Bodhisattva of compassion, and became his wife. Most of these thangka were photographed through glass frames, so there may be a little blurriness. This thankga was in an exhibition at the University of Texas Art Museum. Mineral pigments on silk....

Indian stone bust of Brahma with three heads, Central India. Crowned headdress with raiment of a royal being. Light grey stone, benevolent countenance.
Brahma known as the creator god in Hinduism. He is also a consort of Saraswati and he is the father of Four Kumaras, Narada, Daksha, Marich, along with many more.

Several Puranas describe him as emerging from a lotus, connected to the navel of Lord Vishnu. Other Puranas suggest that he is born from Shiva or his aspects, or ...

Antique Japanese scroll painting depicting a dead man being whisked away in a flaming carriage bound for hell. He is escorted by three demons brandishing weapons and pulling the cart through clouds of smoke. A section of the poem translates as "whether old or young, rich or poor [...] on the fiery carriage..." Painted and signed by the artist Kawamura Jakushi (1638-1707) with a verse possibly written by Banjisei. Kawamura Jakushi was closely associated with the powerful Ryuzoji Family in Sa...

Namiamidabutsu sho (Praise to the name of Amiddha Buddha) is scrawled in faint verse down the upper right, while on the left is a warning, kono tori, minasama goyojin goyojin (all those on this path, be wary be wary…) The two scripts are separated by a grave marker at the base of which lies a skull and scattered bones among the unkempt dried grasses. A very unusual seal in the shape of a Buddhist ewer hugs the right edge. Early to mid Edo period in the style of Hakuin Eikaku (1686-1768). I...

Shishi prance across the mottled Kiri-wood surface of this Momoyama to early Edo period Koro in gold and silver maki-e and mother of pearl inlay. A copper insert contains the fragrant incense ash. There is a hand forged iron staple top and bottom of one ancient crack testament to age. It likely once had a silver hoya (cover) which has disappeared over the centuries. When we acquired this and another similar piece listed from a temple in Fukui prefecture, it was so covered in grime that the m...

An unusual 17th to early 18th century Screen featuring a koto harp and candle stand behind a screen under blossoming prunus, a spry group of pine in front and rushing water beyond. Incredible veining in the gold. Like much of Japanese art, the viewer is asked to interpret the scene as they see fit. Perhaps the remnants of a night of poetry and music under the plum blossoms. Perhaps the lonely Michizane playing to the moon, alone in exile with thoughts longing for Kyoto. All performed with h...

17th c KANGXI BLUE AND WHITE PHEASANT PLATE (KBW021426)
ca. 1690-1700s, late 17th century
Mid Kangxi Period, Qing Dynasty Porcelain with
underglaze cobalt blue Diameter: 28 cm / 11 in
From an Dorset, UK estate

A large 11-inch 1690s Kangxi blue and white “pheasants” plate, decorated in a shade of intense blue found only in select Kangxi blue and white wares, and covered with extremely fine luminous glaze. The painting brushwork is loose but vigorous, providing a...

17th c KANGXI BLUE AND WHITE PHEASANT PLATE (KBW021427)
ca. 1690-1700s, late 17th century
Mid Kangxi Period, Qing Dynasty
Porcelain with underglaze cobalt blue
Diameter: 27.8 cm / 10.9 in
From an Dorset, UK estate

A large 1690s Kangxi blue and white “pheasants” plate, decorated in a shade of intense blue found only in select Kangxi blue and white wares, and covered with extremely fine luminous glaze. The painting brushwork is loose but vigorous, provid...

ca. 1690-1700s, late 17th century
Mid Kangxi Period, Qing Dynasty
Porcelain with underglaze cobalt blue
D: 28 cm
Typical Kangxi fritting to rim, otherwise good
From an English private collection


A large (28 cm) 1690s blue and white "pheasants" plate, decorated in a shade of intense blue found only in select Kangxi wares, and covered with extremely fine luminous glaze. The painting brushwork is loose but vigorous, providing a kind of naive boldness that wo...

Jar with Peaches and Pomegranates (SWC101301)
Ca. 1640-60s, mid- 17th century
Shunzhi / Transitional period, early Qing dynasty
Porcelain with underglaze cobalt blue & overglaze enamels
H: 14 cm / 5.5 in (with lid); 11.8 cm / 4.6 in (without lid)
From a Manhattan, New York private collection

A charming Transitional Shunzhi period wucai jar, well decorated in the classic peaches and pomegranates pattern. Both fruits are commonly seen on Shunzhi period wucai...

Very Fine and Beautifully Rendered Hono Ema from the Tensho Shrine, dated October 7, 1695. The inscription reads Mikawa Province (modern day eastern Aichi Prefecture), Tomifuku-gun ('county'), Oshiro Mountain. While the wealthy would often give a horse as a gift to a Shinto shrine, the common person would give a Hono Ema (literally 'gift horse picture'). These plaques are then left hanging up at the shrine for the gods to see. This is a rare and museum quality work of Japanese Folk Art from the ...