This small bronze incense burner was cast using the lost-wax method, finished with a scraper, and then finely chased. The tail hair and the folds of the elephant's skin are particularly well executed. The subject depicted, a boy on the back of an elephant, is highly symbolic in China and was very popular during the Qing Dynasty, but it existed even before...

An imposing gilt bronze image of the Vidyaraja Yamantaka in congress (yabyum) with his female counterpart. Yamantaka is one of the principal protectors of the Gelugpa tradition, which provided the main imperial preceptors for the Qing rulers. The image is cast of multiple parts held together by short spikes. Qing, late 18th to early 19th cent, Jiaqing-Daoguang period. H 24 cm. Condition: Excellent.

Gilt bronze Guanyin. China, Ming dynasty, 17th century. The deity is depicted seated in the lotus position. It is cast in bronze using the lost-wax method and gilded with gold leaf over lacquer. Chinese work, Ming dynasty, late 16th/early 17th century. Original gilding, no restoration. Height: 21 cm. Weight: 2.5 kg, which is exceptionally heavy.

The mask is made of repoussé copper, mercury-gilded, with some parts painted in green and red mineral pigments. It is a very fine example of 18th-19th century Tibetan monastic craftsmanship. The repoussé work is of high quality, and the mercury gilding is excellent. An embroidered silk band hangs from the mask; this type of object was used to protect temples from demonic attacks. The gilding and pigments are original. There are no repairs. The silk band is sewn onto a thick reinforcing canvas...

Yamantaka (Vajrabhairava) mask in repoussé and gilded copper. Tibet or Nepal, 19th century. The mask represents the fearsome bull-headed deity Yamantaka. Between the horns appears the skull, a symbol of victory over ignorance and death. A major monastic work in repoussé copper, gilded with mercury, with details in mineral pigments. Made in several parts assembled by brazing and welding, traces of which are visible in some photos...

A Serene Sentinel of Enlightenment — 18th cent. Qing Seated Teaching Buddha

Emanating an aura of eternal stillness, this antique Chinese Buddha sits enshrined in meditative grace, embodying centuries of spiritual artistry. Cast in bronze and cloaked in timeworn layers of rich black lacquer and soft golden patina, the statue tells the story of both its maker and the path to awakening...

The Chinese deity of war is seated. On his robe are depicted the six dragons symbolizing good luck. Bronze cast using the lost-wax technique, Chinese work from the early Ming dynasty, 15th-16th century. Traces of red and gold lacquer remain, but this lacquer was added late; it crudely covers the superbly carved patterns on the robe. With the lacquer gone, the statue has regained its original splendor...

A genuine Ming, Wanli period ( 1573-1620) image depicting Buddha Amitabha standing on a lotus base. Cast bronze with dark patina. Good details and a nice sweet expression. Late 16th cent. - H 23,7 cm. Condition: Very good but for casting mistake on the extended arm and a missing finger tip.

Three classic bronze dragons, made for export circa 1980 by the China Arts and Crafts store. The CAC were known for selling only high quality items in order to promote the Chinese arts and crafts industry. L: 11cm/4.2in and H: 6.2cm/2.5in. Depicted standing on waves and clutching pearls (pun intended) they were made with great detail

A SUPERB QING DYNASTY (revival) BRONZE "TANG WAR HORSE" with Black Patina,during 18/19th Century, China. Size: L. 30 cm x H. 27 cm x W. 9 cm. (~ 12" x 10.5" x 3.5"). Weight: 2.37 kg. Very good condition, good weight and an excellent show piece for that special spot!

Miniature statue of a dignitary, in formal attire, kneeling, with joined hands. Bronze, with fine age patina. China, Han dynasty. Height: 9.4 cm. Good condition.

The divinity is in bronze cast with lost wax, she is seated on a rock from which she can be easily separated, she is just placed and a tenon keeps her in the right position, she holds in her left hand a long scarf which after having surrounded its body widens curiously, it could be an empty bag, which is the attribute of Budai, the round and prominent belly of the statuette would confirm this hypothesis. The right hand held an object of which only the bottom part...

Antique Chinese gilt bronze figure of a bodhisattva standing on a lotus. Flowing drapery and high hair style with crown. Hands in Gyan Mudra (knowledge). Downcast eyes and compassionate expression. Overall patina.

Age: 19th century

Dimensions: 14 3/4" high x 5" wide x 5" deep

Antique Chinese Buddhist nimbus cast of bronze. 9 gilt Buddhas seated on lotus thrones float in a swirling mist. Gilt edging and beautiful green patina. With custom metal stand.

Age 19th century

Dimensions: 17 3/4" high (on stand) x 7 1/4" wide x 4" deep

Cast bronze mirror holder representing a Ki-Lin. The fabulous Chinese animal is surrounded by sparks, it carries a cloud on its back which is used to hold a removable mirror, which has now disappeared. The unusually small dimension leads one to assume that this is a travel mirror holder? The animal is lying down and the sculptor has modeled an exaggeratedly wide hindquarters to give good stability to the whole...

Old buddhist altar representing Buddha and two bodhisattvas, each one standing on a lotus and backed by a mandorla, the whole group surmounted by the Buddhist Flaming Pearl and resting on a double lotus. Apocryphal reign mark beneath (Emperor Qian Long). Bronze with fine age patina. China, late 19th century. Height: 17 cm. Very good condition.

Small gilt bronze altar dedicated to Bodhisattva Padmapani, resting on four pillars, showing the Bodhisattva standing, backed by an aureola, holding a gourd in his left hand, his right hand in appeasing/blessing posture (abhaya mudra). Fine patina. China, Northern Wei Dynasty. Height: 8.3 cm. Very good condition.

Pair of cast bronze cranes. The birds are fixed on rectangular bases, they carry a vase on their back and a ball in their beak. Sometimes these birds hold in their beak a flowering stem which ends in a candle holder, but here, examination with a magnifying glass reveals neither fracture nor grinding, it would seem that they are simply balls.Is this related to the funerary practice of placing a ball in the mouth of the deceased? A scholar must surely know what it is...