From our Chinese Monochrome Collection, a very fine pair of blanc de chine (dehua) fu dogs modeled as taper stick holders, either late Ming / early Shunzhi (1620-1650), or possibly early Kangxi Period (circa 1662-1690), of well-known and documented form, with each fu dog perched atop a rectangular base with a brocaded ball under its paw and a ribbon held in its mouth. Additionally, each piece exhibits a high degree of hand applique modeling with respect to the ribbons, manes, bells, and tassels,...

Chinese antique sewing table, black lacquer with beautiful and ornate gold lacquer designs depicting scenes of palace life, interior has many little places for organizing sewing materials all lacquered in black and gold with bone details, a pull out lacquer and silk area underneath for storing embroidery supplies, claw feet, with key, 18th/19th century. Size: 28" high x 24 1/2" wide x 17" deep.

Beautiful Japanese antique 2-section merchant's chest, made of hinoki (Japanese cypress) wood, copper hardware including warabite shaped drawer pulls and corner bracing on each drawer, top section as 4 sliding panels with rounded horizontal slats which cover a large compartment with a single shelf (removable), the bottom section has four rows of four medium sized drawers under which is a single row of 3 larger drawers (total of 19 drawers), Meiji Period (1868-19120. Size: 65 3/4" high x 7...

Japanese Edo period woodblock print by Toyokuni III (also known as Kunisada) featuring two beauties from Act 5 of "Chushingura e-kyodai" (Matching Pictures of Chushingura) dated 1859. "Chushingura" is also known as the "Tale of the Forty-seven Ronin." The censor's seal and the seal of the publisher, Moriya Jihei, are at the bottom of the print. The signature of the artist (signed "Toyokuni ga" in a red cartouche with yellow snow) is located at the bottom left corner. Standard vertical oban print...

Japanese Edo period woodblock print by Toyokuni III (also known as Kunisada) depicting a lively scene from Act 11 of "Chushingura e-kyodai" (Matching Pictures of Chushingura) dated 1859. "Chushingura" is also known as the "Tale of the Forty-seven Ronin." The seal of the publisher, Moriya Jihei, the censor seal, and the signature of the artist (signed "Toyokuni ga" in a red cartouche with yellow snow) are all located at the lower right. Standard vertical oban print measuring 14"V x 9 3/4"H. Very...

Heavily glazed Japanese katakuchi bowl in the shape of a “Sazae” turban shell. Written on the lid is “made by Matsuyama” and “kashiki” (dish for serving sweetmeats). On the reverse side, there is a signature, "Kei Ho-o En" with a seal. We are not quite sure if this is an original box. Meiji, late 1800s. Great bowl for the kaiseki cuisine? A hairline crack (enlarged photo #7) is a surface crack (does not go through to the other side). Approx. dimensions: 6 3/4" x 6" x 3 1/2...

From our Japanese Collection, a truly spectacular, massive, and published pair of imari double gourd vases, late Edo to early Meiji Period circa 1855 -1875, executed in the typical imari palette of iron-red, blue, orange, and gilt, with birds and dragons set against the "Three Friends of Winter" design of pine, prunus, and bamboo.

The double gourd shape is a very desirable form for imari collectors, but rarely is it encountered in such monumental proportions like this massive pair. Typica...

Antique uchishiki, Japanese alter cloth, embroidered on silk satin with Chinese theme, “The Seven Sages of the Bamboo Grove”. Probably from late 18th to mid 19th century. 26 3/8" x 25" (67cm x 63 1/2cm).

Condition: This is a beautiful antique textile even with some obvious damage and wear, still solid with a thick cotton backing. The wear is seen particularly on both ends of the design. This quality of needle work is seldom seen.

From our Chinese Polychrome Collection, a truly superb example of Qianlong Period (1736-1795) Famille Rose porcelain, depicting a lady receiving what is either wine or tea, while her female servant attends to her with a fan. The outer border is decorated with eight individual reserves executed alternatively in either puce or black, with each puce reserve so well-executed that they are essentially miniature paintings in their own right. The inner border is decorated with smaller puce cartouches ...

From our Early Chinese Collection, an exceptional Northern Qi Dynasty Tomb Guardian (550 - 577 AD), boldly modeled in full military armor with chest and back plates, fringed mail tunics over knee guards, and battle helmet with leather side flaps. His left hand rests upon a leonine shield, the right hand would have clenched a wooden spear which has decomposed long ago. This imposing figure reflects the strong facial features typical of other known Northern Qi statuary, such as the ominous bulging...

From our Southeast Asia Collection, a superb original and signed acrylic painting on canvas depicting an Indonesian Barong Dance, deaccessioned from the Agung Rai Museum in Ubud, Bali in 1997.

The Barong Dance is one of those wonderful and almost magical expressions of Indonesian mythology, where themes of good and evil are pitted against one another through a cultural tale played out as a dance. According to the tale, an evil sorceress named Rangda summons her army to go after Erlangga, ...

Description:

An ivory plaque was kept in perfect condition.
Being preserved in enduring old condition-the darken patina and the naturally yielded crackles all over the surface, the plaque was used to be a pendant.
By rare and good quality, it was kept in plain form which was responding to a Chinese proverb-- Niang Tsa Bu Zhuo, A High-Ranking Material Is So Precious That Should Be Saved from Carving.
An old-drilled hole was found at the top for hanging.
An old amber bead wa...

From our Shipwreck Porcelain Collection, a fine blue and white porcelain dish, ex-Christie's, executed in the "Boatman Pattern" from the so-called "Nanking Cargo," which is the term applied to the porcelain recovered from the wreck of the Geldermalsen that sank on January 3rd, 1752. The Geldermalsen was a cargo ship belonging to the Dutch East India Company that struck a reef on its way back from Canton China, and sank off the coast of Indonesia in the Linnga archipelago. It took with it to the ...

From our Early Chinese Collection, a large and magnificent Southern Song Dynasty qingbai funerary urn (960 - 1279 AD). Based upon published and nearly identical examples dated to 1209 AD, we can probably safely date this piece closer to circa 1190 - 1230 AD. The lower bell of this extraordinary lidded urn is smooth and glazed, while the upper section is deeply ribbed and glazed featuring hand-formed and applied figures of people and animals, including a coiled dragon, a tortoise, a cockerel, a...

From our Chinese Polychrome Collection, a very fine Rose Medallion punch bowl, mid-late 19th century, most likely late Daoguang to Tongzhi Period circa 1845-1874, and certainly no later than Guangxu Period (1875-1908). Executed in the typical palette of pinks, blues, greens, yellows, whites, and gilt, depicting a large and well-painted panel of figures in the center well that seems to represent some scene of officialdom, along with three trapezoidal panels of figures on the bowl's interior separ...

Wonderful, large ancient Chinese ceramic jar, round shape, stands on three small feet, beautiful blue green glaze has become iridescent with time, dramatic drips

Han Dynasty (206 B.C. - A.D. 220)

Size: 10" high x 12 1/2" wide.

From our Chinese Blue and White Collection, a truly once in a lifetime find, this massive and breathtaking piece is an exceptionally rare Kangxi Period (1662- 1722) blue and white porcelain fishbowl, ex-Sotheby’s, potted in classic deep U-form with rolled rim. It is very well-painted in a rich underglaze blue of the highest quality, the design depicting Chinese style flower baskets within four individual lotus shaped cartouches, each separated by reserves of stylized aster sprays. Additionally...

From our Japanese Collection, a very fine and very early imari charger, late 17th - early 18th century (circa 1690-1730), decorated with a flower pot, a scholar’s rock, and a large tree in full bloom upon a terraced pavilion, all executed in the typical early imari palette of blue, orange-red, and gilt, with the border done in a rich brocade of flower motifs.

Ordinarily, we do not gravitate much towards early Japanese imari simply on aesthetic grounds. These earlier pieces, while of cou...