This standing nephrite jade carving of a bearded and robed figure with long horns or donkey ears measures about 10 1/2 inches tall by 3 inches wide by 1 1/2 inches in depth.
It is carved from a large piece of nephrite ranging from pale to deep green with a strip of oxidized white to yellow jade down the middle. In addition, there is a crackled stripe of oxidation running straight down through the center of the face, spreading down through the figure to the bottom of the robe.
There are also engraved rectangular patterns and additional patterns on the robe.
Although the serious possibility exists that this is a very old nephrite carving dating to the Shang period, we are dating this one to about circa 1900-1920 just to be on the safe side.
It is interesting to note, however, that the oxidation and subsequent crackling of the stone that runs right down through the face is something that probably occurred after the jade was carved. The question arises: if this is only a copy made in the last 100 years or so, why didn't they turn it around before they carved the face, as the center of the back side is pristine where the face could have been positioned, no crackling or deterioration? It would have been the better choice to use as the front and would have made a more attractive and therefore, more saleable copy. If however, the deterioration of the stone actually happened over an extended period of time after it was carved, that would make more sense as an explanation as to why the current positioning of the stone in relation to it's natural flaws or irregularities.
This glazed ceramic or stoneware figure dates to the Meiji (1866-1912) in Japan.
It measures 7 1/4 inches tall by 5 1/4 inches in width and about 3 3/4 inches in depth at it's widest point.
It is in outstanding condition and has extremely vibrant colors. There is one extremely small circular spot of glaze loss which appears to be a kiln flaw on the sleeve.
Remnants of the gauze pattern remain on the unglazed bottom.
This 18th-19th century Tibetan bronze oil lamp measures approximately 6 inches tall by 6 inches wide (pan tip to dragon tail).
It was designed to be used as a lamp using either Yak butter or oil.
It has a standing dragon for a handle and a pan with Ganesha on a shield. It is a classic design which incorporates motif from the two cultures (India and China) which are major influences on Tibet (situated between the two of them).
It dates from the late 18th through the middle of the 19th century.
It is in excellent condition with a small amout of verdigris in the recessed areas. It does appear to have been cleaned at some time in it's history and appears to be toning down nicely.
This 19th Century Shoushan Stone (soapstone) carving measures 6 1/4 inches (15.5 cm) tall by 3 inches (7 cm) wide by 2 inches (5 cm) in depth.
Although Ming in style and motif, it most likely dates to the Middle to late 19th Century (Ching Dynasty) instead.
It is in excellent condition except for a few extremely minor scuffs along a couple of edges.
The subject is an elephant astride a pedestal with low relief Chinese horses carved into shields on each of the four sides.
This antique wooden mask is a representation of Mahakala.
It dates from the late 19th or earlier.
It is similar in style and iconography to masks from Nepal, Tibet or Sikkim.
It measures about 13 inches high by 9 inches wide.
It is in very good condition except for a few small cracks and losses to the wood. It has remnants of remaining overpaint in the crevices and recessed areas.
Comparables Note: a slightly larger mask with the original paint remaining is listed in Miller's Price Guide(2003) at $7,800-$9,400 (Sotheby's - NY)(see photo enlargement #4).
This original bronze figure of a seated and robed official holding a jui (symbol of power) measures 8 1/2 inches tall by 5 inches wide by 3 1/2 inches.
It is covered overall with a very subtle and dark patina. It has a softness of detail that only comes from hundreds of years of handling. It also has a few cracks and slight losses to it's surface that do not detract from it's overall appearance.
It dates to a period ranging from the 16th through the 17th centuries in China.
The buyer will not be disappointed, as it is nicer than the photos would indicate. This bronze figure is guaranteed to be an original ( of the period) and is not a copy or reproduction of any kind.
This forest green glazed Kochi ware vase with handles measures 12 cm tall by 12 cm in diameter by 19 cm wide (handle to handle). It most likely dates to the beginning of the 20th century. The glaze pools dark green in the crevices.
There are NO marks or signatures on this vase.
It is in excellent condition. No chips, cracks, hairlines, repairs, etc. It does have a few very light surface scratches to the glaze. There are four round felt pads on the bottom of the vase (see enlargement photos).
The glaze is even and complete. Any white spots or lines are from the flash and are NOT on the vase itself.
Japanese Awaji ware was influenced by or copied after, Chinese Cochin ware: a 16th century pottery originally produced in Southern China or Vietnam. It consisted primarily of green glazed wares with low relief decoration* (*Ceramic Art of Japan, Seattle Art Museum, Page 164)(CAJ).
Another theory about the origin of Cochi or Cochin ware is that it was carried from China to South East Asia (modern Day Vietnam and Thailand) during the Song or Yuan Dynasty . In 1206 the Mongolian tribes met and agreed to unite under Genghis Khan. In 1215 Genghis Khan captured Beijing. In 1279 Kublai Khan, his grandson, completed the Quest of China, ending the Song Dynasty. The Yuan dynasty that they created lasted from 1279 to 1368 (1368- 1644 A.D. Ming dynasty).
Faced with Mongol rule artists, potters, merchants and exporters left China and set up their operations in Vietnam and Thailand. The Sung kiln and glaze technologies were transferred to Vietnam. Bat Trang (in Vietnam) prospered and continued to do so as the Ming dynasty maintained a closed-door policy until 1567. It was not until 1684 that the Chinese competed effectively with Vietnamese ceramics exporters. By this time Vietnamese pottery had achieved such popularity in Japan that even the Japanese potters produced ceramics in the Vietnamese style, which they called Cochi or Kochi ware.
During the late Edo Period there was a fashion among Kyoto potters (including Eiraku Hozen, Ogata Kenzan, and Aoki Mokubei) to emulate the Chinese wares of the 16th century, especially the export blue and white, gosu-akae, and Kochi ware** (**CAJ-pg 158).
