The copper and silver lid is covered with repeating patterns, auspicious symbols and tiny cabachons in turquoise and coral.
The lid is topped by a large (24mm) turquoise bead giving the appearance of a small globe of the earth. In addition, it has four silver shield shapes with large inset carved jades that may represent the four directions (North, South, East, West).
It dates from the late 19th to early 20th century in Tibet or Nepal.
It is in excellent condition with a nice even patinas on the both the copper and silver areas.
This Japanese Satsuma Vase is unmarked, 15 inches tall and about 9 inches in diameter.
It dates to the Meiji Period (1868-1912) and has Kwannon and Lohans with an elephant pictured upon it.
It is in excellent condition with some light rubbing on the high relief gilded areas exposing an outstanding crackle beneath.
These two bronze figures date from the 17-18th century or earlier.
Each one represents either Mahakala or Samantabhadra standing on a prostrate human figure surrounded by a ring of fire and wearing a garland of severed human heads.
Each measures about 8 inches tall by 5 inches wide.
Both are in excellent condition except for a small square opening on the back of one.
This pair of Chinese Seated Lions date from the 17th -19th Century or possibly a bit earlier.
These pottery or earthenware lions each measure about 9.5 - 10 inches tall by 6 inches wide by about 4 inches in depth.
They are in very good condition with only a small loss to one of the tails.
This large jadeite carving of Guanyin (Kwan Yin) measures 4.5 inches wide by 3.5 inches in depth by 12.5 inches tall (including the period carved wooden base it sits on).
We estimate the jade itself to be about 11.5 inches tall without the stand. It sits about a half inch down in the stand and is bolted down (actually bolted down to the stand) (Someone was VERY careful with this old jade).
It is carved fom one piece of multicolored apple green jade with various shades of green flowing through it and a wonderfully rich color on it's face. It also has a few small inclusions of very dark green jade near it's base. These are all natural colors. This is NOT a color enhanced jade, guaranteed.
It dates from the late 18th century through the latter part of the 19th century.
It is in excellent condtion with no losses or repairs. It does have some natural inclusions on it's reverse that could be mistaken for damage. Be assured, they are natural fissures in the stone that have oxidized over the last century or so.
Price on Request
This is an antique jade carving of a seated monkey holding a Peach (Late Ming to Qing Dynasty)
It is a finely polished blue grey nephrite jade with white jade areas utilized to accent the nose and extremities.
There are remnants of oxidation or calcification in the crevices.
This antique carved jade is in outstanding condition. It is an excellent example of 17th-19th century jade carving.
Subject is a seated monkey with a finger in his mouth, holding a peach
3 1/4 x 1 1/2 X 1 1/2 inches (79mm x 40mm x 42 mm)
This white nephrite jade carving of a pig dates from the Han Dynasty (206 BC-220 AD).
It measures 4 inches nose to tail, by about 1 3/8 inches tall by 1 inch in width.
It is an overall white color with traces of brown oxidation in the crevices. It has areas of irregularity on it's flat and rounded surfaces that create an almost spider web like pattern (off white on white colors).
It is in excellent condition except for one drill hole in the tail which does not appear to be contemporary with the piece. It was most likely added so it could be worn as a pendant.
This Japanese painted bronze figure of Daikoku measures approximately 13.5 inches tall by 6 inches wide by 5 inches in depth.
It is a substantial bronze figure, weighing around 13+ pounds or about 6 kilos.
It is signed or marked on both the figure and the separate base of rice bales (see two of the enlargement pictures).
It dates from the late Meiji to Taisho Period (circa 1890-1912).
It is in excellent condition with most of it's original colored and patinated surfaces intact. An exception to this is the loss of a small triangular shaped piece which was apparently once attached at the figure's midsection (see photo enlargement of loss). This most likely was originally a separate attachment (see the drill hole?) in the shape of a small pouch (or treasure sack) which Daikoku traditionally carried.
Since the 17th century, Daikoku has been known as the Japanese god of wealth, the household and of farmers, although in earlier centuries he was considered a fierce protector deity (Mahakala).
In Japan, artwork of this deity usually shows him wearing a hood and standing on two bales of rice, carrying a sack of treasure and holding a magic mallet. Daikoku is often clad in robes, with a smile on his face.
In some traditions, Daikoku is also considered to be a provider of food, and images of him can still be found in monastery kitchens and in the kitchens of private homes. He is recognized by his wide face, smile, and a flat black hat.
He is often portrayed holding a golden mallet (called a Uchide Nokozuchi), also known as a magic money mallet, and is seen positioned on bales of rice, occasionally with mice nearby (mice signifying plentiful food).
Originally a Hindu deity called Mahakala, he was introduced to Japan in the ninth century, and merged with the Shinto deity of good harvests, Oo-kuninushi-no-Mikoto (or Okuninushi-no-Kami, translated as "Prince Plenty"). The lucky mallet in his right hand is called the uchide nokozuchi. This mallet is said to have magical properties that can produce anything desired when struck. Some stories say that coins fall out when he shakes his mallet. Others say that believers are granted their heart's desire by tapping a symbolic mallet on the ground three times and making a wish.
The symbol of the precious Buddhist Jewel, sometimes found on Daikoku's mallet or belt, represents the themes of wealth and unfolding possibility. It is said to give its holder the ability to see all things (like a crystal ball).
The precious jewel is one of the seven symbols of royal power in Buddhism. Daikokyu, himself is considered to be one of the seven household gods of Japan.
This fine bronze ewer or kettle (aftaba) dates to the 18th Century in Wughal India.
It is of typical form and good weight. It measures: height: 26cm, width: 24cm.
It has a prominent faceted spout along with its original lid with a bud-like finial, an 'S' shaped handle which has a stylized lion head at one end and a lotus bud finial at the other. It stands on four short feet.
The flattened, globular pear shaped body tapers to a long neck. The body has been cast with raised cloud or foliage borders to the top and bottom, The design work on the body is of better quality than usually seen. The body, lid and spout have been engraved overall with repeated stylized vegetable or poppy motifs. The lid has similar patterns.
Ewers of this type originated in Persia and the Middle East. Typical Islamic ewers comprised a central chamber to which a spout, foot, handle and neck were attached. They permitted water to flow - notations in the Koran described flowing water as 'clean'.
Ewers were introduced to India by Muslim invaders during the late thirteenth and early fourteenth centuries. Later Indian inspired designs became more curvaceous and many were decorated with lush plant and floral motifs.
In India, local Muslims used such vessels for hand washing. They became a practical tool of hospitality, being used to welcome visitors by pouring scented water over the hands and feet and into a basin, and took on a great variety of shapes and types whilst adhering to the basic ewer form.
This example is in excellent condition. There are no repairs, splits or dents. as mentioned, the lid is original – usually the lid is missing or replaced.
A slightly larger (39.4 cm tall) sold at Sotheby's on October 5, 2011 for 6250 British pounds( $9784.00 in US dollars) (lot 265) . It had much less surface detailing. ( http://www.sothebys.com/en/auctions/ecatalogue/2011/arts-of-the-islamic-world/lot.265.html )
Provenance: The southern California art market prior to 1980.
Reference: Zebrowski, M., Gold, Silver & Bronze from Mughal India, Alexandria Press, 1997.
This antique Persian Silver vase measures 7 inches tall (17 cm) by 5 1/2 inches in diameter (14.5 cm).
It dates circa 1700-1850 or earlier.
It is finely engraved with alternating medallions of bird in an ornate floral landscape and medallions of symmetrical calligraphy. Between the medallions are additional engraved floral wreaths
There are three silver hallmarks on the base. The usual standard of Persian silver is .84 or 84/100 pure silver.
Condition is excellent except for a small bung (see enlargement). Overall, this is an outstanding work of art and much nicer than my poor photos would indicate. Any color changes in the photos are from the flash and not on the vase itself.
This is an original pair of 18th-19th century wooden carvings of Chinese eunichs or officials. Each one measures 8.5 inches tall, 3 inches wide and 2.5 inches deep (at the base). They are in good condition with most of the original painted detailing remaining on their faces and painted details remaining in other areas, such as the hat, sash, and ceremonial jade disk held by one of them. One figure holds what appears to be a representation of an old ceremonial jade. These appear to have been tomb figures that lost much of their original colors. The blue of the robes may be restoration.
This small stone figure of a standing Jizo Bosatsu (Buddha)with both hands holding the sacred jewel.
It measures 5 3/4 inches tall or 14.5 cm in height.
It dates to the Meiji Period: circa 1900.
It is in excellent condition with a softening of the lines and contours and very minor losses.
It's origin would be Sadogashima Island, off the coast of Japan, which is famous for its production of figurative stone Jizo.
It is carved from Sado granite from the island and known as Sado Jizo.
Small examples are uncommon and rarely found in such good condition.
This jade carving of a Chinese lion, Chimera or Fu dog sits at an alert posture on all four paws.
It has a split or bifurcated tail and stylized wings.
It measures 2 1/2 inches by 1 7/8 inches by 1 1/4 inch (57 mm x 49 mm x 31 mm).
It is carved from a piece of off white to celadon colored jade with natural striations running through it. There is a natural brown irregularity which runs from it's foot to it's ear on one side along with a small area of brown suffusion on it's flank.
(This is the fancy way of saying it has few areas of rust. Not a bad thing for a genuine antique jade carving.)
We are dating this one to the Qing Dynasty, but it may actually be much earlier.
This Meiji period JAPANESE KUTANI VASE measures 7 inches in diameter and 11 inches tall. We date this one circa 1880-1910.
It is in excellent condition overall with the raised gilding in outstanding condition.
It is unsigned, but there is a hand painted mark on the bottom edge that looks like: I I I O .
This original, signed painting on wooden panel measures 17 1/2 inches by 18 inches (44cm x 46 cm) not including the ornately carved wooden frame it sits in. With frame, it measures 23 1/2 by 24 inches.
The subject of the painting is two samurai with drawn blades.
It is signed on both the front and reverse of the painting. There is also an additional hand painted seal in the upper right corner.
We date this painting to the late Meiji Period, although it is quite possible that it could be much earlier.
The condition of the painting is very good, but there are a few minor scrapes to the soft wood evident in the picture, but only from a certain angle. They really do not detract from the charm of this outstanding work.
Last, but not least, the frame is an amazing example of wood carving, and in outstanding condition.
This Chinese ceramic or porcelain charger measures 15-15.25 inches in diameter. It measures about 2.5 inches in depth.
It dates to the Qing Dynasty in China (1644-1911).
It is hand painted in the Famille Rose palette and design.
It has a black ground border with green scrolling leaves and foliage and rose to pink colored flowers.
The level of detail and the quality of the painting is exceptional.
It is in outstanding condition with no repairs or restoration. It has an amazing clear ring and there are no hidden or hairline cracks.
NOTE: It does have a small number of tiny flake losses to the painting. They are not significant and can be seen in the photographs- if you look closely. They do not detract from it's overall appearance.
This has been in our personal collection for well over thirty years.
Price on Request
This large bronze figure of Avalokitesvara dates somewhere between the Song Dynasty and the Ming Dynasty in China.
This figure represents one third of a Buddhist Triad, which may have originally been created as an altarpiece in a Buddhist temple.
This bronze figure measures 21 inches tall by 9 inches wide by 8 inches in depth. He/she is depicted wearing a Tang Dynasty upraised hair style and ornate robes and jeweled detailing.
It is in excellent condition with remnants of old gilt and colors remaining in areas. The head is completely covered with a layer of gold and the remainder is covered with a deep brown patina overall.
Traditionally, Avalokitesvara would sit on the left side of Amitabha Buddha in a three figure triad with Mahasthamaprapta sitting on the right side. There are engraved Chinese characterson the reverse side of it's base which translate as left two.
There are additional marks on the Gui held in front of the figure which may represent the date or the original donor of the bronze.
Since the side figures of a triad were smaller than the central figure,the central Buddha must have been fairly large. This fits with the theory of an origin in a temple or possibly a very wealthy home.
In Chinese Buddhism the Bodhisattva Avalokitesvara is also known as Guanyin. Among the Chinese, Avalokitesvara is almost exclusively called Guanshiyin Pusa. Some Daoist scriptures give her the title of Guanyin Dashi, and sometimes informally as Guanyin Fozu.
In Chinese Buddhism, the worship of Guanyin as a goddess by the populace is generally not in conflict with the bodhisattva Avalokitesvara's nature. In fact the widespread worship of Guanyin as a "Goddess of Mercy and Compassion" is seen as the boundless salvific nature of bodhisattva Avalokitesvara at work. The Buddhist canon states that bodhisattvas can assume whatsoever gender and form is needed to liberate beings from ignorance
This museum quality gilt bronze figure was purchased from an old collection of Asian antiques originally formed during the early portion of the 20th century.
The authenticity of this bronze is guaranteed without exception.
This is a Tibetan copper & white metal/silver prayer box or portable shrine (Gao) with a small bronze figure of Ganesh inside.
It dates circa 1890-1930, or possibly earlier.
It also has stitched covers from the early to middle 20th Century.
The front cover is covered with wonderfully hand tooled images, including a Tibetan mythical beast or lion surrounded by Buddhist calligraphy, topped by a flame. The rest of the box is copper, under the protective, stitched cover.
It measures 5 inches tall by 4 1/4 inches wide by 1 1/2 inches in depth.
It is part of a small collection of antique Asian silver artifacts that were originally acquired together. Some of these items will also be offered for sale, now or at a later date.