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.
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 standing nephrite jade carving of a bearded and robed figure with long horns or a headdress of some sort 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 down through the center of the face 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 an old nephrite carving dating to the Shang period, we are dating this one very conservatively to about circa 1900-1920. If it turns out to be much older, we are certain the buyer will not be too upset.
It is interesting to note, however, that the oxidation and subsequent crackling of the stone that runs right down through the face probably occurred after the jade was carved. The question arises: if this is 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 potentially 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.
Price on Request
Nepalese Bronze Bodhisattva Avalokiteshvara Padmapani
11th to 14th century: circa 1000-1300 AD.
This outstanding bronze statue of the Bodhisattva Avalokiteshvara Padmapani stands 13.5 inches tall not including the two rectangular mounts that extend into it's bronze base.
It stands 15 inches tall including it's bronze lotus base.
It is in excellent condition with much of it's original gilt remaining on the raised areas and his face. The remainder of the original gilt has been lost over the last thousand years or so, exposing a deep copper colored bronze surface.
Among the many forms of Avalokiteshvara, Padmapani is probably the oldest.
Avalokiteshvara is the embodiment of all of the Buddha's infinite compassion.
Padmapani means "lotus in hand". His left hand holds the lotus stalk, while his right hand is lowered in the gesture of granting favors.
This is an early example the use of semi precious stone inlays, a distinctive feature of Tibetan and Nepali sculpture.
His smooth torso and broad shoulders reflect the impact of the Gupta style, which existed in Northern India from the fourth to sixth century. The armlets and crown are traditionally found on 10th to 12th century sculpture.
Additional Nepalese or Nepali scuptural traditions can be seen in the shape of the broad face and full cheekbones which differ from the smaller and fuller facial features found in Indian art. The curves of the eyebrows and eyes and the long line of the nose are also typically Nepalese in style. In addition, the delicately engraved or incised floral pattern of the sarong around his waist is also typically found on early Nepali sculptures .
A larger, but stylistically similar example of an 11th century bronze Bodhisattva Avalokiteshvara Padmapani is held in the Cleveland Museum of Art:
On September 21, 2007 Christies NY sold a 14 inch gilt bronze Avalokitesvara Padmapani for $577,000.00 .
Recently - On March 20, 2012, a 17 7/8 inch tall bronze Padmapani was sold for $2.8 million dollars by Christies Auction House in New York.
THIS IS A MUSEUM QUALITY BRONZE AND IT IS GUARANTEED TO BE AS DESCRIBED, WITH NO EXCEPTIONS.
This 18th-19th century Tibetan or Nepalese 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 amount 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. It also has some wax residue remaining in a few crevices.
This Qing Dynasty Chinese carved jade double tube vase or nuptial cup measures just slightly less than 7 inches tall by about 4 inches wide by 3 inches in depth.
It is also known as a "Champion Vase".
It is carved from one piece of celadon colored nephrite jade with inclusion of lighter jade that give it the appearance of cloud formations. It also has a few rust colored inclusions that follow the natural inclusions of the stone.
It is carved in the shape of a mythological bird or phoenix standing on a Chinese lion or Chilung while holding two ornately carved tubular vases with its wings. The lids of both vases are conjoined by a dragon wrapped around both sides.
Double jade carvings of this type have been described not only as “Marriage or Nuptial Cups”, but also as “Champion Vases” by their owners over the centuries.
These are quite rare and can be found in museum collections throughout the world. There is a jade champion vase in the Victoria and Albert museum in England.
There is also one at the National Palace Museum in Taiwan.
Prices for similar but not absolutely identical jade champion vases have been increasing over the last decade or so. There are major similarities in most all of these vases but the minor details often vary from one to the next.
On November 1, 2004 , Christies Hong Kong sold a calcified green jade Champion vase for $80,256.00 against an estimate of $25,831.00- $38, 746.00 (sale 2177-Lot 834).
On November 27, 2007, Christies Hong Kong sold a white jade Champion vase for $248,842.00 (sale 2388-Lot 1547). It had an estimate of $38,730.00 - $51,640.00. It was 5 1/8 inches tall ( 13 cm).It was exceptional and from a well known collection.
On March 18, 2008, Christies Auction House sold a Champion Vase of somewhat similar appearance for $50,000.00 US (Christies: Sale 2267-Lot #440) It was 5 7/8 inches tall. On June 12, 2012, another jade Champion vase was sold for $64,000.00 (Christies –Sale 3509 /Lot #161). It was 5 1/8 inches tall.
Another jade champion vase is scheduled to go up to auction very soon ( Christies NY- September 13, 2012 ( sale 2580- Lot # ?). It is estimated to bring $50,000.00-$70,000.00. _________________________________________________________________________________
This large Chinese Cloisonne covered box measures 15 inches in diameter. It actually measures 17.5 inches wide, when you include the bronze handles on either side. It also measures 8 inches tall.
It is in excellent condition with the exception of a small circular restored spot on the bottom of the exterior. It appears to have been repaired in the late 19th century, based on the odd shade of green enamel that was used in the repair.
The cloisonne scene on the lid consists of a phoenix (fenghuang) looking down on a mountain range across the waters and under a red sun (a possible reference to Japan).
The chrysanthemums in the foreground may refer to Japanese royalty. This could have been designed as a gift for Japanese royalty.
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 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).
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 glazed ceramic seated Buddha measures 7 inches tall by 6 1/2 inches wide by about 5 inches in depth.
It consists of a blue glaze over buff ceramic. The glaze is a deep sky blue ranging to shades of turquoise and pooling to black in the crevices. The bottom has a very fine mesh pattern embedded in it that resembles linen. There are no marks of any kind on it.
This seated figure dates to the Kangxi period of the Ching Dynasty (1644-1911) or possibly earlier.
It is in excellent condition, period.
This Meiji period JAPANESE KUTANI BOWL measures 10 1/2 inches in diameter and 4 inches deep.
It is in excellent condition with slight wear to the gilding as would be expected .
It is signed on the bottom (see enlargement).
This Japanese ceramic figure of Kannon measures 17 inches tall and about 6 inches in diameter at its widest point.
It has four incised marks on it's base, two Kutani marks and two potters mark (see closeup photo).
It dates to the Meiji Period in Japan. Kwannon is also known as Kannon or Kwan Yin and Guanyin in China.
It is in outstanding condition with no flaws, cracks, chips or losses.
This 19th century Japanese carved ivory okimono measures approximately 9 inches tall by 2 1/2 inches in diameter at it's widest point.
It is intricately carved with fully delineated scales and teeth on the fish. The figure riding a fish is carved from one solid walrus tusk and it sits on a separate oval section as a base. The crystalline pattern that is so indicative of walrus ivory can be seen in many places on the carving, including Kinko's robe (interior front left) and the belly of the carp or koi.
It dates from the Meiji Period in Japan (circa 1870-1900).
It is in very good condition with some stabilized antique ivory fractures as are seen on many of these okimonos that are well over 100 years old.
Japan originally imported and adapted many Taoist and Buddhist teachings from China, which were then combined with native Shinto beliefs.
One Taoist figure incorporated into Japanese artwork was Kinko, a holy hermit. He is often depicted mounted on the enormous carp that carried him to the Undersea Kingdom. There, sea creatures taught him that all life is sacred.
In Japan the carp (koi) is also a symbol of persistence, longevity, and fertility. Land-locked farmers have kept carp in their ponds to provide food for centuries and also bred them for their beautiful colors.
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.
This ANTIQUE CHINESE EXPORT PEWTER FISH BOWL & COVER measures 8 1/2 inches by 7 inches by 4 inches.
It is in excellent condition with no evidence of restoration or repairs. It does have some tarnish and wear as would be expected on a soft pewter serving dish that is between 120-160 years old.
IT IS HALLMARKED ON BOTH THE BOTTOM OF THE BOWL AND UNDER THE LID.
IT STILL RETAINS IT'S ORIGINAL GLASS EYES.
This antique bronze figure of the Monkey God Hanuman measures 5 x 4 x 1 1/2 inches (13 x 10 x 3 cm).
It is in excellent condition.
This ancient bronze figure was most likely crafted in Northern India, Tibet or Nepal.
We are dating it to the 17th - 18th century, although it may actually be much earlier, based on it's stylistic similarities with small Pala period bronze figures.