This pair of charming 18th-19th century copper censors are in the form of small archaic wine jars. They have some verdigris on them but they are in excellent condition.
They measure 5 1/4 inches tall by about 4 1/2 inches wide.
The tripod feet are comprised of foo dogs or temple lions with elongated tongues. They have been used as candle holders at some time and retain a small amount of wax on the interior.
There are no marks on these censors. Circa 1780-1840's.
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.
This is a small, antique Tibetan copper & white metal or silver prayer box and /or portable shrine (Gao) with a small gold colored seated Buddha statue inside.
It dates circa 1890-1930.
It measures 3 1/3 inches tall by 3 inches wide by 1 1/2 inches in depth.
The front cover is covered overall with wonderfully tooled reposse images, including a Tibetan beast or lion surrounded by Buddhist calligraphy, topped by a flame. The rest of the box is copper, under the protective, stitched cover.
It also has stitched covers from the early to middle 20th Century.
It is part of a small collection of antique Asian silver artifacts that were acquired a while ago. Please check our other listings to see additional items from this small but select collection that we are currently offering for sale.
This blue glazed on buff colored ceramic or pottery figure of a seated Buddha measures just over 4 inches tall by 2 1/2 inches wide by 1 1/4 inches in depth.
It is in excellent condition with the glaze pooling to black in the crevices.
It dates to the Qing (Ching) Dynasty (1644-1911).
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 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.
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 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 late Ming through early Qing Dynasty, but it may actually be earlier.
This is an original antique Chinese carved lacquer cup.
It measures 2.75 inches in diameter and about 4.2 inches wide (including the Fu Lion handles on either side of the cup.)
It stands about 2 inches tall (measured from top to bottom.)
It has two robed figures seated on clouds set out against a repeating pattern.
This cup dates to the Qing Dynasty (1644-1911) or, quite possibly, even a bit earlier.
It is in excellent condition except for a tiny loss of lacquer on the interior lip of the cup (see closeup photo).
This cup was part of a small collection of Chinese carved lacquer purchased about 25 years ago from a private collection established in the early 20th century.
This is one of two similar cups that were part of the original collection. The cups were not a matching pair, but are of a very similar style. We will be offering the other cup later on.
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 substantial bronze handled pitcher measures 6 inches tall by 4 inches wide by 7 inches in depth.
We are dating this one to circa 1790-1820, but it may be much, much older. It is either a Neoclassical bronze copy of a Roman bronze or the real thing. We have priced it as a copy, but if real, you can add a couple of "00"s to it's price.
It is in excellent condition, except for a few small bungs and a restoration to the base. The bottom appears to have had three holes filled a long time ago. It may also have been leveled a bit to allow it to sit evenly (this part is speculation).
It has an even greenish black patina overall.
This Japanese bronze handled mirror measures about 8 inches in diameter (21cm) with an extended handle which increases the full height to about 12 inches or 30 centimeters(cm).
It dates to the late Edo Period or Early Meiji period ( about the middle of the 19th century (1840-1860).
It is signed in the left portion of the front. It also has birds flying over churning waves in the ocean.
It still has most of it's silver ovrlay on the two large Kanji marks on the front. It also has remnants of it's silver on the reverse or "Face" of the mirror.
Bronze mirrors were introduced into Japan from China and Korea about 300 BC - AD 300.
At first they had a religious function and were regarded as symbols of authority.
The Japanese soon learned to make their own mirrors using lost-wax casting and decorated them with Japanese or Chinese designs.
By the Nara period (AD 710-794) mirrors were made for everyday use and used designs such as plants and animals to symbolize good fortune.
From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular.. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568).
During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimetres across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tinners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. Bronze mirrors were replaced by glass mirrors after the Meiji Restoration (1868).
This outstanding quality Ding Yao covered ceramic box, although Song Dynasty in appearance, may actually date from the Ming or Ching Dynasty.
It measures 8 inches in diameter by about 3 inches in height.
The domed cover is incised with repeating leaf patterns around a central leaf set within a circle.
It is in excellent condition with a circular kiln fracture around the outside of the bottom rim (see enlargement photo). This is original to the piece and is not considered damage.
This hand painted ceramic vase measures about 10 inches (24.5 cm)tall by 5 inches (13 cm) in diameter at it's widest point.
It dates circa 1870-1900 (during the late Meiji Period) in Japan.
It is in excellent condition with virtually all of the high relief gilding intact.
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 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 # ?). Estimated Value: $50,000.00-$70,000.00. _________________________________________________________________________________
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).