The cinnabar lacquer covering this late 19th/early 20th century Burmese “kwet,” or serving bowl, is satin smooth and cool to the touch. Years of daily use have enhanced both the look and feel of this large bowl, with black lacquer showing through the red in areas of wear. Six black ribs curve down to the feet, and the top is curved and rolled inward, giving the vessel beautiful balance. The old Burmese process of producing such lacquer pieces was labor intensive and time consuming...

This late Qing scholar’s box has a removable dark red and gold carved front panel that secures four drawers behind it. The intended interpretation of the gilded garden scene carving is a mystery: A man and woman appear to be observing or celebrating an object, possibly a manuscript, tied with a rope into a bundle that is suspended above them from an overhanging flowering branch...

This traditional Chinese wedding basket, made of light-weight wood, has 25 different black and gold vignettes of Qing Dynasty life painted on its octagonal trays and lid. The tall black bent willow handle is wrapped in bamboo strips woven into a black-accented pattern. The base of the basket and the scene on the lid are framed with key patterns, another element typical of the profuse symbolic adornment often found on late Qing items, especially those associated with marriage...

This handsome bamboo basket from early 20th century China is a fine example of the care that was lavished on the creation of everyday utilitarian items by Chinese artisans. Delightful woven designs on the handle, knob and basket edges are emphasized in red, and a pattern of painted black designs encircles the lid. The bottom of the basket is recessed and rests atop a red and black bamboo base. The basket is strong, light, comfortable to carry and attractive. It is in excellent condition...

This 19th century Burmese lacquer offering bowl, called a hsun-ok, differs in size from the typical spired vessels used to carry offerings of food to Burma’s Buddhist monasteries. This one is smaller—20 inches in height and 9 inches in diameter, while the average size of a hsun-ok is about 30 inches tall and 15 inches in diameter...

A small red Chinese cabinet from late 18th/early 19th century has delicate roundel paintings of flowers randomly spaced with floating sketches of foliage on its two front doors. Rendered in fine black lines, the paintings have faded and mellowed, retaining only sparse touches of their original gold highlights. A round brass backplate echoes the roundels...

Two Chinese ovoid ceramic ginger jars convey a rich symbolic message with their “three friends” designs of bamboo, pine and plum branches. Venerated in China for centuries, the three trees have been grouped together in paintings and poems to represent the ideal of perseverance in overcoming adversity...

A Qing Dynasty lidded wooden box designed to serve pancakes combines handsome form with evidence of long use to evoke hundreds of banquets in late 18th/early 19th century China. The top of the notched lid is centered with a green and gold painting of chrysanthemums, symbol of conviviality. Faded calligraphy can still be seen on the underside of the lid. The bottom surface of the container also has very faint remains of calligraphy...

This tall Qing floor vase measures nearly two feet in height and has magnificent coloring—vivid indigo on a soft celadon background. Touches of bright white in the strong indigo design bring four full-blown flowers into sharp focus. A long-tailed bird perches among the flowering tree peony branches that extend around the sides of the vase. This classic Chinese baluster vase is from the late Qing period and is in perfect condition. Dimensions: height 23” (58.5 cm), diameter 9” (23 cm)...

This late 18th/early 19th century Chinese wood Buddha, nearly three feet tall, is carved in the Udayana image, an iconic pose used to portray the Shakyamuni Buddha. The figure, standing on a double lotus throne, gazes imperturbably out at the world with right hand extended in varada mudra, the Buddhist gesture of charity and blessings...

This late Meiji era Japanese silk obi with pattern on both sides of its full 116 inch length is classified as a “han haba” obi because it is half the width of the standard kimono belt and, with its softer texture and informal pattern, is meant to be worn at home or with yukata in the summer. The unusual color combination of lilac, gold, yellow and white on a dark turquoise background adds interest to the casual design...