Pre Columbian Olmec Jade hardstone figure of a seated man. Mesoamerica Circa: 1200 BC to 500 BC. The material is a variegated pale green nephrite with oxidation to the matrix of the stone due to interaction of soil minerals over several centuries. The dimensions are 8"H x 5"W x 4"D.

Burmese manuscript containing rules for the correct performance of the monastic ritual, written in Pali language. Containing 16 palm leaves and two wooden cover boards, decorated in red lacquer and gilding. The folios are inscribed (fourteen on both sides) on a plain gilt ground with ink or lacquer in five lines, having small buildings to show punctuation. The boards and the backside of two leaves are decorated with floral roundels and lotus leaves...

Japanese antique black formal winter silk kimono hand dyed and finely painted along the bottom with a powerful predator hawk or falcon on rockery preparing to attack a much smaller chidori (plover) flying above churning water. The scene is set against a landscape of pine branches on a pale celadon background. Symbols of military strength, Japanese artists historically painted raptors for the wealthy nobility and samurai warriors who ruled Japan...

A superb elephant shaped incense burner by Miyanaga Tozan enclosed in the original signed wooden box titled Seiji Zo Koro. Extreme clarity in the fine details, I will let the photos speak for themselves. It is 6 x 4 x 6 inches (15 x 10 x 15 cm) and in excellent condition. It comes with a pamphlet dated Showa 16 (1941) the last year of the artists life.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics...

An old soapstone seal was in very good mood of scholar taste.

Two lions were vibrantly rendered on the top of the seal as a knob.

While well maneuvered inscriptions were on four side of the stamp.

For Chinese literati, the scholar taste was most treasured, by the meaning of the inscriptions and by the craftsmanship of the carving on the inscription.The seal obtained all these characteristics.

And the tint of this stone was in great mood too...

In the shape of a Sennin (Immortal). H. 10 cm. Very good age wear and patina. Repaired at the feet.

A very well carved netsuke in the shape of a lion's head, wit moveable jaw and brass eyes. H. 3,5 cm. very good age wear and a nice glossy patina. Excellent condition.

Two Meiji period Ostrich eggs hollowed and decorated with rich lacquered Maki-e designs of Uminosachi (treasures of the sea) on one, and Royal Crests among scrolling vines on the other. They come in a custom collectors compartmentalized kiri-wood box, one with the original Meiji period stand, the other with a more modern brass wire stand. They are roughly 6 inches tall each (16 cm)...

Japanese vintage Taisho to Showa period black formal silk child's kimono hand dyed and painted with a horizontal scene illustrating the story of the children’s folk hero Kintoki (also known as Kintaro, or the “Golden Boy”) refereeing a sumo wrestling match between a rabbit and a monkey all set against a celadon background permeated with auspicious symbols...

Pair of fascinating and well modeled Chinese Qing dynasty Qianlong period soft-paste creamy white crackle glazed porcelain zodiac figures depicting a monkey and dog, both dressed in clothing and wearing boots, seated on high backed armchairs. The monkey holds a peach in one hand. Custom wood stands. 18th century. Each measures about 7” high (excluding stands). The figures have old repairs and recent fine quality restorations and are very stable...

A very rare Jianyang temmoko bowl was in unique firing effects.

Perfect condition.

Width: 12.3cm.

Date: Song Dynasty, 12th Century.

A custom-made cotton box is included.

Chinese late Qing dynasty to early Republic period Album of Beijing Customs from the Zhou Peichun Studios (also referred to as Chou Pai Chuen and Chou P’ei-ch’un) consisting of seventeen leaves of ink and gouache color on pith paper export paintings. Each painting illustrates five to seven Beijing shop signs, each with an accompanying Chinese description. Each leaf holds a red Zhou Peichun seal. The individual paintings are thread bound on the right side...

A tinned copper tea pot with etched decoration of birds among tendrils, Persian or Central Asian. The lid with brass knob. Condition: tin plating worn, some tiny dents. Dimension: 16.5 cm high, 22 cm long.

A miniature neolithic pottery jar with fishnet pattern and outlined in black separated by fields of X patterns. Attached to the rim are two lug handles. Age:Hongshan Culture, 2nd half to 3rd millennium BC. Size: H. 9cm. Rim Radius 9cm. Condition: No repairs. Few chips from age.

Superb carving work figuring a Raktsatsa (devil) masks, few old wounds, hard wood, old reddish color, from the first half of the 20th H 25 cm More information on request

A large 17th to 18th century Buddhist sculpture of a Rakan (arahat), well sculpted, his naked torso gilded in gold with robes and shoes in black lacquer, carrying a large urn which is an active incense burner. The sculpture is 2 feet (61 cm) tall and in overall fine condition. There are minor losses to the lacquer and gilding typical of age, and a repair to his left foot. Both little fingers are missing from his hands; these could be repaired if desired at additional cost.

Chinese Qing dynasty Tongzhi mark and period 5-petalled foliate form porcelain footed bowl decorated on the exterior with alternating black and red calligraphic inscriptions set against a white porcelain ground. The bowl has a turquoise interior and gilt at the rim. A short foliate form base is decorated with a band of red scrolls. The turquoise glazed deep recessed base holds an iron-red zhuanshu 6-character Tongzhi mark on a square white ground. The foot is unglazed...

The shape of the jar is very typical for the Siwa Culture with the curved mouth and the handles. Apart from some minor repairs to the mouth rim it is in good condition. H. 13 cm. This jar is from a collection of 30 Neolithic pieces that I bought from a Dutch collector.

The shape of the jar is very typical for the Siwa Culture with the curved mouth and the handles. Apart from some minor chips it is in good condition. H. 22 cm. This jar is from a collection of 30 Neolithic pieces that I bought from a Dutch collector.

Decorated woth a taotie mask at the end. Length: 18,5 cm. Condition: very good with a wonderful patina.

This rare group dates from the early Tang Dynasty. It's made of grey pottery and it has traces of painting ( see the back of the cart ). The ox is very well proprtioned and was made with an eye for detail: notice the ring in the nose and the tail curved around its body...

Part of a ceremonial dancing apron. Dimensions: 15 x 4 cm. Good condition with extensive age wear and a glossy patina.

Made of red pottery, covered with a white slib on which the painting was applied. Some of the pigments are still remaining. H. 33 cm. Condition: very good, no traces of repair, although repairs are very common and accepted on archaeological pieces. There is paint loss and there is soil stuck to the figure. On the inside there are the remains of plant roots. A TL-test from Laboratory Kotalla confirms the authenticity of this piece. We bought three fat ladies that came from the same tomb. Please ...

Made of red pottery, covered with a white slib on which the painting was applied. Some of the pigments are still remaining. H. 34 cm. Condition: very good, no traces of repair, although repairs are very common and accepted on archaeological pieces. There is paint loss and there is soil stuck to the figure. On the inside there are the remains of plant roots. A TL-test from Laboratory Kotalla confirms the authenticity of this piece. We bought three fat ladies that came from the same tomb. Please ...

Made of red pottery, covered with a white slib on which the painting was applied. Some of the pigments are still remaining. H. 32 cm. Condition: very good, no traces of repair, although repairs are very common and accepted on archaeological pieces. There is paint loss and there is soil stuck to the figure. On the inside there are the remains of plant roots. A TL-test from Laboratory Kotalla confirms the authenticity of this piece. We bought tree fat ladies that came from the same tomb. Please h...

Chinese late Qing dynasty Guangxu period to early Republic period monochrome porcelain baluster form vase with wide mouth covered overall in a transparent iridescent apple green glaze applied over a geyao style densely crackled base. A dense geyao style glaze set against an oatmeal ground lines the mouth, interior, and base. This type of ware is typically referred to as “green geyao.” A light brown dressing is visible on the mouth rim. The foot rim is unglazed. A red “China” mark is...

Chinese late Qing dynasty bombe form porcelain censer with two lion dog mask handles at the sides. The censer is covered on the exterior in an oxblood flambé (sang-de-boeuf) glaze applied over a cream colored glaze which is visible where the glaze thins. The oxblood glaze flows over the interior edge onto a crackled gray interior glaze. The base is unglazed and burnt orange. The characteristically rough foot rim is unglazed. There is an original production flaw by one of the mask handles. ...

Japanese Meiji period bronze model of a striped tiger standing on rockery preparing to attack a coiled striking snake. Square form Genryusai Seiya mark to base. Custom lacquered wood stand included. Circa 1890. Measures about 15”H x 16”L x 9 ½”D (excluding wood stand). Very good overall condition with excellent naturalistic detail and a nice dark brown patina. This bronze sculpture is from an old Scottsdale, Arizona collection.

A quite large bamboo brush pot, all around deeply carved with warriors among a pagoda landscape. Condition: the separately carved volute foot with losses. One warrior with missing arm (see picture no.6), few cracks. Dimension: 18.5 cm high, diameter: c. 13.1 cm.

A large pair of 19th c. (Edo p) votive Inari Fox images representing the god of fortune. They are 16.5 x 10 x 24 cm (6-1/2 x 4 x 9-1/2 inches). One holds the key to the treasure house in his mouth. One would have been standing over a Buddhist jewel, however that is now missing.
Inari Okami is the Japanese kami of foxes, of fertility, rice, tea and Sake, of agriculture and industry, of general prosperity and worldly success, and one of the principal kami of Shinto. In earlier Japan, Inar...

A rare and colorful Temple prayer carpet from Lhasa Tibet of two dragons chasing the elusive flaming pearl. Late 19th century. Size: L.155 cm. W. 82.3cm. Condition: No repairs.

A double sided accordion album bound in iridescent cloth from the Meiji period containing 57 total pages covered in ancient cloth samples. 18th -19th centuries. The album is 19 x 24 cm (7-1/2 x 10 inches). Generally in good condition but the covers have some wear and damage

H. 18 cm. Very good condition with expected age wear to the gilding.

Rare Ming dynasty longquan celadon large lantern vase, rounded side with barrel shape and unglazed foot ring, celadon vase decorated with carved chrysanthemum flower motif, vertical leaf on the neck and ribbing on the lower part, flower and cross motif at the belly, covered with nice green tone celadon glaze. Vase is in good condition no chip, no crack, no restoration but a glaze line on the body. Size: 34 cm height.

Starting with the famous verse by Chinese Scholar YoYu (AD 53-18) ”The written character is a picture of the heart” (Sho kokoro Ga nari) here are written 42 rules of calligraphy spread over 10 narrow panels by the famous calligraphist Ide Gakei dated 1677. The verses appear to have been written in one sitting, the style going from crisp perfect Kaisho characters through Gyosho stylized characters and into the elegantly running Grass script (Sosho). The way the artist allows his hand to flo...

Chinese Qing dynasty Qianlong period bottle vase (tianqiuping) with globular body and tall cylindrical neck covered in a rich translucent sang-de-boeuf (oxblood) glaze with a faint orange peel texture. The glaze is thinner at the neck, revealing white at the mouth rim and a crackled underglaze. Characteristic of 18th century pieces, the glaze thickens at the bulbous body to stop in a carefully controlled manner, leaving a thin white line and an orange line at the unglazed foot (see close up ima...