Description: Walnut carving was a typical Chinese craftsmanship. From late Ming until now, this skill was treasured by Chinese people. It has been a miniature art for hundreds of years. In a clear cut way this hard kernel was carved as a deity of longevity who was favored by Chinese people. Holding on the right hand with a staff and the left hand a Peach of Longevity, he was accompanied by a boy attendant and a crane...

 

Description:

A Longquan bowl was in nice conical shape and was fired into a crackled glaze imitating the rare Guan wares.
It was an excavation piece for some time from the dry-feel condition to the glaze.
A later touch-up of gilt paint was done to the only defect found on the rim.
From the tint of the body clay, the way the foot ring was shaped and the accumulation of glaze around the mouth rim, all the characteristics stated out that it was a piece from Southern Song Dynasty...

Of rectangular form with moulded and multicolored depiction of a courtly man and woman playing an instrument, standing in a stylized landscape. The cloak of the man signed and dated Hijri 1311 corresponding to 1893. Condition: one corner chipped with repair and small imperfections, on glaze flake. Dimension: 25.3 cm x 17.1 cm, weight: 195 g.

A dark forest rises in a field of white, as if still covered in frost or snow, over which is draped a poem brushed in the exquisite script of the poet-nun Otagaki Rengetsu, Itsu to naki, Tokiwa no sato ha, Hototogisu shinobu hatsune ni, Uzuki wo ya shiru?
With the first cry of the Cuckoo, in this village of Tokiwa
Will the people realize, Spring has arrived?
To the extreme left, the cuckoo flies off the page...

Yu-Peng (1955-2014), very famous Taiwanese painter.

It was his original work in fossil pencil from 1970s.

44cm x 32cm with framework.

An attractively enamelled turquoise earthenware bottle vase depicting two cranes in flight. The base is signed with a name and Kyoto. We have a cup with identical decoration carrying a Kinkozan signature. This item was made in Japan during the Meiji period (1868-1912). Condition - there is very good old restoration to the top 4cm (1.5inches) of the neck (please see enlargement no. 7)...

Description:
An ovoid covered jar was in a decent size of 31cm in height.
In a perfect condition and owned the original cap, the ancient ware was uniquely decorated on top and on the body with whitish splashes.
The vessel stands on a small, solid foot with flat bottom.
Applied with dark tea-dust slip on most of the surface, the grayish white body clay was revealed underneath.
Enduring old clay verified its date.

Other than that:

1, Subtle crack lines were caused nat...

18th Century Chinese Tibetan Gilt Copper Repousse Dancing Buddha

It is 13.5 inches tall, and 4.25 inches wide.

It is in good condition with no repairs, chips, nor cracks, except rubbing of gold, small dents at the hair, back of head, arms, and small holes (probably for accessories), and missing accessories at the arms - all as seen in the photos.

Our Guarantee: We stand behind all of the items that we place on Trocadero...

The standing figure with intricately decorated robe, with remains of gilding and red pigments. In her hand she is holding a pagoda. At the back of the stand there are two old collection numbers. This is a heavily cast figure, H. 30 cm, weight 6 kg. China, Ming Dynasty (1368-1644)

Measuring 2 1/2" high, and 1 3/4'" wide, this lac burgaute snuff bottle is capped with a green stone holding an ivory spoon. With very precise and fine details, the body is decorated with sections of geometric designs of both gold inlay and colored mother of pearl. The central area contains floral and foliate designs, also in gold with mother of pearl pieces of pink, green, and blue. The base has an inlaid mark of gold...

Pear shaped body of ovoid section, supported on a flared foot covered in a deep imperial egg-yolk yellow glaze thinning midway down on the inside to where the balance is unglazed. The narrow sides of the neck flanked by a pair of dragon-head handles. The recessed base is glazed in the same deep yellow. The glaze stops short of the base...

Large Chinese Qing dynasty naturalistic form wood scroll pot carved from a single piece of wood with human figures, a monkey holding the peach of immortality, and other creatures extending around the exterior. It was clearly not designed to hold water as there are openwork areas throughout. The top reveals two separate holders. An inset wood plug is at the base. 19th century. 10 7/8” high x 8 3/4” across at the widest part of the rim (base 7 1/2" across at the widest part); weighs 4 lbs...

It is a very beautiful and finely potted vase dated from the early Republic period. The vase is of ovid shape, the sides rising upwards from the base, curving in towards a slightly rounded shoulder and surmounted by a short curve neck upwards to short straight rim. The body is pure white and translucent. On the body of the vase, it is a scene of autumn period as shown by a beautiful bird perching on a tree almost bare of leaves...

Dehua cup with unglazed firing ring on the center. Widht = 7.5 - 6.5 cm Height = 3.5 - 3 cm Qing Dynasty Condition : 2 cups in excellent condition, smallest cup has 2 tiny chips.

Description: A boxwood figure was vividly carved as a shepherd boy by mastery craftsmanship. Holding a pipe (which had been lost), the shepherd boy stands step-forwardly in a animated posture...

Nita A ring of skulls playfully sojourn on the front of this rather unusual deep Edo Karatsu Chawan. On back another pair tumble helplessly over the thick speckled glaze. The base is bare earth, dark and shiny with age and handling. The skulls are not just resist painted on, but are actually incised, the eyes and nostrils set deep into the southern clay. The bowl is 3-1/2 inches (8.5 cm) tall, roughly 4 inches (10.5 cm) diameter and is in excellent condition, enclosed in a wooden box.

Delicate fish scale patterns in gold on bronze lacquer highlight old chips on the rim of this large Yamachawan Tea bowl dating from the Kamakura to early Muromachi periods (12th -15th centuries). Blue glaze twinkles on the heavily eroded surface, where Shizen-yu ash pooled and crystallized. There is a large slash in the glaze where another bowl had been stacked inside, and there are much losses to the surface glazing typical of excavated works. It is this very sense of loss which defines the ...