A large Arita celadon and Blue & White porcelain dish, 18th century.

The attractive dish with a misty village and waterfall scene within a moulded celadon border. The back celadon glazed to the foot-rim which contains a six-character Chenghua mark and five neat spur marks.

Approximately 29.3 cm diameter. Perfect condition.

Please study the photographs.

For new customers resident in China sadly I have to state that I am no longer prepared to accept payment...

From our Japanese Collection, a large and very regal pair of imari vases, Meiji Period 1868-1912, beautifully executed in traditional palette of iron red, orange, blue, and gilt on a white porcelain body, with kiln marks to the base.

Size and Condition: 12 1/4 inches tall, 6 1/2 inches wide. Some light rubbing to the gilt in places commensurate with age and handling, but essentially perfect condition.

From our Indian Subcontinent Collection, a large and fine vintage thangka, either Tibetan or Nepalese, executed in a subdued yet very elegant palette emphasizing substantial gold use, along with blue, coral, gray, brown, taupe, white, and light green, all painted in an unusually meticulous and finely detailed fashion that is almost more like satsuma workmanship than typical thangka painting. For those who enjoy the look and spirituality conveyed in thangka paintings but do not care for the gaudy...

From our Indian Subcontinent Collection, a large and fine vintage Pakistani Bokhara rug using extra fine wool and silk in classic Tekke Gul design, handwoven on a vertical loom with cotton base, using a combination of natural mineral pigments and synthetic dyes in brown, black, taupe, cream, and pale green. Whilst Bokhara rugs are often perceived as utilitarian in nature and not seen as art objects by their makers, this particular rug is of such good quality that the maker decided to sign it. T...

From our Japanese Collection, a very good, large, and older pair of Japanese cloisonne vases, late Edo to early Meiji Period, probably 1850-1875, executed with floral motifs including wisteria, peony, and chrysanthemum, along with small birds and butterflies, all set against a turquoise blue ground upon a lobed, melon-shaped form.

This is an attractive and quite sizable pair of early cloisonne that illustrates the evolution of this art form just prior to the Golden Age, when the Japanese ...

From our Southeast Asia Collection, a large and classic 19th century Burmese Hsun-ok from Pagan, of well- known and documented form, constructed of wood that is first lacquered in black, and then covered in successive layers of cinnabar-colored lacquer called hinthabada. Over time, through use and handling, the cinnabar lacquer wears off to reveal the black lacquer base underneath. The negoro effect here is not as pronounced on this piece as it is on our other recently posted hsun-ok (see item ...

From our Southeast Asia Collection, a large and classic 19th century Burmese Hsun-ok from Pagan, of well- known and documented form, constructed of wood that is first lacquered in black, and then covered in successive layers of cinnabar-colored lacquer called hinthabada. Over time, through use and handling, the cinnabar lacquer wears off to reveal the black lacquer base underneath as seen on this example, in an effect likened to the negoro effect seen in Japanese lacquerware.

These old,...

We offer from our private exhibition a Tibeto-Chinese large and heavy gilt bronze four faced Amitayus Buddha from the late Qing Dynasty ( 1644 - 1912 ).

The Amitayus ( Bodhisattva of Longevity ) is seated on double-lotus throne in dhyanasana and with both hands in dhyanamudra.

The statue is 17,1 inches high and 7,5kg heavy!

It is marked and in great condition.

Shipping included

A porcelain water coupe with Langyao glaze, the color of the glaze is various due to the kiln fire temperature from different side. Kangxi period. Condition: chips and grinding on foot rim; there are two missed-glaze spots on the rim. No other flaws other than these. Please see photos for details. Body width: 5-1/4"(13.5cm)

A Landscape in Autumn by Nam-Nong, Huh-Gun (1907-1987): Korea, Mounted with Fabric and inner frame, The artist’s pen name; Nam-Nong, Name; Huh-Gun Painted in ink and color with an Autumn scene on paper, Two Seales, Huh Ryun, Nam-Nong in red, on upper left with poem. It is in very good condition. It measures 25 1/4” x 16” ( 65cm x 40cm)

A lacquer inro with applications of gilded and burnished metal flowers, depicting the blossoming of the cherry tree, on a nashiji background. The decorative branches on the inro were created using the maki-è relief technique in lacquer. The ojime is made of blond horn and the netsuke manju, carved from deer horn, depicts Fukura Suzume. Origin: Japan Period: Edo late 18th early 19th century. Overall dimensions: 8 x 7.5 x 3 cm. Netsuke size: 4.5 x 2 cm. State of conservation: Ve...

Okimono in lacquered, gilded and painted wood with finely engraved details depicting a magnificent sinuous carp. Zōhiko 象彦 signature painted under the belly. Period: Taisho 1920 ca. Dimensions: 9.5 x 30 x 9 cm. Conservation status: Excellent condition.

A very modern and sleek interpretation of the classic lacquer sake warmer otherwise known as a “chōshi” in Japanese. The author of this piece, Kado Isaburō, was born in the town of Wajima in Ishikawa in 1940. Born into a crafting family, he learned the family trade from a young age from both his mother and father and would later go on to do an apprenticeship under Hashimoto Tetsuhiro. In 1962 he would win his first award at the prestigious Nitten exhibition for modern art with ...

Daikoku‘s hammer, symbol of power and abundance, capable of granting wishes, made of lacquer and embellished with gold leaf. The decorative motifs on the hammer are floral and geometric and create a harmonious design. Period: Meiji end of 19th century. Dimensions: 16.5 x 7.5 x 7 cm. Conservation status: Excellent condition. There is some lack of gold leaf.

This little chap is looking remarkably relaxed considering he has lost the tips of his fingers on one hand. And the tip of an ear also. Still, he is quite a rarity and makes a fine desk companion.

Approximately 6.5 cm high.7.5 cm maximum width.

Please study the photographs.

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Pleas...

A Kutani “Yoshidaya Revival” dish, early 19th century.

The Yoshidaya kiln was a short-lived venture, situated in Yamashiro, intended to revive earlier Kutani-style wares. The founding investor was Toyota Denuemon IV (aka Sekio, lived 1751-1827), a businessman who used the professional name Yoshidaya. He chose not to situate his kiln in Kutani because of the site's remote location, but his wares emulate the earlier Kutani wares in a variety of ways.

Approximately 15...

A striking porcelain double gourd vase by the eminent Kutani potter Matsumoto Saichi V The tall shape has four raised ribs on the matt buff/white glazed body, the bottom gourd boldly painted with sets of green stripes on a tan ground. The buff/white glaze is curious, on close inspection it looks like crushed oyster shell. Signed on the base. The vase comes with its original signed and inscribed box.

Approximately 31.7 cm high. The vase and box are both perfect.

Matsumoto Saich...

A tradition dating from the mid-16th century, Raku teabowls are made by hand, without the use of a potter's wheel; giving them a distinctly human feel. In the process of shaping the bowls, potters handle the tea bowls in much the same manner that users will hold them as they drink from them. In this way, we can imagine a connection is formed between the creator of the tea bowl and the participants in the tea ceremony. For this and other reasons stemming from historical circumstances, Raku bowls ...