Showing 13–24 of 51 results
The top design on this stoneware garden stool is a simplified open narcissus with a white and yellow center; it is a symbol of good fortune and prosperity. Below are intertwined double lozenges, followed on the lowest register of by white octagonal shapes and ending with a low orange-yellow rectangle pierced in the center. A…
This five-sided Shiwan stoneware pillow with slanted top, open bottom, vibrant glazed surface, and etched coin and diamond design was used for smoking opium as the cool shell cradled the users’ heads and necks and offset the warmth of smoking and the hollow inside stored valuables. We have another which can be paired with it. If a candle is placed inside it emits an amazing shadowy form of a coin, which appealed to those in an opium state.
This very attractive antique green glazed teapot is typical of the stoneware pottery made in the Shiwan kilns in Guangdong during the 18-19th century. Finely designed, this hexagonal pot has a yoked rounded handle with spiral decorations that adds a delightful touch. The pieces are well known for their brilliant flambé—or flame-like quality – glazes such as apple green glaze of this pot.
Sawankhalok in north-central Thailand is an area with a large ceramic kiln output during the Sukhothai Kingdom (1238-1583). When Ming emperors forbade export of Chinese ceramics from 1368-1487, a period known as the Ming Gap, Thailand became a major ceramics producer and exporter to Southeast Asia, Japan and the Middle East. During the 14th and…
This terracotta head was crafted during the Majapahit Empire in Java and was either part of a Hindu bas-relief frieze or made as a freestanding figurine. Most figures found are small decapitated heads with no bodies, and it is very rare to find a complete figure with a naturalistic facial expression. As with many heads, this one displays Javanese facial features, hairstyles and ear ornamentation typical of the period. It has a naturalistic facial expression and wears large round coiled earrings, possibly suggesting it represented someone of the upper classes. It is in very good condition given its age and use and is mounted on a metal stand. This items pairs with Majapahit Terracotta Head 1137.
In China a set of earthenware Zodiac attendant figures was made as a 12 piece grouping, with each figure holding a small calendar animal with each year represented by a different animal – rat, ox, tiger, rabbit, dragon, snake, horse, goat, monkey, rooster, dog, and pig or boar – in a repeating 12-year cycle. Although…
Often ancestral figures were portrayed sitting in horseshoe chairs to reflect their high status. As many earthenware mingqi, this well-modeled chair has a liberally applied green glaze resulting in expected drips around the stretchers. The seat is decorated with a yellow glaze imitating caning and the decorative carved design on the splat also has a green glaze and a carved decorative “clocklike” circular design. The bottom of the seat and legs are not usually glazed. In very good condition with expected minor chips and minor glaze deterioration consistent with its age and long burial, it pairs perfectly with item 3330 and together would add to a fine collection of Chinese ceramics or brighten up a small space.
This charming miniature Ming dynasty ceramic horseshoe pottery chair is an accurate model of an impressive beautifully grained hardwood Ming chair with a continuous horseshoe shaped top rail and a caned seat. The curved splat of a wood chair might have either carved or pierced motifs or medallions and straight or curved stretchers joining the legs in pairs at the same height on each side. Often ancestral carved figures were portrayed sitting in horseshoe chairs and reflect the high status of the figure they were portraying. This ceramic mingqi (burial item) has a thick green glaze throughout which was liberally applied normal usual drips around the stretchers. The seat is decorated with a yellow glaze in imitation of caning as is the decorative carved design on the splat, but the bottoms of the seat and legs are unglazed. The rail ends splay to the right and left for hand comfort and decorative effect are traditionally found in Ming Dynasty hardwood chairs. In very good condition with minor chips and paint losses, it was buried underground in a tomb for centuries. This would be a fine addition to a collection of antique ceramics or simply a beautiful decorative piece to brighten a small space.
This charming antique white glazed porcelain figurine is a cat teapot with a raised paw with removable head for pouring liquid into the vessel and long sinuous tail as a handle to pour liquid from the opening at the end of the paw. The hand painted design is whimsical and colorful with a thin ribbon-like blue collar and a dangling ornamental bow with black accents defining the face, ears, head and paws.
This elegantly shaped and beautiful high-fired antique porcelain ewer was decorated on its outside with a saffron-colored glaze called a coral red glaze. The sides have a white glazed quatrefoil panel with hand-painted multi-colored floral designs on a white background within a gold frame interspersed among sinuous gold leaf vines across the body and neck and a white glaze covers the inside and bottom. Its beauty is enhanced with its graceful spout, colorful white and gold panel beautiful.
Known as the Laughing, Happy, or Fat Buddha, Budai is regarded as a deity of contentment and plenty. Like most Early Chinese Republic porcelains this piece is hand decorated in famille rose enamels with vivid blue, red, and green pigments portrayed as a stout, smiling, bald monk in robes with a large, exposed pot belly surrounded by five children. Since the stomach is considered the seat of the soul in Chinese beliefs, it demonstrates his open heartedness. His wide smile attracts the children surrounding his body indicating his regard for them and his joy when they encircle him and well as the belief he can bequeath families with children.
Utilitarian ceramics like this were used in home kitchens and restaurants to hold oil, sauces, soy or other liquids. This spouted blue and white porcelain jar has four loops, also called lugs, so a natural fiber such as rattan could be threaded to either secure a top create a way to hang it to a peg. Sealing the top was very useful if the jars contained liquid and needed to be transported. The piece is decorated in a free and expressive manner with a charming impression of a country scene of a building in a landscape surrounded by tall trees. The cobalt is thick and dark in some areas of the foliage and applied with a thin, sparing and light brush elsewhere.
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