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This is an excellent example of the daily-use utilitarian earthenware oinochoe created for the masses. . Its body is tapered and ribbed from the everted rim to just above the flat, wide foot making it stable and attractive. It was made using a potters wheel, seen by the circle marks on the bottom and the uniform ribbing.
Made in the Roman North Africa, this ancient ceramic flagon was made for the lower classes and called coarse wear. Used to hydrate all kinds of people and on home altars to make offerings to domestic family deities, it is a common ancient pottery shape having a handle and an angled edge around the entire vessel.
This small 4th century BCE Xenon earthenware container has a single strap handle. Its body is decorated with orange painted designs of a continuous geometric meander, a band of tapering vertical lines above and a thin line around the body below it.
Hand made in a folder style, this Bolivian religious document holder possibly used for priests’ sermons or other important documents, is decorated on each side with brocaded purple fabric with gold thread. The finely brocaded stylized and symbolic passion flower designs are framed by geometric and curved gold borders and the inside and ends are lined in red fabric. Our images do not do it justice as they cannot capture light flickers from the interwoven gold threads and vibrant gold floral patterns.
To pay homage and respect to one’s ancestors, Chinese rural families commissioned images to honor and protect family members, and in some instances, their domestic and farm animals as seen in this exceptional, fine and rare carving. Intricately carved from one piece of wood, it depicts a Taoist official holding a hu tablet on top above the “Spring Ox” accompanied by the “Herd Box”, who together perform an ancient agricultural rituals at the end of each winter to wake the earth up so that spring can arrive.
Although this wonderfully carved antique figure portrays an ancestor depicted as an official, his atypically benevolent and finely modeled face makes him a very endearing figure. Old and weathering from age in its rear, this piece was repainted probably in the 20th century, as was always periodically done with old figures with losses, here especially due to the seasonal South China climate. With his individualized convincing features, he is a very relatable rather than authoritarian figure, possibly resulting from the affection of the family that commissioned it.
This exceptional Qing carving portrays a seated official ancestor wearing traditional official’s clothing, a red and black official’s hat and black boots. His inset glass eyes and high cheekbones frame a large curved nose, a strong projecting chin and forehead wrinkles indicating a man of importance with the wisdom of age who demands respect. The top two robe layers have wide borders with marvelous raised lacquer decorations that include beautiful cloud forms, flying phoenixes with spread wings and floral sprays.
This rare fine woodcarving represents Chou Ts’ang, the aide-de-camp to Guandi, the most revered military hero in Chinese history. Portrayed with black skin tones, he has an intense expression highlighted by inset glass eyes and wears a military uniform with raised beads bordering his topcoat tied above his waist, a belt below his stomach, and heavy black military boots and hat. The sword he originally held is now missing. His plain round pedestal has an indentation in the middle, possibly to affix the figure to a larger configuration.
This fine woodcarving is Chou Ts’ang, the aide-de-camp and attendant to Guandi, the most revered and well-known military hero in Chinese history and the Taoist God of War. As an attendant his hands held together and eyes down cast in respect and legs firmly planted on the ground. His protective military clothing and heavy boots presented in detail and the high red and black pedestal with painted gold florals make him a key figure even though the figure of Guandi he attends would have been much larger and important.
This precious finely-carved diminutive figurine is an enlightened Buddhist attendant who stands on a double lotus base used only for enlightened beings as part of an array of images to bless the family for a special occasion – the marriage of a son or daughter as indicated by the inscription on the back. With hands in reverence her eyes glance down down modestly with dellight for the figure she attends and the joyous occasion . The skillful modeling of the image and the detailed inscription make this a very special piece.
This well-carved figure represents an attendant that would have been on a home altar to accompany a Taoist figure. Standing on a tall pedestal with a slight smile and downcast eyes, he reaches across his chest to present a rounded box secured with a ribbon. He wears an official’s hat and boots, open waistcoat over an undergarment secured at the waist. The pointed inner panel of his lower garment has slightly flaring panels with incised carved decorations. He is in very good condition with remains of the original lacquer and gilt which have naturally darkened from age and. from years of incense, age and use.
This charming miniature ewer or small pitcher was made during the Tongzhi Period and probably used in a restaurant or home kitchen as a dispenser for soy sauce, oils or other liquids. Likely from a provincial area, the spout and handle are elegantly curved. The thick cobalt blue designs are set on a spotted grey ground with a chrysanthemum on each side and abstract plantain curved vertical leaf designs below. There are also bindweed vines on both sides, neck and lid and the oval above the flower. The lid’s underside is unglazed and has a lotus shaped bud atop for lifting, and the inside and lid’s underside has century old stains from soy, dried oil or other dark liquids attesting to its age and use. It is in good condition with some chips, discoloration and spotting consistent with its age and use. The bottom has a Chinese antique export seal.
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