Antiquities

This statue appears to be a stone sculpture of an apsara, a celestial nymph from Buddhist and Hindu traditions. Despite its fragmentary state, the sculpture conveys grace and movement. The apsara is captured in a dynamic pose, perhaps once part of a larger tableau, playing a flute-like instrument. The facial features are serene yet expressive, with faint traces of pigmentation hinting at the sculpture's original polychromy. The black stand was made in Hong Kong at the time of the acquisition. Date : Northern Wei...

ITEM: Scarab with pseudo-hieroglyphic, Anra-type MATERIAL: Steatite CULTURE: Egyptian PERIOD: Second Intermediate Period, 1700 – 1550 B.C DIMENSIONS: 10 mm x 15 mm CONDITION: Good co...

A Chinese Export Silver Card Case embossed and chased with figural scenes on a matte background, including playing Go and horse-riding....

This is a Fukuro Obi made in Japan around 1960s. Obi is a belt of varying size and shape worn with both traditional Japanese clothing like Kimono.Obi are categorised by their desig...

This is a Japanese wooden bowl. It is a folk craft that was used in daily life. I don't know what kind of wood it's made of, but it's sturdy. Since it is made by hand, it has a dist...

This is an old Japanese horse figurine. It was made in the early Showa period (1920s-1940s). It is mainly made of paper. (Various materials are used). It is a very elaborate creati...

Antique large Burmese wooden Buddha sitting in Mara Vijaya (calling the earth to witness) posture on a base. Age: Burma, Early Shan Period, Early 16th Century Size: Height 123.8 C.M...

ITEM: Scarab with spiral design MATERIAL: Steatite CULTURE: Egyptian PERIOD: Second Intermediate Period, 1700 – 1550 B.C DIMENSIONS: 12 mm x 9 mm CONDITION: Good condition PROVENANCE...

19th century Qing period Chinese storage basket intricately hand woven with bamboo and cane. Iron hinges and pull. Measures 20" X 20" X 16" tall . Warm aged patina. Wonderful condition.

This is an old Japanese wooden board. It is a single board with beautiful wood grain. I think it was probably the top of an exhibition stand. It was already in this state when I fou...

This is Obi made in Japan around 1970s. It is made with Silk and it is in good condition. Obi is a belt of varying size and shape worn with both traditional Japanese clothing like...

Antique Burmese wooden Buddha sitting in Mara Vijaya (calling the earth to witness) posture on a base. Age: Burma, Shan Period, 18th Century Size: Height 52 C.M. / Width 23.8 C.M. /...

Step into the enigmatic world of Majapahit culture with this exquisite 15th-century terracotta handmaiden figure, a mesmerizing testament to Java's rich heritage. Believed to have once borne offerings of oil or fruit above her head as symbols of blessing and protection, this sculpture exudes an aura of ancient reverence and spirituality. Hailing from the esteemed Trowulan region in East Java, this remarkable piece has journeyed through centuries before finding its place in the esteemed private collection of Anacleto Spazzapan. Documented in the Majapahit catalog on pages 170/171 as figure number 36, this sculpture has been meticulously studied and authenticated by Professor Agus Aris Munandar, a prominent authority in Indonesian archaeology. Professor Munandar, born in 1959, is currently the professor of Indonesian Archaeology at the University of Indonesia in Jakarta. His extensive research focuses on Hindu-Buddhist archaeology, iconography, and the ancient history of Indonesia and Southeast Asia. He served as a member of the Indonesian team of experts at National Cultural Heritage from 2015 to 2018 and previously held the role of Head of Institute and Research at the Faculty of Humanities at the University of Indonesia. Now the head of the Department of Archaeology at the University of Indonesia, Professor Munandar has authored numerous articles and 19 books, many of which delve into Majapahit culture and artifacts, solidifying his reputation as a leading scholar in the field. Professor Munandar's endorsement, complemented by a preface from Professor Massimo Vidale of the University of Padua, offers invaluable insights into the religious and decorative significance of Majapahit terracotta...

ITEM: Kylix MATERIAL: Pottery CULTURE: Greek, Apulian PERIOD: 4th Century B.C DIMENSIONS: 56 mm x 165 mm x 115 mm CONDITION: Good condition PROVENANCE: Ex Belgian private collection,...

Antique Thai wooden Buddha sitting in Mara Vijaya (calling the earth to witness) posture on a base. Age: Thailand, 19th Century Size: Height 24.9 C.M. / Width 19.5 C.M. Condition: N...

A Yue celadon vessel from the Jin Dynasty period, notable for its characteristic greenish-glazed pottery which was prominent during this time. The vessel features a globular body wit...

Qing Dynasty an antique Chinese twin handled crystal censer and cover, lion sit on the lid, two rings two lions handle, see more pictures, 14cm x 14cm.

ITEM: Scarab as a commemorative of Ramesses II or prenomen of Shoshenq III MATERIAL: Black steatite CULTURE: Egyptian PERIOD: New Kingdom to Third Intermediate Period, 1279 – 664 B.C...

Tai Lue Burmese wooden Buddha sitting in Mara Vijaya (calling the earth to witness) posture on a base. Tai Lue is a tribal people living in Burma, it is difficult to find Buddha fro...

Antique Burmese wooden Buddha sitting in Mara Vijaya (calling the earth to witness) posture on a base. Age: Burma, Shan Period, 18th Century Size: Height 44 C.M. / Width 17 C.M. / D...

ITEM: Scarab with prenomen for Amenhotep II MATERIAL: Steatite CULTURE: Egyptian PERIOD: New Kingdom, XVIIIth Dynasty, 1143 – 1417 B.C DIMENSIONS: 15 mm x 11 mm CONDITION: Good condition PROVENANCE: Ex American egyptologist collection, active in the early part of the 20th century, brought to the US with the family in 1954. Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks. Amenhotep II, the seventh pharaoh of the 18th Dynasty of ancient Egypt, ruled during the New Kingdom period around the 15th century BCE. Renowned for his military prowess, Amenhotep II expanded the Egyptian empire through numerous campaigns, solidifying control over territories in Nubia and the Levant. His expeditions into Syria and Canaan, notably the Battle of Megiddo, showcased his strategic acumen as he secured victories against local rebellions and coalitions, leaving behind inscriptions and reliefs that celebrated his triumphs. Beyond his military endeavors, Amenhotep II also left a mark through his architectural projects, albeit less pronounced compared to other pharaohs. He oversaw the construction of temples and monuments across Egypt, contributing to the cultural landscape of the time. Additionally, Amenhotep II was known for his personal interests in sports and physical activities, with depictions showcasing him engaging in hunting, chariot racing, and archery, reflecting the pursuits of Egyptian nobility and emphasizing the ideal of the warrior-king. While Amenhotep II's reign brought stability and prosperity to Egypt, his legacy is overshadowed by some of his predecessors and successors. Despite his military successes and contributions to Egyptian architecture, he is not as widely celebrated as figures like Thutmose III or Ramses II.

This is an old Japanese wooden board. It is a single board with beautiful wood grain. I think this was probably used for the top of the work table. It was already in this state when...

Boxwood netsuke depicting a snake coiled around itself. Signature engraved under the base. Origin: Japan Period: Meiji late 19th century. Dimensions: 4 x 3.5 x 2 cm. State of co...

It is the rare earthenware among those excavated from the Ca Mau Ship, and it is a green-glaze work that is especially unique. Although it is in very worn condition, it is a valuable...

This is a Japanese wooden bowl. It is a folk craft that was used in daily life. I don't know what kind of wood it's made of, but it's sturdy. Despite its size, it is made from a sing...

This guardian figure represents a fusion of human and beast, a common motif symbolizing protection in Chinese lore. Crafted from pottery, the figure is a testament to the era's sculp...

This is a Japanese wooden bowl. This is a set of 5 pieces. It is a folk craft that was used in daily life. I don't know what kind of wood it's made of, but it's sturdy. Since it is ...

Antique Large Pair of Japanese Bronze Mixed Metal Vases - Exquisite Meiji Period Artist Pieces! These stunning Japanese bronze mixed metal vases, dating back to the Meiji Period cir...

This pottery has a bulbous body with two small, protruding handles near its widest part. The pottery features horizontal bands of patterns, which include a sequence of geometric shap...

The form of Longquan celadon vases from the Northern Song dynasty evolved from an early design with a long neck and tapering body to a later ovoid body with a shorter neck. Over time, the glaze developed a more olive tone, and the carved decorations became more pronounced and intricate. Examples of such vases include one without a cover dated to the Yuanfeng era (1078~1085) and documented in literature, and another similar vase without loop handles preserved by the Qingyuan County Cultural Relics Bureau. An earlier example featuring loop handles and a lotus-like cover is also mentioned in historical texts. The use of Longquan covered vases, especially as funerary jars for offerings like wine and grains, was highlighted by an inscription on a piece from the Sir Percival David Collection, London. This inscription wishes for the vessel to preserve fragrant wine for centuries, blessing the owner with prosperity, longevity, and a vast lineage, dated to the third year of the Yuanfeng period (1080). This practice was common in the regions of Southern Zhejiang and Northern Fujian. A similar celadon vase from the Linyushanren collection was auctioned at Christie’s Hong Kong, emphasizing the cultural and historical significance of these artifacts. Period : Five Dynasties or Northern Song Dynasty Type : Celadon, Zhejiang province Medium : Celadon Size : 31.5 cm(Height) x 11.5(Diameter) Provenance : Acquired in late 1990s from Hongkong Reference : 1) The British Museum image id - 01613270570 2) Christies New York 23–24 MAR 2023 - Important Chinese Ceramics and Works of Art - Lot 1012 (Price Range : USD 18,000 – USD 25,000 / Type : Related) 3) National Gallery of Victoria - Accession Number - AS5-1973 * Celadon from Five Dynasties (907~960) to the early Northern Song Dynasty (960~1127) The period from the Five Dynasties (907~960) to the early Northern Song Dynasty (960~1127) marked a significant transitional phase in the development of Chinese celadon ceramics...

The crane, a traditional symbol of longevity and auspiciousness, is prominently placed at the center, creating a harmonious and aesthetically balanced effect. The border of the dish ...

Lively birds flit across the body of this pear-shaped vase. The cobalt blue of the underpainting remains dark, even though the clear glaze of the surface has worn away after centuries under the sea. There was remarkable variation in the condition of the ceramic...

Famous late ming dynasty chinese blue and white porcelain plate, double phoenix, from the shipwrecked binh thuan Period: Ming Dyn...

This cute square box could have been used as an incense burner, and flowers could have been inserted one by one. Period : Qing Dynasty, Yongzheng Period Production Date : C 1725 Mad...

A pair of antique Sukhothai pottery brown glazed jars with naturally running glaze on the body, natural shell and barnacle from shipwreck. Age: Thailand, Sukhothai Period, 14th - 16...

Hand carved bamboo vase/brush pot/bitong. This hand-carved Chinese bamboo bitong or dried flower vase dates from the late Victorian period, circa 1880. The bitong, or brush pot, is...

During Yongzheng era, such miniatures were appreciated for their craftsmanship and aesthetic value. They were also often used in scholars' studios as part of the 'wenfang', or study ...

Italian/French Enamel and Silver Snuff Box. Late 19th Century, the interior lid impressed 22, no other visible marks. The rectangular hinged box with an interior gilt wash, the lid ...

Flying two heavenly beings depicted in the stone. They are celestial beings called an Apsara. While having the same fragment and shape, another work I uploaded exhibits small dots on...

All our reclaimed tiles are genuine antiques. We believe in investing in your interiors, and choosing reclaimed and repurposed tiles means breathing new life into tiles that have alr...

The dish is decorated to the centre with a moulded appliqué dragon chasing the flaming pearl surrounded by a carved stylised foliage band at the cavetto. The moulded fluted exterior ...

This jar features a carved design, which is typical of Cizhou ware. It has a creamy white and brown color scheme, and the prominent decoration of lotus flower, which is a common motif in Chinese art and culture, symbolizing purity and enlightenment. The carving technique involves coating the vessel with a layer of white slip (liquid clay), then carving away parts of it to create the design, revealing the darker clay body beneath. This technique allows for a strong contrast between the background and the carved motif. Period : Song-Yuan Dynasty Type : Jar Medium : Cizhou Ware Size : 21.5 cm(Height), 11cm(Mouth Diameter) Provenance : Acquired in 1999, Hongkong * Cizhou Ware Cizhou is the name given to a number of stonewares, grey or buff, of varying degrees of hardness, with painted, incised or carved decoration on a clay slip. These stonewares were not only made in the region of Cizhou, Hebei Province, but in several provinces of China during the Song, Yuan and Ming periods. The great centres of production were in the north of China in the provinces of Hebei, Henan and Shanxi. Cizhou wares seem to have been very popular, made for a clientèle of rich merchants, at a period when the paintings of famous...

This is a Japanese wooden bowl. It is a folk craft that was used in daily life. I don't know what kind of wood it's made of, but it's sturdy. Since it is made by hand, it has a dist...

From San Eugenio, Artigas Dept., Uruguay Sharp crystal cluster in a parallel formation of scalenohedral calcite crystals on matrix  with lustrous translucent grape purple amethyst c...

This is a Japanese wooden bowl. It is a folk craft that was used in daily life. I don't know what kind of wood it's made of, but it's sturdy. Since it is made by hand, it has a dist...

A timeless classic, our chequerboard tile features a deep red and off-white pattern, adding a touch of versatility to any space. As with all our reclaimed tiles it has a beautifully ...

Ancient Luristan bronze sword with green patina. Luristan bronze comes from the province of Lorestan, a region of nowadays Western Iran in the Zagros Mountains. With its rich and lo...

This is a Japanese wooden bowl. It is a folk craft that was used in daily life. I don't know what kind of wood it's made of, but it's sturdy. Since it is made by hand, it has a dist...

ITEM: Romano-Egyptian cartonnage mummy mask depicting a female head MATERIAL: Linen and Gesso CULTURE: Egyptian, Roman period PERIOD: 1st Century B.C – 1st Century A.D DIMENSIONS: 20...

A pair of pottery dignitary tomb figures from the Ming Dynasty era.

an antique important fine gold Chinese famille rose porcelain 12'' bowl with very beautiful colour enamels, hand painted, mark DaQingQianLongNianZhi, excellent condition, Measures: 1...

19th century Chinese red lacquered papier mâché melon form vessel with lift cover and painted decoration. Measures: H 9 1/2 inch.

A set of antique Lanna Thai wooden manuscript bookmark with stand. Age: Thailand, 19th Century Size of bookmark only: Length 46.5 - 53.4 C.M. / Width 3.6 - 4.1 C.M. / Thickness 1.4 ...

Vung Tau Shipwreck Coralized Blue Underglazed Porcelain Lidded Vase. Almost perfectly Identical piece from Vietnamese Royal Family in United States provenance have been sold at other auction in California. This stunning porcelain lidded vase is elaborately decorated in a vivid blue underglaze with an ornate scene of concubines in a flower garden. The bottom of the vase bears a conch marking in underglazed blue, is a symbol of royalty, dignity and high rank, the 'Sacred Lungs of Buddha' and spiritual authority. Period : Qing Dynasty, Kangxi reign Production Date : 1690-1699 Made in : Jingdezhen Destination : Amsterdam Found/Acquired : Southeast Asia , South China Sea, Vung Tau Ship Reference : Double checked with reference to the original catalogues 1) Christies Amsterdam 1992 - Vung Tau Cargo...

ITEM: Statuette of a Fat Lady MATERIAL: Pottery CULTURE: Chinese, Tang Dynasty PERIOD: 618 – 907 A.D DIMENSIONS: 655 mm x 265 mm x 210 mm CONDITION: Good condition. Includes Thermoluminescence test by Laboratory Kotalla (Reference 05B101123). Includes Certificate of Authenticity from Dutch gallery PROVENANCE: Ex Belgian private collection, acquired from Dutch art gallery Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks. Due to the fragility and size of this piece, it can only be shipped within the European Union, United Kingdom and neighbouring countries that can be transported by road by private courier (door to door). This beautifully-finished ceramic attendant was made during what many consider to be China’s Golden Age, the Tang Dynasty. It was at this point that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The Tang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best- known painters and artists. The Tang Dynasty was created on the 18th of June, 618 AD, when the Li family seized power from the last crumbling remnants of the preceding Sui Dynasty. This political and regal regime was long-lived, and lasted for almost 300 years. The imperial aspirations of the preceding periods and early Tang leaders led to unprecedented wealth, resulting in considerable socioeconomic stability, the development of trade networks and vast urbanisation for China’s exploding population (estimated at around 50 million people in the 8th century AD). The Tang rulers took cues from earlier periods, maintaining many of their administrative structures and systems intact. Even when dynastic and governmental institutions withdrew from management of the empire towards the end of the period – their authority undermined by localised rebellions and regional governors known as jiedushi –the systems were so well- established that they continued to operate regardless. The artworks created during this era are among China’s greatest cultural achievements. It was the greatest age for Chinese poetry and painting, and sculpture also developed (although there was a notable decline in Buddhist sculptures following repression of the faith by pro-Taoism administrations later in the regime). It is disarming to note that the eventual decline of imperial power, followed by the official end of the dynasty on the 4th of June 907, hardly affected the great artistic turnover. During the Tang Dynasty, restrictions were placed on the number of objects that could be included in tombs, an amount determined by an individual’s social rank. In spite of the limitations, a striking variety of tomb furnishings – known as mingqi – have been excavated. Entire retinues of ceramic figures – representing warriors, animals, entertainers, musicians, guardians and every other necessary category of assistant – were buried with the dead in order to provide for the afterlife. Warriors (lokapala) were put in place to defend the dead, while horses/ camels were provided for transport, and officials to run his estate in the hereafter. Of all the various types of mingqi, however, there are none more elegant or charming than the sculptures of sophisticated female courtiers, known – rather unfairly – as “fat ladies...

ITEM: Statuette of a Fat Lady MATERIAL: Pottery CULTURE: Chinese, Tang Dynasty PERIOD: 618 – 907 A.D DIMENSIONS: 645 mm x 260 mm x 180 mm CONDITION: Good condition. Includes Thermoluminescence test by Laboratory Kotalla (Reference 04B101123). Includes Certificate of Authenticity from Dutch gallery PROVENANCE: Ex Belgian private collection, acquired from Dutch art gallery Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks. Due to the fragility and size of this piece, it can only be shipped within the European Union, United Kingdom and neighbouring countries that can be transported by road by private courier (door to door). This beautifully-finished ceramic attendant was made during what many consider to be China’s Golden Age, the Tang Dynasty. It was at this point that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The Tang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best- known painters and artists. The Tang Dynasty was created on the 18th of June, 618 AD, when the Li family seized power from the last crumbling remnants of the preceding Sui Dynasty. This political and regal regime was long-lived, and lasted for almost 300 years. The imperial aspirations of the preceding periods and early Tang leaders led to unprecedented wealth, resulting in considerable socioeconomic stability, the development of trade networks and vast urbanisation for China’s exploding population (estimated at around 50 million people in the 8th century AD). The Tang rulers took cues from earlier periods, maintaining many of their administrative structures and systems intact. Even when dynastic and governmental institutions withdrew from management of the empire towards the end of the period – their authority undermined by localised rebellions and regional governors known as jiedushi –the systems were so well- established that they continued to operate regardless. The artworks created during this era are among China’s greatest cultural achievements. It was the greatest age for Chinese poetry and painting, and sculpture also developed (although there was a notable decline in Buddhist sculptures following repression of the faith by pro-Taoism administrations later in the regime). It is disarming to note that the eventual decline of imperial power, followed by the official end of the dynasty on the 4th of June 907, hardly affected the great artistic turnover. During the Tang Dynasty, restrictions were placed on the number of objects that could be included in tombs, an amount determined by an individual’s social rank. In spite of the limitations, a striking variety of tomb furnishings – known as mingqi – have been excavated. Entire retinues of ceramic figures – representing warriors, animals, entertainers, musicians, guardians and every other necessary category of assistant – were buried with the dead in order to provide for the afterlife. Warriors (lokapala) were put in place to defend the dead, while horses/ camels were provided for transport, and officials to run his estate in the hereafter. Of all the various types of mingqi, however, there are none more elegant or charming than the sculptures of sophisticated female courtiers, known – rather unfairly – as “fat ladies...

Antique Chinese fan Qing dynasty, the fan features black and gold lacquered handled a colorful screen , hand painted on silk . With antique fan fra...

ITEM: Aryballos depicting a horse head MATERIAL: Pottery CULTURE: Greek, Corinthian PERIOD: 7th Century B.C DIMENSIONS: 62 mm x 55 mm diameter CONDITION: Good condition PROVENANCE: E...