We found 600 price guide item(s) matching your search

Old Chinese wooden polychrome colored statue of a dignitary with storage space in the back and cover panel, sitting on the throne 19 cm high, with oak wall bracket 15.5 cm high

2 boxes of various Asian art. 3 wooden bowls, Chinese rice basket and jewelry cabinet with mirror, various wayang puppets, Indian wood carvings, polychrome colored copper decorative vases, bronze and brass religious figures, turtle with text on the bottom, bone carving, carved statue of Balinese djanger dancer and miscellaneous

A RARE YELLOW MARBLE FIGURE OF AVALOKITESHVARA, NORTHERN QI DYNASTY China, 550-577. Elegantly carved in the form of Avalokiteshvara standing sturdily on a round lotus base supported by a rectangular plinth, the figure portrayed with both elbows bent, adorned in robes cascading in voluminous folds, the serene expression framed by a cowl. Condition: Extensive wear, encrustations and weathering with areas of erosion. Minor losses. Old and visible repair to two vertical fissures. Overall condition exactly as expected from a statue of this age. Provenance: From an old Swiss private collection. Weight: 1021.7 g Dimensions: Height 22.3 cm This rare statue displays the major artistic developments of the Northern Qi dynasty, one of the most vibrant periods in the history of Chinese lapidary work, when carvers began incorporating a heightened awareness of the human body in their works. The rounded contours clothed in lightweight robes evidence this first attempt at naturalism and mark an important shift from the strict linearity of the preceding Northern Wei dynasty. The collapse of the Wei dynasty and resultant split of China into the Northern Qi (550-577) dynasty in the east and the Northern Zhou (557-581) dynasty in the west, had a profound influence on Buddhist doctrine and art in China. While the Gandharan and Mathuran schools of Kushan India had influenced the art of the Northern Wei, Northern Qi carvers turned to the sensuous sculptures of the Gupta School for inspiration. This approach to the human body is best displayed in the sculptures of the Northern and Southern Xiantangshan caves, situated between Henan and Hebei, close to the capital Ye, and in votive statues such as the present. These sculptures feature rounder figures dressed in unobtrusive elegant robes, lacking the heavy straight folds of drapery of the preceding dynasty, and a naturalistic, more benevolent approach to the rendering of facial expressions. 罕見漢白玉觀音立像，北齊 中國，550-577。觀音站立矩形底座上的蓮花座上，手肘彎曲，長褶疊疊的長袍，面容慈祥。 品相：廣汎磨損，局部結殼、風化侵蝕。 輕微缺失。 兩個垂直裂縫曾進行修復。總體狀況完全符合這個時代雕像。 來源：瑞士私人收藏 重量：1021.7 克 尺寸：高22.3 厘米

A YIXING ZISHA FIGURE OF AN IMMORTAL, 17TH-18TH CENTURY China, late Ming to early Qing dynasty. The finely modeled clay body is of a deep brown tone with shades of caramel brown throughout. Some highlights, such as the many holes in his gown, are neatly picked out in black lacquer. Condition: Superb condition with some old wear, soiling and minor firing flaws. The figure may once have held a separate stick or pole. The hardwood base is attached to the statue and may only be removed by a professional (we will under no circumstance attempt to remove it, even though a signature or inscription may be situated on the underside). The base shows significant traces of use and its lower section is loose. Provenance: From an Austrian private collection. By repute acquired in the local market before 1980 and thence by descent in the same family. Weight: 2,258 g including the hardwood base Dimensions: 34.3 cm without the base and 38 cm with the base The immortal is shown standing with raddled gown and headgear. His face, with contemplative expression, is carved with pronounced eyes and a crisply rendered beard, to which his gnarled hands and feet are in stark contrast. Carved hardwood base with four feet and finely incised lappet border in slight relief, dating to the later Qing dynasty. (2) Auction result comparison: Compare with a related Yixing Zisha figure of Shakyamuni from the same period at Christies New York, in Fine Chinese Ceramics and Works of Art, on 16 September 2016, lot 1339, sold for a hammer price of USD $40,000. 宜興紫砂仙人像，十七至十八世紀 中國，明末清初。造型精美，紫砂成深棕色調，整個為焦糖棕色。一些亮點，比如袍子上的許多大孔，讓人物塑造更加生動。 品相：狀況極佳，有磨損，弄髒和輕微的燒傷瑕疵。人物可能曾經用單獨的棍子或桿子固定。硬木底座固定在雕像上，只能由專業人員拆除（在任何情況下我們都不會嘗試拆除，即使底部可能有簽名或題詞），底座也顯示出明顯的使用痕跡，其下部很鬆散。 來源：奧地利私人收藏，據説1980年前購於當地市場，自此保存在同一家族至今。 重量：含硬木底座總重2,258 克 尺寸：34.3 厘米不含底座，38 厘米含底座

Ca. 618 - 907 AD. Chinese Tang Dynasty. An elegant terracotta statue depicting an ox lying down, with its tail flicked over its haunches and one foreleg extended as though about to rise. This ox is carefully modelled with a curcing horns, delicate ears with pink pigment, and an exquisitely detailed muzzle. Oxes are the second animal in the zodiac and are known for diligence, dependability, strength and determination. Oxen also served important roles in chinese agriculture, trade, and infrastructure and were considered a symbol of high status and wealth. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Excellent condition.Size: L:300mm / W:470mm ; 6.3kg; Provenance; Property of a Central London gallery, acquired from an established English collection; formerly acquired in Hong Kong, Hollywood Antique Center in the early 1990s.

Ca. 368-534 AD. Chinese Northern Wei Dynasty. A beautiful painted terracotta statue of an ox. This black and white painted ox is shown standing, with its head and neck stretching forward, with its muzzle agape as though bellowing for its fellows. This ox wears a head collar and an elaborate harness perhaps suggesting that it is a working animal. Oxen are the second animal in the zodiac and are known for diligence, dependability, strength and determination. Oxen also served important roles in chinese agriculture, trade, and infrastructure and were considered a symbol of high status and wealth. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Excellent condition.Size: L:390mm / W:410mm ; 4.45kg; Provenance; Property of a Central London gallery, acquired from an established English collection; formerly acquired in Hong Kong, Hollywood Antique Center in the early 1990s.

Ca. 1368-1644 AD. Chinese Ming Dynasty. Ceramic horse and groom figurine. This figurine shows a groom, dressed in a dark blue tunic, with light blue trim, a light blue belt and light blue trousers, standing by a horse with one arm extended as if to hold the reins. The horse stands still, with blue mane falling over its neck, and its blue tail flicking over the hindquarters, as though swatting flies. The horse's equipment is modelled in high relief with the saddle and bridle painted dark blue, whilst the rest of the equipment is coloured shades of light blue. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993.Considerations sur l'histoire du harnachement et de l'Aquitation en Chine. Anthropozoologica, 18, 29-44). Good Condition.Size: L:160mm / W:185mm ; 780g; Provenance: From an old Oxford collection formed in the 1990s.

Ca. 1368-1644 AD. Chinese Ming Dynasty. Ceramic. This figurine shows a groom, dressed in a dark blue tunic, with light blue trim, a light blue belt and light blue trousers, standing by a horse with one arm extended as if to hold the reins. The horse stands still, with mane falling over its neck, and its tail flicking over the hindquarters, as though swatting flies. The horse's equipment is modelled in high relief with the saddle painted dark blue, whilst the rest of the equipment is coloured shades of light blue. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China’s military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993.‘Considérations sur l'histoire du harnachement et de l'équitation en Chine.’ Anthropozoologica, 18, 29-44). Excellent condition.Size: L:160mm / W:195mm ; 835g; Provenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market.

A scalloped sauce boat, Chinese export porcelain, polychrome and gilt decoration "Flower garlands", gray and gold centre "Equestrian statue of King D. José I of Portugal", Qianlong period (1736-1795), restored, Dim. - 8 x 22 x 11 cm

Standfigur des Kriegsgottes Guandi China Auf Sockel stehend, gekleidet in reich ornamentierter Rüstung mit wehenden Schalbändern. Bronze. H. 27 cm. - Attribut der rechten Hand abgebrochen. Chinesisches Kunsthandwerk Statue of the god of war Guandi China Standing on a plinth, dressed in richly ornamented armour with waving scarf bands. Bronze. H. 27 cm. - Attribute of the right hand broken off. chinese crafts

Japan, Hong Kong, India, West Indies, Venezuela, Egypt & Algeria.- [Townshend (Edward Lee, Captain, Cheshire Regiment and Cheshire Yeomanry, married Mildred Henrietta Cholmondeley, d. 1938, son of Edward Townshend, 1835-85, of 26 Hyde Park Gate and Wincham Hall, Cheshire, 1868-1914)] Travel journal of seven voyages to the Canary Islands, Spain, Egypt and the Holy Land, West Indies, "Round the World" (including India, Hong Kong, Japan and Canada) and Algeria, autograph manuscript, together 111pp. excluding blanks, slightly browned, original half calf, slightly rubbed, 4to, 1889-97.⁂ Townshend takes seven voyages in less than 10 years across the world, meeting numerous people and has a special interest in botanical gardens and plants.West Indies. Trinidad. "Feb.r 9 & 10th [1894] Drove about the island, up the Merivale [Maraval] Valley, & the Chinese Gardens... . Febru. 12th. Sir Napier [Sir Frederick Napier Broome (1842-96), colonial governor] & Lady Broome asked us to a lawn tennis party: Govt House is the finest in the West Indies. It boasts a magnificent ball room, & the house itself is both large and airy... . Feb 13th. Drove with the Bishop [James Thomas Hayes (1847-1904), Bishop of Trinidad & Tobago 1889-1904] to the Jacarigua Orphanage: All the schools seem excellently managed. The masters generally agree that up to the age of 15 the children compare most favourably with those of the same age in England... ."Japan. "April 7. [1895] Train to Nara & put up at our first teahouse. Went to the Dai Butsu temple with a bronze statue of Buddha 58 ft in height, the Kazuga temple where the Shinto priestesses perform the sacred dance & a sacred pony eats his dinner out of a polished brass manger. April 8. Ricksha to Kioto... Yaami's Hotel stands high looking down on the town with fir clad mountains behind; cherry trees everywhere in full bloom, flowers double, very large & all shades of colour from white to pale pink & deep red. There are 40 different kinds, one drooping like our weeping willows, very graceful. The curious shaped arches in either wood or stone in front of every temple stand for a letter or sign in Japanese meaning Heaven."

Late Ming Dynasty, 1368-1644 AD. A substantial hollow-formed ceramic statue formed as a seated figure holding an oval disk against the torso, resting one hand on a knee, and wearing a floor-length layered robe and ribbed headdress; face with thin eyes, raised brows, pursed lips and ears with elongated robes; blue, red, yellow and green painted pigment survives. See Lili, F., Chinese Ceramics, Cambridge, 2010, for discussion. 64.2 kg total, 74cm (29"). From the important collection of Chinese art formed in Japan. [No Reserve] Fair condition, repaired.

A Chinese carved wooden statue of a sage, a resin figure of a Chinese official, a model of a terracotta warrior and a brass figure of a seated Arab musician. The former 28 cm high.

An 18th Century Chinese antique bronze statue of Buddha with bead headdress seated in the Lotus position with one hand on knee raised on double lotus pedestal base. Measures: 12cm tall.

A 19th Century Chinese Tibetan antique bronze statue of Buddha with crowned headdress seated in the Lotus position holding snake with one hand on knee raised on double lotus pedestal base. Measures: 12cm tall.

A large and impressive 19th Century Chinese antique Buddhist hand carved statue figurine of Buddha. Hand painted polychrome decoration with carved detailed features. Raised on a double lotus pedestal base. Measures: 58cm tall.

A large 19th Century Chinese antique hand carved wooden sculpture statue depicting the Goddess Guanyin. Modelled seated with scrolled ribbons, hand raised and other hand holding a gourd. Decorated with dragons and details. An impressive example. Measures: 40cm tall.

A large and impressive 19th Century Chinese antique Buddhist hand carved statue figurine of The Goddess of Compassion Bodhisattva Guan Yin. Hand painted polychrome decoration with carved detailed features. Raised on a scrolled pedestal base. Measures: 54cm tall.

A 19th Century Chinese antique bronze statue of Buddha with bead headdress seated in the Lotus position holding pot with one hand fraied in front. Raised on pedestal base. Measures: 10cm tall.

Ca. 1368-1644 AD. Chinese Ming Dynasty. Ceramic horse and groom figurine. This figurine shows a groom, dressed in a dark blue tunic, with light blue trim a light blue belt and light blue trousers, standing by a horse with one arm extended as if to hold the reins whilst the other hand rests at his side. The horse stands still, with a gently arched neck, and his tail flicking over his hindquarter, as though swatting flies. The horse's equipment is modelled in medium relief with the sadle and bridle painted light blue, whilst the rest of the equipment is coloured shades of dark blue and red. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China’s military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993.‘Considérations sur l'histoire du harnachement et de l'équitation en Chine.’ Anthropozoologica, 18, 29-44). Excellent condition.Size: L:160mm / W:190mm ; 755g. Provenance: Important estate collection from Oxfordshire; formed in the 1970s-2000.

C. AD 618-907. Tang Dynasty. Stone head of Buddha with characteristic elaborate coiffured, two-tiered black “snail-shell” hair curls ornamented with a red spiralling jewel. The Buddha’s full face is gilded with a red painted urna in the centre of the forehead, and large pendant ears hang from the sides. The lightly closed eyes and small hooked nose complement the thick, rich red lips and modest chin. This beautiful piece may originally have formed part of a larger statue or statuette. Buddhism entered China as early as the Han Dynasty (late 3rd century BC-early 3rd century AD), and has played an important part in shaping the country’s art, politics, literature and philosophy. This beautiful stone head embodies the importance of Buddha to Chinese culture and reflects the enormous amount of work invested by Tang craftsmen. It would make a stunning centrepiece to any modern collection. Good condition; on a custom stand. Size: L:530mm / W:380mm (w/o stand); 73kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1980s/1990s.

Ca. 1368-1644 AD. Ming Dynasty. Ceramic Horse with Rider. An elegant ceramic figurine depicting a grey horse in a standing pose with its neck strethcing forward and its tail loose, over one hind quarter. The horse’s trappings, including the bridle and breastplate, saddle blanket, and breeching are molded in the round and coloured in dark and light blue. The rider is shown dressed in period-typical garb with the tunic painted blue with cream accents and wearing a brimmed conical hat. The rider’s pose, with arms extended to hold the reins, back straight in a skilled riding posture. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China’s military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993. ‘Considérations sur l'histoire du harnachement et de l'équitation en Chine.’ Anthropozoologica, 18, 29-44). Excellent condition. Size: L:265mm / W:210mm ; 1.3kg Provenance: Private London collection, formed in the 1980s on the UK and European art market.

Ca. 202 BC-220 AD. Chinese Han Dynasty. Ceramic Horse with Rider. An elegant ceramic figurine depicting a grey horse in a standing pose with its neck strethcing forward and its tail loose, over one hind quarter. The horse’s trappings, including the bridle and breastplate, saddle blanket, and breeching are molded in the round and coloured in dark and light blue. The female rider is shown dressed in period-typical garb with the tunic painted blue with cream accents and hair in an updo bound with a ribbon. The rider’s pose, with arms at the wast as if to hold the reins, back straight in a skilled riding posture. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China’s military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993. ‘Considérations sur l'histoire du harnachement et de l'équitation en Chine.’ Anthropozoologica, 18, 29-44). Excellent condition. Size: L:260mm / W:200mm ; 1.3kg Provenance: Private London collection, formed since the 1970s on the UK and European art market.

Ca. 206 BC–220 AD Chinese Han Dynasty. Ceramic figure showing a tiger hunting a boar. This elaborate ceramic figure shows a tiger pouncing onto a boar. The tiger's fore claws are extended and puncturing the boar's sides holding the animal stable whilst the tiger delivers a paralsying bite along the boar's spine. The boar, stands on all fours, faces forward with its mouth open, squealing in pain. Both the tiger and boar are creme coloured with red accents at the ears, nostrils and lips. Both the Tiger and pig are represented in the Chinese Zodiac, with tigers symbolising power and high status in Chinese culture, whilst pigs represent overall good fortune. Perhaps this statue represents the relationship between high status and good fortune. amongst the elite Good Condition. This item comes fully authenticated with a TL test from Ralf Kotalla laboratory, Germany. Size: L:215mm / W:450mm ; 5.6kg. Provenance: Important London collection of Ancient art; formed in 1970-80s then passed by descent.

Ca. 386-534 AD. Northen Wei Dynasty. Terracotta Horse. An elegant hollow-moulded terracotta horse. This creme coloured horse is modelled in a standing pose with its neck elegantly arched, its ears pricked forward attentively, mouth slightly agape, and the tail shown loose. The horse’s trappings, including the bridle and breastplate, caprison, and breeching are all modeled in high relief and picked out in reds and black pigment. The caprison is particularly fantastic as its tassels are textured and painted red, the majority of the cloth is painted black with creme coloured circular paterns, probably meant to imitate embroidery. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China’s military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993.‘Considérations sur l'histoire du harnachement et de l'équitation en Chine.’Anthropozoologica, 18, 29-44).  A comparable example was recently sold at Christie’s for £29,375 , see https://www.christies.com/lotfinder/lot/a-painted-grey-pottery-figure-of-a-1791461-details.aspx?from=searchresults&intObjectID=1791461 Excellent condition. This item comes fully authenticated with a TL test from Ralf Kotalla laboratory, Germany. Size: L:395mm / W:295mm ; 3.1kg. Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

Ca. 1500-1644 AD. Late Ming Dynasty. Cream stone head of a female Guanyin with “snail-shell” hair curls, lightly closed eyes, large, droopy ears and a small, flattened nose. The small mouth features thin lipss above a rounded double chin. This piece was probably originally part of a larger statue or statuette. In Chinese mythology, the Guanyin is all-seeing, all-hearing goddess who acts as the patron deity of mercy and is the very embodiment of compassion. She is probably originally linked to the Hindu god Avalokite?vara at the time when Buddhism became popular in China, and the original Hindu myth mixed with local Chinese folklore. As a result, a Guanyin can also be depicted as male, though female representations are more common. Good condition; on a custom-made stand. Size: L:150mm / W:95mm (w/o stand); 2.1kg. Provenance: Property of a London gallery, previously in old British collection formed in the 1970s.

Ca. 1500-1644 AD. Late Ming Dynasty. Cream stone head of a female Guanyin with coiffured hair including a prominent topknot, half-closed eyes, large, droopy ears and a small, angular nose. Her forehead sports a carefully drilled urna while her small mouth features thin, pursed lips above a prominent chin. This piece was probably originally part of a larger statue or statuette. In Chinese mythology, the Guanyin is all-seeing, all-hearing goddess who acts as the patron deity of mercy and is the very embodiment of compassion. She is probably originally linked to the Hindu god Avalokite?vara at the time when Buddhism became popular in China, and the original Hindu myth mixed with local Chinese folklore. As a result, a Guanyin can also be depicted as male, though female representations are more common. Good condition; on a custom-made stand. Size: L:245mm / W:150mm (w/o stand); 7.8kg. Provenance: From an old British collection, acquired on the UK art market in the 1990s.

A Chinese gilt-bronze Shakyamuni Buddha,seated cross-legged wearing an ankle-length long robe with a scroll border, and a crown with long plaits cascading down the shoulders, his hands in Bhumisparsha mudra, 20cm high, fixed on a wood platform铜鎏金释迦牟尼坐像Condition report: Statue fixed to wood platform, unable to check condition of base. Surface scratches with gilt rubbed, minor dents. Inlaid missing.

A large gilt copper-alloy repoussé figure of Buddha ShakyamuniTibet, 17th century Well modelled seated in dhyanasana, his hand in bhumisparsamudra, wearing layered monk's robes gathered in cascading folds with finely incised floral hems, his face with a serene expression flanked by long pendulous ears, beneath a domed ushnisha, the base sealed. 34cm (13 3/8in) high.Footnotes:西藏，十七世紀 銅鎏金錘揲釋迦牟尼像From the back of this statue, it is apparent that the robe is a kasaya, garment made of patches of cloth joined together. In Chinese, kasaya is translated as 'futian' (happy fields 福田) because the patch pattern looks like a 'field' (tian 田). Therefore, supporting monks was considered to be equivalent to planting fields.See a related gilt bronze figure of Buddha, 17th century, with similar robe and hems, illustrated in Buddhist Images in Gilt-Metal, Taipei, 1993, pp.38-39, no.12.For further information on this lot please visit Bonhams.com

A 20th century antique Chinese bronze / brass replica statue of the  Flying Horse of Gansu originally from the second century. The horse is modelled in a galloping style, perfectly balanced on a single foot stepping on a swallow raised on a plinth base. Measures 18 cm tall.

A Chinese carved jade coloured hardstone statue of a mythical beast, 19cm. Good condition. No cracks or chips.

A marble statue of the Chinese goddess Kwan Yin, a/f, 100cm tall

A late 17th / early 18th century Chinese carved soapstone figure of Li Tieguai. The bearded figure is dressed in a flowing robe and leaning against a crutch. Along with a portrait miniature, gouache on card after Horace Taylor. The sitter, Claude Calthrop, is depicted with the soapstone statue. Statue 17cm. Provenance; Claude David Usticke Calthrop (1893-1921) First Secretary General of the Rhineland High Commission, Coblenz, by whom the statue was probably purchased in Switzerland or Germany. Obvious losses to the statue.

A Chinese carved jade coloured hardstone statue of a mythical beast, 19cm. Good condition. No cracks or chips.

Indian bronze statue, two brass statues, Chinese crackle style vase and two soap stone carvings, tallest 12cm 

An antique bronze Chinese statue of a deity with traces of gilding on the face and hands. Mounted on a square base. Height 31 cm.

Pair of Chinese Pen and Watercolours of Village Scenes, 23cms x 25cms, framed and glazed together with an Engraving of a Hippo and a Photograph of a Statue

A late 19th century Chinese iron statue formed as a seated Buddha raised on a lotus throne, 24cm.

A cast metal statue of a Chinese Qilin, 27cmH

Li Qingfa (Chinese, B. 1954) and Jiang Weijie (Chinese, 20th C.) "erra Cotta Warriors - Arrow Shooter" Signed lower left. Mixed Media on Silk. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.N. F.s. 0,45 The Terracotta Warriors stamp issued November 19, 1997. Restoring the more than 8,000 terra-cotta warrior statues discovered in the mausoleum of China's first emperor, Qin Shi Huang, is a monumental task requiring extraordinary skill and patience. Working with an inventory of literally thousands of fragments, archeologists and technicians have worked 19 years mending the broken soldiers. It's a lucky day when workers find just one piece that fits. To this day, long piles of fragments still lie at the western end of the site, awaiting connective surgery. More terra-cotta warriors are buried beneath them, waiting for their own resurrection. To help with the painstaking assembly, each piece is marked with a special code, indicating where the item was found and to what statue it might belong. If a perfect fit cannot be achieved, as is often the case, the piece goes back into inventory. An immense data base is being compiled on all statues, bronzes and other artifacts found at the site. Their images, descriptions and restoration history are being stored via computer for future reference. Interestingly, each warrior's face is unique. Many experts believe the emperor ordered actual soldiers from his honor guard to act as models, so they could continue to protect him through eternity. Before the rule of Qin Shi Huang it was customary in China to bury living people in tombs, rather than their likenesses. No doubt these soldiers were more than willing to pose, since they knew that the finished creations would be buried, instead of themselves. Image Size: 11 x 9.5 in. Overall Size: 14 x 12 in. Unframed. (B15783)

A 19th Century Chinese antique gilded two tone bronze ormolu statue figurine of a Buddha / Goddess likely Avalokiteshvara. The deity modelled with five leaf crown and hair tied in top knot with leaf / feather. Gown decorated with ribbons and set with two large flowers. Standing on Lotus pedestal base. Measures: 17cm tall.

A collection of oriental religions figurine to include Chinese Wise Man, brass Thai Teppanom temple guard dancer statue, a white metal religion Thai female statue figurine, Krishna statue playing the flu next to a cow, wooden African mask and others religion items. 

A 20th Century Chinese oriental Tang horse statue in the manner of Tang Dynasty with famille verte designed to the body raised on plinth base with Chinese character marks to the bottom. Measures: 34cm tall.

Ca. 202 BC-220 AD. Chinese Han Dynasty. Terracotta Horse with Rider. An elegant hollow-moulded terracotta horse. This black horse is modelled in a standing pose with its neck elegantly arched and its ears pricked forward attentively, whilst the tail is shown docked and bound. The horse’s trappings, bar the head piece are painted on in red and were not modelled. The rider is heavily stylised in an ochre-coloured terracotta and is shown with roughly modelled details, short arms and indistinctly modelled legs. Greater detail is alluded to by the presence of pigment on the rider’s face. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China’s military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993. ‘Considérations sur l'histoire du harnachement et de l'équitation en Chine.’ Anthropozoologica, 18, 29-44). Excellent condition. Authenticated by Ralf Kotalla laboratory in Germany; report attached. Size: H:650mm / W:630mm ; 13kg; Provenance: From an old British collection formed in the 1990s;

Ca. 202 BC-220 AD. Chinese Han Dynasty. Terracotta Horse with Rider. An elegant hollow-moulded terracotta horse. This brown horse is modelled in a standing pose with its neck elegantly arched, mouth agape and its ears pricked attentively, whilst the tail is shown docked and bound. Additional detail around the eyes has been painted on with black pigment. The rider is heavily stylised in an white painted terracotta and is shown with roughly modelled details, short arms and indistinctly modelled legs. The rider’s face and clothing are detailed in polychrome pigment. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China’s military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993. ‘Considérations sur l'histoire du harnachement et de l'équitation en Chine.’ Anthropozoologica, 18, 29-44). Excellent condition. Authenticated by Ralf Kotalla laboratory in Germany; report attached. Size: H:620mm / W:610mm ; 11kg, Provenance: From an old British collection formed in the 1990s;

Ca. 386-534 AD. Chinese Northern Wei Dynasty. Terracotta Horse. A heavily restored, elegant hollow-moulded terracotta horse. This horse is modelled in a standing pose with its neck elegantly arched and its ears pricked forward attentively. The tail is depicted free flowing, instead of bound in the traditional military fashion. Taken together with the elaborate trappings which are modelled in great this terracotta may represent a horse fitted out for parade. The white slip remains, with additional pigments, such as orange and black and green, used to pick out details of the features, such as the trappings, the blanket and the muzzle. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China’s military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993. ‘Considérations sur l'histoire du harnachement et de l'équitation en Chine.’ Anthropozoologica, 18, 29-44). Excellent condition. Authenticated by Ralf Kotalla laboratory in Germany; report attached. Provenance: From an old British collection formed in the 1990s; Size: H:680.5mm / W:520.5mm ; 15kg

Ca. 1368-1644 AD. Ming Dynasty. White horse in standing position with neck and head extended slightly forward and mouth agape. The tail is free-flowing and painted grey. The horse is equipped with an elaborate blue harness and is mounted by a carefully modelled individual wearing robes, which preserve traces of blue paint, and a cream-coloured hat. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China’s military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993. ‘Considérations sur l'histoire du harnachement et de l'équitation en Chine.’ Anthropozoologica, 18, 29-44). Excellent condition. Size: H:265mm / W:235mm ; 1300g. Provenance: Property of a London Gallery, previously with Mr. M.P. Dannish collector; acquired in the 1990s

Ca. 1368-1644 AD. Ming Dynasty. White horse in standing position with neck extended and head bowed. The tail is free-flowing. The horse is equipped with an elaborate blue harness and is and is flanked by a carefully modelled individual wearing dark blue robes and a white hat. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China’s military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993. ‘Considérations sur l'histoire du harnachement et de l'équitation en Chine.’ Anthropozoologica, 18, 29-44). Excellent condition. Provenance: Property of a London Gallery, previously with Mr. M.P. Dannish collector; acquired in the 1990s; Size: H:153mm / W:195mm ; 726g

A antique Chinese signed bronze of a large statue of Buddha in a meditation pose seated on a double-lotus base; it is showing a Dhyana Mudra with both hands resting on its lap missing alms bowl. The face shows a quiet and serene expression; the eyelids are lowered as if in meditation , the ears are large and the earlobes elongated; its hair showing the charateristic snail-shell curls. This buddha statue has gold inlay detailing, please view images, Very Good condition Approximate measurements Height 65cm, Base measures 36cm

Antique Asian (possibly Chinese) small bronze statue of Hindu Goddess on a lotus leaf, unmarked18cm high Okay condition for its age

A brass figure of a Chinese foo dog on plinth; a cast metal figure of two monkeys carrying a howdah; together with a brass statue of a dragon and one other (4)

An 18th century Chinese blanc de chine statue of Guanyin and acolytes. Surrounded by precious objects, seated upon a throne ornamented by a pair of scrolling dragons, 37.5cm. Cracks. Some losses to the extremities, the worse being the heads of the two lower figures.

A late 17th / early 18th century Chinese carved soapstone figure of Li Tieguai. The bearded figure is dressed in a flowing robe and leaning against a crutch. Along with a portrait miniature, gouache on card after Horace Taylor. The sitter, Claude Calthrop, is depicted with the soapstone statue. Statue 17cm. Provenance; Claude David Usticke Calthrop (1893-1921) First Secretary General of the Rhineland High Commission, Coblenz, by whom the statue was probably purchased in Switzerland or Germany. Obvious losses to the statue.

A Malaysian brass betel box L.18cm, and a bronze statue of Guanyin, the Goddess of Mercy, possibly Chinese, H.13.5cm

Wei Dynasty, 534-550 AD. A tall stone statue of Buddha standing on a disc base, with hair in tight curls and ushnisha, left hand in protective stance; slot for a separate right hand; mounted on a custom-made stand. See The Royal Academy of Arts, Return of the Buddha: The Qingzhou Discoveries, London, 2002, for discussion and close parallels.100 kg, 1.37m including stand (54"). Property of a central London gallery; acquired from a Somerset, UK, estate collection; formerly acquired on the UK art market in the 1990s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.157167-10041. The Northern Wei was the most powerful family to rule the northern dynasties prior to the reunification of China under the Sui and Tang dynasties, boasting impressive military prowess. The Tuoba tribesmen who founded the Wei dynasty after their takeover of the Shanxi province, adopted the ancient name Wei for their kingdom, establishing a capital at Pingcheng (present-day Datong.) Beguiled by the appeal of Chinese culture and society, the tribesmen eventually developed a taste for the luxuries characteristic of the Chinese upper classes. The most notable cultural contribution of the Wei dynasty was in Buddhist art. Fine condition.

David Paulley (B. 1931) "25th anniversary of Hawaiian State Hood" Signed lower right, also titled, signed and dated verso. Oil on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 20c Hawaii Statehood stamp issued March 12, 1984. August 21, 1959 is a day that will live forever in America's history .. for on that day the territory of Hawaii became the fiftieth state of the Union. Prior to Hawaii's attaining statehood, travelers from all over the world had already made Hawaii famous for its lovely beaches and beautiful weather -- Mark Twain called it "the loveliest fleet of islands that lies anchored in any ocean." Not surprisingly, as American visitors came to know their new American neighbors, they also found that the Hawaiian people were kind and happy and had outstanding character. They also found that the Hawaiian culture includes diverse backgrounds, and there are seven ethnic groups in Hawaii -- people of Japanese, Chinese, Filipino, Korean, Caucasian, and Polynesian ancestry, as well as a mixture called Cosmopolitan. The geography of the Aloha State is also as distinctive as its inhabitants. The islands of this balmy paradise rise out of the warm waters of the Pacific and are topped by peaks which sometimes spew forth a fiery breath of lava. Looking down from the volcanic peaks, one may see the velvet green stretches of sugarcane and pineapple crops. Modern Hawaii has not lost sight of her fascinating history. A large bronze statue of King Kamehameha I, the ruler who united many independent tribal kingdoms under his rule, stands tall in Honolulu's Civic Center. Image Size: 16.5 x 14.25 in. Overall Size: 23.75 x 19.75 in. Unframed. (B08525)

A Chinese 'jade' statue (a.f.) H.14cm

A large allegorical polished wood form, intricately carved. Base.A striking monumental statue hand carved in cherrywood. It depicts the Chinese Immortal Budai, also known as the Laughing Buddha, wearing pearls of wisdom and carrying a bag, symbolizing prosperity. Presented on a decorative wooden base. 13"L x 11"W, base. Issued: c. 1970 Dimensions: 24"H x 12"W, statue Country of Origin: China

ANTIQUE CHINESE JADE RAM STATUE 6.4cm, 50.6g.

A late 17th / early 18th century Chinese carved soapstone figure of Li Tieguai. The bearded figure is dressed in a flowing robe and leaning against a crutch. Along with a portrait miniature, gouache on card after Horace Taylor. The sitter, Claude Calthrop, is depicted with the soapstone statue. Statue 17cm. Provenance; Claude David Usticke Calthrop (1893-1921) First Secretary General of the Rhineland High Commission, Coblenz, by whom the statue was probably purchased in Switzerland or Germany. Obvious losses to the statue. Head probably repaired at the neck.