The Red-crowned Crane (Grus Japonensis) is the second rarest crane in the world. In maturity the crane has snow white plumage with a patch of red skin on top of the head, which turns a bright, vivid red when the bird becomes excited or angry.
A well grained 19th century yew wood lidded bowl of circular design, having a bulbous body and a concave and stepped foot. The lid has ring turnings and a raised stepped knob handle. Both the bowl and lid are turned from solid pieces of yew wood. The whole has a lovely colour, grain and patination. The interior rim of the lid is partially restored.
Ming, Chinese early 17th century, blue and white Kraak porcelain klapmuts bowl. Larger than usual with excellent bright blue colour and painting. Made at the kilns at Jingdezhen for export to Europe. This type is associated more with Holland than Britain at this time. The everted rim and sides are painted with panels, four large and four small. The small long panels are painted with a bow hanging down from a ruyi head the alternating larger panels which are painted with ‘monster shaped’ panels w
The hugely decorative group of four panels, each consisting of nine individual tiles, each of 20cm square form, made from tin-glazed terracotta and painted in a manganese style with ancient Roman imagery based on a Greek classical style, the stylised scaling or craquelure forming the grounds, with two of the four panels forming complete images and two with incomplete non-matching images, each group set in black painted custom frames and surviving from the middle of twentieth century Italy.
Likely to have been hung in the home of a wealthy family during the late 18th Century, these stunning Chinese panels depict utensils that would have belonged to an intellectual or artist, representing symbols of peace and prosperity.
Ming 16th century tripod incense burner with old hardwood stand made at Longquan The censer was used to hold stand into which incense or joss sticks were placed. The celadon body is incised with a lattice or trellis patter. The three feet come down to form Taotie mask heads a design common in the Ming and early Qing dynasty and one that is often found on Temples in the far east. The hard wood stand is well carved as a lotus head and to the centre with two crane heads. the stand was made for the
Chinese drum shaped powder Blue porcelain ink stone made during the first half of the 19th Century The decoration is in under glaze white where the wax resist technique ahs been used. the wax has been used to draw the design so it will remain white when the powder blue is blown on. The design shows boys at leisure in a fenced landscape with trees and foliage. the top is slightly concave with a drainage gutter to the outside the base has a double circle in under glaze blue This item would have be
Chinese blue and white early 18th century Blue and White pear shaped bottle vase. Made during the reign of the Emperor Kangxi at the kilns at Jingdezhen for export to Europe c1710. The main part of the body is painted with auspicious and scholastic emblems including Dings, scrolls, books and flowers. The neck is painted above a hatched border with stylised lappets ands leaves. The base is painted with the Artemisia leaf The foot rim before firing has become stained by dirty water causing nibbles
Three blue and white glazed saucers from the 1822 Tek Sing shipwreck that was discovered by Michael Hatcher in 1999. Both saucers have an aster spray painted in the centre within a dot-dash ring. Both are decorated with a border of a band of dots within two parallel lines just inside the rim. The rims are unglazed. The Tek Sing was a large three-masted Chinese ocean-going junk which sank on February 6, 1822in an area of the South China Sea known as the Belvidere Shoals. The ship was manned by a
A Meiji period Satsuma earthenware vase, by Kazui, lavishly painted in the ‘imperial’ palette and good quality gilding, with a central frieze of kiku and peonies against sprinkled gold clouds, all between rich brocade borders, gilt signature Kazui ga (painted), Shimazu mon and red seal. Japanese, c1880.
A Chinese incense burner and stand possibly Tang, A Chinese incense burner and stand possibly Tang the tall terracotta body moulded in the form of a plinth is decorated in polychrome with elaborate pierced work throughout, 75 cm x 36 cm (losses to base)
Chinese early 18th century blue and white porcelain deep saucers. Made at the end of the reign of the Emperor Kangxi or the start of the Emperor Yongzheng’s reign. Intricately painted to the sides with a cell border on the rim and a hatched geometric design to the inside with shaped panels of flowers. The centre is painted with a jardinière of bonsai including pine tree and bamboo with hollow rock and grasses. The underside is painted with foliage and flowers to the sides. The base has a double
As part of our Japanese works of art collection we are delighted to offer this fine quality Meiji period 1868-1912 , circa 1890 Kazaridana (display cabinet), the black lacquered hardwood cabinet stands upon a separate base formed as simulated Bamboo, and follows this Bamboo theme throughout the carcass, the multitude of display shelves further decorated with pierced open fretwork gallery’s and mouldings , this very useful cabinet houses storage compartments enclosed by three pairs of doors , a d
Chinese Celadon Stem Cup made at the end of the Song Dynasty beginning of the Yuan Dynasty at Longquan . The stem is modelled as a piece of bamboo with ridges. The neat small bowl has a slightly everted rim. the glaze pulls slightly away from the rim and pools in the hollows of the stem and around the bottom of the sides to the inside An academic piece as it is excellent quality although damaged bowl 7.75cm in diameter 9cm tall
Chinese late 17th early 18th century blue and white bombe form censer, made during the reign of the Emperor Kangxi at Jingdezhen. Boldly painted with intense decoration of scrolling lotus flowers below a lappet or flame border. To the base there is a double circle typical for this date. Although censers were originally for the Chinese own market, where they were used to contain sand or cones into which incense sticks were placed and burnt, they became much in demand in the west were they were us
A Chinese Qing dynasty famille verte porcelain plate, A Chinese Qing dynasty famille verte porcelain plate with underglazed blue apocryphal Chenghua characters to underside, designed with petal rim and painted foliage motifs, 28.5 cm diameter
Kangxi – Chinese early 18th century – rare shaped and painted tapering pear shaped vase. The pattern is divided and separated by brown or café au lait bands of colour. The base is painted with shaped lappets below a band of auspicious items. The main part of the body is painted with an Islamic or Tibetan shaped lotus flower. This is in an unusual form with it appearing as though it is pressed into that shape. The neck has a scrolling lotus flowers below the neck which repeats the pattern from th
A fragmentary grey schist head of Buddha Maitreya, the Buddha of the Future, who will be born to teach enlightenment in the next age. The Buddha is shown here wearing a magnificent rendered headpiece, constructed of ribbons and jewels and a miniature stupa. The Buddha is modelled in classical Gandharan style and displays several of the characteristic auspicious marks, laksanas, of the Buddha: these include the forehead mark, urna. With a meditative expression, gently smiling lips adorned with mo
Chinese exportware Armorial plate made at the end Kangxi start of Yongzheng’s reign. Engrisaille decoration to the side with peacocks and intricate swags of border enhanced with gilt. The inside painted in overglaze enamels of orange, white, pink and grey/black with gilt. the arms are those of Johnson
An oval-shaped pottery dish probably the work of Thomas Whieldon Staffordshire with relief molded decorations the center panel with a square diaper pattern. The elaborate border features acorns, fruit, and leaves. The glaze is exceptional, and the crisp modeling is of the best quality — a rare example from the early pioneering days of the Staffordshire potters.
As part of our Japanese works of art collection we are delighted to offer this fantastic quality Meiji Period 1868-1912 , bronze Okimono by the well recorded artist Atsuyoshi working for the highly acclaimed Maruki company , the artist has captured a magical study of a Toad catcher carrying a huge and completely out of scale Toad that is tethered to his back , he is startled by a Sand Lizard and looses his Sandal in the process of jumping out of the way , the movement and attention to detail are