Asian Collectables
Pair of Qing Dynasty Lidded Storage Jars
A pair of C19th, Chinese, Qing Dynasty, probably pre Guangxu, Prunus and Cracked Ice Lidded Storage Jars. The jars a pair, one lid, a closely matched replacement, has a hairline crack. Glaze flaws occur towards the undecorated necks. Evidence of previous sealing matrix to the necks. The blue glaze an uneven distance off the foot and not in the foot recess at all.The rough, chatter marked, unglazed surface, deeply engrained with decades of dirt, to the recessed bases of the jars might possibly indicate an even earlier date for these lidded jars. Both circa 3.5kg; 28 cm (11“) tall, 20 cm ( 8”) diameter at widest point; 3 inch diameter opening; 5 inch diameter at base.
The vendor had inherited these from her grandfather, a Sea Captain, who had bought them back from the Far East in the C19th. It was she who broke the matching lid as she played with them as a child.
Pair of Qing Dynasty Lidded Storage Jars: detail
A pair of C19th, Chinese, Qing Dynasty, probably pre Guangxu, Prunus and Cracked Ice Lidded Storage Jars. The jars a pair, one lid, a closely matched replacement, has a hairline crack. Glaze flaws occur towards the undecorated necks. Evidence of previous sealing matrix to the necks. The blue glaze an uneven distance off the foot and not in the foot recess at all.The rough, chatter marked, unglazed surface, deeply engrained with decades of dirt, to the recessed bases of the jars might possibly indicate an even earlier date for these lidded jars. Both circa 3.5kg; 28 cm (11“) tall, 20 cm ( 8”) diameter at widest point; 3 inch diameter opening; 5 inch diameter at base.
The vendor had inherited these from her grandfather, a Sea Captain, who had bought them back from the Far East in the C19th. It was she who broke the matching lid as she played with them as a child.
Pair of Qing Dynasty Lidded Storage Jars
A pair of C19th, Chinese, Qing Dynasty, probably pre Guangxu, Prunus and Cracked Ice Lidded Storage Jars. The jars a pair, one lid, a closely matched replacement, has a hairline crack. Glaze flaws occur towards the undecorated necks. Evidence of previous sealing matrix to the necks. The blue glaze an uneven distance off the foot and not in the foot recess at all.The rough, chatter marked, unglazed surface, deeply engrained with decades of dirt, to the recessed bases of the jars might possibly indicate an even earlier date for these lidded jars. Both circa 3.5kg; 28 cm (11“) tall, 20 cm ( 8”) diameter at widest point; 3 inch diameter opening; 5 inch diameter at base.
The vendor had inherited these from her grandfather, a Sea Captain, who had bought them back from the Far East in the C19th. It was she who broke the matching lid as she played with them as a child.
Guan Yin Porcelain Figurine
Guan Yin is the goddess of mercy, kindness and love in Chinese mythology. She is considered to be the physical embodiment of compassion. She is an all-seeing, all-hearing being who is called upon by worshipers in times of uncertainty, despair, and fear. Along with Buddhism, Guan Yin's veneration was introduced into China as early as the 1st century AD. Buddhism came to China from India and had spread to Japan via Korea by the 6th century AD.
Guan Yin originated as the Buddhist Avalokitesvara, which is her male form. Later images might show female and male attributes, since a Bodhisattva, in accordance with the Lotus Sutra, has the magical power to transform the body in any form required to relieve suffering, so that Guan Yin is neither woman nor man. In Mahayana Buddhism, to which Chinese Buddhism belongs, gender is no obstacle to Enlightenment.
In the modern period, Guan Yin is most often represented as a beautiful, white-robed woman, white being the symbol of purity. These are mid to late C20th representations of Guan Yin. 38 cm tall. Supposedly originated in China.
Guan Yin Porcelain Figurine
Guan Yin is the goddess of mercy, kindness and love in Chinese mythology. She is considered to be the physical embodiment of compassion. She is an all-seeing, all-hearing being who is called upon by worshipers in times of uncertainty, despair, and fear. Along with Buddhism, Guan Yin's veneration was introduced into China as early as the 1st century AD. Buddhism came to China from India and had spread to Japan via Korea by the 6th century AD.
Guan Yin originated as the Buddhist Avalokitesvara, which is her male form. Later images might show female and male attributes, since a Bodhisattva, in accordance with the Lotus Sutra, has the magical power to transform the body in any form required to relieve suffering, so that Guan Yin is neither woman nor man. In Mahayana Buddhism, to which Chinese Buddhism belongs, gender is no obstacle to Enlightenment.
In the modern period, Guan Yin is most often represented as a beautiful, white-robed woman, white being the symbol of purity. These are mid to late C20th representations of Guan Yin. 38 cm tall. Supposedly originated in China.
Guan Yin Soapstone Figurine
Guan Yin is the goddess of mercy, kindness and love in Chinese mythology. She is considered to be the physical embodiment of compassion. She is an all-seeing, all-hearing being who is called upon by worshipers in times of uncertainty, despair, and fear. Along with Buddhism, Guan Yin's veneration was introduced into China as early as the 1st century AD. Buddhism came to China from India and had spread to Japan via Korea by the 6th century AD.
Guan Yin originated as the Buddhist Avalokitesvara, which is her male form. Later images might show female and male attributes, since a Bodhisattva, in accordance with the Lotus Sutra, has the magical power to transform the body in any form required to relieve suffering, so that Guan Yin is neither woman nor man. In Mahayana Buddhism, to which Chinese Buddhism belongs, gender is no obstacle to Enlightenment.
In the modern period, Guan Yin is most often represented as a beautiful, white-robed woman, white being the symbol of purity. These are mid to late C20th representations of Guan Yin. 43 cm tall. Supposedly originated in China.
Guan Yin Soapstone Figurine
Guan Yin is the goddess of mercy, kindness and love in Chinese mythology. She is considered to be the physical embodiment of compassion. She is an all-seeing, all-hearing being who is called upon by worshipers in times of uncertainty, despair, and fear. Along with Buddhism, Guan Yin's veneration was introduced into China as early as the 1st century AD. Buddhism came to China from India and had spread to Japan via Korea by the 6th century AD.
Guan Yin originated as the Buddhist Avalokitesvara, which is her male form. Later images might show female and male attributes, since a Bodhisattva, in accordance with the Lotus Sutra, has the magical power to transform the body in any form required to relieve suffering, so that Guan Yin is neither woman nor man. In Mahayana Buddhism, to which Chinese Buddhism belongs, gender is no obstacle to Enlightenment.
In the modern period, Guan Yin is most often represented as a beautiful, white-robed woman, white being the symbol of purity. These are mid to late C20th representations of Guan Yin. 43 cm tall. Supposedly originated in China.
Imari Charger: base
Imari Charger made in the late C19th in the Imari / Arita area of Kyushu Island in the south west of the island nation of Japan for export through China and Asia then onto Europe. The top with its moulded raised relief is decorated in over glaze enamels in predominantly the characteristic red, gold and blue with floral medallions over swirled ribbons of brocades. The base is decorated with blue and white underglaze patterns derived from Chinese motifs including Plantain Leaves and Clouds. The six characters on the base are in Chinese script to suggest the Ming dynasty period. This marketing ploy was used in the late C17th & early C18th then revived in the late C19th. 40 cm diameter
Imari Charger: base characters
Imari Charger made in the late C19th in the Imari / Arita area of Kyushu Island in the south west of the island nation of Japan for export through China and Asia then onto Europe. The top with its moulded raised relief is decorated in over glaze enamels in predominantly the characteristic red, gold and blue with floral medallions over swirled ribbons of brocades. The base is decorated with blue and white underglaze patterns derived from Chinese motifs including Plantain Leaves and Clouds. The six characters on the base are in Chinese script to suggest the Ming dynasty period. This marketing ploy was used in the late C17th & early C18th then revived in the late C19th. 40 cm diameter
Imari Charger: top
Imari Charger made in the late C19th in the Imari / Arita area of Kyushu Island in the south west of the island nation of Japan for export through China and Asia then onto Europe. The top with its moulded raised relief is decorated in over glaze enamels in predominantly the characteristic red, gold and blue with floral medallions over swirled ribbons of brocades. The base is decorated with blue and white underglaze patterns derived from Chinese motifs including Plantain Leaves and Clouds. The six characters on the base are in Chinese script to suggest the Ming dynasty period. This marketing ploy was used in the late C17th & early C18th then revived in the late C19th. 40 cm diameter
Japanese Ornamental Hinamatsuri Dolls: emperor
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Japanese Ornamental Hinamatsuri Dolls: empress
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Japanese Ornamental Hinamatsuri Dolls: guard with cherry blossoms
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Japanese Ornamental Hinamatsuri Dolls: guard with mandarins
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Japanese Ornamental Hinamatsuri Dolls: label
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Japanese Ornamental Hinamatsuri Dolls: musicians
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Japanese Ornamental Hinamatsuri Dolls
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Oval Carved Coral Tablet in Silver Brooch Setting
Oval, lovely soft red tablet of coral carved with lotus flowers in a silver [marked] brooch setting with a granulated border; Chinese, late c19th / early C20th; late Qing either Guangxu or Xuanlong. The Lotus in Buddhism representing the qualities of purity, harmony, nobility and elegance among other desirables in life.
Silver Gilt & Polychrome Enamel Dragonfly Brooch
With articulated tail; possibly Chinese, late C19th or early C20th, export ware; circa 5.5cm long.
Korean Haetae Figure Box: front
Late 1800s, possibly Korean, Haetae figure box. High grade silver [tested] 110g.7.5cm high. Haetae are “Lion Dogs” – mythological creatures that are master of fire and guardians against this element. Their powers include time travel and the waning of the moon or even an eclipse. Haetae are often in front or inside Korean houses or used as containers as a protection against destructive natural elements.
Korean Haetae Figure Box: behind
Late 1800s, possibly Korean, Haetae figure box. High grade silver [tested] 110g.7.5cm high. Haetae are “Lion Dogs” – mythological creatures that are master of fire and guardians against this element. Their powers include time travel and the waning of the moon or even an eclipse. Haetae are often in front or inside Korean houses or used as containers as a protection against destructive natural elements.
Hediao Chinese Nut Carving: two
An ancient, traditional craft dating back to the Song dynasty. These examples have been dated as later Qing circa 1890’s; from an old collection of eclectica; supposedly Peach stones, 13-14mm diameter.
Hediao Chinese Nut Carving: one
An ancient, traditional craft dating back to the Song dynasty. These examples have been dated as later Qing circa 1890’s; from an old collection of eclectica; supposedly Peach stones, 13-14mm diameter.
Chinese Export Silver Cruet
Circa 1850-70, Chinese, high grade Export Silver three piece Cruet marked for Wang Hing of Hong Kong.
Consisting of salt cellar, mustard pot and pepperette in naturalistic, tree trunk forms with applied decorations of blossoming Prunus tree, the branches forming feet.
Additional granulated silver decoration symbolising hidden groves.
Original handmade glass inserts.