Medieval Antiquities

Late 19th-early 20th century Chinese hand decorated porcelain figure. Beautifully hand decorated Chinese porcelain figure. This stunning colorful finely detailed figurine or sculptur...

Elegant and refined Khmer bronze hairpin dating between the 12th and 15th century.

A stunning and rare Chinese archaic bronze gui, a type of ritual bronze vessel used to hold grain, either for feasting, or for making offerings ...

Japanese bronze vessel with pair of dragon handles, falcon lid, birds in landscape and elephant heads base.

A well carved Indian white marble Jain temple relief fragment featuring an image of a Jina, circa 12th century, Rajasthan or Gujarat, India. The Tirthan...

Pair of cloisonné bronze vases, Japan, circa 1900, accident on one, slight depression Measures: H 19cm, D 10cm.

A sublime molded stucco head of a young male donor from the ancient region of Gandhara, 4th-5th century. The youthful nobleman sculpted in an idealized...

A lovely carved sandstone torso of the Buddha, Ayutthaya period (1350-1767), Thailand. Wonderfully simplistic, the only ornamentation this torso displays...

A large and impressive Indian carved sandstone architectural frieze featuring a central image of the Hindu goddess Lakshmi flanked by two atten...

A pair of very refined standing pottery statue of guardians, dramatic facial expression, beautiful detail, early Tang dynasty 618-907, come with one Oxford authentication TL test cer...

Collection of 6 Chinese cloisonne teapots in varying shapes and designs of flora and fauna. The highest one is 5.5'' H x 2 W x 2.5'' D. the sm...

An exceptional Indo-Portuguese colonial mother-of-pearl veneered casket with silver mounts India, Gujarat, 2nd half of the 16th century, the silver mounts Goa or probably Lisbon Measures: H. 16 x W. 24.6 x D. 16.1 cm An exceptional Gujarati casket with a rectangular box and truncated pyramidal lid (with slopes on each side and a flat top) made from exotic wood, probably teak (Tectona grandis), covered with a mother-of-pearl mosaic. The tesserae, cut from the shell of the green turban sea snail (Turbo marmoratus, a marine gastropod) in the shape of fish scales, are pinned to the wooden structure with silver ball-headed nails. The casket is set on bracket feet on the corners. The masterfully engraved decoration of the silver mounts follows the most refined and erudite Mannerist repertoire of rinceaux and ferroneries dating from the mid-16th century. The high quality and refinement of the silver mounts and, likewise, the silver nails that replaced the original brass pins used to hold the mother-of-pearl tesserae in place indicate the work of a silversmith probably working in Lisbon in the second half of the 16th century. The Indian origin of this production, namely from Cambay (Khambhat) and Surat in the present state of Gujarat in north India, is, as for the last three decades, consensual and fully demonstrated, not only by documentary and literary evidence - such as descriptions, travelogues and contemporary archival documentation - but also by the survival in situ of 16th-century wooden structures covered in mother-of-pearl tesserae. A fine example is a canopy decorating the tomb (dargah) of the Sufi saint, Sheik Salim Chisti (1478-1572) in Fatehpur Sikri in Agra district in the state of Uttar Pradesh, north India. This is an artistic production, geometric in character and Islamic in nature, where usually the mother-of-pearl tesserae form complex designs of fish scales or, similar to the dishes also made using the same technique, with the thin brass sheets and pins, stylized lotus flowers. The truncated pyramidal shape corresponds, like their contemporary tortoiseshell counterparts also made in Gujarat, to a piece of furniture used in the Indian subcontinent within the Islamic world prior to the arrival of the first Portuguese. This shape, in fact, is very old and peculiar to East-Asian caskets, chests or boxes used to contain and protect Buddhist texts, the sutras. A similar chest is the famous and large reliquary chest from Lisbon cathedral that once contained the relics of the city's patron saint, Saint Vincent. Both match in shape, having the same kind of socle or pedestal and bracket feet, and in their engraved silver mountings, featuring the same type of refined, erudite decoration. Their differences lie in the silver borders that frame the entire length of the edges of the chest (both the box and the lid), pinned with silver nails, and on the lock plate, shaped like a coat of arms in the Lisbon example. Given the exceptional dimensions of the reliquary casket...