Lacquer Asian Art and Furniture

Vintage 20th century red cinnabar trinket box with ring. Hexagonal shaped box with geometric pattern around the sides and lid featuring a pair of figures under a gnarled pine tree. R...

A refined medium-sized six-panel byôbu (folding screen) showcasing a classical autumn court scene from chapter 7 of The Tale of Genji (Genji Monogatari), titled Momiji no Ga (The Aut...

Red lacquer altar table with everted flangers.

Transport yourself back to the opulent splendor of the 18th century with this magnificent Chinese five-panel black Coromandel screen, a true m...

Vibrant 20th century Chinese export coromandel screen depicting a walled pagoda courtyard. The lacquered panels are incised and decorated with colorful pigments of green, red, and wh...

A fine and impressive Japanese gold maki-e decorated black lacquer five-tier jubako with presentation tray, two lids, and the original tomobako storage box, Meiji period, late 19th c...

A very fine Japanese lacquer tebako, box for personal accessories, in the form of rolled bolts of brocade fabric, Meiji Period, late 19th century, Japan. The box is whimsically shap...

Pair of 18th century Coromandel panels with Chinese Chippendale Frames. with a scene depicting figures with pavilions and having Chinese Chippendale ebonized fretwork carved frames.

A Monumental Gilt-Lacquered Bronze Ornamental Buddha Sculpture of Vajravidarana: A Masterpiece of Sino-Tibetan Craftsmanship, Late 19th Century, Qing Dynasty This monumental gilt-lacquered bronze ornamental sculpture of Vajravidarana is an extraordinary and commanding piece of art, showcasing the pinnacle of Sino-Tibetan craftsmanship from the late 19th century. The figure of Vajravidarana, a powerful purification deity in Tibetan Buddhism, is meticulously sculpted to embody both spiritual authority and artistic excellence. Vajravidarana is primarily known for his role in removing spiritual impurities and negativities. Unlike other deities associated with wisdom or compassion, Vajravidarana’s function is centered on purification and healing. He is typically depicted holding a vajra and a bell, symbolizing the cutting away of delusions and the resonance of divine truth. In this striking sculpture, Vajravidarana is shown holding a vishva vajra (the double vajra), a unique and powerful variation of the traditional iconography, which signifies ultimate protection and the dispelling of negative karma. Vajravidarana: The Supreme Purifier and Protector Vajravidarana is revered in Tibetan Buddhism as the deity of spiritual purification, called upon to cleanse practitioners of defilements and negative influences. His vajra represents the indestructibility of truth, while his bell signifies the wisdom that resonates through purification rituals. In this sculpture, the presence of the vishva vajra, or double vajra, enhances his association with supreme protection, ensuring the destruction of all spiritual obstacles and afflictions. The figure’s powerful yet composed expression conveys a sense of unwavering resolve and divine authority. His posture, along with the carefully sculpted details of his robes and ornaments, highlights his function as a guardian against impurity. The inclusion of the vishva vajra rather than the usual single vajra reinforces his role as a supreme protector, capable of dispelling all forms of negativity and restoring balance. Symbolism of the Mantras and Aureole: Unlike deities that embody wisdom through duality, Vajravidarana’s iconography is centered on purification and exorcism. The aureole surrounding him is inscribed with sacred purification mantras rather than depictions of a consort. These mantras emphasize his function as a remover of obstacles and impurities, reinforcing his role in Buddhist healing rituals. The presence of the sacred inscriptions elevates the sculpture’s spiritual significance, making it a focal point for meditation and ritual purification. Practitioners often visualize Vajravidarana radiating purifying light, dissolving afflictions and negative karma. This theme is mirrored in the sculptural repetition of the purification symbols on the aureole, reinforcing the deity’s role as a divine cleanser. Gilt-Lacquered Bronze: The Artistry of Sino-Tibetan Metalwork: The craftsmanship of this monumental figure reflects the expertise of late 19th-century Sino-Tibetan metalwork, where traditional Tibetan themes were infused with Chinese artistic sensibilities. Cast in bronze and finished with a rich gilt lacquer, the statue has an otherworldly glow, giving it an ethereal, almost divine presence. The gilding process—applied with exceptional skill—gives the sculpture a striking luminosity that enhances the fine details of the facial features, flowing robes, jewelry, and other elements of the deity’s attire. The technique employed to create this figure speaks to the high level of craftsmanship that flourished during the late Qing Dynasty and early modern Tibetan art. The ornate details of the robes and the fine texture of the sculpture highlight the exceptional skill of the artisans who brought this work to life. The use of gold and lacquer not only reflects the preciousness of the sculpture but also its spiritual significance as an object meant to inspire reverence and meditation. An Ornamental Sculpture of Monumental Scale: Unlike smaller devotional objects, this sculpture is designed as an ornamental masterpiece, intended to make a grand visual and spiritual statement. Its monumental size allows it to dominate any space, offering a commanding presence that is both physically and symbolically impressive. In Buddhist practice, large sculptures of this nature are often placed in temples or meditation halls, where their imposing size and serene presence would encourage contemplation and devotion. The grand scale of the statue further amplifies the spiritual power it is meant to convey. As a representation of Vajravidarana, it is not only a physical object of beauty but also a conduit for meditation, purification, and enlightenment. The scale of the sculpture also emphasizes the divine stature of the deity, highlighting his importance in the Buddhist tradition as the ultimate force for spiritual cleansing and protection. Provenance: Acquired in China in circa 1900 1905 Private Buddhist Temple, Northeast, USA Private Sale Solomon Treasure...

18th century painting of European hound and her pup. Mineral pigments on gold leaf with black lacquer trim.

This superb Japanese footed lacquer tray dates to the late Edo–Meiji period (19th century) and is finely decorated with an elegant maki-e design. The refined composition and subtle u...

A truly beautiful and amazing piece. From the late 19th century of the Qing Dynasty in China, this lacquered writing box is decorated with the desi...

19th Century antique Chinese hand painted gold lacquer scene gilt fan 100 faces with original wood case and stand, fan is 13 inch x 8 '', the fan in ...

Exceptional 20th century Chinese export six panel coromandel screen featuring a busy idyllic courtyard scene with a dramatic gilt background. The screen has six panels lacquered and ...

This striking vintage Asian Coromandel screen is richly decorated in black lacquer with a luminous gilt ground, featuring an elegant scene of flowering trees, rocks, and birds render...

A fine and elegant Korean black lacquer and abalone mother of pearl inlay "longevity" box, circa 1930s, Korea. The box, most likely used to sto...

An early 20th century Asian black lacquer screen with carved coloured hardstone figures and scenery.

A spectacular Japanese maki-e lacquer lidded box, possibly a writing box, suzuribako, decorated with images of folding fans, ogi, Edo Period, earl...

A wonderful, beautifully crafted Japanese festival Shishi Lion Dance (Shishi Mai) mask (Gashira). The shishi mask represents a mythical lion that prote...

Old Fans mounted on a two panel screen of Gold Clouds. Mineral pigments and gold on mulberry paper, with silk brocade border and black lacquer trim. Signatures on fans read: Tsunenob...

Red Lacquer Wooden Wedding Bowl. Served with Desserts.

Antique 19th century export Chinese lacquer gaming box with hand painted scenes gilt export black lacquer with 4 pair of two dragons playing a ball, the...

19th century Shibayama four Panel screen Meiji Period Japan C.1880 Mother of pearl inlay in black lacquer depicting a bird in relief with cherry blossom. The lower section with gilt panels, and the reverse red lacquer with tree silhouettes.

Ink on gold. This continuation of equine grace unfolds across a stunning gold-leaf backdrop, capturing the essence of nobility that horses represent in Japanese lore. The screen de...

19th century Chinese export gilt decorated black lacquer gaming board. The game board painted with gilt seated figures in various poses on a black ground within a landscape vignette ...

A Korean black lacquered wood low table with fine inlay works circa Joseon dynasty (19th century), Musuem quality. The low table was traditionally placed on the floor or bed and mean...

A Japanese lacquered wood fubako (a box to store document or small scroll painting) circa late 18th century of Edo period. The rectangular box features a deep lid with rounded corners and recessed mid-edge and a lower box with two bronze medallion rings and tasseled silk ties. The surface of the fubako was elaborately decorated with hiramaki-e and a low takamaki-e on a mottled Mura-nashiji background. The motifs on the lid depict branches of Japanese pine with finely rendered needles on the lower part; on the upper part, it showcases fruited persimmon branches. Two different shades of gold fundame were used to contrast the design and augmented by scattered gold kirigane to highlight some of the leaves. The design continues and cascades down to all sides of the lid as well as the walls of the box. The two bronze medallions appear original to the box and the silk ties show significant fading from the age. This Fine fubako is signed on the lower wall "Kanshosai" in Kanji with a kao mark. All the trims were finished in gold fundame and the interiors a dense nashiji in gold. Kanshosai is the mark of the distinguished lacquer artist Lizuka Toyo I who also signed his work "Toyosai". He was active in the second half of the 18th century during Edo period, employed by Hachisuka Shigeyoshi (1738-1801), daimyo of Awa on Shikoku Island. Although most survived work bearing his marks are inros, he was also known to decorated trays and other larger objects...

Asian Chinese-style rectangular coffee table with a black lacquered panel top featuring a Chinoiserie scene and modern celadon and gilt decorated shaped base.     

19th century antique hand painted Chinese lacquer jewelry cabinet with a pair of raised panel doors opening to five drawers with turned ivory...

This is a beautifully crafted lacquer box with a cloisonné enamel mount, featuring an intricate design that combines traditional craftsmanship with vibrant artistry. The lid showcase...

This is a wonderful collection of 6 mid-20th century Japanese Lacquer Trays. There is one pair of oxblood red with highlights; one pair of matched oil spot trays and one near pair of oil spot lacquer trays. All of the trays are in good overall condition with minor anticipated chips and patina to the edges. One of the cinnabar...

Impressive Chinese set of four panels decorated at both sides. Two adjustable panels lacquered walnut screen featuring hand-carved exotic lacquered birds and trees in a floral landsc...

Fantastic set of three framed chinoiserie decorated landscape panels painted by Robert Crowder (1911-2010 American). The paintings feature a flora a...

A charming Korean keyaki (Japanese elm), lacquer, and mother-of-pearl inlaid personal accessory chest for a woman, Joseon Dynasty, early 19th century or earlier, Korea. The small ac...

The number 12 figures prominently in Tibetan astrology, making this simple chest’s dozen drawers the perfect canvas to honor the year of the dragon. Tibet...

A wonderful Japanese Buddhist portable traveling zushi shrine altar with Amida Buddha (Amitabha) concealed inside the folded wood doors. This work dat...

A rare and well-preserved Kikko Jacket used traditionally as an under armor by elite Daimyo and Samurai class since the time of the Mongol invasions of Japan (1270s), and particularl...

Japanese, Edo Period (1603-1868), likely late 18th century. Step into the rich tapestry of Japanese history with this exquisite 18th-century Edo Period Lacquer & Chain Mail Suit of Armor, a masterpiece that seamlessly blends martial craftsmanship with artistic elegance. Crafted during a period of unparalleled cultural refinement, this armor is a testament to the meticulous skill and dedication of Japanese artisans. The Gosuko armor, at the heart of this ensemble, embodies the traditional armor design of the Edo Period. Each meticulously lacquered plate, carefully adorned with ornate motifs, reflects not only the functional sophistication required for battle but also the aesthetic sensibilities intrinsic to Japanese art. The incorporation of chain mail adds a layer of flexibility and mobility, harmonizing the demands of protection with the fluidity required in combat. A crowning glory to this armor is the Kabuto Helmet, an iconic symbol of samurai identity and resilience. Its design not only provides formidable protection but also serves as a canvas for artistic expression. The helmet's form, combined with lacquer embellishments and a crest, creates a striking visual statement, a representation of the wearer's identity and lineage. To complete the ensemble, the armor comes with a brocade fabric, adding a touch of regality to this already magnificent piece. The interplay of textures and colors in the brocade further elevates the visual impact, turning the act of donning this armor into a ceremonial experience. For the discerning collector, this piece is presented in a lacquer armor box, meticulously crafted to safeguard and showcase the historical significance of the armor. The accompanying wood armor display stand serves as a stage, allowing this masterpiece to command attention in any setting, whether it be a private collection, museum exhibit, or a distinguished living space. Owning this 18th-century Japanese Edo Period Lacquer...

This Japanese antique low table features a scattered fan motif and is a type of zataku (low table), historically used for meals, tea ceremonies, and other seated activities. Lacque...

An exceptionally fine and unusual Japanese lacquer writing implements box, suzuribako, in the form of a zither, koto, Edo Period, 18th century, Japan. With a modern wood storage box,...

This Edo-period makie suzuribako features the legendary Heian-period general Minamoto no Yoshiie, widely known as Yawata Tarō, shown charging forward on horseback with bow drawn. Cel...

Foraging deer under hinoki tree in an autumn setting. Mineral pigments on heavy gold leaf with good veining on paper. Silk brocade border with a black lacquer trim and elaborate bron...

3in(D) x 4in(W) x 9in(H) are the overall dimensions of the shrine

Inrō with four gold lacquer compartments, decorated with a lake landscape. Accompanied by a bronze ryusa manju. Small boxes formed of compartments that fit one on top of the other, i...

Ink and minimal pigments on mulberry paper with black lacquer trim.

Standing Buddha – Mandalay Period Burma (Myanmar), 19th Century Material: Wood with original gilding and red lacquer Dimensions: 106 × 55 cm This commanding and elegantly detailed s...

An antique Korean lacquered small chest of drawers with Mother-of-Pearl inlays circa 19th century (late Joseon Dynasty). The tabletop box with multiple small drawers of various sizes...

Red lacquer trunk with brass fittings.

A handsome lacquered tea set from Japan, circa 1920s, featuring a traditional Japanese lacquerware style, known as Urushi, with a deep red color and hand-painted gold designs, prized...

An exquisite small Japanese maki-e lacquer stacking box for incense and accessories, ju-kobako, late Edo or early Meiji Period, mid 19th century, Japan. Crafted in maki-e lacquer an...

An elaborate, large six-panel byôbu (folding screen) featuring a detailed genre painting on gold leaf, capturing the vibrancy of festive scenes from the Edo period. Central to the p...

19th century antique Chinese hand painted lacquer scene gilt fan with original lacquer box.

PRESENTED BY THE 21ST PRESIDENT OF JAPAN From our Japanese collection, we are absolutely delighted to bring to market this Important Japanese Lacquer Presentation Box. The Presentat...

A fine antique Japanese Meji Period lacquer box decorated with a fan and a stylized star shaped window in the maki-e technique. The fan at the top right corner, fully opened depictin...

A very special Japanese Rinpa style small lacquer box for incense accessories, kobako, by Santo Kyosui (1816 to 1867), late Edo period (1603 to 1868), mid 19th century, Kyoto, Japan....

Large antique Chinese carved and painted cinnabar lacquer style covered round box, top decorated in relief with two fierce, scaly, slithering dragons chasing a flaming pearl amongst ...

Dimensions: W 17.7 × D 17.5 × H 8.3 cm Weight: 255 g Origin: Japan (Aizu region) A refined urushi lacquer bowl crafted in the Aizu region, renowned for its centuries-old lacquer tra...

This exceptional mid-19th century Chinese Export sewing box is a stunning example of intricate craftsmanship and artistry. The large rectangular box is crafted from wood, finished in...

A large and magnificently decorated Japanese lacquer document box, ryoshibako, signed Umeboshi/Baikyo, late Edo or early Meiji Period, mid 19th century, Japan. The large document box, ryoshibako, of tall, rectangular shape with rounded corners, and fitted with an inrobuta (flush-fitting) cover with beveled edges. The exterior of this exquisite box is decorated all over with fifteen different raised reserves shaped as uchiwa (paddle) fans against a lush and intricate krikane ground imitating shagreen. The uchiwa shaped reserves all of takamaki-e, and exquisitely painted with designs of animals, flowers, and landscapes in silver, gold, maki-e, hiramaki-e, and takamaki-e, with kirikane, nashiji, and polychrome embellishments, upon gold lacquer fudame grounds. The interior of the lid is nothing short of spectacular, featuring a large design of a magnificent and beautifully detailed rooster and hen with chicks gathered around a lazy stream. Large stalks of chrysanthemum bloom behind them. All against an ethereal nashiji ground. The cover of the box features five reserves: 1. Three minogame (turtles with long tails), symbolizing longevity 2. "Narihira Crossing the Sumida" from The Tales of Ise...

Dimensions: each approx. 23 × 23 × 26 cm Material: Black lacquer with gold maki-e decoration Condition: Very good, minor wear consistent with age A rare matched pair of Japanese lac...