Qing Furniture

A striking pair of Chinese export porcelain models of parrots featuring a fantastic robins egg and lavender glaze, early 20th century, China. The parrots are portrayed standing upri...

Chinoiserie Lacquer Box. Beautifully hand painted Chinoiserie Box decorated with auspicious Chinese scenes. The box is constructed of wood having polychrome painting lacquered with...

This is a set of four antique Chinese Dali stone panels which depict wonderful landscape images. The stone is set in an ebonized panel frame. They look wo...

Artistic storage bench, naïve and charming in its design. Shape of elephants in amber lacquer between elephants, at the end decorated with vases and flow...

Antique Chinese wedding basket of woven rattan and bamboo. Called a wedding basket as gifts from the wedding are collected and offered i...

Sharing with you this very nice example of 18th century porcelain. Dating to around 1740-1750. Nicely decorated. 11-3-2025 Condition 6 lines, a chip and fritting to rim. Size: 2...

Sharing with you this lovely dish on footring, the sides modelled as pomegranate-shaped panels in low relief, lightly scalloped rim. Decorated in iron-red and gold on the glaze. Po...

A well painted Chinese Canton enamel lobed round box and cover featuring the Eight Immortals, with a Qianlong mark to the underside, late Qing Dynasty, circa 1900, China The deligh...

A large wedding cabinet from the 19th century, with two pairs of double doors and large butterfly hardware. This armoire cabinet features two pairs of double doors, each fitted with ...

During winter in the colder provinces of China, life revolved around the kang, a heated brick platform that household members would sit or recline upon. Placed on top of the kang, lo...

A small Chinese Qing Dynasty period basket from the 19th century hand-woven with rattan on a bamboo armature. Created in China during the Qing Dynasty, this rustic basket features a ...

A Chinese Qing Dynasty period wooden altar console table from the 19th century with original distressed lacquer, horse hoof legs and hump back side stretchers. Created in China during the Qing Dynasty period in the 19th century, this wooden altar console table features a long and narrow rectangular top with central board and very distressed patina, sitting above a simple apron. Boasting a nicely weathered appearance revealing its good age and use, the table is raised on four slender straight legs showcasing horse hoof extremities. The sides are strengthened thanks to small hump back stretchers. The ensemble presents a dark reddish brown lacquer with distressing present throughout the structure. With its clean lines, good proportions and great rustic character, this Chinese Qing Dynasty period lacquered wood altar console table...

An lovely Chinese cobalt glazed and gilt decorated porcelain pear shaped vase, yuhuchunping, late Qing Dynasty, circa 1900, China. The elegant vase of typical yuhuchunping (pear sha...

An impressive depiction of Guanyin, the Bodhisattva of compassion, whose name bears the meaning ‘One who hears the cries of the world.’ The rather androgynous figure is adorned with beaded jewellery and the princely regalia of a dhoti, draped across her body and spilling out over to partially obscure what she is resting upon. The goddess’ profile exhibits idealised features of Asian artistic convention; her face is soft and rounded, with full lips and relaxed eyes that provide a serene quality of youthfulness to the figure. Adhering to Chinese iconography of Guanyin, the figure is marked by an urna on her forehead, denoting her own enlightenment, as well as a diadem displaying Buddha Amitabha, the spiritual teacher of Guanyin. Seated in the Lalit asana pose, translated as ‘royal ease’, the figure exudes a fine example of the relaxed majesty typical in the characterisation of Guanyin. Whilst the figure’s left hand is placed restfully upon the left leg pendant, the right is raised in the gesture shuni mudra, the second finger held gently against the thumb. Otherwise known as the seal of patience, this gesture indicates the figure as one intended to bestow this virtue, along with compassion and understanding, upon the beholder. Notes on the item: Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia. Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent. The Indian Avalokiteshvara is unequivocally recognised as male, whilst the supposed gender of Guanyin remains contentious. Although there is a clear shift from the masculine Avalokiteshvara towards a more feminine representation, it is unclear if Guanyin is understood to be entirely feminine, to inhabit qualities of both genders or to be elevated beyond gender entirely, embodying neither. Depictions of Guanyin are highly androgynous, which some believe lends credence towards Guanyin symbolising the unity of dualistic forces as recognised in Daoism, displaying the anthropomorphism of yin and yang. Comparative Analysis: Market comparisons of similar Qing Dynasty polychrome figures of Guanyin include lot 767 (no.2) From Christies ‘Important Chinese Ceramics and Works of Art,’ New York, 25 March 2022, with the price realised USD 52,920 (Estimate USD 20,000 – USD 30,000). Christies also auctioned a comparable polychrome Guanyin...

The warm tones and active grain of natural pine wood are the focus of this unusually articulated Dongbei sideboard. Made for a provincial home in northeastern China, this table was o...

A Chinese Carved Inkstone, 18th Century Provenance: Private Australian Collection Acquired in 1980s. Dimensions: Height: 12.5cm. Width: 28.5cm. Depth: 17.5cm.

A pair of Chinese Qing Dynasty period yumu wood cabinets from the 19th century, with double doors, drawers and carved motifs. This pair of Chinese Qing Dynasty yumu wood cabinets fro...

Description: A singular example of Guanyin. Deviating from the Bodhisattva’s conventional pose of ‘royal ease’, the figure is instead seated in the meditative padmasana, or ‘lotus position’, rendering this Guanyin something of a rarity. An Apana more typically associated with depictions of Buddhas, Guanyin assuming this pose immediately signifies this figure as one of particular spiritual reverence. Both feet are revealed crossed upon one another from beneath fabric which spills before her, her left palm turned upward with her hand resting upon her left knee and her right raised in a relaxed gesture. Adorned with a diadem housing a depiction of Amitabha Buddha, her own spiritual guide, she exudes an air of tranquil regality, further characterised by her numerous strings of beads and elaborately fastened dhoti, attire traditionally reserved for Indian princes. Though the figure’s dress is Indian her face is undoubtedly exemplifying artistic Chinese beauty standards. Her face is soft and rounded, full in both the lips and cheeks, with eyes that restfully peer down, as though she is watching over the worries of mankind with compassion. Notes on the item: Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia. Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent. The Indian Avalokiteshvara is unequivocally recognised as male, whilst the supposed gender of Guanyin remains contentious. Although there is a clear shift from the masculine Avalokiteshvara towards a more feminine representation, it is unclear if Guanyin is understood to be entirely feminine, to inhabit qualities of both genders or to be elevated beyond gender entirely, embodying neither. Depictions of Guanyin are highly androgynous, which some believe lends credence towards Guanyin symbolising the unity of dualistic forces as recognised in Daoism, displaying the anthropomorphism of yin and yang. Comparative Analysis: Market comparisons of similar Qing Dynasty polychrome figures of Guanyin include lot 767 (no.2) From Christies ‘Important Chinese Ceramics and Works of Art,’ New York, 25 March 2022, with the price realised USD 52,920 (Estimate USD 20,000 – USD 30,000). Christies also auctioned a comparable polychrome Guanyin...

A pair of chests in elm wood with hand wrought brass hardware. These were imported to the United States many decades ago and stripped of their original cinnabar paint to highlight th...

Fascinating Chinese Qing style 20th century eight panel folding table screen. The panels each features an idyllic landscape scene with a Chinese poem and artist seal. The reverse sid...

Qing Dynasty an antique rare early 20th century Chinese porcelain vase as a Chinese Famille Rose lamp with incised yellow ground decorated wi...

The essence of traditional Chinese furniture is fully expressed in the simplicity and graceful presence of this 18th century two-door cabinet. Crafted of southern elmwood with tradit...

This needs to be in a Museum A very nice example of 18th c export porcelain grisaille around 1758. A very rare bowl. We have not been able to find a second one in any literature of ...

A late Qing Dynasty elm wood cabinet with brown lacquer and bronze hardware. This antique Chinese cabinet, crafted from elm wood during the late Qing dynasty (circa late 19th to earl...

Large enameled porcelain bowl with cloisonné decoration in the famille rose style of palace scenes. Very pretty and decorative. Apocryphal Qianlong mark on the underside. Qianlong is an 18th century Chinese emperor. He is the sixth emperor of the Qing dynasty. In addition to his own artistic practice, Qianlong combined his passion for art collecting...

A large and graceful carved nephrite jade conjoined double vase in the form of a pair of Buddha's hands fruit (finger citron), late Qing Dynasty, circa 1900, China. The large and heavy vase carved from a single piece of celadon nephrite jade, with areas of lighter brown "sugar" skin. The vase ingeniously carved as a pair of Buddha's hand fruit, also known as finger citron, rising from a gnarled, leafy branch. The smaller Buddha's hand with a pair of bats. The Buddha's hands fruit with elegant and naturalistic curved "fingers". The "fingers wonderfully shaped and reticulated. The body of the fruit with simple stippling, in imitation of the textured surface of the real fruit. The interior of each fruit well hollowed and able to hold water. Buddha's hands fruit are auspicious in Chinese culture. Their name in Chinese "Fo Shou" is a homophone for "Happiness and Longevity. They are often placed as offerings on Buddhist altars...

Pair of late 19th century Qing wooden circular demilune center tables with porcelain inlaid on the surface, China By: unknown Material: wood, porcelain, ceramic, paint, enamel, lacq...

Very interesting and beautiful statue of Immortals Period: Qianlong Country of origin: China The Eight Immortals representing He Xiangu, Cao Goujiu, Li Ti...

Pair of Imperial yellow Gu form cloisonné vases.

Sharing with you this lovely plate Additional information: Material: Porcelain & Pottery Region of Origin: China Period: 19th century Emperor: Guangxu (1875-1908) China Dynasty Peri...

Sharing with you this very nice example of 18th century Mandarin ware. Dating to around 1740-1750. Absolutely top quality scene Very richly decorated. 11-3-2025 Condition Rimfrit...

A late 19th century large carved cabinet from Dong Yang city, Zhejiang province, China. This cabinet is a distinct design of cabinets from this region, who are famed for their wood c...

Sharing with you this lovely dish on footring, the sides modelled as pomegranate-shaped panels in low relief, lightly scalloped rim. Decorated in iron-red and gold on the glaze. In...

This cinnabar snuff bottle from the Republic of China period is a masterful blend of intricate craftsmanship and symbolic artistry. The bottle, i...

Description Sharing with you this very nice example of 18th century Mandarin ware. Dating to around 1750-1770. Rare love pastoral scene Devilswork border Absolutely top quality scen...

This 18th-century Kangxi period blanc de chine Chinese porcelain tripod censer is an exemplar of refined craftsmanship and intricate detailing, hallmarks of the Kangxi era. The cense...

This simple lacquered container was once used as a 19th-century snack box, presented as a gift during holidays and special occasions. To the delight of the r...

With its commanding scale and simple silhouette, this tall Qing-dynasty cabinet offered the perfect canvas for elaborate decoration. Crafted in the mid-19th century, the cabinet has ...

Antique unique Qing dynasty very large 20” pair of shell inlaid black lacquer big Chinese book boxes with bail handles two sides, with keys, each with hinged lid reversing to a mothe...

A Chinese Qing Dynasty antique black lacquer coffee table from the 19th century, with two drawers, dragon-carved spandrels and raised motifs. Created in China during the Qing Dynasty, this coffee table features a rectangular top with central board, sitting above two drawers carved with floral motifs and fitted with brass hardware. The table is raised on four straight slightly splaying legs connected to the top's underside thanks to dragon-carved spandrels. Boasting a dark patina, this 19th century Chinese Qing Dynasty coffee table...

Chinese Huanghuali wood box decorated with bronze mountings and motifs of bats, fish and moths. The top features a classic Chinese medallion mounted to the centre of the lid. In un...

A Chinese late Qing Dynasty period framed painting from the early 20th century of a royalty related couple with dragon motifs painted on a linen canvas. Created in China during the late Qing Dynasty in the early years of the 20th century, this custom framed painting depicts a couple wearing either a red (a symbol of luck in China) or green robe. The depiction of dragons relates them to the Imperial family, but having four claws and not five as codified, the couple is likely part of the royal family, not the Imperial couple themselves. Accented with typical motifs such as bats, flaming pearls and rain-filled clouds, the robes are filled with symbols. Wearing ornate headdresses, the couple is sitting on elegant chairs. Set inside custom made frames, the paintings show great signs of age. While the entire piece measures 40.5"W x 1"D x 53"H, the painting itself is 36.5"W x 49". With its vivid colors and interesting subject, this Chinese Qing Dynasty painting...

A Chinese late Qing Dynasty period opium mat coffee table from the early 20th century, with woven rattan inset top, carved apron and scrolling legs. Elevate your living space with a ...

This pair of monumental Fu-Lions, also known as shizi, once would have flanked the entrance to a Qing-dynasty home in China’s Shanxi province. One has a pearl under its foot, and the...

Chinese red lacquer box from Qing dynasty. Includes nine-pieces. Before in excellent condition. But when I take pictures, accidentally fell t...

19th century auspicious carved panel story board. Chinese carved wooden panel of one solid piece of carved wood set in a wooden frame. A C...

A Chinese Bronze Tripod Censer with Mark, 19th Century With twisted handles. Provenance: Private Australian Collection. Dimensions: Height: 14cm. Diameter: 19cm.

A very unusual antique Chinese porcelain pedestal lotus flower shaped bowl hand painted in bold solid colors believed to date from the early 20th century or possibly earlier. The lot...

Chinese Red Lacquered Carved Hardwood Altar Table, with floral and bird motif top. 30.5" H x 52" W x 16.5" D. Provenance: From a New York City Collection.

A vintage doucai ginger jar, handcrafted in China during the 1980s. Shaped in a unique decagonal form, it features ten individual panels that smoothly twist upwards, creating a har...

A Chinese Qing Dynasty period elm wood coffee table with square top. The table has a natural age-related patina. From Jiangsu province, Qing period, 1...

This antique Qing Dynasty famille rose porcelain vase represents the elegance and artistry of Chinese decorative traditions. The form features a rounded body that rises gracefully in...

This exceptional covered censer is a testament to the art of Chinese ceramics, executed with remarkable skill and attention to detail. The piece is enveloped in a refined celadon gla...

Lavishly decorated from head to toe, these statement armchairs from the early 20th century demonstrate the opulence of Qing-dynasty painted furniture. Crafted with mortise-and-tenon ...

Small 19th century eastern elm table top chest circa 1890. Superb quality Chinese pyramid shaped alter table chest made from elm.  Show frame structure with a single shallow drawer ...

A sublime Chinese celadon glazed shallow dish or charger, Qing Dynasty, mid 18th century, China. Beautifully glazed, with a carved decoration of a group of lotus, leaves, stalks and blossoms. The interior wall with radiating S-shaped lines, a motif that is repeated on the wide rim of the dish. The back undecorated. Glazed all-over with an even bright celadon glaze, with some attractive areas of crackle. Ex. Butterfield's, San Francisco. Plate stand for display...

A Chinese Qing Dynasty period carved altar coffer from the 19th century, with two drawers and geometric motifs. Created in China during the Qing Dynasty, this altar coffer features a...

Painted with overglaze enamels in the famille rose style, this small porcelain dish has a colorful design of four flowers representing the seasons. Rendered in shades of pink, green ...

A Large Pair of Chinese Famille Rose Decorated Gilt Foo Dog Handle Vases. Each vase features finely painted scenes on cartouches. The decoration showcases figures engaged in daily ...

An everyday example of Chinese blue-and-white ceramics, this petite footed dish from the late 19th century charms with expressive sweeps of cobalt blue atop a blue-grey field. The lo...