Hardwood Sculptures and Carvings

Chinese Carved Rose Quartz Archaistic Censer with Guardian Lion Finial, Estate of John Loring of Tiffanys Three pieces: Lid, censer, and Hardwood Carved base Beautifully hand carve...

A rare and most impressive 1960s Japanese Ainu bear sculpture. Artist signed and dated. Indigenous Ainu Peoples, probably Ashikawa, Hokkaido, Japan's northe...

This Japanese Edo Period Boxwood Skeleton Netsuke dates to the middle of the nineteenth century, circa 1840. Carved from boxwood, it depicts a skeleton curled tightly in the foetal p...

Japan hand carved rosewood rabbit.

Thai Rattanakosin-Era Carved and Gilded Throne Side Panels Ornately carved panels with gilding from Thailand. The central portion of these panels depict...

19th Century carved wood panel with lotus bud motive. An Architectural Element from a Buddhist Monastery in Northen Thailand. A Lotus Bud representi...

Hard To Find Collector Cache Five (5) Wood Display Bases A fine collection of five old (5) Asian hardwood display bases in various sizes, for your favorite collectibles. Some reta...

A really nice vintage Japanese boxwood inro and netsuke of rats and snakes on a round basket, circa early 1940s. The piece is well carved with wonderful detail and in very good vint...

This collection consists of nine miniature Japanese netsuke figures, crafted from Japanese boxwood. The unifying focus is on the rabbit, a deeply symbolic animal in East Asian folklo...

Antique Chinese large cork diorama depicting temple and garden scene.

A large and impressive Chinese caved jade vase, Republic Period, circa 1930. Carved from one massive piece of jade. The vase carved with the He He Er Xian...

Antique Burmese Life-size Standing Buddha Statue, Mandalay Period (1857-1885). This Mandalay Buddha figure is intricately carved of assembled teak and stands squarely with rendered b...

This unique teak carved panel depicts Dayak Tribal mythology. The Dayak people are some hundreds of various native groups found in the interior rain...

Description: A fine depiction of Guanyin, possessing the regal tranquillity that the Chinese Bodhisattva of compassion has come to be visually associated with. Marked by an urna signifying her spiritual enlightenment and crowned with a diadem depicting the Buddha Amitabha, the figure is immediately recognisable as Guanyin. Her androgynous figure is gracefully poised in the Lalit asana or “royal ease”, the pose classical in representations of the deity. The figure is asymmetric, with the weight of her supple form falling upon her left hand placed against the base, her right knee raised and left pendant. Her right hand rests upon her raised knee, delicately pinching at her draped attire. At first unassuming, this gesture may be suggestive of the Apana Mudra, the seal of purification. This Mudra is associated with physical wellbeing, fecundity and the cleansing of the body. Though she is adorned in the princely garb of dhoti, she bears features of idealised feminine beauty as prescribed in Asian art. With plump cheeks and near pouted lips, her full face gazes down upon the viewer with an empathetic and half-lidded gaze, upholding her title as ‘One who hears the cries of the world.’ 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...

This exquisite hand-carved wooden column chapiter showcases a masterful blend of cultural symbolism and botanical artistry. Featuring a central Barong motif, the piece draws inspirat...

8-163 small hand carved figure of a peasant with a removable straw hat. circa 1920-30's.

An exquisitely hand carved bone Chinese dignitary standing figure portraying a lavishly dressed bearded male. Difficult to date, in our opinion last quarter of the 19th century. ...

Natural erosion organic teak sculptures. The organic teak is left in its natural weathered condition or bleached white. Great as art installations in sets of three or more. Please vi...

Japanese Finely Carved Boxwood Okimono of a Perched Hawk Signed Meiji Period (1868–1912), circa 1910–1920 An exceptional Japanese boxwood okimono depicting a majestic hawk perched i...

A LARGE WOOD FIGURE OF GUANYIN WITH TRACES OF PIGMENTS MING DYNASTY (1368-1644) The bodhisattva is shown seated in padmasana, wearing long flowing ro...

The original Nine Dragon Wall was built during the reconstruction of Ningshou Palace in 1772. It is 29.4 meters long, 3.5 meters high and 0.45 meters thick. It is a single-sided glaz...

A visually arresting tall vertical scholar stone of Lingbi type balanced on a fitted wood base. The rock formation features an elegant slender form of highly sculptural surface with ...

This item is a hand-carved wooden statue of Guanyin (also known as Kwan Yin or Quan Yin), the Bodhisattva of Compassion. Guanyin is depicted standing elegantly in flowing robes with ...

Antique Thai Hardwood Betelnut Box. A turned wood globular chedi form having a narrower pedestal base, fitted wood conical top shaped with circular tiers...

This unique teak carved panel depicts Dayak Tribal mythology. The Dayak people are some hundreds of various native groups found in the interior rainforests of Borneo. This carving depicts the tree of life, which the Dayak people believe exists on “Linden Tarung”, a mythical rock island where they believe humans first came to existence. “Linden Tarung” is the ancient and ancestral home of the Dayak peoples. It is this tree of life that reminds the Dayak people not to get too attached to worldly possessions. The tree of life also symbolizes heaven, earth and the underworld. The top of tree features hornbills that are the symbol of heaven. The middle represents the present earth and bottom of the tree the underworld. To achieve such detail & depth required immense patience, craftsmanship and many months by a skilled artisan to complete. The medium for this carving was an antique teak door...

A boxwood netsuke depicting a mandarin fruit with a ryu dragon finely carved upside down, featuring a blonde horn-inlaid eye. Natural himotoshi formed from the mandarin's stem, en...

This elegantly carved temple drum wase use in Buddhist Temples. It’s carved from teak and lacquered black with red and green stripped details. The top and straps are made of leather. These gigantic goblet...

Pair of Chinese Gilt & Lacquered Openwork Figural Architectural Panels China, 20th Century An impressive pair of Chinese carved and parcel-gilt architectural panels executed in the ...

We are delighted to offer for sale this Stunning Framed Chinese Oriental Carved Cork Diorama Display Sculpture. It showcases intricate craftsmans...

An antique Chinese plant stand offers inset marble top over hardwood base having pierced and carved foliate skirt, raised on cabriole legs ...

The Form No. 9 of the Vrksa Series of works demonstrates the flow of wood; the emerging and the reduction of wood while retaining an organic form, creating a spectacle of shadows whe...

Netsuke originated as practical toggles used to suspend personal belongings from the sash of a kimono, evolving during the Edo period into one of Japan's most celebrated miniature ar...

Pair of Chinese Carved Hardwood figure of Foo dogs with Rolling 'Pearls' & Puzzle Balls China Mid 20th Century A fine pair of Chinese carved hardwood figures of Foo dogs from mid-20th century China. These exquisite hand-carved wooden Foo dogs display the exceptional craftsmanship of Chinese artisans. Each Foo dog is well carved, capturing the regal and protective essence of these revered guardian lions. Adding to their allure, these Foo dogs feature a unique and captivating detail: a rolling wood...

An amusing Showa Period (1926-1989) hand carved hardwood netsuke depicting a monkey riding atop a turtle, the eyes of the monkey inset with cabochon pupils, signed with etched charac...

Mutton Fat jade amulet carving on elaborate hardwood stand - the hand carved jade with pierced scrolling vines and solid base and central column - the ...

A finely carved Chinese zitan wood figure of an unidentified bodhisattva, possibly Guanyin, late Qing Dynasty, circa 1900, China. The androgynous figure has a plump, almost matronly face, with downcast eyes and a gentle smile. The hair in long tresses, gathered and tied in a high chignon. The enlightened being is portrayed seated in dhyanasana, bare feet resting on crossed legs, both soles pointing up. Thick robes billow and drape around the full figured body. The hands display...

A tribal door from a Lopo Round hut from tribes people on the island of Timor, Indonesia. A Lopo house is a communal hut where the tribe convenes with a second story used to store gr...

Fine quality large antique Chinese carved hardwood figure having a fine quality antique Chinese hardwood figure of a sage.

1202 Japan pair hand carved finely detailed pair of koi fish.

This exquisite late 19th-century Chinese carved hardwood figure depicts an immortal holding a bat, symbolizing happiness and good fortune in Chinese culture. The workmanship is exemp...

Natural teak wood root sphere. The outer section is polished and the inner root left smooth in contrast. We have a collection available--all vary slightly in diameter. The price refl...

1262 Japanese gilt wood panel deer at the base of mount Fuji.

3-652 Asian peacock wall decoration made with shells and seeds.

Chinese Carved Jade Covered Hu Vase, with two mask head with rings handles, incised taotie design to each side, and on a fitted carved wood stand. Overall: 7.5" H x 4.25" W x 2.25" D...

Chinese Spinach Nephrite Jade Immortal with Lotus, Mid-20th Century Dimensions: 5” H x 5” W x 3” D (including base) A finely carved Chinese figure of a celestial maiden, sculpted f...

Quality antique Chinese carved hardwood figure of a shoulou with a staff, attendant child and a stork standing on a carved base

Antique hand carved panel from Toraja. Framed in a Minimalist black teak wood shadow box. This carving symbolizes the protection of the home....

This exquisite antique teak wood panel hails from the culturally rich island of Java, Indonesia, and features a meticulously hand-carved and hand-painted depiction of a Wayang scene ...

Netsuke emerged during the Edo period as practical toggles used to suspend personal belongings from the sash of a kimono. Over time, these functional objects evolved into highly soph...

Manju-type netsuke (round in shape) carved in wood, decorated with cherry blossoms on one side and geometric patterns on the other. Signed “Getsu.” Round or oval in form, the manju netsuke...

Chinese Russet Jade hardwood Imperial Ruyi Scepter Qing Dynasty 19th century, Provenance. Large Chinese Qing Dynasty jade Ruyi scepter with three ...

This intricately carved teak panel depicts a scene from the life of the Buddha, likely part of a narrative sequence once adorning the interior of a Burmese temple. The composition fe...

Presenting an extraordinary Large and Exceptional Japanese Meiji Period Tokyo School Bronze Sculpture depicting a delightful ensemble of six energe...

Netsuke originated in Japan during the Edo period as practical toggles used to secure personal belongings to the sash of a kimono. Over time, these miniature carvings evolved into hi...

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...

A wonderful vintage to near antique Chinese nephrite jade carving of Damo (Bodhidharma), with an associated carved hardwood stand, early to mid 20th century, possibly Republic Period...

Extraordinary mid century design This is a handsome Japanese mid century heavy hardwood bench hand chiseled on plank in a dramatic "wave" pattern using traditional Japanese tools "Oire Nomi". The butterfly joint at the end reminds us of George Nakashima's popular technique he used on his famous mid century tables. Solid and Heavy. Genuinely old waxed chocolate patina from care. We have applied a further protective coat of bees wax to ensure continued weather resistant use. Dimensions: Seat height: 18 inches x width: 71 inches x depth: 11.5 inches, 65 pounds Pair available. About Japan's hand chisels "Oire Nomi" The renowned metal-working arts of Japan are reflected in Japanese chisels...

A stunning yet whimsical and unique Eva Fritz-Lindner hand painted Folk Art table lamp complete with new custom fitted linen shade. Here's a beautiful and unique way to accent your home or office, or make a charming gift to someone special. This is a unique hand painted pottery table lamp fitted with a beautiful rectangular linen shade. It is hand painted in lovely cobalt blue and cream colors designed and hand painted by the now deceased master artisan Eva Fritz-Lindner working at Staatliche Majolika-Manufaktur Karlsruhe over the past 50 years. Creative design, lovely vivid colors in cobalt blue and creams over a natural terra cotta pottery base , good opportunity to display a functional one of a kind work of art. Glaze: Fine colors that only Eva Fritz-Lindner could execute by hand Designer signature: signature i 3 on pottery base It would surely "pop" out and create pleasant conversation in splendid fashion in your favorite spot! Dimensions: table lamp with shade 33.5 inches high; shade only is 11.5 inches high x 18 inches wide and 11 inches deep. hand painted pottry base is 21 inches high and 8.5 inches diameter at mid section. We have installed this sculptural lamp with a 72 inch cord - all mounted on a handsome round hardwood stand. Quality: Very good Only one. Most of her larger pottery sculptures such as this, were likely produced in less than 25 copies Based upon research and all were hand painted individually by this artist ensuring each work of art was indeed unique. Provenance: pottery lamp base...

A small and very fine Chinese carved sandalwood figure of a bodhisattva, possibly Avalokiteshvara (Guan Yin), Song Dynasty (960 to 1276), circa 13th ...

A Chinese late Qing Dynasty period elmwood panel circa 1900 with carved phoenix in central medallion, surrounded by flowers, bats and scrolling foliage. Experience the allure of Chin...