Chinese Red Lacquer Hide Pillow, c. 1850

Crafted of painted, lacquered hide, this extraordinary headrest was created in China's Jiangxi province over 150 years ago. Its pliable design enabled contour comfort - quite luxurio...

Dated to the late 19th century, this extraordinary Chinese headrest is hand-crafted of lacquered hide atop an elongated bamboo frame. Used while sleeping like a modern pillow, the he...

This gorgeous lacquered cabinet is a 19th-century Chinese apothecary chest, originally used in a pharmacy to organize and store traditional herbal medicines. A statement piece brilli...

A classic piece of Chinese furniture, large, upright cabinets such as this were used in traditional homes in lieu of built-in closets, filled with clot...

A Chinese early Qing Dynasty carved and lacquered wood figure of Guanyin, Southern China, 17th/18th century. Guanyin, the Bodhisattva of Compassion and Mercy, is portrayed seated in dhyanasana, one hand raised in viktara mudra, the gesture of teaching and discourse. The great bodhisattva is dressed in heavy, loose robes tied at the chest, with a mantle draped over his shoulders. He looks serenely outwards from heavily lidded eyes. Guanyin's face carved beautifully with somewhat feminine features. A large five pointed crown sits upon his head. The larger leaves of the crown carved with indistinct images of the Buddha. The statue was originally fully lacquered in the deep red gilt lacquer typical of Southern Chinese Buddhist sculpture...

Whimsical circa 1900 Chinese brass opium pillow in the form of a kneeling boy. The boy shown crouching and smiling with an amusing forelock on his otherwi...

A large and magnificent near life-sized Chinese carved and lacquered wood figure of a Buddha, Qing Dynasty, 19th century or earlier, southern China. The figure likely represents one of the Five Tathagatas, also known as Dhyani Buddhas or Wisdom Buddhas. More specifically, either Amitabha or Amoghasiddhi. Amitabha is the Buddha of infinite light, and represents the wisdom of observation and recognition. Amoghasiddhi is the Buddha of accomplishment, and represents the wisdom of perfected practices. The size and scale of the Buddha indicates it was made for temple worship. The large Buddha is portrayed seated in vajrasana, or full lotus position, with the soles of both feet facing up. His elegant hands, with impossibly long and slender fingers, perform shuni mudra, the gesture of bestowing patience. His right arm is bent at the elbow, the right hand raised to heart level. The left arm resting gently in his lap, the left hand at navel level. The Buddha is dressed in voluminous robes that wrap around his shoulders and body, and tied at the waist. The heavy fabric draping and pooling elegantly all around his robust body. His broad chest and right arm exposed. The Buddha's face is both solemn and beatific - his expression seeming to change depending on the angle of view. The most notable feature of his face is the large urna to the center of his forehead, set between a pair of painted, high arching brows over heavily lidded almond shaped eyes. A strong nose is set above a small mouth pursed in an ever so slight smile. Long pendulous earlobes touch his shoulders. The Buddha's hair arranged in the typical fashion, with "spikes" representing tight curls. A prominent ushnisha rises from the crown of his head, covered by more hair, and topped with a rounded protuberance. The Buddha is constructed from several blocks of wood, joined, carved and lacquered a deep red-brown with gold flecks...

Pair of rib carved hardwood wash boards mounted on custom stand. China, mid 19th century.