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The Oriental Room, Quezon City (2026)

13/10/2026

A Chinese Blanc de Chine ‘Pine and Crane’ Brush Pot. Circa, Early 20th Century, Dehua Kilns, Fujian, Late Qing Dynasty-Early Republic Period.

A finely modelled Dehua blanc-de-Chine brush pot of irregular cylindrical form, conceived as a rugged scholar’s rock rising vertically from the base. The exterior is richly sculpted with a gnarled pine tree whose twisting trunk and clusters of pine cones wind gracefully around the vessel, while an elegant crane stands perched upon a projecting branch. Rendered with remarkable delicacy, the crane clasps a ruyi sceptre in its beak, an auspicious emblem of authority, prosperity, and the fulfilment of wishes. Covered overall in a lustrous ivory-white glaze characteristic of the finest Dehua wares, the composition combines the enduring symbolism of the pine and crane: traditional emblems of longevity, steadfastness, and immortality.

Comparative References: A comparable white-glazed Dehua brush pot, decorated with a pine tree and a crane, is preserved in the collection of the Guangdong Provincial Museum. A nearly identical example, dated to the Kangxi period and formerly in the collection of the Royal Ontario Museum, belonged to George Croft (1871–1924). This example was subsequently offered at Bonhams, Fine Chinese Art, London, New Bond Street, on 18 May 2023.

Measurements: Height (16cm).

Collection Number: #443

Provenance: Acquired from a European collection.

Photos by: The Oriental Room®

Not For Sale.

01/10/2026

Available:

A Chinese Blue and White Porcelain Dish with a Fisherman and Waterscape Design. Circa, 17th Century, Shunzhi-Kangxi Period, Jingdezhen Kilns, Qing Dynasty.

Of shallow rounded form, with gently rising sides and a broad, slightly everted rim, the dish is finely painted in underglaze cobalt blue on a warm white porcelain ground. The interior is centered by a tranquil waterscape scene depicting a solitary fisherman seated at the edge of a rocky cliff or mountain. He is surrounded by distant mountain peaks, rocky outcrops, and a variety of vegetation, including pine, bamboo, and plum - the celebrated “Three Friends of Winter” - together with a small house nestled in the distance. Loosely rendered birds and scattered natural details further enliven the composition. The scene is enclosed within a double-line circular border, creating a clearly defined central medallion. The cobalt is applied in varying tonal intensities, ranging from delicate washes to deeper, more concentrated brushwork.

Note: A comparable example bearing the same mark is published in Arita Episode 2: China as an Inspiration for Japanese Porcelain, issued by Saga Prefecture and the Kyushu Ceramic Museum.

Measurements: Diameter (17cm across).

Condition: Very close to perfect with a nice and glossy glaze. No cracks, no chips, no repairs. Inspected with a black-light and the new M7 Trace-Reveal porcelain repair detection device.

Collection number: #445

Provenance: Acquired from a European collection.

Photos by: The Oriental Room®

Also available at: https://www.trocadero.com/stores/theorientalroom/items/1520673/Chinese-17th-Century-Dish-Fisherman-Design

For Sale.

18/09/2026

A Chinese Figure of The Bodhisattva Avalokiteshvara (Guanyin) Holding a Boy. Circa, 1368-1644, Cizhou Ware, Ming Dynasty.

This Cizhou stoneware figure depicts Guanyin (观音), the Bodhisattva of Compassion, seated prominently upon a stylized throne in the relaxed rajalilasana (“royal ease”) posture. Rendered in the characteristic cream-colored slip with dark brown to black glaze accents associated with the Cizhou kilns, the figure presents Guanyin as a serene maternal deity. She cradles a small child upon her lap, identifying the image as Songzi Guanyin (送子观音), the “Guanyin Who Bestows Children,” a popular devotional form especially associated with prayers for fertility, safe childbirth, healthy offspring, and family prosperity. Her calm expression, flowing robes, and dignified bearing emphasize her role as a compassionate protector and benefactor.

Flanking Guanyin are two youthful attendants traditionally identified as Shancai Tongzi (善财童子) and Longnü (龙女). Shancai, the boy attendant, is a well-known devotee who symbolizes the earnest pursuit of wisdom and enlightenment, while Longnü, the Dragon Girl, represents spiritual insight and the universal potential for awakening. Although the figures are rendered in a simplified folk style typical of Cizhou ceramics, their placement on either side of Guanyin follows a long-established iconographic convention in Chinese Buddhist art.

Behind the central figure rises a dark, openwork aureole or mandorla, formed in an organic, flame-like silhouette. This halo serves to emphasize Guanyin’s sacred presence and may also allude to the rocky grottoes and coastal landscapes associated with Mount Putuo, China’s foremost pilgrimage center dedicated to the bodhisattva. The overall composition presents Guanyin as a compassionate maternal savior attended by exemplary disciples, offering both spiritual protection and the blessing of children. The combination of devotional subject matter, lively sculptural modeling, and contrasting cream and dark glazes is characteristic of popular Ming-period Cizhou Buddhist sculpture intended for domestic worship and personal devotion.

Note: A closely comparable figure of Avalokiteshvara (Guanyin) holding a child, attributed to Cizhou ware and dated to the Ming dynasty (1368–1644), from the Avery Brundage Collection is preserved at the Asian Art Museum of San Francisco. The sculpture is catalogued as Object No. B60P523 and is displayed in Loggia 5. Please see provided photos for this reference.

Measurements: Height (34.5cm).

Collection number: #435

Provenance: Acquired from the Netherlands.

Photos by: The Oriental Room®

Not For Sale.

10/09/2026

A Chinese Cizhou Figure of Shoulao (壽老) The God of Longevity. Circa 1368–1644, Cizhou Kilns, Ming Dynasty.

This exquisite figure exemplifies the artistic mastery and cultural significance of its era. Characterized by its robust form and intricately detailed features, the figure showcases the skilled craftsmanship typical of Cizhou ware. It represents Shoulao, or Shou Xing, the revered god of longevity. The masterfully sculpted head, featuring a distinctive elongated cap and well-defined beard, conveys a serene expression that reflects wisdom and authority. Clothed in flowing robes with intricate motifs rendered in dark iron brown, details such as the edges of Shoulao's robes and his eyes are expertly highlighted. Accompanying him are a deer and a crane; the deer signifies longevity and prosperity, while the crane embodies longevity and wisdom, reinforcing the theme of a long, peaceful life. The figure holds a scroll, signifying his role as a bearer of knowledge. A tannish brown shade adorns Shoulao’s exposed skin and the deer's pelt, contrasting beautifully with the creamy, off-white glaze enveloping the figure. The pedestal is decorated with ornamental borders featuring swirling patterns, further emphasizing its ceremonial significance.

Note: A comparable Cizhou Shou Lao and deer sculpture on a pedestal, dated to the Yuan-Ming Dynasty, is part of the Weisbrod Collection. Another example was sold by Sotheby’s during the Arcade Sale in Paris from December 9 to 17, 2024, listed as Lot 65. Please refer to the accompanying photographs for further reference.

Provenance: Acquired from the collection of Juan T. Lim in the Philippines with an accompanying invoice issued by the TSU PO ANTIQUE CO. in Hong Kong on May 28, 1985.

Juan T. Lim was a dedicated collector of Chinese and Southeast Asian ceramics and antiquities. He was an active member of the Oriental Ceramic Society of the Philippines and was well known for his contributions to several important publications, including “Guangdong Ceramics from Butan and Other Philippine Sites”, “Chinese and Southeast Asian Greenware Found in the Philippines”, “A Thousand Years of Stoneware Jars in the Philippines”, “Chinese and Southeast Asian White Ware Found in the Philippines”, “Fujian Ware Found in the Philippines: Song-Yuan Period, 11th-14th Century”, “Chinese and Vietnamese Blue and White Wares Found in the Philippines”, and “Zhangzhou Ware Found in the Philippines: ‘Swatow’ Export Ceramics from Fujian, 16th-17th Century”, in which many of his collections were featured and exhibited.

Measurements: Height (20.3cm).

Collection number: #377

Photos by: The Oriental Room®

Not For Sale.

01/09/2026

A Chinese Blue and White Box Decorated with Flutes and Flowers, Marked "Da Ming Nian Zao" (大明年造). Circa, 1522-1566, Jiajing Period, Ming Dynasty.

A covered cosmetic box of compressed globular form, resting on a short foot ring and surmounted by a bud-shaped finial. The domed cover is painted in rich underglaze blue with flowering sprays and ribbon-tied flutes associated with the Eight Immortals (Baxian), particularly the flute of Han Xiangzi (Han Hsian Tzu), one of the most revered Daoist immortals. The lower body is encircled by a band of stylized geometric motifs, while the decoration is executed in the vibrant cobalt blue characteristic of the Jiajing period (1522–1566) of the Ming dynasty. The base bears a four-character mark, “Da Ming Nian Zao” (大明年造), which translates as “Made during the Great Ming period.”

Note: The floral sprays symbolize prosperity, beauty, and renewal, while the flowing flutes convey auspiciousness and longevity. Particularly significant is the flute, the magical attribute of Han Xiangzi, patron of musicians and one of the Eight Immortals. According to Daoist tradition, the sound of his flute possessed supernatural powers, capable of causing flowers to bloom spontaneously and soothing wild animals. As an auspicious emblem, it symbolizes harmony, artistic refinement, joy, and spiritual transformation. Cosmetic boxes of this type were used to contain fragrant powders, cosmetics, or other personal items, reflecting the elegance and cultivated taste associated with Ming literati and courtly life. According to S.T. Yeo and Jean Martin in Chinese Blue and White Ceramics, these small covered boxes were exported in considerable numbers and have been recovered from sites throughout Southeast Asia. They were likely intended for storing ointments, medicinal preparations, and cosmetics. In some cases, the vessels themselves were believed to possess curative properties; as a result, small fragments were sometimes carefully removed from the rims and ground into powder for use in traditional remedies.

Measurements: Diameter (8.4cm across), height (7cm).

Collection number: #437

Provenance: From the collection of Dr. Paz Y Fores. Dr. Paz Y. Fores was a pioneering Filipina anesthesiologist and the first chairperson of the Anesthesiology Department at Makati Medical Center. She was recognized as one of the seven pioneering members of the board of governors for the Philippine Board of Anesthesiology (PBA) in 1967. She was instrumental in establishing professional standards for anesthesiology in the Philippines and she is celebrated as a mentor and foundational figure in Philippine medicine.

Photos by: The Oriental Room®

Not For Sale.

23/08/2026

Available:

A Chinese Blue and White Cosmetic Box with Floral Scrolls. Circa, 1621-1627, Tianqi Period, Ming Dynasty.

A blue and white covered cosmetic box of compressed globular form, the domed cover decorated with scrolling stylized blossoms rendered in soft underglaze blue. The lower body is similarly adorned with continuous lotus scrolls. Executed in the refined painterly manner characteristic of the Tianqi period (1621–1627), the decoration combines the lotus - a symbol of purity and spiritual refinement, with fluid floral scrolls that convey harmony and abundance. The base bears a rabbit mark, a charming and uncommon symbol often associated with longevity.

Measurements: Diameter (9.7cm across), height (7cm).

Collection number: #439

Provenance: From the collection of Dr. Paz Y Fores. Dr. Paz Y. Fores was a pioneering Filipina anesthesiologist and the first chairperson of the Anesthesiology Department at Makati Medical Center. She was recognized as one of the seven pioneering members of the board of governors for the Philippine Board of Anesthesiology (PBA) in 1967. She was instrumental in establishing professional standards for anesthesiology in the Philippines and she is celebrated as a mentor and foundational figure in Philippine medicine.

Photos by: The Oriental Room®

Also available at: https://www.trocadero.com/stores/theorientalroom/items/1520530/Chinese-Ming-Dynasty-Cosmetic-Box-Floral-Scrolls

For Sale.

16/08/2026

A Chinese Blue and White Bowl with a Double Vajra and Honeycomb Decorations. Circa, 1488-1521, Hongzhi-Zhengde Period, Ming Dynasty.

This exquisite bowl features gracefully rounded walls and a flared rim, elegantly supported by a straight foot. The interior is adorned with a captivating centralized double vajra and floral designs, while the exterior showcases intricate geometric patterns, likely inspired by honeycombs, all in underglaze blue.

Note: Similar bowls dated to the 15th century have been excavated at the “Makasar Burial Site” in South Sulawesi in 1930. Additionally, bowls with the honey-comb and double vajra decorations have also been found at the Lena Shoal shipwreck in the Philippines which sank around 1490.

Measurements: Diameter (15.4cm across), height (7.5cm).

Collection number: #442

Provenance: From the collection of Dr. Paz Y Fores. Dr. Paz Y. Fores was a pioneering Filipina anesthesiologist and the first chairperson of the Anesthesiology Department at Makati Medical Center. She was recognized as one of the seven pioneering members of the board of governors for the Philippine Board of Anesthesiology (PBA) in 1967. She was instrumental in establishing professional standards for anesthesiology in the Philippines and she is celebrated as a mentor and foundational figure in Philippine medicine.

Photos by: The Oriental Room®

Not For Sale.

09/08/2026

A Chinese Blue and White Bowl with Floral Scrolls. Circa, 1436-1449, Zhengtong Period, Ming Dynasty.

A porcelain bowl with a rounded body and a gently flared rim, supported on a straight foot ring. The exterior is painted in underglaze blue with floral scrolls beneath a chevron-pattern border at the rim. The interior is similarly decorated with floral scrolls surrounding a central stylized floral motif, all rendered in underglaze blue.

Measurements: Diameter (15.5cm across), height (7cm).

Collection number: #441

Provenance: From the collection of Dr. Paz Y Fores in the Philippines. Dr. Paz Y. Fores was a pioneering Filipina anesthesiologist and the first chairperson of the Anesthesiology Department at Makati Medical Center. She was recognized as one of the seven pioneering members of the board of governors for the Philippine Board of Anesthesiology (PBA) in 1967. She was instrumental in establishing professional standards for anesthesiology in the Philippines and she is celebrated as a mentor and foundational figure in Philippine medicine.

Photos by: The Oriental Room®

Not For Sale.

29/07/2026

A Chinese Blue and White “Kraak” Barbed Rim Dish with a Grouper Fish Design. Circa, 1573-1620, Wanli Period, Jingdezhen, Ming Dynasty.

This barbed-rim dish is decorated with a central scene of a grouper fish swimming among flowing seaweed and stylized waves. Bordering the center are bands, each containing auspicious and decorative elements. These are separated by vertical auspicious motifs, framed within shaped cartouches, all rendered in underglaze cobalt blue.

Note: Kraak porcelain refers to a distinctive type of Chinese export ware produced during the late Ming Dynasty, roughly between 1567 and 1644. The name is derived from the Portuguese word carraca (carrack), referring to the ships that transported these wares to Europe. Production was centered in Jingdezhen and is most closely associated with the Wanli reign (1573–1620), although it began slightly earlier and continued into the Chongzhen period. Its popularity grew significantly after 1603, when the Dutch East India Company (VOC) seized Portuguese cargoes filled with large quantities of this porcelain, helping to expand its distribution across Europe.

Kraak porcelain is easily recognized by its underglaze cobalt blue decoration and characteristic design layout. Most pieces feature a central motif - such as flowers, birds, animals, insects, or landscapes, surrounded by radiating, panelled borders divided into fan-shaped sections. These panels are often filled with auspicious symbols or decorative elements, creating a structured yet lively composition. The wares are typically lightweight and functional, though they may show minor firing imperfections, such as pinholes or grit adhering to the foot, which are common features of their production.

In Europe, Kraak porcelain became highly desirable and was among the first Chinese ceramics to be imported in large quantities, quickly becoming a symbol of wealth and refinement. It frequently appears in Dutch Golden Age still-life paintings, particularly in pronkstilleven, where it is depicted alongside other luxury goods. Its influence also extended to European ceramic traditions, notably inspiring the development of Delftware.

Measurements: Diameter (22.5cm across).

Collection number: #434

Provenance: From a Dutch private collection of Ming porcelain. Acquired from the Netherlands.

Photos by: The Oriental Room®

Not For Sale.

17/07/2026

Available:

A Chinese Green and Yellow Lead-Glazed Figure of a Crab. Circa, 1368-1644, Ming Dynasty.

A finely modelled pottery figure of a crab, naturalistically rendered with a domed carapace and boldly articulated claws and legs. The upper shell is covered in a lustrous amber-yellow lead glaze, pooling attractively within the recessed contours, while the limbs and appendages are picked out in a contrasting translucent emerald-green glaze. The broad claws are carved with stylised ridges suggesting the segmented texture of the shell, and the underside is left unglazed in keeping with the traditional firing technique. The vibrant bichrome glaze palette is enhanced by areas of natural wear and flaking acquired over centuries. The crab is portrayed in a lively, animated stance, capturing the creature’s distinctive form with both charm and vitality.

Measurements: Length (12.3cm).

Collection Number: #429

Provenance: Acquired from the collection of Juan T. Lim in the Philippines.

Juan T. Lim was a dedicated collector of Chinese and Southeast Asian ceramics and antiquities. He was an active member of the Oriental Ceramic Society of the Philippines and was well known for his contributions to several important publications, including “Guangdong Ceramics from Butan and Other Philippine Sites”, “Chinese and Southeast Asian Greenware Found in the Philippines”, “A Thousand Years of Stoneware Jars in the Philippines”, “Chinese and Southeast Asian White Ware Found in the Philippines”, “Fujian Ware Found in the Philippines: Song-Yuan Period, 11th-14th Century”, “Chinese and Vietnamese Blue and White Wares Found in the Philippines”, and “Zhangzhou Ware Found in the Philippines: ‘Swatow’ Export Ceramics from Fujian, 16th-17th Century”, in which many of his collections were featured and exhibited.

Photos by: The Oriental Room®

Also available at: https://www.trocadero.com/stores/theorientalroom/items/1520440/Rare-Ming-Dynasty-Glazed-Figure-Crab

For Sale.

The Oriental Room

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