A nicely shaped bronze, tripod bombe incense burner with opposing, ribbon handles rising from the rim. A 16 character Xuande mark centered on the bottom. The vessel comparatively thinly formed (relative to 17th and earlier 18th century examples and so estimated late 18th century to early 19th century) nevertheless with a notable weight to mass ratio: 2.59 lb (1.175 kg) Length - handle to handle - 6 7/8 inches (17.463 cm). Height to handles about 4 3/8 inches (11.113 cm) or to rim about 3 3/8 inches (8.573 cm). Condition is presentable with good patina and wear from handling and in good state with the exception of a patched casting flaw including a line to the mark (see images of the underside with mark.)
A Japanese blue and white porcelain model of a figure in boat. The boat with decorated panels of fishing scenes - on shore, in boat and traveling overland with fishing poles. One of the panels with boat decoration resembling the present model with auspicious symbol and fret decoration suggesting a basketry canopy. A removable piece with modeled figure rests loosely atop the boat as if a partial cover - the boat apparently intended to to hold perhaps burning incense. Kiln sand adheres irregularly to the foot of the boat. Good condition. Length, 5 1/2 inches (13.9 cm). Height, 3 3/4 inches (9.5 cm)
Emperor and Empress Hina dolls. Extraordinary condition perhaps owing to the original tomobako (storage boxes.) The heads (signed below the necks), hand, and feet being lacquered, carved wood. Painted crystal, inlaid eyes. There is no composition material - the dolls and all the accessories made with metal, lacquer, wood and paper (can't tell if the beads on the Empress' crown are glass or coral.) The Empress' fan with beautifully hand painted scene. A completely circular label on each box. One rubbed rectangular lable on one of the boxes can make out "DAIMARU OSAKA". Daimaru Dry Goods changed its name to simply Daimaru in 1928. A decade later, the United States began adopting increasingly limiting trade restrictions against Japan. This history and the doll quality put these between 1928 and 1939. Emperor height, 8 1/8 inches (20.64 cm) to topknot. Empress height, about 7 3/8 inches (18.7 cm) to topknot or about 8 1/16 inches (20.48 cm) including the tiara. Add another 3 1/2 inches height to each for the tatami and lacquer bases. The well crafted tomobako (boxes) each are 14 3/16 inches x 14 13/16 inches x 9 9/16 inches.
A finely decorated 18th century Imari style, Hizen ware jar. Three Friends of Winter decoration on one side and summer blooms on the verso. Decorated delicately in soft, clean blue underglaze depicting prunus, bamboo, peonies, rockery, chrysanthemums and paulownia with blooms and young bamboo leaves picked out in persimmon and gilt enamel. The porcelain body of refined, white kaolin. Excellent condition (cover missing.) The blue in our pictures appears a little richer due to the studio lighting. Height, 4 1/2 inches (11.44 cm). Provenance, Ex R. Scott Gladden - collector, dealer (early Trocadero member), artist, friend
A slip inlaid olive drab celadon stoneware pottery pear form bottle vase. Decoration of fish in black inlaid slip over a ground of white slip inlaid punched flowerheads. Possibly Japanese (see Korean legacy wares from provinces in Kyushu [Hizen, Higo, Satsuma] illustrated in Morse) and possibly Korean Joseon era punchong ware. Signed on bottom. Excellent condition. Indeterminate age (capped conservatively with this listing and likely at least a little earlier.) This strongly potted piece (1.01 kg, or 2.23 lb) would make a handsome addition whether Japanese or Korean to a more informed collector. Height, 7 3/4 inches (19.7 cm)
Japanese Kamakura-Bori lacquer box on tray. The cover with bold, high-relief carving of bird in branch - the almost black surface rubbed to a soft, coral-red toned burnished finish. The softly irregular honeycomb textured ground with leathery texture continuing to the sides of the box bottom and into the rim of the tray with edges also rubbed to the underlying coral-red and burnished smooth. Signed under the tray. Surfaces with some distress from use including minor rubbing and scratching with very little lacquer loss. One smaller side of the cover had been detached and poorly glued back with the complication of some warping. This object presents a very promising conservation project. Tray length, 7 3/4 inches (19.7 cm)
Rare "Buddha Asuka (B)" woodblock print by Kiyoshi Saito, 1955, number 40 of only 50 printed, signed in white ink and sealed in red ink both on the image area. Signed and sealed printed label "self-carved self printed" also included (attached to paper backing removed to inspect condition.)
We were not able to find a recent auction record for this image with data available. Another mid-century work by Saito (in color) titled Asuka (Kudara Kannon) [possibly confused by the artist with one of the Roku Kannon also of the Horyuji] was bestowed in 1959 by the artist to the Collection of The University of Michigan Museum of Art. It is noted that Saito was creating works in a series of early Nara sculptures around the time. A Saito subject similar to the present, muted work (but printed two years later in a run of 100) of another Nara sculpture, Miroku, was offered in Christies sale 8862, lot 306 together with a Winter in Aizu print.
The muted colors of the present work is a reflection of the somber lighting within the temples housing sculptures of this period.
Condition of the present work is good, with some toning and with brown paper tape around the edges (covering up to about a half inch margin.) A penciled note (from the framer?) appears in the margin on the verso. Some ink bleed on the verso from the original printing not at all compromising the image. Not clear if this was the first framing, the print was nonetheless not removed for some time until we removed the backing to inspect condition (image included of verso before removing paper.) Sheet height about 33 inches, sheet width about 21 1/4 inches. Image height about 29 5/8 inches, image width about 16 inches.
Set of three Japanese blue and white porcelain choko. Alternating panels of bamboo and flower decoration. Three friends of winter roundel inside cups. Patterned bands inside rim and above foot. Good condition with minor "flea bites" to rims. Each about 2 7/8 inches (7.3 cm) high and about 3 3/8 inches (8.57 cm) diameter.
A smaller, woven bamboo hanakago with appealing square, bundled rim and arched handle. Good, functional condition with light indication of use and wear. Roughly 8 1/4 inches (20.95 cm) square. About 11 inches high (27.94 cm)
An intricately woven spherical bamboo hanakago with sharply arching handle. Good, tight functional condition with light indication of use and wear. Height to top of handle about 16 1/4 inches (41.28 cm)
A low lying, nicely woven bamboo hanakago with high, arching handle. Good, functional condition with light indication of use and wear. Length, 13 1/4 inches (33.65 cm). Width, 10 inches (25.4 cm). Height about 13 inches (33 cm).
Japanese silver wire cloisonne vase. Green, aubergine, coral, violet, white, yellow, dark blue and black enamel decoration of bird and flowers all on a light blue enamel background. Two faint, tight hairline cracks issue each about a half inch from different petals of the topmost peony blossom decoration, otherwise good. Height 7 1/4 inches (18.42 cm)
Small Japanese Ginbari cloisonne vase. Gold, orange, pink, green, bronze-brown and black enamel dragon on textured silver colored foil ground. Condition is distressed with crack lines issuing from the foot with a discolored bruise and loss but all on the side opposite the dragon decoration. There is a tiny, inconspicuous nibble along the edge inside the rim of the vase. The vase nonetheless exhibits quite beautifully from a shelf. Single character mark on the foot. Height 3 1/4 inches (8.25 cm)
Japanese Gingari cloisonne vase. Green, red, aubergine, blue, black and yellow enamel dragon on textured silver colored foil ground. Condition is distressed with crack lines issuing from the rim and onto the shoulder and also from the foot light loss and staining. It nonetheless presents quite handsomely from a shelf. Impressed mark on the foot. Height 5 3/4 inches (14.6 cm)
Japanese ko-sometsuke porcelain nagazara (tray form dish) with scalloped corners. With creative blue underglaze depiction of pine boughs and cones in and centered within double lined blue rectangle by the cavetto. The sides with decoration of a literati scroll with berried vines. A narrow key fret band adorns along the outside of the foot rim. A six character mark appears inside the rectangular foot rim. This strongly potted and decorated piece exhibits freedom of expression not bridled by repetitive production of established patterns. We believe it to be from a private kiln under the patronage of some feudal lord and showing independence of both cultivated patronage and accomplished production even if a bit more primitive than production from known, leading kilns. We feel it must be 18th century. Some traces of iron oxide dot the cobalt blue decoration. The unglazed foot burnt in places to a slight buff color. Condition is very good. A few small spots inside the tray rise above the glaze and are burnt brown so dating to the firing. Length 8 1/2 inches (21.59 cm). Width 4 1/2 inches (11.43 cm)
Korean folk art carved wood figure. Bearded man in traditional attire. Holding a pipe in left hand, the right hand positioned to hold a staff and pierced for that purpose (staff missing.) Good condition save a couple chips along the brim of the hat. Height 8 1/2 inches (21.59 cm)
Two Chinese Export porcelain Nanking leaf from spoon rests. Of varying size and decoration, each with landscape in spearhead and lattice borders. The smaller with foot burnt to more of orange color than the larger. The larger with a bit more fritting along the edges. The smaller with a couple rubbed spots to the glaze. Both otherwise in good condition with no cracks and no scratching. Longer, 7 inches (17.78 cm). The other, 6 1/4 inches (15.87 cm).
Pair small Japanese blue and white porcelain dishes. Hawthorne style decoration of prunus branches in bloom. Verso with three prunus branches. Blue underglaze mark centered within the foot rim. Fair to decent condition with a few frit like flea bites to the glaze along the rims. No cracks and no hairlines. Diameter each about 7 1/8 inches (18.1 cm)
Japanese Genroku era Imari bowl with blue underglaze and red and gold overglaze enamel decoration. The octagonal form with alternating panels on both interior and exterior of flowers and of boat in garden landscape. The cavetto with vase and flowers decoration. Flowers and vine decoration around the foot. Flower head decoration in red enamel inside blue ring within ring foot. The white glaze around the buff colored foot rim burned to a thin dark iron colored ring before the unglazed rim. The condition is incredibly good and with only sparse wear to the gilt enamel decoration. Diameter, point to point, about 7 1/4 inches (18.4 cm). Height, about 2 1/2 inches (6.35 cm).
Totai brush pot. A peculiarly Japanese mixed media of cloisonne decoration on ceramic body. Butterflies and flowers decoration. Signed in dark red enamel inside the ring foot. Condition is fair to good with the typically crazed glazed earthenware body further issuing into two stress lines from the firing not continuing through the cloisonne decoration. Someone has imparted a luster to the typically dry totai surface with what appears to be a buffed hard wax - also giving the totai surface a darker than usual appearance. It should clean off though we woudn't know how to do that safely (heat?) Height about 7 1/4 inches (18.42). Diameter about 3 3/8 inches (8.57 cm).
Distressed Japanese Iki mask with crystal eyes. Gofun finish over dry lacquer composition. Details including veins, wrinkles and furrows. The surface is in a distressed state with significant losses and some 'alligatored' texture possibly from exposure to elements. Would make a worthy conservation project for someone with the patience to recoat and touch up losses (the missing left ear being most challenging.) Length, about 9 1/4 inches (23.49 cm)
Pair Chinese mandarin squares indicating civil rank. The badges embroidered with colored silk and gold thread to a single piece of uncut fabric. Fair to good condition. Total length of the uncut panel 16 1/8 inches (41 cm). Total width 8 1/16 inches (20.48 cm)
Pair kesi badges without rank insignia. With background only, we assume this must either mean it was for a student candidate not yet with rank or perhaps awaiting the addition of rank insignia (if it was appropriate to embroider or stitch onto a kesi badge.) We have included photos of the front and of the back with lining lifted to reveal the kesi technique including varied gold metallic thread. Condition is fair to good. Most of what appear to be fraying along the edges is confined to the back lining rather than to the facing badge. One of the pair is two pieced with more delicate state where the halves meet. Each 'square' is approximately 8 3/4 inches (22.23 cm) by 8 1/4 inches (21 cm). The two uncut, stitched together, are together nearly 18 inches long.
Japanese studio porcelain Quail family. Three pieces include male, female and young. The male and female heavy (1.8 lbs and 1.29 lbs [814 g and 586 g] respectively) and of stout potting though with well defined details and clear glaze with very faint bluish celadon trace where the glaze pools - mostly between feathers around the birds' necks. These two are clearly of earlier, accomplished production though not marked. The young quail lighter, thinner potting of a purer kaolin, glaze white with no color and details not as clearly or carefully defined (probably not as old and possibly added later to the male and female pair - likely comparable to cheaper, commercial examples more readily available on the market.) Condition of all is good. We are valuing this group strictly for the larger male and female and regarding the young quail as a "throw-in". We sense that the quail pair probably dates to Taisho or early Showa. The smaller, young quail is probably quite recent but, as we said, is a throw-in. Larger (male) about 6 1/2 (16.51 cm) inches tall and about 7 inches (17.78 cm) long from head to tail.
A Black Forest carved wood sculptural study of a wild boar with a 'don't mess with me' aura. The boldly carved and detailed boar, stained, on carved wood plinth, unstained, portraying coarse terrain. Signed bottom of the plinth, "Evert E Klund". In different hand, "'Gunthers (with an umlaut over the 'u'), Germany' Nov. 1946". Ink stamped mark (three times) of an anchor flanked by two stylized 'E's. The next owner may wish to outline over one of the anchor marks before they all completely fade away. I was in Oberammergau during my 2013 Summer vacation and visited some of the wood carving shops where I spotted a new example of similar work. That is not to say that Gunther's or Evert E Klund was from that area but may be more likely than not this is southern Bavarian work. Good condition. Boar length, about 8 inches (20.32 cm) from snout to back left hoof. Plinth length, about 10 inches (25.4 cm).
The ginger jar appears to be an 18th century ceramic with form and foot consistent with the period of the Kangxi mark. But as is well known, many period ginger jars were skinned and the famille noire decoration - prunus being a favorite though often with birds - added later. When added is often a mystery but it is known that the Dowager Empress Cixi was fond of the palette and commissioned many such conversions. In fact, much famille noire ceramics in private and public collections have come into doubt in later years. Some smaller examples yet retain strong attributions to the Kangxi period. Scholarship of the famille noire pallete finds that later examples literally used a black glaze whereas earlier examples used a cobalt oxide ground covered with a green glaze wash - the more apparent disclosure of green being in the lighter prunus limbs, as in the present example, where a resist kept the cobalt from bleeding into the decoration. In such older (and presumably, also, period) examples considered rare and desirable, one therefore finds traces of the green wash evident along the unglazed edges where the "black" ground terminates. Such edge traces are evident on the present example along the foot, the rim, and where the "black" ground meets the aubergine resist glazed branches. Also testifying to fair age of the glaze is natural rubbing, light scratching and evidence of difficulty controlling the firing (less of a problem in later kiln conditions.) We have no problem calling this at least a solidly 19th century redecorated (including the mark) Kangxi pot. The evidence of earlier technique and application gives us confidence to say the decoration may also be earlier. But we hesitate to say it could be "mark and period", particularly for this form, though the six character black Kangxi mark in double circle presents convincing calligraphy. Details in the aubergine prunus branches and in the white and yellow prunus blossoms also picked out in black fine line. The condition of the jar is relatively good aside from the mentioned rubbing and light scratching as well as a star crack barely visible inside the pot on one side but not conveying conspicuously through the glaze. The loosely fitting cover has met with an accident in the past and its parts glued back together. Height with cover about 8 1/4 inches (21 cm). Height without cover about 7 inches (17.8 cm).
Thai sutra box and sutra. The rectangular box with ornate gilt decorated panels (each a different scene), three on each side and one on each end, of deities in combat on black lacquered surface. the interior painted red. The sutra with leather ends and sturdy paper leaves with mostly Sanskrit and hand illustrated in colors variably throughout. All good condition with reasonable wear. Sutra (closed) cover length 26 3/4 inches (67.9 cm). Box length (along the base), 32 1/2 inches (82.55 cm). Box height, 13 5/8 inches (34.6 cm), Box width (along the base), 11 inches (27.94 cm). This item will ship oversized and with significant weight in a wood crate all at buyer's expense (or we can arrange with buyer to pick up after paid.)
Japanese porcelain Kakiemon saucer dish. Overglaze red, green, yellow and blue enamel decoration with black outline. Signed by a later generation Kakiemon descendant. Very good condition. Diameter 6 1/8 inches (15.5 cm)
18th century Chinese export porcelain famille rose teapot. Each side decorated in blue, red and gold enamel depicting a roundel of spiral acanthus leaves surrounded by stars in reserves. Probably falling short of even pseudo-armorial, nonetheless appearing in place of a device. The stars likely not holding a purposeful meaning - 19 on one side and 18 on the other. A finely decorated band of floral and vine decoration in similar colors around the rim. This teapot survives to us today thanks to no less than nine old staples holding almost all the original parts in place save a small peripheral part of the handle. Cover missing. This pot might fit some collector's wish to represent a particular form, appointments such as the handle or spout, or decoration even with a good study piece. Would nicely grace a period room at a bargain price. Put in a cabinet or upon a mantle and the old staple repairs are easily enough missed when appreciating the pot's form and style. Height, 5 inches (12.7 cm)
A small mokogata (quatrefoil) lobed dish. Flowering vine decoration along the rim before steep sides with blue underglaze landscape decoration continuing into the dish. two sakura (prunus) sprays on the verso, blue rings around the foot, and Fuku mark inside the foot also all in underglaze cobalt blue. 19th century. Good condition. Length, 6 3/16 inches (15.72 cm)
A fine, modern footed dish with red, green and yellow overglaze and with cobalt blue and manganese underglaze decoration. The hexagonal, everted rim with red border defining a cloud band around conforming hexagonal cavetto with chidori (sparrows) alternating with polychrome squares - borders of decoration all picked out with manganese (giving an iron effect but fading nicely into the blue decoration rather than spoiling it with fade to brown. The splayed foot with a cloud pattern in modern interpretation of the Nabeshima tradition. As we describe this unusual object, it should become more apparent that it is rather substantial (though small, sturdy potting) and not commercial production. The dish - top and bottom - as well as the foot retains impressed decoration and texture in the porcelain over which the decoration was added with deference... the blue glaze, for example, lightly filling the recesses of, perhaps, a hemp impression over a more broadly ridged surface and leaving the highpoints almost white. The same molded and impressed texture can be felt top and bottom of the dish and the cloud pattern on the foot can also be felt when running one's finger along the decoration. The unglazed foot rim reveals a fine, white kaolin with smooth feel to the touch. Unfortunately, though the molded and impressed decoration rather nicely retained texture, a square impressed mark inside the foot did not and offers no legible mark. We are comfortable proposing an attribution to Hajime Kato (1900 - 1968) but can not make any definitive claim and estimate accordingly. Perfect condition. Diameter, point to point, 6 3/4 inches (17.145 cm). Height, 2 1/4 inches (5.715 cm)
A fine blue and white Kyoto-yaki studio porcelain Shonsui style chaire (covered tea caddy) of moko-gata section. Decoration of birds, fruit, bamboo, flowers and landscape roundels. Seal marked by the artist, Sawamura Tosai, probably the 1st generation, inside the foot rim within double blue underglaze circle. In original box inscribed Hou Shonsui Cha Go Otawa Yama-san Ju Sawamura Tosai made. Otowa mountain is vicinity Kyoto, Kiyomizu and Gojozaka - home to the great studio porcelain artists of Japan. The kiln was founded in 1910. Perfect condition. Height, 4 inches (10.16 cm).
A high impact, decorative celadon charger by master potter Hisashi Tezuka. The stylized dragon decoration, inspired by longquan examples of the Chinese Song dynasty, is strongly defined in high relief. The border with more subtle, softly conveyed molded lotus decoration (in the manner of longquan carved decoration.) The verso with raised foot with three apertures for silk cord. Incised "O" (meaning center, or middle) mark. Perhaps this is a reference to the Dragon symbol and the personality it represents. The charger may have been made for the Year of the Dragon (perhaps 1964 or more likely 1976 [being the "fire dragon"] from which the accompanying box apparently dates - third quarter 20th century.) A list of the artist's memberships, national and international exhibitions, and prizes (the printed original in Japanese along with a typed translation) accompanies the boxed charger. Having researched the name, we found a former (and surviving) kamikaze pilot with the same name and with a thoughtful, reflective perspective. We also exchanged limited correspondence by e-mail with one of his practicing proteges - Ikuzi Teraki - also born in Japan and now in Washington, Vermont. Very good condition. 13" width
A late Edo iron tsuba with chisled decoration of a pine trunk and boughs on one side and flowering prunus blossom with bamboo on the other side. The three representations comprising the "Three Friends of Winter". The simplicity of the chiseled smooth surface successfully imitating sumi-e painting. Good condition - presenting more nicely than in the lighting used for our photography. Emits a clear tone when tapped. A pleasing piece that would add character to a prospective blade. The seppa-ana has about a 1 1/16 inch by 3/8 inch clearance for a nakago with low shinogi-ji.
A fine Indian, Mughal style embroidered silk panel using the zardozi technique employing silver and gold thread and wire with varying texture for opulent effect. Raised work, particularly for the peacocks and large blossoms, adding more dimension than is apparent from the photographs. The silver and gold thread incorporated with dark blue, light blue, pink, white, purple, violet, red, orange, and champagne toned pale blue and pale pink silk. Silver toned sequins accentuating details in the peacocks and blossoms in the Tree of Life - guarded with the Taj Mahal by two fish (of Persian lore and invoking, at once, the Mughal legacy of the Taj Mahal, Tree of Life and the zardozi embroidery technique) amongst boats in the Yamuna river. In good condition with only some fading apparent to a few likely fugitive colors, perhaps a light cleaning could be in order if dared, and some sequins bent - some perhaps for affect when embroidered in. Small bits of old paper from the framing (apparently last done early in the 20th century with old, irregular nails fastening the panel to the edge of a thin board backing) have made there way behind the glass. The framing appears to have been reinforced over time but not remove - fortunately for the preservation of the embroidered silk panel. There is one small wood loss inside the upper-left corner of the frame. If this is to be shipped, we may be compelled to remove the glass panel to ensure against breakage and damage (we would not want to remove the panel from the backing so the package would be oversized. Measuring the backing, the panel is determined to be 40 3/8 (102.55 cm) inches tall by 18 inches wide (45.72 cm).
A Chinese carved horn scholar's table article. The cupped form itself carved to look like a large lotus leaf. Carved lotus leaves and blossoms also issue from its center. The sides carved with details of lotus leaves and blossoms, a fish and a pair of mandarin ducks further accentuate the aquatic theme. The form and motif may suggest the object was used as a small water coupe but would also work as a paper weight. The carved bottom depicting a pair of dragons encircling a two character mark. Good condition with minor shrinkage and movement of the organic material as might be expected with age. Length 4 1/4 inches (10.8 cm)