This vase is accompanied by a Chinese, late Qing dynasty, exquisitely carved hardwood cover. The fit is loose and the cover a bit small proportionately. As they did not start life together, we are amenable to selling the cover separately should someone have a need. The cover would best fit a large vase with interior rim diameter of no smaller than 4 9/16" (11.58 cm). The cover is 7 5/16" (18.57 cm) with the wood grain (there is substantial shrinkage of the wood against the grain with age.) The cover is in presentable condition with some glue evidence on the interior - probably from refitting after shrinkage.
Since listing this item, someone has suggested its holding fireflies (hotaru) as a possible use.
This is too heavy and precarious to ship by standard mail or delivery options. Buyer need arrange with a shipper in our area.
End to end of the decorative bosses at either end, almost 20 inches.
End to end of the base, 17 1/4 inches.
Corner to corner of the main compartment, 15 1/2 inches
The top is also in good condition but the bone spoon is a bit short and wrapped tape keeps a snug fit to the bottle. The top may be a replacement.
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.
Featured here is a monumental mixed media salt glazed pottery charger. My first impression was a landscape with sun (concentric iron colored circles on clay body) on the horizon (leather upon iron colored band) over blue colored area (suggesting water?) Where the horizon meets is reminiscent of Rothko. But the hanger suggests it may have been intended with the concentric rings below, as if a valley. The blue area, in that case, might represent the sky (if indeed it is intended as a landscape.) The horizon would not sit level if the hanger shows intent. One might also remove the hanger and place as a centerpiece. The charger is signed "TURKER GWU CORCORON [sic] 1971".
The artist is Turker Ozdogan, Fellow of Corcoran College of Art and Design. He also received an MFA at George Washington University. As faculty, he established the ceramics program at GWU and continues as the Director. Ozdogan previously received recognition from the Applied Fine Arts School, Istanbul, the Eczacibasi Ceramics Factory also in Turkey, and Furst Adolf Werkstatte Fur Keramik, Buckeburg, Germany. He has achieved recognition, awards or exhibitions with Corcoran Gallery of Art, the International Monetary Fund, the World bank, Meridian House, and the United Nations Plaza, Turkevi Gallery. His work has been featured in the press and in publications and is in many private and public collections including The George Washington University Permanent Collection, and Kale Ceramics Museum, Turkey. Condition is good. Diameter, 22 inches.
Have not found other works available on the market and no archival basis to establish comparative value. The artist is apparently aesthetically rather than commercially motivated. This will be weighty and careful packing so at the buyer's expense.