Catalog (185)

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)

A large Korean black lacquered wood box with mother of pearl inlay. The depiction of pairs of cranes and songbirds within the decorative panels likely relevant to a wedding gift.. Joseon dynasty, 19th century. Condition is fair to good, with some some light loss to inlays and minor distress from age and use. From the hardware, 19 1/4 inches wide, 10 1/8 inches deep, 10 3/4 inches high.

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)

An iron, Ko-Tosho (early sword smith's) tsuba. The slightest taper from seppa dai towards rim. Pierced decoration. Purchased from Andy Quirt (ex Skip Holbrook collection) at the February 2016 Tampa show, he thought it depicted gourds. I guess the beholder might see different things. I see Japanese eggplants on leafy vine (two fruit and two leaves) supported by a bamboo trellis. An uncommon and well executed, balanced decoration. The hitsu-ana appears to be original to the tsuba. Late Muromachi. Good condition - has seen some pitting in the past but now stable (chalk it up to tekkotsu, history and character - tekkotsu attractively conspicuous on the rim), well worn to the touch, and with a good, dark patina. 2 7/8" (7.3 cm) marugata. 1/8" (3.17 mm) thick at the mimi. 3/16" (4.47 mm) thick at the seppa-dai.

A Japanese lacquer bowed top box with portrait of a Kabuki actor - presumably named in gold lacquer and the role of Daihachi named in a lustrous iron color. All slightly raised work, the portrait is in gray, black, red, flesh tone, browns and gold. Lines including pattern and folds in the figure's attire and hair in his coiffure and sideburns cleanly defined with raised work. Metal along the facing edges of the top and bottom have no doubt contributed nicely to the preservation of the box. Actor portraits being not uncommon in woodblock prints, we have only found one example in lacquer - an important inro sold by Bonhams in May 2011. The present box is not signed and does not enjoy the colorful provenance of the Bonhams' inro. The condition of this box is fair with small losses on corners and edges (see our illustrations), light surface wear and need of a cleaning. The top has a very slight warp mostly along the length so that the facing metal edges do not rest entirely flush on one side (otherwise would not be noticed and probably not surprising with a little shrinkage over time.) There is no wrinkling, no blisters, no peeling at all to the lacquer (solid work.) This should touch up and clean up nicely in the hands of a qualified lacquer conservationist. It was difficult to capture the raised work in our photographs. Our last enlargements are taken close and under direct halogen light at angles that distort the composition and exaggerate wear but which highlight the raised work. Length, 6 inches (15.24 cm), Width 3 3/8 inches (8.57 cm), Height 1 1/2 inches (3.81 cm). Late Meiji, possibly early Taisho.

A large Hizen-yaki, Arita kilns polychrome enameled charger. Imari, so named for the trade port through which these polychrome wares transited, decoration with namban (a reference to foreign subject or influence) figures, bijin, 'three friends of Winter', cranes, chidori, elephants and more (much going on). Edo period. Good condition. Diameter, varying between 18 5/8 to 18 3/4 inches

The large vase with silver wire cloisonne on ceramic with "tree bark" textured surface. Decoration of butterflies and peonies, with the blooms depicted in enamel tones of sienna, umber and dark mica, and the stems and leaves in dark green - almost black. The body of the vase covered with a dark, warm brown lacquer on intentionally course texture like tree bark - which it emulates. The Kyoto, crackle glazed greyish porcelain body visible from the foot. Taisho era (1912 - 1926). Good condition. Height: 12 1/2 inches (31.75 cm)

A fine 20th century studio lacquer charger. Persimmon orange-red lacquer with decoration of peony blossoms incised to an under layer of black lacquer in the Kamakura manner (and possibly from one of the ateliers in that town which can still be seen and visited when trekking up the main street to the temples.) Gilt lacquered rim. Black lacquer also singularly exposed inside the foot rim. Good condition with light wear. Diameter 15 1/2 inches (39.37 cm)

A large Tembo tsuba. The Tembo (or Tenpo) style evolved from the Saotome school and the sukashi decoration of Okiagari here (an especially nice feature) carries over. Okiagari are self righting toys and the subject was a symbol of inspiration to Samurai in aspiring to improvement and the right path in life. There is, on a curious level of interest, some minute trace of old gold decoration (long since worn off) on the surface of this tsuba. Though there are transitional examples, the present example has a drier feel more typical of Tembo iron (Saotome examples having a smoother, wetter feel.) The kozuka-ana plugged with, apparently, pewter. Edo period. Good condition with one small scratch (should be easily treatable.) Height 3 3/8 inches (85 cm), Width 3 3/16 inches (81.5 cm), and 5/32 of an inch (4 cm) thick.

A classical mahogany card table. Hepplewhite manner square tapered legs and wood inlaid fine lines and decoration. Probably American Federal and likely mid Atlantic to Southern. Acquired in Virginia. Ca 1800. Good, conserved condition. Height 28 inches, width 35 inches, depth 17 3/4 inches.

A set of six Spode porcelain Imari pattern coffee cans with saucer dishes. Late 18th century, reign oh George III. Excellent condition. Cans height, about 2 1/2 inches. Saucers diameter, about 5 5/8 inches.

Federal Mahogany swell front chest of drawers. Yellow pine and poplar secondary woods. Maryland, probably Baltimore, 1790 to 1810. This chest is similar in ways to an example in "Furniture in Maryland, 1740-1940", Weidman, 1984, item #77, page 123. On both, the top conforms to the bow front case, projecting a bit beyond the case. And both have nicely formed French feet, inlaid banding on the drawers and above the skirt, and inlaid chevrons centering the escutcheons. In fact, the present chest came from the estate of Dr. Harvey William Cushing (1869-1939) while the chest illustrated in the cited volume (in the collection of the Maryland Historical Society) came from a descendant of the Cushing family - with Baltimore roots going back to at least the 1770s. More history regarding the Cushing family can be found in the volume and later history in a letter we obtained from the dealer who sold the chest to us (which also mentions how they acquired the chest.) Unlike the published chest, the inlaid bands on the present chest are along the drawer edges, with oval stringing on the drawer faces, and a single top drawer atop three more graduated drawers. In good, presentable condition, it appears the chest may have had restorative work to the top and likely a later refinish, pulls appear to be replacements. One drawer pull is loose on one side and some distress to inlaid banding. Height, about 42 1/4 inches. Depth about 23 1/16 inches. Height 36 3/4 inches. We are offering American furniture from our personal collection while lightening up in preparation for a far move - reasonable offers entertained. Provenance: Dr. Harvey William Cushing, an unnamed Baltimore dealer, a Frederick Md dealer (disclosed to purchaser), ourselves.

A massive imari vase with decoration of the Genroku era of bijin (a beauty) and hana (flowers) on two opposing panels alternating with two more opposing panels of a structure (tea house?) in garden landscape - all in red, gold and black enamels with blue underglaze. Similar landscape decorated panels appear on the shoulder over a ground of hanabishi (flowery diamond) in repeating diamond bordered pattern. The hanabishi (sometimes also referred to as karabana, or 'Chinese flower') could be representative of a ka-mon (family crest). The prominent Takeda family and its branches used the hanabishi ka-mon onward after the Heian period. The Genroku era spanned from 1688 to 1704. The arts and luxuries reached their apex during this era of the Edo period - contributing to large, opulent expressions such as the present vase. Genroku style and influence continued for a short time after (as could this vase) while the Tokugawa Shogunate struggled with inflation after devaluing coin quality in an attempt to sustain the appearance of prosperity (sound familiar?) So in some ways the Tokugawa followed in the footsteps of the decadent Ashikaga. Good, stable condition save an old crack through the foot rim which might originate with the firing as a crazing pattern conforms along and around the crack as if from excessive heat (limited to inside the foot and the lower portion of one bijin panel.) Vase height (not including cover) is 15 7/8 inches (40.32 cm)

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.

A good, small Japanese cloisonne vase. The alternating dragon and phoenix chevron panels symbolize harmony and balance. Lots of engaging, balanced color. Sparkling goldstone embellishment technique demonstrated in backgrounds below the shoulder and in decorative details around the waisted neck. Ginbari (enamel over silver foil) technique demonstrated around the shoulder with opaque sakura and karakusa decoration floating over the clear red background offset by the underlying foil. It's one of those seemingly simple objects that is immediately, visually alluring and then even more captivating as the multiple techniques and attention to detail is appreciated. Meiji era (1868 - 1912). Very good condition. Height, 4 13/16 inches (12.22 cm)

A kozuka with sea shell and seaweed decoration with gold and silver overlaid on shakudo (a pickled gold and copper alloy) nanako ('fish roe' textured ground.) The utility knife handle with filed gilt bronze sides and back. Slight bend and the nanako somewhat dented in places. Would present nicely enough with a sword fitted to hold a kozuka in the saya (scabbard.) Kogatana (utility blade) not included. Length, 3 3/4 inches.

I visited the Corcoran Gallery of Art in Washington DC a little more than a year ago and saw some really creative ceramics with leather incorporated into the composition among related, sculptural works. It did make a spontaneous and lasting impression that led me to recognize and purchase a wonderful and unusual work by the same hand found in an antiques and collectibles market.

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.

Japanese pottery tsubo vase. An earthy, drab gray-green glaze on porcelaneous body with thin iron wash and with bold, rich red iron oxide glaze painted floral decoration on opposing sides of the tsubo form with thickly potted shoulder rising to a broad, everted rim. Two character impressed artist's mark inside the foot appears to read Kazan ('Ka' being the 10 stroke character also read as "hana".) A pleasant, substantial feel when held. Excellent condition. Height, 9 3/4 inches (24.76 cm)

An interesting modern, abstract koro. The compressed sphere with elliptical, off centered opening. A warm, brown temmoku glaze with darker brown glaze dripping from the top and stopping in controlled fashion above a well - continuing to form the unglazed foot in ogee fashion. An artist seal (three or four stylized Kanji characters within an oval) is impressed into the concave base near the foot rim. Very good condition. Some burnt on kiln residue on the foot goes to 'wabi'. A couple small chips off the foot (revealing a flint colored body beneath the brown hagi-like surface) go to 'sabi'. About 4 3/4 inches (12.1 cm) diameter. About 2 3/8 inches (6.03cm) high.