A pair of Japanese, Edo period, copper alloy menuki depicting buffalo. Horns, hooves and spots highlighted with gold hirazogan overlay. Good condition. Each about 1 1/8 inches.

A fine Meiji or Taisho period Eiraku kiln aubergine glazed porcelain vase. Rubbed gilt enamel highlights over archaistic relief decoration in manner of the Eastern Zhou dynasty or Western Han dynasty. The vase, with base reminiscent of the Hu form but with elongated neck, harmoniously combines modern and ancient design sense. The blank apparently two symmetrical halves, joined (see closeup images revealing raised glaze where a seam might be). Eiraku seal mark on the foot. Good condition. Height, 9 7/8 inches.

The venerable Eiraku line of potters doesn’t commonly come to mind when one thinks of Japanese studio ceramics, but one can readily see creative Edo and early Meiji examples preceding comparable works by the later Meiji era greats. Examples of inspired Eiraku kiln porcelains with gilt enamel, pushing the limits of their time, can be found in museum collections and in auction sale records.

Four Chinese blue and white porcelain wine cups. Each with double ring around the rim, crane motif three times around the circumference, single ring atop raised foot, and mark on the base. Slightly sugary, opaque glaze associated with Kangxi production. Certainly Qing dynasty. Three in good condition. One with crack from rim. Each, diameter about 2 7/8 inches and height about 2 1/8 inches.

A good, Chinese moss agate snuff bottle. Color variegation ranges from from a milky pale aubergine to a dark mossy green with areas of earthy red inclusion and structure. Natural, pleasant, minute pits appearing lightly placed on the surface. Ever so slightly convex, level foot. Similar concavity to the top. Light green quartz stopper. Bottle height, nearly 2 1/4 inches. With stopper, 2 3/4 inches.

A fine, small, late Qing dynasty agate snuff bottle. Mostly shades of white with subtle warm earth tones appearing within variegated structure. Well defined foot, very slightly concave top, well hollowed interior. A malachite stopper top. Ex Don Elder. 2 inches high bottke only, 2 1/2 inches with the stopper

A Chinese sancai (three color) decorated biscuit figure of Li Bai - an historical Chinese poet of the Tang dynasty. The colors, on famille verte palette, adorn the figure in repose, leaning on a wine pot. The group functions as a brush washer that would have been used on a scholar’s table (appropriate to the subject). Probably Kangxi period - late 17th century. With later stand. Length, at longest span, about 6 inches. Condition is good for the period and intended use, with only a small chip on the wine pot and on the end of an object (probably a brush case) in his right hand.

Edo period lacquered wood sculptural figural group of a Buddhist monk and an emaciated figure. Upon first consideration, this may represent Mukaku (a monk) and Seshin (an ascetic) - two Bodhisattvas associated with Buddhist teachings, particularly in Japan. But an inscription on the back appears to reference Dai Nichi[ren?]. As Nichiren would suggest use of Gohonzon (abstract representations, such as prayer incantations) rather than idols, this representation of a symbolic parable (instead of a figure of devotion) may make sense. In other words, this object may have been one of veneration rather than worship. In this case, Nichiren may be associated with the virtues of Mukaku. Note the realism in the depictions, including expression, anatomy and color. The seated monk’s head can be repositioned for effect. Echoes of the Kei school of Buddhist sculpture can be felt - particularly from the open mouth of the standing ascetic, as if issuing some sage expression. Crystal eyes, also an innovation of the Kei school, are used here, though mostly covered with patina. An unusual and rare object. Probably 18th century. Losses to the seated monk’s hands and some distress to the lacquered surface, otherwise good condition. Overall height, about 17 1/2 inches

This life sized Chinese cast iron head of Buddha features a relaxed, benevolent expression with downcast gaze consistent with the introspective Southern Song dynasty and is probably from the period. The elongated ears are unadorned though each appearing to retain a small pin from the casting process. The hair, with part at the forehead, is consistent with earlier castings of Buddha from the Song dynasty and features evenly spaced whorls instead of tightly arranged curls. A seam (consistent with the casting process) separates front from back, an opening from the time of casting appears at the top (uncertain whether a relic of the process or intended for some decorative or functional use), and a small opening appears centered low on the back (probably a relic of the casting). An old stress line appears on the back between neck and head from behind the right ear to the left front neckline. An old opening, apparently dating from the casting, appears along the old stress line. As these larger figures were cast in parts and subsequently assembled, it is unclear if the "stress line" relates (at least along the back neckline) to this method. The natural, ferrous patina includes weathering of the surface - the coarse texture being part of the charm of such iron sculpture. The whole is in stable condition, the uneven edge at bottom of the neck resting tightly in a 19th century custom fitted hardwood stand - fitted later to a tall, tapered display plinth of square section. The head, from the bottom of the antique rosewood stand to the top of the ushnisha (cranial protuberance symbolizing spiritual attainment), measures about 14 inches. The later display plinth adds another 10 1/8 inches (so 24 1/8 inches display height).

This Chinese, Ming dynasty figure of Dizang (in Sanskrit, Ksitigarbha), often depicted as a monk, is cast in iron. Details are finely carved into the surface including decoration of the lotus base, trim and elements of the jiāshā (robe), and the figure's facial features. At least three small iron pins and one pin hole remain at inconspicuous points, attesting to the casting process (look for these in the last two enlargement images). As it is iron, there is an even coarseness to the surface which would have been anticipated, and intended, by the artisans. An inconspicuous stress line behind the fold of the right sleeve probably coincides with the casting. It is in good condition with no corrosion and with a coarse, natural ferrous patina. Height, 10 3/4 inches. Ex Robert K. Berg collection, Ex Peter L. Rosenberg collection, Ex Robert K. Berg collection (having been reacquired from the estate of Peter Rosenberg, Vallin Galleries)

A very rare pair of finely modeled and decorated Imari reticulated, lantern form porcelain candle domes. Blue underglaze and polychrome enamel decoration with very pale celadon pooling in the clear glazed areas. This extraordinary find is made only more so by coming in a pair. The only similar objects I initially find include an Hirado censer (in two parts) in the Los Angeles County Museum of Art (M.2003.154.25a-b) and another, “Seto” example in the Victoria and Albert Museum (172&A-1877), both early 19th century. I think one will not find another. It is not improbable that the blanks, well decorated in Imari palette, may be Hirado production by special order. This is consistent with the intricate open worked flowering vine decoration as well as the feel of the unglazed biscuit around the bottom aperture. A cobalt blue band with apparently Japanese family Mon in white adorns the bottom above three, shaped feet. With this, it becomes less clear whether these were intended for domestic consumption or (more likely) for export. 19th century. One is in very good condition. The other is also fully serviceable and sound though with an old stress line on the bottom rim (see enlargement views). That one is 11 1/4 inches high. The other is 11 1/2 inches high.

An early Edo period iron Sōmen (full face mask). The nose is a replacement from the same material, period and school. As the nose is interchangeable by design, this is not objectionable and priced accordingly. As part of a samurai’s armor, a Sōmen would provide greater protection than a menpo. This Sōmen is lighter than later, fanciful Edo period “parade” examples.

Pair of Niō guardian figures in forbidding pose. Vigorously sculpted wood with remnants of distressed polychrome pigments. Later Edo period - probably first half of the 19th century. The sculptures are in fair, presentable condition though polychrome pigments are distressed and loose. With some checking and movement of the wood to be expected, there is a larger crack in the lower half of one figure. Standing about 22 inches including the bases, add another few inches for the blade held high by one of the figures.

A large Yuan dynasty bronze vase of square sectioned, baluster form. Chased taotie dragon on leiwen ground decoration. Phalange protrusions in the corners. A pair of loop handles issuing from dragon heads flanking the long, waisted neck. 14th century. The bottom, inside the raised foot, replaced. Otherwise good condition. Height measurement coming

A West Asia, Eastern Europe belt and accompanying bracelet for the Caucasus market. Polychrome enamel decoration, dominated by blues, on Russian marked silver links. The mark, 84NU, is noted from various sources to indicate Russian silver and Ottoman work. It could have seen Cossack, nomadic or other ethnic use in the region comprising eastern Ukraine, southern Russia, Georgia, eastern Turkey, Armenia, Azerbaijan or northern Persia. The belt is 59 links plus the clasp buckle and is about 34 3/4 inches long. An accompanying, matching "bracelet" (probably actually spare links to adjust the belt length) is 14 links - about 7 1/4 inches long. Circa 1900. Good condition

A finely worked Koftgari damascene gold inlay on steel decorated casket form box. Possibly from Sialkot but certainly from the Kashmir area of North India at the time (now Pakistan). 19th century. 5 1/8 inches length, 3 1/3 inches wide, 3/3/8 inches high - also with ring handle on boss fitted to the top. Good condition (key not retained).

A later Mughal empire silver incense burner. The 800 silver marked bulbous vessel with repousse decoration of key fret border over scrolling vine pattern band over lotus pattern foot (marked 800 on the foot). The top with finial on lotus pattern cap, over an opewnork vine trellis band, over a chased scrolling vine pattern band, over a narrower key fret border. Lots of varied technique harmonizing to form the whole. 19th century. Must rotate the top a bit to find the optimal fit. Good condition. 3 1/2 inches diameter. 3 3/4 inches height to top of finial.

Mughal (Northern Indian) hand calligraphy and painted posthumous portrait of Sha Alumfrachu (Shah Alam II), born 1728, ruled from 1760, died 1807. Portrait painting (and perhaps also the calligraphy) by Baboor Alie Khan (court artist Babur Ali Khan), year of Muhammed 1265 (AD 1848), Good condition and with full translation on the verso. Sight size, 13 1/4 x 9 3/4 inches (the portrait itself, image area 6 x 3 5/8 inches). On the verso of the framed work, the back panel is fully visible with contemporaneous translation of the calligraphy to English, 14 x 10 1/2 inches, including commentary that the sitter reached the age of 80 years and 9 months; reigned for 48 years, 4 months and 3 days; was the son of Alumgeer 2nd; was born in Elahbad; ascended to the throne in Elahbad in 1760; and was buried in Mehroulee (the oldest inhabited area within Delhi).

A nicely formed multi-lobed bidri vase. Finely worked inlaid decoration. East India. Early 20th century. 10 1/2 inches high. Good condition.