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.

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)

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).

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.

Large Southeast Asian, Shan period, bronze figure of Buddha Sakyamuni. Seated in vajrasana on lotus base with right hand in bhumisparsha mudra (earth touching gesture). Burma, 18th century. Good condition. Height, 21 1/2 inches. Base width, 14 inches

This is one of the more intriguing lacquer objects we have owned. Adorned with maki-e Aoe (hollyhock) Ka-mon on nashiji ground (also known as the Kamo Aoi as it was sacred to the Kamo shrine), family crest for prominent daimyo families including the Tokugawa and the Matsudaira during the Momoyama and Edo periods. Even the drawer pull is fashioned as an open worked shibuichi Aoe Ka-mon with the surprise of a textured, kinko (soft metal) raised backing only if you look for it. More interesting yet is the unusual form of this object - perhaps an only opportunity to acquire an example. Resembling a food tray on stand, it nonetheless has a drawer (not common to the form.) And a tall cover comes with a screen (silk?) as if to permit viewing whilst keeping something either in or out. We have not found another example of the form and so are not certain if it might be a covered dining tray (though the drawer) if intended to keep bugs out. Or perhaps it is in fact an insect terrarium (someone suggested it might be a large "cricket cage" or for praying mantis - maybe even to observe mantis combat) keeping the bugs in as it were. We can only speculate at the moment and heartily welcome suggestions or insight - maybe something not yet considered. The covered stand is in rather good condition for a mid Edo lacquer object. Good condition with expected testimony of age and use. There are the usual small lacquer losses mostly to edging (not at all detracting.) There is some fading - varying to the extent exposed to light (see our enlargement comparing surfaces of exterior, screened interior, drawer interior.) There is one minutely small handle stop stud missing from the screened cover. 18th to early 19th century. 13 inches (33.02 cm) high, 9 5/8 (24.45 cm) inches wide, 12 inches (30.48 cm) long.

Since listing this item, someone has suggested its holding fireflies (hotaru) as a possible use.

A finely carved Suzhou school agate snuff bottle. Decoration of figures, picked out from natural colors of the stone, in landscape of hilly bluffs with overhanging pine and whispy cloud. Based on the gourd in the sash of the larger figure - possibly depicting the immortal, Le Tieguai. Nicely defined foot rim. The top rim with broad, just slightly concave surface. Very well hollowed. Height of bottle without cap, 2 5/8 inches. Height with cap, 3 1/8 inches. Excellent condition of the bottle.

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.

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

A fabulous pair of daisho iron tsuba. Haruta school, with the character “Haru” still legible in the seppa-dai of the larger. Realistic depiction of weathered wood with a few gin-zogan (inlaid silver) woodworms in the decoration of the larger. I’ve seen similar work attributed to Hirata school, but that must have been misheard from Haruta. Excellent condition, and the two having started life together. Later Edo period, early 19th century. Larger 3 1/8 by 2 15/16 inches. Smaller, 2 13/16 by 2 5/8 inches.

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.

A pair of boldly carved pale blue peking glass vases. Birds in flowering branches. Good condition. Height, eight inches. Early 20th century, Republican era.

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.

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.

An Edo period iron sukashi tsuba with “hundred monkeys” motif. 18th century.

A copper alloy (sentoku) example in The Metropolitan Museum of Art posits the motif as “108 human sins in the guise of monkeys” (46.122.77). Signed Hishū Yagami-Jū Mitsuhiro, it and other examples include a silver alloy (shibuichi) tsuba in The Walters Art Museum (from Noda, rather than Yagami, in Hizen province) signed the same (51.133), a second (unsigned and in the nanban manner with patterned seppa-dai) in the Walters has a mimi surrounding the open worked plate, an iron nanban tsuba in the Seattle Art Museum (37.44), a photographed iron nanban tsuba in the J. Paul Getty Museum (56538), and an iron tsuba in the Museum of Fine Arts Boston signed Yagami Shoyoken Mitsuhiro (13.1769).

Of the above examples in prominent public collections, the sentoku [copper alloy] and shibuichi [silver alloy] examples appear to be later generations of the same Mitsuhiro line. The present example (unsigned) and the Boston example (signed Yagami Shoyoken Mitsuhiro) are traditional iron tsuba, taking inspiration but not form from nanban work (proportions, seppa-dai and this tsuba's mimi [rim] being traditional), and exhibit strikingly comparable workmanship including sparse gold details on at least a few eyes of the monkeys. Both also have symmetric hitsu-ana suggestive of the Shoami tsuba movement. The remaining cited examples are nanban work from which the motif derived.

The present, unsigned example may be earlier than the cited examples owing to the prominent mimi consistent with the tradition of katchushi (armorer) tsuba from which the Shoami movement evolved. Later generations were also more likely to sign comparable works. I would characterize this tsuba as early Hizen Yagami Mitsuhiro work in the Shoami tradition and probably the same "Shoyoken Mitsuhiro", as the Boston museum example, or possibly a preceding generation or contemporary. It is reasonable that creative Shoami artists could be expected to pick up influences including from extant nanban work. Hizen province generally being a center for foreign trade, and Yagami specifically being a district of the Nagasaki trade port, further supports this.

An article by Robert Burawoy in Bushido magazine, V3,No1, 3rd quarter 1981, touches on the three generations known to have signed Yagami Mitsuhiro. Some reference is made to economy of simpler execution of the mimi by the first generation - with repetitive pattern in contrast to varied detail by the second generation. The thick, prominent mimi of the present example also provides economy of execution as does the second, nanban example in the Walters (though the present example is clearly by a Japanese artisan while the same cannot be said of the Walters’ unsigned nanban manner tsuba).

Good condition. Height, 3 inches. Width, 2 3/4 inches. (Seppa-dai about an 1/8 inch thick. Mimi a little more than 1/8 inch thick. The monkeys decoration a little less than 1/8 inch thick.)

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 fine daisho pair of Akasaka school iron sukashi tsuba. The concentric rings motif reminds of kamon designs but also could be symbolic of the rings on a Buddhist monks prayer staff. Very good spatial design consistent with earlier, sophisticated yet austere samurai taste. These started life together for use on the long and short sword pair. Circa 1700. Excellent condition and consistent as a pair in all respects. Larger, 2 15/16 by 2 7/8 inches. Smaller, 2 13/16 by 2 3/4 inches.

A fine pair of Chosho school maurugata form iron daisho tsuba. Sukashi work depicting blossoms on budding prunus branches. Strongly and well carved decoration. Edo period, 18th century. Good condition, with the nakago-ana filed larger at some point. Larger, 3 1/8 diameter. Smaller, 2 7/8 by 2 13/16 inches.

Daisho ko-Shoami marugata form (round) tsuba. Gunbai-uchiwa motif (gunbai referring to a war signal fan and uchiwa referring to the form of the fan). A pair being understood as a daisho (though one tsuba being for the longer of two swords, and the other for the shorter sword, they are more often than not graduated in size). These started life together. It also being understood that a ko-Shoami tsuba would be iron - the Shoami tsuba movement issuing from armor makers and “ko” (old) relating these tsuba to earlier in that movement. Good, simple, Samurai taste of the late Muromachi era. 16th century. Good condition. Larger, between 3 1/8 and 3 3/16 inches diameter. Smaller , between 2 7/8 and 2 15/16 inches diameter. Thickness each, about an 18th inch.