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

A 17th century Chinese blue and white porcelain brushpot (bitong). Waisted cylindrical form raised on ring foot. Blue underglaze literati decoration of two figures on boat in landscape. Transitional between late Ming dynasty and early Kangxi period, Qing dynasty. A star crack on the bottom with old repair (see enlargement images from bottom and interior) and a small, tight hairline from the rim (also imaged). Otherwise good condition. Height, 5 7/8 inches. Rim diameter, about 4 1/16 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.

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 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.

A very finely made Satsuma alms bowl form kōro (incense burner). Clear glaze pooling to a light, warm green tea tone over the off-white earthenware body. The reticulated surface of the vessel enclosing a smaller, solid surface to hold burning incense (a technical feat demonstrating the imagination and skill of the potter). Relief key fret band around the rim and comb pattern around the base. Similar relief decoration on three shaped feet. The cover a single reticulated surface allowing essence from the incense to pass. An unglazed ring on the bottom, centered within the three feet, surrounding a smooth surface where at least two incised kanji characters are almost legible under the glaze near one of the feet. With fitted wood box, the cover inscribed ‘Satsuma [?] kiln, basket weave incense burner’ and signed ‘Gyokumeizan’ (a celebrated line of ceramists), each with seal stamps. “Satsuma” is the old name of the province and the namesake of its ceramic tradition. We are not sure if “Satsuma” on the box is reference to a municipality or a market enterprise (as the trailing kanji character could be the same for ‘city/town’ or for ‘market’). We believe this tour de force to be about Taishō era. Condition is good. The reticulated work of the top has one tiny surface loss which does not disrupt the pattern and is barely discernible. The side of the vessel has one spot of thicker glaze softening the definition of the reticulation with opacity at that point. Diameter, about 5 inches. Height (covered), about 4 inches.
Ex collection, Robert Berg (Ichiban Antiques)
Ex collection, David Callens (Meiji Bijutsu)

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.)

An unusual and fun Kakiemon dish. Decoration in underglaze blue, persimmon red, teal and yellow-green enamel. The rim meticulously lined with chocolate brown enamel resist before adding the glaze. A central ‘Ju’ character similarly encircled with a band of persimmon red enamel resist on the biscuit before glazing. The porcelain surface exhibits an early feel (I think of it as a fine ‘pear skin’ texture) that later production doesn’t achieve. The ‘Ju’, or ‘Toshi’, kanji character is a celebratory wish here for longevity. This would not be unusual in context of a superior’s or esteemed’s birthday. There is some precedent for longevity motif from Chinese doucai porcelains, with stylized ‘Shou’ character (the same as for ‘Ju’), of Qing dynasty China (from which much decorative arts influence has conveyed to Japan over the centuries). The surrounding chrysanthemums number twelve, each with 12 main and 12 overlapped petals (24 petals each). The main imperial line would use 32 (16 petals and 16 overlapped petals). The use in this case could relate to a lesser line of the family, a feudal lord or it may be simply an exuberant expression. A group of five kiln spurs appear within the foot revealing the well refined kaolin retaining light, fine grit from the kiln. Edo period, first half 18th century. A small round chip just inside the rim, otherwise good condition (an excellent candidate for 'kintsugi'). Diameter, about 9 1/2 inches

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 Japanese blue and white porcelain dish. The foliate rim with chocolate brown glaze, the white porcelain body and glaze, and the fine attention to detail all suggest Kakiemon type. The cavetto with decoration of flowering plants including peonies, prunus and others. The center decorated with a bird (perhaps a flycatcher) in fruited branches, rockery and bamboo leaves below. Both the cavetto and center with reverse technique where the underglaze cobalt blue forms the background of the decoration. Finely defined chatter marks inside the footrim centering five spur marks. Remnants of an old label adhere to the back. The decoration has the feel of Chinese inspiration. Emulation of traditional Chinese porcelain decoration, and certainly Chinese porcelain marks, is not without basis. I have not come upon quite this decoration before and would consider it, along with the quality of this work, to be rare and early - probably Genroku era. One hairline issues from the rim where a flake on the front has an old repair, otherwise good condition. This dish would be an excellent candidate for a proper kintsugi (gold lacquer) repair. Diameter 8 7/8 inches (22.5 cm), Height 1 1/16 inch (2.7 cm).

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.

A rare Korean folk art, turtle form, carved wood candle stand base. Hints of once vibrant polychrome stain or paint decoration accentuate parts of the turtle’s shell, front feet, face, eyes and apparently teeth. So perhaps it depicts a mythical turtle. Subsiding water is suggested by a decorative detail bridging the top and bottom of the beak tip of the turtle’s mouth. An aperture of square section on the turtle’s back supported the candle holder. Joseon dynasty: 19th century or earlier. Good, well used condition with rich patina. Length, 12 1/4 inches. Width, point to point , 11 1/2 inches. Height, from floor to beak, 4 3/4 inches

A well made 19th century Japanese porcelain haisen (sake up rinser on stem foot). Rare Shunga decoration depicting a bondage scene within the bowl. The manner of the painted decoration in comic fashion similar to that found on some shunga makimono. Shunga paintings and prints are rare enough but encountered. Edo period porcelains with shunga decoration are exceedingly rare. Good condition. Height, 4 1/2 inches. Diameter, 6 3/4 inches.

Two finely carved and parcel gilt iron tsuba. Each signed Choshu Hagi Ju Sakunoshin Tomohisa. Decoration of pine cone, gingko leaf, maple leaf and oak branch with leaves and acorns. This is also a known Bushu school motif. Edo period. Good condition. One 2 15/16 inches by 2 13/16 inches. The other 3 by 2 3/4 inches. Offered as a pair as they would work perfectly for daisho with a stout wakizashi, but we will entertain interest in just one as well.