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.

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 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 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.)

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).

An antique Indo-Persian helmet (kulah khud). The bowl with bas-relief decorated panels - flower and vine on the skull and Quranic script in reserves within a band around the rim. Damascene ornamentation in gold on the helmet’s surface. A chain mail curtain (aventail) suspended from piercings along the rim (some links missing but holding form nicely). Spike and nose guard missing. Nose guard lock loose. One complete and one partial plume holder. 19th century. Height from finial top to rim(not including chain mail), about 6 1/2 inches. Diameter of bowl, about 8 1/4 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.

A fine little octagonal blue and white porcelain kakiemon style deep dish. Chocolate brown glazed rim, white body and clear glaze over cobalt blue decoration of a primitive, raised teahouse with loose thatch roof and slung entrance screen all under a large willow tree and, conspicuously, a spiderweb (perhaps to emphasize closeness to nature) in the foreground. The interior wall and rim decorated with repeating pattern and karakusa (scrolling vine and leaf). Karakusa also appearing on the exterior wall. Blue rings around the foot, a blue ring inside the foot centering a mark - appears to read Yoshi and Ga (Ka) and possibly another stylized character from the center line. One might call it a variant on the Fuku mark in this context but it looks rather like an artist and possibly a place reference for a private kiln (which would have been Daimyo sponsored in the period). The mark on the verso is aligned with the decoration on the front - an indication of attention to detail expected also of authentic fine Chinese ceramics. An extraordinary work, finely potted and deftly painted. Very good condition with light rubbing on the interior from wear and a small kiln fault there where the glaze crawled a little. Certainly early 18th century and not implausibly reaching to the end of the Genroku era (1704). About 5 1/4 inches (13.34 cm) diamater at the sides, 5 5/8 inches (14.3 cm) diameter at the corners, about 1 5/16 inch (3.33 cm) high.

A rare late Koryo dynasty Punch’ong bottle vase. Olive toned green ware glaze simply but finely decorated with off-white skip within carved pattern. Height, about 3 5/8 inches. Excellent condition and conveying with Japanese collector’s box. 14th century

A good Chinese boxwood carving of Budai. Three children clamor over him. A bat appears on his right hand. Bone and horn inlays detail his eyes and teeth. Rich, mellow old patina. Nice grain figure in places. Late Qing to early Republic. Ca 1900. Very good condition with typical minor distress checks in the old hardwood surface. Remnants of old label. Height, about 4 5/8 inches high.

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)

An Edo period Echizen Kinai school iron sukashi tsuba. Strongly carved to depict a coiled dragon. Niji-mei signature “Kinai”. Very good condition. Early 19th century. Height, 3 3/8 inches. Width, 3 5/16 inches. (3/16 of an inch thick)

A fine, modern footed dish with red, green and yellow overglaze and with cobalt blue and manganese underglaze decoration. The hexagonal, everted rim with red border defining a cloud band around conforming hexagonal cavetto with chidori (sparrows) alternating with polychrome squares - borders of decoration all picked out with manganese (giving an iron effect but fading nicely into the blue decoration rather than spoiling it with fade to brown. The splayed foot with a cloud pattern in modern interpretation of the Nabeshima tradition. As we describe this unusual object, it should become more apparent that it is rather substantial (though small, sturdy potting) and not commercial production. The dish - top and bottom - as well as the foot retains impressed decoration and texture in the porcelain over which the decoration was added with deference... the blue glaze, for example, lightly filling the recesses of, perhaps, a hemp impression over a more broadly ridged surface and leaving the highpoints almost white. The same molded and impressed texture can be felt top and bottom of the dish and the cloud pattern on the foot can also be felt when running one's finger along the decoration. The unglazed foot rim reveals a fine, white kaolin with smooth feel to the touch. Unfortunately, though the molded and impressed decoration rather nicely retained texture, a square impressed mark inside the foot did not and offers no legible mark. We are comfortable proposing an attribution to Hajime Kato (1900 - 1968) but can not make any definitive claim and estimate accordingly. Perfect condition. Diameter, point to point, 6 3/4 inches (17.145 cm). Height, 2 1/4 inches (5.715 cm)

A fine pair of Hizen-yaki, Arita kilns blue and white porcelain dishes in the Kakiemon style. The molded, spiral foliate cavettos sporting similarly shaped undulating shonsui panels with ‘three friends of winter’ decoration and other, typically shonsui shape patterns. The Peony motif centers surrounded by a band of auspicious symbols in shironuki. Chocolate colored, iron-oxidized rims. The unglazed foot rims encircle glazed bottoms with chatter marks nearly reaching the blue underglaze Fuku marks. Four kiln spurs on the bottom of one dish, five kiln spurs on the other dish. Edo period and probably Ca 1800. Both in good condition. Diameters about 8 1/8 inches and 8 1/4 inches.

A small gem of a vase: Hayashi manner silver wire cloisonné. Butterflies decoration in polychrome enamels over a muted green enamel background. Maker’s mark impressed inside the foot rim. Meiji period. Very good condition, with some coarse enamel texture over the intricate cloisons detailing the butterflies. Height, 4 3/4 inches

An interesting Owari marugata form tsuba. The sukashi decoration of water caltrop is unusual with the side views top and bottom and the silohuette views left and right of the seppa-dai. Owari examples usually portray the water caltrop with open-work (rather than silhouetted) centers. The water caltrop is referred to in Japanese art terminology as “matsukawa” because of its shape and texture resembling pieces of coarse pine bark. The size, shape, proportion, symmetric decoration and plum color of the iron consistent with Owari. Appears to be scant traces of original lacquer on the surface. One hitsu-ana for kozuka or bashin. Azuchi-Momoyama period, Circa 1600. Good condition. Diameter, 3 1/8 inches