A katchushi mutsu-gata sukashi tsuba. The six lobed, thin plated armorer's tsuba with good tekkotsu and with openwork decoration was described by Skip Holbrook (ex collection) as Saotome made and depicting three birds. The Saotome were a line of armorers (katchu) turned tsuba makers. But I think a case could be made for the sukashi decoration being a wabi-sabi flower bloom or possibly paulownia leaves (rather than awkward looking "birds".) Use of the paulownia (kiri) mon could suggest Yamakichibei as those tsuba makers, from Owari, were outfitting swords for the Oda and the Toyotomi - the latter using the kiri ka-mon. Good condition. 2 7/8 (7.3 cm) inches x 2 13/16 (7.14 cm) 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 Japanese woven bamboo reed ikebana basket. Of small size and fine work. Having handled a good number of ikebana baskets over time, this one strikes us as quite sophisticated. Of baluster form, meticulously consistent woven pattern, defined foot and rim, sparse and well balanced decorative intertwined bamboo shoots across the face, and confidently woven handles. Excellent condition. Height, 8 inches.

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 well forged, handsome mokume tsuba in mokko-gata form with katakiri-bori landscape decoration on both the omote and ura. The mokume grain is large and well controlled reminding one of ayasugi hada. In fact, this tsuba is indeed a tosho (swordsmith's) tsuba, being made by [Kai Ju] Kiyonaga and dated the third year of Bunkyo (1863) believed to be the same as KIY 298 referenced in Hawley's, Japanese Swordsmiths. Our angled, side view photographs more accurately portray patina and color as well as the mokume grain. Good condition. 3 5/8 inches (8.4 cm) X 3 3/8 inches (8.1 cm) and 7/32 inches thick (.55 cm) at the raised mimi and about 1/8 inch (.32 cm) thick at the seppa-dai. The raised mimi and no taper across the plate are atypical of traditional tosho tsuba. But the present example being 19th century, and toward the end of the Edo period, allows latitude for creativity. Ex Arnold Frenzel collection. If both sensitivity and strength are conveyed in the smith's blades as they are in this tsuba, I would be tempted to acquire one of his swords.

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.

A Hirado blue and white porcelain censer with pierced lattice work cover and sides. Lion masks in relief on opposing sides. Decoration of aromatic flowers and wisps of burning incense. Three feet elevate the censer above surfaces. Early Showa period. Good condition. Lion mask to Lion mask nearly 4 inches in length. Height, covered, just over 3 inches.

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 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 Ao-Kutani palette porcelain deep dish in the Yoshidaya manner. Hydrangeas decoration in polychrome enamels including white, light blue-green, and dark green, blue, blue-green and aubergine in black line, all on yellow ground, a chocolate brown enamel on the otherwise unglazed biscuit rim. The number and subtlety of hues but consistent for palette is pleasing. The back with enamels including dark green on black line decoration of clouds. Kutani mark in black under yellow glaze inside the foot ring which appears to have been glazed but with the enamel rubbed along high points to the porcelain body. A couple of kiln kisses to the cloud decoration area on the back. The so called Yoshidaya type of 19th century Ao-Kutani wares is named for a merchant who revived production of a particular palette of Ko-Kutani production (of the 17th and early 18th century) adjacent to the original kilns. The current example certainly appears to be 19th century and could possibly be from the Yoshidaya kiln. Later Ao-Kutani palette production is often ambitiously ascribed to the Yoshidaya kiln which, in fact, operated only briefly from the 1820s to the early 1830s. One 3/16 inch flake (mostly to the enamel) under the rim. Otherwise good condition considering expected scratching and rubbing of the enamel. Presents well. Diameter, 11 7/8 inches (30.16 cm)

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 fine Arita blue and white four lobed bowl. Decoration of Sennin Chokaro with his gourd attribute in landscape, centered by extraordinary shironuki (drawn in white) decoration in the cavetto - each of four panels with a different auspicious figure and attributes. The outside of the shaped rim and sides also with simple shironuki decoration of a water border and a lotus blossom floating at each, dimpled corner. This accomplished work would have issued from aristocratic patronage rather than standard kiln production. Faint celadon tinge in the pooled glaze along the footrim. 18th - early 19th century. One flake inside the rim otherwise good condition. 5 7/8 to 6 inches (14.92 to 15.24 cm) across at the corners. About 1 1/2 inches (3.8 cm) high.

An interesting Hizen-yaki, Arita kilns foliate rimmed bowl. Center decoration of a Chinese scholar in tropical landscape. The cavetto and exterior decorated in the Kraak manner. A spurious four character Xuande mark on the bottom, inside the unglazed high foot rim. 19th century. Good condition. Diameter, about 6 5/8 inches. Height, about 2 2/8 inches.

A Hizen-yaki, Arita kilns dish in the Kakiemon style. Probably after design examples from the latter kiln. The cavetto with delicate shironuki decoration of sakura blossoms on waves of water. The center undecorated save a single chrysanthemum blossom. Brown rim induced by iron oxide. The exterior with karakusa around the unglazed ring foot centering a spurious mark suggesting the Chinese Ming dynasty. Early 19th century. Good condition. Diameter about 7 3/4 and a little more in places.

A good Hizen-yaki, Arita kilns octagonal blue and white porcelain bowl. Shonsui ‘three friends if winter, decoration in roundels among shape patterns. A single Minogame decorates the interior center. A Fuku mark appear center of the bottom, inside the unglazed ring foot. 19th century. Good condition. 5 inches at widest points. Little more than 3 inches at highest points.

A simple, four lobed armorer's tsuba with simple pierced decoration perhaps depicting a landscape with structure. The udenuki-ana (cord holes) have the effect of completing the illusion of a Sesshu-like landscape. The saotome were armorers turned tsuba makers who worked in this manner and scale. Good condition with good tekkotsu. Sengoku era. 2 15/16 (7.46 cm) inches x 2 5/8 (6.67 cm) inches

A scarce and nicely formed bronze netsuke. The sculptural group depicts festival musicians playing a Taiko drum and Shinobue flute - the drum player with mask pulled back. Nicely detailed, down to the fingers and expressions of the musicians. The himotoshi is formed by the extended arm of one figure supporting the figure atop the Taiko. Edo period, 19th century. Good condition with rich, natural patina. Height, 1 5/8 inches

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)