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 substantial 19th century French jardiniere. The shaped form of onyx with mellow patina. Each side with rouge marble panels supporting ormolu. The end panels round, also with champlevé and bronze doré. the side panels with cherubs decoration flanked by champlevé and bronze doré design elements. The jardiniere raised on paw doré feet. Wear on surfaces, edges and corners from use; one flanking bronze boss missing left of one of the larger ormolu side panels; but overall good condition. Length at various points ...
End to end of the decorative bosses at either end, almost 20 inches.
End to end of the base, 17 1/4 inches.
Corner to corner of the main compartment, 15 1/2 inches

An unusual and dramatic firescreen abattant. It reminds me of some of the smaller, New York classical parlor furniture I've seen in Southern house tours with late Federal drawing and music rooms furnished with pieces imported by successful merchants - almost, but not quite, over the top in their design yet direct in their function. So an argument could be made for high, New York city style. And the inlaid oval in the center, with pie crimped edge, is reminiscent of some New England work. The passive function is that of a firescreen and explains the distress to the side with inlay which likely faced the fireplace (rather than the upholstered side.) The "surprise" is the enclosed work area with the hinged top dropping to provide a writing surface (abattant [fr], "put horizontal") below the interior fitted with letter or document slots (only the back one of three dividing slats remaining - evidence of two more, and three segments which would have divided at least one of two lateral slots into three sections.) Perhaps because of the narrow profile, there appears to be no secondary wood under or behind any of the solid mahogany. Condition is quite good considering the likely heat exposure as a firescreen and probable stress to the hinged top which relies upon the case as a counter-stop. We had distress to the inlaid surface evened out, filled and finished - disturbing old finish as less as possible - to make it presentable for the decorator yet acceptable to the collector. We left the old upholstery (possibly original) alone for the next steward to decide. Our restorer (specializing in period furniture) had also never before encountered this design. Our photographs illustrate the character of the old, now serviceable inlaid surface. Ca 1800 - 1810. Height, about 42 3/4 inches. Width, about 21 5/8 inches (about 22 1/4 inches wide at the trestle base).

This firescreen abattant may be inspected at The Antique Center at Historic Savage Mill, Maryland

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.

Federal Mahogany swell front chest of drawers. Yellow pine and poplar secondary woods. Maryland, probably Baltimore, 1790 to 1810. This chest is similar in ways to an example in "Furniture in Maryland, 1740-1940", Weidman, 1984, item #77, page 123. On both, the top conforms to the bow front case, projecting a bit beyond the case. And both have nicely formed French feet, inlaid banding on the drawers and above the skirt, and inlaid chevrons centering the escutcheons. In fact, the present chest came from the estate of Dr. Harvey William Cushing (1869-1939) while the chest illustrated in the cited volume (in the collection of the Maryland Historical Society) came from a descendant of the Cushing family - with Baltimore roots going back to at least the 1770s. More history regarding the Cushing family can be found in the volume and later history in a letter we obtained from the dealer who sold the chest to us (which also mentions how they acquired the chest.) Unlike the published chest, the inlaid bands on the present chest are along the drawer edges, with oval stringing on the drawer faces, and a single top drawer atop three more graduated drawers. In good, presentable condition, it appears the chest may have had restorative work to the top and likely a later refinish, pulls appear to be replacements. One drawer pull is loose on one side and some distress to inlaid banding. Height, about 42 1/4 inches. Depth about 23 1/16 inches. Height 36 3/4 inches. We are offering American furniture from our personal collection while lightening up in preparation for a far move - reasonable offers entertained. Provenance: Dr. Harvey William Cushing, an unnamed Baltimore dealer, a Frederick Md dealer (disclosed to purchaser), ourselves.

This chest may be inspected at The Antique Center at Historic Savage Mill, Maryland

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.

Rare "Buddha Asuka (B)" woodblock print by Kiyoshi Saito, 1955, number 40 of only 50 printed, signed in white ink and sealed in red ink both on the image area. Signed and sealed printed label "self-carved self printed" also included (attached to paper backing removed to inspect condition.)

We were not able to find a recent auction record for this image with data available. Another mid-century work by Saito (in color) titled Asuka (Kudara Kannon) [possibly confused by the artist with one of the Roku Kannon also of the Horyuji] was bestowed in 1959 by the artist to the Collection of The University of Michigan Museum of Art. It is noted that Saito was creating works in a series of early Nara sculptures around the time. A Saito subject similar to the present, muted work (but printed two years later in a run of 100) of another Nara sculpture, Miroku, was offered in Christies sale 8862, lot 306 together with a Winter in Aizu print.

The muted colors of the present work is a reflection of the somber lighting within the temples housing sculptures of this period.

Condition of the present work is good, with some toning and with brown paper tape around the edges (covering up to about a half inch margin.) A penciled note (from the framer?) appears in the margin on the verso. Some ink bleed on the verso from the original printing not at all compromising the image. Not clear if this was the first framing, the print was nonetheless not removed for some time until we removed the backing to inspect condition (image included of verso before removing paper.) Sheet height about 33 inches, sheet width about 21 1/4 inches. Image height about 29 5/8 inches, image width about 16 inches.

A nicely proportioned, elegant Sheraton cellarette. The case joined to the framed base, raised on turned legs. Escutcheon with associated lock but no key. Bottom of the case interior fitted with 4 1/2 inch high dividers for eight bottle positions. Old finish. Appears to be white pine secondary with a red paint wash and quite oxidized on the underside. Looking at our picture of the underside, one board from the back of the supporting frame can be discerned as a replacement. Also from that image, an illegible (to us) maker’s scrawl, large across the bottom of the case, is observed. We believe this cellarette is American Federal rather than English late Georgian. Circa 1820. Good condition. Easily holds champagne and other 750ml bottles. An easily placed size at 26 1/2 inches high, 20 inches wide and 11 1/4 inches deep.

An appointment would be necessary to inspect this cellarette

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.

This Federal lift-top chest with lower drawer reminds of southern American sugar chests. With proportions being comparable, this low-height chest is more formal with mahogany, on the small side and without a divided top compartment. With yellow pine secondary wood, the frame is raised on french feet. Sourced from Middleburg, Virginia. The line of inlay across the front of the lift-top is old but not original (old hinge marks showing that the top was reversed back to front at some point). The other inlay was replaced by us to fill routing where inlay (probably also added later) was missing. The front pulls were added to replace cheap Chippendale style brasses which weren’t appropriate. We’ve used it as a cellarette. Wine bottles fit perfectly in the drawer (as you can see from one of our pictures). Other practical uses may have been as a silver chest or a campaign chest. The top compartment with lift top is likewise well proportioned to take accessories, wine bottles on their side and other, smaller bottles standing upright. Good, restored condition. Height, 27 7/8 inches. Width, 23 3/16 inches. Depth, 17 1/16 inches.

An appointment would be necessary to inspect this chest