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 and rare Pennsylvania Dutch Amish folk art candle box carved from a single piece of yellow pine (no joining at all). The interior hollowed and the interior sides hand planed. One side with bas relief carved hex motifs. The other side with the initials, IF and IB (if read left to right, though not sure of the intended order), likely of a married couple and with other carved and incised adornment including hearts. Fitted, sliding top (the only exception to it being wholly one piece). Possibly a wedding gift. At least 19th century and possibly 18th century. In addition to the distinctly Dutch Amish carved decoration, yellow pine is typical of the Pennsylvania home to the community - used extensively in furniture of the region. Wonderful, lovingly used condition with undisturbed patina. Very good condition with expected wear and natural checking along the wood grain. Length, up to 15 1/4 inches at the longest points (with variation to about 15 inches at points)

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

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

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)

For the tea and cloisonne collector: A signed totai cloisonne on Kyoto ceramic cha-ire (tea jar). Decoration in red, black rose, pink, green, blue and yellow of flowers, butterfly and other motifs on blue background. The jar with both lid and cover. Late Meiji era (1868 - 1912). Good condition. Height, 3 5/8 inches (9.2 cm)

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 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.

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.

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 West Asia, Eastern Europe belt and accompanying bracelet for the Caucasus market. Polychrome enamel decoration, dominated by blues, on Russian marked silver links. The mark, 84NU, is noted from various sources to indicate Russian silver and Ottoman work. It could have seen Cossack, nomadic or other ethnic use in the region comprising eastern Ukraine, southern Russia, Georgia, eastern Turkey, Armenia, Azerbaijan or northern Persia. The belt is 59 links plus the clasp buckle and is about 34 3/4 inches long. An accompanying, matching "bracelet" (probably actually spare links to adjust the belt length) is 14 links - about 7 1/4 inches long. Circa 1900. Good condition

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 George III mahogany table. The pie crust tilt on turned pedestal with three legs terminating on slipper feet. The form and style generally known by reference to Chippendale. The size between what might be used for wine or for tea. 18th century. Fair and serviceable condition with an old repair to the base of the column and to one foot. Height, 27 inches. Diameter, about 24 1/8 inches.

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