A Continental or colonial strongly sculpted wood Santos figural group, probably depicting Saint Joseph with baby Jesus. Red, yellow, black, green, teal and skin-tone polychrome painted surface - distressed with time. Inlaid crystal eyes. A pleasing, classical fullness to the flexed posture of the figures despite the rugged strength of this accomplished work. 18th century or earlier. Good condition for the object’s age and medium. Some expected movement of the wood and distress of the polychrome. Height, at least 14 3/4 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 Hepplewhite manner server. Having the form and proportions of a sideboard but of much smaller size. Stringing, banding, fan inlay and figured drawer fronts grace the elegant, minimalist shape. Would serve nicely in a small dining space or handsomely in any space as an occasional, writing or dressing table. With mahogany and satinwood veneer over nicely oxidized striped pine (not to mention shape and proportion), we lean toward an English, late George III period attribution - early 19th century. Good, serviceable condition with minor veneer losses and later pulls. Height, 31 1/4 inches. Length, 42 1/2 inches. Depth, 15 1/2 inches.

An appointment would be necessary to inspect this server

A well made Empire period dressing or shaving mirror. Carved mahogany and mahogany veneer with acanthus shaped feet and bellflower form mirror supports. Style transitional to Art Nouveau. American, 19th century. Good, serviceable condition with expected patina and checking of original wood surface. Probably original glass. Height, 25 1/2 inches. Width at widest, 27 inches. Depth, 12 5/8 inches.

Soon to be introduced for availability of inspection at The Antique Center at Historic Savage Mill, Maryland

An early Edo period iron Sōmen (full face mask). The nose is a replacement from the same material, period and school. As the nose is interchangeable by design, this is not objectionable and priced accordingly. As part of a samurai’s armor, a Sōmen would provide greater protection than a menpo. This Sōmen is lighter than later, fanciful Edo period “parade” examples.

A pair of daisho iron tsuba of yatsu-mokko-gata (eight lobed) form. Sukashi motif of fans and gingko leaves (an interesting combination of similar shapes). Some chiseled texturing of the surfaces of the gingko leaves. Edo period, circa 1700. Good, serviceable condition with a few interrupted fan ribs on the larger. It is about 3 1/8 inches diameter. The smaller is about 2 7/8 inches diameter.

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

Japanese, Edo period, carved and painted wood Noh mask. Depicting Otafuku (popularly known as Okame), boldly and adeptly carved with full, deep, expressive features. Painted white all over, blackened teeth as was the custom, red lips, and black hair in distinct, fine brush strokes for affect. The hollowed out verso displaying the tool marks of the unknown artisan. Surfaces moderately distressed and with much patina from use and handling. Length, 8 1/4 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.

Higo iron tsuba. Hayashi school Sukashi fish net pattern within mimi. Hitsuana for kozuka and kogai flanking the seppa-dai. Edo period. Good condition but could use a little cleaning and care. Height, 2 15/16 inches. Width, 2 13/16 inches. (About 3/16 inches thick)

An Edo period iron sukashi tsuba depicting two sages within a well executed landscape with waterfall, grass, pine and clouds all nicely detailed with sparse gold inlay. Bearing the signature “Soten Sei”. Good condition. Height, 3 1/8 inches. Width, nearly 3 inches

The Katchushi style of this tsuba gives it an earlier look and feel. But it is probably an Edo period work (might expect more wear on the seppa-dai or more conspicuous tekkotsu on an older example.) The thin body nonetheless resilient. Strong, sparse, decorative file marks on the vertical add to character. Adept use of the file, thin plate and slight taper toward the rim could support argument a swordsmith may have made the tsuba. Genji style mon and two five petal blossoms in fine open work (some iron detailing missing from one of the blossoms, the other with one of the open worked petals interrupting the rim.) Smaller kozuka-ana and kogai-ana flanking the seppa-dai. The surface smooth to the touch despite some old, light pitting. Possible scant old lacquer adhering closely to the surface (difficult to discern with certainty as some hard wax appears to have been applied to the surface.) Simple sukashi tsuba are considered by many to be closest to Samurai taste. Fine open work and subtle attention to detail such as the file work add to appeal. Length, 3 9/32 inches (8.33 cm). Width, 3 1/16 inches (7.78 cm). Thickness, about 3/32 inch (0.238 cm)

A well made and complex burl keyaki wood box of drawers and compartments. Compartments and drawers well suited to hold inkstone, colors, paper, brushes, works and accessories. Nice, handmade hinges and drawer hardware. Painted decoration of Shishi among peonies - nicely done in a charming, mingei (folk art) manner and likely by a previous owner of this kodansu. Late Edo period. There is expected wear from use, movement and checking of wood, and minor losses to the polychrome lacquer decoration. Otherwise an attractive and intriguing furnishing in serviceable condition. Length, 13 3/4 inches. Height, 10 inches. Depth, 8 inches.

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 Meiji or Taisho period Eiraku kiln aubergine glazed porcelain vase. Rubbed gilt enamel highlights over archaistic relief decoration in manner of the Eastern Zhou dynasty or Western Han dynasty. The vase, with base reminiscent of the Hu form but with elongated neck, harmoniously combines modern and ancient design sense. The blank apparently two symmetrical halves, joined (see closeup images revealing raised glaze where a seam might be). Eiraku seal mark on the foot. Good condition. Height, 9 7/8 inches.

The venerable Eiraku line of potters doesn’t commonly come to mind when one thinks of Japanese studio ceramics, but one can readily see creative Edo and early Meiji examples preceding comparable works by the later Meiji era greats. Examples of inspired Eiraku kiln porcelains with gilt enamel, pushing the limits of their time, can be found in museum collections and in auction sale records.

An unusual, orange-peel textured Kakiemon lobed rim dish. Persimmon red, light blue, bright yellow, green and gold enamel decoration with black and red outline of Shishi and Tree Peony decoration (a traditional Japanese Kakiemon motif) on the white glazed porcelain body. The rim detailed with brown enamel also characteristic of Kakiemon wares. Strongly potted and raised on a slightly buff-toned ring foot (a Japanese specimen from the Kakiemon family kilns would reveal white kaolin from the foot, though other Japanese kilns would not necessarily). From the formation of the foot, the relatively stout potting, the molded orange-peel texture, uneven brown detailing of the rim, and nuances of the decoration, we believe this to be a European copy (possibly English [Chelsea?], or Edmé Samson after English in turn) of Kakiemon production. Excellent condition. Diameter, 8 and 7/16th inches. Standing about an inch and an 1/8th high from the foot.

Federal card table. Figured mahogany single board top leaves and legs. Crotch mahogany veneered skirt. The shaped top leaves with reeded edges. The skirt frame conforming in shape, joined legs with carved flower head decoration within rectangular reserves over tapering, reeded legs on turned feet. Probably Philadelphia based on the form and feeding. Circa 1815. Good condition with some minor veneer loss along the skirt edging. The top with minor stressing of the wood. Height, 29 2/2 inches. Width, 35 1/2 inches. Depth, 17 3/4 inches.

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

A finely made and carved Louis XV style side chair, 19th century. Upholstered with fragments from an 18th century hunt themed tapestry. A charming and atmospheric interior accent. The chair in good, serviceable condition with expected wear. The upholstery simply divine - showing it’s age with conservation preserving its decorative impact. Seat height, about 18 inches. Back height about 38 1/2 inches.

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