A 19th century American folk art painting. Oil on canvas. Table top still life of bountiful agricultural harvest and a pineapple likely from port trade (pineapples were popular import produce in 19th century port cities and much can be read of pineapples in American tradition and design - most notably relating to hospitality.) Relined - otherwise good, clean and bright condition. Stretcher dimensions 30 1/2 inches x 25 1/4 inches. We acquired this in the late 90s from a long time Georgetown period furniture dealer (and Trocadero member) who had this in his own dining room for years. We have, also, enjoyed it in ours since but it is now time to lighten up as we prepare for a distant move.

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

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 19th century classical rosewood canterbury. The four compartments separated by three rail and stile partitions with handle, enclosed by openwork lyre sides and turned corner posts with finials, all over two drawer case raised on turned feet. Wonderfully appropriate for a period music room. The two drawers likely cost the patron a pretty penny in the period and are not commonly encountered. Secondary woods (exhibiting only hand rendered kerf marks) include red cedar and chamfered poplar for the drawers, and red cedar and knotty pine for the case. Note the darker oxidation (as expected) on the exposed lower drawer bottom. Probably American, inspired by Regency design. Compare with Neal's 2005 Winter Estates Auction lot 261 which lacked case and drawers. Very good condition save some rosewood veneer loss on one side lyre (see third enlargement - a minor consideration easily restored - we will not.) This will ship oversized or by special delivery service at buyer's expense. Length 20 1/2 inches (52cm), Height 18 inches (45.7cm), Depth 14 1/2 inches (36.8cm).

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 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 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). We are offering American furniture from our personal collection while lightening up in preparation for a distant move - reasonable offers entertained.

American Federal period mahogany lolling chair. Sparse, fine line inlay decoration. Late 18th century. Good condition. Seat height a little low from wear to legs. Seat height about 15 inches. Back height about 40 inches. Width roughly 24 inches.

A late Federal work table of elegant proportion and lines. The narrow, almost square top on turned pedestal with three reeded spider legs. Original surface with pleasant patina. Good condition. Height 31 inches, width 16 3/4 inches, depth 15 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