Cast with flowing robe and benevolent facial expression. Stands upon a base cast in the form of sea waves surrounded by low a fence raised upon a hexagonal plinth. Figure and base were cast separately with the figure being attached to the base with two bronze pins. The figure was originally lacquered overall then gilded. Remains of this gilt lacquer can be seen especially in the creases of the robe and the hair around the edges of the hood...
Red and black lacquer applied over a bronze jar form with interior and base glazed with thick deep brilliant blue enamel. The bronze jars are first applied with red cinnabar lacquer which has been finely-carved with an undulating wave design. Overlying the red is a thick layer of well-carved black lacquer landscapes including rocky cliffs, trees, islands, dwellings and boats. On the neck is a deeply carved repeating floral design; a floral design also surrounds the tall foot...
The black enameled background provides a striking contrast with the colorful flowers in brilliant shaded enamels. Lilies, chrysanthemums, peonies, iris, and other blossoms cover the entire exterior of the bowl, even the entire exterior of the foot down to the footring. The interior is glazed white and left undecorated, further enhancing the contrasting effect of the exterior and interior...
Heavy bronze mallet is cast with a stylized floral motif framed by a key fret design in a rectangular panel wrapping partially around the barrel-form mallet head. The mallet faces are both inlaid with copper and niello (copper, silver, sulphur alloy). The handle is inlaid with niello and incised with the artist’s signature reading “Kozan saku” (made by Kozan). The hole in the base of the handle was for a decorative silk cord, now missing...
This cream-white glazed vase is covered overall with a network of fine crackles stained over time with a pale brownish tone. The small meiping form tapers gracefully from a broad shoulder to a narrow waist and flares out again at the base. The base is glazed leaving the slightly rounded footring unglazed. The interior is glazed and the crackle pattern continues inside the neck. Vases like this one were used in the scholar’s studio. Good condition, no damages...
Superb condition with great color, striations, and tooling marks. 7 11/16 inches tall, with a bowl diameter of 3 13/16 inches and a foot diameter of 3 5/8 inches.
The glass is of heavy, bright metal, and displays good tooling marks and striations. 19th century...
The embroidery pattern on these lotus shoes has always mystified me. There is a woman and an animal that is possibly intended to be a giraffe. I vaguely remember some bits of information. The Chinese first heard about the African giraffes from verbal and written descriptions. They were fascinated wit...
Elegant pear-form vase with a gracefully tapering neck is raised on an elongated and subtly flaring foot. It is covered overall in a medium-blue robin’s egg-type glaze mottled with lighter and darker blues that drains toward the foot with violet-toned mottling. The base and interior are both glazed with a clear glaze that is tightly cracked. The footring is unglazed exposing the buff-colored china-like soft paste porcelain. Though similar to the robin’s egg glaze seen on hard por...
Patterned after a Chinese Kangxi “Hawthorn” design. This bottle is delicately and rather thinly potted with a long, narrow neck rising from a bulbous body. It is painted in underglaze cobalt blue with a “cracked ice” pattern scattered overall with plum buds and blossoms—a design known among English connoisseurs in the early 20th century as the Hawthorn pattern. This piece is identifiable as Hirado from the unglazed base which shows the very distinctive vitreous paste c...