c. 1909, 42nd Year of Meiji
Size: Length 18cm Width 1.8cm Height 9.5cm
The mold may have been for a small company or firm that either transported goods or in the transportation industry (i.e. rickshaws). Often families and small stores will have their own molds carved and different designs used to create the rakugan sweets.
Size: Length 15cm Width 1.8cm Height 12cm
The mold may have been made specifically for a certain family or shrine to use for specific events. Large sweets molds produce a confection called rakugan where rice flour and sugar are blended and the mold keeps it all together. These sweets are commonly found during specific holidays during the year or for family occasions...
Size: Length 12.2cm Width 2.7cm Height 7cm
Contains a dated inscription to 1934.
An interesting small sweets mold taking the form of a wish fulfilling jewel. The mold has bamboo rods for the bottom section to connect so that the sugary powder can take its form.
Size: Length 13cm Width 3.5cm Height 23.5cm
The molds were used by Yamauchi Horo-ken.
This interesting sweets mold or kashigata is carved out in the form of a magatama, or a curved jewel treasured by the Japanese through the Shinto tradition. The mold may have been used to create sweets during an important shrine festival or part of the propaganda that was going on during this period in Japan's history
Maki Haku (1924-2000)
Mixed media embossed
Size: 12" X 12"
Maki Haku received no formal training in the visual arts but was inspired by Onchi Koshiro. Maki Haku exhibited his works in the Print Biennale in 1957 and 1960.
Ref: Brannen, Noah, Elliott, William and Maki, Haku. Festive Wine: Ancient Japanese Poems from the Kinkafu. New York: Walker/Weatherhill, 1969.
Sold; Thank You. New York, NY
Republic Period or later
Size: Length 16cm Width 6.5cm Height 19cm
The ship is mounted on a carved wooden base in the form of rolling waves. The ship is equipped with small cannons, an anchor, and other elements often found on ships. A four character phrase is inscribed on one end of the boat.
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Attributed to Hua Zhiyou
Size: Length 17.2cm Height 27cm
From a California estate collection.
Hua Zhiyou was active during the Daoguang era near the end of the Qing dynasty and often painted views of luohan engaged in various activities. This example shows on luohan riding a bull-like creature.
Sold; Thank You. London, UK
Size: Diameter 12.5cm Height 18cm
Though the censer is small for its size, the work might have adorned the shelf of a studio or a collector of carved Chinese hard stones. The overall designs are often seen with stone carvings from the late 19th and early 20th centuries.
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Size: Diameter 9.3cm Height: 7cm
The body having facets while the overall structure is a style seen in traditional Chinese censers. The bottom of the censer contain a Ming Xuande mark, where many notable censers (though those are made from Bronze) were made during the Ming dynasty. The work comes from a period much later than the period.
Size: Length 3.6cm Width 0.6cm Height: 5.6cm
An interesting rectangular Jade carving in the form of a typical Qing period style Jade pendant. On one side is a view similar to the scene of the Ode to the Orchid Pavillion and the other side a poetic inscription.
Sold; Thank You. New York, NY
Attributed to Wang Jian (1598-1677)
Size: Length 24.5cm Height 29cm
Although the work is attributed to the famous Ming dynasty literati painter, Wang Jian, succeeding artists during the Qing dynasty continued the tradition in the form of the orthodox school of landscape painting. In Japan, works and examples from the Four Wangs paved the way for the literati tradition to develop in the 18th and 19th centuries.
Late 20th century
Size: Length 3.5cm Width 0.7cm Height 5.2cm
A Chinese poem is carved on one side of the pendant and the other side a landscape-like view with a few literati scholars sitting at a table near a pine tree. The piece is done in jade and is a recent work influenced from examples from the Qing Dynasty.
Size: Length 189cm Width 74cm
From a Pebble Beach, CA estate.
An interesting Chinese satin weave embroidery depicting the Daoist deities of Xiwangmu and Fulushou. The two bats flying above the deities are holding auspicious symbols and the deities have auspicious symbolism embedded in the clothing they are wearing. Often these textiles were used for auspicious occasions in the past.
Late 20th century
Size: Diameter 12cm Height 8.4cm
The Seikanji kiln is part of the long history of ceramic arts in Kyoto...
Size: Diameter 12cm Height 7.5cm
Shonzui is the term used to describe the blue and white ceramic (or some refer to craze ware) that was made in China around the coasts of Fujian and Canton during the late Ming Dynasty. Japanese records show of orders made for objects used in tea such as water containers, food dishes, and other utensils...
Sealed with Dai Nippon Kozan
Size: Diameter 17.8cm Height 26.7cm
The combination of blue and white, crackled celadon, and a brown color to depict the dragon on a clear porcelain body is skillfully done but reflects a moment in Japanese history when Japan felt the beaux arts and the exhibitions were important in stimulating the economy of a "new" Japan...
Textile size: Length 190cm Width 77cm
From a Pebble Beach, CA Estate.
A common Chinese embroidery of two Daoist deities, Xiwangmu and Fulushou together with animals associated with auspicious symbolism or are messengers of the deities. Often these textiles were used for celebratory occasions.
Size: Length 77cm Width 45cm
The slit weave tapestry known in Chinese textiles is the technique used in this simple yet detailed portrait of the famous monk, Jigong known for his Buddhist wisdom and legends of the blessings he brought to the common masses.