This glazed pottery incense burner measures 7 inches tall by 4 3/4 inches in diameter.
It is covered with hand painted floral designs on a coral colored background. It has a lid with gilded spiderweb designs and a seated kylin finial.
It dates circa 1880-1910.
It is in good condition with the exception of an old repaired break on one leg (see enlarged photo). It still retains a good portion of it's original gilding, except on the legs or finial.
It is unmarked, except for a partial calligraphic mark on the inside lid.
This set of 5 matching porcelain dishes with flying cranes pattern dates from the late 19th through the early 20th Century in China.
Each dish measures about 6 1/8 inches in diameter.
The dishes are in generally good condition with minor edge roughness or rim frits as often found with this type of delicate thin porcelain.
The pattern of six flying cranes is transfer printed rather than hand painted: a type of detailing that became popular in the 19th century although it originated slightly earlier than that. In China it was used in the early 20th Century (Republic Period) and it's use ended about WWII.
This Japanese bronze handled mirror measures about 8 inches in diameter (21cm) with an extended handle which increases the full height to about 12 inches or 30 centimeters(cm).
It dates to the late Edo Period or Early Meiji period ( about the middle of the 19th century (1840-1860).
It is signed in the left portion of the front. It also has birds flying over churning waves in the ocean.
It still has most of it's silver ovrlay on the two large Kanji marks on the front. It also has remnants of it's silver on the reverse or "Face" of the mirror.
Bronze mirrors were introduced into Japan from China and Korea about 300 BC - AD 300.
At first they had a religious function and were regarded as symbols of authority.
The Japanese soon learned to make their own mirrors using lost-wax casting and decorated them with Japanese or Chinese designs.
By the Nara period (AD 710-794) mirrors were made for everyday use and used designs such as plants and animals to symbolize good fortune.
From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular.. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568).
During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimetres across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tinners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. Bronze mirrors were replaced by glass mirrors after the Meiji Restoration (1868).
This blue & white ceramic bottle or jar measures 9 inches tall by 3 1/4 inches in diameter.
It is hand painted with scenes in cobalt blue on a white ground.
It is in excellent condition with a few natural fissures and irregularities to the glaze (see close up photos).
We estimate it to date circa 1700-1900.
This original oil painting on stretched canvas and wooden stretcher bars measures 12 by 16 inches, not including the simple black wooden frame it sits in.
The wooden stretchers are from Grumbacher, a New York Artist's material company.
It most likely dates to the latter portion of the 20th century (circa 1960-1980).
The oil painting is in excellent condition except for a few very tiny scuffs where it touches the inside top of the frame. There is a small chip out of the upper left corner of the frame. Even with the minor imperfections, it is still in excellent condition overall.
The subject of this oil portrait is an Asian or Asian American woman wearing a brightly colored robe or kimono.
It is signed MARIAN in the lower left.
This antique bronze figure of the Monkey God Hanuman measures 5 x 4 x 1 1/2 inches (13 x 10 x 3 cm).
It is in excellent condition.
This ancient bronze figure was most likely crafted in Northern India, Tibet or Nepal.
We are dating it to the 17th - 18th century, although it may actually be much earlier, based on it's stylistic similarities with small Pala period bronze figures.
This 18th-19th century Tibetan or Nepalese bronze oil lamp measures approximately 6 inches tall by 6 inches wide (pan tip to dragon tail).
It was designed to be used as a lamp using either Yak butter or oil.
It has a standing dragon for a handle and a pan with Ganesha on a shield. It is a classic design which incorporates motif from the two cultures (India and China) which are major influences on Tibet (situated between the two of them).
It dates from the late 18th through the middle of the 19th century.
It is in excellent condition with a small amount of verdigris in the recessed areas. It does appear to have been cleaned at some time in it's history and appears to be toning down nicely. It also has some wax residue remaining in a few crevices.
This forest green glazed Kochi ware vase with handles measures 12 cm tall by 12 cm in diameter by 19 cm wide (handle to handle). It most likely dates to the beginning of the 20th century. The glaze pools dark green in the crevices.
There are NO marks or signatures on this vase.
It is in excellent condition. No chips, cracks, hairlines, repairs, etc. It does have a few very light surface scratches to the glaze. There are four round felt pads on the bottom of the vase (see enlargement photos).
The glaze is even and complete. Any white spots or lines are from the flash and are NOT on the vase itself.
Japanese Awaji ware was influenced by or copied after, Chinese Cochin ware: a 16th century pottery originally produced in Southern China or Vietnam. It consisted primarily of green glazed wares with low relief decoration* (*Ceramic Art of Japan, Seattle Art Museum, Page 164)(CAJ).
Another theory about the origin of Cochi or Cochin ware is that it was carried from China to South East Asia (modern Day Vietnam and Thailand) during the Song or Yuan Dynasty . In 1206 the Mongolian tribes met and agreed to unite under Genghis Khan. In 1215 Genghis Khan captured Beijing. In 1279 Kublai Khan, his grandson, completed the Quest of China, ending the Song Dynasty. The Yuan dynasty that they created lasted from 1279 to 1368 (1368- 1644 A.D. Ming dynasty). Faced with Mongol rule artists, potters, merchants and exporters left China and set up their operations in Vietnam and Thailand. The Sung kiln and glaze technologies were transferred to Vietnam. Bat Trang (in Vietnam) prospered and continued to do so as the Ming dynasty maintained a closed-door policy until 1567. It was not until 1684 that the Chinese competed effectively with Vietnamese ceramics exporters. By this time Vietnamese pottery had achieved such popularity in Japan that even the Japanese potters produced ceramics in the Vietnamese style, which they called Cochi or Kochi ware. During the late Edo Period there was a fashion among Kyoto potters (including Eiraku Hozen, Ogata Kenzan, and Aoki Mokubei) to emulate the Chinese wares of the 16th century, especially the export blue and white, gosu-akae, and Kochi ware** (**CAJ-pg 158).
This Meiji period JAPANESE KUTANI VASE measures 7 inches in diameter and 11 inches tall. We date this one circa 1880-1910.
It is in excellent condition overall with the raised gilding in outstanding condition.
It is unsigned, but there is a hand painted mark on the bottom edge that looks like: I I I O .
This old Sino Tibetan bronze seated figure riding a Chinese Lion measures 6 1/2 inches wide by 6 1/4 inches tall by 3 1/4 inches in depth.
The seated figure appears to be a Hotai or Budai wearing a crown and holding a mongoose in one hand and making the Karana symbol in the other.
It dates from the late 19th through early 20th Century.
It is in excellent condition, except that it has no bottom seal ( covering on the base). This may be another case of a bronze figure's base being opened while searching for hidden jewels. It also has two small areas of green verdigris: one on the lions mouth and the other near the left foot of the figure. There is additional verdigris evident up inside the base, leading to the conclusion that the bottom has been exposed for some time.
This Meiji period JAPANESE KUTANI BOWL measures 10 1/2 inches in diameter and 4 inches deep.
It is in excellent condition with slight wear to the gilding as would be expected .
It is signed on the bottom (see enlargement).
This Japanese Satsuma Vase is unmarked, 15 inches tall and about 9 inches in diameter.
It dates to the Meiji Period (1868-1912) and has Kwannon and Lohans with an elephant pictured upon it.
It is in excellent condition with some light rubbing on the high relief gilded areas exposing an outstanding crackle beneath.
This bronze figure of a seated shogun or emperor measures 14 inches tall by 12 inches wide by approximately 8 inches in depth.
It is in excellent condition, although it appears to have been mounted to a base at one time (with two drill holes in a bronze cross brace on the interior).
It appears to date to the late Meiji Period (circa 1900), but it may be slightly later (1920-30)..
This unusual painted lacquer and carved ivory Shibiyama panel measures about 15 1/4 inches by 12 inches by 1/2 inch thick. It has an outstanding pattern of carved and inlaid ivory pieces creating a finely detailed picture of birds and flowers on a deep sky blue oval background. It is surrounded by raised gilt and vermillion lacquer paintings of fruit and plants.
It dates to the late 19th century or Meiji Period in Japan.
It has an ivory rectangle with the artist's signature in the lower left corner of the blue lacquer oval.
It may have originally been the cover to a book or woodblock print album.
This bronze sculpture of a standing figure of Parvati on a lotus stand measures 14.5 inches tall by 4.5 inches square at the base.
It is a very heavy, solid bronze casting and it is in excellent condition.
It dates circa 1890-1940.