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).
It appears to be all nephrite, but it has nodules thst are physically harder than the metamorphic stone they are part of.
It measures 6.5 inches by 4.5 inches by 2.5 inches at it's widest points.
It also weighs just under 4 pounds (estimated with a bathroom scale).
It has a general overall softness from decades or, even centuries of water pouring over it, slowly wearing it down to it's current condition.
250 Years Of Japanese Art.
By Roni Neuer, Herbert Libertson and Susugu Yoshida. Copyright 1979 by Mondadori -Shueisha. Published by Gallery Books 1979.
With the Glossy pictorial dust jacket
A detailed study of the development of the technical and artistic achievement of Ukiyo-e (Japanese graphic art - pictures of the floating world).
It contains a 49-page essay on the history of Ukiyo-e followed by 328 pages of art - full-color plates, most full-page, all with accompanying detailed descriptions.
390 pages. Oversized volume 12.5" by 9.5".
This book is very close to mint condition.
It has spent years in a closed (and properly ventilated - no mold) glass front bookcase, along with many of it's friends.
I have seldom even opened it, only because I have thousands of old reference books and catalogues (really - 40+ years worth) and it was deposited in the wrong place.
So it was recently discovered during a major cleaning. As it turns out, it is one of two copies that I own. The other one is well used and looks it. I am selling the one in nearly mint condition but the knowledge in both copies is priceless.
The dust jacket has a tiny tweak at the top of the spine area which I did while I was taking pictures for this listing. Dumb, huh?
It also has many full color pictures taken from original woodblock prints which accounts for the subtle colors, especially on the really old woodblock prints.
This original woodblock print measures 8.5 by 11.5 inches (unmatted & unframed).
The subject is a Japanese geisha in a colorful kimono arranging flowers in a woven pot.
It is in excellent condition, with rich, vibrant colors.
It is signed, upper right (see the enlargement).
We are including the clean cut mat with this print, although we don't recommend using it again, but we will leave that to the buyer to decide. It may not be archival (acid free). There are no stains on this print, however. It's a beauty! Note: there is a tiny triangular remnant of tape in the upper left corner of the border. No problem, when re matted.
This Japanese painted bronze figure of Daikoku measures approximately 13.5 inches tall by 6 inches wide by 5 inches in depth.
It is a substantial bronze figure, weighing around 13+ pounds or about 6 kilos.
It is signed or marked on both the figure and the separate base of rice bales (see two of the enlargement pictures).
It dates from the late Meiji to Taisho Period (circa 1890-1912).
It is in excellent condition with most of it's original colored and patinated surfaces intact. An exception to this is the loss of a small triangular shaped piece which was apparently once attached at the figure's midsection (see photo enlargement of loss). This most likely was originally a separate attachment (see the drill hole?) in the shape of a small pouch (or treasure sack) which Daikoku traditionally carried.
Since the 17th century, Daikoku has been known as the Japanese god of wealth, the household and of farmers, although in earlier centuries he was considered a fierce protector deity (Mahakala).
In Japan, artwork of this deity usually shows him wearing a hood and standing on two bales of rice, carrying a sack of treasure and holding a magic mallet. Daikoku is often clad in robes, with a smile on his face.
In some traditions, Daikoku is also considered to be a provider of food, and images of him can still be found in monastery kitchens and in the kitchens of private homes. He is recognized by his wide face, smile, and a flat black hat.
He is often portrayed holding a golden mallet (called a Uchide Nokozuchi), also known as a magic money mallet, and is seen positioned on bales of rice, occasionally with mice nearby (mice signifying plentiful food).
Originally a Hindu deity called Mahakala, he was introduced to Japan in the ninth century, and merged with the Shinto deity of good harvests, Oo-kuninushi-no-Mikoto (or Okuninushi-no-Kami, translated as "Prince Plenty"). The lucky mallet in his right hand is called the uchide nokozuchi. This mallet is said to have magical properties that can produce anything desired when struck. Some stories say that coins fall out when he shakes his mallet. Others say that believers are granted their heart's desire by tapping a symbolic mallet on the ground three times and making a wish.
The symbol of the precious Buddhist Jewel, sometimes found on Daikoku's mallet or belt, represents the themes of wealth and unfolding possibility. It is said to give its holder the ability to see all things (like a crystal ball).
The precious jewel is one of the seven symbols of royal power in Buddhism. Daikokyu, himself is considered to be one of the seven household gods of Japan.
This Japanese Satsuma pitcher or condiment jar measures about 6 inches tall by 4 inches in diameter at it's widest point.
It dates from the late 19th century-early 20th Century( Meiji Period) (circa 1880-1915).
It is in excellent condition with some minor losses to the gilding on the handle.
It is covered overall with a finely detailed series of patterns, which include a bird and dragon motif with fans.
Based on it's rounded and smoothed edges, it appears that this small vessel never originally had a permanent top or stopper.
It is unmarked as to maker or country of origin . This one fact helps to date it pre 1895 when US import export laws were established. After that date it would have had to have been marked as to country of origin.
This incomplete pair of charming 18th-19th century bronze censors consists of one complete censor on extended tripod legs, with a shi shi top and also one additional matching body without the legs, base or top.
These censors both have a series of eight open mouth Buddhist Temple Lion faces around the main body (see closeup)
The complete censor measures 10 inches tall by about 5 inches in diameter.
The tripod legs are set on a circular, flat base with a sunburst pattern engraved on it.
There are no country of origin marks on any of the pieces.
These pieces have nice and even patinas.
They appear to be Chinese, made for the Japanese market. Circa 1840's-1880"s.
This original Japanese porcelain jar measures about 2 1/2 inches in diameter and 3 1/4 inches in height.
The exterior of this little gem is covered overall with hand painted Japanese court figures in robed splendor, including, geishas, and Daimo figures set against a gilt background. The fineness of figures details is amazing, but pales when you observe the hand painted calligraphic stories or poetry that cover the entire interior of the cup. The hand painted Asian calligraphic symbols are so minute and so detailed that one can imagine an artist going blind in the process of painting them one stroke at a time deep inside the cup. It requires a magnifying glass to completely appreciate the details.
This cup or jar is in outstanding condition, but it is missing the original lid.
A comparable cup sold Nov 17, 2007 at live auction on ebay(#150180899539) for $500.00. It was chipped, but it had the lid that this cup lacks.
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 original work of art consists of a painting applied over what appears to be a serigraph. It is interesting in that the artist who signed and gifted it to his friends at the bottom, was known to be proficient in both mediums: print and watercolor or gouache.
It measures 13 by 19 inches (image only) on an 18 by 24 inch panel board.
It is signed: Jara Valenta, on the lower right portion of the panel. It is also signed: To Teresa and Frans, lower left.
Jaroslav Henry Valenta was born May 23, 1899 in Czechoslovakia. He is listed in Who Was Who in American Art as a Brooklyn artist.
He was also listed as a member of the America Artist's Congress ( est 1936).
He exhibited works at the Federal Art Gallery in New York City and the American Artists Congress. He is also listed as a WPA Artist.
Jaroslav (Yaroslav) Henry Valenta (1899- )is listed in Davenport's Art Reference and Price Guide. He is also listed on Artprice.Com. In addition, he has work held in the Smithsonian Art Collection.
He also has work held in the Indianapolis Museum of art: (http://www.imamuseum.org/art/collections/artist/jara-h-valenta).
He also has work that can be viewed in the AMICA Library (http://www.davidrumsey.com/amica/amico1062343-112516.html).
Additional links to other works by Jara Henry Vanenta below:
This 19th century bronze and champleve censor measures 4 1/2 inches in diameter by about 4 inches tall.
It has a wonderful brown patina and some very minor verdigris on it. The enamelling is in excellent condition with only a few irregularities as should be expected for this time period. The top rim has Fu Lion heads floating in a recurring pattern of fan shaped waves. The center band is composed of champleve enamel in archaic stylized patterns. Another (bottom) band of bronze repeating fan shaped waves sits on tripod legs.
There are no marks on this censor. It dates circa 1870-1900.
This carved wooden figure of a standing Buddha measures 12 inches tall by 3 1/2 inches in width by 3 3/4 inch diameter at it's base.
It has outstanding carved details over it's entire front representing the folds of a finely draped cloth fabric.
It dates circa 1880-1920.
It is in very good condition except for the loss of the tip of one finger on his upraised hand. It still retains much of it's original paint on the head, hands and feet. Traces of dark red and gilding can still be seen in crevices.
This original oil painting on stretched canvas and stretcher boards measures 15 by 30 inches, not including the split bamboo frame that surrounds it.
It was painted and signed, lower right, by Aubrey Leech.
Aubrey Leech was known as a New York lamp designer of motion lamps in the early 20th century and is specifically associated with the Econolite Jr. models.
These rotating and painted lamps were very popular from 1920 -1960 and even have had a resurgence of collecting interest today.
This original painting is in very good condition with the exception of a few very small scuffs to the canvas, causing a minor amount of paint loss ( easily restoreable).
This painting should be of interest to any serious lamp collector, especially one who collects the type of lamps that Aubrey Leech designed. The fact that the subject of the painting is also a lamp or lantern can be considered an added bonus.
This is one of two similar paintings by the same artist that we are currently offering. A discount of 25% is available if both paintings are purchased at the same time. They are close enough in style, content and size to look like a matched pair.
This small stone figure of a standing Jizo Bosatsu (Buddha)with both hands holding the sacred jewel.
It measures 5 3/4 inches tall or 14.5 cm in height.
It dates to the Meiji Period: circa 1900.
It is in excellent condition with a softening of the lines and contours and very minor losses.
It's origin would be Sadogashima Island, off the coast of Japan, which is famous for its production of figurative stone Jizo.
It is carved from Sado granite from the island and known as Sado Jizo.
Small examples are uncommon and rarely found in such good condition.
This original, signed artist proof print measures 9 by 11 inches (image only) and it is double matted in a frame that measures about 15 by 18 inches.
It is pencil signed (left to right) 1/18/70, THE ESKIMOS, Jean Chain, print #6.
It is in excellent condition.
This Japanese ceramic figure of Kannon measures 17 inches tall and about 6 inches in diameter at its widest point.
It has four incised marks on it's base, two Kutani marks and two potters mark (see closeup photo).
It dates to the Meiji Period in Japan. Kwannon is also known as Kannon or Kwan Yin and Guanyin in China.
It is in outstanding condition with no flaws, cracks, chips or losses.
This is a similar, but not identical, pair of 19th Century Japanese Green Cloisonne vases with bird and flower motifs.
Each of these vases measures 12 inches tall by about 5 1/2 inches in diameter.
These date circa 1870-1890.
Each of these vases has been drilled with a tiny repairable hole near it's base. They were probably converted into lamps as were many pieces of this period. One of the vases has been dropped and was slightly damaged at the base area (see closeup photo). Overall, both of these vases are quite attractive and show up well from most directions. The damage is very minor. These will please any collector who chooses value over perfection.
This Japanese Carved Wooden Mask measures 10 inches tall by 7 3/4 inches wide (ear to ear) by 4 inches in depth. It is also about 1 1/2 inches in thickness at center narrowing down to about 3/4 inch thick at edges.
It is carved from a tightly grained wood similar to those found in 19th century Japanese furniture.
It has a nice patina and retains traces of original pale maroon color in some areas.
It is in excellent condition and has wonderful parallel grooves over entire interior: most likely carving marks, but very finely detailed. They do not show up well in photos.