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 antique sometsuke (blue and white) ceramic tea cup dates to the Meiji Period (1868-1912) in Japan. It measures 3 1/4 inches(8.5 cm) by 2 1/4 inches (6 cm) tall).
This is one cup from a collection of two dozen antique sometsuke tea cups (see enlargement). This antique cup is in perfect condition, except for one tiny rim chip on it's upper edge.
This glazed ceramic or stoneware figure dates to the Meiji (1866-1912) in Japan.
It measures 7 1/4 inches tall by 5 1/4 inches in width and about 3 3/4 inches in depth at it's widest point.
It is in outstanding condition and has extremely vibrant colors. There is one extremely small circular spot of glaze loss which appears to be a kiln flaw on the sleeve.
Remnants of the gauze pattern remain on the unglazed bottom.
This antique Japanese bronze hand mirror dates from the Edo Period (1800-1868).
It has a finely detailed background including two cranes, a turtle and a large pine tree.
It is in excellent condition with a fine old patina and most of it's original silver remaining on the reverse.
It may have been given as a wedding gift, as was the tradition back then.
Dimensions: 11” high, 7” wide.
This 19th century Japanese bronze vase measures 18 inches tall by about 12 inches in diameter. It has elaborate leaf and vegetable motif in both bronze and champleve enamel.
It dates from the Meiji Period (1868-1912) or earlier.
It is in excellent condition with an outstanding variety of colorful patinas and verdigris.
It is in excellent condition except for a slight irregularity on the base: it is slightly out of round at one point.
This antique Japanese bronze in the form of a wooden well bucket measures 6 inches (15.3 cm) tall by about 5 inches square (13.3 X 13.5 cm).
It was cast to simulate a wooden well bucket, including wood grain, knot holes and dovetailed joints.
It is unmarked except for a small square with illegible marks on the interior of the bottom.
This old bronze dates from about the late Edo to early Meiji period (to call it 19th century should about cover it, although it may actually be earlier!).
It is in very good condition, except for a few small irregularities to the casting. There are also traces of old solder around the bottom.
It appears as if the bottom came off at one time and was put back on upside down. Subsequently any marks are on the inside.
This outstanding antique Japanese Iron Tsuba or sword hilt is covered on both sides by leaf patterns in gold inlay.
It measures 2 7/8 x 3 inches and it is in very good condition with no cracks or repairs evident.
It dates to the 19th century or earlier.
It is not signed.
This 19th century Japanese bronze figural group of turtles on rocks measures 8 inches tall by about 12 by 8 inches. It has multicolored patinas in gold and silver colors in addition to the normal overall grey green bronze patina.
It dates from the Meiji Period (1868-1912) or earlier.
It is in excellent condition and signed on the side.
Insured delivery is included within the US.
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 antique Sumida Gawa bowl measures 6 1/2 to 7 inches in diameter and three inches in depth.
It is signed on the bottom by the artist Ryosai.
It features two children looking over the rim at a small temple with a seated Buddha.
It dates circa 1890-1900.
It is in outstanding condition, except for a few extremely minor edge chips on the sleeve of the girls coat. They are very difficult to see (or photograph) but still noted for accuracy.
Japanese Sumida Gawa wares were produced in the Akasuka region of Tokyo near the Sumida River (or gawa) for which these ceramics were named. In 1866, Inoue Ryosai (Ryosai I), a Seto potter, established a kiln in this district. He became renowned for the glaze colors he developed. Ryosai II, an internationally acclaimed artist-potter who became the adopted son (and son-in-law) of Ryosai I, took over the family business and the potter’s name in 1875. The earliest Sumida wares date from the 1890’s and were often entirely covered with glaze. It was during this period that he developed the style characteristic of Sumida Gawa wares: porcelain-bodied wares with flambe curtain glazes and applied figures in high relief. The dark green glaze is assumed to have been used from 1890 through the early part of 1900.
This original Japanese woodblock print measures 14 1/4 by 19 inches in original frame with unopened sealed back with square seal on front. Additional information on reverse in pencil (copied from front when framed?): Shiro Kasamatsu, number 36 of 40 (printing).
Shiro Kasamatsu 1898-1991
Born in the Asakusa section of Tokyo to a middle class family, Shiro Kasamatsu started his art studies at a young age. In 1911 he became a student of Kaburagi Kiyokata. Shiro studied Japanese style painting (Nihonga) but unlike his teacher, he concentrated on landscapes. Kiyokata chose his artist's name "Shiro", which used the character shi from one of Kiyokata's own pseudonyms and was conveniently an alternate spelling of Kasamatsu's given name.
Shiro's paintings were shown at several prestigious exhibitions including the government sponsored Bunten, where they caught the eye of Watanabe Shozaburo, a Tokyo publisher. In 1919, Watanabe approached Shiro about designing woodblock prints. He designed several landscape prints over the next few years, but the blocks for these were lost in the 1923 Kanto earthquake and consequently they are quite rare.
Shiro resumed his work with Watanabe in the 1930's. His designs were mainly of landscapes, but included bijin-ga, interiors, and Noh masks.
Shiro was intrigued by the independence of Sosaku Hanga printmakers who carved and printed their own designs. After World War II, He worked for a short time with Unsodo, a publisher in Kyoto, designing landscape and animal prints.
By the late 1950's, Shiro began carving and printing his own designs in limited, numbered editions. He signed these prints himself in English. Some of his Watanabe-published prints also bear English signatures; however, these signatures were applied by Watanabe's employees, not by the artist himself.
Although Shiro's self-made prints lack the refined carving of his shin hanga designs, they have a simplicity and expressiveness that is very appealing. Shiro continued to create prints for several decades, but never promoted them through exhibitions or gallery affiliations. As a result, his self-carved prints were more a labor of love than a commercial success.
This is an outstanding antique Japanese Iron Tsuba or sword hilt with a copper rim around it.
It measures about 2 1/2 x 2 1/2 inches.
It is in very good condition with no cracks or repairs evident. It is signed center left.
It dates to the 19th century or earlier, possibly MUCH earlier.
This original 19th CENTURY FOUR PANEL JAPANESE HAND PAINTED SCREEN measures about 32 by 72 inches.
The subject is a red plum tree with chrysanthemums and ducks on a silver ground (circa 1850).
Condition is good with some light scratches and rubbing to painting in minor areas.