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Lacquered Kiri Wood Guest Hibachi, MOP Inlay
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Wood:
Pre 1920 item# 130322 (stock# 15-209)
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B & C ANTIQUES
203-929-7312
$295
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Lovely Japanese oval paulownia (kiri) wood guest hibachi with makie lacquer and inlaid mother-of-pearl decoration. Early 20th century. These wooden holders for a charcoal container and the bamboo cylinder are also called smoker’s hibachi or “tabako-bon.” The front of the thick, densely-grained kiri wood body is decorated with large gold makie lacquer hydrangea blossoms and gold and silvery lacquered leaves, some of which are highlighted with mother-of-pearl inlays. The reverse is simply decorated with small lacquer leaves and tiny red berries. Smoking was widespread among both men and women by the mid-Edo period, and the strong kizami tobacco was smoked only in small amounts in slender pipes with tiny pipe bowls (kiseru). The cylindrical inset copper receptacle would hold burning charcoal with which to light the pipe. The bamboo tube, which has a rosewood cap, would hold a tiny bit of water to dispose of smoked tobacco ash. As a sign of relaxation and welcome, guest hibachi played an important role in Japanese hospitality. Custom demanded that whenever a visitor arrived, the first act of welcome would be to set a small personal hibachi in front of him. This was also true of commercial shops. Production of smoker’s hibachi ceased at the turn of the 20th century, when cigarettes became fashionable and virtually replaced pipe smoking. Condition is excellent. Dimensions: 7 ½” long, 6” wide, 4 3/8” high.
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Japanese Ceramic Ishizara Serving Dish
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Vintage Arts:
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Stoneware:
Pre 1940 item# 125746 (stock# 2B-593)
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B & C ANTIQUES
203-929-7312
$195
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Handsome glazed and decorated stoneware serving dish (“ishizara”) with overall mustard color on the interior accented with bold splashes of green and blue. The textured rim is decorated all around with short brown drips which match the rich brown glaze covering the exterior. This impressive folk ceramic, possibly Seto ware, appears to date to the1940’s or earlier. It is often difficult to identify the specific place of manufacture of many Japanese folk ceramics because the spread of technology from one area to another was a particularly distinctive feature since the early to mid-19th century. This gave rise to a situation in which ceramics of closely similar types were made all over Japan. Ishizara are large serving dishes or bowls with sloping walls and a characteristically broad, almost horizontal rim. Ishizara is thought to have derived its name from either the stone-like appearance of the glaze or from its use in serving fish and vegetables cooked in soy sauce. These plates usually average about 13” in diameter. Folk-craft products or “mingei,” of which this ishizara is representative, are objects used by common people. These commonplace, functional artifacts are endowed with a beauty directly connected with their utility – a beauty that is simple, humble and unassuming. The qualities of beauty found in these objects are seen to derive from their having been made by craftsman working close to nature, using simple techniques and traditional styles. Condition is excellent, with only a couple of tiny kiln irregularities. Overall dimensions: 13 ¾” diameter, 3 ½” high.
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Gold Takamakie Lacquer Kogo, Meiji
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Pre 1920 item# 125429 (stock# SB-12)
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B & C ANTIQUES
203-929-7312
$245
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This fine round Japanese gold makie lacquer kogo (incense container) dates to the Meiji period (1868-1912). The cover is decorated in takamakie (raised lacquer) designs of auspicious treasures, including a flaming jewel (tama), the symbol of Buddhist wisdom, and a treasure sack, usually carried by the gods Daikoku or Hotei. Delicately painted stylized cranes and feathers surround these treasures. Inlaid gold kirigane, a decorative technique employing tiny pieces of gold leaf cut in various shapes to form a kind of mosaic, completes the decoration on the cover. The plain gold lacquer interior is undecorated. Incense (“ko”) was introduced into Japan along with Buddhism around the sixth century, and it has remained a part of religious ceremonies ever since. The Heian period’s fascination with aromatics led also to secular uses. Incense also played an important role in the tea ceremony. After cleaning the rooms before the guests arrive, incense was used to purify the space spiritually and help separate it from secular space. The incense was kept in small containers such as this one and conveyed with chopsticks into the fire in the brazier. Overall condition is good; yet unfortunately, there are three cracks on the lid which have been caused by dryness. This has been reflected in the price of this fine piece of lacquer ware. Dimensions: 3 1/8” diameter, 1 ½” high.
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Wakasa-Nuri Lacquer Inro with Ceramic Netsuke
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Lacquer:
Pre 1920 item# 125109 (stock# SB-15)
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B & C ANTIQUES
203-929-7312
$675
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This lovely four case Japanese lacquer inro reflects the typical mottled orange, gold and black Wakasa-nuri lacquer technique. Early 20th century. It is complete with a cylindrical stone ojime and an unusual egg-shaped blue and white porcelain netsuke. The netsuke, which is decorated with a tengu, is signed Sen Zan. Inro are small Japanese containers made in several sections which are fitted on top of each other so perfectly that the joints are hardly noticeable. They were carried on the right hip, suspended from the obi with a double silk cord attached to a netsuke. A small bead (ojime) held the cords together just below the obi. The earliest inro were used for containing seals; however, in later they were used as medicine boxes. Many 19th century inro were executed by some of the most celebrated lacquer artists of the time. Wakasa was a provincial lacquer center which developed its own technique. In Wakasa-nuri, layers of different colored lacquers (predominantly brown, yellow-gold and orange) were applied to a ground deliberately rendered uneven by applying a paste, such as egg white or chalk, or by the addition of small pieces of egg shell, rice chaff, etc. Very thin gold or silver foil was then pressed so firmly into this “relief” that it fit the uneven surface like a skin. Then a coating of transparent lacquer was applied and, after it had hardened, everything was polished down to form a smooth surface. As a result, a mottled effect was created as the layers of colored lacquer under the gold foil reappeared in places to produce rather unusual patterns. (This technique is very similar to Tsugaru-nuri.) The underlying gold leaf is responsible for the overall brown-gold nashiji-like effect. Condition is excellent. Dimensions: Inro is 4 5/8” x 3” x 1 ¼” deep; netsuke is 1” x 1 ½” oval.
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Kamakura-Bori Lacquer Covered Box
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Antiques:
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Lacquer:
Pre 1920 item# 124899 (stock# SB-13)
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B & C ANTIQUES
203-929-7312
$235
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This square carved red Japanese kamakura-bori style lacquer covered box is likely an incense storage container or kogo. Meiji period (1868-1912). The cover is carved with a low relief abstract floral and scroll design, with portions of black lacquer showing through the red. A key fret pattern decorates the sides of the lid, and the sides of the lower portion are carved in a geometric diaper pattern. The plain black lacquer interior is undecorated. Kamakura-bori is a type of Japanese lacquer ware in which wood is carved in relief and then usually covered with black lacquer, followed by red lacquer, which is then rubbed down, revealing the subtle color underneath. Kamakura-bori was invented to resemble the more difficult and time-consuming Chinese lacquer-carving technique known as cinnabar style or “tsuishu.” Chinese lacquer incense containers were popular in Japan since the 12th century. Skilled Japanese craftsmen were soon able to equal and surpass Chinese examples. The uncluttered beauty of this type of carved lacquer incense container was favored by the Japanese for use with the tea ceremony ritual. Incense (“ko”) was introduced into Japan along with Buddhism around the sixth century, and it has remained a part of religious ceremonies ever since. Incense also played an important role in the tea ceremony. After cleaning the rooms before the guests arrive, incense was used to purify the space spiritually and help separate it from secular space. The incense was kept in small containers such as this one and conveyed with chopsticks into the fire in the brazier. The simplicity and unaffectedness of negoro-nuri makes this type of lacquer ware particularly valued in Japan. Condition is excellent. Dimensions: 3 5/8” square, 1 ¼” high.
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Japanese Ivory Seal with Shishi Finial
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Ivory:
Pre 1920 item# 120602 (stock# GK-10)
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B & C ANTIQUES
203-929-7312
$560
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Japanese elephant tusk ivory seal with a shishi (Chinese lion) finial. Early 20th century. The shishi has inlaid eyes, and he is standing with his front paws resting on a ball. There is an intact cut seal written in archaic characters on the bottom. Seals engraved in wood, stone, metal or ivory have been widely used since ancient times, both in China and Japan. The supplement, or in some cases, replace the written signature, and they are attached to documents and books of all kinds as well as to works of art. They are usually written in archaic characters which are illegible to the ordinary reader and require a special study to be read. In order to print them, the seals are pressed in a damp red paste, which serves as an inking pad. Overall condition is excellent; however, one of the inlaid eyes is missing. Dimensions: 2 ½” high, 1 ½” wide, ½” deep.
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Hirado Porcelain Sake Pitcher in Hotei Form
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Porcelain:
Pre 1900 item# 119140 (stock# 2B-601)
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B & C ANTIQUES
203-929-7312
$895
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Exquisitely modeled Japanese Hirado porcelain sake pitcher or ewer in the form of the legendary figure of Hotei carrying his sack. Second half of 19th century. In Hotei’s face, arms and abdomen one can see the fine-grained milky white porcelain body covered in a pure lustrous white glaze. His robes are glazed in cobalt blue and his sack in brown iron oxide. The curving neck of his sack forms the handle of the pot, and its upturned end forms the spout. Hotei, one of the Seven Gods of Good Luck, is distinguished by his huge protuberant abdomen, which is thought to indicate a largeness of soul and inward wealth of resources, characteristic of a man who has attained the wisdom of Buddhism. He is usually represented as a fat, pot-bellied, half-naked figure, carrying a large sack. He is frequently called the Laughing Buddha. He is laughing since he has overcome all the anxieties and cares that trouble most people, and is carefree and happy. Hirado wares are considered to be among the finest porcelains ever made in Japan, and they are highly prized among today’s collectors. Hirado was produced at Mikawachi near Arita, and for much of its history was made under the patronage of the lords of Hirado. The fine clay discovered there enabled potters to create wonderfully modeled porcelain pieces. Aristocratic patronage ended in the 1830’s with the commercialization of the kilns; however, the quality of Hirado wares remained very high. Several reference books on Japanese porcelains illustrate examples of this piece. Condition is excellent. Dimensions: 7” long, 4” wide, 5 ½” high.
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Edo Period Stag Antler Netsuke of a Monkey
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Netsuke and Related:
Pre 1900 item# 118066 (stock# GK-1029)
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B & C ANTIQUES
203-929-7312
$725
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Unusual early 19th century stag antler netsuke of a tiny monkey carrying a giant mushroom and two chestnuts on his back. Unsigned. Many early carvers, in accordance with prevailing custom, did not sign their netsuke. Early netsuke were often carved from stag antler, an inexpensive and readily available material in Japan. When the monkey is placed on its feet, this netsuke does balance and stand up. Monkeys are among the most popular of netsuke subjects in part because they are heroes of so many stories, and their human qualities permit netsuke carvers to depict them in amusing situations. Monkeys have been a natural focus of religious and ritual matters in Japan. The common denominator is the monkey’s role in engaging the powers of the deities to heal, ensure good harvests and promote human fertility. Mushrooms are emblems of longevity, as well as fertility symbols. Their prominent use in the symbol-rich netsuke art form often reflects their sexual symbolism. Some artists of the Edo period also used the chestnut as a fertility symbol. (See page 104 of “Netsuke: The Netsuke Collection of the Peabody Museum of Salem” for a similar netsuke of a tiny monkey carrying a huge mushroom on its back.) Condition is perfect. This netsuke has a beautiful patina reflecting many years of handling. Overall dimensions: 2 3/8” x 1 ½.”
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Signed Ivory Netsuke of Priest with Mokugyo
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Antiques:
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Netsuke and Related:
Pre 1920 item# 112556 (stock# GK-1348)
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B & C ANTIQUES
203-929-7312
$2,850
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A wonderfully carved ivory and wood netsuke in the form of a Buddhist priest sleeping on his hands against a mokugyo gong. Meiji period (1869-1912). The dark wooden gong is intricately inlaid with tsuishu lacquer. It is signed, but we do not recognize the artist. A mokugyo is a small Buddhist temple gong. The Japanese word “mokugyo” means “wooden fish” and first applied to long fish-shaped drums that were hung in Zen temples and struck with wooden poles. The more spherical, hollow wooden gong known today as a mokugyo was brought to Japan in the seventeenth century. Carvings of animals often decorate the handles of these spherical gongs, with a design of two dragons holding a sacred jewel between them especially common. The round hollow body produces a mellow sound when struck. Chanting a Buddhist sutra, a priest strikes the gong with a padded stick for emphasis. This version of the mokugyo is a favorite subject of netsuke carvers. Condition is excellent with wonderful patina. Overall dimensions: 1 ¾” x 1” x 1 3/8” high.
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Meiji Metalwork Coffee Pot, Signed
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Metalwork:
Pre 1920 item# 110240 (stock# 6B-317)
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B & C ANTIQUES
203-929-7312
$795
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Beautifully crafted cast brass or light bronze coffee pot with high relief decoration of a crane amid rough sea waves and two rabbits staring up at a crescent moon. An unidentified signature is impressed on the base. Meiji period (1868-1912). The handle is stylized, and there is a hinged cap on the top of the spout and a removable cover with finial. The crane, a symbol of long life and venerable old age, flies above the rough seas beneath a stylized cloud. Such extensive and freely executed representations of high waves, foam and spray are known as “araumi” (rough sea) motifs. In Japanese art the rabbit is associated with longevity and is one of the twelve animals of the zodiac.
Legends and design motifs associated with the rabbit link the animal to waves and also to the moon, where it is said to pound rice cakes and the elixir of immortality.
Both cranes and rabbits are looked upon as auspicious creatures who bring good fortune and long life to those who pay them the proper respect. The Meiji era produced a great number of outstanding metal artists who produced metal work unrivalled in artistry and craftsmanship. The government encouraged craftsmen to show their products at expositions at home and abroad. Western art lovers were enthusiastic about the metal wares, the likes of which they had never seen before. Condition is excellent. The combination of high relief work and soft patina gives this heavily-cast pot a wonderful depth and character. Dimensions: 8 ½” high, 7 ½” wide.
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