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Pair of Japanese Porcelain Rabbits, Signed
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Vintage Arts:
Regional Art:
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Japanese:
Porcelain:
Pre 1950 item# 134508 (stock# 2B-605)
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B & C ANTIQUES
203-929-7312
$395 for Pair
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These two wonderfully-modeled white porcelain rabbit okimono are each signed with an inscribed signature which appears to read “Kenzan.” Ca.1950. Possibly Arita or Kutani porcelain, they are covered with a fine clear milky-white glaze and have bright black eyes. The bases are unglazed, and there is a firing hole on each of them. One rabbit is sitting on his haunches with two front paws on the ground, the right paw slightly raised. His ears are pointed straight up. The second little fellow is resting on all four feet, with his ears lowered behind his head at different angles. A varied Asian cultural heritage colors the legends and design motifs associated with the rabbit or hare (“usagi”). Such legends link the animal to the moon, where it is said to pound rice cakes, and to the elixir of immortality. The rabbit also appears in art as one of the twelve animals of the zodiac. Condition is perfect. Taller one is 7 ¼” high, 5” wide, 3” deep. Smaller one is 4 ½” high, 6” wide, 3” deep.
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Adjustable Wood Crosspiece for Jizai, Edo
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Folk Art:
Pre 1900 item# 133971 (stock# 11-288)
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B & C ANTIQUES
203-929-7312
$1,195
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This wonderful densely-grained Japanese keyaki wood “yokogi” crosspiece in the shape of a swimming carp dates to the early 19th century. There is also an old cord and an iron pot hook which would have been used to hang the yokogi and hold an iron pot over the fire. The bold simplicity of the carving is extremely appealing, and the fish actually has the appearance of being in motion. This carp-shaped pothook-adjuster has a mellow, dark patina consisting of cooking smoke and soot -- plus a little scorch along the bottom -- from many years of hanging over a fire. In the center of the main room of traditional houses of the Edo and Meiji periods stood an open hearth in which a small charcoal fire was kept burning. Above the fire was a suspension device called a jizai (self-adjuster) from which an iron kettle could be hung and raised or lowered as necessary. A large wooden pothook hanger (jizai-gake) was suspended by a heavy rope from the high roof beams. The other end of this rope was attached to the adjuster (yokogi: crosspiece) through which the rope passed just above the iron hook. The weight of a pot on the iron hook pulled down on the rope and jammed it tight inside its hole through the crosspiece. Moving the yokogi to a horizontal position released this tension and permitted the kettle to be raised or lowered. Wooden crosspieces were usually carved in fanciful forms having auspicious and protective symbolism. A yokogi in the form of a carp (koi) was meant to inspire and instill courage and perseverance in the male children of the family and thus help to bring about success in their subsequent careers. Carp, like salmon, swim upstream to spawn, struggling bravely to overcome barriers such as rapids and waterfalls. In addition to the symbolism of the carp, fish-shaped yokogi in general symbolized the presence of water and were thought to magically prevent the fire in the hearth from starting a conflagration and destroying the house. This is an important piece of Japanese folk art equaling the quality of those found in most of the major mingei collections or illustrated in reference books and catalogs about Japanese folk art. Condition is excellent. There may be a small restoration to the tip of the tail which looks like the grain of the wood. Dimensions: 13” long, 3 ½” wide, 4” high.
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Japanese Agano Ware Tokkuri Sake Flask, Edo Period
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Stoneware:
Pre 1900 item# 133520 (stock# 2C-232A)
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B & C ANTIQUES
203-929-7312
$495
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Japanese Agano stoneware sake flask (“tokkuri”) with a rich crackled cream glaze and a thick bluish green copper glaze dripping about the shoulder. Ca. 1850. The foot is unglazed. The effect of the green glaze (“rokusho”) drip patterns is striking. Rokusho-nagashi is a form of overglaze decoration in which a bluish green glaze is applied over transparent glaze; the former runs over the transparent glaze during firing. This Edo period bottle comes from one of the folk kilns, most likely Agano, in the northeastern part of Kyushu. Agano ware was fired in various kilns until about the middle of the nineteenth century, but it is no longer made. Folk pottery consists of various kinds of domestic kitchen wares which possess a natural dignity that stems from the combination of the materials used to make and fire the pottery, the craftsman’s technical skill, and the use to which such pottery is put. Folk-craft products or “mingei,” of which this tokkuri 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 humble, unassuming and never pretentious. 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 one tiny firing spot in the neck glaze. Dimensions: 8” high, 2 7/8” base diameter.
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Japanese Cloisonne Enamel Covered Box
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Vintage Arts:
Regional Art:
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Japanese:
Enamel:
Pre 1960 item# 131775 (stock# 8-060)
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B & C ANTIQUES
203-929-7312
$125
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This round Japanese cloisonne covered box, which is likely an incense storage container or kogo, dates to the mid-20th century. The cover is decorated with mauve and white flowers which are enclosed in thick brass wires on a mauve ground. A delicate tiny butterfly hovers above one of the blossoms. Stylized blossoms and leaves in the same colors decorate the sides. The interior and the base are covered in turquoise enamel, and the rims and foot ring are crafted of brass. 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. Condition is excellent. There is some minute pitting and a small area where the enamel has worn in the inside of the bottom of the box. Overall dimensions: 2 ¾” diameter, 1 ¼” high.
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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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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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Lacquer:
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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Japanese:
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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Japanese:
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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