Catalog: Antiques: Regional Art: Asian (121)

A large Tembo tsuba. The Tembo (or Tenpo) style evolved from the Saotome school and the sukashi decoration of Okiagari here (an especially nice feature) carries over. Okiagari are self righting toys and the subject was a symbol of inspiration to Samurai in aspiring to improvement and the right path in life. There is, on a curious level of interest, some minute trace of old gold decoration (long since worn off) on the surface of this tsuba. Though there are transitional examples, the present example has a drier feel more typical of Tembo iron (Saotome examples having a smoother, wetter feel.) The kozuka-ana plugged with, apparently, pewter. Edo period. Good condition with one small scratch (should be easily treatable.) Height 3 3/8 inches (85 cm), Width 3 3/16 inches (81.5 cm), and 5/32 of an inch (4 cm) thick.

A simple, small but stout iron tsuba. The Myochin line of metal workers were armor makers who also produced tsuba. The simple decoration upper-right here could be a flower head or a snowflake. Udenuki-ana appear lower left. Good condition. Height 2 3/4 inches (69 cm), Width 2 9/16 inches (65 cm), and 6/32 of an inche (5 mm) thick.

A 16th century Yoshiro Zogan tsuba. The type is named for a Kaga province artist considered to have advanced the late Onin period brass inlay art to that of hira-zogan - flush with the iron surface. The school also took hold in other provinces, most notably Bizen. The mokko-gata form of this tsuba would appear to be uncommon for Yoshiro Zogan tsuba particularly of katana size. Eight ka-mon are inlaid in open work fashion. The remaining surface decorated with a network of brass inlay depicting algae. Hitsu-ana for kozuka and kogai also lined with brass. From the Onin period when brass inlay became popular, the metal was highly valued. This tsuba is late Muromachi period to possibly Momoyama period. It is in very good condition with apparently uneven rubbing to some of the inlaid brass while the patina on iron surfaces is undisturbed. The very light, old loss of brass inlay is good as this type of brass inlay often sees more loss as the underlying iron surrenders surface with oxidation. About 3 1/4 inches (9.53 cm) high, about 3 1/8 inches (7.94 cm) wide, about 5/32 inches (4 mm) thick.

A well forged, handsome mokume tsuba in mokko-gata form with katakiri-bori landscape decoration on both the omote and ura. The mokume grain is large and well controlled reminding one of ayasugi hada. In fact, this tsuba is indeed a tosho (swordsmith's) tsuba, being made by [Kai Ju] Kiyonaga and dated the third year of Bunkyo (1863) believed to be the same as KIY 298 referenced in Hawley's, Japanese Swordsmiths. Our angled, side view photographs more accurately portray patina and color as well as the mokume grain. Good condition. 3 5/8 inches (8.4 cm) X 3 3/8 inches (8.1 cm) and 7/32 inches thick (.55 cm) at the raised mimi and about 1/8 inch (.32 cm) thick at the seppa-dai. The raised mimi and no taper across the plate are atypical of traditional tosho tsuba. But the present example being 19th century, and toward the end of the Edo period, allows latitude for creativity. Ex Arnold Frenzel collection. If both sensitivity and strength are conveyed in the smith's blades as they are in this tsuba, I would be tempted to acquire one of his swords.

An armorer's (katshushi) tsuba by Miochin Munekane (signed.) Of smaller size associated with wakizashi. Engraved katakiri-bori flowers and vine decoration (six petals on vine, possibly clematis.) Artist line active between 1818 and 1887. Ex Robert Haynes collection. Good condition. A larger, sukashi tsuba at least by the same line, also signed Miochin Munekane, is in the Brooklyn Museum. 2 9/16 inches (6.5 cm) X 2 3/8 inches (6.1 cm) and 1/8 inch (.4 cm) thick.

A strong mokogata iron tsuba of tight mokume. I favor mokume work and this is a virtuous example worthy of any collection. Boar's eye sukashi decoration in the four corners. Uchikaeshi mimi. Tekkotsu evident along the mimi. Good condition with light rubbing of the patina. Edo period. 3 (7.6 cm) inches x 2 11/16 (6.8 cm) inches

A simple, four lobed armorer's tsuba with simple pierced decoration perhaps depicting a landscape with structure. The udenuki-ana (cord holes) have the effect of completing the illusion of a Sesshu-like landscape. The saotome were armorers turned tsuba makers who worked in this manner and scale. Good condition with good tekkotsu. Sengoku era. 2 15/16 (7.46 cm) inches x 2 5/8 (6.67 cm) inches

A katchushi mutsu-gata sukashi tsuba. The six lobed, thin plated armorer's tsuba with good tekkotsu and with openwork decoration was described by Skip Holbrook (ex collection) as Saotome made and depicting three birds. The Saotome were a line of armorers (katchu) turned tsuba makers. But I think a case could be made for the sukashi decoration being a wabi-sabi flower bloom or possibly paulownia leaves (rather than awkward looking "birds".) Use of the paulownia (kiri) mon could suggest Yamakichibei as those tsuba makers, from Owari, were outfitting swords for the Oda and the Toyotomi - the latter using the kiri ka-mon. Good condition. 2 7/8 (7.3 cm) inches x 2 13/16 (7.14 cm) inches

A massive imari vase with decoration of the Genroku era of bijin (a beauty) and hana (flowers) on two opposing panels alternating with two more opposing panels of a structure (tea house?) in garden landscape - all in red, gold and black enamels with blue underglaze. Similar landscape decorated panels appear on the shoulder over a ground of hanabishi (flowery diamond) in repeating diamond bordered pattern. The hanabishi (sometimes also referred to as karabana, or 'Chinese flower') could be representative of a ka-mon (family crest). The prominent Takeda family and its branches used the hanabishi ka-mon onward after the Heian period. The Genroku era spanned from 1688 to 1704. The arts and luxuries reached their apex during this era of the Edo period - contributing to large, opulent expressions such as the present vase. Genroku style and influence continued for a short time after (as could this vase) while the Tokugawa Shogunate struggled with inflation after devaluing coin quality in an attempt to sustain the appearance of prosperity (sound familiar?) So in some ways the Tokugawa followed in the footsteps of the decadent Ashikaga. Good, stable condition save an old crack through the foot rim which might originate with the firing as a crazing pattern conforms along and around the crack as if from excessive heat (limited to inside the foot and the lower portion of one bijin panel.) Vase height (not including cover) is 15 7/8 inches (40.32 cm)

This vase is accompanied by a Chinese, late Qing dynasty, exquisitely carved hardwood cover. The fit is loose and the cover a bit small proportionately. As they did not start life together, we are amenable to selling the cover separately should someone have a need. The cover would best fit a large vase with interior rim diameter of no smaller than 4 9/16" (11.58 cm). The cover is 7 5/16" (18.57 cm) with the wood grain (there is substantial shrinkage of the wood against the grain with age.) The cover is in presentable condition with some glue evidence on the interior - probably from refitting after shrinkage.

This is one of the more intriguing lacquer objects we have owned. Adorned with maki-e Aoe (hollyhock) Ka-mon on nashiji ground (also known as the Kamo Aoi as it was sacred to the Kamo shrine), family crest for prominent daimyo families including the Tokugawa and the Matsudaira during the Momoyama and Edo periods. Even the drawer pull is fashioned as an open worked shibuichi Aoe Ka-mon with the surprise of a textured, kinko (soft metal) raised backing only if you look for it. More interesting yet is the unusual form of this object - perhaps an only opportunity to acquire an example. Resembling a food tray on stand, it nonetheless has a drawer (not common to the form.) And a tall cover comes with a screen (silk?) as if to permit viewing whilst keeping something either in or out. We have not found another example of the form and so are not certain if it might be a covered dining tray (though the drawer) if intended to keep bugs out. Or perhaps it is in fact an insect terrarium (someone suggested it might be a large "cricket cage" or for praying mantis - maybe even to observe mantis combat) keeping the bugs in as it were. We can only speculate at the moment and heartily welcome suggestions or insight - maybe something not yet considered. The covered stand is in rather good condition for a mid Edo lacquer object. Good condition with expected testimony of age and use. There are the usual small lacquer losses mostly to edging (not at all detracting.) There is some fading - varying to the extent exposed to light (see our enlargement comparing surfaces of exterior, screened interior, drawer interior.) There is one minutely small handle stop stud missing from the screened cover. 18th to early 19th century. 13 inches (33.02 cm) high, 9 5/8 (24.45 cm) inches wide, 12 inches (30.48 cm) long.

Since listing this item, someone has suggested its holding fireflies (hotaru) as a possible use.

An iron, Ko-Tosho (early sword smith's) tsuba. The slightest taper from seppa dai towards rim. Pierced decoration. Purchased from Andy Quirt (ex Skip Holbrook collection) at the February 2016 Tampa show, he thought it depicted gourds. I guess the beholder might see different things. I see Japanese eggplants on leafy vine (two fruit and two leaves) supported by a bamboo trellis. An uncommon and well executed, balanced decoration. The hitsu-ana appears to be original to the tsuba. Late Muromachi. Good condition - has seen some pitting in the past but now stable (chalk it up to tekkotsu, history and character - tekkotsu attractively conspicuous on the rim), well worn to the touch, and with a good, dark patina. 2 7/8" (7.3 cm) marugata. 1/8" (3.17 mm) thick at the mimi. 3/16" (4.47 mm) thick at the seppa-dai.

An armorer's iron tsuba, possibly for a wakizashi as it is somewhat diminuitive in size. Or perhaps more in keeping with its apparent age, an early example of a proportionately small tsuba used with an uchigatana as was first the fashion. Sukashi decoration of a conch (horagai) traditionally used for ritual practices and for signaling on the battlefield. The rare uchikaeshi-hineri rim (mimi) is significantly raised and defined almost as if to suggest a separate piece of iron around the rim (though it is one with the plate.) Though the small sukashi might suggest tosho (swordsmith), the distinct and high rim clearly indicates ko-katchushi (old armorers) work. Good condition with tekkotsu, dark patina and some inert, brown surface rust for which we are lightly applying oil when dry (we prefer not to overclean or dry out a tsuba so will not take some of the more invasive measures against only light rust.) This tsuba has an early feel - perhaps early Muromachi. 2 3/4" (7 cm) marugata. The thickness of the plate is about 1/8" (.32 cm). The thickness at the rim is about 1/4" (.63 cm)

A katchushi (or armorer's) tsuba, probably Myochin, with pierced decoration of ship's rudders (the significance being a comparison of rudders steering a ship to values guiding a Samurai's life choices.) The strong, homogenous, dense iron plate with only light tekkotsu and smooth to the touch. Dark patina. Momoyama to early Edo. Good condition: Lamination folds with openings evident on the surface of one side. Ex Skip Holbrook collection. 3 3/32" x 3 1/16" x 1/8" (7.8 cm x 7.7 cm x .32 cm)

An armorer's tsuba, with very slightly raised rim on the strong, flat iron plate. Pierced decoration of a shrimp with pleasing, subtle swell along the antennae and legs (mostly on the ura.) Small, irregular brass inlays for the eyes (missing from one eye - not conspicuous.) The kogai-ana plugged with a copper rich alloy. Oval form about 2 7/8" (7.3 cm) by 2 3/4" (6.985 cm). Thickness at rim about 5/32" (.39 cm). Late 16th century to early 17th century - perhaps Momoyama period. Or possibly earlier with hitsu-ana added (though old). Good condition with varieagated hues in the dark, lustrous patina likely with extant lacquer adhering and accounting for some of the black color (note that the tsuba has an overall dark, mottled patina which our lighting doesn't adequately portray). Subtle tekkotsu evident - some old, worn pitting with the surface now smooth, almost soapy to the touch.

A good, Japanese iroe imari dish of square form with garden landscape decoration in red, green, yellow, aubergine, black and gold enamel and underglaze blue. The center panel decorated with pines, plantains and maples among rockery and below stylized clouds. The rockery employing "master of the rocks" technique of consecutive contour lines - the stylized clouds echoing the technique. Good condition. 7 to 7 1/8 inches square. About 8 1/4 inches from corner to corner. 19th century. (Five like this available: one each may be acquired at the offer price, up to four [one sold].)

Pair of Kinko (soft metal, as distinguished from iron) menuki. The soft metal copper alloy with dark patination (perhaps shakudo) depicting a pair of shishi or dogs (these are more dog like than most shishi I've seen, which are often thought to be lions.) The dogs with hair defined with fine incising. Decoration in gold including spots and pupils on the dogs, the collars each with a bell, and sprays of flowers. One of the menuki appears to have a miniature gold self-righting figure of Daruma (an 'okiagari koboshi' toy) on its back along with the flower spray. Appear to be earlier Edo. Very good condition. They were "saved" from a Cha-donsu studded with good, old menuki. So we suppose you could call these dogs "rescues" :) There is solder evidence on the back but that is never accessible when mounted on a tsuka. (These would be a good match with another of our listings - a kozuka, item #1318102.) Length, 1 1/8 to 1 1/4 inches (2.86 to 3.17 cm)

An iron mokogata form iron tsuba with surface and patina indicating significant age. Some folds apparent in the iron, tekkotsu ("iron bones" describing irregularities in surface resulting from gradual wearing away of softer iron, leaving more refined, harder iron), rim slightly raised around the hammered plate. The raised decoration of the hare and vine in quintessentially Japanese taste - thick gold overlaid details. This would work nicely on a Yamashiro or other slender, old blade. Good condition with light rubbing of patina on rim, scratching to the gold overliad hare, and light rust on plate (should be manageable with light application of clove oil until arrested [we have begun this process].) Length, 2 15/16 inches (7.46 cm). Width, 2 11/16 inches (6.82 cm)

Two nicely matched Edo period mixed metal menuki. Each with decoration of a duck in water. Some difference in the detailing of the water and perhaps different duck species (though one could explain the lack of a crest and color on one because it was the female of a pair of mandarin wood ducks.) For the price, they would work quite well together on a tsuka (sword hilt.) Longer one, about 1 1/2 inches. Good condition.

A Han dynasty bronze hu vase. Raised on high, cupped foot. The body cast with three grooves bands around the circumference and below the girth. Another three grooved bands (one smaller) above the girth. Two mask handles with loose rings (original to the vase) on opposing sides of the shoulder. One larger grooved band under the rim. Condition sound with the vessel of solid casting, no active rust and good patina. Some old losses along the foot rim and holes under the girth on one side possibly from an impact or once active rust. The bottom once drilled for a lamp and now plugged (see illustration of inside bottom.) A good metalworker could easily patch the holes and losses for aesthetic display (whether with patinated bronze or with another material such as gold so as not to hide the conservation. Height, about 13 3/8 inches (about 34 cm). For examples of the same form, patina and grooved bands, see Christies 2009 sale 5812 lot 144 and Sothebys 2011 sale 8722 lot 310. Weight may be a factor to ship this item. When placing this vase on our scale it errors out at over 5 kg or 11 lb.

Shigenobu (Hiroshige II) 1826-1869. The oban tate-e triptych depicts Minamoto no Yorimitsu, Sakata no Kintoki and Watanabe no Tsuna entering the mountain home of the demons. Circa 1851-1853. Shigenobu was a pupil of Ando Hiroshige and adopted his name to become the second generation after his master's passing in 1858. Condition of these prints are faded, wrinkles - some creased, margins trimmed and uneven, light wormage and pin holes, light foxing and soil. As challenged as the condition sounds, this dramatic and colorful triptych would frame and present nicely on a decorative basis and as a conversation piece. These prints may best ship (at buyer's expense) detached from the current backing and matting to reduce package size.

The Hirado figure of a monkey with moveable head and tonge. Portrayed as a Shinto priest with the addition of a fan used in performing the Manzai dance during New Year's festivities. Blue underglaze and iron oxide wash on the biscuit and over the glaze. Meiji period. Good condition. Height, 3 5/8 inches (9.21 cm)

A fine little Hirado figural group depicting two karako playing with a Shishi-mai (lion dance) mask. Sharply modeled with incised details and sparse blue, aubergine and black underglaze decoration. The karako's eyes, the lion mask and the underside unglazed. The biscuit surface of the lion mask intentionally oxidized to an even, light buff tone. Good condition with only a few tiny "flea bite" surface flakes one must look closely for and not detracting (our close images depict them larger than life with commentary in the captions.) Length, 3 1/8 inches (7.94 cm). Height, 2 1/2 inches (6.35 cm)

A large Ao-Kutani palette porcelain plaque in the Yoshidaya manner. Two geese in garden landscape with palm tree, lotus among rockery and water in finely applied blue, green, aubergine, black and yellow enamels. A black key border with green overglaze enamel around the canted rim. The back not glazed except for a black enamel square Kutani kiln mark with overglaze green enamel and two character black enamel artist mark with overglaze green enamel in oval. Two points of the back recessed and pierced before firing to provide for suspension display of the plaque. The so called Yoshidaya type of 19th century Ao-Kutani wares is named for a merchant who revived production of a particular palette of Ko-Kutani production (of the 17th and early 18th century) adjacent to the original kilns. The current example certainly appears to be 19th century. Later 19th century Ao-Kutani palette production is often ambitiously ascribed to the Yoshidaya kiln which, in fact, operated only briefly from the 1820s to the early 1830s. We recently purchased this as Yoshidaya style Ao-Kutani appeals to us personally (as one might tell from our recently listed auction lots.) We offer it here while we are auctioning other Ao-Kutani wares. It came to us framed and we retain the frame (illustrated) to ship with the plaque. Light enamel loss in the scene not distracting from its appeal. More enamel loss evident along the rim which would be covered with the frame in place. Sparse and light small scratches and rubbing. Otherwise, good and presentable condition. Plaque dimensions (not including the frame) about 13 1/4 inches by about 12 inches (33.65 cm x 30.48 cm). Weight without frame 7.03 lbs (3.19 kg)

The Katchushi style of this tsuba gives it an earlier look and feel. But it is probably an Edo period work (might expect more wear on the seppa-dai or more conspicuous tekkotsu on an older example.) The thin body nonetheless resilient. Strong, sparse, decorative file marks on the vertical add to character. Adept use of the file, thin plate and slight taper toward the rim could support argument a swordsmith may have made the tsuba. Genji style mon and two five petal blossoms in fine open work (some iron detailing missing from one of the blossoms, the other with one of the open worked petals interrupting the rim.) Smaller kozuka-ana and kogai-ana flanking the seppa-dai. The surface smooth to the touch despite some old, light pitting. Possible scant old lacquer adhering closely to the surface (difficult to discern with certainty as some hard wax appears to have been applied to the surface.) Simple sukashi tsuba are considered by many to be closest to Samurai taste. Fine open work and subtle attention to detail such as the file work add to appeal. Length, 3 9/32 inches (8.33 cm). Width, 3 1/16 inches (7.78 cm). Thickness, about 3/32 inch (0.238 cm)

An Ao-Kutani palette porcelain deep dish in the Yoshidaya manner. Hydrangeas decoration in polychrome enamels including white, light blue-green, and dark green, blue, blue-green and aubergine in black line, all on yellow ground, a chocolate brown enamel on the otherwise unglazed biscuit rim. The number and subtlety of hues but consistent for palette is pleasing. The back with enamels including dark green on black line decoration of clouds. Kutani mark in black under yellow glaze inside the foot ring which appears to have been glazed but with the enamel rubbed along high points to the porcelain body. A couple of kiln kisses to the cloud decoration area on the back. The so called Yoshidaya type of 19th century Ao-Kutani wares is named for a merchant who revived production of a particular palette of Ko-Kutani production (of the 17th and early 18th century) adjacent to the original kilns. The current example certainly appears to be 19th century and could possibly be from the Yoshidaya kiln. Later Ao-Kutani palette production is often ambitiously ascribed to the Yoshidaya kiln which, in fact, operated only briefly from the 1820s to the early 1830s. One 3/16 inch flake (mostly to the enamel) under the rim. Otherwise good condition considering expected scratching and rubbing of the enamel. Presents well. Diameter, 11 7/8 inches (30.16 cm)

A kozuka with gilt and silvered bronze decoration of a general's baton and banner on dark patinated bronze nanako ('fish roe' textured ground.) The utility knife handle with shakudo (a pickled gold and copper alloy) back and sides. Surfaces showing wear and slight distress from use but in fairly good and serviceable condition. Could benefit from a light cleaning and oiling. Length, little more than 3 3/4 inches (9.53 cm)

Thai bronze head of a Bodhisattva. Ayutthaya period. Presentable decorative condition with tips of earlobes missing, core exposed atop head, and the body missing of course. Black lacquer and traces of gilt on the diadem and the back of the neck. Height of the head , about 3 3/4 inches (9.54 cm) not including the pin for securing on plinth. Total height including the plinth, 5 7/8 inches (14.9 cm). The patina appears a bit darker and warmer in person but did not cooperate, photographically, with our lighting.

A good pair of dragon menuki in nicely detailed patinated shakudo alloy and with gilt features. Late Edo period. Good condition but with glue adhering mostly to the back. Each little more than 1 5/8 inches (4.13 cm) long.

A kozuka with sea shell and seaweed decoration with gold and silver overlaid on shakudo (a pickled gold and copper alloy) nanako ('fish roe' textured ground.) The utility knife handle with filed gilt bronze sides and back. Slight bend and the nanako somewhat dented in places. Would present nicely enough with a sword fitted to hold a kozuka in the saya (scabbard.) Kogatana (utility blade) not included. Length, 3 3/4 inches.

Japanese polychrome enamel Arita porcelain dish. Decoration in blue underglaze and green, red, black, buff, aubergine and gold enamel of cranes among the three friends of winter (pine, bamboo and prunus) and Spring flowers. Stylized character in center, karakusa on verso. Good condition. 8 5/8 inches diameter

Chinese bronze shi (or foo) lion seal. Four character seal mark. Good condition. Height, little more than 1 1/2 inches (3.8 cm)

A good Korean mother of pearl inlaid small chest of drawers. The front with inlaid decoration of pairs of birds (including, recognizably, ducks and phoenix) among lotus, bamboo, peaches and peonies on flat black lacquered ground. This is one of those wonderful finds of both honest age and undisturbed condition. All the wood with evidence only of being hand worked and appearing untouched since made with good, honest patina on all the secondary woods as well. The extent of conservation over time appears to be a couple of patched corners to the inlaid drawer facings and sparse replacement of some missing wooden pins (yes good, old wooden pins throughout) with a nail here and there. As one with experience dealing in period furniture, I would have to say that this is not only in good condition but also thankful that it has not been altered. As obvious from the unlevel shelves seen in our pictures, it is in need of a proper (hide) regluing. So it will ship with the drawers and dividers a bit loose. Height, 10 5/8 inches (26.9 cm), Width, about the same (27 cm), Depth, 10 1/8 inches (25.7 cm)

A Philippined betel nut box. Silver inlaid decoration on bronze. Rectangular form with canted corners and conforming hinged cover over three comparments (two small side compartments, one with old lime residue, flanking one large central compartment also with hinged covers. All hinges held by wood pinning. Good condition. Length, not including the bale handles on each side, 6 7/8 inches (17.46 cm)

A Korean blue and white porcelain water dropper. Cube form with bracket feet on the four corners, a spout along the top edge on one side, and a whole (for displacement) near center top. Painterly floral decoration within line border on the sides. Geometric flower head decoration on the top. Stable cracks, a couple surface chips, and loss to the spout. All dimensions about 2 1/4 inches (5.715 cm) except for the height which is about 2 1/8 inches (5.39 cm). Joseon dynasty.

A good, large murashido patinated bronze vase. Raised geese and irises decoration including some katakiribori details. The bottom may have been reversed when reattaching it at some later time. From inside the vase can be seen on the bottom a 16 petal chrysanthemum overlaid by Kashiwa (oak leaf) mon and on a bed of same - all in relief. We illustrate the interior bottom in one of our enlargement views (pardon the uncleaned state.) Reasonably good condition with light rubbing and minor, acceptable distress t the surface. In the hands of an experienced metalworker a light cleaning and some care should do wonders for this object. Just over 12 1/2 inches (32 cm)

An Annamese blue and white porcelain dish. Flower decoration in cavetto centered by leaves and flowers decorated bands within unglazed rim. Leaf lappet decoration above the ring foot centering unglazed bottom with typical iron wash. 15th to 16th century. Good condition, crawling original to the firing, crazing to glaze, good resonance when tapped, no hairlines and no cracks. Diameter, 9 1/2 to 9 5/8 inches (about 24.3 cm). Height, little more than 2 1/4 inches (about 5.75 cm). Acquired through a third party, along with some of the other ceramic lots we have recently listed, from the estate of a retired government employee who worked and traveled extensively throughout Asia in the 20th century.