Very plain carpenter’s tool to draw straight lines. Dark wood. Japan, 19/20th century.
Length 8 1/8 inches (20.5 cm)
Needle missing, handle loose. Otherwise traces of usage, beautiful patina.
Carpenter’s tool to draw straight lines. The shape of the piece is a wheel floating on a wave. On the edge of the ink drenched cotton wool compartment sits a minogame. Middle brown wood. Japan, early 20th century.
Length 9 ¾ inches (ca. 25 cm)
Needle missing, handle missing. Wheel is a lovingly copied replacement. Body with fine detail and very nice patina.
Crosspiece for a kettle hook in the shape of a closed fan. Very elegant piece with simple engraved details. Keyaki (zelkova) wood with bronze hardware. Japan, 19th century.
Length 13 7/8 in. (35.4 cm), depth at widest point 3 1/8 in. (7.8 cm), height 2 7/8 in. (7.3 cm).
One side exposed to sunlight, some dent and chips, but otherwise excellent condition.
Hanging scroll with three goblins running away from the rising sun. One of the goblins holds a long pole with a red flag. Scene from the hyakki yako (Night parade of the one hundred demons). Signed: Kaishinsai hogen hitsu. Seal: Yoshin. Japan, 1819-1834.
Painted area: 13 3/8 x 21 7/8 in. (34 x 55.5 cm). Total height: 53 3/8 in. (135.5 cm).
With plain wooden box, no inscriptions.
Unimportant thin stain in lower left corner, otherwise fine condition. Box with fair amount of insect damage.
Kano Seisen’in Yoshin (or Yasunobu) (ca. 1799-1846). Son and pupil of Kano Isen’in, painter-in-residence to the Edo castle. Made many copies of older paintings. In 1819 he became hogen, in 1834 he became hoin.
A pair of exquisitely carved wooden stands in three parts, used for offering food or other things on a Buddhist altar. The hexagonal stems have each six inset wooden panels with finely carved fretwork in the shape of birds between flowers, colored with gold and bright colors. Each of the panels show different birds and different flowers. Over the stem there is a hexagonal middle section, inserted with each six finely carved pieces of fretwork in the shape of different flowering plants. A hexagonal offering stand crowns the whole, surrounded by lotus shaped fretwork. Each petal decorated with either a chrysanthemum or a paulonia flower (one kiku-mon between five kiri-mon and one kiri-mon between five kiku-mon), symbols of the imperial household. The framework of the stands covered in black lacquer, decorated in gold and silver with chrysanthemums between karakusa. Both stands are completely different from each other. Japan, Meiji period.
Overall height 9 in. (22.8 cm); width at widest point 5.5 in. (13.3 cm).
Four pieces of fretwork broken, three of which are glued and repainted. Some cracks in the lacquered frame along the seams of the wood, some of the gold and silver lacquer rubbed and chipped. The color on the fretwork dried out and crumbling. Damages due to age and use. All in all in rather good condition.
Small but exquisite scroll paintings in colors and gold on silk. The background in the upper halves in gold. Aizen Myoo sits on his typical lotus throne carried by a vase full of jewels, surrounded by a circular, red, flaming nimbus. Around the jewel filled vase scattered sacred treasures. Daiitoku Myoo is riding a long horned buffalo who jumps over waves. Colors and gold on silk. Rich brocade mounting with the chrysanthemum and the paulownia crests. Japan, Edo period, 18th century.
Painted silk: 9 ½ x 16 7/8 in. (42.7 x 23.6 cm).
Restored tear in the upper half of the Daiitoku-painting, otherwise good conditions.
Wooden storage box.
Mizusashi in the shape of a Chinese boy, holding Hotei’s large bag. Over brownish beige very fine stoneware a layer of mottled brown glaze, over which a blue-green finely crackled flambé dripping glaze. The inside with brown mottled glaze, the bottom left free. In the bottom the impressed mark in an oval cartouche of Kato Shuntai. Japan, 19th century.
Height: 3 ¼ in.; diameter: 6 in. (8.3; 15.2 cm)
Box, inside of cover inscribed with authentication of piece as a mizusashi in the shape of a karako in ao-Oribe, made by Kato Shuntai from Seto. Authentication signed by Matsumori An.....
Kato Shuntai (1802-1877) worked in many ceramic styles. The splashes of flambé crackled glaze are very typical for his works (Shuntai-yaki). His works and the works of his ancestors can be found in museums around Japan and the US.
Gourd shaped ewer or water dropper. Cream colored stoneware with finely crackled clear glaze, on which a decoration of blossoms and lucky symbols along a meandering stream between mountains in red, green, blue, yellow, aubergine enamels and gold. Kyo yaki, or Kyoto Satsuma. Japan, 19th century. The stopper is missing.
Height 4 7/8 inches (12.3 cm).
Spout broken and restored with silver band, few abrasions in enamels, otherwise very good condition.
Reddish brown shrine with three very fine sculptures: Benzaiten in the middle, to her right Daikoku, and Bishamon to her left. Benten is seated on a lotus, depicted in her 8-armed appearance, holding a jewel, her other attributes are lost. On her head a crown with jewels and the snake-shaped Ugajin. Bishamonten stands on a demon and holds a pagoda, his staff now lost. Daikoku stands on two rice bales and holds a hammer and a bag. All of them on separate rock shaped bases. Excellent carving with extremely fine painting. Japan, 18th century.
Height: 9.5 inches; width: 8.75 inches (24 x 22.2 cm).
On the back two old paper labels. One is the address label of B.H. Collins , Coins and Curios in Washington, DC. The other label is a catalogue description of this piece (with correction).
Inside: most attributes lost, otherwise very good condition. Box with finely engraved hardware: few traces of usage, mostly very good condition.
Set of three identical keman, made of gilt bronze. Decorative hangings from a Buddhist temple, possible from a Shinto shrine. Fan-shaped with a design of two pairs of family crests set between karakusa (winding weeds). The knotted cord around the family crest in the center in gilt bronze repoussé. The openwork design is very carefully executed, the details engraved, backgrounds decorated in nanako. From the lower half of each of the frames three solid brass balls are suspended (originally five balls each), in imitation of bells. The chrysanthemum crests could point to the imperial family, the second set of crests show the chrysanthemum with a double plum blossom in the center. Although not identified, it indicates that the family was in a closer relation with the imperial family. The keman were probably hanging in their family temple. Japan, Edo period, 19th century.
Height 10 ¾ in. (27.8 cm); width 14 in. (35.6 cm). Height incl. ring and balls 15 in. (38.1 cm)
Some of the eyelets from which the balls were dangling broken and two balls per keman missing (one ball separately), gilding rubbed (on the reverse the gilding is better preserved than on the front), otherwise excellent condition.
Finely carved wooden figure of the bodhisattva Monju, sitting on a lotus throne on the back of a lion. Behind him a finely carve mandorla in ajour. The lion is standing with each foot on a lotus base, mounted on a base plate, his long tail stretched out, almost straight. The figure decorated in green, red and gold lacquer. Japan, Meiji era.
Height to tip of mandorla: 14 in. (35.5 cm); length: 8 ¼ in. (21 cm) ; width: 4 7/8 in. (12.2 cm).
Some lacquer chips at the feet of the base, some tiny, old chips at the mane and at the clothes, unimportant repair at stick of mandorla. All in all very good condition.
Bowl of conical shape. Cream colored stoneware, turning red where glaze did not stick. Cream colored glaze with patches of greenish gray, where the glaze is a little thicker. In these spots the glaze shows a fine crackle. Inside incised with a single circle. Six spur marks. China, Song dynasty.
Height 2 1/8 in. (5.7 cm), diameter 7 in. (17.6 cm).
Two repaired chips, some surface scratches and frittings in the glaze. Basically very good and stable condition.
Wooden figure of a lion, companion to Monju bosatsu, with a lotus base on his back. The lion stands on high and slightly stiff legs, all feet positioned on a small lotus base. On his back the Bodhisattva Monju was seated, today missing. Carving made of several blocks of wood, a technique that is called yosegi saiku and that was widely used for complex sculptures like these. Tail is loose, lotus base is in two segments, loosely joined onto the back with a wooden peg. The rather folky character of it makes it an extremely charming piece. Japan, Muromachi period, 15/16th century.
Height 17 ½ in., length 21 in., depth 6 ½ in. (44.5 x 53 x 17 cm).
Some edges of the different blocks chipped, chip to lotus base, chips to the tips of mane on head and to hair tufts at legs. Basically very good and stable condition.
Set of ten small white porcelain condiment bowls (cups) for kaiseki-style dinner. Each miniature bowl individually shaped with slightly compressed sides and a small spout. With overall white glaze and brown rim, each painted with flowering plants and vegetables in underglaze blue, brown, and black, and with gold lacquer details. Each bowl with seal imprint TÔZAN at the bottom. Japan, 18th/19th century.
Circular base 1 inch diameter (2.5 cm), 1 ½ in. high (4 cm), 2 1/8 x 2 3/8 in. at the rim (5.3 x 6 cm).
In fitted wooden box (tomobako), 6.5 (H) x 15 (W) x 36.5 (L) cm.
Inscribed, sealed and signed on the lid (TÔZAN tsukuru = made by) with red seal imprint. Each wrapping cloth stamped with 4 x 2.8 cm red seal imprint TÔZAN.
Items located in Europe.
Small box, probably for incense. Square format with rounded corners, flat cover with rounded edges. On the cover against a black lacquer background with some clouds of gold sprinkle, sits a bird on a flowering plum tree. The trunk of the tree and the clouds extend onto the lower part of the box. The plum blossoms in a vibrant red with details in gold. Inside and bottom of box in dense silver togidashi. Japan, late Edo period, 18/19th century.
L 3 5/8”, w 2 5/8”, h 1 1/16” (9.2 x 6.8 x 2.5 cm).
Former paper labels on inside and bottom of lower compartment. Few minor traces of usage, as to be expected.
Inventory numbers in red lacquer: 84.113-A and –B. Ex coll. Toledo Museum of Art.
Expressive mask of Hannya, the demon-woman, with wide open mouth and tongue coming out between the fangs. Wood, lacquered in black and strong red. The eyeballs in gold. Paper label on back. Four holes for string, as is usual for this type. Japan, 19th century.
Height approx. 11 in. (28 cm), width 6 ¼ in. (16 cm), depth 6 in. (15 cm).
Lower jaw restored.
Storage jar of hexagonal shape with a dripping tea dust glaze over a fine dark brown clay. In the side the name of Asakura Sansho (or Yamaki) has been stamped, partly covered under the glaze. Bottom impressed with a leaf, which burnt during firing. Japan, late Edo, early Meiji period.
Measurements approximately: height 8 ½ in. (21.5 cm), diameter at widest point 10 in. (25.5 cm), diameter at bottom 6 ½ in. (16.7 cm).
The name of Asakura Sansho is also connected with Tanba ware. A hexagonal jar from an earlier period, signed with the same name, in typical Tanba clay and glaze was found as well. This family may have worked in a variety of styles.
Ex collection CC Wang.
Stone stupa, or gorinto, made of four pieces, stacked loosely on top of each other. Momoyama period, 16th century.
Height approx. 24 in. (60 cm).
Tip of top part with chip, otherwise very good condition.