Catalog: Vintage Arts: Regional Art: Asian (67)

Rectangular cover for over a gift, called fukusa made of green (front) and purple (back) silk satin. On the front is an image of three turtles walking towards the water, with a bamboo grove in the back of them. The hand-made decoration is done in velvet, hand painting and gold thread embroidery.
On the back in light gray velvet against purple is a round family crest.

Green and brown braided tassels in the corners.

Japan, first half 20th century

H 22 x W 19.25 in.

Some of the velvet slightly worn, minimal traces of usage, folds from storage, all in all excellent condition. One tassel missing.

The turtle stands for longevity, bamboo for longevity and resilience. Auspicious image, excellent for gift giving. The fukusa would be put over a box or a tray holding a gift. The fukusa was just as important as the gift itself.

Daruma standing tall, wrapped tightly in his garment, the tips of his feet just peeping out. The bottom section of his garment is flapping in the wind. This pose is associated with the episode in which Daruma travels to China, crossing the river Yangzi, while standing on a reed.
The figure was molded in a cast in two halves (front and back) and joined before firing. A hole in the back functions as a vent and prevents the statue from exploding while fired in the kiln.
Stoneware with some gomma. Details are beautifully worked.
Small seal impressed in the back: Bizen … [illegible].

H 10.25 inches

Japan, Bizen/Inbe, mid 20th century

Crack along the vertical joint in the right side, from which three very thin horizontal cracks spring (two towards the front, one towards the back). Despite that, stable and sturdy condition. Molding flaw in the ear that is not considered a damage.
Please ask for pictures for a detailed report on the damages

Gomma (sesame seed) is created by the ash of the pinewood with which the kiln is fired. It lands on the object and melts due to the high temperature. Gomma cannot be steered, it occurs spontaneously. It occurs more profusely near where the fire is. The ashes blow into the kiln flowing on the flames. The further away from the fire, the less ash remains floating through the air.

Almost square fukusa or ceremonial cloth or cover. Two hand-embroidered diamond shaped white silk emblems of a pair of cranes, enhanced by gold-thread outlines, on a kikko hanabishi background in multicolor yuzen dye technique between two bands of bright orange-red. Some of the flowers in the kikko hanabishi ground are hand-embroidered. The outlines of the kikko painted in gold (now oxidized to a greenish color).

The back of the fukusa is a solid bright orange-red.

Tassels in 3 of the 4 corners of red and cream-colored silk and gold thread.

Japan, mid 20th century

H 15.75 x W 14.5 in.

One tassel missing, storage folds, otherwise excellent condition

The red color is hard to reflect in a photo. It is slightly more orange in reality.

Cute flower vase of convex shape with a flaring mouth. Four vertical ribs, creating four segments decorated each with a small impressed chrysanthemum rosette. Fine cream-colored stoneware with a yellowish green translucent glaze with fine crackle.

Potter’s mark on the bottom (looks like a smiley face), which is the signature mark of Kato Sakusuke IV.

Seto, Japan, 1970s or a little later

H 6.5 x diam 4.5 in.

Mint condition

Comes with the original wooden storage box, inscribed Ko Seto gama (seal in upper right); Kiseto, kabin (flower vase in yellow Seto; and signed Sakusuke saku and with the artist’s seal

Kato Sakusuke IV (1909-1996) was the 25th in line from Kato Kagemasa, the founder of Seto ware.
He graduated from the Kyoto Vocational School for Industrial Crafts in 1932, and trained in Kyoto for three more years. After returning to Seto and began making pottery under the guidance of his father. He inherited the title of Sakusuke IV in 1944.
He studied the traditional techniques of Oribe, Kuro-Oribe, Ki-Seto, and Ofuke, creating masterful and traditional ceramic/ceremonial works. In 1984 he was designated an Important Intangible Cultural Property of the Prefecture of Aichi.

Hanging scroll. Painting of two noble men on horseback. The men and the horses are dressed up beautifully and are obviously competing with each other in one way or another. Probably a scene on a horse track, the men shortly before or after a race.

Ink and mineral colors on silk, in a gold brocade mounting with bone scroll ends.

Signed in lower right: Shogai. Two red seals: Tani-shi Hidemasa; Shogai no in.

Silk: H 49 x W 16.5 in.
Mounting: H 77 x W 21.5 in.
W at the bottom with scroll ends: 23.6 in.

Comes in the original wooden storage box. Inscribed on the outside: Keiba no zu (image of horse racing). On the inside of the cover: Taisho juichinen chushun (spring of Taisho 11=1922), Shogai shiki and two seals: Tani Hidemasa and Shogai.

Although the artist cannot be further identified at this point, the painting is of high quality, in a style that is reminiscent of Katsushika Hokusai.

Two tiny tears on the edges, stabilized by the mounting, several very light stains. All in all in very good condition. Mounting in very good condition.

Small statue of the face of Okame. Her round, full cheeks and Heian period hairdo give her head the silhouette of a penis. Her open mouth is in the form of a stylized vagina. Shunga of sorts.
Cast bronze with dark brown patina. Good details.

H 3 x D 2.25 in.

Few casting flaws, otherwise excellent condition

This type of erotic statues are regarded as funny rather than erotic. In Japan they are called waraimono, ‘something (or someone) that makes you laugh’.

Hanging scroll with erotic painting. Image of a man of the merchant class and a woman having intercourse, while being surrounded by a multitude of other women having their own fun. Ukiyo-e style.
Black ink, gold and bright color on silk.

Unsigned. After a four-page book illustration by Keisai Eisen (see photo 6, which is NOT offered for sale here).
Japan, Meiji period.

Height: 12 ¾”; width: 18 ¼”; total height mounting: 47 ¾” (32.4 x 46.3; 121.3 cm).

Typical mounting from the Meiji period, probably original to the painting.

Some foxing, otherwise very good condition.

Antique hanging scroll. A dragon dressed in kimono and apron stands on hind legs, and holds up high a jewel, as if offering to an invisible celestial divine creature. Above them is a swirl.

Signed: Shoto …utsutsu. Seal: Moroku sensei.

Black ink and mineral color on paper.

Japan, Taisho era, 1910s, perhaps 1920s.

Painted area: ca. 52 x 13.5 in. (132 x 34.5 cm).
Total length ca. 77 inches (195 cm).

Few light stains and tiny spots, some foxing in mounting, otherwise very good condition.

Kurata Shoto (1865-1928) was a painter from Akita. He worked in the nanga style. His paintings were often Buddhist in subject matter, but he also painted historical and mythological figures. His sense of humor is often visible in his work.

Fairly large sake bottle of dark brown stoneware, with an angular hip, rounded shoulder and slightly everting neck. Its shoulder and neck covered in a yellow and greenish natural ash glaze.
Bizen ware. Impressed seal mark in bottom.

Japan, Showa era, ca. 1970s

H 8.1 in.; diam. 5.4 in.

Excellent condition

Tall vessel of square shape, cut out of a section of a Paulownia (kiri) tree showing knots on three sides, where side branches used to be. The wood is stained dark brown. One side of the vessel is decorated with inlays/appliques and lacquer paint. The appliques colored with gold sprinkle, silver flakes and green lacquer.
A sparrow is sitting on a bamboo stalk.
Red patinated copper liner.

Japan, Taisho era, 1920s

H 11.75 x W ca. 5 x D ca. 5 in.

On the bottom of the kiri wood and on the bottom of the copper liner is written in felt pen: M.E. Boone 821-0930.

Condition: Dent, scratches, scuffs in the wood, consistent with light usage. Liner bent and dented, green insultation? stuff along the bottom seam on the inside.

Sambaso dancer with the typical high hat (striped eboshi) with a sun disc (round circle) on each side. In his left hand he holds suzu jingle bells; his right hand, on his back, holds a fan. Single block carving (ichiboku); keyaki (zelkova) wood, carved in a faceted way, resembling ittobori, and stained dark brown.

Japan, Taisho era, 1910s-1920s.
H ca. 18 inches.
One repaired crack from the bottom going up into his left shoulder, some scuffs and chips at edges, several tension cracks. All in all very good and stable condition.

The dance Sambaso originated in noh (kyogen) theater, as a prayer for prosperity (abundant rice harvest) at the beginning of the program. The dance was adapted for kabuki and bunraku, as well. It was performed at the opening of the new kabuki season, which coincides with the beginning of the new year, or at the opening of a new theater.

Fun portrait of Daruma with googly eyes, in quick brush strokes. Above him an inscription that mentions the Buddha, the Bulguksa temple on Mount Toham in Gyeongju, South Korea, the name Seog’un, followed by the seals Lim-Chung…. And Seog’un. Other red seals in the lower left corner and to the right of the character ‘Bul’ (Buddha).

Black ink and some gray on paper. Mounted in brocade and framed in wooden Asian frame. Originally this was a hanging scroll but the mounting was cut and used as a decorative border inside the frame.

Korea, first half 20th century.

Frame: H 24.75 x W 18 in.
Painting: H 17 x W 12.75 in.

Paper yellowed and thin on the lines of the paper grid

Highly unusual ovoid flower vase with an art deco decoration of four pairs of Native Americans standing face to face in war dress. Above and below decorative bands of repeating plant motives. Inside cream colored glaze.

Light colored stoneware with pastel colored sgrafitto clay inly. Excellent craftsmanship. Kyoto ware.

Signed on the bottom Gyozan

Japan, late Meiji/Taisho era, 1910s-1920s

H ca 9.25 inches

The Gyozan studio and kiln were in Kyoto. The studio produced traditional Kyoto Satsuma ware for the export market. It also engaged in making bold, colorful designs that resemble works by Kenzan studios and others. This vase clearly shows the heavy influence of art deco, which was very much the taste in Japan during the greater Taisho era (1910s-1930s).

Small and cute box for keeping incense, called kogo, originally used in the tea ceremony. Hand modeled coarse red stoneware with small sediment and mineral inclusions. White irregular glaze caused by feldspar inclusions in the clay that melted during the firing and dripped over the outside.
The overall shape is an irregular cylinder which turns into a plum blossom when seen from the top, with three clusters of stamen. Ash glaze inside the lower part of the box.

Small, shallow impressed seal in the shape of ‘i-no-me’ (boar’s eye, more or less heart-shaped).
The foot has been shaped to show the shame boar’s eye as to mark the kiln Most likely Shigaraki ware, possibly Iga ware.

Japan, Showa era, 1970s-80s

H 2.1 x W 2 in.

Excellent condition

A sitting lady in Heian era court dress and hair, clutching a giant golden matsudake mushroom. She wears a bright red hakama and light blue kimono. The shape of the mushroom has a close resemblance to a penis and the sculpture definitely has an erotic meaning.

Hand modeled, soft hollow earthenware, painted in cold-applied colors and gold.

Japan, 1960s or earlier.

H 5 in.

Colors somewhat smudged and chafed; frittings at the bottom edge. Because of the cold application, the colors are fragile and easily wash away.

Okame standing in blue over-kimono with a sweet and cheerful facial expression. Her garment falls open a little, showing a red colored underkimono or liner, indicating her profession. Cradled in her arms is a large matsudake mushroom. The shape of the mushroom has a close resemblance to a penis and the sculpture definitely has an erotic meaning.

Soft hollow cast earthenware or plaster, painted in vibrant cold-applied colors and sprinkled gold flakes.

Japan, 1960s or earlier.

H 5 in.

Colors somewhat smudged, especially the blue. Some black smudges in the white face, affecting her left eye. Because of the cold application, the colors are fragile and easily wash away.

A male figure sitting in ceremonial kamishimo dress of a striped hakama (pants) and a golden kataginu (vest) over a red kimono, his head shaped like the top of an erected penis.

Soft molded earthenware, painted in cold-applied colors and gold and silver.

Japan, 1960s or earlier.

H 4 in.

Colors and metal pigments chipping, otherwise good condition. Because of the cold application, the colors are fragile and easily wash away.

Rare subject matter

Clog-shaped chawan, tea bowl to be used in the tea ceremony. Over a whitish fine clay a silky black glaze and crackled white slip over which a decoration of interlocked diamonds and rings in iron brown.

Seal impressed in bottom/underside: Juzan. Refers to the Oribe potter Mizuno Juzan.

Mino ware, Oribe style, Japan. Showa era, 1950s

H 3 x W 4.25 in.

Perfect condition

There are at least two generations of Mizuno potters going by the name Juzan. The seal most likely belongs to the second generation Juzan, who lived lived 1908-1978.