thief who tries to run away with a pitcher full of oil. (In another version, the captured man appears to be a priest, refilling the oil in the lanterns and not the monster that he was held for). They are surrounded by the straight trunks of the high cryptomeria trees and by tall stone lanterns that seem to look at them with hollow eyes. Signed and sealed on the lower right side: Bai… and …… Black ink, color pigments and gofun on silk. Japan, Meiji/Taisho period.
Painted area: ca. 32 x 37.5 inches (81.7 x 95.5 cm); mounting ca. 54 x 43 inches (ca. 137 x 109.25 cm).
Few minor abrasions, all in all excellent condition.
Sake flask or tokkuri of triangular shape with tall neck. Brown stoneware with a combination of natural straw glaze and ash glaze and ashes. Marked at the bottom with unidentified potter’s mark. Japan, Bizen, 20th century.
H ca. 5-½ inches.
Kogo or incense box in the shape of the God of Good Fortune Hotei, leaning on his treasure bag with a fan in his hands. Earthenware, Raku ware with black glaze and white slip. Japan, 20th century.
H ca. 1-½ inches; W ca. 2-¼ inches.
Traces of usage: two cracks in the cover, some chips in the cover and two tiny chips on the edge of the lower part. Otherwise good condition, charming piece.
Water jar for the tea ceremony shaped as a bamboo segment, the handles shaped as bamboo shoots. Stoneware, Bizen kiln. Natural ash glaze specks. Black lacquer cover. Japan, 20th century.
H 6 inches.
Some traces of usage: a.o. few minor chips on the bottom edge, two very small chip at upper rim, lacquer cover with chips on inside, otherwise very good condition.
Low and wide vessel, probably a container for waste water or kensui, with indentation in rim. Stoneware, Bizen kiln. Japan, 20th century.
H ca. 3-¼ inches; diam. Ca. 6-¼ inches.
Small hanaike of irregular shape with small metal loop to hang it from a beam of the tokonoma. Stoneware, Shigaraki kiln. Japan, 20th century.
H 5-½ inches.
Mold for making rice flour cakes (uchigashi) in the shape of a prawn (ebi). Two parts. Wood. Inscription in black ink on the short side: ebi.
H 1-7/8 x L 8-¼ x W 4-5/8 inches.
Very good condition, some traces of usage (few chips on outer edges, some dents and stains), metal device on bottom section for hanging on wall.
Mold for making rice flour cakes (uchigashi) in the shape of the old woman Uba from the island Takasago. Two parts. Wood. Inscription in black ink on the short side, Azukari-gata written on the top in black ink.
H 1-7/8 x L 6-½ x W 4 inches.
Very good condition, some traces of usage (rounded edges due to usage, chip on outer edge), metal device on bottom section for hanging on wall.
Mold for making rice flour cakes (uchigashi) in the shape of the old man Jo from the island Takasago. Two parts. Wood. Inscription in black ink on the short side: ..ro (old man).
H 1-¾ x L 7-1/8 x W 4-7/8 inches.
Very good condition, some traces of usage, metal device on bottom section for hanging on wall.
Mold for making rice flour cakes (uchigashi) in the shape of a lotus leaf and a lotus bud. Two parts. Soft wood, worn by usage. Ink markings on short side.
H 1-½ x L 6-5/8 x W 3-5/8 inches.
Edges somewhat worn from usage, but carving still fairly sharp, some insect damage mainly on the outside, metal device on bottom section for hanging on wall.
Mold for making rice flour cakes (uchigashi) in the shape of a lotus flower. Two parts. Cherry wood with beautiful patina. Maker’s stamp in the side Katayasu (or Keian).
H 1-5/8 x L 6-7/8 x W 3-7/8 inches.
Crack in top section, unprofessionally repaired with nail (old repair, while the mold was still in use), metal device for hanging on wall on bottom section.
Binyon, Laurence, Chinese Paintings in English Collections, G. Vanoest, Paris/Brussels 1927. 26 pp. text 29 pp. description of plates, 64 black and white plates. Quarto, blue cloth, title gilt-stamped to spine (oxidized) and front cover, gold on upper side pages. Binding is sunned at spine and rubbed and scratched on all sides; crown is lightly bumped. Pages very lightly browned, mostly at outer edges, binding fragile but in place.
Fairly large water dropper, cast and dark patinated bronze, in the shape of the face of a demon. The spout of the water dropper replaces the lower jaw. Japan, first half of 20th century or earlier.
W 3 x D 2.5 x H 1 inches.
Surface slightly rubbed on higher parts, otherwise excellent condition.
Hollow bronze cast of a hedgehog. Cast in two parts. Unsigned. Japan, 20th century.
Length ca. 8 inches. Height ca. 4 inches.
Some white paint specks (latex), otherwise excellent condition.
Hollow stoneware sculpture of a tiger sitting on its haunches, growling at the world, showing its shark-like white teeth. Somewhat folky piece. Incised artist’s seal, unidentified. Japan, Showa period.
Height ca. 15.5 inches.
Sash clasp or belt buckle for the flat, braided type of obi, made of dry lacquer, in the shape of a no mask. The mask is Uba, the old woman. On the back there are two metal loops through which the obi is pushed. Signed on back: Kyu.
Comes with its original kiri-wood tomobako. Inscription on box: Obidome, nomen, Uba (kanshitsu), meaning: sash clasp, no mask, Uba (dry lacquer).
Japan, probably Taisho period, first half 20th century.
With Total height: 1 3/8 inch (3.5 cm).
Four hair cracks in the face (not visible without loupe), one fissure on the back. Minimal traces of usage on the hooks in the back. All in all good condition.
Dry lacquer (kanshitsu) is a technique, whereby the object is made of lacquer only, no wooden or paper core is holding up the form. This allows for a very free flowing kind of shape, but it is a very labor intensive procedure.
A pair of slightly abstracted foxes, sitting at their haunches, tails curled wound their feet, their heads turned upwards, as they are gazing at the moon. Patinated bronze. Each of them engraved on the bottom ‘Kozan’ in archaic script. Brown patinated bronze with roughened surface. Japan, mid 20th century.
Comes with tomobako, the cover inscribed on the outside tsuki miru kitsune (foxes looking at the moon) and stamped seido sei (made of bronze); the cover signed and sealed on the inside Kozan saku, Kozan.
Height 10 and 10 1/8 inches (25.2 and 25.8 cm).
A few tiny dents at the bottom edge of one of the foxes, otherwise excellent condition.
The signature Kozan belongs to the artist Sakai Kozan, who was active in Takaoka during the Showa period, mid to late 20th century. The Sakai bronze manufacture is still active today.
Group of four altar pieces: One larger altar table, wood, red, ochre and black lacquer, and gilded at the front and top. Two smaller altar tables, wood, red, ochre and black lacquer and gilded at front ant top. Japan, later Showa period. One of the smaller stands earlier 20th century.
Larger table 14 ¾ in. long x 5 in. high x 4 ¾ in. deep; smaller tables each ca. 11 in. long x 4 ¾ in. high x 3 ½ in. deep.
All with slight, but unoffending traces of usage, very good condition.