Catalog (283)

Hanging scroll. Portrait of probably Sugawara no Michizane, sitting in court dress - a black garment with a long white sash - holding a wooden mace. The black garment, with red liner, is delicately decorated with flowers between waving lines. The sash also decorated with stylized flower shapes.

Tosa style. Signature at bottom: Yuho Issho ga. Red seal: Issho no in.

Colors on silk.

Japan, early 19th century.

Painted area: 23 5/16 x 10 13/16 in. (39.7 x 27.9 cm).
Total length 57 in. (146.5 cm).

Three restored holes in silk (not in image), otherwise very good condition. Mounting fairly modern and in excellent condition. Bone scroll ends.

Comes with a fitting kiribako of a later date.

Sugawara Michizane (845-903) was a Heian period scholar, poet, politician of lower nobility. He was deified as Tenjin-same, god of the sky and storms, later as a god of education/scholarship. The Kitano Tenman-gū Shrine in Kyoto was dedicated to him by the imperial court.

Very small portable shrine, zushi. The figure of Amida Nyorai is standing on a lotus base with intricately carved curled lotus petals. His slender body covered in a finely, gold ornamented garment, his left hand pointing down in mudra, his now missing right hand would be held up in mudra, as well.

Soft wood stained dark brown, with gold painted decoration and some red.
The insides of the doors decorated in reddish brown with meandering flowers over gold foil on black lacquer.

Japan, Edo period, early 19th century.
Height case: 5.25 inches (13.4 cm).

Case with clear but acceptable traces of usage (tiny dents, chips, small repair at left edge of right door), and basically in good condition. Right hand of the Buddha is broken off and missing, otherwise in very good condition.

Amida Nyorai (Amitayus, or Infinite Life) is the central figure of Pure Land Buddhism.

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.

Square dish with straight rims, with elegant indentation on each corner. In the center two cranes (or similar birds) walking on rocks underneath a pine tree near the sea. On the inside of the rims a continuous border of heart-shaped flowers, on the outside a border with diamond pattern, broken by one cartouche on each side, containing a house. The top of the rim decorated with a karakusa-border.

White porcelain with underglaze cobalt blue decoration. No mark on back, but 25 tiny spur marks in a grid.

Japan, 19th century.
Ca 1.5 x 8.5 x 8.5 in.

Rims a bit warped, glaze on top of the rim rubbed and dull, one foot repaired, some tiny scratches on the surface of the center, all consistent with usage. All in all good condition.

Cranes are auspicious birds

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.

Unusual porcelain bowl in the shape of a double gourd with two separate compartments. The large section is for washing brushes; the small section may be used as a brush holder.
The outside of the large bowl is decorated in underglaze blue with pavilions in a landscape with mountains and a river. The edge is faceted and painted with cloud-like shapes. The outside of the smaller extension is decorated with stylized flowers. Ribbed knob on top (19-petaled chrysanthemum).

Hizen ware, Arita style, Japan, 19th century

H 4 x L 10.5 x D 7 in.

Glaze crazing on outside and inside. Inside the crazing is better visible due to usage.
Few short and thin glaze cracks from the edge of the larger vessel running down, otherwise fine condition

A sweetmeat dish consisting of 1 central hexagonal dish surrounded by 6 fan-shaped dishes. Each dish has a straight side and is decorated in the center with one of the seven gods of good fortune, shichifukujin in overglaze enamels and gold on cream colored stoneware. The central dish holds the image of the only female member of the shichifukujin: Benzaiten.

The central dish is signed on the back Gyokuzan in a red and gold cartouche. The other six dishes are marked Gyokuzan in red and each have a mark ‘tsu’ at the upper left side of their backs.

Japan, Meiji era, late 19th century.

The ensemble is held together by a Chinese wooden base. This is a marriage, but it happens to fit snugly.

H of each dish ca. 1 x diam. of circle 9.75 in.
Wooden base H 2.3 x diam. 11.5 in.
Fan-shaped dishes ca. 4.74 x 3 in.
Central dish 4.2 x 3.6 in.

Central dish broken and repaired. Out of the break run two hairline cracks. Other dishes fine condition.

Gyokuzan is related to a manufacture of Satsuma ware in Kagoshima (formerly called Satsuma). The founder Chin Jukan XII (1835-1906) used the name Gyokuzan from 1874-1897.
A noteworthy detail is that the manufacture also produced blank (undecorated) wares which would be decorated by decorators, such as Yabu Meizan and Gyokuzan.

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

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.

Hanging scroll. Hand-painted painting of a snake coiling around a bamboo stalk. Black ink on silk.
Signature on left: Ippo. Red artist’s seal: Keishi.

Japan, early Meiji era.

Image: H 42 ½ x W 15 inches.
Total H 78 inches.

Few brown stains in silk, generally very good condition.

Comes with kiri-wood storage box

From the estate of Ingeborg L. Muller, wife of Robert O. Muller

In the style of the Shijo school painter Mori Ippo (1798 - 1871), but probably not by him.

Set of three large identical keman, made of gilt bronze. Decorative hangings from a Buddhist temple.

Each keman is fan-shaped (or perhaps boar's eye-shaped) with a design of two pairs of double chrysanthemum family crests set between karakusa (winding weeds) in openwork. The knotted cord in the center is executed in gilt bronze repoussé (hollow underneath). The openwork design is very carefully executed, with engraved details and nanako ground.
The ‘saddles’ are decorated with kiku-mon between karakusa, in low relief.

From the bottom of each keman three solid brass balls are suspended, which may be original, or may be replacements for streamers.

The family crests each contain a 16-petaled chrysanthemum, two of which hold a double plum blossom in the center. The double chrysanthemum could point to a family relation with the imperial family. The keman were probably hanging in a family temple.

Japan, Edo period, 19th century.

H 10.75 x W 14 in. (27.8 x 35.6 cm).
H incl. ring and balls 15 in. (38.1 cm)

Some of the eyelets from which the balls were dangling are broken, gilding rubbed (on the reverse the gilding is better preserved than on the front), otherwise excellent condition.

Very rare bronze sculpture of Daiitoku, one of the five Myoo. He is represented with six heads (three large, three small), six legs and six arms that are holding the different attributes, while he is sitting on the back of a reclining long-horned buffalo. Here, Daiitoku holds his main hands clasped together. In the others he holds a staff, chakra, sword and trident. A flaming mandorla has been inserted in the back of the buffalo and is held in place by a metal strip on the back of Daiitoku . Brown bronze with green corrosion.

Japan, Meiji era, late 19th century.
Measurements: ca. H 12.25 x L 9 x W 7 inches (ca. 31.75 x 22.8 x 17.75 cm).

Tips of the upper flame bunch on the mandorla are bit bent and partially broken off, otherwise excellent condition.

Daiitoku (Sanskrit Yamantaka) is an emanation of Amida Buddha; he is positioned in the West; the white buffalo is a symbol of enlightenment; he has the power to eliminate evil and to establish goodness and to defeat poisonous snakes and dragons.

Antique vessel for washing brushes after writing or painting. Brown cast bronze with some green patina in the shape of a cob of corn still in inside the leaves. On the outside in simple engraved lines and leaves are indicated, and individual kernels.

Bottom flattened and with signature chiseled: Hidekazu (not identified).

Inside the basin, the short sides are both filled with a cement-like substance.

Japan, mid-19th century

H 3 x L 6.25 x W 2.25

Bronze with several dents and scratches, commensurate with extensive usage, small hole drilled in the tip. Few casting flaws (which are not really damages).

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.

Zushi, Buddhist shrine, containing a highly complex deity. On an eight-tiered lotus throne sits beautifully carved and decorated Dainichi Nyorai, his hands folded in his lap in meditation mudra. On his head he wears a cap in the shape of a lion head. He sits in front of a disc-shaped mandorla.

From the ceiling of the zushi hangs a drapery, decorated with of two phoenixes in fine gold on a lapis blue ground.

Wood with mineral colors, gofun, and fine decorations in gold. The crown of the Buddha in gilded metal.

Japan, Meiji era, later part 19th century.

Height case: 9 7/8 in. (25.7 cm).

Figure: Segment of crown missing, small tension crack in his left thigh, seam of right arm open, otherwise excellent condition. Case: Few dents, lacquer chips in one spot, otherwise very good condition.

The figure in the shrine is an amalgamation of figures. The mudra and especially the wearing of jewelry (crown, bracelets) identify him as Dainichi Nyorai. Dainichi is the only Buddha who appears as a Bodhisattva (i.e. wears jewelry). The lion hat is very rare for Dainichi, so is the disc-shaped mandorla. However, both are common attributes of Aizen Myoo, an incarnation of Dainichi Nyorai. This figure represents the three incarnations (sanshu rinshin)of Dainichi Buddha:
As Nyorai, he represents the Wheel of Self Nature (jisho rinshin).
As a Bodhisattva, he represents the Teaching of the Law to Buddhist adherents (shobo rinshin).
As a Myoo, he represents the Teaching of the Law to wayward souls who need intimidationto become faithful Buddhist practitioners (kyoryo rinshin).

Buddhist shrine containing the deity Uga Benzaiten surrounded by Fifteen Children (Jugodoji), all sitting and standing on a rock formation. In the foreground are the ox and the horse, a boat laden with rice bales and the snake god Ugajin. Hidden between the jugodoji is the tiny figure of Amida Buddha.

In this shrine Benten appears in her eight-armed martial form holding various weapons (wheel, bow, spear, sword, club, lock, and arrow) and the wish granting jewel (all of them missing). On her head she carries the snake-bodied Ugajin, old god of fertility and nourishment. Around her are 15 Children or Disciples or Attendants (jugodoji), each carrying specific attributes that are essential for Benten/Ugajin to gain satisfaction and success.

Group inside: Wood stained black. Some remnants of colors on Benten’s face, gilt metal attributes (what’s left of them) and jewelry to Benten. The rock formation was carved by a different carver than the figures. The placement of the Amida Nyorai was a personal choice of the donor. There is no obvious relation between Amida and the Benzaiten group.

The zushi (case) is lacquered black over wood.

Japan, Edo period, late 18th century

Case: H 15 x W 14 x D 11 in.

Condition: Case has substantial water damage due to exposure to humidity in a temple, replacements in the bottom. Inside: Several hands missing, faces rubbed, various attributes missing, repairs on various limbs and garments, item on the boat missing, chips.

In stable condition.

One-sided orihon accordion album with 12 paintings. 10 images of man-woman scenes, one rape scene, one scene with a woman with dildo.
Paintings in black ink, mineral colors (some with gold), and gofun on silk.
The covers are bound in silk brocade, with a small silk sumie painting of a heron on the front cover, by way of a title slip.
Paintings unsigned, but in the style of Tomioka Eisen (1864–1905).
Japan, Meiji era, around 1900.

Album 11.25 x 14.75 inches
Paintings 9.5 x 13.5 inches

Paintings with a few small spots, some wear (rubbing, missing spots) at upper margins of some paintings, but all in all in excellent condition. Covers with some wear around the corners, but all in all in fine condition.

Comes in blue Chinese wrapper in fair 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’.