Painting of the six-tusked elephant, the companion of the bodhisattva Samantabhadra, being washed and scrubbed by two attendants underneath a tree. Samantabhadra is standing toward the left with two more attendants. Ink and colors on paper. Several seals in all margins, inscription on the upper right. Unidentified artist. China, Qing dynasty, 18th century
Painted area: 55 ¼ x 30 3/8 inches.
Several restored spots and cracks (backed with thin strips of paper), no mounting but the painting is laid down on thin Chinese or Japanese paper.
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.
Small shrine presenting the Buddha of Medicine and Healing, Yakushi Nyorai, standing on a multi-tiered base, holding a sacred jewel in his left hand. Wooden sculpture with finely painted gold decoration. On the gilded doors of the shrine lotus flowers and lotus leaves painted in black ink and mineral colors. The shrine is a black lacquered wooden case. Japan, Edo period, 19th century.
Height shrine: 5.5 inches (14 cm).
Some touch-ups of black lacquer on outside of shrine, otherwise excellent condition.
Small shrine presenting the Amida sanzon. Wooden sculpture of standing Amida Buddha, carefully decorated in gold, standing on a lotus base surrounded by clouds. On the doors of the shrine are painted in black ink, mineral colors and gold Seishi bosatsu with his hands folded in prayer and Kannon bosatsu holding the lotus base. The Amida triad is descending to Earth to welcome the deceased to Western Paradise (raigo). The shrine itself is a gold lacquered wooden case with very fine metal hardware. Japan, Edo period, 19th century.
Height shrine: 6.5 inches (16.5 cm).
Figure: Few repaired breaks (one hand, one cloud, one tip of a cloud), two tiny missing pieces. Shrine: chips and abrasions on edges. All in all excellent condition.
A pair of medium size guardians, nio. The one on the right with his mouth closed wards off evil with one hand and holding a now lost object in the other. The Nio on the left, with his mouth wide open, holds a single pronged vajra in one hand while warding off evil with the other. Soft wood (kiri or sugi) with lots of traces of mineral colors (red, blue, green). Japan, Edo period, late 18th, early 19th century.
Height: circa 33.5 inches.
Some repairs, few cracks, basically in very good and stable condition.
A pair of nio figures, standing on a rock-shaped base. Wood with red, black ochre and green lacquer. The eyes inlaid in glass or crystal. Typical style of an unidentified studio that has been active at least since the 18th century and that often produced oni no nembutsu, ceremonial dagger holder in the shape of demons and other often witty subject matter. Japan, early 19th century.
Height: circa 20.5 inches and 21 inches.
A: wooden kegs in feet re-placed and refitted (with pegs). A and Um: Some restored and unrestored cracks, all in all excellent condition.
De-accessioned from the Denver Art Museum. Original label still on the bottom.
Study of an elephant holding a piece of wood with its trunk, his skin hanging loosely about him. Dark brown patinated, light weight wood, the eyes inlaid in buffalo horn, the tusks bone. Japan, 19th century.
Length: 15.5 inches (39.1 cm)
Pupil to one eye missing, otherwise fine 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.
Very small cast iron signal or gun powder cannon, raised on two cast iron wheels. There is a small mark of a cross in a circle, the crest of the Satsuma family in the south of Kyushu, and underneath there is an unidentified mark, that could be read ‘ten’ (heaven) or perhaps simply A.
Japan, Meiji period, around 1900.
Length ca. 10.5 inches.
Container to carry tobacco in the shape of a yawning and stretching Daruma. The body is made of kiri (Paulownia) wood, while the arms and the face, which can be removed and functions as the cover, are made of a light brown, much denser wood. ‘In front of’ Daruma (inlaid in his belly) a sceptre and an alms bowl. The two holes in the top of his head are lined with wooden rings and his fists are holding the cord. Eyes inlaid with black horn or glass. Bottom stamped with number(?). Molded resin ojime. Pipeholden in the shape of a yawning and stretching Ashinaga. Japan, Meiji period, 19th century.
Tonkotsu height: 4.5 inches (11 cm).
Slight traces of usage. Pipeholder with split in bottom. Tonkotsu basically very good condition.
Hejzlar, Josef. Chinese Watercolours. London: Octopus Press 1980. Hardcover with dustjacket. Text ca. 60 pp., bibliography and index, 115 color illustrations of paintings on 96 pp. (photographed by B. Forman). About the members of the Shanghai school from the 19th and 20th century and their works.
Pages slightly yellowed, but all in all in very good condition with very little wear on the dustjacket
Ho, Wai-kam, Sherman E. Lee, Laurence Sickman and Mar F. Wilson, Eight Dynasties of Chinese Painting. The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art. Cleveland: The Cleveland Museum of Art (and Indiana University Press) 1980. Hardcover with dustjacket.
Some wear and tear to dustjackets.
Circular hand shrine, or zushi, in two halves. On the inside, one half shows, carved, the bodhisattva Kokuzo with a sword in the right and a jewel in his left hand. He sits on a lotus base, placed on a rock. Details of the carving and the background painted in gold, black, iron red and malachite green. The other half shows a two-toned gold painted decoration of a lotus pond, a rock and a cloudy sky. The outside left plain. Comes with a custom made wooden stand. Japan, Edo period, early 19th century.
Japan, Edo period, early 19th century.
Diameter: ca. 1 ¾ inches (4.4 cm).
Scarf tip on the right side of figure missing, scarf on the left repaired, sword repaired (all original pieces), otherwise very good condition.
Hand shrine, or zushi, of the triptych type. Inside, in the middle section sits Amida Nyorai on a lotus base, flanked by Seishi and Kannon bosatsu. Inside the left panel, and inside the right panel tennin (apsara) flying over a lotus pond. Image of Western Paradise.
Sandal wood. The outside covered in a dark, translucent lacquer, sprinkled with clouds of nashiji and on the front two kiri-mon in slightly raised gold-takamakie and the overlap in the middle decorated with gold lacquer karakusa over silver lacquer background, imitating engraved hardware. The inside carved in raised relief in different levels, the background covered in lapis lazuli, the carving decorated with gold paint and touches of malachite. Silver hinges in the shape of butterflies.
Japan, Edo period, early 19th century.
Height: ca. 3 ½ inches; width when open: 5 ¾ inches (9 cm; 14.5 cm).
Lapis lazuli somewhat rubbed, all in all very good condition.
Hand shrine, or zushi, in the shape of a lotus pod, carved in two halves. On the inside, on one side the sitting figure of Amida Nyorai on a lotus base, his hands in mudra in his lap, against a gilded background. The other half of the lotus bud is inscribed in black ink on a gold lacquer background with the mantra Namu Amida Butsu. Comes with its original brocade pouch. And with a custom made wooden stand. Japan, Edo period, early 19th century.
Very light, soft wood, undecorated. On the outside carved in the shape of a lotus flower in a late stage, showing the seeds in the pod in the center. On the inside, on a gold background there is a relief carving applied. There is a inventory number in black ink on the rims of bowl and cover 32.45.9.A and 32.45.9.B.
Japan, Edo period, early 19th century.
Diameter: 2 7/8 inches (7.3 cm).
Very good condition.
Hand shrine, or zushi, in the shape of a lotus bud, carved in two halves. On the inside, on one side the standing figure of Amida Nyorai on a lotus base, his hands in mudra. The other half of the lotus bud is decorated with a mutsume pattern (imitating a triaxial weaving) in kirikane (very thin strips of gold foil). Japan, Edo period, early 19th century.
Very light, soft wood. On the outside red lacquer, covered with leaf gold, that is partly rubbed off again. On the inside much of the carving is decorated with brush applied gold, and kirikane for the background of both halves.
Japan, Edo period, late 18th, early 19th century.
Total height: 4 ½ inch (11.4 cm).
One hand of the Buddha missing, the other glued, lower lip chafed. Few chips and dents at edges, all in all very good condition.
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.
Trede, Melanie, and Julia Meech, Arts of Japan: The John C. Weber Collection. Berlin: Museum fur Ostasiatische Kunst Staatliche Museen zu Berlin 2006. Softcover.
Catalog of 78 objects from the Weber collection, with essays by Quitman Eugene Phillips, Melanie Trede, Alexander Hoffman, and Terry Satsuki Milhaupt. Numerous color illustrations.
Like new condition