The deity Shomen Kongo standing on a demon in front of a flaming halo. In front of him a rooster and a chicken and a monkey with a gohei. Ink and colors on paper. Painted area 25 x 11 inches. Several horizontal creases due to rolling, several small missing areas, all backed and partly retouched. New mounting in Chinese style. Overall stable condition.
Feel free to ask for additional photos.
Figure of a standing guardian, his mouth wide open. He wears a long overcoat, the sleeves of which are hanging empty along his sides. He holds his hands folded over each other on his belt. On the head he wears a red scarf. His open mouth shows rows of fine teeth and his red tongue. Gray earthenware colored with red, pink, white and black pigments. On wooden stand. Height 12 ¼ inches, without stand. Comes with cushioned box with exhibition label of the Dallas Museum of Fine Arts (T - #3). Some pigment losses, especially visible in face and on scarf, otherwise very good condition. No TL-test.
Glass ball on a wooden stand of finely carved and undercut work. The base has been carved in the shape of high foaming waves in which fishes are swimming, and that carry the jewel of the tides. The waves inlaid with little pieces of mother-of-pearl and gold lacquer. Ryujin, the Dragon King, held this jewel to rule the tides. Overall height 7 ¼ inches. Japan, Meiji period. Ball in near-perfect condition (one tiny, shallow scratch), the stand with some repairs and some missing tips on the waves.
Small sculpture Bishamonten, guardian deity of the north. On his head he wears a helmet. In his right hand he holds a stupa, in his left a long pole, that once must have been a halberd or a lance. With both his feet he stands on a demon-like creature on a rocky base. Polychrome wood. Japan, 18th century or perhaps somewhat earlier. Mingei. Height 16 ¼ inches. Some minor wear, broken halberd, generally in very good condition.
Top in larger than life dimensions. Wood with iron. Japan, 19th century. Diameter 5 3/8 inches; height 6 inches. Pegs to hold the iron band in place are missing, otherwise excellent condition.
Although generally called kanban, this piece was used for display in a window.
Small porcelain jar. Thin powder blue glaze over white clay. Over the monochrome blue a decoration of bamboo and pine trees in red, green, black and gold enamels. Over the shoulder meandering flowers in red and gold. The colors of the enamels remind one of Imari ware. Japan 19th century. Height 3 ¾ inches. One small chip at rim, enamels somewhat rubbed, as visible in photos.
Serving bowl in the shape of a flower with three petals. The tips of the petals dipped in green glaze, over a cream colored, crackled glaze with some pinkish blotches on gray clay. Glazed inside the foot. Elegant piece with good green. Diameter 5 inches, height 3 ½ inches. Thin crack running approx. 1 inch down from the bottom of one of the incisions, otherwise very good condition. Oribe ware. Japan 19th century.
Jingasa or flat helmet, slightly domed in the center. Unusual surface of irregular brown lacquer. On the edge is a crest in gold, in the shape of the Kaga umebachi crest. The inside plain red lacquer, a richer red than the photos suggest. In the middle the cotton head cushion and one of the chinstraps. Japan, Edo period, 19th century.
Diam. 17 in. (33.4 cm), height ca. 2.75 in. (7 cm).
Core probably wood and leather. Some thin cracks in the lacquer on the inside, some tiny chips on the rim on the inside, otherwise very good condition.
This crest was used by various families and the clan to which the wearer of the helmet belonged, cannot be pinpointed.
Two sculptures of the boy attendants to Fudo Myoo. On the right is the cowardly and obedient Kongara Doji on the left the wicked and disobedient Seitaka Doji. Kongara is holding a lotus flower, Seitaka a stick. Each of them is standing on a rock shaped base, loosely joined by pegs on the feet. Originally there was the third figure of Fudo Myoo, now missing. Both figures are made of several pieces of wood, joined together (yosegi saiku). The wood stained black, crystal eyes. The face of Seitaka is loose, revealing the name of the figure and the name of the carver (Shiogawa Hokyo) and possibly a date. The date could not be identified. Apart from some minor rubbing of the wood and one tiny chip on the front, both pieces are in excellent condition. Height 19 1/4 inches each. Japan 18th century.
Portrait of a young woman, holding a white lily in her left hand. The woman wears a striped kimono and a gay obi. Black ink and colors on silk. In the tradition of the ukiyoe artists. Unsigned. Some tiny pigment losses in the white of the face, otherwise very good condition. Japan Meiji period, 19th century. Framed. Frame: 48 x 20 ½ inches.
Head of a rakan with elongated eyebrows and thick earlobes. His eyes cast down. The head is hollow and is built up from several segments of wood. This technique is referred to as yosegi saiku. The eyes made of crystal, reverse painted. On the wood, mainly on the back of the head, traces of gesso. Soft wood. 16th century. H (without base) 7 ¾ inches. Along some seams traces of glue, some chips at edges (eyelids), otherwise good condition.
Originally this piece must have had a polychrome layer.
Large zushi of square shape with double doors. Outside black lacquer and bronze hard ware, finely engraved with meandering flowers, inside gold lacquer.
Inside a sculpture of the deity Benten, or Benzaiten, in her appearance with eight arms. In her hands she holds sword, jewel, bow, halberd and wheel. Other attributes are missing. On her head she wears the typical crown with torii, referring to the island of Enoshima, where the big Benten shrine is. Behind the crown on her head, sits Ugajin, the serpent with human head, deity of good fortune. Benten sits on a double lotus base, behind her a small mandorla originally decorated with three flaming jewels, today one is missing. This type of Benten is called Uga Benzaiten. To her sides stand Bishamonten (one arm missing) and Daikoku. Gilt and black lacquered wood partly covered in soot. Crystal eyes. Some old breaks, and repairs (with the original pieces). Some lacquer chips and a few missing parts as described. Crack along Benten's lap (seam between the blocks). Generally good condition. Box with some modern repairs, some lacquer chips, crack in bottom (stable), all damages due to usage. H 21 ½ inches. Japan 18th century.
A similar, 8armed figure, without the presence of Bishamonten and Daikoku, can be found in the catalog 'Sacred Treasures of Mount Koya. The Art of Japanese Shingon Buddhism', Honolulu Academy of Arts, 2002, no. 39.
Sculpture of a seated old man with a pointy beard and long moustaches, possibly Takeshiuchi-no-Sukune. The old man is dressed in Chinese garment, his mouth set in a grimace, his right hand holding a thin mace, or a large, closed fan, his left hand just over his lap. On his head he wears a sort of cap with two horn-shaped protrusions at the front. Made of two pieces of wood (lower part of body and legs, torso from the waist up) joined by pegs, polychrome. The mace is a separate piece. Some material cracks and some pigments rubbed, otherwise very good condition. Height 17 inches. Japan, 19th century.
This is an excellent example of mingei. A comparable figure we have not been able to find in the literature.
Very unusual figure of a seated Kannon in his appearance with 11 faces and thousand arms. The eyes cast down, the main pair of hands held in prayer, a second pair in his lap, holding a cup. Polychrome wood, with some gold. Piece carved out of one piece of wood. Japan Meiji period. Height 18 inches. Some of the pigments somewhat rubbed, some material cracks, otherwise very good condition.
This is an excellent piece of mingei (folk art). Although the carving is rather crude, the face of Kannon has been delicately painted. Kannon is a very popular deity, but in spite of that the deity rarely appears in folk carvings.
Hip flask (dachibin) in crescent-shape with two loops on the outer side to hold a shoulder cord. In the center of the top a filling mouth and to the far end a short spout. White and brown marbled glaze on whitish stone ware with a green spout and loops. Under the glaze stamped in katakana: Iken.
Height 4 3/8 inches, width 5 1/8 inches.
Tiny glaze chip at spout and tiny glaze chip at filling mouth (both hardly visible), otherwise excellent condition. Okinawa, Meiji period, perhaps Taisho.
This kind of hip flask is typical for Okinawa. For other examples see: Moes, Robert, Mingei. Japanese Folk Art from the Brooklyn Museum Collection, New York 1985, no. 100 and Hauge, Victor and Takako, Folk Traditions in Japanese Art, Cleveland, New York, San Francisco 1978, no. 106.
Fine cylindrical tea bowl of beige-brown colored stoneware, covered with thin gray glaze with white drippings on the outside. Here and there the gray glaze is very thin, allowing the stoneware to shine through in a pinkish hue. Inside practically round shape, outside lightly faceted. Bottom outside left unglazed. Imprinted seal inside foot rim: Asahi. Japan 20th century. H 2 5/8; diam. 4 inches. Slight traces of usage, some very thin glaze cracks. Generally in good condition.
In one frame, on front and reverse, a set of twelve color prints with erotic scenes. Some colors, such as the white, added by hand. This set is a very luxurious edition, made with great care. Although the master is unknown, a lot of attention was paid to the details of each pair’s surroundings, in the tradition of the early shunga prints (e.g. Koryusai), but also of the late masters, such as Kunisada. Silk was used for prints that were kept in an album. In the 19th century these kind of paintings were typically sold in accordion type albums with 12 or 24 erotic scenes. Japan, Meiji period. Framed in two groups of six, mounted in passepartouts. Each print 9 x 7 ¼ inches, frame 32 x 26 ½ inches. Excellent condition.
Provenance: Ed Love collection.
Large peach-shaped bowl decorated on in- and outside with blossoming peach-tree branches. On beige colored stoneware a thin layer of cream colored, opaque glaze has been applied, on which the bold design in overglaze blue, black, green, red, white and gold. On the outside in a white rectangular reserve the signature Kenzan. This piece is definitely in the style of Ogata Kenzan, but not by the hand of any of them. Japan, 20th century. H 4; w 12 inches. Tiny chip on inner rim, otherwise excellent condition.