A unique early Edo Period 17th Century rectangular Lacquer Incense Box,
with high relief and decorated with Gold Takamakie technique on thick Nashiji
ground. Takamakie is a kind of relief combined with the Hiramakie technique. The base of the relief is made with charcoal powder. Hiramakie is sprinkling metal powder or grains, sticking them onto the surface, using the adhesive ability of urushi tree sap...
A pair of Arita plates decorated in underglaze blues with enamels. The centre painted with a large tripod censer containing Spring flowering Peonies on a low table flanked by a pair of flower vases, containing Autumn flowering Pinkes and Chrysanthemums with a pair of birds. The rim painted with a pair of Hoo birds with Chrysanthemums and Peonies. The plate on the left uses blue enamels, as found in the Kakiemon palette, rather than aubergine enamels as used on the right...
A Japanese Arita Export porcelain spoon tray after a design by Frederik Van Frytom. Within the foot-rim is found an eccentrically written apocryphal Chinese reign mark, a feature seemingly of most wares the with Van Frytom designs. The shape is taken from an European silver dish and the porcelain clearly intended to be exported to the West.
A spoon tray of this design was included in a Christie’s auction in 2009.
Approximately 13.2 cm long...
A quintessential 16th century design in worn gold covers all the dark surfaces of this lacquered wooden box dating from the Momoyama period. Here auspicious cranes and turtles, reported to live a thousand years, laze among pines. About the lid boaters enjoy leisure seas. Ichimonji checkerboard patterns rising diagonally up the sides alternate with garden trees, the ends decorated with wisteria and ivy. The box retains the original inner tray in festive red decorated with garden grasses...
No longer in existence, the Kahara kiln of Nagasaki—where this tea bowl was crafted—operated from the early to mid Imari period (roughly 1624 - 1671).
A magnificent composite, this piece was excavated from the kiln grounds and repaired using boldly applied silver joinery (gintsugi)...
Stemming from the philosophy of wabi-sabi—often described as the beauty found in the imperfection and transience of the world—cracks and repairs in a work of pottery are often seen as highlighting the history and importance of a ceramic object. Practitioners of tea in particular are fond of reminding us that works repaired with lacquer and gold such as the one featured here become more resilient and beautiful for having been damaged...
The plate is decorated in late Ming Kraak “fuyo-de” style with a pattern of alternating panels of flowers, Chrysanthemums and Camellias, with Precious objects, interspersed with pendant Lozenge motifs. The central mikomi framed by a narrow atypical floral band depicts an oversized figure holding a rod standing upon a bridge with two oxen set in a classic Chinese “sansui” landscape’...
What a wonderful glaze. Slightly distorted shoe shaped (kutsugata) tea bowl from the early Edo period with a rounded brim, made of light, coarse, unrefined Mino clay. The expertly thrown body was trimmed with a potter's knife in its lower part around the foot ring.
In the style of Kuro-Oribe bowls this bowl was covered with a brown iron oxide glaze...
Cylinder shaped (hanzutsu) tea bowl made of light, fine unrefined Mino clay. Style (trimmed mouth, very controlled glaze) make it appear contemporary with the late Oribe bowls. The expertly thrown body is covered with the typical white, feldspatic Shino glaze which has been poured and under which a decoration of brush strokes has been applied in iron oxide (oni ita) representing grass and fences.
Just the foot ring and its immediate surrounding was left unglazed...
A 12.75" late 17th century Kakiemon vase and cover decorated in iron-red, green, yellow and black enamels on underglaze blue, the body with a profusion of chrysanthemum, peony and cherry blossoms and foliage emerging from rockwork, the shoulder with alternate bands of lappets, hanabishi and karakusa, the neck and the foot with a continuous band of lappets, the cover similarly decorated.
Provenance: Christie's Lot 44, November 17, 1998
Condition: slight crack to base, cover restored.
At various times over the long history of tea practice in Japan, Korean-ware has come into high fashion and ships full of the finest ceramics from the neighboring country were brought to its shores. Such pieces have long been favored by learned cha-jin (tea people); and, older pieces such as this are quite prized today as relatively few from this era have survived in such good condition...
A fine Kakiemon shallow dish of moulded octafoil form decorated in underglaze blue and enamels with a scene from the Tale of Ise featuring the famous eight planked zig zag bridge, Yatsuhashi, over a bed of Irises, kakitsuba. The Kakiemon version combines trailing Cherry blossom with clouds and rain. The lower half of the design incorporates further familiar Kakiemon elements, the almost trade mark, turbulent waves and a water fowl, amongst Irises...
A fine Arita sometsuke fish shaped dish carefully modelled in the form of a Carp, koi-gata o-sara dating to the late 17C. See “The Trakatori Collection” Kyushu Museum 2020 for a set of similar dishes there dated 1670-1690’s. This example probably dates from the 1690’s, the Genroku era. Fish shaped dishes were a popular accompaniment of the tea ceremony, Chinese ko sometsuke examples made specifically for the Japanese market date from the early 17th century, Tianqi era.
The Koi was...
This lovely Hagi chawan rests firmly on a wari kodai or “split foot” that shows the iron-rich clay this antique piece is fashioned from. The milky glaze varies in consistency across the curves and contours of the bowl with areas tending towards pale ash, ivory, and faint lavender. The surface of the bowl displays many interesting features including an “ishi-haze” or area where a stone partially exploded out of the clay during firing—difficult to plan intentionally and admired for the u...
Early 17th century (Edo Period 1603-1868) distorted shoe shaped (tsutsugata) white Shino Chawan with a rounded brim, made of light, coarse, unrefined Mino clay. The expertly thrown body was trimmed with a potter's knife in the lower part of the body and around the foot ring.
This bowl was covered with a white Shino type of ash glaze. Under the transparent glaze two young pine tries were painted in iron oxide.
The young pine tree decoration is a popular attribute of New Y...
Rough unrefined Shigaraki clay, with little iron oxide, thrown into the shape of a small tsubo called 'uzukumaru'. The unglazed body was scorched by the fire to a beautiful red discolouration. The bottom plate shows two stripes called 'geta', which held the pot in place on the hand wheel. Some flying ash has created a natural glaze on the shoulder and the mouth. Inside some lacquer or other chemical has been applied to prevent the vase from leaking - a common practice with unglazed Shigaraki ...
Our Kutsu / gutsu gata ( shoe shaped ) tea bowl is made of iron bearing Karatsu clay.
Its fastly but expertly thrown body is glazed inside and outside, with the exception of the bottom including the roughly cut foot ring with an ash glaze which has some Feldspat mixed in glaze. The decoration under the glaze is painted in dark brown iron bearing clay directly on the body - flying birds.
To prevent the glaze from flaking off at the rim, iron oxide was painted under the gl...
An Arita porcelain plate (#2) decorated with a leaping carp within a moulded border based upon Chinese Ming export porcelain, ‘Kraak’ style. The dishes have faux chattering in imitation of Wanli Kraak dishes.
Arita, 1750 - 1780.
Approximately 21.5cm diameter. Perfect condition.
Please study the photographs.
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