Early Edo Myochin Signed Nimai Do with Nanban influence featuring gilded kusazuri and sode laced with blue chord dated Genwa 3 (1620). There are rows of Prominent rivets all about with nobori-kiri crests on the top of the munaita. Comes with an old wrapping cloth dyed with the same crest. The Hon-kozane Kusazuri are removable, attached to two leather belts suspended from iron tongs about the waist. The takahimo shoulder straps are wrapped in leather...

What a pleasure it would be to drink from this haunting 17th century (Momoyama to early Edo) Karatsu Guinomi Sake cup with gold lacquer repairs. It is 2-1/2 inches (6.5 cm) dimeter, 1-3/4 inches (4.5 cm) tall. There are 2 tiny gold repairs gleaming softly on the rim like a yellow moon peering through clouds on a dark night. .

An original Edo period kōsatsu public proclamation dated Tenwa I (1681) detailing the laws against Christianity, rewards for turning in a Christian to the authorities, as well as punishment for the offenders. Of cypress wood with sumi ink, and a hand-forged iron loop for suspension from a post or gate. The signboard has a shallow peaked “roof” to protect the calligraphy from the rain...

A rare 17th century Japanese Lacquer table performed in the Nanban style exhibited in 1972 at the Kyoto National Museum (including paperwork from the museum). Overall it is in excellent condition, enclosed in an older wooden storage box. It is 12 x 17 x 14 inches (31 x 43 x 36 cm)...

A typical Muromachi style Sansui screen showing scholarly travelers in a ragged landscape of precipitous hills and temples dusted with clouds of gold flake likely dating from the late 16th century. It is bordered in fine antique patterned brocade with a black lacquered frame. The gold mist engulfs the scene, giving life to the unusually large figures, a Muromachi-Momoyama trait. In the area about the travelers’ path, gold has been rubbed into the paper, giving it a soft sheen...

Hints of the finest powdered gold gleam on the edges of this ghostly white tea bowl dating from the early Edo period. Iron-like freckles pepper the surface which is subtly clouded with soft color. The base is almost entirely covered in glaze, the glimpses of earth worn dark with age and use. It comes wrapped in a silk bag with an age darkened kiri wood box titled Hagi Chawan and named within Kan-no-yuki annotated by Yabunouchi Chikusojochi (1864-1942) 11th head of the Yabunouchi school of tea...

A stunning painting of Mt Fuji viewed from a misty sea by Yukansai (Kano Arinobu, 1605-1677) painted in 1672 at the age of 67 on silk. The image of Fuji, broken by clouds, dominates the scene, with rolling hills and sailing vessels visible in the foreground. It is mounted in a field of copper brocade extended above and below in beige silk and measures 26 by 49 inches.

An unusual 17th to early 18th century Screen featuring a koto harp and candle stand behind a screen under blossoming prunus, a spry group of pine in front and rushing water beyond. Incredible veining in the gold. Like much of Japanese art, the viewer is asked to interpret the scene as they see fit. Perhaps the remnants of a night of poetry and music under the plum blossoms. Perhaps the lonely Michizane playing to the moon, alone in exile with thoughts longing for Kyoto...

A lightning shaped Narumi-Oribe Mukozuke dish decorated with geometrics and drying persimmons enclosed in a fine custom kiri-wood box titled “E-Oribe Mukozuke” and annotated “Mino Ko-gama” by Living National Treasure Kato Takuo, who was well known for his research into old kilns and firing techniques. One of the best preserved pieces I have seen in a long time dating from the Momoyama to early Edo period.; it originally had three looping feet which have been lost...

Shishi prance across the mottled Kiri-wood surface of this Momoyama to early Edo period Koro in gold and silver maki-e and mother of pearl inlay. A copper insert contains the fragrant incense ash. There is a hand forged iron staple top and bottom of one ancient crack testament to age. It likely once had a silver hoya (cover) which has disappeared over the centuries...

An Kamakura period Enso-ga in cream-colored patterned brocade with maple brown extensions and featuring rosewood rollers signed Renshabo. Renshabo was a high ranking samurai named Jiro Naozane and confidant of 13th century General Minamoto no Yoritomo...

A matching Edo period Myochin signed Go-mai-do Gusoku yoroi lacquered black and threaded with blue chord emblazoned with a seven star crest. It features a 24 plate suji kabuto with elaborate tehen kanamomo signed Myochin Ki Munemasa saku. The blossoming Shikoro features large back-turned Fukigaeshi and mabizashi covered in leather and also emblazoned with the seven star crest. Inserted in front is a sharp kuwa-gata maedate...

Small figure in urushi lacquer. Unusual model of a doll wearing large dress with details of flowers in mother-of-pearl and gold leaf. It suggests the gosho ningyo, which may have served as a model. Techniques of lacquer : golden background kinji, gold lacquer, silver lacquer, kanagai, kirikane, maki-e , nashiji. Unsigned. Japan Edo (1603-1868) 18th century. Height : 5,4 cm.

A 16th to 17th century (Momoyama to early Edo period) candle-stick of vine or root set onto a hollow carved base and covered in black and red lacquer with a metal stud and drip pan. It is 11 inches (28 cm) tall and in overall fine condition, with wear typical of centuries of use.

Copper green and dark iron decorate the pale glazed sides of this exquisite box dating from the early Edo period (17th century) wrapped in a silk lined sarasa bag and enclosed in a black lacquered wood box. It is 1-3/4 inches (4.5 cm) square, roughly 3 inches (7 cm) tall and in overall fine condition.

Starting with the famous verse by Chinese Scholar YoYu (AD 53-18) ”The written character is a picture of the heart” (Sho kokoro Ga nari) here are written 42 rules of calligraphy spread over 10 narrow panels by the famous calligraphist Ide Gakei dated 1677. The verses appear to have been written in one sitting, the style going from crisp perfect Kaisho characters through Gyosho stylized characters and into the elegantly running Grass script (Sosho). The way the artist allows his hand to flo...

A Momoyama-early Edo period gold screen depicting a happy god of fortune drinking while being pulled by deer in his elaborate wagon through a rocky landscape. The paper is wrinkled and creased with age, and the color worn, exuding a great sense of antiquity. The bold patterns and rich texture of the Edo period brocade border amplifies that feeling. The screen is 22-1/2 x 56 inches (57 x 142 cm) and has a shaped lacquered wood frame retaining antique paper backing with some repairs.

A perfect example of the Early Edo Tea aesthetic in this Chatsubo dating from the first half of the Edo period, a splash of black over rust with a white glazed waste from the Seto region around modern day Nagoya. It comes with an ancient wooden bung and wrapping cloth. The pot is roughly 27 cm (11 inches) tall and in overall excellent condition, with typical wear around the foot. No cracks or repairs. Called Koshijiro (White wasted) this style became popular in the end of the 16th century, an...