Italian Midcentury Modern 800 silver box. Rectangular with straight sides and thumb rest. Cover flat and hinged with tab. Allover engine-turned curvilinear ornament in plain borders on sides and cover top. Box underside plain. Marked “800” and stamp (1944-68) for Florentine maker Bartolini Bartolozzi. Condition: Minor bung to upper left corner. Otherwise very good.

Dimensions: H 1 1/2 x W 7 1/8 x D 3 3/4 in. Weight: 9 troy ounces. #BW633

Set of 4 turn-of-the-century French Belle Epoque Rococo 950 silver open salts and spoons. Each salt: Open oval with scrolled and leafing rim and four reeded and scrolled supports. Asymmetrical scrolled cartouches engraved with interlaced script monogram. Cobalt glass liner with scalloped rim. Each spoon: Double-sided gilt-washed shell bowl and tapering stem with raised scrollwork. All pieces have maker’s stamp for V. Boivin. Spoons have Minerva head. Very good condition.

Overall dimensions: ...

Federal Classical coin silver flagon. Made by Nicholas James Bogert in New York, ca 1820. Upward tapering cylinder on spread and stepped base. S-scroll handle with ribbed thumb rest and heart terminal. Hinged and domed cover with bud finial. Curved spout with ogee opening. Bold and spare by a historic regional maker. Maker’s stamp. Very good condition with nice patina. A few areas of firescale.

Dimensions: H 13 x W 9 1/4 x D 6 1/4 in. Weight: 33 troy ounces. #BX039

An example of some of the finest porcelain modern Japan has to offer. According to Wakao Kei, the artist who crafted this piece, it took him years of trial and error to perfect these stunning translucent glazes and associated techniques such as getting the right flowing consistency and pooling effect around the base. The unglazed portions at the foot of the bowl seen here in pictures was created by the artist's fingers as he plunged the vessel into the glaze while holding firmly to the porcelain...

Charming Edwardian pendant. Variscite cabochon on 14k yellow gold mount with open and alternating leaves and beads. With bail. United States, ca 1910. Excellent condition.

Dimensions: H (without bail) 1 1/8 x W 3/4 x D 5/8 in. #1215

An interesting contemporary Hagi piece resting on a split-foot (wari-kodai) and a unique glaze patterning that somewhat resembles layers of flower petals. A creation of Morishige Tetsuyo, a native of the famous potting town of Hagi who later studied in Kyoto and eventually took up a position at the family kiln “Renkozan” with tutelage from both his father and grandfather. This particular piece is from a series he began in 2009 aptly named “Kaben” (The petal series). Actively displaying b...

Midcentury Modern brooch. A cluster of lapis lazuli berries mounted to irregular and striated 14k gold leaves. United States, ca 1960s. Very good condition.

Dimensions: L 2 1/4 x W 1 1/2 in. Approximate weight: 12.7 dwt. #1208

Turn-of-the-century Belle Epoque 950 silver and mother of pearl fruit set. Made by Gustave Veyrat in France. This set comprises 24 pieces with 12 forks and 12 knives. Each: Mother of pearl handle with ornamented mounts and lobed oval terminal with bead. Silver is gilt and mother of pearl is tinted brown. In leather-bound case with silk lining and fitted velvet.

Fully marked with maker’s stamp and Minerva head. Case lining has gilt stamp for Monte Carlo retailer. Very good condition with nice...

Deceptively simple and notoriously difficult to apply with the calligrapher’s brush in one fluid, arching stroke; the symbol of the ensō has long been associated with strength, elegance, and the simultaneous being and non-being of the universe. A closed ensō (such as the one featured here) is more closely associated with the idea of transcendent perfection, while an open ensō represents movement, fluidity, and attainment in the corporeal world. Though the monk who created this piece, Hasega...

Art Deco bronze urn: $44,000, reduced to $38,000 This Art Deco bronze figurative planter (jardiniere), circa 1920, measures 55" in height, 36" across (elbow to elbow), 18" deep.  caste bronze, 150-250 lb. This work was the combined effort of two French sculptors; Pierre Lenoir and Marcel Guillard (1896 - 1932). It is believed two castes of this sculpted urn were made.  Pierre Lenoir (1879 - 1953) was a French sculptor and medallist and was one of the Breton sculptors born in the 1880s ...

Pretty Italian Classical 800 silver keepsake box, ca 1940. Rectangular. Cover flat and hinged with tapering tab. Sides fluted and engraved with flowering and leafing branches. Cover top has heraldic cartouche (vacant) surrounded by leafing scrollwork on stippled ground. Partitioned interior. Marked "800" with stamp for Roberto & Armando Dabbene in Milan. Very good condition.

Dimensions: H 2 3/4 x W 8 1/4 x D 4 3/8 in. Heavy weight: 22 troy ounces. #BW335

1960's Chinese green and white jadeite carving of lotus and bamboo on a custom wood stand. A frog is perched on one of the lotus leaves and a bamboo stalk in the background serves to hold calligraphy brushes or fresh flowers. In excellent condition, it measures 7.25" high, on stand 8.75" high, 5.5 across, and about 3.5" deep.

Unusual 14k gold chain necklace, comprising faceted oval links. No clasp. Custom made. United States, ca 1980s. Very good condition.

Length: 37 inches. Weight: 57.1 dwt. #1204

In excellent condition, this bird-shaped, or “torigata” vase is a beautiful example of Iga pottery from last century. A master of form, material, and technique, the potter Furutani Michio (1946-2000) wrote several books later translated to English on the construction and use of the “anagama”—an earth-dug, wood-fired, small-batch kiln traditionally used in Japan—celebrated for the extraordinary results that often emerge from its fires. Winner of a number of awards during his lifetime ...

Painted lacquerware in Asia is thought to have more than 3,000 years of history; originating in China and then later spreading to South East Asia, Korea, and Japan. One reason this craft has taken centuries to perfect is that the sap of the tree used is highly toxic and irritating to the skin and to the lungs. Even minor contact with the raw materials can cause serious issues, making collecting and refining it quite labor intensive. Additionally, once collected it takes on average 3-5 years for ...

Born the second son of Ryônyû, the 10th Raku Kichizaemon Tannyû took over the family kiln in 1811 at the age of 16 and served until his retirement and subsequent handing on of the title of Kichizaemon to his son-in-law Keinyû some 34 years later. Retaining many of the unique stylistic innovations of his father including his clay trimming technique, Tannyû went on to establish several new family kilns and to produce wares for both 10th and 11th Tokugawa Lords. The piece seen here is a classi...

Pair of magnificent French Neoclassical 950 silver 7-light candelabra, ca 1880. Each: Six leaf-wrapped s-scroll arms each terminating in single leaf-and-dart socket, mounted to central socket on shaft set in petal mount on knopped and tapering shaft; raised foot on 3 bracket-mounted feet. Imbricated leaf wreaths and garlands, fluting, beading, and pendant flowers. Two oval medallions with armorials for Bernard de Lassus, a mountaineering baron, who divided his time between the remote peaks of th...

Fresh and pretty turn-of-the-century Austrian Art Nouveau 800 silver casket. Rectangular with curved sides. Cover hinged and raised with scroll tab. Chased and engraved wrapround ornament with entwined and whiplash tendrils and flower heads. Rococo scrolled corner supports. Gilt-washed interior. Marks include maker’s stamp HS. Excellent condition.

Dimensions: H 4 1/4 x W 5 3/8 x D 4 in. Weight: 13 troy ounces. #BW139

Ca 1950 A wide copper cuff signed Renoir. It measures 2-7/8" in width and the inner diameter is 2" with a bit of give to open.

Turn-of-the-century French gilt bronze picture frame. Rectangular window in same surround with raised leaf-and-dart, imbricated leaf, and beaded borders. Red guilloche border and applied and pierced flower baskets, cornucopias, bouquets and shells. Ribboned and leafing rinceaux crown. With glass, silk lining and hinged easel wire support. For portrait (vertical) display. Excellent condition.

Dimensions: Frame: H (overall) 12 1/8 x W 8 7/8 in. Window: H 7 1/8 x W 5 in. #SW13

Turn-of-the-century French gilt-bronze picture frame. Rectangular window in same surround with raised beaded, leaf, and guilloche borders and scallop shells applied over ribbon border in pink guilloche enamel. Wreath-and-ribbon crown. With glass, silk lining, and hinged easel wire support. For portrait (vertical) display. Excellent condition.

Dimensions: Frame: H (overall) 14 3/4 x W 11 in. Window: H 9 x W 7 in. #SW16

Turn-of-the-century French gilt bronze picture frame. Rectangular window in same surround with raised leaf-and-dart, imbricated leaf, and beaded borders. Red guilloche border and applied and pierced flower baskets, cornucopias, bouquets and shells. Ribboned and leafing rinceaux crown. With glass, silk lining and hinged easel wire support. For portrait (vertical) display. Excellent condition.

Dimensions: Frame: H (overall) 12 1/4 x W 8 3/4 in. Window: H 7 1/8 x W 5 in. #SW14

Here is an exceptional early creation by Georg Jensen USA designer, Laurence Foss. It features square lapis stones accented by sterling floral panels with a hint of goldwash at the buds. Signed L/F Sterling, it measures 7" x 5/8" and weighs 38.1gr.

A concave sterling bangle signed Hans Hansen Denmark 925S. For a smaller wrist and hand, it measures 2-1/4" ( inner diameter), is 1/4" wide and weighs 29.2gr.

Going back over 1,300 years, Seto-ware has the distinction of being Japan’s oldest pottery tradition still active today. Made from the rich clay and silica of the region of production, Seto porcelain in particular has been highly prized throughout the history of Japan. The piece shown here can be described as Seto-guro (Black Seto) and is an excellent example of this type of pottery. The writing on the box describes it as being from Muromachi, so well over 400 years old. The form and compositi...

Seto is a pottery tradition established in the 12th century with the aim of reproducing fine Chinese porcelain and tenmoku-style tea bowls—which were hard to come by in Japan at the time. Later, during the Muromachi period, Seto potters established kilns in Mino thus starting the period known as ko-Seto, or “old Seto.” These pieces were distinctive as they were produced in small batches and with great care. Later in Edo, the large-kiln style of production or “ogama” was introduced ushe...

A very versatile and innovative artist, Sakata Jinnai produces pieces such as the vase seen here in his easily recognizable trademark style. Many of his pieces are earthy and primal in compositions, often inlaid with gold or partially painted in “makie” using various lacquers for dramatic effect. Waves and contours also feature prominently in his work; inspired, he says, by cosmic energies and architectures of the universe. Sakata very actively exhibits his pieces and looks for interesting c...

Currently in its 5th generation, the Miura Chikusen line of potters has continued to produce high-quality Kiyomizu-yaki and Kyo-yaki porcelains used in sencha for well over 150 years. The piece seen here is by the third generation potter and has the rare distinction of being endorsed by Sokuchusai, a former Head Tea Master of Omotesenke in Kyoto. Simple and elegant, a section of bamboo stands out in contrast to the white crackled porcelain glaze. If you are looking for a representative work by o...

First born son to Living National Treasure Isezaki Jun, Koichiro (b. 1974) has quickly made a name for himself as an independent artist. Not content to rely solely on family reputation, he has set off on his own path, making innovations in clay and also in the ideas and principles surrounding his craft.

With its well-proportioned ridged design, natural ash glaze, and coarse grade of Bizen clay still containing visible stones; the vessel seen here would be a good choice for someone ...

A student of Itaya Hazan, one of the most sought after potters in the world of Japanese art, the ceramicist who crafted this fine vase displays here a high degree of mastery, both in form and glazing technique. For the collector who has always wanted a Hazan but has never been lucky enough to chance upon one, this may be a worthy acquisition. Although much of Inoue’s work is quite different in style to that of Hazan’s, you can find a number of pieces where the influence is unmistakeable—th...

An often overlooked implement in tea ceremony, here we have the humble kogo (incense box) with an image of a sleek and flowing dragon. Commonly thought to represent strength, freedom, good luck, and magic, dragons are a popular theme in the artwork across Eastern cultures. Interesting to note, the dragon here is portrayed in the Korean style with four claws, with dragons in China typically having five claws and dragons in Japan typically having three. Fashioned by one of the few great female Jap...

First born son to Living National Treasure Isezaki Jun, Koichiro (b. 1974) has quickly made a name for himself as an independent artist. Not content to rely solely on family reputation, he has set off on his own path, making innovations in clay and also in the ideas and principles surrounding his craft. With its well-proportioned ridged design, natural ash glaze, and coarse grade of Bizen clay still containing visible stones; the vessel seen here would be a good choice for someone looking for a ...

Over the years we have taken a special interest in Raku-ware and especially in works produced by the Tamamizu kiln, such as the 300+ year old ceremonial tea bowl seen here. The first in this line of potters was Yahē (1662 - 1722), an illegitimate son of Kichizaemon Ichinyu (1615 - 1768) who studied under his father and then left to open his own kiln in the village of Tamamizu (known today as Ide-cho). Though he is the first potter of this branch, he is sometimes referred to as Tamam...

The style of this vase, known in Japanese as karakane (“kara” meaning Chinese and “kane” meaning copper), has been carried on by Japanese craftsmen since its theorized introduction during China’s Tang Dynasty. Falling in and out of fashion over the centuries as Japan alternated between preferences for Chinese style tea-ware and more homegrown versions, today it remains a common fixture in many tea rooms. With beautiful red accents on a dark background, this is surely one of this artist...

Living in Kyoto it is not uncommon to come across beautiful antique tea bowls, however, finding pieces that are in good condition, aesthetically compelling, and with all of the trappings that let you know they were cared for by a devoted cha-jin can be quite challenging. Here we see all three. The shape of this tea bowl is exquisite and something I have not seen before in a Mino piece. The lacquer box, while not the original was undoubtedly custom made for this tea bowl and looks to be 100 - 200...

Created by Living National Treasure Isezaki Jun, Bizen pieces like the one seen here originated in Okayama (south-western Japan) and have a long history that is closely intertwined with that of tea culture. Known for employing a natural-ash glazing techniques that require extremely long firing times (7-14 days) at very high temperatures, constant attention is required to ensure good results. Here Isezaki can be seen pushing the bounds of tradition Bizen orthodoxies in interesting and creative wa...