Victorian Classical sugar caster. Made by William Gibson & John Langman in London in 1893. Girdled body on stepped foot. Twisted fluting with scalloped borders. Cover has ornamental piercing and finial. Initials EAW engraved on underside. Elegant and substantial in Britannia (that is, 958) silver. Fully marked. Excellent condition.

Dimensions: H 8 1/2 x D 3 1/2 in. Weight: 11.5 troy ounces. #BV187

Japanese Meiji Art Nouveau silver tea tray, ca 1890. Retailed by Arthur & Bond in Yokohama. Lobed oval. Well stippled and engraved with shaded interlaced monogram. Upturned c-scroll end handles. Blossoming prunus branches, iris flowers, and bamboo applied to handles and tapering shoulder. Exotic ornament and Western form. Marked “Arthur & Bond / Sterling / Yokohama”. Very good condition. One handle back has dent (not visible from front).

Overall dimensions: H 2 7/8 x W 28 1/2 x D 18 1/2 in...

Also known as "The Buddha of Immeasurable Light and Life,” here in this pre-Edo Buddhist painting we see Amida and his two assistant bodhisattvas, Seishi on the left (associated with wisdom and strength), and Kannon on the right (associated with compassion and mercy), descending from the Western Pure Land to welcome newly deceased believers into the realm of paradise. In this practice known as raigō, the faithful are transported via the small lotus pedestal the Kannon holds in his...

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: ...

Although reports vary, it is generally thought that Zeze-yaki had its heyday in the late Momoyama to early Edo period under the influence and patronage of legendary artists/ men of tea, Honami Koetsu and Kobori Enshu. It was also counted among the seven best kilns selected by Enshu Kobori (1579-1647), a tea master and military commander of that era. In the mid-1600s the tradition died out for a time after the destruction of the kiln by fire. The kiln was later resurrected on two occa...

A key figure in the Japanese folk craft movement of the 20th century, Fujita Kyohei is credited with helping to develop a thriving glass-working community within Japan. Best known for his “dream” or “Liuli” boxes—very colorful and skillfully crafted boxes that often incorporated gold and silver leaf into their designs. Here we see a piece that would likely have been crafted earlier in his career but that demonstrates his masterful technique even then. In 1972 Fujita, along ...

Sometime around the year 1600 the first Takatori kiln was constructed at the foot of Mt Takatori in Fukuoka. This tradition was based on styles created by Korean potters brought to the shores of Japan during its colonial expansionism of the late 16th century. A favorite of the Kuroda lords of the time, its production and use was closely guarded until later in the 19th century when the domain system was abolished, freeing it up to be more widely used. Though Takatori-ware has been admired by many...

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 ...

This lovely Shino tea bowl fashioned from coarse Mino clay is covered in feldspar glazing, has a classic ferrous abstract painting across the front, and shows nice age—most likely from early to middle Edo.

Shino-ware dates to the Momoyama period when potters were attempting to recreate white porcelain-wares that were being imported from China at the time. Originally they were made in a single-chamber anagama style kilns set into the hillsides. Later, with the advent of large-batc...

Jinbo Tomoyo (1902-1994)
Pensive Girl
Date: 1939.
Size: 16.5 x 11.25 inches.
Edition: First and only.
Signed and sealed by the artist.
Edition: 56 of 100. Hand numbered in Japanese on back beside one hundred limitation seal.
Artist's red seal on back with date and seals of carver (Ishizaka Kenichi) and printer (Nakamura Sanjiro).
Mica highlights on hair ornaments.
Medium: Japanese woodblock print.
Condition: Abrasion at index finger area. A few ...

Paul Jacoulet
La Gerbe D'Anthurium, Angur, Mer du Sud (The Spray of Anthurium Flowers, Angur, South Seas)
Date: July 15, 1951.
Fewer than 150 impressions made. This example has no edition seal visible. Jacoulet's fancy PJ seal is covering another seal on the back.
Size: 18.625 x 14 inches.
Ivy seal. Carver: Maeda. Printer: Honda.
Reference: No. 118 in The Prints of Paul Jacoulet by Richard Miles.
Condition: Excellent color. Light creasing in margins. Top back ...

During the Kamakura period in Japan (1185-1333), a remarkable form of Buddhist sculpture known as the votive Buddha emerged. Commonly referred to as kakebotoke (hanging Buddhas), pieces like this would have been mounted on spherical plaques made of bronze or copper and hung in a Buddhist temple or possibly even in a Shinto shrine. These small-scale sculptures were created to serve as objects of devotion and were often commissioned by wealthy individuals or temples. The Kurakama perio...

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...

A technique most commonly seen in Tenmoku tea bowls, “konoha” is accomplished by applying a coating to an actual leaf and then attaching the leaf to the surface of an artwork before firing. The exact details of this process seem somewhat murky as it appears to be a well-guarded secret among potters. After some research we were unable to identify the potter; and, although there is a signature on the bottom that appears to read “Raishō,” we could find no potter by this name. R...

Occasionally while browsing through the temple markets of Kyoto or perusing backstreets tea-ware shops, an attractive piece will catch my eye for no particular reason. When this happens, I typically buy it immediately without hesitation, trusting that I will be able to place it to a specific period or kiln given enough time and research. In some cases however, this proves to be a fruitless task and I am left only to appreciate the beauty and form of the object without having access to too many d...

A testament to the brilliance of traditional Japanese craftsmanship, this lacquered mizusashi—skillfully handcrafted from bamboo—showcases a deep crimson hue that radiates warmth and sophistication. Its seamless design and flawless finish reflect the skilled hands of the first generation artisan who crafted it, achieving a harmonious balance between form and function. Designed for use in Japanese tea ceremony, this indispensable implement would love to be put back into service o...

Paul Jacoulet
Le Phare de Mikimoto, Shimoda Izu (Mikimoto Lighthouse, Shimoda Izu)
Date: February 1954.
Fewer than 80 impressions made. This example is stamped "PRESENT" on the verso.
Size: 17.75 x 13 inches.
Signed and sealed with peony seal. Carver: Maeda. Printer: Onodera
Reference: No. 134 in The Prints of Paul Jacoulet by Richard Miles
Medium: Japanese woodblock print.
Condition: Toning on verso. Please see additional photos showing partially trimmed...

Takahashi Shotei (Hiroaki)
Two Paintings of "Tama" Cats - Black and Beige
Date: Not known. There was a June 1924 Tama cat woodblock print (see our Shotei061) in which the white cat is in the reverse orientation.
Size (Black Cat): Paper: 15.5 x 11.375 inches (38.9 x 28.9 cm). Image: 13 x 9.25 inches (32.8 x 23.4 cm).
Size (Beige Cat): Paper size: 15.25 x 11.375 inches (38.8 x 28.8 cm). Image: 13 x 9.25 inches (33.1 cm X 23.5 cm).
Medium: Japanese paintings on paper. The ...