Catalog: Antiques: Regional Art: Asian (377)

Satsuma fine earthenware vase, Kinkozan kilns. Decor of absolute rarity. Two panels with a cracked cream-white background are decorated on one side with a palace scene representing the Empress and her dancer and musical courtesans and on the other side the Mikado fighter. Indeed, above the central figure floats a flag bearing the imperial emblem of Japan, the 32 petalled chrysanthemum. The bottom of the vase is atypical, it is decorated with a multitude of flowers in high silver relief, generally the bottoms of the Kinkosan are always blue, very rarely green for the higher quality models. The fact of having used the silverware announces an exceptional object. It is believed that the artist skilfully imitated the work of a goldsmith, that of one of the many solid silver vases of the Meiji period applied with shibayama panels on ivory or lacquer. Here the imperial decoration imitates the work of the urushi on two parts of ostrich egg or ivory. The artist used several shades of gold in different thicknesses to give the illusion of maki-é and kirikane. This decor is absolutely unique and of the best quality. Below the mark of Kinkozan. Excellent condition. Height about 20cm.

Rare lacquer box with nashiji background. Gold lacquer decoration in relief of pavilions in a lake landscape. Kirikane gold and silver, pine needles in yellow metal inlaid in high relief blackened by oxidation and dirt. Early Edo period, late 17°or earlier. Inside there is a tray. 18 x 10 x 8cm. A broken and badly glued interior edge (visible on photo). Sold as is, never restored nor cleaned. No lack. Very good condition considering the venerable age.

Tokkuri (alccol bottle) made of hard porcelain. Mikawachi kilns. Japan early 19th century. The bottle has an unusually elegant, typically Japanese shape, it was created for the Japanese market and not for export. The porcelain, immaculately white, has a very fine grain similar to that of marble, which is typical of Hirado clay. A lake landscape decor subtly drowned in mist is painted in a luminous cobalt blue. The quality is superb, the technique is flawless and the drawing is artistically traced with the greatest care. Old Hirado porcelains are rare, they date mainly from the end of the 19th century during the Meiji period, but the Tokkuri presented here is much earlier, its style and quality allow us to date it from the end of the 18th or the beginning of the 19th century, around 1800. Some say that Hirado porcelain is the most beautiful in the world. This Tokkuri is a ceramic worthy of being included in the greatest collections. Shape, material, decor, dimensions, everything is perfect. Good condition. Height:293mm

Extremely rare Sage jubako in wood covered with basketry applied with flowers and plants in lacquer, gesso, mother-of-pearl and pewter (or lead). The box is composed of several stacked parts. The interior is lacquered in red. In the top compartment there are two Chinese characters which are perhaps an artist's signature. Underneath one can see the weft of a strong lacquered fabric ensuring a good solidity. The basketry is not glued to the wood but covers it, making it fragile and it is surprising that it has remained in good condition. The decorations in strong relief are applied on the basketry and not inlaid. The mounts are bronze. To my knowledge, there is no other example of this type of rare work, certainly not produced much and so fragile that it no longer remains. Only the V&A (Victoria and Albert Museum) presented in the 1920s a box 17th century from the same workshop, as I think it was a temporary exhibition, the box is no longer at the V&A, to date I have not been able to find it. I think it should be in a private Japanese collection that had lent it for the exhibition. The V&A must keep track of it. I join a photo of this box. The Sage Jubako that I present here is in good condition, complete, no restoration, of course there is a lot of wear and tear, small missing parts and scratches that are due to 3 centuries of existence. It is an important object. Width about 45cm. If anyone could tell me where the V&A box is currently located or if there is any other basketry like this I would be grateful to learn about it for the creation of a book.

Japanese inkstand (suzuribako) in lacquer (urushi). Decor on a spangled background (nashiji) of a lakeside mountainous landscape treated in relief (takamaki-e) flat silver powdered details (hiramaki-e) and mosaic (kirikane ) gold and silver. The rocks are particularly well treated. The interior is decorated with a rich nashiji background forming scrolls of mist and flowers in relief. The suzuribako is complete with its original simple and gilded copper stone and dropper. The style of the decor is from the second half of the 17th century. Good condition, no fracture, no lack, or restoration. Solid lacquer not chipped at all. Wear on the corners that reveal the black base. It is rare to find a suzuribako from this period in good condition. Protected in its Japanese box.

Small octagonal hard porcelain vase. Decor enamelled with a landscape fenced with hedges of dry branches, there are a prunus, a pine and on the ground young bamboo shoots which would signify the symbolic presence of the "three friends", on the collar is represented a Ho-ho (phoenix) which in Japan symbolizes the Empress. Some details are gold. The style is kakiemon but this small vase is atypical. It is difficult to date and also to locate with precision. It is certainly Japanese, we think it was created in the island of Kyushu since it is in porcelain. It is an excellent quality work of art made with the greatest care, elegant decoration, precise designs, beautiful enamels, complicated shape, perfect firing, all this indicates a creation of an exceptional master potter. . The National Ceramics Museum of Kyushu houses a vase which is in the same spirit and which is announced as being in the style of Nonomura Ninseï. Good condition, a little worn, 2 small chips on the edge of collar. It's absolutly rare if not unique. Hight:18cm.

Exceptional tripod censer in hard porcelain with a polylobed shape. The censer in the shape of a flattened melon with twelve slices, each decorated with a dragon painted on top in green, manganese and yellow enamels. Below Makuzu Kozan has chiseled his signature in relief which is very important, in fact it is much more complicated to chisel in relief than in hollow. In hollow all it takes is one pass of the tool to trace the characters while in relief you have to lower all the material around the characters to raise them. It's a detail but it's what makes all the difference between an art object and a work of art. Likewise, the twelve-lobed shape is complex and difficult to create and especially to firing, the risk of bursting and deformation in the kiln is multiplied. Finally the simple decoration of dragons is finely drawn, the colors are harmonious. The censer is very elegant and pleasantly proportioned. A base and a cover in precious wood (probably rosewood) complete the work of art. I don't know of any other Kozan porcelain that is mounted with wood. One might think that this frame was added late, which is possible, but the quality of cabinetmaking and the perfectly adapted style make me think that the whole, porcelain and wood, was created at the same time. It's an unusual work, everything is unusual, shape, signature the exceptionnal presence of wood is not surprising. It is one of Kozan's most beautiful creations. 170x95mm Fine condition. Japan Meiji périod arround 1900.

A rare brushpot caved in coconut. On one side 1 temple surrounded by 1 dragon with a fish tail (Makara) and a fish. On the other side 2 dragons surrounding the sacred pearl which curiously has the shape of an inverted heart. We can see the same heart on a coconut box illustrated on page 96 of book 44 of the complete collection of the Palace Museum. A similar almost identical brush pot was sold in London on November 5, 2013 by christie's, lot 112 (see photos).The whole is covered with a thin layer of transparent brown-redish.There is a restoration at the top edge that I show on photo. Otherwise in good condition.H:97mm D:67mm. W:80g

The deity is represented seated surrounded by his multiple arms holding various attributes. Excellent quality of sculpture, on its skull multiple small heads (10+1) pegged, pretty draping, beautiful facial expression, the eyes and the third frontal eye in glass or rock crystal. Thick, solid lacquer, beautiful gilding. Avalokitesvara wears all her jewelry. Complete set with its glory and its original base. Japan Edo period 18° or before. This statuette has fortunately never been restored, and it has not been cleaned for a long time, which has helped to preserve it. The gold remains in good condition under the dust and grease of the incense. The jewelry is entirely gilded with mercury and its gilding perhaps needs cleaning? Height: 68cm the deity alone: 26cm This is a statuette of excellent quality, the best that was available at that time. It is worthy of being included in the best collections. But you have to take great care of it, it is not an object.

This exceptional tanto is very original, unique in its kind, it represents a bundle of lotus flowers wrapped in a canvas. The mount is in silver, embossed for the leaves of the sheath and cast for the flower buds at both ends. The seppa are in shakudo and gold. Some elements in gilded bronze. The design of the sheath is unique, it is a perfect imitation of a fabric canvas. It is made of woven bamboo fibers covered with lacquer. The effect is striking, the impression of a real fabric is real, we know of nothing equivalent. The menuki are of even higher quality and in a completely different style. We believe that the patron of the tanto had them added to the artist's work. They are not signed which is unthinkable for works of this exceptional quality, they are in Sentoku and Shakudo inlaid with gold in 2 shades. The carving on the lapels of the guards' dress is a tour de force of the engraver, in fact this practically invisible detail was technically more complicated to achieve than all the rest, its perfect outline in the center of a curve on a rounded surface is of prodigy. The one who created this did not need to sign his work, he alone being capable of such a work. A specialist may perhaps know who it is, certainly one of the best goldsmiths of his time. The blade is incised with a dragon on each side, it is straight, it has not been ground but tempered. is barely visible, a good polishing would be desirable. It seems to be from the 19th century, the handle is chiseled with several characters which should give all the information (blacksmith, place and date) probably an excellent blacksmith. For the buyer who is not interested in the menuki we can sell the Tanto without them or vice versa if a buyer is only interested in the menuki we can sell them alone. The price of the menuki is 3000€. They are easily disassembled because they fit together in the female-male principle. Length approximately 28cm. Condition: Small losses in the lacquer of the scabbard (see photos). Polishing blade. Frame in good condition. No restoration.

Rare box with 3 compartments in lacquered wood from the beginning of the Edo period, end of the 17th century, beginning of the 18th. Decor of chrysanthemums in a landscape. Some flowers are encrusted in solid gold. The decoration is in lacquer in light relief powdered with gold and silver on a nashiji background. Details in Kirikane. The silver is strongly oxidized and has turned greyish-black as on all very old lacquers of this period. In the bottom of the box on the base compartment we can distinguish an old Japanese restoration which covers what was a slot. We can still distinguish this technically identical repair only because the metal powders are not yet oxidized. It is exceptional to find a box of this quality, inlaid with gold in relief, from this period and of this large size. Height: 185 mm Diameter: 150mm Very good condition for a tercentenary lacquer. The bottom compartment is split on one side and restored on the other.On the lid there is a large chip, clearly visible on the photo.

Japanese porcelain soup tureen whose shape is inspired by European goldsmith pieces. On the sides two heads of modeled Buddhist lions and on the lid a crown. Simple decor of phoenixes, flowers, plants and waves in the color palette of the Imari style. An old collector's label indicated that this tureen was part of the service of Augustus the Strong. Probably verifiable statement for motivated collectors. From memory, a Japanese porcelain sauce boat whose shape was also inspired by European goldsmithing, also decorated with Phoenix, was illustrated in the book "Porcelain for Palace" (The Fashion for Japan in Europe 1650-1750). The crown was broken and reattached. From memory there are no other accidents. Length: 41cm. Such a creation is absolutely unique. It is a work of absolute rarity. Today there is only this archive photo. Other photos will follow within a week.

Vase of exceptional size in Satsuma earthenware. It is extremely difficult to make such a large and above heavy earthenware because the audacious shape carries a risk of subsidence during firing. It is certain that the artist must have used supports during the firing. It is a technical feat of a master potter. The enamels and gilding are of high quality as can be seen on the best satsuma creations. The decoration is also atypical with a beautiful decorative effect and a surprising aesthetic. At the top of the vase, a decor inspired by Kyoto textiles from the 18th century is reminiscent of a canopy that will discover the decor. While below, leaves and stylized chrysanthemums. This flowers are in fact the Mon of the Emperor, because all of them have exactly 32 petals. Except the reds which have 48, the meaning of which escapes me. Lower,the leaves from which the "Mon" are taken are Paulownia leaves which were the emblem of the Tokugawa Shogun. We draw the conclusion that this vase illustrates an important moment in the history of Japan when Emperor Meiji regained power,which had been left to the Shogun for centuries. The Tokugawa shogunate is no more, and its fallen Pawlonia leaves serve as breeding ground for imperial chrysanthemums. Diameter: 40cm Height: 36cm 2 cracks in the upper edge at mid-height, one on each side visible on photo. Accident which on a vase of this size is not unacceptable

Copper alloy vase inlaid with precious metals, shakudo (gold and copper) shibuichi (silver, gold and copper) silver and gold. Some designs are gilded, others are solid gold. The inlays are all made of the same dovetail technique. Decorated with Phoenixes in flight, Buddhist Lions, birds and stylized flowers. The style of the absolutely Japanese and compartmentalized decor, the distribution of colors, the stylized subjects, the meticulousness of the carvings and the excellent quality make us rank this vase among the masterpieces of the genre. A similar style vase is housed in the Khalili collections under number 95. Below, inlaid in gold, is the artist's mark which we have not yet identified. All the inlays are, of course, cast and not stamped. Good condition. No missing or soldering. No patina restaured. Height: 171mm Diameter: 165mm

Screen of 2 panels, watercolor on paper. The background is glued with gold leaf square . The scene represents young women in the garden, one of them capturing fireflies. The charming subject is quite unusual for this type of screens which are usually decorated with warriors, animals, plants or landscapes. The uprights are in red lacquered wood, they are reinforced and decorated with gilded copper plates and chiselled with scrolls on a nanako background, these frames are thick and of the best quality of carving and gilding. This screen has, fortunately, never been restored, the various accidents are all clearly visible and their restoration does not present any technical difficulty for a perfect job. The drawings are perfect and of great elegance which announces the brush of an excellent artist.Look at the feet, the hands, the tree trunk and the leafs all is perfect. We don't have his name but he can be looked up on request. Japanese work from the Edo period, possibly Meiji. Height: 172cm Width: 179cm. Un trés rare et ravissant sujet.

Porcelain ewer from the Kyushu Arita oven second part of the 17th century. We only know a few identical models, one, with its lid, is kept in the British museum, another is housed in Tokyo at the Idemitsu Museum and happens to be one of the major pieces of the collection, finally a last one, damaged and without a lid, was sold by Sothebys London on June 1, 1981. To our knowledge there are no others. Curiously the porcelain of these ewers is atypical and could be confused with soft porcelain but in fact it must be the result of firing at a lower temperature, probably around 1150-1200° moreover there are firing defects, these 2 elements show us an imperfect mastery of firing which allows us to think that these ewers are older than we claim. The shape is inspired by Islamic creations from Central Asia in metal from previous centuries. The decoration is molded in relief of peonies and painted with red, green and blue enamels. This is one of the rarest ceramics, worthy of appearing, even enthroned, in the most great collections. The lid is missing, cooking defects, some scratches and wear from use of a ceramic that is venerably 350 years old. No restaure. No gluing. H: 287mm

Ginbari and Musen enamelled silver vase Fish decor. Japan Meiji late 19th century.The lower part enamelled in celestial blue, decorated with fish in ginbari (incisions on the base metal) and musen (enameling without wires of much more complex realization). A dragon wraps around the collar. In the middle a finely damascened gold ring. Artist's mark below, signed with 2 characters incised in a gold cartridge. We have not found which artist it was, however, in the Khalili collection, there is a vase with also enameled decoration (musen and ginbari) decorated with identical fish which is signed Takasaki, an unknown enameller who would have worked in the workshop of Namikawa Sosuké. On the neck appear the scratches of the dragons which have been subtly chiseled by the artist for an original natural rendering of the same, the enamelling of the fish is exceptionally realistic, the scales, their iridescent colors, the slight cloudiness of the water. Great art. A similar model, but easier to make in cloisonné, with ostentatious but unartistic colors and design, was sold in 2010 for $116,000. Japanese work of goldsmithery and exceptional enamelling, Meiji period end of the 19th century. A shock to the shoulder without loss of enamel (see detail on photo). Height: 168mm.

Rare bronze ewer Japan Muromachi period, cast in one part. Signature of the artist incised under the base. This type of ewer is very rare, we know only one other similar example, smaller and less elaborate which is housed at the Minneapolis institute (usa). Excellent state of conservation, beautiful original patina. H:290mm