Seal impressed in bottom/underside: Juzan. Refers to the Oribe potter Mizuno Juzan.
Mino ware, Oribe style, Japan. Showa era, 1950s
H 3 x W 4.25 in.
There are at least two generations of Mizuno potters going by the name Juzan. The seal most likely belongs to the second generation Juzan, who lived lived 1908-1978.
Height case 10.5 inches.
Figure: Some minor rubbing and lacquer chips, two tips of lotus petals on dais broken and repaired, fringe of crown on right missing, few fingertips slightly chipped.
Case: minor traces of usage.
Overall condition very good.
Makers mark chiseled into the bottom of each lion dog. The name consists of a single character that can be read in a variety of ways: Yasushi, but also Hiroshi, Yutaka, Toru or Akira; followed by "saku" or "made by".
Japan, late 19th century.
Height: left 9 inches, right 9.1 inches (22.8 and 23.2 cm).
They seem to be modeled after a pair of Kamakura period komainu, made of wood, in the Daiho shrine in Shiga prefecture, which are deemed Important Cultural Assets.
Hanging scroll with gold brocade mounting and gilded hardware, as used for Buddhist paintings. The image of the bodhisattva Kannon sitting on a rock, with a poem underneath, is painted in black ink, red and gold, in the center of the silk. She is surrounded by 37 stamps and poems (goeika, originally written by Emperor Kazan, after his retirement), collected on the circuit of 33 temples of the Saigoku Pilgrimage (Kansai area), that are dedicated to the bodhisattva Kannon, at and four other temples. Each temple of the Saigoku circuit has a number, reflected in the read seals. The stamps used on this scroll are the ones that have been used from the Showa era on. The additional four stamps are from the Yamato-kuni Chokuku temple and the Kiko temple in Nara, dedicated to Kannon, and from two other temples.
It has become very rare that the poems are added to the stamps. The calligraphy is very good and is certainly not to be reproduced today.
Japan, Showa era, ca. late 1970s.
Image H 48.75 x W 17.5 in.
Mounting 74.25 x 23.25 in.
Width bottom scroll 25.75 in.
Japan, late Edo or early Meiji period.
Height 11 3/8 in. (29 cm), width 7 ¼ in. (18.5 cm), depth 4 in. (10 cm).
Two old thin cracks at the man’s left temple (the upper one with old restoration), few very superficial chips at the rim (back of mask) and patch of cloth chipped away on the inside. Otherwise good and stable condition.
The Buddha Shakyamuni on his death bed, surrounded by priests who are reciting from scrolls, and civilians who are praying and wailing. In the background between curtains is an altar with the Dharma, the lotus sutra of the Nichiren shu: Namu myoho renge kyo; Namu taho nyorai; Namu Shakamuni butsu.
Outlines of the image are printed in black, the image is hand colored and with gold on paper.
On the back is a printed list of the names of the people depicted (six old priests flanked by the names of two civilians, middle old priests, nine old priests, followed by the names of many civilians), dating the donation to Tempo 8, year of the rooster, 1837.
The mounting embroidered with different, repeated motives, the Nichiren shu crest repeated in gold brocade.
Painted area: ca. 15.8 x 9.6 inches (40.3 x 24.5 cm); total height ca. 47.8 inches (121.5 cm).
Browned, some rubbed areas, some horizontal creases, mounting with damages, otherwise good stable condition.
Cast bronze with beautiful brown patina and traces of former gilding.
Japan, Edo period, 18th/19th century.
Length: 7 ½ inches; height: 6 ¾ inches.
Few scratches on bottom, some rubbed areas, excellent condition.
On the outside bottom there is a paper label with inscription in ink, stating: An old Buddha from 150 -200 yrs. old that used to be carried by the Japanese who prayed to it for strength. 1922 (or 1932)
Japan, mid Edo period (around 1800).
Height case: 2.75 inches (6.9 cm).
Case with minor traces of usage, and all in all in very good condition.
Statue: Snout of one boar (second from right) chipped, some attributes damaged or missing, otherwise very good condition.
Marishiten is the deity of prosperity, venerated in the warrior class, and by entertainers.
Wood with a polychrome lacquer layer on top of gesso.
Japan, Edo period, 18th century.
Height 18.5 in., width 17.25 in., depth 12 in.
Beautiful patina. The lacquer rubbed in places, partly down to the bare wood, lacquer stabilized, some thin cracks in the lacquer surface, but basically in good and stable condition.
Behind the door, there are two full width drawers, one half-width small drawer and two mid-size ones with iron locks.
The exterior of the chest is made of keyaki (Zelkova) wood, which is unusual. Drawers made of the softer, kiri wood with iron hardware. Wrought iron handle on the top of the chest. Door, corners and edges fitted with sturdy and very decorative ironwork, ornamental lock.
Bottom inscribed in black ink by carpenter.
Japan, 19th century
H 19 x W 16.25 x D 19.5 inches (48 x 41.4 x 49.5 cm)
Traces of usage (stains, dents, scratches), some of the iron hardware reattached or replaced or missing, 4 bottom slats re-attached or perhaps replaced at an earlier date. All damages acceptable as traces of usages. All replacements acceptable as necessary maintenance, while the chest was in practical use. All in all very good condition. NO KEYS.
Funa dansu are strong boxes used by sea men. They were used to carry business papers, money, writing supplies, seals and other personal things. They are small in comparison to chests that were used on land. The earlier ones are rather simple. The exterior of kakesuzuri-type ship’s chests was traditionally made of sugi (Cryptomeria) or kiri (Paulownia) wood. Kiri wood is fire resistant. Keyaki is much harder, and more expensive, and was more often used from the late Edo period on.
Due to the nature of their use, all funa dansu have traces of usage.
Japan, 18th/19th century.
Height 7.5 inches, width 6 inches at the neck. Ash glaze partially rubbed off at upper edge and at the body commensurate with holding and using, otherwise very good condition.
He is dressed in Chinese garment, standing on the back of a kida (a beast that is half turtle, half dragon-snake), holding an enormous sword. Behind his back a nimbus with seven discs, representing the seven stars of the Big Dipper. To the left of the rock base the head of a snake pops out. (Probably a snake was wound ”around” the giant turtle and broke off. When the sword was replaced, the restoring person found the snake head and did not know that the snake head should pop up on the side of the turtle, and not from the rock.)
Japan, Edo period, early 19th century.
Height case: 8.25 inches (21 cm).
Case: Usual wear and tear, on back label with the text: 19th century Japanese lacquer shrine of Buddha. C. 1820.
Figure: Sword replaced, snake broken off from side of dragon-turtle and glued to the wrong spot, traces of glue on back of turtle (excess glue from underneath deity’s feet), crack in head along the seam of the blocks, polychrome pigments curling up and chipping off at places (showing the underlying gesso).
Otherwise good condition.
Impressed maker’s mark in bottom: Jocho? tsukuru.
Japan, Seto region, Oribe, Meiji era, ca. 1900. Diam 7.25 x H 0.8 inches
2 old small chips and some frittings on rim, consistent with age and use
Most likely Seto ware, Japan, 19th century or earlier.
Height 11.6 inches (29.9 cm). Star crack at neck, one lug damaged, few old chips at upper rim, some scratches and irregularities in glaze and clay.
A baku is a mythological creature that devours people’s nightmares. It is a composite animal with the trunk of an elephant, eyes of a rhinoceros, tail of and ox and paws of a tiger. Over the centuries the image changed and the baku whole head became depicted as an elephant’s head. And of course there are other variations.
Cast bronze, with beautiful brown patina.
Japan, Meiji era, around 1900
H 1 x W 2.5 inches.
Old bronze plug in belly, two small casting flaws in the back, mended directly after casting, and blended in by handling patina. All in all excellent condition
Aizen Myoo sits on his typical lotus throne on top of the vase full of jewels, surrounded by a circular, red, flaming nimbus. Around the foot of the jewel filled vase are sacred treasures scattered around.
Daiitoku Myoo rides in standing position a long horned buffalo who jumps over waves, while Daiitoku draws his bow.
Rich brocade mounting with the chrysanthemum and the paulownia crests.
Japan, Edo period, 18th century.
Painted silk of each: H 16.8 x W 9.3 x in. (42.7 x 23.6 cm).
With mounting H is approx. 50.5 in.
Restored tear in the upper half of the Daiitoku-painting, otherwise good conditions.
Comes with a plain (uninscribed) wooden storage box.
Aizen and Daiitoku are two of the Myoo who – in Esoteric Buddhism - subdue evil spirits and convert nonbelievers to the teachings of Dainichi Buddha.
Black ink and colors on silk.
Signed Bunrei; two red seals reading bun and rei.
Japan, mid 19th / second half 19th century.
Painted area: 14.5 x 20.2 inches. Total height: 46.5 inches.
Painting with some light stains, otherwise in excellent condition, mounting damaged.
Mori Bunrei (Meiji era painter) was the adopted son and pupil of Mori Ippo (1798-1871), the Shijo painter. His style and technique closely follow those of Ippo.
A very similar painting by Nishiyama Hoen (1804-1867) is in the British Museum. This type of painting is typical for the Maruyama/Shijo school and could have originated with Maruyama Okyo. The image of a procession walking out of the painting symbolizes the fading away of Edo culture in the 19th century.
Japan, Edo period, 18th century.
Height of zushi: ca. 5.8 inches (14.6 cm).
Baldachin split and restored, gold decoration rubbed; sword missing.
Shrine with usual wear and tear, hard ware loose in places. All in all very good condition.
Fudo Myoo converts anger into salvation and frightens people into accepting the teachings of the Buddha Dainichi. His sword symbolizes wisdom as it cuts through ignorance. His rope is used to catch and bind demons. The flaming mandorla (also called garuda flame, referring to the fire breathing bird from Indian mythology) represents purification of the mind by the burning away of all material desire.