$350.00
Bottom flattened and with signature chiseled: Hidekazu (not identified).
Inside the basin, the short sides are both filled with a cement-like substance.
Japan, mid-19th century
H 3 x L 6.25 x W 2.25
Bronze with several dents and scratches, commensurate with extensive usage, small hole drilled in the tip. Few casting flaws (which are not really damages).
$2,500.00
Japan, Meiji era, late 19th century.
Measurements: ca. H 12.25 x L 9 x W 7 inches (ca. 31.75 x 22.8 x 17.75 cm).
Tips of the upper flame bunch on the mandorla are bit bent and partially broken off, otherwise excellent condition.
Daiitoku (Sanskrit Yamantaka) is an emanation of Amida Buddha; he is positioned in the West; the white buffalo is a symbol of enlightenment; he has the power to eliminate evil and to establish goodness and to defeat poisonous snakes and dragons.
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Each keman is fan-shaped (or perhaps boar's eye-shaped) with a design of two pairs of double chrysanthemum family crests set between karakusa (winding weeds) in openwork. The knotted cord in the center is executed in gilt bronze repoussé (hollow underneath). The openwork design is very carefully executed, with engraved details and nanako ground.
The ‘saddles’ are decorated with kiku-mon between karakusa, in low relief.
From the bottom of each keman three solid brass balls are suspended, which may be original, or may be replacements for streamers.
The family crests each contain a 16-petaled chrysanthemum, two of which hold a double plum blossom in the center. The double chrysanthemum could point to a family relation with the imperial family. The keman were probably hanging in a family temple.
Japan, Edo period, 19th century.
H 10.75 x W 14 in. (27.8 x 35.6 cm).
H incl. ring and balls 15 in. (38.1 cm)
Some of the eyelets from which the balls were dangling are broken, gilding rubbed (on the reverse the gilding is better preserved than on the front), otherwise excellent condition.
$600.00
Signature on left: Ippo. Red artist’s seal: Keishi.
Japan, early Meiji era.
Image: H 42 ½ x W 15 inches.
Total H 78 inches.
Few brown stains in silk, generally very good condition.
Comes with kiri-wood storage box
From the estate of Ingeborg L. Muller, wife of Robert O. Muller
In the style of the Shijo school painter Mori Ippo (1798 - 1871), but probably not by him.
$600.00
Signed: Shoto …utsutsu. Seal: Moroku sensei.
Black ink and mineral color on paper.
Japan, Taisho era, 1910s, perhaps 1920s.
Painted area: ca. 52 x 13.5 in. (132 x 34.5 cm).
Total length ca. 77 inches (195 cm).
Few light stains and tiny spots, some foxing in mounting, otherwise very good condition.
Kurata Shoto (1865-1928) was a painter from Akita. He worked in the nanga style. His paintings were often Buddhist in subject matter, but he also painted historical and mythological figures. His sense of humor is often visible in his work.
$250.00
Bizen ware. Impressed seal mark in bottom.
Japan, Showa era, ca. 1970s
H 8.1 in.; diam. 5.4 in.
Excellent condition
$600.00
The central dish is signed on the back Gyokuzan in a red and gold cartouche. The other six dishes are marked Gyokuzan in red and each have a mark ‘tsu’ at the upper left side of their backs.
Japan, Meiji era, late 19th century.
The ensemble is held together by a Chinese wooden base. This is a marriage, but it happens to fit snugly.
H of each dish ca. 1 x diam. of circle 9.75 in.
Wooden base H 2.3 x diam. 11.5 in.
Fan-shaped dishes ca. 4.74 x 3 in.
Central dish 4.2 x 3.6 in.
Central dish broken and repaired. Out of the break run two hairline cracks. Other dishes fine condition.
Gyokuzan is related to a manufacture of Satsuma ware in Kagoshima (formerly called Satsuma). The founder Chin Jukan XII (1835-1906) used the name Gyokuzan from 1874-1897.
A noteworthy detail is that the manufacture also produced blank (undecorated) wares which would be decorated by decorators, such as Yabu Meizan and Gyokuzan.
$500.00
The outside of the large bowl is decorated in underglaze blue with pavilions in a landscape with mountains and a river. The edge is faceted and painted with cloud-like shapes. The outside of the smaller extension is decorated with stylized flowers. Ribbed knob on top (19-petaled chrysanthemum).
Hizen ware, Arita style, Japan, 19th century
H 4 x L 10.5 x D 7 in.
Glaze crazing on outside and inside. Inside the crazing is better visible due to usage.
Few short and thin glaze cracks from the edge of the larger vessel running down, otherwise fine condition
$400.00
A sparrow is sitting on a bamboo stalk.
Red patinated copper liner.
Japan, Taisho era, 1920s
H 11.75 x W ca. 5 x D ca. 5 in.
On the bottom of the kiri wood and on the bottom of the copper liner is written in felt pen: M.E. Boone 821-0930.
Condition: Dent, scratches, scuffs in the wood, consistent with light usage. Liner bent and dented, green insultation? stuff along the bottom seam on the inside.
$400.00
White porcelain with underglaze cobalt blue decoration. No mark on back, but 25 tiny spur marks in a grid.
Japan, 19th century.
Ca 1.5 x 8.5 x 8.5 in.
Rims a bit warped, glaze on top of the rim rubbed and dull, one foot repaired, some tiny scratches on the surface of the center, all consistent with usage. All in all good condition.
Cranes are auspicious birds
$900.00
Japan, Taisho era, 1910s-1920s.
H ca. 18 inches.
One repaired crack from the bottom going up into his left shoulder, some scuffs and chips at edges, several tension cracks. All in all very good and stable condition.
The dance Sambaso originated in noh (kyogen) theater, as a prayer for prosperity (abundant rice harvest) at the beginning of the program. The dance was adapted for kabuki and bunraku, as well. It was performed at the opening of the new kabuki season, which coincides with the beginning of the new year, or at the opening of a new theater.
$800.00
Soft wood stained dark brown, with gold painted decoration and some red.
The insides of the doors decorated in reddish brown with meandering flowers over gold foil on black lacquer.
Japan, Edo period, early 19th century.
Height case: 5.25 inches (13.4 cm).
Case with clear but acceptable traces of usage (tiny dents, chips, small repair at left edge of right door), and basically in good condition. Right hand of the Buddha is broken off and missing, otherwise in very good condition.
Amida Nyorai (Amitayus, or Infinite Life) is the central figure of Pure Land Buddhism.
$2,200.00
Tosa style. Signature at bottom: Yuho Issho ga. Red seal: Issho no in.
Colors on silk.
Japan, early 19th century.
Painted area: 23 5/16 x 10 13/16 in. (39.7 x 27.9 cm).
Total length 57 in. (146.5 cm).
Three restored holes in silk (not in image), otherwise very good condition. Mounting fairly modern and in excellent condition. Bone scroll ends.
Comes with a fitting kiribako of a later date.
Sugawara Michizane (845-903) was a Heian period scholar, poet, politician of lower nobility. He was deified as Tenjin-same, god of the sky and storms, later as a god of education/scholarship. The Kitano Tenman-gū Shrine in Kyoto was dedicated to him by the imperial court.
$290.00
The bottom half decorated on the outside with classic lotus sepals, as used to image a Buddhist lotus dais, in relief. The top half also decorated in low relief in a much more stylized manner. The closed lotus bud, crowned by a 16-petal chrysanthemum and topped by a knob, which is probably a stylized rendering of the chrysanthemum heart.
Alternatively the shape could refer to the sprout of a butterbur plant (fukinoto).
Thin earthenware that turns reddish brown in unglazed spots, covered in multiple colored glazes, such as dark brown, reddish brown, gray and soft pink; inside is glazed dark brown.
Kyoto/Kiyomizu ware. Kochi style, with impressed artist’s seal and signature inside the cover: Choraku.
Japan, Showa era, ca. mid-20th century.
H 2.25 x Diam 2.1 in.
Some glaze chafing on the inside rim of the cover.
A similar piece by Kiyomizu Rokubei I (1738-1799) is in the British Museum, inventory no. Franks.1311 (identified as lotus flower). Another piece by Eiraku Zengoro XI, Hozen (1795-1854) is in the Harn Museum of Art at the University of Florida, inventory no. 2012.8.44 (identified as butterbur sprout). Ohi Choraku (1902-1999) studied under Aoki Sotokichi. He received the name of Ohi when Ohi Chishin’s kiln was closed in 1924. Exhibited regularly.
$1,500.00
Japan, Edo period, 19th century or a bit earlier
H 11.25 inches
Very good condition
$650.00
Both are standing on a rock which is placed on a pedestal and both have a small mandorla behind their heads.
Soft wood carved and decorated with mineral colors. Mandorlas, attributes and helmet ornament in gilt metal.
Case is lacquered black on outside with gilt copper hardware, and the inside is covered has gold foil. Small metal loop on the ‘roof’ used for hanging it from a temple beam.
Height 4.75 in. (12.8 cm).
Japan, late Edo / early Meiji period, 1890s-1900s.
Bishamonten is one of the four guardian kings, presiding over the north, protector of the Buddhist teaching and of the nation.
Kongoyasha is one of the five Myoo, presiding over the north. Emanation of one of the five Buddhas of the Diamond Realm, destroyer of foolish human desires and symbolizing strength.
Condition
Sculpture: 4 missing arms to Kongoyasha Myoo. Attributes in remaining two hands missing. Metal ornaments and weapons bent.
Case: dents and lacquer chips on edges. All damages acceptable as slight traces of usage.
$450.00
The figure was molded in a cast in two halves and joined before firing. A hole in the back functions as a vent and prevents the statue from exploding while fired in the kiln.
Stoneware with gomma. Details are beautifully worked out, showing best in the expression on his face.
Two small characters impressed in the back, forming the name Bizen.
H 7.75 inches
Japan, Bizen/Inbe, early 20th century
Excellent condition
Gomma (sesame seed) is created by the ash of the pinewood with which the kiln is fired. It lands on the object and melts due to the high temperature. Gomma cannot be steered, it occurs spontaneously. It occurs more profusely near where the fire is. The ashes blow into the kiln flowing on the flames. The further away from the fire, the less ashes remain flowing through the air.
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The esoteric trinity of Benten (defender of Buddhism and state) with Daikoku (god of agriculture) and Bishamon (guardian of treasure, defender of the nation) first appeared in the 14th century in Japan. The three of them have similar protective functions and are part of the shichifukujin, the seven gods of good fortune.
In this shrine Benten appears in her eight-armed martial form holding various weapons (wheel, bow, spear, sword, club, lock, and arrow) and the wish granting jewel. On her head she carries the snake-bodied Ugajin, old god of fertility and nourishment. Around her are 15 Children or Disciples or Attendants (jugodoji), each carrying specific attributes that are essential for Benten/Ugajin to gain satisfaction and success.
Benten is sitting inside a glass dome, in the ship of a wish granting jewel with flames (in polished brass) on top of a lotus leaf.
Group inside: Wood with mineral colors (lapis lazuli, malachite) and gold paint, gilt metal attributes and jewelry to Benten and Bishamon, glass and polished yellow bronze. The black and blue minerals absorb and reflect light, giving the group a glow at very low light.
The zushi (case) is decorated with foaming waves, in gold and silver makie and silver inlays on black polished background on the outside, continuing the design on the inside on a gold kinpun background. Hinges and hardware outside and inside in finely engraved gilt copper. On the back is an inscription in gold makie: Dedication of Benzaiten and the 15 Disciples, Daikokuten and Bishamonten on the first day (day of the snake) of the 4th month of the 2nd year of Koka, the year of the snake kinoto-mi (1845)
Case: H 10.5 x W 9 x D 8 in.
Condition: Chip on the roof of the zushi, one hinge loose, but overall very good condition. Inside: One pole of cart missing, horse a bit dislodged and at an angle, but stable, gold and colors a bit flakey, some of the attributes bent. All in all good condition.
More images are available. Please inquire.
BEWARE: Due to the glass dome around Benten, which is not fixed in place, but cannot be taken out, packing and shipping has to be done by art shipper.