Catalog (283)

A silk fukuro obi sash. In jacquard weave with 2 hues of gold-thread and red, green, yellow and brown silk. Clematis meandering upwards against a yellow-golden background, partially obscured by copper-golden stylized flower shapes.

The back of the obi is plain cream-colored silk, as is about 1.5 meters on the front, which would be invisible when wrapped around the body. The last 16.5 inches of the obi seamlessly fit onto the rest of the design.

Japan, Showa era, ca. 1960s-1990s.

L 164 x W 12 in. (ca. 415.5 x 30.5 cm)

The obi has been worn and shows stains on the plain inside silk

From the collection/ward robe of Reiko Sakagami-Baum, former owner of the Man O' War horse farm in Lexington, KY.

Fukuro obi are made from one strip of decorated fabric, and are lined with a solid-colored strip. Si it is sewn in two parts. It is worn at formal occasions.

Chirimen (crepe) silk kimono imprinted with Okinawa bingata design of irregular bands of flowers and plants of the seasons, in roundels, on waves, on vines etc. The outlines and basic forms are in brown, ochre and brown-red, while the flowers and leaves are colored in the red, yellow, green, and purple. Along the bottom is a band of stylized waves in red and brown.

On the inside white silk or rayon lining in top half. The bottom half, the inside of the lower part of the lapels and along the inside edges of the sleeves, has been lined with reddish brown silk with a pattern of manji in jacquard weave, and sprinkled with small yellow dots.

Japan, Showa era, 1960s-1970s

H (shoulder seam to bottom) 63 x W (side seam to side seam) 23 in.

This kimono has been worn. It has been shortened about 2 inches at the level where it is covered by the obi; the collar can be shortened by use of snap fasteners. Generally in very good condition.

From the collection/ward robe of Reiko Sakagami, former mistress of the Man O' War horse farm in Lexington, KY.

This type of kimono would be worn at an informal occasion or outing.

Brown silk homongi formal kimono with dots in jacquard and with gold threads interwoven, so that the fabric sparkles when the light hits it. The upper part is undecorated, except for three crests of the Sakagami family on the back.
On the section that is underneath the obi, there are hand-painted crossing strips, decorated in bright colors blue, purple, red, orange, green, yellow, silver and gold sprinkle with geometric, auspicious motifs: Waves, shippo, diamonds, kikko hanabishi (hexagons with flowers). Each strip is bordered by a double stitched line of gold thread.

On the inside white silk lining in top half. The bottom half, the inside of the lower part of the lapels and along the inside edges of the sleeves, has been lined the same fabric as the outside.

Japan, Showa era, 1960s-1990s.

H (shoulder seam to bottom) 62 x W (side seam to side seam) 22 in.

This kimono has been worn, but rarely. It was shortened about 3 inches in the area that is covered by the obi. The collar can be shortened (half height) by use of snap fasteners. On the seam that thus forms, the fabric is discolored (red line). Generally in very good condition.

From the collection/ward robe of Reiko Sakagami, former mistress of the Man O' War horse farm in Lexington, KY.

Homongi kimono with family crests are worn at formal occasions.

Very rare carving of the Three Wise Monkeys, sanzaru in Japanese, sitting on two logs. The one who hears no evil (kikazaru) and the one who speaks no evil (iwazaru) are sitting together. A little separated from them sits the one that sees no evil (mizaru). Carved in facet-cut (abstracted style) in soft cedar wood (sugi).

Signature in the bottom: Masahide.

Japan, first half of to mid-20th century.

H 3.25 x W 8.75 x D 2.1 in.

Short splinter on the base, otherwise very good condition

The monkeys are macaques, which are indigenous to Japan. The Three Wise Monkeys were probably introduced in Japan through Tendai-Buddhism, which came from China in the 8th century. They were popularized by the carving over a door of the Toshogu shrine in Nikko, constructed in the 17th century.

The name Masahide is connected to wood carving. Several carvers by that name have been identified. However, the signature cannot be assigned to anyone in particular.

Chawan, or tea bowl, for use in the the tea ceremony. Fine gray stoneware turned out rather thin of almost round shape, with a ‘soul’ in the bottom, standing on a bamboo shaped foot, a swirl inside the foot. Opaque yellow glaze with fine crackle covers the ceramic. Over the yellow a white slip hakeme brush stroke on the outside and on the inside.

Seto region, Japan, 19th century

H 3 x W 5.25 x D 5 in.

Two unprofessionally, but lovingly repaired chips at the lip. One on the inside, one on the outside. One ‘almost’-chip on the lip with frittings. Small glaze losses on the inside and outside and more so in the hakeme. Nevertheless good piece in stable condition.

More photos available upon request

Round chawan, bowl used in the tea ceremony, with straight sides and a foot with three incisions. The very fine clay has an incised décor of standing and flying cranes and three minogame, covered in a celadon green, translucent glaze with fine crackle.

Impressed seal next to foot: Akahadayama.

Akahada ware, Japan, prob. Meiji era, 1870s

H 2.8 x Diam. 4.25 in.

Two chips on the lip that were restored with silver over red lacquer which is now worn (one partially underglaze), one very small underglaze chip, several short vertical glaze cracks along the lip commensurate with age and usage.

The three incisions in the foot are typical for Akahadayama ware.

More images available upon request

Mask made of kiri (Paulownia) wood, showing the wide-laughing and dimpled face of god of good fortune (shichifukujin), Daikoku. The base of his hat just sitting on the top of his head.

The broad grain of the wood was used to accentuate the round cheeks, nose and nostrils. The wood was formerly stained with a reddish-brown color, now almost completely worn off. Around the eyes there are remnants of a light-colored pigment.

There are two small holes in the top of the ears in which the attachment cords would have been fastened.

The mask was made perhaps for Kyogen, the comic interludes of a noh performance. Since it has folky characteristics, it may have been used in rural theaters, on village stages or by itinerant street performers.

Japan, 19th century

H 8.25 x W 7.5 in.

The mask comes with a black lacquered metal stand. H with stand 13 in.

Chips in the pigments on the front, unimportant chips in the wood on the edges on the back. All in all very good condition.

Sculpture of a long-nosed tanuki, walking with a hat on its back and a flask in its left paw. The piece is built around a large piece of root wood that comprises the torso, legs, the enlarged scrotum and tail. The head is a separate piece of root wood, the ears inserted. The sake flask is a small piece of root wood, and the hat is carved from a slab of a different wood species.

Hat and sake bottle are attached to the tanuki with braided silk cords.

Mingei.

Root wood with black staining.

Japan, Meiji-Taisho era early 20th century

H 15.5 in.

Thin cracks around the neck, where the head is attached to the body. Black stain is flaking. Other small chips and thin cracks commensurate with age and materials used. All in all, still in very good condition.

More images available upon request

Kogo, box to keep incense, in the shape of a reclining boar, head and nose turned up. Red-brown stoneware with gray and pink glazes, typical for Hagi ware. Inside bottom and cover covered in gray glaze over pink.

Seal impressed in bottom: Tobei.

Japan, Hagi ware, ca. 1981

H 2 x L 3.25 x D 1.1 in.p> Perfect condition.

Comes with the original wrapping cloth with seal of the artist and with original tomobako inscribed Hagi inoshishi (boar) kogo, and signed Tobei XII with round seal of the artist.

Tahara Tobei 12th (1925-1992) worked in the town of Nagato in Yamaguchi Prefecture, not far away from the town of Hagi. He learned ceramics from his father and brother. Began ceramics in earnest after the war, and after the death of his brother (Tobei XI) inherited the Tobe name. In addition to the traditional Tahara family techniques and style, he studied Goryeo and Korean pottery, as well as Urasenke style tea ceremony, and devoted himself to making tea ware. He was declared an Important Intangible Cultural Asset by the Yamaguchi Prefecture in 1981.
Tobei XII made a series of kogo in the shape of the 12 signs of the animal zodiac.

Flower vase with angular shoulder and angular hip, slightly curving in on the sides and standing on a bamboo node foot. Heavy but fine gray stoneware that turned reddish brown upon firing, covered with a celadon green glaze with curved striations made by tracing with his finger. The places where the glaze is scraped back to the stoneware, the clay turned red-brown during firing. Neck covered in cream-colored glaze, inside brown speckled glaze, all typical for Mashiko.

Mingei

Mashiko ware, Japan, late Showa or Heisei era

Vase unsigned

H 8 x diam ca. 4.25 in.

Mint condition

Comes with the original tomobako storage box. Cover inscribed on inside: Flower vase with design of finger-drawing in 2 colors and signed Kazuo with red seal Aki (in mirror image). Cover somewhat damaged.

Akiyama Kazuo (b. 1933) is an artist who started as a painter and changed to ceramic arts in 1960. Worked in the Mashiko tradition and has/had his own kiln.

A folding album titled "Qi Baishi huaji" (Collected paintings of Qi Baishi) with 22 color prints. Rongbaozhai, Beijing 1952, 5th month, no. 507. In brocade covers.
Each print on the left hand page, measuring 31.5 x 22 cm (ca. 12 x 9 inches).

Fine impressions and colors, label on cover with gold speckles, some bleeding of the red pigment, water stains on the last 7 double pages, covers with some traces of usage (rubbing of brocade, upper corners dented, which has an effect on the pages).

Published during Qi Baishi's life time

Images show only a selection of the 22 prints

From a European private collection

Rustic round platter, called ishizara in Japanese, used in kitchens and commoners’ households. Pale yellow glaze that typically leaves the foot free. The plate is slightly warped, as is common with ishizara. Seto ware, Edo period.

In the Meiji era this plate was additionally decorated in moriage technique with overglaze enamels that required lower kiln temperatures. Images is a warrior hare, dressed in more or less Chinese warrior dress, a spear and war-fan in his hands, a halo with three sacred jewels behind his head. He is in the company of a horned goblin with a war-club, together sitting on the back of a winged dragon-fish (Shachihoko).
Rim decorated with karakusa.

Mingei (folk art). Older ceramics, redecorated with appealing motifs were subsequently offered for sale to tourists who started traveling Japan in the Meiji era.

Japan, Edo period, 1800-1850 with Meiji era overglaze decoration.

H 2-2.25 x diam. 13.75 in.

Few underglaze chips in the rim of the platter, overpainted by the karakusa motif. The brown enamel on the dragon fish is irregular, but not flaking or chipping. All in all very good condition.

More photos available upon request

A small Pure Land Buddhist shrine -zushi- containing a figure of the 11-headed Kannon on a lotus, holding a flask in his left hand, standing before a full-size mandorla.
Painted in mineral colors and gold onto the gilded doors are Jizo bosatsu to his right and Kokuzo bosatsu to his left.

Carved wood (probably boxwood), decorated with gold. Jewelry gilded metal (now black).
Red lacquered shrine with fine gilded hardware. Japan, Edo period, 18th century.
Case: ca. 5.1 x 2.3 x 1.75 in. (13 x 6 x 4.5 cm).
Case with minimal wear consistent with careful handling despite age and use. Kannon covered in soot and gilding professionally repainted over the soot, probably in the late 19th century. Some metal jewelry missing. Excellent condition, very well cared for.

Kokuzo embodies wisdom and mercy. He is often paired to Jizo, whereby Jizo is responsible for Hell and Kokuzo for Paradise. The 11-headed Kannon expresses the eleven kinds of worldly power, or is honored as the bodhisattva that saves man from the eleven worldly desires.

A “wood-grain carving” figure of a minogame, a turtle with a long tail of algae growing from its carapace. Carved out of Jindai-sugi (Japanese cedar wood) in such a way that the wood grain accentuates the skin on the legs and head, the protrusions of the carapace and the algae.

Unsigned. Meiji era, early 20th century, Japan

L 18 x W 8.25 x H 3.75 in.

Few scuffs and dents that do not disturb the beauty of the piece.

Jindai sugi wood is old wood from the Japanese cedar that is said to be a thousand to several thousand years old, found buried in lake beds or marshes. The iron content of the wood gives it a deep grey-brown sometimes black, rich color. Most of the carvings made of jindai sugi are toads. Any other animal imaged in this wood is relatively rare.

A minogame is a turtle with long strands of algae growing from its shell. The way the algae flow down from the shell, they resemble a farmer’s raincoat made of straw, called a mino. Hence the name minogame. In order to grow such algae, the turtle is considered to be extremely old. It is considered a symbol of longevity.

A large mask in the form of the face of an oni (demon) that typically would hang in the kitchen or in a temple, to ward off evil spirits. A slit in the back is for hanging the mask from the wall.

Wood with remnants of polychrome pigments red, white and grayish black.

Japan, late Edo period (18th/19th century).

H mask 13 in.; H with stand 18.5 x W 9.75 in.

Mounted on a stand, sitting on a pole that has been inserted through the chin of the mask. Also metal wire across the back for hanging (attached with two small nails behind the ears).

Color pigments strongly rubbed, various scrapes and chafes, material cracks and some old damage

The metal head of the rattle – called shakujo – with some simply engraved decoration on the central shaft indicating lotus petals. The central ring has the shape of an inverted heart, from which six rings loop, three on each side.
The six rings symbolize the Six Realms of Existence where Jizō is active and the Six Perfections that lead to nirvana: generosity, morality, patience, vigor, concentration, and wisdom.
Mounted on a short wooden pole, covered with red lacquer.

Cast sentoku. Japan, 19th century.
H including pole ca. 10" (25.2 cm);
H metal head only ca. 4.75" (12.3 cm).

Minimal corrosion on head, otherwise very good condition. Comes with a custom-made metal base.

Hanging scroll painting. Title: Kyokojitsu (Rising sun). A bright red sun rising above the clouds with a golden glow. Nihonga.
Ink, mineral colors and gold wash on silk.
Signed Wakō, seal Wakō.

Mid-20th century or a little later.

Mounting: H 67 x W 23.5 in. (inc. scroll ends)
Painting: H 42 x W 16 in.

Very good condition. Scroll ends are plastic, imitating ivory.

Comes with the original wooden storage box. Inscription outside: Kyokojitsu (Rising sun). Inside signed Wako and with red seal Wako.

Wakō is the artist name of Kasai Toshiyuki (b. 1917 in Gifu Prefecture) who was active during the Showa era (1926-1989). He studied painting under Katō Eizō (Nihonga artist, 1906-1972 from Gifu Prefecture). He was chosen for the Nitten 20 times, 9 times for the Nisshunten. He won many awards.

Black patinated, cast bronze sculpture of a monkey, seated with his arms around his knee.
Unsigned. Stamped in the flat bottom: Yamanaka & Co. Inc., and Made in Japan.

Japan, early Showa era, 1920s-1930s.

H 1.75 x D 1.6 in.

Two small casting flaws that were repaired at the time of production.

The stamp ‘Made in Japan’ was required for objects exported to the US and other western countries in the 1920s and 1930s. The stamp of Yamanaka & Co. indicates that the piece was made for Yamanaka & Co., to be sold in one of their stores outside of Japan.
Yamanaka & Co. was founded in the 1910s by Yamanaka Sadajiro, who had come to New York in 1894 and set up a small antique store in Chelsea. In 1917 the Fifth Avenue gallery was opened, followed by branch offices in Boston, Chicago, London, Paris, Shanghai and Beijing.