Catalog: Antiques: Regional Art: Asian (196)

Almost square fukusa or ceremonial cloths, with design of a family crest with central flower surrounded by wisteria. Flowers embroidered in gold thread onto a deep blue satin ground. Reverse is red crepe silk. In each of the corners a green tassel with Chinese knot. Japan, Meiji era, ca. 1900

H 29 x W 27 inches.

Few unobstrusive stains on reverse, otherwise fine condition

Clay doll figurine of a standing Shiba puppy dog, dressed up with a multi-layered collar with bells.

Very soft clay modeled in a mold and fired at low heat. Painted with gofun (ground eggshell producing the white color), natural/mineral pigments and gold, applied after the figure has cooled. The soles of the paws are left uncolored (light brown)

Japan, Meiji era, about 1900.

H 7.4 x L 7 x W 3.25 in.

The black and white of the dog’s fur is soiled, rubbed, and somewhat crumbling and fragile, showing partially the underlying brown clay, some touch-ups in the black areas; all in all, in good, stable condition

Clay dolls – kawara ningyo - have been produced in large quantities all over Japan at least since the early Edo period. They were made as toys and souvenirs for travelers. Clay was hand-modeled or put in molds to make different shapes, which were fired at a low heat. Subsequently, each figurine was painted with bright (mineral/natural) colors. It is a craft, mingei or folk art, with regional differences in colors and subject matter. In Koga, Nagasaki, the subject was mostly figures related to the foreigner traders that were living in the Nagasaki area, such as Chinese, Portuguese and Dutch, but also monkeys and other animals.
In the early days, a large variety of models were made. Although the dolls are still made today, the number of different models has been reduced.

Small box and cover made of very thinly cut keyaki (Zelkova) wood, in oblong shape with rounded corners. The domed cover is decorated in black polished lacquer, black ishime lacquer, gold lacquer inlaid with small pieces of mother-of-pearl. An open folding fan wraps around the surface of the cover, continuing onto the sides, decorated with parting clouds, showing silhouettes of birds flying over waves.

Inside, the surface is covered in thin brown lacquer, allowing the wood grain to show. The cover is signed on the inside in makie gold lacquer: Tairei.

Japan, Showa era, 1950s

1.25 x 4.3 x 2.7 in.

Minimal traces of usage on the inside of the box, overall in excellent condition

From the collection of Ed and Julie Lewis, Chicago

Takai Tairei (1880-1971) was trained in the workshop of the Imperial Artist Ikeda Taishin. He lived in the Aoyama ward of Tokyo. In his young years he made inro and pipe cases in the Zeshin/Taishin style. Later on, he produced boxes and trays with lacquer decorations directly applied on the wooden objects (kiji makie), such as the one presented here. After World War II, Tairei made his living by manufacturing lacquered jewelry: obi pins, brooches and rings, while continuing making kiji makie objects. His brother-in-law was the famous lacquer artist Akatsuka Jitoku, who was married with his elder sister Takai Kei (1877-1946).

Ebisu sits on a rock, a bamboo stalk in the hand, as if holding a fishing rod, a giant red carp stuck under his arm. Daikoku stands on rice bales and holds his hammer in the hand. Around them a split daikon and the coat and hat of invisibility. On the lower right two seals: Kachutei Ninsei (or Jinsei). Ink and colors on paper (black outlines are hand painted, NOT printed). Painted area 11 ¾ x 18 1/8 inches. Toned, several horizontal creases, some of them backed, few vertical creases restored, few tiny missing areas, overall stable condition. Ivory scroll ends, brocade mounting decorated with treasures.

Although no information on the artist was found, his works do show up from time to time. Stamped with the same seals.

Small framed painting of hawk perching on a rock underneath a flowering plum tree branch. The hawk beholds the beholder with one eye, holding its head and body at an angle. Unsigned. Kano style. Black ink on paper in brocade mounting. 18th century. Scroll ends cut off and framed.
Frame: 40 ¼ x 15 ¾ in. (105.8 x 40.2 cm). Painted area: 30 5/8 x 11 ½ in. (78.5 x 29.4 cm).
Toned, some cracks (former folds due to rolling), slightly rubbed at places, few missing areas. It is what it is. Still nice bold hand.

Almost square hand-made embroidery. On a background of green satin silk two lion dogs, or foo dogs, are playing with a ball and each other between peonies and other flowers, next to a rock formation, a bat in the upper right corner. They are embroidered by hand with bright colors of silk in straight stiches and looped stiches, the lions detailed and outlined with gold-thread, which are twisted silk threads wrapped in thin gold foil.

The image is framed with a wool woven band with geometric motifs and framed by a border of silk brocade. The back is covered with thin cloth that is woven with green silk warp and gold thread weave, giving it a golden sheen.

China, late Qing dynasty, late 19th century

H 16 x W 14.4 in.

Few tiny insect holes in the brocade. All in all, excellent condition

Finely cast bronze censer on three cloud-shaped feet with a décor on the body of an elephant on one side, a baku or tapir on the other on a background of very fine repetitive fretwork, patinated in a rich brown. Stick-like handles parallel to the body. Bottom left undecorated, with a seal: Seimin sei (Cast by Seimin). Japan, Edo period, early 19th century.
Original cover lost and replaced by a wooden Chinese cover.

H w/o cover 3-1/8 in.; H w. cover 4-1/2 in; W 4-1/4; diam. 3-1/2 in.

Handles with some repairs, otherwise very good condition. Wooden cover with some old chips, all in all very good condition

Murata Seimin (1761-1837), bronze sculptor active in Edo, well-known for his fine casting of bronze vessels and animals.

Small phosphatic glazed earthenware jar with double handles. Reddish brown clay covered with dull black glaze with several mottled white glaze splashes. Jun-type pottery as made in the Tang dynasty, China, 19th century or earlier.
Height 5 ¾ inches (14.9 cm).
Black glaze dull, showing water streaks, one chip on back of one of the loop handles, some dirt residue. Otherwise good condition.

A flat and circular kogo – incense box – made out of skillfully turned pine wood, stained or thinly lacquered dark brown. On the inside of the cover are two red lacquer kao (seals) by a tea master for whom the piece was made.

Unsigned, Japan, early to mid-19th century

H 0.75 x diam 2.55 in.

Excellent condition

Comes with an inscribed wooden storage box: Cha, marugata, kogo (tea, circular shape, incense box).

Although neither the kogo, nor the storage box is signed, the work is reminiscent of works by the Komazawa Risai family of joiners who were so skillful that they were allowed to create utensils for the prestigious tea schools, such as Omotesenke. A very similar box signed Komazawa Risai 8th was recently (2023) sold in Kyoto, Japan.

Almost square fukusa or gift cover, with hand-painted (yuzen dye-technique) and embroidered (silk, god and silver thread) decoration of a garden landscape around a house in spring. Possibly a scene from the Tale of Genji.
Reverse of the cover is a bright red silk cloth decorated in brocade weave with cranes, chrysanthemums, bamboo, pine and shippo design.
Silk tassels. Japan, Meiji era, probably early 20th century.

H 26 ½ x W 25 inches.

One tassel missing, one sharp central fold bending some silver threads, otherwise fine condition.

Slightly tapered vase with horizontal ribs made of white stoneware, covered in a mottled glaze with cream and brown tones. On the front in white enamel and gold a winding, three-clawed dragon has been hand-painted. The back of the vase is flattened and there is a square opening towards the top of the vase, that allows an J-shaped hook to grab into it and hang it against the wall.

Traditional vase for ikebana, flower arrangement.

In the bottom there is a potter’s seal in the shape of a double gourd: Koji (unidentified).

Japan, Meiji-Taisho era, 1910s

H 7.8 in.

Excellent condition

Kogo, container for storing incense during the tea ceremony, in the shape of the bud of a lotus flower.
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.

Set for carrying lunch. Bamboo and rattan basketry box lined with green brocade, the outside with an intricate diamond pattern woven in two colors, the corners fortified with leather. Dangling from one of the brass handles is a natural gourd with silver stopper and a lacquer sake cup, imitating Tamba stoneware. Japan, Meiji era, early 20th century.

Basket: H 3; L 6; D 4 ¼ inches (7,5 x 15,2 x 10,6 cm). Gourd: L 7 ½ inches (18,5 cm). Sake cup: diam. 2 inches (5,2 cm).

Traces of usage at basket, all in all good condition.

Heavy, cream colored stoneware oil plate (aburazara) shaped as a lotus leaf with curled up, irregular edge. Surface on ‘inside’ structured with cloth, decorated with geometric figures in iron brown glaze and covered with feldspar and typical Oribe green glaze.
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

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.

Small serving dish of square, mokuzuke, of octagonal shape with two handles standing off the side. Thin light-colored stoneware covered with cream-colored glaze with fine crackle filled in the brown color from the foot to ¾ of the height. On top of the cream-colored glaze some iron-brown decorations of pine needle, plum blossom, cross hatch design and a mon-shaped design and a splash of green glaze with some blue in it. Inside a light textile structure impressed in the glaze. Oribe ware, Japan, Meiji era, 19th century.
H 2-3/8 x W 4 x D 3-3/8 inches.

One small area on top of rim scraped, all in all excellent condition.

Small ovoid vase with short neck; lugs on two sides of the neck. Rich brown iron glaze over a gray-beige colored ceramic body, leaving the lower 1/3 part free.
Sawankhalok ware from Sukhothai, 15th -16th century. Or possibly Chinese, Jian yao, Song dynasty, 12th – 13th century
H 4.5 inches (11.2 cm).
Very good condition.

From an old private TX collection of high quality Japanese and Chinese ceramics and antiques

Almost square fukusa, or ceremonial cover, made of silk, hand-decorated in yuzen dye technique (mineral colors and gold flakes) and with gold thread embroidery. Image of two open folding fans, connected with red noshi-threads. On the top fan are chrysanthemums along a stream; the bottom fan is decorated with cranes flying above pine trees near the sea. The fans are outlined in gold thread.

The reverse is red silk, decorated with peonies in brocade weave.

Tassels in the four corners, made of red and cream-colored twisted silk thread

The image of this fukusa is filled with auspicious symbols and so the cover would be used on a day of celebration.

Japan, Meiji or Taisho era, early 20th century

H 26 x W 25.5 in.

Brown spots in the lower area and folding creases, consistent with use and storage