Catalog: Antiques: Regional Art: Asian: Japanese (188)

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.

Tall and slender jug in the shape of a storage jar for pickles or in the shape of an actual octopus pot (trap).
Grayish brown stoneware built up from coils of clay; the inside covered with green glaze, the outside left unglazed. On the outside sits a dark brown, three-dimensional octopus, the way an octopus would sit on an octopus trap under water, on its way to inspect the inside of the jug.

Black ink inscription, almost washed away completely.

Unsigned. Seto ware, probably Meiji era (ca. 1900).

H 10.25 x W at widest point ca. 6 in.

Small and old chip at edge of foot, few minor frittings along the bottom edge. All in all in very good 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

Large, almost square fukusa, gift cover, made of dark blue silk satin, silk embroidery in a variety of stitches, gold-thread embroidery, all hand-made, of the highest quality. To be used for gift giving at an important occasion. The gift wrap is as important as the gift itself and this fukusa is symbolically very auspicious and important.

Fukurokuju, one of the seven gods of good fortune (shichifukujin), sits on the ground, painting the characters FUKU and ROKU on a scroll, intending to write ‘fukurokuju’. Fukurokuju of course refers to his own name, but also contains three characters with auspicious meanings. Next to him stands a white vase holding three peacock feathers. A minogame (turtle) keeps him company.

The embroidery is done in different stitches, creating relief and texture to the different components of the image.

Back is plain red crepe silk.

Each rounded corner holds a small tassel of thin, red silk threads.

Japan, Meiji era, late 19th century

H 29.8 x W 27.25 inches

Tiny hole in the blue satin, small damages in the silk embroidery on the back of the turtle, silk threads lost in one eye of Fukurokuju, some facial hair came loose, stains and discolorations on the back. All in all in fabulous condition considering age and usage.

Sculpture of Daikoku sitting on a rice bale with a big grin on his face, spilling countless jewels (tama) from his treasure bag.
Keyaki (Paulownia) wood, carved in a slightly abstracted manner, called ittobori.
Unsigned. Mingei (folk art)
Japan, 19th century.

H ca. 11 x W 10½ in.

Tension cracks (consistent with material and age), several scuff marks, painters tape on bottom.

Daikoku is one of the seven gods of good fortune. He stands for good fortune and wealth. The rice bales (good harvest) and treasure bag are two of his typical attributes.

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

Rustic round platter with wide rim, called ishizara in Japanese, used in kitchens and commoners’ households. Pale yellow glaze that typically leaves the foot free, turning a pale pink and then dark in the center. The plate is slightly warped, as is common with ishizara.
Nine spurmarks in the center.

Mingei

Seto ware, Japan, Edo period, 1800-1850

H 2-2.25 x diam. 12 in.

Several small scuffs and frittings in the rim, one large chip on the underside of the time, showing that the rim is hollow

From a private collection of mingei ceramics in New Jersey

Chawan tea bowl, or perhaps a soup bowl or a mukozuke. Fairly thin stoneware modeled in the shape of a drum with 8 nails (protrusions) along the upper edge that would hold the drum skin in place. Deep green glaze. Eight vertical lines engraved and filled in with gold.

A triangular shape is cut out of the foot by way of a potter’s mark. In the center of the bottom a round Raku seal impressed.

Raku ware, Kyoto, Japan, first half 19th century

H 3.75 x Diam at widest point 4.5 in.

Frittings all along the top edge, darkened to make them less noticeable, frittings on the drum knobs, gold dulled and worn

From a private collection of Japanese ceramic in New Jersey

Large and rustic almost round platter, called ishizara in Japanese, used in kitchens and commoners’ households. Plain light greenish-yellow glaze that typically leaves the foot free. The many pinpoint spots where the glaze did not completely cover the stoneware has allowed dirt to penetrate, giving the surface a lively spotted face. Glaze has dulled over time from constant usage.
Five spurmarks in the center.
Mingei

Seto ware, Japan, Edo period, 1800-1850

H 2.75 x W 14.5 x D 14 in.

Repaired chip on rim, one old chip under rim, several smaller scrapings and damages all commensurate with age and heavy usage. Fissures in the glaze that have no impact on stability, usability or visual appeal.

From a private collection of mingei ceramics in New Jersey

Small, sturdy platter, called ishizara, used as kitchen ware. Gray stoneware decorated with underglaze iron black and cobalt blue tama (sacred jewels) and characters, covered by a creamy, yellowish translucent and finely crackled glaze. Five spurmarks. Mingei.

Seto region, Japan, Edo period, 1800-1850

H 2 x Diam 10.5 in.

Several knicks and chips esp. on the rim edges and a short, old crack commensurate with age and heavy usage. All in all very good condition

From a private collection of mingei ceramics in NJ

Large octagonal bowl made of porcelain, decorated in underglaze cobalt blue. In the center of the bowl a prancing tiger before a roaring stream, looking up towards the sky. Behind him bamboo and rocks. Left of the tiger there is a three-line poem about the tiger and the third moon (May or June).

The sides are decorated with four peonies and leaves draped in arabesques; the rim decorated with a border of key-fret motif. On the outside each flat section of the octagonal decorated with a tachibana in a cartouche. Blue lines on the ribs of the octagonal, sectioning off each flat surface, in the way Kraak chargers were sectioned off.

Hizen, Arita kiln, Japan, 18th / 19th century

H 3 x W 10.5 x Diagonal 11 in.

One underglaze chip (not considered a damage), few scratches in bottom and mushikui on rims commensurate with age and usage, all in all excellent condition

The tiger represents autumn, is one of the four cardinal points in ancient astronomy, rules over the five constellations of the West, and is the personification of the wind.
Tiger in bamboo (take ni tora) in high wind is supposed to mean that even the strongest terrestrial force (tiger) is no match for the elements. However, as the tiger is a symbol of the wind, the image should evoke the sound of the rustling wind in the bamboo.

Tall slender vase, slightly narrowed in the waist, with a square shoulder and short wide neck and mouth.
The finely ribbed body of middle brown coarse clay is covered with two elongated patches of thin, translucent reddish-brown glaze. The lip with splashes of greenish glaze, on the inside gray glaze.

Karatsu ware. Japan, late Edo period, mid-19th century

Height: 12.25 inches (30.5 cm).

Firing crack in bottom, NOT through and through (does not leak), otherwise mint condition

Tall zushi or Buddhist temple shrine, housing the wooden figure of the standing Buddha Amida, Buddha of the Western Paradise. Both his hands in mudra. He is standing on a multi-tiered hexagonal base, decorated with flowers. His eyes inset in glass or crystal, which are hardly visible due to old layers of re-lacquering and soot.

The baldachin decorated with double family crest. The zushi (case) has double hinged doors decorated with family crests in gold lacquer, indicating that the shrine was made on order for a family temple.

The inside of the doors decorated with flowering lotus plants in etching or scratch technique. Buddha wood, gilded over black lacquer.

Japan, Edo period, 18th century.
Height of zushi: ca. 18.8 inches (48 cm); height of Amida: ca. 10 inches (25.5 cm).
Traces of usage. Basically good condition.

A set of 5 mid-size dishes in the shape of half opened folding fans. On the bottom of each a decoration of two wheels, floating in a river in iron brown underneath thick cream-colored opaque glaze, and the right-side corner covered in thick green glaze typical for Oribe. The inside structured through the impression of a muslin-like cloth.

The back is engraved to indicate the spokes of the fan. Unsigned.

Seto region, Oribe style, Japan, 19th century

H 0.75 x L 6 x W 4 in.

Excellent condition

Tall, ovoid shaped vase with broad rounded shoulder and a very short neck, decorated with an abundance of frolicking karashishi (Chinese lions) between blue and pink peonies. Three large shishi in green, white and yellow command the overall space. The in-between space is filled with small shishi in different colors and peonies. Shishi and peony together symbolize princely power.

The vase is heavy Imari porcelain, decorated on shoulder/neck and above the foot with flower motifs and treasures (shippo) in underglaze cobalt blue, overglaze iron red and gold. The shishi decoration on the body of the vase is completely done in strong colored overglaze enamels.

Possibly an older Imari vase was painted over in the Meiji period with this bold design. Re-enameling does not require high kiln temperatures, so it is easily accomplished. However, even at low temperatures, the Imari gilding would have burnt. Most likely, the bold shishi design was done at the same time as the iron red and gold decoration that is so typical for Imari.

H 12.25 in.

Few green paint stains, gold somewhat rubbed, few irregularities in the red enamel, which are not considered damages. Overall excellent condition.

Two erotic shunga drawings in black ink and mineral colors on thin paper.
On the right hand painting a double-sided dildo, to pleasure two women at the same time. The left half is made of tortoise shell (yellow with black patches), the right half is probably indicating buffalo horn.
The left-hand painting shows how to use the dildo properly.

Unsigned.

Japan, 19th century.

Each drawing 9.75 x 9.75 inches. Both drawing fully mounted onto a thicker sheet of paper.

Condition: Left hand drawing with worm holes mostly in the upper margin (unpainted area), but a few inside the circle. Right hand painting with worm holes in lower margin, inside the circle, two other torn and straightened areas. Wrinkles in paper of left-hand drawing.

Large incense burner made for a Buddhist temple. Square format with beautiful curves and two handles on the upper rim. Cast bronze with brown patina (sentoku), the shoulder decorated with butterflies in the clouds, done in gold and silver nunome zogan and silver wire inlay.

Japan, Edo period, 19th century

H 8.5 x W 11.75 x 11.5 in.

Unfortunately badly abused as a planter, causing water damage on the patina on the outside, and with numerous small and unobtrusive dents. Some of the gold on the butterfly wings damaged.Legs have been removed and are lost. In spite of that, a magnificent piece decorated in a technique commonly used among the dexterous makers of sword fitting.

Small kogo, incense box, in the shape of a crab in rest. Grayish brown grainy earthenware, much like Raku, with red glaze and with patches of green and white glaze. The eyes are accentuated with gold, as is a small area on it’s back.

Potter’s mark on the belly.

Japan, late 1700s.

H ca 1.25 x W ca 3 in.

Some of the gold rubbed, split in clay caused by firing at the rim of the lower section, which does not impact the stability of the piece. All in all very good condition

From the collection of Sandra Saltzman, New York