Catalog: Vintage Arts: Regional Art: Asian (67)

A male figure sitting in ceremonial kamishimo dress of a striped hakama (pants) and a golden kataginu (vest) over a red kimono, his head shaped like the top of an erected penis.

Soft molded earthenware, painted in cold-applied colors and gold and silver.

Japan, 1960s or earlier.

H 4 in.

Colors and metal pigments chipping, otherwise good condition. Because of the cold application, the colors are fragile and easily wash away.

Rare subject matter

Snake carved out of a natural piece of twisted keyaki (paulownia) wood, stained dark brown. Japan, Showa era, perhaps a bit earlier.

H ca. 24 in.

Excellent condition.

Solid wooden folk art carving of a giant penis. Strapped around it are red and white twisted cotton cords (imenawash) with paper strips (gohei). Penises of this size were donated to Shinto shrines dedicated to fertility, in the hopes of getting pregnant. Or they were carried around during fertility festivals.

Cryptomeria (sugi) wood, red and white cotton, paper

Japan, 20th century

H 24.5 inches (62.2 cm)

Excellent condition

Incense box of irregular circular shape. Over a light gray clay thickly applied opaque, lightly crackled glaze with feldspar that leaves bare a few small areas uncovered, which colored orange red during firing. On the cover a few circular black-brown underglaze "brush strokes".
Although bottom and cover clearly match, they do not make an airtight close line, but leave a couple of gaps. Few very short firing cracks.
Shino ware, Japan. Showa era, mid-20th century.

H 1.25 in.; W 2.25 in.

One tiny chip on a rim, otherwise excellent condition

Large peach-shaped bowl decorated on in- and outside with a bold Rinpa design of flowering red, white and blue camellias and leaves. Over a cream-colored coarse stoneware a thin layer of cream-colored slip has been applied, on top of which overglaze blue, black, green, red, white enamels and gold.

On the outside in a white rectangular reserve with black outlines the signature Kenzan. Japan, 1950s.

In the style of Ogata Kenzan or Ogata Kenzan studio.

H 4; w 12 inches.

Tiny chip on inner rim, otherwise excellent condition.

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

Small box and cover. The base of the box made of kiri wood (Paulownia), the cover made of kiri and keyaki (Zelkova) wood, diagonally joined together. The outside of the cover is decorated with two black shijimi fresh-water clam shells in kiji makie technique (applying makie lacquer decoration to natural wood).

Inside of the cover signed with red lacquer seal: Tairei; bottom of box stamped seal of the wood worker who made the box: ‘To’ inside a double gourd.

Comes with the original wooden storage box. Outside of cover inscribed: Shijimi, kiri kobako (Clam shell, small box in Paulownia wood). Signed inside of cover: Tairei saku and seal Tairei.

Japan, Showa era, 1950s

H 1.25 x 3.3 x 2.75 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).

Small box and cover made of very thinly cut kiri (Paulownia) wood, in the shape of a Daruma doll. The cover is decorated in gold, silver and red kiji makie technique (lacquer decoration applied to natural wood) with three tumbler dolls: rat, farmer girl, samurai boy.

Inside the surface is covered in plain black lacquer, the cover signed in makie gold lacquer: Tairei.

Japan, Showa era, 1950s

1.25 x 4.3 x 2.7 in.

Few 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).

Very small shrine holding the figure of Dakiniten riding a white (or silver) fox. Dakiniten is worshiped at the Toyokawa Inari temples. The zushi is on the inside encased behind a glass pane, surrounded by painted treasure symbols. These kind of zushi are sold at the temple to the patrons and other visitors. Polychromed wood with abundant gold and silver Japan, dated Taisho 13 (1924).
H of case ca. 4 inches.
Comes with original fitted kiri-wood storage box, inscribed with the receiver’s name (juyo), a Kyoto address, dated Taisho 13, 9th month, 17th day, Toyokawakaku and stamped with a red seal. Excellent condition.

Enpukuzan Toyokawa, Myogonji is a temple dedicated to the eleven headed Kannon and Dakiniten and the fox Inari. It was originally founded in 1441 by Tokai Gieki. Most of these temples were rebuilt in the Meiji era or even later, hence many of the products of these temples are from modern times. Worshipers traditionally are merchants.

Bronze sculpture of a pair of geese, necks stretched out. Both are abstracted into a beautiful silhouette with only the most essential lines to indicate movement and character. One goose is stretching its head towards the sky (or full moon), the other stretching its neck towards its companion.
Bronze with brown patina.
One goose signed Sou for Saegusa Soutaro
Japan, Showa era, ca. 1950s.
Geese (and full moon) are a symbol of the fall

H 12 ¾ and 6 ½ inches

Excellent condition

Saegusa Soutaro (1911-2006) was a well known artist. During his working career he specialized in oil painting and large scale public sculpture. It was after his retirement in 1986 that he started to focus on animal sculpture. For another piece by the same maker, see item no. 10994, a leopard.

Daruma standing tall, wrapped tightly in his garment, the tips of his feet just peeping out. The bottom section of his garment is flapping in the wind. This pose is associated with the episode in which Daruma travels to China, crossing the river Yangzi, while standing on a reed.
The figure was molded in a cast in two halves (front and back) 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 some gomma. Details are beautifully worked.
Small seal impressed in the back: Bizen … [illegible].

H 10.25 inches

Japan, Bizen/Inbe, mid 20th century

Crack along the vertical joint in the right side, from which three very thin horizontal cracks spring (two towards the front, one towards the back). Despite that, stable and sturdy condition. Molding flaw in the ear that is not considered a damage.
Please ask for pictures for a detailed report on the damages

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 ash remains floating through the air.

Stoneware water jar or mizusashi as used in the tea ceremony with round bottom developing into a diamond shaped edge. Greyish smooth stoneware, decorated with horizontal grooves, covered with brown iridescent glaze on the outside and with a mottled greenish-yellow glaze on the inside, dripping over the outside edge and down. Black lacquered, diamond-shaped coved. Takatori style, Japan, early Showa era, circa 1930-1950s.

H without cover 5¾ in.; with cover 6½ in.

Jar in fine condition, cover with 2 chips.

Clog-shaped chawan, tea bowl to be used in the tea ceremony. Over a whitish fine clay a silky black glaze and crackled white slip over which a decoration of interlocked diamonds and rings in iron brown.

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.

Perfect condition

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.

Pair of golden yellow silk fukusa or gift covers, with diamond pattern with water birds design in brocade weave, over which is embroidered in different hues of pink and in goldthread. The larger fukusa is decorated with a lobster carrying a treasure boat, holding several of the treasures. The smaller fukusa is decorated with a treasure boat, as well. Reverse decorated in brocade technique with a family crest in white silk. Japan, Taisho or Showa era, ca. early to mid-20th century.

H 29 ¾ x W 26 ½ inches and H 24 ½ x W 22 ¼ inches.

The smaller one with slight bleeding on the reverse (consistent with usage). Otherwise both in excellent condition.

Almost square fukusa or ceremonial cloth or cover. Two hand-embroidered diamond shaped white silk emblems of a pair of cranes, enhanced by gold-thread outlines, on a kikko hanabishi background in multicolor yuzen dye technique between two bands of bright orange-red. Some of the flowers in the kikko hanabishi ground are hand-embroidered. The outlines of the kikko painted in gold (now oxidized to a greenish color).

The back of the fukusa is a solid bright orange-red.

Tassels in 3 of the 4 corners of red and cream-colored silk and gold thread.

Japan, mid 20th century

H 15.75 x W 14.5 in.

One tassel missing, storage folds, otherwise excellent condition

The red color is hard to reflect in a photo. It is slightly more orange in reality.

Small rectangular box and cover. The box is made of wood covered in a thin layer of clear lacquer on outside and inside. The top of the cover is decorated on the outside with the two circles (mon). One is filled with a gohei (ceremonial wand with paper streamers), the other with an open and closed umbrella in kiji makie technique (applying makie lacquer decoration to natural wood). The flat makie work is executed in gold, silver and colored lacquers and gold sprinkle.

Inside of the cover signed with black lacquer seal: Tairei; bottom of box impressed seal of the wood worker who made the box: ‘To’ inside a double gourd.

Comes with the original wooden storage box. Outside of cover inscribed: Ko…, tabakohako (Small…, tobacco box). Signed inside of cover: A spring day in Showa 26 (1951), Tairei saku and red seal Tairei. Bottom inscribed, as well.

Japan, Showa era, 1951

H 1.25 x W 3.25 x D 2.75 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).

Small rectangular box and cover. The core of the box made of wood covered in brown textured lacquer on the outside and red lacquer on the inside. The top of the kiri-wood cover is decorated on the outside with the fruit of a hozuki (Chinese lantern plant) in kiji makie technique (applying makie lacquer decoration to natural wood). The fruit is bright red takamakie, while the husk of the fruit is done in gradating red and gold takamakie. The cover shows a thin crack that has been beautifully restored with three small dove-tails.

Inside of the cover signed in gold lacquer: Tairei.

Comes with the original wooden storage box. Outside of cover inscribed: Hozuki, .. tabakohako (Lantern plant, small box in tobacco box). Signed inside of cover: Tairei saku and seal Tairei.

Japan, Showa era, 1950s

H 1.5 x W 3.8 x D 3.4 in.

Cover with crack (through fruit), traditionally restored with dove tails.

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).

Kabuto maedate, or ornament that sits in the front of the Japanese helmet. Aizen Myoo, flames coming out of his mouth. On top of his head a lion. Polychrome lacquered resin-like material, mounted on a metal base plate. Japan, 20th century.
Height ca. 5 ½ inches, width ca. 6 ½ inches.
Fine condition