Catalog (283)

Kanban or shop sign. The sign indicates that the store would sell or manufacture ornamental pin holders for the oars on a boat (ireko), in the shape of dolls. According to the sketch pasted to the back of the kanban, this holder is mounted on the oar and is placed over a pin mounted on the boat edge. The oar pivots around that pin, so that the oar moves the boat through the water.

The pin holders are decorated as a male and a female doll in court style, their mouths wide open. The words ireko ningyo are branded into the wooden board. On the back of the board paper label with a flying plover and the words ireko ningyo; another paper label shows the proper names of the different parts of a rowing oar. Ireko ningyo is almost a play of words. It means nesting dolls (doll in doll in doll), but it also means pin holder on an oar in the shape of a doll.
Wood with color pigments, iron nails. Mingei (folk art).

Japan, early 20th century.

Measurements: W 19 in.; H 8 to 10.75 in.

Paint virtually completely weathered away, upper part missing, old repairs with iron nails

Mizusashi or kensui in the shape of a Chinese boy, or karako, holding Hotei’s large bag over his shoulder, as if dragging it.

Over brownish beige very fine stoneware a layer of mottled brown glaze has been applied, over which a blue-green finely crackled flambé dripping glaze. The inside covered with brown mottled glaze, the outside bottom left unglazed.
Impressed mark in the bottom: Kato Shuntai.
Japan, 19th century.
Height: 3.25 in.; diameter: 6 in. (8.3; 15.2 cm)
Excellent condition.

The jug comes with the original storage box. The inside of its cover is inscribed with authentication of the piece as a mizusashi in the shape of a karako in ao-Oribe, made by Kato Shuntai from Seto. Authentication written and signed by Matsumori An.....

Kato Shuntai (1802-1877) worked in many ceramic styles. The splashes of flambé crackled glaze are very typical for his works (Shuntai-yaki). His works and the works of his ancestors can be found in museums around Japan and the US.

Miniature shrine, or zushi, with figure of Bishamonten, carved in wood.
Bishamon stands on a demon that is lying on a rock. In his left hand he holds a pagoda and in the right a short staff or stick. Behind his head a gilt metal flaming mandorla. The garment of Bishamonten is decorated in gold paint, the crown and mandorla made of gilt copper.
The inside of the doors decorated with waribishi (diamond) pattern. The back of case inscribed in red lacquer: Fu-kan-jo, which together could mean a ‘wish for wealth’.

Japan, 19th century
Height zushi 4.5 inches.

Tip of pagoda in his right hand is missing. Case: cracks in black lacquer, lacquer chips at the bottom, partially restored around bottom, short crack in lower right side door.

Bishamonten is a deity of treasure, wealth and warriors. The wish for wealth, as written on the back of the case, refers to this capacity. He is one of the seven gods of good fortune, shichifukujin.

Kane gong or bell of a very simple, cylindrical or dish shape, without any sort of decoration. Two loops for cords to hang the gong on a wooden rack. Yellow bronze (sentoku).
Inscription incised in the rim on the back/inside. It mentions the dedication of this gong at the Zenshoji temple in Meiji 40 (1907).

Diam. 12.5 in.; H ca. 3.5 inches.

There are several temples in Japan with that name. One in Tottori Prefecture, one on Noto Peninsula in Ishikawa Prefecture, one on Kyushu, one in Hyogo Prefecture, etc. Further determination based on the inscription is not possible.

Some mild traces of usage (scratches and small dents on the surface outside, one edge dented unobtrusively. Inside white circles from playing it. Good sound.

Kane are musical instruments that are used in the Japanese folk music or Min'yo. The instrument can be hung or held with one hand, and the player hits the instrument with a mallet from the inside. The kane can produce two distinct sounds: chi and chon. Chi is the sound of hitting the bell on the interior sides. Chon is the sound of hitting the flat round inner face of the bell. A third sound, ki, is produced by reversing the stroke.
This instrument is used s well in Buddhist and Shinto ceremonies like a gong, usually to tell time or to invite/alert people to a certain event, but also as a prayer gong.

Small painting of the 11-headed Kannon standing on a lotus dais, flanked by Bishamonten and Fudo Myoo.
In the front two red colored Nio are guarding the deities.
Inscription on the central base reads: Ichijoten (name of the temple hall), junsan koichi hongu.
The inscription on the bottom reads: Kazusa Shibayama Tenozan Kanon kyoji.
Rollers cut off and framed in mounting.

Black ink and colors on paper.
Japan, Edo period, 19th century.

Painted area: 22 7/8 x 10 9/16 inches
Frame: 29 ½ x 12¼ inches.

Paper slightly creased and rubbed at places, some pigment loss on creases, otherwise good condition.

This painting was sold at the Kannon kyoji temple on Tenno Mountain in Shibayama (Chiba Prefecture). It shows the main hall’s statues of worship, the 11-headed Kannon, Bishamonten and Fudo Myoo, and the famous nio at the gate. Printed versions of this image were also sold.

Hanging scroll. The founder of the Shingon sect of Buddhism in Japan, Kobo daishi (774-835), seated at a priest’s seat, holding a vajra and a rosary in his hands.
His shoes and a ewer stand underneath his chair.
Ink, mineral colors and gold on silk.
Japan, 19th century.

Painted area: ca. 34.7 x 15.95 inches (93.1 x 40.4 cm); total length 65.2 inches (165.5 cm)

Scratch through upper part, few horizontal dull creases, basically good condition. Mounting with damage.

Kobo daishi is the posthumus name of Kukai. Kukai was a Buddhist monk, a civil servant, engineer, scholar, a poet, artist and calligrapher. As part of a government sponsored expedition to China in 804, Kukai was allowed to study Chinese Buddhism in Ximing Temple in Chang’an (today’s Xi’an). In 805 he met Master Huiguo (746–805) who initiated him into Chinese Esoteric Buddhism.

Sculpture of the Bodhisattva Jizo, standing with a jewel in his left hand. His right hand points down to the earth in a welcoming gesture. The sculpture was built according to the yoseki saigu technique of separate blocks. Originally a layer of gesso covered the wood, over which black lacquer. The lacquer and gesso have come off from most of the sculpture, revealing finely written sutras or Buddhist texts in black ink all over the body of the figure.
Mounted on an black base with Velcro

Japan, Edo period, 18th century

H 19 in.

Some small, old chips, most lacquer and gesso missing.

Highly unusual Buddhist shrine with the image of a horse looking back. The horse has a ‘brocade’ cover over his back and is standing behind a mesh wire fence, the way they would be kept in temple compounds.

Polychromed wood with some gold details. The roof of the shrine is a separate piece and can be detached, which allows for taking apart the zushi.

Japan, Meiji period, 19th century.
Height of zushi ca. 7.8 inches (19.5 cm).

Frontal golden curtain dislodged due to warping, but still with the zushi; one door lost its hinge-functions (top and bottom pin broken off, triangular splinter on right door on last photo), paint on brocade cover of horse chipping and fragile.

This piece needs to be seen as a form of ema, which were offered to temples and shrines as a calling to the deity. In the Shinto religion, horses are intermediaries between this world and the gods. The horse is seen to be used by various deities, for example Benzaiten.

Fun portrait of Daruma with googly eyes, in quick brush strokes. Above him an inscription that mentions the Buddha, the Bulguksa temple on Mount Toham in Gyeongju, South Korea, the name Seog’un, followed by the seals Lim-Chung…. And Seog’un. Other red seals in the lower left corner and to the right of the character ‘Bul’ (Buddha).

Black ink and some gray on paper. Mounted in brocade and framed in wooden Asian frame. Originally this was a hanging scroll but the mounting was cut and used as a decorative border inside the frame.

Korea, first half 20th century.

Frame: H 24.75 x W 18 in.
Painting: H 17 x W 12.75 in.

Paper yellowed and thin on the lines of the paper grid

A set of plain candle sticks, called shokudai, used for hanging on a wall (like sconces). Each stick is made of bamboo. On top of the stick is a forged iron hook to hang it from a horizontal beam or slat on the wall, together with a candle pricket. On the bottom is an iron sheet dripping saucer with pricket. Mingei.
Japan, Edo period, early 19th century. Very rare pieces.

L stick 1: 15 in.; depth saucer 3.5 in. L stick 2: 16 in.; depth saucer 3.5 in.

Iron corroded and connections a bit loose (not disconnected, though!), one bamboo with very thin crack the does not impact the stability or beauty of the piece. Traces of usage.

Simple wooden shishi (or lion) dance mask with movable ears and jaw. The ears and eyebrows are stained black. Behind the ears a row of small holes have been made, used for attaching the garment (the body of the lion). Mingei.
All light wood, wooden joints (ears on sticks for manipulation by hand).
Japan, 19th century.

H 6.5; D 9.5 inches.

Nice patina, minor traces of usage: small chip at one of ears, short and unimportant crack in skull. All in all very good condition.

Highly unusual ovoid flower vase with an art deco decoration of four pairs of Native Americans standing face to face in war dress. Above and below decorative bands of repeating plant motives. Inside cream colored glaze.

Light colored stoneware with pastel colored sgrafitto clay inly. Excellent craftsmanship. Kyoto ware.

Signed on the bottom Gyozan

Japan, late Meiji/Taisho era, 1910s-1920s

H ca 9.25 inches

The Gyozan studio and kiln were in Kyoto. The studio produced traditional Kyoto Satsuma ware for the export market. It also engaged in making bold, colorful designs that resemble works by Kenzan studios and others. This vase clearly shows the heavy influence of art deco, which was very much the taste in Japan during the greater Taisho era (1910s-1930s).

Small and cute box for keeping incense, called kogo, originally used in the tea ceremony. Hand modeled coarse red stoneware with small sediment and mineral inclusions. White irregular glaze caused by feldspar inclusions in the clay that melted during the firing and dripped over the outside.
The overall shape is an irregular cylinder which turns into a plum blossom when seen from the top, with three clusters of stamen. Ash glaze inside the lower part of the box.

Small, shallow impressed seal in the shape of ‘i-no-me’ (boar’s eye, more or less heart-shaped).
The foot has been shaped to show the shame boar’s eye as to mark the kiln Most likely Shigaraki ware, possibly Iga ware.

Japan, Showa era, 1970s-80s

H 2.1 x W 2 in.

Excellent condition

A sitting lady in Heian era court dress and hair, clutching a giant golden matsudake mushroom. She wears a bright red hakama and light blue kimono. The shape of the mushroom has a close resemblance to a penis and the sculpture definitely has an erotic meaning.

Hand modeled, soft hollow earthenware, painted in cold-applied colors and gold.

Japan, 1960s or earlier.

H 5 in.

Colors somewhat smudged and chafed; frittings at the bottom edge. Because of the cold application, the colors are fragile and easily wash away.

Okame standing in blue over-kimono with a sweet and cheerful facial expression. Her garment falls open a little, showing a red colored underkimono or liner, indicating her profession. Cradled in her arms is a large matsudake mushroom. The shape of the mushroom has a close resemblance to a penis and the sculpture definitely has an erotic meaning.

Soft hollow cast earthenware or plaster, painted in vibrant cold-applied colors and sprinkled gold flakes.

Japan, 1960s or earlier.

H 5 in.

Colors somewhat smudged, especially the blue. Some black smudges in the white face, affecting her left eye. Because of the cold application, the colors are fragile and easily wash away.

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

Fairly large bowl of irregular round shape with indentations in upper edge and openings in the side, decorated with a large red lobster. The spiny lobster is traditionally eaten during the New Year. It is an auspicious food, as its curved back reminds of an elderly person, and it thus is a symbol of longevity.

Light colored stoneware with white glaze, over which iron red and some black (lobster) and thick, dripping green glaze.

Signature on the outside: Kenzan.

Ogata Kenzan-ware, Japan, Meiji-Taisho era, early 20th century.

H 3.9 x W 9.5 in.

Tiny, old chip on the rim in the green glaze, otherwise excellent condition

Buddhist shrine, or zushi. Inside stands Jizo bosatsu, holding a wish-granting jewel (hoju no tama) in his left hand and his staff in the right. Very elaborate wooden carving with thick layers of lacquer on top of which gilding. Unusual face with down cast eyes. Metal staff with moving rings.
Height 11.2 inches (29.2 cm).
Japan, Edo period, 18th century.

Jizo’s right foot and left hand repaired (old), vertical crack from his left shoulder down and from his right armpit down, along the seams in the underlying woodblocks, insides of doors strongly, but smoothly rubbed (perhaps to rub out a dedication/identifying inscription, so that the zushi could be deaccessioned from the temple); the outside of the zushi with clear traces of usage (soot), and missing lacquer due to damp circumstances at the temple.