Catalog (368)

Ming Dynasty, ca. 1500s

Cast with flowing robe and benevolent facial expression. Stands upon a base cast in the form of sea waves surrounded by low a fence raised upon a hexagonal plinth. Figure and base were cast separately with the figure being attached to the base with two bronze pins. The figure was originally lacquered overall then gilded. Remains of this gilt lacquer can be seen especially in the creases of the robe and the hair around the edges of the hood. The figure is well-modeled, having subtle curve to the body and a flowing robe as if being blown by the wind. The sculpture exhibits evidence of its 450+ years; there are areas of light encrustation and verdigris on the base. The lacquer gilding is largely worn off. One of the fencepost finials is missing. There are minor casting flaws: a small hole in the lower garment original to the casting and flawed casting or loss of the left foot. There is also a small hole on the left wrist. The figure is somewhat loosely attached to the base, but is not removable. These issues are fairly typical with bronzes of this age and overall this is a graceful figure retaining its original patina.

Height: 8 ¼ in.; Width: 4 ¼ in. at widest point of base

Late Yuan dynasty, mid 1300s

This small but well-proportioned guan-form jar with broad shoulder tapering to a narrow base is stoutly potted as were many such late Yuan porcelains intended for export to Southeast Asia and the Philippines. This piece is decorated in the classic Yuan format of horizontal registers of primary and secondary designs; the largest register having the chrysanthemum scroll painting with the upper register around the neck displaying the often-seen classic scroll and the base with a band of downward pointing petals. The cobalt is of a grayish-blue tone suggesting that of a native Chinese source perhaps mixed with Persian cobalt. The painting, though rapid, is that of a practiced hand, and the blue has a heaped and piled effect with blackish speckles in the cobalt blue—all characteristics of blue and white porcelains of this period. The clear glaze is fairly even and lustrous with a bluish tinge. The base and footring are unglazed and three finger marks remain on the exterior base where the piece was held for dipping in the glaze. The footring is flat and beveled on the outer edge where the excess glaze was trimmed off before firing. The interior is unglazed. There are a few iron specks and pin pricks and pinholes resulting from the firing. There is a small firing flaw about 1/8 in. in diameter where a bubble in the clay erupted in the firing process. The overall condition is good. The imperfections are all characteristics of early blue and white wares of the Yuan dynasty.

Height: 3 ½ in.; Diameter: 4 in.

Early Ming dynasty, late 1300s / early 1400s

This box is molded to resemble lacquered basketry—the cartouches on the sides representing finely woven panels separated by what would have been lacquer work. The top of the lid is molded with a design of a crane in flight among stylized clouds. The box is glazed overall, including the interior and the base, with an even-toned white glaze with a faint bluish tint. The glaze has a silky, flat sheen, almost having the appearance of marble. This piece was likely recovered from an underwater shipwreck site in the southern Philippines. Being many years underwater has contributed to the glaze texture and also to the preservation. Completely intact and in good condition. Purchased twenty years ago from a California collection.

Height: 2 ¾ in.; Width: 4 ¾ in.

Mother nursing her child, probably from the Sawankhalok kilns. The body of the hand-modeled figure is rather hastily sculpted as is the doll-like child. This hastiness is typical of figures such as this one which were made in large numbers and distributed as fertility charms. This one, however, has more care taken in defining the facial features of the mother as well as her hairstyle. The slightly speckled stoneware is high-fired and covered with a thick crackled celadon glaze of attractive blue-tone. The glaze stops short of the lower limbs which show the pale beige stoneware with a few specks of iron impurities. The base is hollow up to the waist showing some pale brown oxidation from the firing. The base has some wear which reveals the original buff-tone of the clay. Figures such as this one were known to have been made at Sawankhalok as early as the 1300s. This one is probably somewhat later. Good condition with no restorations. There are a few small brown spots in the glaze from iron impurities in the clay body.

Height: 4 in.

Ming Dynasty, 1500s

This small bottle, probably used to hold aromatic oils, rises from an unglazed foot to a swelling shoulder, then tapers inward to a narrow neck with a slightly everted mouth. It is decorated in underglaze cobalt blue with a stylized, almost abstract landscape on one side; the other side has a few brief calligraphic strokes, one of which is perhaps a bat. The base and foot are unglazed, exposing the white porcelain paste which is now somewhat soiled from age and use. Bottles such as this one are found distributed throughout SE Asia as a result of the China trade. This one was said to have been found in the southern Philippines near Mindanao. Very good condition with no damages or restorations. There are a few characteristic pin pricks in the glaze.

Height: 3 ½ in.; Diameter: 3 ¼ in.

Ming Dynasty, 1500s

This circular-form lidded box is of a type found widely distributed throughout Southeast Asia as a Chinese trade item exchanged for spices, pearls, precious metals produced by the various foreign island cultures. Small boxes such as this one were possibly intended for cosmetics or spice storage. This box is painted with a stylized flower on the lid surrounded by a hastily-painted leaf border. The base is likewise painted with two abstract floral designs. It is glazed overall with a clear glaze of slightly grayish tone. The footring is unglazed revealing the porcelain paste. The general condition is good however there are a few tiny old chips from use and some crackled areas to the glaze. There is a small glaze skip to the lid rim and general soiling from use or burial.

Height: 2 3/8 in.; Diameter: 3 ¼ in.

1200s

This bowl was wheel-formed and then pressed into a mold while still soft to create an octagonal form. The soft stoneware clay was then carved and impressed with a stylized chrysanthemum design, allowed to dry, and then covered with a slip of white liquid clay which filled the incising. The residue was wiped or carved off leaving the crisp design in white against the darker clay. The entire bowl, including the base and footring was covered in a pale green celadon glaze having a close crackle that is typical of such wares. It was fired on small stones of which some adhered to the base, which is again typical of Korean celadon wares from the 1200s. There are a few glaze crawls as seen in the photos, but no cracks or restorations. This is a rare bowl in unusually good condition for its age.

Height: 1 ¾ in.; Diameter: 4 ½ in.

Yuan Dynasty, 1279-1368

This well-modeled figure of a recumbent ox is one of twelve figures representing the traditional Chinese zodiac. It is formed in grey earthenware and was originally carved in a thin slip of white clay, much of which still remains. The head is sculpted with an expressive face having large eyes and short, thick horns. The characteristic hump occurs on the back just behind the head. The legs are tucked under the sides with the hooves exposed. His long, serpentine tail twists around the right rear leg. There is a bit of burial earth still adhering and only a couple of small chips. The overall condition is very good.

Height: 4 in.; Length: 5 ¼ in.

Edo period, 1600s / early 1700s

The seated Buddha image has traces of gilding darkened from years of candle and incense smoke. The mandorla is thin metal repousse. There are chips, wear and losses to the lacquered wooden case.

Height: 9 ¼ in.

1600s or earlier

This figure has old losses to both forearms. The features are worn and it is blackened overall from incense and candle smoke, but it has a pleasant, soft patina. A metal nimbus was originally attached to the back with a small strip of metal that still remains. Acquired in Kyoto in the early 1970s.

Height: 6 in.

1700s or earlier

Classic Japanese Mingei folk art figure probably from a Buddhist altar or rural roadside Shinto shrine. The forearms are missing. It is darkened from incense and candle smoke. Acquired in Japan in the early 1970s.

Height: 7 ¾ in.

Late Ming Dynasty, early 1600s

Decorated in a wu cai palette of overglaze enamels. There is some wear to the enamels from long use, but overall in good condition. The stand and lid are from the late 19th Century / early 20th Century. Purchased in Japan in the 1970s, where it had been used for the tea ceremony as a container for powdered green tea.

Diameter: 3 ¼ in., Height: 3 7/8 in., Height with stand and lid: 5 in.

Ming Dynasty, Wanli period, Ca. 1600

The fine porcelain paste, decorated in cobalt blue, depicts a garden scene with bird and flowers in the center of the dish, surrounded by stylized flowers in circular cartouches. The back is divided into six panels, each centered by a splashed dot. The footring is unglazed, revealing the fine white paste, and there is a bit of sand adhering from the firing. The base is glazed and chattermarks are visible from the trimming of the clay before firing. There are a few small areas of rim fritting that are characteristic of this ware. Otherwise, the condition is very good with no cracks or restoration. Purchased in Japan in the mid 1970s.

Diameter: 5 ¾ in., Height: 1 ¼ in.

Song Dynasty, ca. 1000 /1100

These tall, slender offering jars with lids are well-potted and molded with dignitaries, dragons and horses, and covered with a thin bluish-toned clear glaze. The bluish areas are apparent where the glaze has pooled around the molded figures. The lids are likewise glazed and finished with a simple stylized swirl of clay. The clay body is white and a bit sugary in texture. There are orange areas of staining from burial. Jars such as these were used as grain offering containers and were interred with the deceased for use in the afterlife. The mouthrim, the foot, and the base are unglazed. The jars are a matched pair and are in generally good condition. There is a small chip to the piecrust shaped decoration below the mouthrim of one jar. There is very minor chipping to the edge of the feet. There is a small piece on the edge of one lid that was broken and restuck.

Heights with lids: 17 ¾ in., 18 in.

Mid / Late Ming Dynasty, 1500s / 1600s

This wine cup is decorated in underglaze cobalt blue with three yin yang symbols on the exterior and also one on the interior base. It is raised on a low unglazed footring showing the white paste. The base is glazed and has a hastily painted mark. The overall condition is very good, without chips or repairs. It was recovered from a shipwreck site in Southeast Asia. The glaze has taken on a matte finish from submersion in the ocean.

Height: 1 7/8 in., Diameter: 3 ¼ in.

1400s / 1500s

This saucer dish, raised on a fairly narrow foot displays the “shibui” and “wabicha” aesthetics sought after by Japanese tea practitioners as well as “Mingei” collectors. The brown stoneware body was hastily brushed on the interior and underneath the dish in a rapid manner with no consideration of perfection. The white slip was applied while the piece was still wet from the potter's wheel. After drying, it was dipped in clear glaze, and on this piece, leaving a V-shaped glaze void exposing an area of dry white slip and brown body – a desirable lack of attention to detail in Japanese tea aesthetics. Where the clear glaze covers the brown body, it appears gray. The foot and base are glazed and partially rubbed off the footring, or possibly worn off through use. The dish leans somewhat when standing on its footring. A small area underneath the rim is unglazed. There is an old hairline crack about one inch long, some kiln grit on the base, good wear and well-worn patina. I purchased this piece in Kyoto in the early 1970s and it was used by my tea ceremony teacher from time to time.

Diameter: 5 ¼ in., Height: 1 3/8 in.

Ming Dynasty, Ca. 1500s

This figure of a seated scholar is glazed turquoise with amber colored highlights. The back is mostly unglazed except for the original white slip coating, now darkened with age. The interior is hollow and unglazed, exposing the reddish clay body. The white slip coating continues for an inch or so into the interior cavity. The face is covered with a thin white slip (now darkened) but is otherwise unglazed. The turquoise glazed hat has a few old losses to the glaze where it has flaked , and another small, old glaze flake to the upper right arm. There are no cracks or restorations and it is generally in good condition. Acquired in the early 1980s from a Northern Virginia dealer.

Height: 8 ½ in., Width: 5 in., Depth: 2 ½ in.

Late Ming, Tianqi Period, ca. 1620s

This bowl is decorated in underglaze cobalt blue with a stylized design of two birds perched on a sprig of flowers and encircled by stems covered in little round buds, giving the design an abstract quality. The base is unglazed and shows the characteristic chatter marks from the trimming, often seen on Tianqi wares. The footring is unglazed with numerous sand grains adhering. The outer sides have two hastily drawn circles and X's. There is considerable rim fritting as seen on most porcelains of this period. There is a small rim chip, also. It was probably shipped to Japan for use in the Japanese tea ceremony, shortly after it was made. Tianqi porcelains were in high demand among tea ceremony practitioners, even in the 1970s, when this piece was acquired.

Height: 2 in., Diameter: 6 1/8 in.