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Chinese (13)
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Japanese (209)
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Featured Items
(15)
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Antique Chinese Paktong Handwarmer with Five Bats |
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Japanese Art Nouveau Style Meiji Bronze Vase, Signed |
Auctions
(4)
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Miniature Wood Noh Mask, Mounted and Framed |
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Set of Eight Komai Style Inlaid Iron Place Card Holders |
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Freestyle Japanese Bamboo Ikebana Basket
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Pre 1900 item# 399353 (stock# 11C-039)
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B & C ANTIQUES
203-929-7312
$395
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This lovely spherical Japanese basket for flower arrangements (“hanakago”) is finely woven from thin split bamboo strips and dates to the Meiji period, ca. 1890. The warm burnished brown ovoid body is crafted primarily in the rhythmic “tomokumimono” technique, using even-sized widths of bamboo to create a textural refinement that has balance and elegance. Irregular “midare” plaiting produces a powerful and expressionistic character. Midare, which utilizes bamboo strips freely plaited and inserted in random areas around the body to provide a lively contrast of textures, is a popular style for flower baskets. Bamboo strips are further plaited in complicated rounded forms at the top of the basket, the ends of which are inserted into the base plaiting structures on the body. Thinner segments of bamboo have been twisted to form the handle, which flows into the midare decoration. Since the sixteenth century, woven baskets for flowers have been favorites for use in the tea ceremony. Designed to contain fresh-cut flowers, flower baskets were also used in shrines and in the alcoves in Japanese homes (“tokonoma”), providing an atmosphere conducive to the quiet and tranquil contemplation of nature. While bamboo baskets have served various utilitarian functions in Japanese daily life for centuries, they also have been valued for their beauty. They express a Japanese aesthetic rooted in simplicity, humble natural materials and imperfect beauty. Beginning in the Meiji period, Japanese basket makers gradually transformed traditional flower baskets from utilitarian containers into sculptural masterpieces crafted in a variety of shapes, weaves and knots. Japanese baskets make aesthetically pleasing flower containers, since they bring the garden indoors and lend themselves well to natural arrangements. Condition is excellent with only normal wear consistent with age and usage, and there is a nice old finish and patina to the bamboo. Dimensions: Basket is 7” high (9 ½”tall including the handle), approximately 6” widest diameter.
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Japanese Futabana Flower Bronze Vase, Late Edo
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Pre 1900 item# 397360 (stock# 6B-382)
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B & C ANTIQUES
203-929-7312
$675
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This elegant and distinctly Japanese bronze flower vessel was cast in futabana style with a classic low body, crisply cut shoulder and wide flaring trumpet-shaped mouth. Late Edo period, mid-19th century. Just above the shoulder on either side of the neck are two applied Chinese style dragon head handles cast in bronze in wonderful detail. The body is engraved all over with flowers and scrolling vine designs. The free-and-easy manipulation of Chinese elements seen in bronzes of the late Edo period is typified by this vase. Compared with earlier Edo pieces, the metal is more carefully cast and finished, while the two dragon handles become a minor decorative feature rather than an integral part of the form. (See similar examples illustrated and discussed in the sumptuous book entitled FLOWER BRONZES OF JAPAN by Joe Earle.) This type of bulbous bronze flower vase was used by the Ikenobo school, which is the oldest school of Japanese flower arrangement (ikebana). Kyoto was the birthplace both of ikebana and of the bronze flower vessel, and scrolls dating from the second half of the 17th century show the first examples of this most characteristic of Japanese bronze forms, the so-called futabana (two-flower) vase. By 1698, the futabana seems to have become one of the most popular ikebana vase forms, with handles that predominantly included dragons, shishi, butterflies and hares. With the emergence of flower arrangement and the tea ceremony as distinctively Japanese cultural pursuits, bronze casters began to develop new and innovative forms of vessels loosely based on Chinese originals but with an unmistakable Japanese elegance. These culminated in large bronze vases cast in exaggerated form for the classic, formal rikka style of flower arrangement, prevalent in the 17th century and early 18th centuries. With the re-opening of overseas contacts from the 1850’s, traditional styles were combined with the skills of the metal craftsmen and sword smiths in the manufacture of these magnificent showpieces, many of which were displayed at exhibitions in Europe and the United States. CONDITION: This handsome Japanese flower bronze is in excellent condition with a beautiful rich patina that comes with age. There are some signs of normal wear and usage, including a slight indentation on the lip. DIMENSIONS: 10 ¾” high, 9 3/8” diameter of mouth.
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Staghorn Antler Sashi Netsuke Depicting Ruyi Scepter
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Pre 1837 VR item# 389685 (stock# GK-368)
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B & C ANTIQUES
203-929-7312
$780
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This unusual early 19th century stag antler netsuke was carved in the form of two sacred ruyi fungus scepters. Unsigned. Many early carvers, in accordance with prevailing custom, did not sign their netsuke. Early netsuke were often carved from stag antler, an inexpensive and readily available material in Japan. A sashi is much longer than the more typical sized netsuke. Part of a sashi netsuke – the curved ruyi fungus heads in this case -- would be tucked into the obi in order to provide better balance and support for the sagemono. Use of the scepter known as ju-i in China and ruyi or nyoi in Japan dates back several millennia. In connection with Chinese Buddhism, the scepter has been used for many centuries as a symbol of authority. Over time, it was produced in both China and Japan primarily as a presentation gift. The scepter is itself an auspicious symbol, and its use associates the owner with the cultured life of a scholar. The popularity of the ruyi scepter is linked to the fact that the scepter’s head is shaped to resemble the auspicious Fungus of Immortality. (A similar wood ruyi sashi netsuke is illustrated on page 228 of “Symbols of Japan: Thematic Motifs in Art and Design” by Merrily Baird.) Condition is excellent. This netsuke has a beautiful patina reflecting many years of handling. Dimensions: 5 3/8” long, 2” wide.
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Arita Sometsuke Foliate Rim Bowl, Edo Period
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Pre 1837 VR item# 386181 (stock# 2B-719)
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B & C ANTIQUES
203-929-7312
$280
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This attractive Japanese Imari sometsuke (blue and white porcelain) bowl with scalloped rim and six panels surrounding a central medallion likely dates to the late 18th/early 19th century. Each divided panel is decorated in brilliant underglaze cobalt blue with alternating landscape designs surrounding a central roundel containing three fruit. The reverse is decorated with a continuous underglaze cobalt blue karakusa scroll design, and four blue rings encircle the unglazed foot. There is an underglaze blue fuku mark on the base. Arita is a town on the island of Kyushu which has been a center of Japanese porcelain production since the seventeenth century. With Arita blue and whites, the blue is produced from a cobalt or indigo pigment and is painted straight onto the biscuit, after which the piece is glazed and fired. (See “The Lost Century: Japanese Arita Porcelain 1720-1820” by Irene Finch for similar styled bowls.) Condition is excellent, with only a small superficial firing flaw on the base near the fuku mark. Dimensions: 6” diameter, 2” deep.
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Hirado Porcelain Netsuke in Chestnut Form
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Pre 1900 item# 384326 (stock# K-26)
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B & C ANTIQUES
203-929-7312
$425
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This iron brown glazed porcelain netsuke, molded in the form of a chestnut surmounted by a wasp in high relief, is very likely a product of the Hirado kilns. Meiji period (1868-1912) The brown glazed wasp rests atop of the chestnut with its wings and legs extended. The top section of the chestnut is glazed all around, and the bottom section was left unglazed and molded to resemble the stem base of a real chestnut. There are two holes (himetoshi) on the back side for the connecting cord. A similar Hirado example dating to the early 19th century is illustrated in Figure 74 in “Hirado-Yaki Saikumono” (“Small Hirado Porcelain Netsuke and Ornament of the Edo Period”) by Toshio Noda. Hirado wares were produced at Mikawachi near Arita, and for much of its history was made under the patronage of the lords of Hirado. Aristocratic patronage ended in the 1830’s with the commercialization of the kilns. Hirado ware consists of a pure, fine-grained and high-quality white porcelain that would be fired to high temperatures. The production of netsuke was widely exploited for commercial reasons by the Hirado potters in the latter years of the 19th century, when large quantities were produced. Condition is excellent with only normal surface wear and scratches, and the patina is very appealing. What looks like a mark on the back is a firing flaw. Dimensions: 2 5/8” x 2” x 1 1/8” deep.
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Japanese Art Nouveau Style Meiji Bronze Vase, Signed
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Pre 1920 item# 374874 (stock# 6B-375)
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B & C ANTIQUES
203-929-7312
$765
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This elegant Japanese cast bronze vase has a slender base rising to an elongated narrow neck which flares to a small trumpet mouth, its front side wonderfully decorated with a virtuoso high relief rendition of an iris plant in flower, the stream in which it grows being represented by a swirl of bronze. Meiji period (1868-1912). The reverse is undecorated, indicating that the vase was intended for display in a tokonoma (alcove) or similar recess. There is a two-character signature mark engraved on the base, but we have been unable to identify this particular metal artist. The bold and extremely realistic high relief decoration is applied to the body of the vase, exceeding one full inch and a half in depth in places. The sword-shaped leaves, which rise out of a flowing stream, bend and arch randomly. The exquisite open blossom has delicately curled petals and full stamens. Nearby, a bud is ready to burst into bloom. If you have ever witnessed the fantastic lush blooms of live Japanese irises, you will immediately recognize the incredible attention to detail in this phenomenal bronze rendition. (See a similar decoration on a vase illustrated in Plate 34 of the sumptuous book entitled FLOWER BRONZES OF JAPAN by Joe Earle.) The iris (“shobu”), a very popular flower in Japan which plays an important role in the traditional life of the Japanese people, is often represented in Japanese decorative arts and paintings. Japanese metalwork was a sophisticated and complex craft, and metal artists were highly esteemed. When swords were banned in 1871 by government edict after the Meiji Restoration, many sword smiths and armor craftsmen were forced into new outlets and produced a wide variety of decorative arts objects, such as this vase. This highly decorative example of Meiji metalwork is in excellent condition with wonderful original patina. Normal surface wear includes a few light scratches and two slight abrasions on the back, none of which detracts from the integrity of the piece. Dimensions: 10 ½” high, 3” maximum diameter.
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Small Japanese Parquetry Wood Chest of Drawers
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Pre 1920 item# 364891 (stock# 11A-108)
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B & C ANTIQUES
203-929-7312
$750
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This handsome miniature chest of drawers (“ko dansu” or “ko bako”) is meticulously hand crafted with contrasting hardwood inlays in an overall diagonal checkerboard pattern. Meiji period (1868-1912). On both sides of the chest, cut out finger holes are carved in the shape of pine boughs to facilitate lifting and carrying the chest. There are four drawers in varied shapes and sizes, and the original drawer pull hardware is bronze. With the exception of the bottom, the entire surface of the chest and drawers is covered in the unusual checkerboard parquetry pattern. The patina is rich and mellow, with a lush depth and sheen to the finish of the dense hardwoods.
During the Meiji period, parquetry was produced mainly in the centers of Shizuoka and Hakone. The “yosegi” technique was a decoration which relied on the inherent beauty, grain and natural colors of various kinds of wood. Slices of different woods were cut into various shapes and sizes and reassembled into one sheet to enable the grains of each slice to appear more distinctive. The checkerboard pattern was called “ichi-matsu yosegi.” This box was likely used as a scholar’s box to hold paper, brushes and ink. CONDITION is very good considering its age and usage, with only a couple of minor areas of restoration. DIMENSIONS: 13” (33 wide, 9 ½” (24 cm) high, 10 ¼” (26 cm) deep.
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Japanese Seto Porcelain Bowl, Kato Shubei II
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Pre 1900 item# 360824 (stock# 2B-711)
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B & C ANTIQUES
203-929-7312
$595
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This large elegant Japanese blue and white porcelain foliate rimmed bowl is signed by the Seto sometsuke master, Kato Shubei II (1848-1903). It is beautifully hand painted with a bright, freely drawn underglaze blue floral design on a clear, almost translucent, white ground. The high quality decoration incorporates the classic Japanese design of karakusa (scrolling vines or arabesques) and imperial flowers: the paulownia and kiku-mon chrysanthemum. An underglaze blue triangular shaped border encircles the scalloped rim which is molded in subtle low relief all around the edge. The exterior rim is decorated with three paulownia and karakusa sprays. Two blue lines surround the unglazed foot, within which is written the six character blue signature of Kato Shubei II. (See e-yakimono.net for this and other examples of Seto sometsuke masters’ signatures.) Since the beginning of the 19th century, sometsuke (underglazed blue and white porcelain) has played an important role in Seto’s long ceramic history. In 1807 Kato Tamikichi, who had spent years studying the various kilns in Hizen Province, including the Arita kilns, came to Seto and started the production of porcelain. He successfully produced high fired, cobalt blue and white decorated porcelain wares, known as “Seto-Sometsuke.” By the middle of the 19th century, many other famous potters had settled at the various Seto kilns, and high grade porcelains decorated with underglaze blue designs continued to be made. Kato Shubei II adopted his father’s name in 1877, when he became head of the family porcelain workshop in Seto. He produced items for export, especially to Britain and the U.S.A. Condition is perfect. Dimensions: 10” diameter, 2 ¼” high.
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Imari Footed Bowl with Kotobuki
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Pre 1920 item# 350832 (stock# 2B-705)
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B & C ANTIQUES
203-929-7312
$345
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This fine Japanese porcelain sake cup rinsing or washing bowl (“haisen”) is decorated in a subdued Imari palette with a design of “neijiri mon” (pinwheel swirls pattern) surrounding a gold kotobuki symbol in the center. Meiji period (1869-1912). This bowl is made of a fine and heavy hard-paste porcelain. Both the interior and exterior are hand painted in beautiful swirling brocaded and diapered panels in overglaze iron red, green, yellow, aubergine and gilt enamels, some of which are textured in moriage relief. There are also some underglaze blue geometric swirls, and the kotobuki mark is gold with a red outline on a pure white porcelain ground. The “kotobuki” or “ju” character was a Japanese mark that was used occasionally on Imari porcelains. The mark originated in China (where it is known as “shou”) and has several felicitous meanings such as long life, happiness or congratulations. The base has sprays of flowers and leaves in blue, red and gold. Haisen, which are generally large porcelain bowls with a stem base, were used in the ritual of sharing sake. Although rinsing bowls had been used since the Edo period, this specialized shape was adopted during the Meiji period. In the nineteenth century and into the twentieth, they were considered indispensable at drinking parties, where one important feature was the exchange of sake cups between the host and his guests. The host first asked for the guest’s cup and toasted him. The cup was then returned to the guest who returned the compliment by drinking to his host. During these exchanges, the cup was rinsed in water held in a special cup-washing container such as this one, which was placed in the center of the table. Even after World War II haisen were used at swank restaurants where old customs persisted. After the 1960’s they became less common and have nearly disappeared today. (See examples of haisen in “Appeal of Old Tableware” by Nagasaka Sadao, DARUMA 8.) A very decorative design. The pleasing polychrome enamels have a lovely soft tone, and condition is excellent. Dimensions: 6 1/8” diameter, 4 ¾” high.
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Japanese Studio Porcelain Low Bowl, Signed
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Pre 1920 item# 344270 (stock# 2B-703)
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B & C ANTIQUES
203-929-7312
$230
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This unusual studio porcelain bowl is decorated in underglaze blue and overglaze colored enamels with designs of morning glories. Early 20th century. There is a three character underglaze blue signature, set off to the left side on the base, which we have not been able to identify. The interior is hand painted with morning glory blossoms in shades of white, blue and peach. Leaves are drawn in green and blue. The flowers are decorated with gold highlights, and the lip is fully gilded. The outside rim is decorated with an underglaze blue octopus scroll (takokarakusa) design, and the thick unglazed foot is surrounded by several blue rings. Studio ceramics are best defined as the output of potters who either participated in, or closely supervised, most of the process of craft production at their kilns. Although we have been unable to identify this particular potter, his work is of the same high caliber as other more recognized studio ceramics artists such as Kozan, Seifu, Genroku, etc. Condition is excellent, with the exception of some gilt loss on the lip. Dimensions: 9” diameter, 2” high.
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