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Featured Items
(15)
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Antique Japanese Shino Yaki Rabbit Te Aburi Hibachi |
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Japanese Silver Lined Porcelain Sake Set Signed Eiraku |
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Early Tibetan Gau Traveling Shrine Box & Cover
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Metalwork:
Pre 1837 VR item# 330879 (stock# 6-183)
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B & C ANTIQUES
203-929-7312
$650
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This fine repousse silver and copper portable shrine box in mihrab form with a central deity figure set behind glass in the prayer niche is encased in its original brocade cover. Tibet, early 19th century. The front of the ornamental box is richly decorated with auspicious symbols of the Buddhist faith and the monster mask of Kirtimukha in high relief repousse silver work. The plain copper backing is removable to accommodate the items that the owner chose to place inside, which in this case is a Buddhist amulet and a stuffed silk bag with religious symbols. There are two copper loops on each side which hold the original fabric strap. The purple and gold quilted silk brocade cover with dark green lining was made specifically for this shrine. It is hand stitched and closes with a round brass bead. Charm boxes or gau are a mainstay of Tibetan culture, and they are worn by Buddhist peoples living in other central Asian countries as well. Traditionally, these portable shrines were made to contain a small image of the owner’s personal deity when traveling. They can also contain written prayers, miniature paintings, relics or other special amulets that are designed to protect the individual from evil spirits. In a Tibetan home a gau is kept on an altar, but it is fastened to a belt and worn when the owner travels. (See the wonderful cover article in ARTS OF ASIA May-June 2001 entitled “Ga’u: The Tibetan Amulet Box” by John Clarke.) It is quite unusual to find these shrines encased in their original brocade covers, and this is a fine and complete early example of a Tibetan devotional object. Condition is excellent and extremely well preserved. Dimensions: 5” x 4” x 3 ¾” high.
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Japanese Arita Blue and White Porcelain Hibachi , Meiji
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Pre 1920 item# 517203 (stock# 2B-548)
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B & C ANTIQUES
203-929-7312
$1,495
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Massive hand painted porcelain hibachi in ovoid form. Early 20th century. The milky white body is decorated with six underglaze blue fan designs which depict scenes of bamboo, iris, prunus, Mount Fuji and pine trees. Blossoms are delicately painted in underglaze copper red. The top rim features a repeating blue floral motif. There is a key fret design encircling the top of the piece, below which there is a distinctive blue and white diaper pattern. A different and much larger blue and white diaper pattern surrounds the base. Hibachi were finely crafted braziers used in old homes and shops to provide heat, warm sake and boil water for tea. This portable fireplace was also the emotional center of the home, since family and friends gathered around its welcoming warmth. Ceramic hibachi made their appearance during the Meiji period and at once gained widespread popularity. A porcelain hibachi became the status symbol of the day. In today’s homes, these old hibachi make stunning coffee tables (just cover it with a round piece of glass) or impressive jardinieres. They are prized for their craftsmanship and can be utilized in many imaginative ways very different from their original purpose. We know of several collectors who use porcelain hibachi to display their treasures such as inro, netsuke, sword furniture or lacquer combs beneath the glass top. Condition is perfect. Overall dimensions: 22” diameter, 13 ½” high. Weight: 60 lbs.
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Japanese Studio Porcelain Censor Signed Inoue Ryosai
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Pre 1900 item# 514712 (stock# 2B-795)
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B & C ANTIQUES
203-929-7312
SOLD
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This elegant little tri-foot porcelain incense burner, glazed in a rich mottled oxblood color with a wax resist decoration of a white plum blossom, is signed on the base with the four-character underglaze blue signature of studio potter Inoue Ryosai. Meiji period, late 19th century. This piece was made by either Ryosai I (1828-?) or Ryosai II (1854-1906). The true color of this transmutation glaze is somewhere between peachbloom and sang de boeuf. The interior is white with areas of blush peachbloom glazing, and the base is unglazed except for the underglaze blue signature seal. The plum blossom (“ume”) has long been a subject of Japanese poetry and art. Likely introduced from China in the Nara period, it was celebrated for its sweet perfume and delicate all-white blossoms, which have a habit of blooming at the end of winter.
Inoue Ryosai I established a workshop in Tokyo in 1886 for the production of high quality export wares. His adopted son, Inoue Ryosai II, maintained a workshop in Yokohama that was well known for porcelain with painted underglaze decoration. In the 1850’s potters from around the world began to look to China for inspiration from the indigenous flambé, sang de boeuf, peach bloom and tea dust glazes. In the early Meiji period, studio potters were greatly influenced by Chinese models, especially Qing Dynasty monochromes with copper-red transmutation glazes. Ryosai’s works are highly regarded and are considered to be of the caliber of those by more widely known studio potters such as Makuzu Kozan, who was renowned in the West for producing skillful Chinese-inspired oxblood pieces. Examples of Ryosai’s work are featured in the world famous Khalili Collection entitled “Treasures of Imperial Japan.” Condition is excellent. Dimensions: 2” (5 cm) high, 2 3/8” (6 cm) diameter.
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Pair of Senpoen Studio Porcelain Plates Signed Sekisai
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Pre 1910 item# 891238 (stock# 2-856)
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B & C ANTIQUES
203-929-7312
$350 for the Pair
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This lovely pair of Japanese studio porcelain plates has an ethereal scene of Mount Fuji in the clouds. Meiji period, ca. 1900-1910. The front is of each dish is signed and sealed by the artist, “Sekisai.” On the reverse there is a four-character signature in underglaze blue that reads “Senpoen sei” (made by Senpoen), a porcelain manufacturer in Gifu City.
The white peak of Mount Fuji rises up against the palest of blue skies, which fades to an even lighter shade as it approaches the edge of the plate. Soft gray wisps of “fukizumi” clouds drift by the peak of the mountain, a unique and dramatic effect that was accomplished by the use of gray pigment being sprayed through a tube onto the surface of the plate. A diapered geometric border in blue and golden brown encircles the rim. The reverse is simply decorated with five bats within encircling blue lines and the four-character Senpoen mark. The low foot rim is unglazed, showing a very pure, fine-grained and high-quality white porcelain clay.
CONDITION is excellent. There is a small chip in the unglazed foot of one plate. DIMENSIONS: 8 ½” (21.5 cm) diameter, 1 ¼” (3.2 cm) high.
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Takeda Samurai Doll with Signed Base, Edo Period
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Pre 1837 VR item# 507587 (stock# 4-263)
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B & C ANTIQUES
203-929-7312
$1,295
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Fine and rare early example of a Japanese Takeda ningyo (figurine) which shows all the typical characteristics of this Japanese doll genre: the extravagant pose, the dynamism, the upturned eyes and the downturned mouth. Ca. 1800. Representing a Kabuki actor playing a warrior, the figure is posed on a tree stump, carrying a pair of swords on his waist and a jingasa over his shoulder. His garments are made of embroidered chirimen (silk crepe) and brocade. Face and the hands are beautifully modeled from carved wood covered with gofun (crushed oyster shell). His face is classic for a Takeda ningyo, with an angry expression and eyebrows rising sharply from the furrow at the bridge of his nose. A light tinge of blue at the chin indicates his unrest, with no time for proper grooming. His upturned shoes are painted blue. The doll is mounted on its original lacquered wood stand which bears a signature or inscription to the underside.
Takeda ningyo have been considered as one of the most original manifestations of the Japanese doll maker’s art. They were inspired by actors, as evidenced by their theatrical and dynamic poses and extremely expressive, sensitively modeled and painted faces. Heads, hands and feet were set at sharp and exaggerated angles to give the impression of movement. This dynamic and eccentric pose, known as a “mie,” is the most striking component of a Takeda ningyo. The original stands for these dolls were characteristically decorated in black lacquer with a cut-out decorative painted reserve called “kozama.” (A similar figure is shown for sale in the Sotheby's Japanese and Korean Works of Art auction catalogues, New York, September 21, 2000, Lot No. 50.)
In his sumptuous book entitled “Ningyo: The Art of the Japanese Doll”, noted ningyo authority Alan Pate defines Takeda ningyo in this way. “Certain physical characteristics have been used to define a Takeda-ningyo, many of which have direct links with Kabuki acting and costuming conventions. They include a standing figure mounted on a stage-like base, with a dynamic or slightly twisted pose to the upper body, and one leg placed upon a rock, tree stump or some other object appropriate to the scene. In imitation of a Kabuki costume, the overcoat sleeves are usually thrown off in a gesture originally designed to allow an actor greater freedom of movement. This exposes the under coat, which is usually of chirimen (silk crepe), with richly embroidered sleeves. Tucked into their belts are two large swords. Unique among ningyo forms, they are frequently shown with blue feet and an upturned big toe.” All these characteristics are manifested in this example. Overall condition is quite good and appropriate to its age, with some wear and tear, some fading to the chirimen, and minor damage to the top of the head where there was likely once topknot. Dimensions: 9 ½” high, 6” wide, 4” deep.
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Imari Sake Bottle in Square Form, Meiji
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Pre 1920 item# 413878 (stock# 2C-391)
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B & C ANTIQUES
203-929-7312
$975
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This fine Japanese porcelain tokkuri (sake bottle) in pleasing square form with stepped top and flared neck is richly hand painted with birds, figures and foliage. Meiji period, (1868-1912). There is a red “fuku” (happiness or good fortune) mark painted on the unglazed base. Each side features highly decorated panels positioned asymmetrically amid flowers and vines on a pure white ground. Fan shaped panels contain figures of bijin (beautiful women) beneath flowering cherry trees, and heart shaped panels enclose ho-o birds (phoenix) and small birds in flight in bamboo groves. Each element of design is hand painted in the brilliant Imari palette used on pieces of superior quality, i.e., iron-red, green, yellow, aubergine, blue and gilt enamels. The shoulder is hand painted in rich overglaze iron red enamel with gold borders and highlights, with circular medallions containing phoenix and dragons at each corner. An iron red and gold leaf design ascends up the neck. This wonderfully decorative form of sake bottle is in perfect condition. Dimensions: 8 ½” high, 3 ¾” square at base.
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Arita Sometsuke Ozara Charger With Eight Views of Omi
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Pre 1920 item# 888851 (stock# 2-855)
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B & C ANTIQUES
203-929-7312
$950
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This striking large Japanese Imari “sometsuke ozara” (blue and white porcelain charger) is hand painted with an underglaze blue design of “Omi-Hakkei” (Eight Views of Omi) within overlapping medallions set against a background of layered waves. Meiji period (1868-1912). There are eight medallions in round, square and fan shapes, each containing a different scenic view. The layered waves, composed of chevrons or half-circles and looking as if combed, are known as “seigaiha, the blue wave pattern. Traditional Japanese art treats water, even the blue water of seas and oceans, in a stylized, linear fashion rather than handling it as a colored mass, as is the case in Western art. The juxtaposition of the Omi-Hakkei medallions against the seigaiha wave pattern is an extremely appealing decorative technique. A more freely drawn blue wave pattern decorates the outer rim on the reverse.
The Omi Hakkei are the eight most beautiful scenic spots in the southern part of Lake Biwa, the largest lake in Japan. Ando Hiroshige's series of woodblock prints entitled “Eight Views of Omi” became famous for depicting these vistas. A similar ozara decorated with this motif is illustrated in Figure 116 in the rare limited edition book “Sometsuke Imari Ozara” (“Imari Ware: Blue and White Large Dishes”) by Masahiko Kawahara, Tokyo,1974.
Oversized dishes (“ozara”) first became popular among the wealthy urban elite in the 16th century, and paintings since the Edo period often depicted ozara as an important part of the décor for formal gatherings. In the 19th century, when ordinary townspeople had become affluent and restaurants multiplied, the popularity of large blue and white dishes became even more widespread. In response to this new affluence, large dishes were produced in some quantity and sold throughout Japan. With the penetration of urban culture to rural districts due to improved land and sea transportation, Arita porcelain became widely distributed, and many of these oversized dishes were used at large dinner parties held by leading families in rural districts.
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. Ceramics for everyday use were made at the same kilns that were producing highly ornate, purely decorative wares primarily for export. Blue and white sometsuke porcelain ozara in this style were made for the domestic Japanese market, and they are prized by Japanese collectors today.
CONDITION is excellent with no chips, cracks or repairs. There are just a few tiny kiln burns and glaze pinholes, all of which are from production and are not unusual on this type of ware. DIMENSIONS: 16” (41 cm) diameter, 2” (5 cm) deep.
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Signed Studio Pottery Vase, Makie Lacquer Decoration
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Pre 1920 item# 523129 (stock# 2B-730)
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B & C ANTIQUES
203-929-7312
$750
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This most unusual Japanese studio ceramic vase, which is covered with an overall ochre glaze and a rich flambé drip on the neck and shoulder, is further decorated with takamakie lacquer designs of flowers and a crab. Meiji period (1868-1912). Unidentified artist; the ochre glazed base is stamped in archaic characters inside a raised unglazed square seal in the biscuit. The decoration is boldly executed in gold and brown takamakie (raised) lacquer, giving the vase a moriage type of appearance. An open morning glory blossom and leaves are artfully executed in layers of thick rich gold makie lacquer. In contrast, there is a single leaf with gold veins, the back side of a morning glory blossom and a single bud which have been finished in heavy textured brown lacquer. Grasping onto the morning glory vine is the open claw of a crab executed in heavy gold lacquer with brown lacquer accents. There is mottling on parts of the ochre glaze on the body, which contrasts beautifully with the darker brown flambé drips that fall off the shoulder. The juxtaposition of the refined lacquer accents on this humble folk pottery style vase is simply striking. Condition is perfect. Dimensions: 8 ½” high, 4” diameter.
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Large Arita Porcelain Barrel Form Sake Cask, Meiji
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Pre 1920 item# 931602 (stock# 2C-431)
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203-929-7312
$395
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This wonderful large Japanese Imari porcelain sake cask in barrel form is decorated in big underglaze blue characters with the name of the brewer or sake brand set against a snow-capped Mount Fuji on a clear white ground. Meiji period; late 19th/early 20th century. The addition of light red kanji characters and the soft green enamel for the landscape effects at the base of the mountain makes for a particularly striking and appealing design. The blue kanji characters along the top indicate that this sake is a registered brand with trademark, and there is soft red seal to the right of the central design which might classify the grade of the sake.
The reverse is simply decorated with underglaze blue kanji characters, and the base is marked with a blue mark character that says “deer” framed within a diamond. There is a hole at the base of the cask which once held a plug, and a metal carrying handle wrapped in bamboo has been fitted into the two porcelain loops on the top. Horizontal and vertical rope designs have been molded in high relief to simulate an actual straw-wrapped keg. A porcelain stopper molded in rope form has a cork lining to hold it securely in place. It is rare to find these casks with the original porcelain tops intact. See similar barrel form porcelain casks illustrated in Figure 123 of the article “Tokkuri and Friends” which appeared in ARTS OF ASIA magazine, January/February 1995.
This porcelain cask has been molded to resemble the straw-wrapped cypress kegs (“komokaburi”) used for transporting sake, with high relief molded “ropes” to hold the molded “straw wrapping” in place. During the Edo period, rural sake brewers needed a method of transporting their brew to the large cities. These large porcelain casks could be carried on pack horses or transported on special ships called “taru kaisen” or cask ships. Until the 1940’s, they continued to be used to dispense draft sake in shops. Customers would come into the shop with their own smaller ceramic bottles and have them refilled with their favorite brand. These large casks are handsome decorative items that make an appealing accent to any décor, either by themselves or recycled into lamps.
CONDITION is excellent, with normal wear and staining consistent with age and considerable usage. Old star hairline crack on base which is not unusual on these heavy casks due to the way they were set on the ground. DIMENSIONS: 12 ½” (31.8 cm) high, 10” (25.5 cm) diameter. Weight: 13 pounds (6 kg).
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Nabeshima Style Dish with Peonies, Meiji
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Pre 1920 item# 490486 (stock# 2B-771)
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B & C ANTIQUES
203-929-7312
SOLD
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This fine quality Japanese Arita sometsuke (blue and white porcelain) deep dish in Nabeshima style is most likely a product of the Hirado kilns dating to the Meiji period (1868-1912). It is beautifully hand painted in various shades of underglaze blue with large peony sprays and two butterflies in flight on a pure white ground. The reverse is also painted in Nabeshima style with an underglaze blue comb-tooth pattern on the high foot (“kushikodai”) and five underglaze cobalt blue peony blossoms. The characteristic fine-grained milky white porcelain body is covered in a pure lustrous glaze. In the Meiji period the Hirado kilns made many pieces in traditional Nabeshima style, and this dish was likely made in imitation of an early 18th century original. (The original Nabeshima dish is illustrated in Plate 109 in “Kouki Nabeshima, Book II,” by Kazuyoshi Ogi. Kouki Nabeshima wares date from 1736 to 1868.)
Both Nabeshima and Hirado wares are considered to be among the finest porcelains ever made in Japan, and they are highly prized among today’s collectors. Hirado was 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; however, the quality of Hirado remained very high. Hirado ware consists of a very pure, fine-grained and high-quality white porcelain. It is characterized by highly refined white clay that would be fired to high temperatures, and the glaze was lustrous and void of any kind of granulation. The satin-smooth feel of the unglazed foot rim is one indicator that this dish is Hirado ware. Condition is very good, with only a small imperceptible hairline on the rim and some minute kiln bubbles on the front surface. It rings nicely when tapped. Dimensions: 7 7/8” (20 cm) diameter, 2 1/8” (5.5 cm) high.
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