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Early Japanese Wakasa-Nuri Lacquer Covered Box
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Pre 1900 item# 461144 (stock# 11E-134)
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B & C ANTIQUES
203-929-7312
$265
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This most unusual elongated covered box – probably used to hold brushes or pens -- displays the typical mottled orange, gold and black lacquer technique known as Wakasa-nuri. Meiji period, late 19th century. The center of the box’s cover has an unadorned red lacquer panel surrounded by the swirling wakasa-nuri finish along the edge and on all sides, and the exterior of the lower section is also decorated with wakasa-nuri lacquer. The base and the inside of the box are finished with rich black roiro-nuri lacquer, a technique wherein the highest quality black urushi lacquer is applied and polished in several layers. Wakasa was a provincial lacquer center which developed its own technique. In Wakasa-nuri, layers of different colored lacquers (predominantly brown, yellow-gold and orange) were applied to a ground deliberately rendered uneven by applying a paste, such as egg white or chalk, or by the addition of small pieces of egg shell, rice chaff, etc. Very thin gold or silver foil was then pressed so firmly into this “relief” that it fit the uneven surface like a skin. Then a coating of transparent lacquer was applied and, after it had hardened, everything was polished down to form a smooth surface. As a result, a mottled effect was created as the layers of colored lacquer under the gold foil reappeared in places to produce rather unusual patterns. The underlying gold leaf is responsible for the overall brown-gold nashiji-like effect. This unique box is a fine example of early wakasa nuri lacquer which would make a wonderful desk accessory. Condition is generally very good, with only a few small chips consistent with age and usage. There is a slight difference in the color of the wakasa-nuri on the lower section of the bottom of the box and the upper portion, which has hidden from the light by the overlapping cover. This is common in such old sleeved boxes. Dimensions: 9” x 3” x 1 ½” high.
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The Arts of An Addiction: Qing Dynasty Opium Pipes...
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Traditional Collectibles:
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Contemporary item# 458757 (stock# BR-1)
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B & C ANTIQUES
203-929-7312
$75.00 Please Inquire for Availability
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THE ARTS OF AN ADDICTION: QING DYNASTY OPIUM PIPES AND ACCESSORIES is a newly published (September 2005), exquisitely-illustrated, limited-edition book by Carlos Armero (Spain) and Ben Rapaport (USA), 219 pages, 11 ¼” x 8 ¾”, hard cover, dust jacket. Written by two avid collectors, this scholarly book contains more than 275 color and black and white images of opium pipes and related utensils, along with related graphic art, a chapter devoted to “where to see” and “where to buy”, and a selective up-to-date bibliography. The book is replete with dramatic and vivid evidence of the many unique and finely crafted, special-purpose artifacts once used for a habit that is best forgotten. What unfolds in the narrative is a richly detailed and rigorously researched historical retrospective of the various utensils and accouterments, most particularly the pipe, once used in the ritual of smoking opium in the mid-18th to early 19th century. It is a limited edition of 500 numbered and signed copies. Contact us to confirm availability; payment to and shipment from the author in USA. This lavish volume is a “must-have” reference for collectors and dealers!
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Framed Silk Embroidery of Tigers in Bamboo
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Pre 1940 item# 457814 (stock# 12-179)
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B & C ANTIQUES
203-929-7312
$395
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This lovely vintage Japanese hand embroidery depicts fierce two tigers emerging from a bamboo grove and dates to the early Showa period, ca. 1930’s. The shimmering silk threads and subtle silk background surrounded by a gold silk brocade mat are protected beneath glass and enclosed in a dark green faux malachite frame. The delicate satin stitch embroidery is worked with extremely fine silk threads in muted shades of gold, silver, green, black, brown and white. The rich luster and glimmer of the long and short silken stitches used to create the tigers’ fur creates a shimmer on the backs of the animals. Always an important symbol of strength and courage in Chinese art, the tiger was considered supreme among the land beasts and was credited with the ability to fend off demons and ill fortune. In Japan, where the tiger (“tora”) was not indigenous, early beliefs regarding the animal followed the mold of China. Japanese embroidery has its roots in Chinese culture and is typically done with silk thread on silk fabric. The appeal of these embroideries is undeniable. Embroidery adds a feeling of warmth, volume and depth to designs on a flat surface. The delicacy and detail of this fine needle work and the luxuriousness of the silk are impossible to convey in our photos. Anyone who was fortunate enough to view the “Splendors of Meiji” exhibit in person will not easily forget the beauty of the extraordinary framed embroideries in the Khalili collection. The embroidery is in excellent condition. There is some minor wear on the upper left corner of the frame. Dimensions: 20 ¼” x 14 ½”; framed: 23” x 17".
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Large Japanese Bamboo Ikebana Basket, Signed
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Pre 1920 item# 457205 (stock# 11C-040)
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B & C ANTIQUES
203-929-7312
$575
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This expressive freestyle Japanese basket for flower arrangements (“hanakago”) is woven from both thin and thick split bamboo strips and likely dates to the early 20th century. An unidentified three-character signature is carved into one of the bamboo strips on the base. The warm burnished brown ovoid body is crafted with hexagonally plaited thin strips of bamboo into which wide thick bamboo strips have been inserted, giving the basket the overall appearance of irregular “midare” plaiting. These thicker diagonal elements offer fluidity and motion to the basket while creating a textural refinement that has balance and elegance. Thinner segments of bamboo have been twisted to form the handle, which flows naturally 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 only one small bamboo break. There is a wonderful old finish and patina to the bamboo. Dimensions: Basket is 8 ½” high (15” tall including the handle), approximately 8 ½” widest diameter.
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Pair of Edo Japanese Wooden Temple Sculptures: Baku
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Pre 1800 item# 444410 (stock# 11-318)
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B & C ANTIQUES
203-929-7312
$1,650 for Pair
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This rare and wonderful pair of 18th century carved wooden temple ornaments, which represent the heads of the elephant-like creature known as a “Baku” (“eater of dreams”), were architectural elements originally mounted under the eaves of the roof of a Japanese temple. Each of these fierce mythical animals was expressively carved in great detail from a thick and richly grained single block of wood. Both have large oval-shaped eyeballs bulging beneath bushy furrowed eyebrows, with long arched trunks curled downward and two long curved tusks extending from their mouths. One has an open mouth revealing two rows of teeth and a protuberant tongue; the other has its mouth closed. Both sculptures have traces of their original paint. Because these figures protruded from the outside a temple, they have the distinct weathered surface that results from centuries of exposure to the elements. Generically called “kibana” (temple roof support finials), these large wooden temple ornaments were typically carved in the form of mythical beasts. (Note: two pair of kibana in the form of karashishi grace the entrance stairway to the Japanese collections at the Museum of Fine Arts in Boston.) The Japanese artistic tradition includes a large number of imaginary creatures. The Baku, like so many mythical beings, is a curious mingling of various animals. First chronicled in Shinto mythology, this creature is described as having a hairy head with a long proboscis like an elephant’s trunk, two tusks, four claws on each foot, a spiny backbone, a spotted hide, and the tail of an ox. Baku are considered to be a generally benevolent creatures which stalk the dreamscape, devouring the evil demons that cause nightmares. Superstitious people of Edo era Japan believed that bad dreams were caused by evil spirits. It was believed that if the Baku could be induced to eat a horrible dream, the creature had the power to change it into good fortune. When a person awakens from a nightmare, he should call out immediately to the Baku to eat his bad dreams. According to Shinto legend, the Baku will promptly consume the evil entity responsible for these nocturnal terrors and bestow good fortune upon whoever has called out to him. As architectural elements, Baku were thought to protect the entrance to Buddhist temples and were placed under the roof of religious structures to ward off evil spirits. To insure the Shogun Tokugawa Ieyasu’s peaceful eternal rest, numerous sculptures of Baku are found at the Tosho-gu Shrine in Nikko, which houses his mausoleum. This pair of Baku kibana originated from Kumamoto prefecture in Japan, once known as a powerful shogunate. Architectural temple elements, particularly those in the form of a baku and in pairs, are quite rare, and they are seldom seen on the market today. (A comparable pair of mounted Baku kibana, lot #290, sold at Sotheby’s in New York on March 24, 1999, for $11,500.) These kibana are in good original condition with some expected abrasions, cracks and insect damage due to extensive age and weathering. There is a loss of the left paw on one Baku. Each sculpture has been custom mounted on a 2” thick solid granite base to facilitate and enhance their display. Dimensions: 18” (46 cm) long, 7” (18 cm) wide, 10 ½” (27 cm) high. Weight: 25 pounds each with base.
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Miniature Shodana Display Tansu with Makie Lacquer
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Pre 1920 item# 440181 (stock# 11E-133)
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B & C ANTIQUES
203-929-7312
$975
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This diminutive hardwood display stand with silver mounts has been decorated overall with gold makie lacquer landscape decoration. Meiji period (1868-1912). The stand, which is made entirely of keyaki wood, has developed a rich mellow patina resulting from time. Keyaki, the most expensive of Japanese hardwoods, has a beautiful dense grain and is sturdy and long-lasting, requiring little maintenance. The lovely gold hiramakie (flat lacquer) and takamakie (raised lacquer) decoration on the front drawers depicts a mountainous landscape scene. Various different landscape designs highlight the two internal shelves, the top shelf, the sides and the back – all in superb detail. The metalwork is crafted entirely from silver. Of particular note are the three drawer pulls which have been sculpted into intricate floral shapes. The interiors of the three drawers are finished in fine nashiji (pearskin) sprinkled gold lacquer on a black ground. As a full-sized piece of furniture, a shodana is typically an open, tiered asymmetrical shelving unit for display and storage of books and related objects. This miniature version would make a lovely display stand or jewelry box. Overall condition is excellent, with only minor wear consistent with age and usage. There is a crack on the top which has been caused by dryness. The lacquer work is incredibly well done. Dimensions: 9 ¼” high, 10 ¼” wide, 6 ¼” deep. Price:
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Japanese Arita Hirado Porcelain Plate, ex. Museum
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Pre 1920 item# 435673 (stock# 2B-744)
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B & C ANTIQUES
203-929-7312
$195
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We believe this fine quality Japanese Imari sometsuke (blue and white porcelain) dish to be Hirado ware dating to the Meiji period, ca. 1900. The front of the plate is hand painted in shades of underglaze blue with the classic Chinese motif of two scholars in a bamboo grove on a pure white ground. The characteristic fine-grained milky white porcelain body is covered in a pure lustrous glaze. The exterior of the dish is undecorated. 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, usually decorated in underglaze cobalt blue. 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. This dish was deaccessioned from the Hickory Museum of Art in Hickory, NC. Remnants of the original museum acquisition label remains on the bottom. Condition is excellent, with only a couple of tiny kiln burns. Dimensions: 7 ½” diameter, 1 ¼” high.
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Japanese Imari Dish with Medallions, Meiji
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Pre 1920 item# 430509 (stock# 2B-734)
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B & C ANTIQUES
203-929-7312
$245
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This unusual and attractive Japanese Imari porcelain plate is hand painted with nine overlapping roundel medallions in the popular “shochikubai” motif surrounding a central medallion with a gold phoenix (“ho-o” bird). Meiji period (1868-1912). Six roundels -- including the three large medallions with pine, plum and bamboo -- are decorated in underglaze blue. They are offset with three smaller roundels painted in overglaze iron red enamel and gilt. The gilded rim is encircled with an underglaze blue line, and the reverse is decorated with an underglaze blue scrolling vine (karakusa) design. There is a square seal mark in underglaze blue on the foot. The shochikubai is a widespread decorative and symbolic motif made up of the pine, plum blossom and bamboo. Sometimes referred to as the Three Elements of Happiness or the Three Friends of Winter, they are symbolic of staying true to high ideals of scholarship, strength and beauty in time of hardship. In Japan, the phoenix came to be a symbol of imperial authority, frequently combining with other motifs. Represented with the body of a pheasant and the tail feathers of a peacock, the ho-o bird signifies uprightness, humility, honesty and sincerity. Ho-o were said to mate for life and so served as a beautiful motif for items given to young brides. Condition is excellent, with only minor rubbing on some of the gilt along the rim. Dimensions: 8 ½” diameter, 1 ¼” high.
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Fine Imaizumi Imaemon Nabeshima Dish
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Pre 1980 item# 430005 (stock# 2B-765)
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B & C ANTIQUES
203-929-7312
$365
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This wonderful Japanese iro Nabeshima porcelain dish in octagonal form is hand painted in brilliant enamels on a pure white ground, and the mark of Imaizumi Imaemon is painted in underglaze blue within the foot ring. We believe this dish to be by either Imaemon XII (1897-1975) or early Imaemon XIII (1926-2001), which would date it to the mid-20th century. The front is decorated with large vibrant red and pale yellow hibiscus blossoms and unopened red buds in overglaze enamels. The blossoms and buds are set against feathery leaves painted in underglaze blue and soft overglaze green and yellow enamels. The undecorated reverse side has three underglaze blue rings surrounding the foot. The Nabeshima family kilns were founded in 1660. They produced wares to be used by the feudal lord Nabeshima as presentation pieces for the shogun or other feudal lords, and as a result, the wares were of extremely fine quality. Secrets of manufacture were closely guarded. During the Meiji period, Nabeshima wares were allowed to be sold outside the “family.” The Imaizumi family of decorators, who worked at the Nabeshima kilns from the beginning, has continued to carry on the Nabeshima tradition. Born in 1926, Imaizumi Imaemon gradated from Tokyo University of Art before becoming the thirteenth Imaemon in 1975. Since that time, he has been designated a “Living National Treasure.” In 1971, the iro Nabeshima (colored Nabeshima) style was registered as an important cultural property. Nabeshima wares produced to this day are of uniformly superior quality in materials, shape, painting and glazing. These wares are of the finest quality and are decorated in refined taste – technically, almost equal to the old specimens. Condition of this nearly translucent porcelain dish is perfect. Dimensions: 6 ¾” diameter, ¾” high.
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Small Stone Sculpture of Jizo Bosatsu, Signed
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Pre 1920 item# 427894 (stock# 9-093)
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B & C ANTIQUES
203-929-7312
$595
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This hand-carved Japanese statue depicts a standing Jizo, a bosatsu (Buddhist saint), wearing a Kesa robe. It dates to the early 20th century. Carved from solid stone (either granite or natural volcanic rock) in the image of a Buddhist monk with a shaven head, he stands with hands clasped in earnest prayer. His patient, gentle face is very tranquil, and his simply rendered facial expression reflects a deep inner peace and serenity. He stands on a rock base and is encased in a boat-shaped body halo or nimbus. The writing on the back was done in sumi ink and reads "Jizo Bosatsu made by Fujii Hiroshi." He appears to have also dated the piece on the back at the left, but it has since rubbed off. Since the writing is still legible and other carved details are still intact, this piece was likely not exposed directly to the natural elements and may have been kept indoors for part of its life. In Japan, Jizo is the patron saint of children, farmers and common people and is probably one of the most popular deities in the land. He is also guardian to travelers and pregnant women. Stone Jizo statues are found in temples, small huts, by the roadside and in homes. Monk-like in appearance, Jizo is usually clothed in a simple, long robe with only the feet and hands exposed; his head is always bald. Jizo came with Buddhism from China, where he was originally known as the guardian of children. In Japan his powers were expanded considerably, and he took on many names and protective functions, depending on people’s various needs. This stone image of Jizo is a wonderful representation of the gentle and compassionate nature of this most beloved deity, and the earnest praying posture gives a sense of security and assurance to anyone who holds this piece. Small Jizo statues like this are becoming quite rare to find even in Japan. Overall condition is very good, and the facial features are clear and distinct. There is some natural wear at the top of the nimbus and the top of the head as well as at the corner of the base, but the rest of the piece is very good shape. Dimensions: 7” high, 3 3/8” x 2 ¾” at base.
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