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Signed Bizen Pottery Model of a Turnip, Meiji
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Antiques:
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Asian:
Japanese:
Stoneware:
Pre 1900 item# 430249 (stock# 2B-761)
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B & C ANTIQUES
203-929-7312
$650
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This large and boldly modeled Japanese Bizen ware okimono depicts an incredibly realistic turnip with a profusion of leaves. Meiji period, late 19th century. The signature of the artist –- whom we have been unable to identify -- is stamped on the back just above the base and beneath the wonderful curl in the lower leaf. Although the piece is unglazed, the top side of the turnip and sections of the leaves are randomly covered with beautiful golden flecks of wood ash glaze from the kiln. The details on this turnip are simply extraordinary, rendering a still life model that looks remarkably like the real thing. The skill of the potter is clearly shown on the leaves, which are realistically veined on both sides and masterfully formed. For centuries, Bizen has been highly regarded for its dark red-brown stoneware made from iron-rich clay with a natural ash glaze. Bizen is unglazed but fired at such a high a temperature that a natural glaze is formed on the surface. Also upon firing, wood ash flies up in the kiln and is deposited randomly on the pottery, giving each piece its own individuality and vitality. “Okimono” is the generic name for Japanese decorative objects which have no utilitarian function but are merely created to please the eye. Bizen okimono typically represent animals, birds or human figures, and it is most unusual to see an inanimate form such as this vegetable modeled in Bizen clay. (See “Bizen Okimono” by Robert L. Yellin in DARUMA 31.) The turnip (“kabu” or “kabura”), harvested in autumn and winter, is a poetic symbol of late winter. In some localities, the turnip is a traditional offering on small tables set up at the New Year. Condition is perfect. Dimensions: 8 ½” long x 8 ½” high x 6” deep.
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Fine Meiji Period Japanese Burl Wood Basket
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Baskets:
Pre 1900 item# 713276 (stock# 11-317)
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B & C ANTIQUES
203-929-7312
$765
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This lovely Japanese shallow form basket or “moribon,” hand carved of curling hardwood burl, has a bold irregular loop handle and sinuous natural form. Meiji period, late 19th century. The basket’s swirling edge follows the natural tree shape, creating a wonderfully elegant movement. The natural knot hole adds a further interesting element to its pure organic form. The inherent natural honey-colored hue of the wood enhances the rich grain in the burl, giving its graphic wavy design a luminous depth and sheen.
This type of moribon basket or tray was used for displaying seasonal fruit, and it was carved out of a single tree stump. (A similar example can be seen in Figure 133 in “Shadowed Reflections, Japanese Views,” a hardcover catalog by Kagedo Japanese Art.) This is a wonderful and scarce example of early Japanese burl wood carving.
CONDITION is excellent. DIMENSIONS: 9” long, 6” wide, 7” high to top of handle.
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Large Wakasa-Nuri Lacquer Footed Display Stand
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Vintage Arts:
Regional Art:
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Japanese:
Lacquer:
Pre 1950 item# 979985 (stock# 11E-148)
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B & C ANTIQUES
203-929-7312
$295
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This fine vintage Japanese wakasa-nuri stand with rolled legs has a mosaic-like surface that shimmers with gold foil and tiny inlaid pieces of iridescent mother-of-pearl. Early to mid-20th century. The base of the lacquer is wood which was finished with brown, black and red colors, and the layers of these colors are revealed by polishing the lacquer finish to create this unique and complex pattern. Small pieces of mother of pearl are mixed into the finish creating a lovely overall effect. The back was finished with plain black lacquer.
Wakasa was a provincial lacquer center which developed its own technique, which is very much like tsugaru lacquer. 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. This style of stand was traditionally used for an ikebana floral arrangement display or for a home altar.
CONDITION is excellent. DIMENSIONS: 19” (48.3 cm) long, 11 ¾” (30 cm) wide, 2 ¾” (7 cm) high.
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Early Tibetan Gau Traveling Shrine Box & Cover
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Southeast Asian:
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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Porcelain:
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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Porcelain:
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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Decorated Shells for Japanese Shell-Matching Game
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Vintage Arts:
Regional Art:
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Japanese:
Pre 1960 item# 965293 (stock# 9-112)
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B & C ANTIQUES
203-929-7312
SOLD
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These lovely matched clam shell halves, decorated with colorful Japanese court scenes and gold enamel highlights, are replicas of the painted shells originally used during the Edo period for the Japanese shell matching game. They were purchased in Japan in the 1950’s. Each half is decorated with noblemen and noblewomen in conventional Heian court scenes in the painting style of Tosa. The wonderfully detailed print renderings incorporate elements long associated with the Tosa school, such as the Heian-style court dress and misty gilt cloud formations.
Shell-matching (“kai-awase”) was a popular amusement of the Edo period, and its equipment was often included in the suite of lacquer furniture that was part of the bridal trousseau of a daimyo lady. Each half of a shell was decorated with an identical miniature painting based on a scene derived from Japanese classical literature. The “Tale of Genji” and other romances were the most common sources of imagery. A complete set comprised 360 shells. The game was basically a test of memory: one set of shell halves was placed face down on the floor, and as shells from the second set were removed face up from an octagonal shaped lacquer container (“kaioke” or “shell bucket”), competitors took turns inverting shells to see if images matched. (See “Edo: Art in Japan 1615-1868” by Robert T. Singer.) Since each side of the bivalve shells will match properly with only its original mate, the game came to be associated with marital fidelity.
CONDITION is perfect. These two shell halves are original mates. They come in their original cardboard box. DIMENSIONS: Each shell is 3 ¼” (8.4 cm) x 2 ½” (6.4 cm).
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Pair of Senpoen Studio Porcelain Plates Signed Sekisai
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Porcelain:
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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Antiques:
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Japanese:
Dolls:
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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Antiques:
Regional Art:
Asian:
Japanese:
Porcelain:
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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