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Embroidered Silk Fukusa with Ho-o Bird
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Pre 1920 item# 81413 (stock# 12-104A11)
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B & C ANTIQUES
203-929-7312
$650
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Striking silk fukusa (Japanese gift cover) with a cream-colored ho-o bird (phoenix) on a brilliant red ground. Taisho period. As the phoenix joyfully spreads its wings, its long tail feathers arc to form a crest around a cluster of the distinctively-shaped green leaves and purple flowers of the paulownia tree. Delicate white silk thread embroidery highlights the bird’s feathers. Couched gold threads outline the bird’s head, flowers, and leaves – as well as filling in portions of the tail feathers. The off-white reverse side has red pine branches on an off-white and orange ground. Fukusa are elaborate gift covers introduced during the early Edo period in Japan. The usual form is a large silk square with tassels lined with a contrasting colored silk fabric. They were simply placed over the gift for the delight they might engender in a sophisticated and educated person. They were duly admired by the recipient and then returned. In Japan, the ho-o bird came to be a symbol of imperial authority, frequently combining with other motifs, especially the paulownia, that enjoyed similar status. Tradition holds that the paulownia is the only tree on which the legendary phoenix alights. 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 fukusa given to young brides. CONDITION is excellent. DIMENSIONS: 24” (60.5 cm) x 26 ½” (67.3 cm).
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Blue and White Arita Porcelain Sake Bottle
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Pre 1920 item# 80007 (stock# 2C-297)
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B & C ANTIQUES
203-929-7312
$375
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This lovely Japanese blue and white Arita porcelain sake bottle (“tokkuri”) has an overall transfer printed decoration in the “mijin karakusa” pattern. Meiji period. The mijin karakusa pattern is one variation of the scrolling vine pattern, this one in the form of delicate denticulate leaves and little curls. (For a similar bottle, see “Japanese Porcelain: 1800-1950” by Nancy Schiffer, page 58.)This is one of the many vine patterns which appear on domestic market blue and white Arita and Imari wares. A blue double ring separates the karakusa pattern from a linear decoration near the foot, and there are three blue lines encircling the bottom of the bottle. The glazed base is recessed and the foot rim unglazed. 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. These humble storage bottles often have a greater appeal than export ware because they show a highly developed sense for matching materials, form and function with simple beauty. Condition is excellent. Overall dimensions: 8 ½” high, 5” diameter.
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Carpenter's Wooden Line Marker: Sumi-Tsubo
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Pre 1900 item# 79361 (stock# 16-011)
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B & C ANTIQUES
203-929-7312
$245
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The Japanese “sumi-tsubo” was used by carpenters to mark long, straight, precise cut-lines on the surface of timber. This Edo period sumi-tsubo (“ink pot”) was hand-crafted from durable and finely grained keyaki wood. The partially visible wheel held a line of twisted thread which was fed off the spool into a rectangular well and out through a hole where it would be attached to a stickpin. India ink was kept soaked into a wad of cotton in the well. Running the line through the well gave it a coating of black ink which, when properly positioned, could be transferred to the wood to be cut. A carpenter holds this tool in his left hand, positions the stickpin where one end of the cutting line should be, unwinds the soaked string, and moves to the correct location for the opposite end of the line. He pulls the thread to draw it taut, then he lowers it and gives it a firm pluck, and a straight line is left on the surface of the timber from the ink on the line. In the west there were no carpentry tools in which the ink well, marking thread, winding wheel and stickpin were united into one piece. This commonplace tool, which has played a pivotal role in the development of Japanese architecture throughout the centuries, is a wonderful example of “mingei.” Such functional folk-craft products are endowed with a beauty directly connected with their utility – a beauty that is simple, humble and unassuming. Condition is excellent. Dimensions: 7 ½” long, 1 5/8” wide, 2 1/8” high.
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Signed Japanese Studio Pottery Vase
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Pre 1900 item# 78835 (stock# 2B-483)
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B & C ANTIQUES
203-929-7312
$725
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Richly glazed studio pottery bottle vase in tear drop form with “Wakazan” seal mark on a brown base, ca.1900. A thick olive green and brown glaze covers the heavily potted stoneware body. Shades of blue and gold flambe are randomly scattered over the body, with a gold glaze drip around the neck beneath the lip. The interior of the mouth radiates with lustrous and brilliant shades of blue and gold glaze in flambe drips. Functional folk-craft products or “mingei” are endowed with a beauty directly connected with their utility – a beauty that is simple, humble and unassuming. The apparent simplicity of this vase belies the many subtleties which are noticed when the piece is seen and handled. The glazing on this piece is outstanding, making it a wonderful example of a piece of ceramics upon which the kiln gods smiled during the firing process. (Ex. collection R. B. Caldwell of Dallas, TX. He is a collector well known for his knowledge and understanding of Japanese culture, particularly in the area of tea ceremony ceramics.) Condition is excellent, with two small chips in the foot ring where the olive green glaze drips were broken off. Overall dimensions: 10” high, 6 ½” diameter.
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Koitsu Woodblock: Sacred Bridge in Nikko
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Pre 1980 item# 78601 (stock# 7A-077)
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B & C ANTIQUES
203-929-7312
$250
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Japanese woodblock print by Koitsu Tsuchiya (1870-1949) entitled “Sacred Bridge in Nikko.” Originally published in 1937; margin is dated “Showa 12.” Later Hama impression posthumously printed from Koitsu’s original blocks. These later editions are identical to the earlier editions except for the publisher’s seal. With their intense realism, Koitsu’s woodblock prints have immortalized his country’s scenic beauty. Subtle effects of light and shadow endow his scenic renderings with an aura of captivating beauty, making his prints highly prized among collectors. The workmanship in both carving and printing is very good. Skillfully executed changes of color shading ("bokashi") are seen throughout the print. Pristine condition, with excellent color and registration, and strong ink bleed through. Oban size image measures 15 3/8” x 10”, plus full margins.
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Pair of Signed Meiji Bronze Candle Stands
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Pre 1920 item# 77404 (stock# 6B-315)
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B & C ANTIQUES
203-929-7312
$1,450
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Handsome pair of Japanese bronze candlestands ("shokudai") with hemispherical bases, covered wick containers and trimming “scissors” or snuffers. Meiji period. The tall upright bronze hexagonal shaft rests on a footed base with a high cut-out rim, culminating in a smaller lipped tray with a spike on top for positioning the candle. The spike is surrounded by a raised bronze circular rim to give the candle additional stability. Each candlestick has an engraved mark on bottom of the shaft and on the small tray just below the spike. The patina is wonderful. This pair of candlestands is equipped with hooks to hang snuffers and covered bronze containers to store wicks. The snuffer is in the form of a blunt pair of tweezers, with which the burnt wick is trimmed and removed. Before the advent of electric lights in Japan, candles and linseed oil lanterns were used for light. Japanese candles were made of a vegetable wax, having a wick consisting of a roll of paper. The wick, being hollow, was fitted to the sharp metal spur or “pricket” about an inch long found at the top of the candlestand. Condition is excellent, with only slight wear consistent with age. Overall dimensions: 26 ½” high, 10” diameter of base.
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Japanese Studio Porcelain Plate by Genroku
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Pre 1920 item# 76264 (stock# 2B-537)
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B & C ANTIQUES
203-929-7312
$395
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Unusual Japanese studio porcelain plate formed in the shape of a cherry blossom. Ca. 1900. The front is decorated with a floral design, consisting of a large tree peony blossom painted in varying shades of pink and mauve overglaze enamels complimented by underglaze blue leaves with green veins. The underglaze blue signature under the base, which is set off to the left side, reads “Genroku sei.” The shape of the distinctly notched cherry blossom petal is quite unique. This lovely blossom, indigenous to Japan, is accepted as the national flower. The peony is emblematic of regal power and wealth, for its large petals create an impression of great prosperity, dignity and power. Tominaga Genroku was one of the principal potters of Ureshino near Arita. He was a highly skilled Japanese-style painter and potter as well as a teacher at the Tokyo School of Fine Arts. He exhibited his work only at Japanese exhibitions, and later he became head of the Protection of Cultural Properties Commission. He won a “santo shohai” (third prize) at the Fifth National Industrial Exposition in 1903. Genroku’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. Examples of Genroku’s work are featured in the world famous Khalili Collection entitled “Treasures of Imperial Japan.” Condition is excellent. Overall dimensions: 10” diameter, 1 1/2" high.
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Koitsu Woodblock: Nagoya Castle
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Pre 1980 item# 76259 (stock# 7A-075A4)
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B & C ANTIQUES
203-929-7312
$250
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Japanese woodblock print by Koitsu Tsuchiya (1870-1949) entitled “Nagoya Castle.” Originally published in 1937; margin is dated “Showa 12.” Later Hama impression posthumously printed from Koitsu’s original blocks. These later editions are identical to the earlier editions except for the publisher’s seal. With their intense realism, Koitsu’s woodblock prints have immortalized his country’s scenic beauty. Subtle effects of light and shadow endow his scenic renderings with an aura of captivating beauty, making his prints highly prized among collectors. The workmanship in both carving and printing is very good. Skillfully executed changes of color shading ("bokashi") are seen throughout the print. CONDITION is pristine, with excellent color and registration, and strong ink bleed through. DIMENSIONS:Oban size image measures 15 3/8” x 10 1/8”, plus full margins.
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Japanese Blue and White Fukizumi Porcelain Bowl
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Pre 1920 item# 66475 (stock# 2B-561)
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B & C ANTIQUES
203-929-7312
$290
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The striking design on this early 20th century Japanese porcelain bowl incorporates muted and vivid, misty and sharp tones of underglaze blue “fukizumi” enamel on a white background. Likely Seto ware; there is an unidentified underglaze blue signature on the foot. The unique and dramatic effect was accomplished through the use of a stencil and cobalt pigment sprayed through a tube to create the outline of white cherry blossoms which seem to float on a soft blue background around the sides of the bowl. The stylized pine needles are done in strong cobalt. The bold leaf design, which covers one side of the interior of the bowl, was done in the same stencil and sprayed cobalt process, creating an effect that looks like wax-resist with soft and misty overtones. Fukizumi was first used on porcelain like early Imari. Compared to hand painting, the technique was very efficient, so later it was adopted for use on Seto wares. Condition is excellent, with some kiln spots on the surface of the bowl. Overall dimensions: 9 ¾” diameter, 4” high.
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Japanese Luster Glazed Bowl
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Pre 1940 item# 66165 (stock# 2B-380)
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B & C ANTIQUES
203-929-7312
$375
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Large Japanese ceramic luster glazed bowl with rounded sides. Early Showa period. The exterior is covered with a luminescent silver green glaze, and the interior rim has a pink fading to cream glaze which covers the interior of the bowl. There is overall crackling and a rich lustrous tone throughout the entire bowl. The base is marked with the image of a dragonfly. Luster glaze consists of a thin metallic film on the basic glaze, either added directly to it for an overall effect of put on over a fired glaze surface in the same way as an overglaze enamel. Condition is excellent, with only one kiln spot. Overall dimensions: 10” diameter, 3 ¾” high.
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