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featured item Large Natural Burled Keyaki Tree Trunk Hibachi, Meiji
featured item Japanese Silver Lined Porcelain Sake Set Signed Eiraku

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Arita Sometsuke Foliate Rimmed Charger

Catalogue: Antiques: Regional Art: Asian: Japanese: Porcelain: Pre 1900   item# 179155 (stock# 2B-640)

Arita Sometsuke Foliate Rimmed Charger
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B & C ANTIQUES
203-929-7312


$950 

This large and heavy Japanese Arita sometsuke (blue and white porcelain) charger with foliate rim is hand painted with lush cobalt blue reserves containing landscape scenes and flowers on a ground of linear designs and geometric patterns. Mid-19th century. Its depth actually makes it a huge shallow bowl. On the reverse are more simply drawn floral scrolls. Underglaze blue lines encircle the foot, which appears to contain three spur marks.

When the history of the role of utensils used in Japanese eating habits is re-examined, for a long period of time people ate from bowls and small dishes served on individual dining trays. It was not until the 16th century that oversized dishes (“ozara”) first became popular among the wealthy urban elite, and paintings since the Edo period often depicted ozara as an important part of the décor for formal gatherings. In the early 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. Several similar examples are illustrated in the rare limited edition book “Sometsuke Imari Ozara” (“Imari Ware: Blue and White Large Dishes”) by Masahiko Kawahara, Tokyo,1974. This bold and impressive charger is wonderfully decorative and historically important. Condition is excellent, with only a few kiln burns and some minor glaze pinholes. Dimensions: 17 ¾” diameter, 2 ½” deep.


Mashiko Pottery Dish, Wax Resist Design

Catalogue: Vintage Arts: Regional Art: Asian: Japanese: Stoneware: Pre 1980   item# 172392 (stock# 2B-613)

Mashiko Pottery Dish, Wax Resist Design
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B & C ANTIQUES
203-929-7312


$165 

This thickly-potted Japanese ceramic plate is decorated with a transparent wax resist design against a rich brown glazed background. Mid-20th century. The brown glaze drips over the edge of the lip onto the transparent glaze covering the back. The high foot ring is unglazed, and there is an impressed mark stamped in a small circle on the glazed base. Mashiko has been a major folk pottery center since the 1850’s producing primarily utilitarian table wares. In the early 1900’s, Shoji Hamada established his kiln there and became internationally famous. The traditional pottery concept was to not pursue artistry apart from everyday life but to create practical beauty as a part of the crafted items to be used in daily living. Folk-craft products or “mingei,” of which this plate is representative, are objects used by common people. These commonplace, functional artifacts are endowed with a beauty directly connected with their utility – a beauty that is simple, humble and unassuming. Condition is perfect. Overall dimensions: 10 7/8” diameter, 1 7/8” high.


Japanese Keyaki Wood Tabako-Bon

Catalogue: Antiques: Regional Art: Asian: Japanese: Furniture: Pre 1900   item# 170324 (stock# 11A-101)

Japanese Keyaki Wood Tabako-Bon
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B & C ANTIQUES
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$595 

This handsome Japanese tobacco box, made from finely grained keyaki wood, is crafted in miniature naga-hibachi (long firebox) form. Late 19th century. An inner wood lip encloses the original copper liner, and the bamboo cylinder ash receptacle is also original. There is one tiny drawer which has been cut from the same piece of hardwood as the body, so the grain across the drawer front is perfectly matched with the box. Fourteen large copper studs decorated the top rim, and the ring drawer pull is also crafted of copper. On the two ends are inset copper finger holes with which to lift the box. The mortise-and-tenon, dove-tail and mitre joinery is indicative of very fine craftsmanship, and the keyaki wood has a wonderful mellow patina resulting from years of exposure to heat and smoke. Keyaki (zelkova) is the most expensive of Japanese hardwoods. It has a beautiful dense grain and is sturdy and long-lasting, requiring little maintenance.

Also called guest hibachi, all tabako-bon contained two essential parts: (1) a small receptacle like a miniature hibachi where small bits of charcoal (sumi) were kept burning among ashes for use in lighting tobacco, and (2) a piece of slender bamboo, cut right below a joint, which was used as both an ashtray and a hand-held cuspidor. Some boxes also had little drawers built in for keeping tobacco and pipes. Tobacco boxes reached their peak use in the Edo period, when smoking was widespread among both men and women and etiquette demanded that tobacco be offered to visitors or friends. Custom demanded that whenever a visitor arrived, the first act of welcome would be to set a small personal hibachi in front of him. This was also true of commercial shops. The strong kizami tobacco was smoked only in small amounts in slender pipes with tiny pipe bowls (kiseru). Production of smoker’s hibachi ceased at the end of the 19th century, when cigarettes became fashionable and virtually replaced pipe smoking. Finished on the top and all four sides, this finely-crafted old box makes a charming interior accessory which views well from any angle. It is suitable for burning incense, holding a flower arrangement or adorning a coffee table or sideboard. It also may be used for its traditional purpose. Condition is excellent. Dimensions: 13 ½” x 6 ¾” x 6” high.


Japanese Girl Ichimatsu Doll

Catalogue: Vintage Arts: Regional Art: Asian: Japanese: Dolls: Pre 1940   item# 169496 (stock# 4-187)

Japanese Girl Ichimatsu Doll
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203-929-7312


$895 

Charming “Ichimatsu ningyo” or “Yamato ningyo” doll created in the 1920’s or early 1930’s. This endearing little girl has a soft well-rounded face, an appealing gentle expression, and a sweet serene composure. She has a flesh colored complexion, long thick black hair, brown glass inset eyes, wide brush-stroked eyebrows, handpainted lower eyelashes and a closed soft smile. Her arms are attached to her paper-wrapped torso with fabric, and her face, arms and legs have a rich gofun (crushed oyster shell) finish over wood-substance composition. Her hands are protected with their original paper wrappers. The fabrics in her clothing have been designed to the doll’s scale. Her sumptuous hand-stitched silk costume is complete with a formal layered red kimono flecked with gold, a brocade obi, a tucked pink crepe “obi-age” and white crepe “obi-jime” which is tied around the obi to hold the bow in place. She is held upright on a black lacquer stand. Their characteristic child-like appeal has made Ichimatsu dolls very popular with western collectors. Anyone who owns an Ichimatsu ningyo understands the sense of “soul” created by the doll artist as he brought the doll to life. Symbolic of the past, they are also an artful expression of the unique beauty of Japanese childhood. It is rare to find Ichimatsu dolls of this quality; she is in perfect condition. Dimensions: 16” with stand.


Signed Black and Gold Lacquer Comb, Meiji

Catalogue: Antiques: Regional Art: Asian: Japanese: Lacquer: Pre 1910   item# 167312 (stock# SB-26)

Signed  Black and Gold Lacquer Comb, Meiji
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B & C ANTIQUES
203-929-7312


$350 

This lovely Japanese tortoise shell comb (“kushi”) is painstakingly decorated on both sides with gold takamakie (raised lacquer) on a black lacquer ground. Signed “Gyoku Kou.” Meiji period (1868-1912). The fine repeating design of rolling gold waves is juxtaposed against two floral medallions on this simple yet elegant comb. There is even an iridescent sprinkling of inlaid agaoi (abalone shell) representing dew drops on the leaves of the flowers. To Japanese women, hair ornaments were much more than mere accessories to feminine hair-do and attire. The comb progressed from a utilitarian object to a highly decorative one on which craftsmen and artists lavished their imagination and skill. In keeping with their inclination to beautify even ordinary items of everyday use, the Japanese turned hair ornaments into extraordinary artistic objects that mirrored the cultural and social history of the period, reflecting the life and status of their wearers. In their own small way, these hair combs provide a miniature glimpse of the exceptional beauty of Japanese art. (See wonderful article “Combs and Hairpins” by Sharon Ziesnitz and Takeguchi Momoko in “Daruma,” Summer 2002.) Condition is perfect. Dimensions: 3 ¼” long, 1 ¼” high.


Chinese Cloisonne Enamel Trinket Box

Catalogue: Vintage Arts: Regional Art: Asian: Chinese: Enamel: Pre 1960   item# 167165 (stock# 9A-038)

Chinese Cloisonne Enamel Trinket Box
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B & C ANTIQUES
203-929-7312


$75 

Charming little Chinese yellow cloisonne enamel covered box in quatrefoil form with brass trim. Mid-20th century. The cover is decorated in vibrant polychrome enamels with the scene of a blue bird above pink and white flowers with green leaves. Brass wires from an intricate fish net pattern on the background of the cover as well as on the bottom of the box. Interior and base are covered in blue enamel. Cloisonne is an artcraft which requires great technical knowledge as well as the skill to produce an aesthetically pleasing item using a combination of vitreous enamel and metal wires. The wires are arranged in designs upon the metal body, into the compartments (“cloisons”) of which the enamels are packed. The item is then fired repeatedly to bring the enamels above the level of the wires and then buffed and polished many times. This box has an unusual and pleasing shape and wonderful color. Condition is excellent, with only some very minute pitting which is not uncommon on cloisonne pieces. Dimensions: 2” square, 1 ¼” high.


Okinawan Tsuboya-Yaki Dachibin Sake Flask

Catalogue: Antiques: Regional Art: Asian: Japanese: Stoneware: Pre 1920   item# 164839 (stock# 2C-372)

Okinawan Tsuboya-Yaki Dachibin Sake Flask
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B & C ANTIQUES
203-929-7312


SOLD 

This portable crescent-shaped ceramic sake container, called a “dachibin,” is one of the classic shapes of Tsuboyan pottery (tsuboya-yaki) and unique to Okinawa. Taisho period (1912-1926). The flask is boldly and spontaneously decorated with incised designs of a banana leaf on one side and a fish in water on the other in blue and ochre glaze on a buff glazed ground. The shoulder is decorated with geometric designs in the same palette. The ceramic lugs which hold the cord, also glazed in blue and ochre, have been molded in the form of mythological animal heads. The neck is finished in a rich brown glaze, and the unglazed base has the texture of fabric. This flask’s unique shape conforms to the curve of a person’s hip. The flask is filled through the neck in the center, and the inclined, tubular spout directs a stream of sake or water into one’s mouth when the flask is tipped. The flask’s two perforated lugs accommodate a shoulder cord, so the flask would be handy for journeys or for festivals.

Over the centuries, Okinawa has become quite well-known for its cultural heritage and art. One of Okinawa's most distinct and well-known art forms is pottery, and the center for the pottery movement for the past three hundred years has been Tsuboya. This flask is an example of “joyachi” tsuboya ware, which is glazed and often colorful. Throughout the 20th century, Tsuboya had to overcome many challenges, including World War II, but it still remains famous as the center of quality art form pottery on Okinawa. Dachibin have ceased to be made, but at one time kilns turned out large quantities of them. This example is a wonderful piece of folk art.

CONDITION is excellent, and the cord appears to be original. DIMENSIONS: 7 1/8” long, 2 ¼” deep, 5” high.


Japanese Buddhist Shrine, Nichiren

Catalogue: Vintage Arts: Regional Art: Asian: Japanese: Devotional Objects: Pre 1940   item# 164162 (stock# 11E-101)

Japanese Buddhist Shrine, Nichiren
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B & C ANTIQUES
203-929-7312


$325 

This fine early Showa period Japanese black and gold lacquer miniature Buddhist shrine (“zushi”) contains a wood figure of the seated saint Nichiren-shonin, founder of the Nichiren sect of Buddhism. The shrine, which dates to ca. 1940, is crafted in rounded rectangular form with double-hinged doors and engraved brass fittings. The rich black lacquered exterior opens to reveal a mellow gold lacquered interior with a gilded transom, the inside of which is covered with red lacquer. All the brass hardware is in place and intact. The wood figure of Nichiren sits cross-legged on a multi-colored platform which is affixed to a heavily carved gold lacquer dais that fits into the base of the shrine. In his left hand he holds a copy of the Lotus Sutra, which he expounded as the single true teaching among the many ancient Buddhist texts. The rosary (”juju”) typically held in his right hand is missing. His hooded kesa is decorated with gilding, and his eyes and lips have been painted. Nichiren-shonin (1222-1282) founded the religious sect of Nichiren-shu in 1253. (Shonin means sage, wise and good.) A teaching of Nichiren shu is that everyone attains Buddhahood in the afterlife. Since this founder argued with other Buddhist religious sects, he was exiled. However, his teaching spread out among samurai in the provinces and to people involved in commerce and industry. Both the shrine and the figure are in very good condition. There are just two small cracks in the black lacquer on the top of the shrine, and Nichirin’s pedestal has had some minor gold lacquer repair where it was fit into the case. Dimensions: zushi is 8” high, 3 ½” wide, 3 1/8” deep. The figure of Nichiren is 4” high, 3” wide, 2” deep.


Studio Porcelain Vase, Signed Shofu

Catalogue: Antiques: Regional Art: Asian: Japanese: Porcelain: Pre 1920   item# 162546 (stock# 2B-630)

Studio Porcelain Vase, Signed Shofu
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B & C ANTIQUES
203-929-7312


$850 

This important Japanese porcelain cabinet vase by distinguished studio potter Shofu Katei (1870-1928) is decorated with a pale green floral motif of water plantains on a darker green ground. Signed Shofu, ca. 1910. This high shouldered vase has a wide mouth and tapers to a narrower recessed base. The quality of the painting of the plantain flowers and leaves is realistically rendered and is very appropriate to the elegant shape of the piece. (An identical vase is illustrated on page 58 of "Japanese Export Ceramics: 1860-1920" by Nancy N. Schiffer.) Also known as Shofu Kajo, this potter was born in Seto, moving to Kyoto in 1890. Shofu excelled in hard-paste porcelains and was known for his blowout designs in multi-colored glazes. He is said to have invented several new techniques, including moriage porcelain. He was awarded the Green Ribbon in 1915. Shofu’s works are generally classified in the same league as those of studio potters Makazu Kozan and Seifu Yohei III. Examples of his porcelains are featured in “Treasures of Imperial Japan: Ceramics from the Khalili Collection” pages 42, 43 and 78. Condition is perfect. Overall dimensions: 3 ¾” high, 2 1/8” diameter at shoulder, 1 3/8” diameter at base.


Lacquer Comb with Silver and Shell Inlay

Catalogue: Antiques: Regional Art: Asian: Japanese: Lacquer: Pre 1920   item# 161754 (stock# 11E-036)

Lacquer Comb with Silver and Shell Inlay
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B & C ANTIQUES
203-929-7312


$195 

Lovely Japanese hair comb (“kushi”) decorated with bright silver and iridescent “aogai” (abalone shell) inlay on a rich black roiro-nuri lacquer ground highlighted with gold lacquer details. Early 20th century. Roiro is a technique using the highest quality black urushi lacquer, applied and polished in several layers. It is only used on the highest quality lacquer items. To Japanese women, hair ornaments were much more than mere accessories to feminine hair-do and attire. The comb progressed from a utilitarian object to a highly decorative one on which craftsmen and artists lavished their imagination and skill. In keeping with their inclination to beautify even ordinary items of everyday use, the Japanese turned hair ornaments into extraordinary artistic objects that mirrored the cultural and social history of the period, reflecting the life and status of their wearers. In their own small way, combs and hairpins provide a miniature glimpse of the exceptional beauty of Japanese art. (See wonderful article “Combs and Hairpins” by Sharon Ziesnitz and Takeguchi Momoko in “Daruma,” Summer 2002.) Condition is very good, however, there is some minor aogai loss. Dimensions: 3 ¾” x 1 ¾”.

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