Incised on each ring is the popular deity Daruma, whose robes and eyes are gold. On the other side is the cheerful face of Okame, the goddess of mirth, whose hair is ornamented with what appears to be shakudo. Other incised gold symbols surround each ring, including a drum with a shakudo skin. The blue hinged cardboard box has a metal latch and a satin liner in which each ring sits.

The Bridegroom is dressed in a long plum colored silk Mandarin robe with deep side seam slits. A “mandarin square” is embroidered in the front and center back. The robe opens down the center front through the square. He wears silk leggings underneath that are tucked into black cloth boots. He wears a black silk “pill box” shaped hat with a red tassel on top.

Door of Hope dolls have become highly collectible treasures, in part, because of their fascinating history. In 1900, five missionary ladies started the Door of Hope Mission in Shanghai. They opened schools for destitute young girls so they could learn to support themselves. As a means to learn sewing skills, the girls dressed dolls. These beautifully created and utterly different dolls are magnificent in their carvings and costuming. Heads and hands were carved from Chinese “Niponga wood” or pear wood, a light colored hardwood that is tough and difficult to carve. In its natural color it resembles the ivory of the Chinese skin. Touches of paint were then added for the lips, eyes and hair. The dolls were supplied by craftsmen skilled in wood carving and then meticulously dressed in Chinese clothing with amazing detail by the young girls. Frog closures, tiny undergarments and minute embroideries all accented these wonderful garments. Each girl could dress only about one doll a month, and the relatively low volume of production of these dolls has increased their scarcity.

Production of Door of Hope dolls continued until the Japanese invasion of Shanghai in 1937, at which time most of the estimated total production of 20,000 Door of Hope dolls had already been made. There were approximately 26 standard characters representing differing Chinese social classes. The Bride and Bridegroom, which were at the top of the hierarchy, have always been the most expensive of all the Door of Hope doll characters. This is a unique opportunity to acquire a very rare pair considering their pristine condition.

Sambaso is a ritual dance of ancient origin which was intended to appease the gods and bring good fortune. The Sambaso is supposed to have originated in the 9th century as a religious dance to thwart earthquakes. The Sambaso dance was performed at the beginning of the New Year at the start of the Kabuki season and before certain Noh plays, and it has served as a prelude to theatrical performances since the establishment of theater in Japan.

Gosho ningyo as a whole are considered gift dolls, whether from the Imperial Household or as a gift for an auspicious occasion, such as the celebration of a new born baby. The gosho doll is one of noble descent, and the name means “palace doll,” a reference to the Imperial Palace in Kyoto during the Edo period where they originated. In most examples, the clothing is limited to a strict minimum, and it is either painted or pasted on. Gosho ningyo are a uniquely Japanese form, and by tradition, they represent chubby, almost naked little boys with large heads, round bodies and brilliant white skin. They generally show an originality and character which places them in a special category of Japanese dolls. In Japan these dolls are considered to be a classic art form and are appreciated as such. This particular doll is a rare collector’s item as Maruhei dolls do not often come on the market.

Oversized dishes (“ozara”) first became popular among the wealthy urban elite in the 16th century, and they were made at the Arita kilns for the feudal lords (daimyos) for food service at banquets or at other ceremonial events. 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.

This huge thickly potted charger is an exceptional example of high quality sometsuke porcelain made for the Japanese market, and pieces of this size and quality are rare to find outside of Japan. Blue and white porcelains with karakusa designs are examples of wares made for the domestic Japanese market, and they are highly prized by Japanese collectors.

Known as “benki,” these attractive blue and white ceramic antique toilets had originally been set into the floors of Japanese inns, elaborate restaurants or wealthy homes. Since the standard Japanese bathroom fixture has always been unadorned, some suggest that these elaborately decorated pieces indicate European influence. Hand-painted ones are generally older than the stenciled designs. As a decorative item, they work best as planters or in the bathroom itself as a magazine holder. (See examples on page 150 in “Japanese Accents in Western Interiors” by Rao and Mahoney.)

The alloy paktong has a fascinating history. Centuries before nickel was isolated in the west, the Chinese had produced an alloy of zinc, copper and nickel which had the lustrous sheen and color tone of silver, was appreciably harder than silver, and did not tarnish in use. Many examples of this alloy have a particularly pleasing color which is silver-bright but possesses what has been termed a “soul of gold.” For additional information about paktong, see our article on the subject in ARTS OF ASIA, Nov/Dec. 1992.

These tightly-fit boxes were used by scholars when they traveled so they could paint and do calligraphy. Cotton was placed in the bottom of the box and water was dripped into it. This provided the moisture necessary to make ink on the stone when an inkstick was ground onto it. It was also possible to create ink directly on the stone and store it in the bottom of the box. Gentlemen-scholars were known as literati, and items for the scholar’s desk were highly regarded by China’s elite.

The art nouveau era produced wonders in match safes as countries around the world strove to supply the smoker with every conceivable figural conception. Japan, always quick to follow the West in copying and improving on new ideas, produced match-safes in wonderful forms. Mostly made of brass, Japanese cases were made in Eastern designs with unlimited artistic themes, all done in miniature detail with the most pleasing renditions and the highest quality craftsmanship. Match safes were made to give the owner both visual and tactile pleasure as they fit comfortably into the hand. Cases were appealing to both men and women and were easily carried in the kimono sleeve. (See “The Oriental Match-Safe” by Earle J. Stone in ARTS OF ASIA September/October 1986.)