Silk embroidery on woven silk and velvet representing a Bijin at her toilette. Copying a famous print by Utamaro. Painted details. Good condition, no restaure. It is rare to find this kind of textile, especially reproducing a print. Wooden frame. Total size: 37 x 85cm Japanese art work around 1900.

Cut iron tsuba. Mysterious motif where two spades appear which should represent spearheads or swords. The tail of Japanese dragons is sometimes depicted in this way. The decor is simple but very elegant. The carving as well as the finish are very neat. Difficult to date with precision. Probably from the Edo period, maybe earlier. Wide: 79mm Thickness: 5mm Good condition

Solid gold, silver, shibuichi and sentoku inlaid shakudo tsuba. The setting presents us with a Japanese warrior slaying an enemy wearing foreign armor that seems to be Chinese or even Mongol. This could be a reference to the attempted invasion of Japan by China Mongols in the 13th century. The tsuba bears the signature of Yoshiaki who was one of the greatest artists of his time...

Japanese iron cut sword guard in silhouette of pagoda and houses in a tranquil lake landscape. Some details inlaid in gold. It feels like a long way from war. The carving is of very good quality which is not always the case on this kind of tsuba which most often are less well executed. The reliefs are very deep which gives a beautiful relief but requires more effort. The style seems to be that of the Soten school...

Kebutsu (lit. transformed Buddha) seated upon a lotus-form dais, ichiboku-zukuri single-block wooden construction with lacquer-and-gilt finish, displayed on a pierced-work gilt-copper keko (Buddhist ritual-use flower basket). The kebutsu mid-Edo ca. 1750, the keko clearly dated to the third year of the Genroku Era (1680), mid-Edo Period. Very minor old loss and patination.

Kebutsu height: 13.5 cm
Width: 9.5 cm
Depth: 4 cm
Keko diameter: 28 cm

Kebutsu (lit. transformed Buddha) seated upon clouds, ichiboku-zukuri single-block wooden construction with lacquer/gilt/polychrome finish, displayed on a pierced-work gilt-copper keko (Buddhist ritual-use flower basket). The kebutsu early-Edo ca. 1650, the keko clearly dated to the third year of the Genroku Era (1680), mid-Edo Period. Minor old loss and patination.

Kebutsu height: 13 cm
Width: 8.5 cm
Depth: 5 cm
Keko diameter: 28 cm

Pair of head fragments of two sculptures from the same set of Ju-O (lit. 10 Kings, a.k.a. 10 Judges of Hell). Ichiboku-zukuri single-block wooden construction, the eyes originally of inset crystal, now lost. Displayed on a repurposed fusuma door panel in unfinished zelkova (Jp. keyaki). Early-Edo Period ca. 1650, possibly earlier...

Head fragment of one of the Ju-O (lit. 10 Kings, a.k.a. 10 Judges of Hell). Yosegi-zukuri joined-block wooden construction with polychrome finish, the inset-crystal eyes still intact. Displayed on a repurposed fusuma door panel in unfinished zelkova (Jp. keyaki). Early-Edo Period ca. 1650, possibly earlier. Traces of a whitish gesso-like foundation and polychrome.

Height of head fragment: 20 cm
Width: 10.5 cm
Depth: 4 cm
Height of panel: 38.5 cm
Width: 24.5 cm

Representation of a print by Kiyonaga in silk embroidery. Some parts are silk velvet, some are woven, some are embroidered. Some details are finely traced in ink. Beautiful finely executed embroidery work. Good condition fresh colors, no restoration. This kind of work is rare, especially of this high quality. Japan probably Meiji, around 1900. Mounted in a wooden frame which appears to be from the same period. 85 x 37cm

Clifton Karhu (1927-2007)
Tominaga-cho, Gion
Date: 1993.
Edition: 55/75.
Size: 24.25 x 17.75 inches.
Signed, titled, numbered, and dated in pencil by the artist in lower margin.
Medium: Japanese woodblock print.
Condition: Slight toning in margin due to former matte. Left and right outside margins each have a dot of foxing. Print has never been adhered to a backing.

A masterpiece by Otani Shiro enclosed in the original signed wooden box titled Shigaraki Hai-Kaburi Tsubo (Ash blanketed Jar). Breathtaking, it appears straight from the inferno. With so much going on, the thick textured embers almost purple in color, encrustations covering the surface with a blast of molten ocher glaze on one side rivulets of color dripping down. It would wow the crowds in any museum exhibition and is the best piece I have ever owned by this legendary potter...

Seated Amida Buddha, the hands placed centrally on the lap in the Amida jo-in meditation mudra. Yosegi-zukuri joined-block wooden construction, the eyes of inset crystal, finished in lacquer and gilt. Early-Edo Period ca. 1650...

Cast bronze vase. Very elegant unusual shape. Decorated with a dragon in high relief. Probably Japanese rather chinese and very old Edo period, 18th century or before. The metal has an excellent patina of a beautiful brown color. Below a mark with Chinese characters. 205mm x 185mm. Slightly dented, barely visible. Original patina, not cleaned.

An incredible mixture of gray and lavender colors on the sculpted natural form of this expressive Chawan by the 8th generation Kaneta Masanao.

It comes with its originally signed and sealed wooden box titled Hagi Hai-yu (ash glazed) Kurinuki Chawan.

The style is Kurinuki, not formed on a wheel but cut and worked from a block of clay, an approach the artist is world wide famous for.

Masanao likely needs no introduction...

An Unusual Imari Teapot of compressed form with loop handle and upright spout, raised on three short legs. Decorated in underglaze blue, iron red and gilt with a peony scroll. Japan 1700/20. Height; 3" (7.5 cm). Condition; shallow chips to end of spout, firing glaze flaw to side (image 3), cover with a 1.5 cm hairline

Japanese small format surimono woodblock print by French artist Paul Jacoulet (1902-1960) titled "Chagrins d'Amour. Kusaie, Est Carolines" (Sorrows of Love. Kusaie, East Carolines) published October 26, 1940. The full size image is illustrated on page 60 (plate 70) of “The Prints of Paul Jacoulet” by Richard Miles, 1982 and is described on page 105. Paper size: 5 7/8" x nearly 4 1/8" (image size: 5 9/16” x 3 3/4"). Very good overall condition...

Ink and polychromy on silk. Charming kakemono of a musician on horseback holding her samisen. A child holds out a side of her richly decorated kimono. Courtesans seem to relax. One with a fan has lost her sandal (zori) while the other 2 are preparing to enjoy a tea. A poem at the top of the painting describes the scene. It is signed by 2 stamps which can attribute this painting to Kitagawa Fujimaro (1760-1850). Dimensions of the painting: H112 x W45.5cm.

30 OBI SAMPLES

Paper samples of obi (kimono sash) from a certain kimono fabrics shop in Kyoto, Japan, Showa period, early-mid 20th century, approx. 45.5 x 30cm (17.71 x 11.81in)...