Nagoro banana leaf tray lacquer over wood. The black lacquer shines through the red to reveal the ribs and veins of the leaf. In the literati tradition, banana leaves were used by scholar recluses as paper to write calligraphy. Later, this motif was incorporated into other forms of art making the image one of the symbols of the literati aesthetics.

Date: Tiasho circa 1920

Dimensions: 16" x 6" X 3/4"

A rare, large architectural Buddhist temple carving of a Dragon (Ryu), with reverse glass painted eye. The high relief carvings show the dragon's body coiled behind clouds of smoke and waves. Its serpentine body reveals his 3 appendages with classic three claw anatomy. The relief is solid keyaki "zelkova serrata" wood with the original red patina. The dragon which symbolizes the heavenly realm has control of rain, fire, and earth...

An Ai Kakiemon dish decorated with a repeating pattern of Hosoge, flowers of Precious appearance, which in this case would appear to be representations of auspicious Pomegranate fruits constructed from Ruyi, Acanthus style leaves and other disparate elements. The ring of Hosoge pierced by a circlet binding them together with a central motif of a gobenka...

Leaf images in various seasonal shades decorate the raw earth of these expertly crafted dishes by legendary artist Kitaoji Rosanjin, the set enclosed in a double box, the inner box the original age darkened kiri-wood box signed by Rosanjin, the outer box later covered in black lacquer showing the esteem for which both this dish set and box were afforded. On bottom is the star mark, indicating these were made for use in his restaurant...

A finely potted Hirado dish featuring three figures wearing capes and carrying heavy packages upon their backs descending down a high mountain trail. Inferred by the small gnarled Pine trees on the wayside. Although no particular scene is identifiable the figures are in Hokusai “style”. The reverse is painted with a Karakusa arabesque and has a single spur mark within the base of the footring. The dish dates to the late Edo period and the middle of the 19th century...

A finely potted six sun sized dish decorated with a traveller clutching his hat and leaning into a cold wind before a snow covered Mount Fuji. The design would appear to be derived from a print of travellers in the Mishima pass, one of the 36 views of Mount Fuji. The reverse painted with a Karakusa arabesque with a single spur mark to the base. The dish dates to the late Edo period and the middle of the 19th century. The dish measures 18.2cm in diameter and stands 3.4cm high at the rim...

A well potted Hirado six-sun dish painted with a landscape with figures in the distance fording a river. This would appear to be a representation of the arduous crossing on the river Oi part of the Tokaido, probably derived from a topographical view, such as the Tokaide meisho ichiran, or similar. The reverse painted with a Karakusa arabesque with a single spur mark to the base. The dish dates to the late Edo period and the middle of the 19th century...

A finely potted six-sun dish painted with the subject of two fisherman in a boat in the style Of Hokusai. The design is probably derived from several sources, notably the prints “Fishing in Rough Water” at Takamizawa, one of the 100 views of Mount Fuji and “Long line Fishing” on the Miyato river. The reverse painted with a Karakusa arabesque with a single spur mark to the base. The dish dates to the late Edo period and the middle of the 19th century...

An Arita dish decorated entirely with a dense arabesque of trailing bush clover vine and leaf with flowers, lotuses. This design belongs to a class of designs called hosoge which ultimately derive from Chinese patterns of the Tang period. This particular form, popular from the seventeenth century, features Bush Clover, Hagi one of the auspicious akikusa-de, and is known as Hagi Karakusa, where karakusa means Chinese (literally Tang) grasses...

An exquisite work of micro-calligraphy by young female artist Tamura Seito IV enclosed in the original signed wooden box titled Karakusa moyo koro. It is roughly 4 inches tall and in new condition. Tamura Seito is a fourth-generation potter and chosen to inherit the tradition of Saiji micro-calligraphy for the Tamura family. She graduated Tsukuba University in 2004, then began to study under Tamura Keisei...

An Arita dish decorated entirely with a dense arabesque of trailing bush clover vine and leaf with flowers, lotuses These belong to a class of design called hosoge which ultimately derive from Chinese patterns of the Tang period. This particular form popular from the seventeenth century features Bush Clover, Hagi one of the auspicious akikusa-de, and is known as Hagi Karakusa, where karakusa means Chinese (literally Tang) grasses...

A nagazara of conventional rectangular form decorated somenishikide style, a combination of underglaze blue, sometsuke, and, nishikide, enamelled decoration. Nishiki literally means brocade. In this case a dense diaper pattern made up of repeating and contrasting cells of Karahana against an iron red ground and five petal flowers, presumably, ume hana, Plum flowers against a striated green ground, usually used to suggest pine needles...

A nagazara of conventional rectangular form decorated somenishikide style, a combination of underglaze blue, sometsuke, and, nishikide, enamelled decoration. Nishiki literally means brocade. In this case a dense diaper pattern made up of repeating and contrasting cells of Karahana against an iron red ground and five petal flowers, presumably, ume hana, Plum flowers against a striated green ground, usually used to suggest pine needles...

Antique tribal wooden stool from the Lobi people of Burkina Faso & Ghana, in the Sub-Saharan region. With original red and black lacquer finish and patina. The stool is circular in shape with recessed seat and four legs. Dates from early 20th century.

Dimensions: 10" w x 9" h

Japanese indigo cotton fireman's coat, with sashiko stitching and freehand paste resist decoration (tsutsugaki) of a cherry blossom, overlapping rings and striations. The front of the coat has four kanji characters on the lapel, and the inside of the coat is resist dyed with geometric designs and a round central emblem.

Late Edo Period (1603 - 1868)

Dimensions: 47" w x 37" h

Japanese iron tsuba, an important fitting on a samurai's sword to protect their hands from the blade and provide balance. Decorated with relief gold lacquer image of a gourd and opposing catfish. The backside of the tsuba is gold plated, with commemorative inscription "Bill - Christmas, 1972". The plating is signed with 14k and 18k gold marks, and stamped Potter Mellen. With custom base.

Mid Edo Period (1603 - 1868)

Dimensions: 3" x 2 3/4" x 4 3/4" (w/ stand)

A Japanese bronze ritual brazier from the Muromachi period. It has an even tonal verdigris patina throughout the object. The scalloped edge lip is decorated with alternating Ruyi cutouts and continuous curved lines.

The low brazier rests on 3 protruding rounded feet elevating it for the ideal purpose of burning scented woods or providing warmth. The Chinese term for Ruyi means “as you wish.” The curved decorative Lingzi (mushroom scepter) serves in ceremonial Chinese Buddhist r...

Japanese pair of round fish plates. The raised details of the fish is painted in blue glaze. Along the edges, an impressed pattern makes up the fish's dorsal and pectoral fins. On the bottom, the maker's mark is a tiny blue floret.

Taisho Period (early 20th century)

Dimensions: 10 3/4" wide (mouth to tail)