A symbol of humility and modesty, a bed made for the scholar's hermitage aesthetics. Carved huanghuali wood in a naturalistic root form, constructed and joined together creating the enveloping roots and branches. The seat platform is of block wood fitted to mimic woven mats. These types of furniture are reminiscent of the Song dynasty. Scholars retreated into the mountains and relinquished materialism. The aesthetic is based on nature moving away from the lavish life style.

Dimen...

A pair of Quan Yi Huanghuali horseshoe back armchairs from the 18th Century. The generously proportioned curving top rail is made in five parts using half-lap pressure peg joints terminating in a curved look beyond the goose-neck side and front corner post. The back splat is carved with a Chimera medallion. The back corner posts continues through the frame of the soft mat seat to form the back legs and front legs enclosing the cusped apron carved in relief with curling tendrils. Reinforced wi...

Japanese pair of finely cast bronze Nio Buddhist temple guardians. Dressed in traditional robes with auspicious motifs. Each figure stands on a four legged base with cartouche impression underneath.

Meiji Period (1868-1912)

Dimensions: 3 1/2" x 2 3/4" x 8" H

Japanese two section clothing tansu, constructed with natural finish Kiri (paulownia) wood. Original condition. The four drawers with classic design of round iron hand-forged locks and pair of warabite drawer pulls, iron corner hardware and side handles.

Meiji Period (1868-1912)

Dimensions: 36 3/4" L x 16 1/2" D x 40 1/2" H

Ohara Koson
Crow on Cherry Branch
Size: O-tanzaku. Approximately 13.5 x 7.25 inches.
Date: 1900-1910s.
Reference: K5.3 and plate 47 in Crows, Cranes and Camellias: The Natural World of Ohara Koson (Reigle Newland).
Signed and sealed by the artist.
Publisher: Daikokuya.
Medium: Japanese woodblock print.
Condition: Toned paper edges.
Note: This is the state and seal illustrated in the Koson catalog.

This tall and lovely Hagi chawan rests firmly on a wari kodai or “split foot” pedestal that is unglazed—displaying the coarse rich clay. The crackled milky glaze covers the curves and contours of the bowl, contrasting dramatically between the foot and the clay body. Hagi-ware such as this is part of a tradition stretching back over 400 years and is a high-fired stoneware type of pottery. Hagi-ware is prized for its subdued colors and classical features, especially the glazing, ...

Japanese isho tansu, or clothing chest of drawers, constructed with Persimmon wood front drawers and a Sugi (cedar) frame and interior. The tansu holds four long drawers with metal pulls and round keyholes with floral plating. The sides of the piece are built with handles to carry and transport the tansu. Original condition with kanji inscription on backside of chest.

Taisho period (1912-1925)

Japanese isho tansu, or clothing chest of drawers, constructed with Persimmon wood front drawers and a Sugi (cedar) frame and interior. The tansu holds four long drawers with metal pulls and round keyholes with floral plating. The sides of the piece are built with handles to carry and transport the tansu. Original condition with kanji inscription on backside of chest.

Taisho period (1912-1925)

Dimensions: 33 1/2" x 16 1/2" x 34" H

Made from ferrous rich Bizen clay covered in an ashen feldspar glaze, this non-conventional Shino tea bowl is a variety known as “Beni” or crimson red. Distinctively modern yet emanating a primal vitality, the form harkens back to the very origins of ceramic exploration in Japan. The influence of Momoyama potters and greats such as Koetsu can be seen in the dynamic edges of the clay body.

Though female potters have constituted a small minority throughout the history of Japans p...

A nice large sculptured natural root stand from the Mid Ching Dynasty. A flat surface can be placed on the top of the sculptured stand. Size: H. 70cm. W. 30cm. Condition: No repairs.

Tiger stripes of crackled gold over veins of red, yellow and green on black by Kobayashi Mitsugi enclosed in the original signed wooden box titled Taste of an Autum Day. It is 12-1/2 inches (32 cm) tall, 8 x 9 inches (20. X 23 cm) round and in excellent condition.
Kobayashi Mitsugi, born in Aichi prefecture in 1932, and graduated the Tokyo National University of Fine Arts. He was awarded at the Nihon Gendai Kogei Ten (Japan Contemporary Arts and Crafts Exhibition) in 1973 Kogeisho-Prize ...

This piece is described on the box as a Hikidashi Kuro Chawan. In Japanese hikidashi means “a pull-out drawer” and the term first came into use at Mino kilns in the 16th century to describe individual pieces that were pulled out of the wood kiln at the peak of firing to gauge if the batch was ready. The rapid cooling of such pieces often creates dramatic effects, with the most noted being rich varieties of deep black. Today this practice has fallen out of use and and only a handful of master...

Seated Jizo Bosatsu, a long-stemmed lotus bud held in the right hand and a sacred jewel (Jp. hoju) in the left, figurally sculpted from a brown-hued igneous stone. Mid-Edo Period ca. 1750. Very minor old loss. Variegated lichen accumulation.

Height: 29 cm
Width: 17 cm
Depth: 14 cm
Packaged weight: 8 kg

Nyoirin Kannon Bosatsu in characteristic seated pose of royal ease, sculpted in relief from a gray-brown igneous stone. Mid-Edo Period ca. 1750. Minor old loss.

Height: 39 cm
Width: 23.5 cm
Depth: 11.5 cm
Packaged weight: 15 kg

A notably charming example of Edo-Period Japanese stone sculpture, showing a precociously modernist stylistic bent.

A unique and rare yixing potted table vase from republic era, vase by fu Sen & calligraphy n painting was carved by another pioneer famous carver

A traditional Korean gentlemen's headgear piece called a Gat, constructed of woven horsehair, bamboo, lacquer and silk. The Gat represented the social status of the wearer and protected their topknot underneath.

19th century Chosun Dynasty

Dimensions: 16 1/8" W x 7" H

Japanese hand-forged iron tsuba, used to protect a swordsman's hand from sliding up the blade during use as well as to provide balance. The front depicts two joyful festival performers, one holding a drum and the other holding a fan, the figures in relief with gilt accenting throughout. The backside of the tsuba shows a large mallet and mortar traditionally used for pounding rice into mochi.

Dimensions: 2 3/4" x 3"

Japanese hand-forged iron tsuba, used to protect a swordsman's hand from sliding up the blade during use as well as to provide balance. The openwork tsuba depicting two sages, their robes accented in gilt, one sage with a face of silver and the other with a face of copper. The front image is signed 'Soheishi Nyudo Soten' , the other side reads 'Goshu Hikone ju' (resides in Goshu-current Shiga prefecture).

Dimensions: 3 1/8" x 3 1/4"