Height approximately 15.6 cm. In good condition.

Chinese Rose Mandarin triangular shaped footed porcelain sauce dish. Measures 3.5" diameter x 1.25"

Height: 6.7 cm (2.4 in)
Width: 3.4 cm (1.6 In)
Depth: 2.4 cm (0.9 in)

Chinese lacquer and Mother of Pearl snuff bottle with Qianli mark to the base; fine work throughout with no damage.

Height: 17.7 cm (7.1 in)
Width: 6.5 cm (2.7 in)
Depth: 5.5 cm (2.2 in)

Well-carved depiction of Guanyin holding garlands of flowers; traces of old polychrome visible in places; excellent quality carved from natural material, resting on the original wooden stand; good condition.

Height: 8.6 cm (3.5 in)
Width: 11.2 cm (4.5 in)

Quality Japanese Satsuma square sectioned bowl; the outer surface decorated with panels depicting individuals in rural settings, surrounded by intricate heavily-gilt diaper work below and above the rims; internally decorated with a base roundel of families outdoors; signed on the base; good condition.

Height on Stand: 17.4 cm (7 in)
Width: 10.3 cm (4.2 in)

Fine Chinese blue and white porcelain vase; the highest of painting quality throughout; some pitting and surface abrasions, including heaping and piling in places; excellent base and rim, including a set of Xuande marks; wood stand; good condition.

TOOL OF DOLL’S HEAD CRAFTSMAN

Straw-made base sticking with such incomplete doll’s heads during the making process as the professional tool of Japanese ‘kashira-shi’ (craftsman specializes in making doll’s head). Showa period, 20th century. Base: H 15 x D 16.5 cm (5.90 x 6.49in), Largest doll’s head: L 19.5 cm (7.67in). Aged deterioration as is.


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NUPTIAL OCTAGONAL SEWING BOX

Old Korean paper-mache sewing box with the auspicious bat design once traditionally sent to a bride-to-be from a groom-to-be. Late 19th - early 20th century. 35.5 x 35 cm x H 20.3 cm (13.97 x 13.77 x 7.99in). Surface darkened overall and other aged deterioration as seen, but still not losing original shape as is.


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STONE BUDDHA

Gautama Buddha (Shakyamuni, Shaka-Nyorai). Joseon Dynasty, Korea, 18th century at least. H 25 x W 13 x D 10 cm (9.84 x 5.11 x 3.93in). Once totally covered with lacquer, but mostly peeled-off except the head and backside parts due to age.


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Lovely two handled pottery jar from the Northern China circa (2200 BCE – 1600 BCE), Classic Qijia Period in near perfect condition with just a couple of minor chips on one handle. H: 12.9cm/5.1in and W: 11.8cm/4.7in.

Good late Joseon Dynasty, 19th century stoneware cup/bowl with high footrim and pale greenish gray glaze and gray stoneware , this is a simple regional folk ware but has a pleasing almost celadon feel to it that needs to be held to be appreciated. There is some kiln grit in the cavetto as well as three minor hairline stress cracks. H: 8.7cm/3.5in and D: 13.1cm//5.2in.

A well made and complex burl keyaki wood box of drawers and compartments. Compartments and drawers well suited to hold inkstone, colors, paper, brushes, works and accessories. Nice, handmade hinges and drawer hardware. Painted decoration of Shishi among peonies - nicely done in a charming, mingei (folk art) manner and likely by a previous owner of this kodansu. Late Edo period. There is expected wear from use, movement and checking of wood, and minor losses to the polychrome lacquer decoration. ...

A carved wood Noh-men Mask of a female demonic figure named Hannya. Carved wood covered with Gofun, gold and mineral pigments, 20th century. It is 25 x 19.2 cm and in overall fine condition bearing the carvers seal in the back. The Hannya is a mask that represents a female onryō (vengeful spirit). In Noh plays, the type of Hannya mask changes according to the degree of jealousy, resentment, and anger of the female characters.
Noh theater, often referred to as Nohgaku, is a traditional ...

A carved wood Noh-men Mask of a spirit named Deigan. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 13.3 cm and in overall fine condition bearing the carvers seal in the back. The Noh play Lady Aoi (Aoi no Ue) by Zeami is based on Chapter 9, “Leaves of Wild Ginger” (Aoi). Lady Aoi, Genji’s first wife, is possessed by a spirit during childbirth and becomes seriously ill. The culprit appears to be the vengeful spirit of Genji’s neglected former lover, La...

A carved wood Noh-men Mask of a young female figure named Zou Onna. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 13.5 cm and in overall fine condition.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, kn...

A carved wood Noh-men Mask of a warrior named Chujo. Carved wood covered with Gofun and mineral pigments, 20th century. It is 20.8 x 13.3 cm and in overall fine condition bearing the carvers seal in the back.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn b...

Something paleolithic, like the excavated bone of some long extinct creature, covered in crystalline clear glaze by Kato Tsubusa enclosed in the original signed wooden box. It is 40 x 7.5 x 7.5 cm (16 x 3 x 3 inches) and is in perfect condition, directly from the artist this summer.
Kato Tsubusa was born in Tajimi city, the home of Shino, in 1962, graduating the municipal Pottery Design and Technical Center in 1979. From then to 1983 he worked as a decorator at the Otai Kiln moving out o...

A set of large Abalone Shell Shaped bowls covered in ash glaze with liquid pools of jade green by Murakoshi Takuma enclosed in the original signed wooden box titled Hai-yu Awabi Bachi. Perfect for winter food, Oden or even Niku-jaga. These are 16 x 13 x 6 cm and are in perfect condition.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in...