A Korean pale grey porcelain offering stand. 19th century. Each stand is fired resting on another and so kiln grit, used to prevent adhesion, is left as evidence.

Approximately 12.8 cm diameter, 6.5cm high. Perfect condition.

Please study the photographs.

Within the UK payment by bank to bank transfer is preferred.

Customers from other countries may pay by PayPal at my discretion.

Customers resident in China must make arrangements to pay by Internatio...

Seto is a pottery tradition established in the 12th century with the aim of reproducing fine Chinese porcelain and tenmoku-style tea bowls—which were hard to come by in Japan at the time. Later, during the Muromachi period, Seto potters established kilns in Mino thus starting the period known as ko-Seto, or “old Seto.” These pieces were distinctive as they were produced in small batches and with great care. Later in Edo, the large-kiln style of production or “ogama” was introduced ushe...

Before styles such as Raku, Hagi, Karatsu, etc came into fashion for use in the tearoom in early Edo, it was commonplace in cultured society to use tea-ware imported from China. One of the most common implements that first made its way to Japanese shores was the tenmoku style tea bowl that has been adopted and carried on through countless generations of Japanese artisans. Here we have an excellent example of this style of tea bowl—in perfect condition and featuring a custom fit silk pouch. Thi...

Rare and exceptional tanto of the Koto period with a polishing perfectly revealing the metallurgical qualities of the blade accompanied by a completely extraordinary lacquer and inlays sheath. The blade is in hira zukuri with a forge (hada) itame, a quenching in suguha. The tip (boshi) is chu maru. On the nakago in ubu keitai there are 2 mekugi ana. Length of the nagasa blade 28.8 cm. The scabbard (koshirae) in dark brown lacquer and ro-iro black lacquer for the decoration of gourds and folia...

Most noted for his works of Shino, this attractive Oribe piece by Kato Takeshi is distinctive and eye-catching.

Born the son of a potter in 1947, Takeshi studied under Kobayashi Bunichi, Ohashi Momonosuke and later in Kyoto under Uchida Kunio, opening his own kiln in 1973 (Genkuro-gama). Since then he has shied from the realm of public competition in favor of the personal world of private exhibitions, including the Shinjuku Odakyu and Isetan galleries among many others.

...

A tradition dating from the mid-16th century, Raku teabowls are made by hand, without the use of a potter's wheel; giving them a distinctly human feel. In the process of shaping the bowls, potters handle the tea bowls in much the same manner that users will hold them as they drink from them. In this way, we can imagine a connection is formed between the creator of the tea bowl and the participants in the tea ceremony. For this and other reasons stemming from historical circumstances, Raku bowls ...

A striking porcelain double gourd vase by the eminent Kutani potter Matsumoto Saichi V The tall shape has four raised ribs on the matt buff/white glazed body, the bottom gourd boldly painted with sets of green stripes on a tan ground. The buff/white glaze is curious, on close inspection it looks like crushed oyster shell. Signed on the base. The vase comes with its original signed and inscribed box.

Approximately 31.7 cm high. The vase and box are both perfect.

Matsumoto Saich...

A Kutani “Yoshidaya Revival” dish, early 19th century.

The Yoshidaya kiln was a short-lived venture, situated in Yamashiro, intended to revive earlier Kutani-style wares. The founding investor was Toyota Denuemon IV (aka Sekio, lived 1751-1827), a businessman who used the professional name Yoshidaya. He chose not to situate his kiln in Kutani because of the site's remote location, but his wares emulate the earlier Kutani wares in a variety of ways.

Approximately 15...

This little chap is looking remarkably relaxed considering he has lost the tips of his fingers on one hand. And the tip of an ear also. Still, he is quite a rarity and makes a fine desk companion.

Approximately 6.5 cm high.7.5 cm maximum width.

Please study the photographs.

Within the UK payment by bank to bank transfer is preferred.

Customers resident in China must make arrangements to pay by International Bank Transfer in GBP, fees paid.

Pleas...

A very modern and sleek interpretation of the classic lacquer sake warmer otherwise known as a “chōshi” in Japanese. The author of this piece, Kado Isaburō, was born in the town of Wajima in Ishikawa in 1940. Born into a crafting family, he learned the family trade from a young age from both his mother and father and would later go on to do an apprenticeship under Hashimoto Tetsuhiro. In 1962 he would win his first award at the prestigious Nitten exhibition for modern art with ...

A lacquer inro with applications of gilded and burnished metal flowers, depicting the blossoming of the cherry tree, on a nashiji background. The decorative branches on the inro were created using the maki-è relief technique in lacquer. The ojime is made of blond horn and the netsuke manju, carved from deer horn, depicts Fukura Suzume. Origin: Japan Period: Edo late 18th early 19th century. Overall dimensions: 8 x 7.5 x 3 cm. Netsuke size: 4.5 x 2 cm. State of conservation: Ve...

A Landscape in Autumn by Nam-Nong, Huh-Gun (1907-1987): Korea, Mounted with Fabric and inner frame, The artist’s pen name; Nam-Nong, Name; Huh-Gun Painted in ink and color with an Autumn scene on paper, Two Seales, Huh Ryun, Nam-Nong in red, on upper left with poem. It is in very good condition. It measures 25 1/4” x 16” ( 65cm x 40cm)

A porcelain water coupe with Langyao glaze, the color of the glaze is various due to the kiln fire temperature from different side. Kangxi period. Condition: chips and grinding on foot rim; there are two missed-glaze spots on the rim. No other flaws other than these. Please see photos for details. Body width: 5-1/4"(13.5cm)

We offer from our private exhibition a Tibeto-Chinese large and heavy gilt bronze four faced Amitayus Buddha from the late Qing Dynasty ( 1644 - 1912 ).

The Amitayus ( Bodhisattva of Longevity ) is seated on double-lotus throne in dhyanasana and with both hands in dhyanamudra.

The statue is 17,1 inches high and 7,5kg heavy!

It is marked and in great condition.

Shipping included

From our Southeast Asia Collection, a large and classic 19th century Burmese Hsun-ok from Pagan, of well- known and documented form, constructed of wood that is first lacquered in black, and then covered in successive layers of cinnabar-colored lacquer called hinthabada. Over time, through use and handling, the cinnabar lacquer wears off to reveal the black lacquer base underneath as seen on this example, in an effect likened to the negoro effect seen in Japanese lacquerware.

These old,...

From our Southeast Asia Collection, a large and classic 19th century Burmese Hsun-ok from Pagan, of well- known and documented form, constructed of wood that is first lacquered in black, and then covered in successive layers of cinnabar-colored lacquer called hinthabada. Over time, through use and handling, the cinnabar lacquer wears off to reveal the black lacquer base underneath. The negoro effect here is not as pronounced on this piece as it is on our other recently posted hsun-ok (see item ...

From our Japanese Collection, a very good, large, and older pair of Japanese cloisonne vases, late Edo to early Meiji Period, probably 1850-1875, executed with floral motifs including wisteria, peony, and chrysanthemum, along with small birds and butterflies, all set against a turquoise blue ground upon a lobed, melon-shaped form.

This is an attractive and quite sizable pair of early cloisonne that illustrates the evolution of this art form just prior to the Golden Age, when the Japanese ...

From our Indian Subcontinent Collection, a large and fine vintage Pakistani Bokhara rug using extra fine wool and silk in classic Tekke Gul design, handwoven on a vertical loom with cotton base, using a combination of natural mineral pigments and synthetic dyes in brown, black, taupe, cream, and pale green. Whilst Bokhara rugs are often perceived as utilitarian in nature and not seen as art objects by their makers, this particular rug is of such good quality that the maker decided to sign it. T...