Rare TALL Chinese Tang Dynasty Painted Pottery Jar, Stand & Cover (AD 618 - 906)

This tall and impressive pottery set comprising stand, jar and cover was made during the Tang Dynasty (AD 618 - 906). They are made from a relatively high-fired grey pottery and "cold painted" in various coloured pigments. The stand has cut-out apertures and petals to represent a lotus flower. The jar has a band of "pie crust" decoration around its waist. The cover has purpose-made holes in its upper part; it is...

Tall Chinese Song / Yuan Dynasty Qingbai Glazed Porcelain Ewer

This impressive porcelain ewer was made during the latter part of the Song Dynasty (AD 960 - 1279) or possibly the following Yuan Dynasty (AD 1279 - 1368). It is quite "heavily-potted" and coated in a finely-crackled Qingbai glaze, pale green in colour. A thick handle joins the trumpet-shaped mouth to the shoulder. There is insignificant surface wear and there are old genuine gold lacquer ("kintsugi") repairs which have been perf...

Vietnamese 15th Century Blue & White Blue & White Box (Ex. Grahame Clarke collection)

This attractively-shaped round box was made during the 15th century and has been recovered from a shipwreck. It is quite "heavily-potted" and decorated with a pattern featuring lotus leaf panels filled with floral or wave patterns. The underglaze blue has fired to a very dark blue.

The cover is fused to the box, either from its glaze during firing or from the effects of "calcified" sea deposits from it...

Vietnamese 15th Century Blue & White Blue & White Jar (Ex. Grahame Clarke collection)

This small blue & white jar was made during the 15th century. It is quite "heavily-potted" and decorated in underglaze blue that features a ring of leaves around the shoulder, below which is a scrolling floral pattern. The glaze is quite thick and in places there are blisters to the glaze suggesting this occurred during firing. The flat base remains unglazed. Height 6.75 cm, diameter 7.5 cm. It is in very g...

SALMON

Anonymous vintage Japanese oil painting on paper board, Showa period, 20th century, 45.4 x 37.7 x 0.3 cm (17.87 x 14.84 x 0.11in). Aged deterioration with stain, paint-peeling, rips, damage, etc. as is as seen.


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An expertly hand carved dark salmon coral pin dating to the early part of the 20th century, 1920 - 1930s. Using the natural formation of the branch coral, the artist created a tree trunk with a chrysanthemum and 2 buds. In Chinese culture the chrysanthemum symbolizes long life, is one of the 4 Chinese seasonal flowers, and is often associated with nobility. In excellent condition, this rare beauty measures about 1.5" high.

Red highlights the salt glazed body of this multifaceted tsubo by Seto Hiroshi enclosed in the original signed wooden box titled Enseki-yu Tamentori Tsubo. Like stepping stones stomach scales of a snake climb in concentric arcs about the body of the base, the white covering most with red highlighting the edges. It is 8 inches (20 cm) tall, roughly the same diameter and in excellent condition.
Seto Hiroshi (1941-1994) studied pottery under Living National Treasures Tomimoto Kenkichi and...

SAMPLE BOOK WITH KNITTINGS

Japanese school girl's handmade sample book with the actual 20 knitting works and each written description by the right page. Showa period, 20th century. Book: 28 x 19 x 8 cm (11.02 x 7.48 x 3.14in). Once untied its binding string for the photo shooting. Some stains and creases due to aging as is.


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Orange peel textured black Chawan by Samukawa Seiho I (Yoshikazu 1899-1975) enclosed in the original signed wooden box titled Kishu Yaki Nacchi-guro Chawan. It is 5-1/4 inches (13.5 cm) diameter, 3-1/2 inches (9 cm) tall and in excellent condition.
Born in Osaka in 1900 and raised in Kyoto, Samukawa Seiho I began his apprenticeship in tea ware under Sawada Muneyama in 1919. With a letter of introduction he entered the Aichi Prefectural Ceramics Research Facility in 1927. In 1935 he mov...

This is a samurai armor set (yoroi and helmet) for Boy’s Day in Japan. By displaying a set like this, the parents hope to inspire boys in their manliness, bravery, discipline and the honor codes that come with it.

Here on the lids, it is written the name of the owner and the occasion. It is to celebrate his first Sekku in the fourteenth year of Showa period (1939). On the reverse side of the lids, there are labels of Tanimoto Yousuke, the doll maker. The store, Tanimoto Yousuke was ...

Cast bronze warrior with multiple patinas, partly gilded. The samurai, wielding a naginata, fights furiously. The artist may have wanted to designate here the Japanese medieval hero, Miyamoto Musashi because the latter fought bareheaded and during the fights his hair electrified by fury stood on his head. History teaches us that he would have triumphed in 60 duels during his life as a swordsman. Good condition, original gilding and patina. The spear blade appears to have been broken and welded ...

Samurai Yoritomo (Minamonoto) Japanese Doll, first Kamakura Shogun dressed in Suoh, high ranking Samurai's attire in Kamakura Period. The doll was possibly made by Maruhei in Kyoto. Circa Taisho period, 1920-1930. Damages in the black cloth hat.

The measurements: 14 inches to the tip of his hair and 13 inches across the sleeves at the bottom when the doll is displayed. The bow is a new addition.

This is a "kataginu" (shoulder cloth), only the upper vest of kamishimo without trousers. Kami-shimo simply means top and bottom in Japanese. It was a high ranking samurai's formal attire when they attended official meetings at the Edo castle. It was worn over a kosode (kimono with small sleeves) with trousers. The shoulders are arch shaped and this was the style that developed in the late Edo period (1603-1868). Longer trousers (approx. 1.5 times longer) were chosen for special occasions. The s...

This is “kataginu” (shoulder cloth), only the upper vest of kamishimo without a trouser. Kami-shimo simply means top and bottom in Japanese. It was a high ranking samurai’s formal attire when they attended official meetings at the Edo castle. It was worn over kosode (kimono with small sleeves) with trousers. The shoulders are arch shaped and this was the style that developed in the late Edo period (1603-1868). Longer trousers (approx. 1.5 times longer) were chosen for special occa...

This is “kataginu” (shoulder cloth), only the upper vest of kamishimo without a trouser. Kami-shimo simply means top and bottom in Japanese. It was a high ranking samurai’s formal attire when they attended official meetings at the Edo castle. It was worn over kosode (kimono with small sleeves) with trousers. The shoulders are arch shaped and this was the style that developed in the late Edo period (1603-1868). Longer trousers (approx. 1.5 times longer) were chosen for special occa...

This is the upper part of a kamishimo; samurai's formal attire without the trousers. It was worn over a kosode (kimono with small sleeves) with trousers. The texture is hemp like; coarse, slightly translucent, thick threads (thicker than other kamishimo). The family crest is the feathers of a hawk. Kami-shimo (upper-lower) that we currently have are quite dandy and fashionable. The amazing thing is the work that is involved when making these fabrics. You can make a kamishimo top into a g...

Meiji Era (around 1910) Samurai Tea Bowl with fantastic painting, marked on the bottom 'Heian'.

White porcelain from Kyo ware is coated with vivid silver glaze and a handpainting of ocean, clouds and a kabuto (a Japanese amor samurai helmet).

Kabuto is a type of helmet first used by ancient Japanese warriors, and in later periods, they became an important part of the traditional Japanese armour worn by the samurai class and their retainers in feudal Japan.

Great...

An unusual, sancai glazed stoneware caparisoned elephant form vessel. The larger opening on its back is suggestive of a lime pot (our best guess) with only traces suggested by an off white cast on the sides of the otherwise buff colored unglazed interior. The trunk, curled above the head, ends in a smaller aperture but not optimal as a kendi. The form, in the round, and the pleasantly crazed sancai glaze (cream, amber and a rare blue) suggest influence of the Cizao kilns legacy of Fujian (known ...