Japanese Meiji period Arita porcelain suiban, used for ikebana flower arrangements, decorated on the exterior sides in underglaze blue with four panels holding landscape scenes surrounded by a dense pattern of scrolling foliage. Spur marks are visible in the white interior, suggesting it might have been fired upside down. The flat base is unglazed. The interior is white and Late 19th to early 20th century. 12" long x 8 1/4" wide x 3 5/8" high (interior depth 2"). Very heavily potted and wei...

Fine 19th C stag horn pipe case depicting a bamboo with snail crawling on it. Great patina, prefect condition, great details. Unsigned. 8 ” x 1” 210 x 28 mm

Japanese 19thC sashi stag horn netsuke depicting a tall figure holding what looks like a leaf. Beautiful patina. Unsigned. 4 ¾ ” x 1 ¾ ”. 120 x 45 mm.

Five case gold lacquer inro decorated with floral patterns and large moon. Long signature and read seal on the bottom, possibly Jokasai. 3½ ” x 2 ¼ ”

A NEWLY-DISCOVERED NUMBERED PRE-EARTHQUAKE EXAMPLE
Takahashi Shotei
Two Ladies Catching Fireflies
Date: 1900s-10s
Size: 7 x 4.75 inches.
Sealed "Shotei" and numbered "28" in Japanese inside a white fan cartouche in the lower right corner.
Woodblock print is floated inside an unopened 11 x 9 inch frame.
Reference: Shotei S-25. This pre-eartquake example has been confirmed for addition to the catalog.
Medium: Japanese woodblock print.
Condition: Excelle...

Chinese porcelain famille rose box and cover with distinctive overglaze enamel decoration. It features roosters, bamboo, and various flowers, reflecting traditional Chinese imagery. Blue underglaze six-character mark typically associated with the Qianlong period (1736-1795) of the Qing Dynasty. Perfect condition, no chips or cracks. 5 ½ ” x 2 ½ ” 135 x 65 mm

Chinese bronze pair of elephant garniture with vases on their backs. Great condition considering their age, fine details. Each 9 ¼ ” x 9” 245 x 235 mm

Rare Chinese Neolithic Painted Pottery Jar - Xindian Culture, Tangwang type

This very rare pottery jar is of the Tangwang type and dates to the Xindian Culture (c. 1200 - 500 BC). The Xindian culture is a relatively late Neolithic culture and overlaps with the Chinese Bronze Age.

It is made from a reddish pottery coated in a red wash and decorated in geometric patterns in a mineral-based pigment. It has a wide, almost globular, body with a wide flared mouth, two small loop handles and a...

An extremely rare Annamese Vietnamese blue and white big reticulated open work ewer, pear shape with curved handle and up rising spout, glazed base, ewer decorated with good under glaze blue of birds and flower motif at the exterior, at the belly there is open work motif of bird and flower motif.

The ewer is in good condition with restoration at the handle and spout, overall body in good condition, very rare piece with open work motif, very good cobalt blue color motif.

Vase is in 24 cm ...

Three Rare Chinese Neolithic Painted Pottery Jars - Xindian Culture, Tangwang type (c. 1200 - 500 BC).

These three very rare pottery jars are of the Tangwang type and date to the Xindian Culture (c. 1200 - 500 BC). The Xindian culture is a relatively late Neolithic culture and overlaps with the Chinese Bronze Age.

There are made from quite a brittle reddish-pottery, coated in a red wash and painted in "swirling" and geometric patterns in a mineral-based pigment. They each have two loop...

Woodblock printed book with 52 ancient designs for woven textiles. The painter is Takashima Chiharu (1777-1859), who was a Japanese style painter in late Edo period and belonged to Tosa faction. The original designs were painted in Kyoho 11 (1840) and this book was published by Anayama Tokutaro, who founded Yurindo in Meiji 7 (1874), and published by Yurindo around 1890. In good condition except for some moth bites. W:22.5cm, L:32cm 54 pages of washi. More images are available by request

Rare Large Chinese Neolithic Painted Pottery Jar - Qijia Culture

This very rare and interesting pottery jar was made around 4,000 years ago by potters of the Qijia culture (c. 2050 - 1700 BC) , from present day Gansu or Qinghai province. Most pottery from the Qijia culture tends to be fairly small and thinly-potted unpainted twin-handled cups although larger painted vessels such as this are known.

This jar is made from quite a high-fired buff-coloured pottery, It has a wide body and wide...

Rare Chinese Neolithic Decorated Pottery Jar - Banshan Phase

This very rare and interesting pottery jar was made over 4,000 years ago during the Banshan Phase of the Majiayao culture (c. 2600 - 2300 BC) , from present day Gansu province. Banshan pottery is usually recognised as being finely burnished and elaborately painted, but more unusual vessels such as this were also made and are sometimes found alongside the painted vessels.

This jar is quite "heavily-potted" and made from quite a...

Large Chinese porcelain plaque decorated with "One Hundred Deer" in famille rose enamels. The deer frolic in a mountainous landscape, along a stream, under pine trees. The designs are of very high quality; the animals are depicted in various poses, skillfully rendered by the artist. Chinese characters indicate that this plaque was made in 1943, but the artist has not been identified. Deer and pine trees are a common motif in Chinese art and symbolize peace, tranquility, and longevity. The except...

A pair of rare Six Panel Screens opposing calligraphic verse with a painting of a solitary pine by Fukuda Kodojin. Rendered with expressive, calligraphic brushwork, the pine—a classic emblem of steadfastness and integrity—is depicted with bold, almost sculptural vigor. Kodojin’s brush alternates between dry, rugged strokes that describe the gnarled bark and sweeping wet washes that soften the contours, evoking both age and vitality. Against the luminous gold ground, the pine emerges not me...

In the collection, two hanging scrolls by Fukuda Kodojin, while composed almost identically, reveal dramatically different expressive intentions through brushwork, ink handling, and spatial rhythm. They offer a rare glimpse into Kodojin’s evolving approach to literati painting, and his subtle negotiation between disciplined restraint and spontaneous expression. In this first scroll, the brushwork is restrained, lyrical, and highly controlled. Kodojin builds the cliffs and mountains with crisp,...

Rendered in a few spontaneous strokes of deep, fluid ink, the painting shows a thatched hut beneath a pine, its form distilled to abstraction. Within, a solitary figure—perhaps a recluse or sage—is indicated by a few lines and a faint touch of cinnabar on the nose. The surrounding negative space conveys the vastness of sky and mind alike. Kodōjin’s brush alternates between dry, broken lines and rich, saturated washes, expressing a rhythmic tension between emptiness and form. The inscripti...

In this unusually warm and pared-down landscape, Kodojin renders a solitary hermitage nestled among steep rose-tinted cliffs, their surfaces glowing with a mineral luminosity reminiscent of sunset stone. Instead of the ink-heavy vapor of his more austere mountainscapes, here the terrain is suggested through soft vermilion washes, lightly breathing into the paper as though the cliffs themselves were exhaling warmth. The composition is profoundly vertical: everything ascends. The small thatched hu...