A 17th century Chinese blue and white porcelain brushpot (bitong). Waisted cylindrical form raised on ring foot. Blue underglaze literati decoration of two figures on boat in landscape. Transitional between late Ming dynasty and early Kangxi period, Qing dynasty. A star crack on the bottom with old repair (see enlargement images from bottom and interior) and a small, tight hairline from the rim (also imaged). Otherwise good condition. Height, 5 7/8 inches. Rim diameter, about 4 1/16 inches.

A very finely made Satsuma alms bowl form kōro (incense burner). Clear glaze pooling to a light, warm green tea tone over the off-white earthenware body. The reticulated surface of the vessel enclosing a smaller, solid surface to hold burning incense (a technical feat demonstrating the imagination and skill of the potter). Relief key fret band around the rim and comb pattern around the base. Similar relief decoration on three shaped feet. The cover a single reticulated surface allowing essence from the incense to pass. An unglazed ring on the bottom, centered within the three feet, surrounding a smooth surface where at least two incised kanji characters are almost legible under the glaze near one of the feet. With fitted wood box, the cover inscribed ‘Satsuma [?] kiln, basket weave incense burner’ and signed ‘Gyokumeizan’ (a celebrated line of ceramists), each with seal stamps. “Satsuma” is the old name of the province and the namesake of its ceramic tradition. We are not sure if “Satsuma” on the box is reference to a municipality or a market enterprise (as the trailing kanji character could be the same for ‘city/town’ or for ‘market’). We believe this tour de force to be about Taishō era. Condition is good. The reticulated work of the top has one tiny surface loss which does not disrupt the pattern and is barely discernible. The side of the vessel has one spot of thicker glaze softening the definition of the reticulation with opacity at that point. Diameter, about 5 inches. Height (covered), about 4 inches.
Ex collection, Robert Berg (Ichiban Antiques)
Ex collection, David Callens (Meiji Bijutsu)

A large Japanese footed dish. Ao-Kutani palette polychrome enamel Chinese style decoration of a fisherman in landscape and the crimped cavetto with karakusa pattern with three pomegranate and stem reserves. A chocolate brown glazed rim. The back with two prunus sprays and the base with blue underglaze double ring and Fuku mark. Subtle, broad chatter marks can barely be seen within the foot under the glaze. “Ao” refers to blue and complimentary colors yellow, green, aubergine and iron red enamels used on a matte white glazed biscuit porcelain. Ao-Kutani and Ko-Kutani are often confused. “Ko” refers to old Kutani (at least 17th century). Most, not all, Ko-Kutani pieces are in the Ao palette. An entrepreneur going by “Yoshidaya” revived the Ko-Kutani tradition in the 19th century and all such works are in the Ao (blue) palette. A 19th century example similar to this dish (same motif) can be seen in The Met, accession #91.1.144 (Bequest of Edward C. Moore, 1891), in their Gallery 199 as of this writing. This dish is probably a bit later and is in excellent condition. About 9 3/4 inches diameter. Stands just over 2 inches from the foot.

An unusual and fun Kakiemon dish. Decoration in underglaze blue, persimmon red, teal and yellow-green enamel. The rim meticulously lined with chocolate brown enamel resist before adding the glaze. A central ‘Ju’ character similarly encircled with a band of persimmon red enamel resist on the biscuit before glazing. The porcelain surface exhibits an early feel (I think of it as a fine ‘pear skin’ texture) that later production doesn’t achieve. The ‘Ju’, or ‘Toshi’, kanji character is a celebratory wish here for longevity. This would not be unusual in context of a superior’s or esteemed’s birthday. There is some precedent for longevity motif from Chinese doucai porcelains, with stylized ‘Shou’ character (the same as for ‘Ju’), of Qing dynasty China (from which much decorative arts influence has conveyed to Japan over the centuries). The surrounding chrysanthemums number twelve, each with 12 main and 12 overlapped petals (24 petals each). The main imperial line would use 32 (16 petals and 16 overlapped petals). The use in this case could relate to a lesser line of the family, a feudal lord or it may be simply an exuberant expression. A group of five kiln spurs appear within the foot revealing the well refined kaolin retaining light, fine grit from the kiln. Edo period, first half 18th century. A small round chip just inside the rim, otherwise good condition (an excellent candidate for 'kintsugi'). Diameter, about 9 1/2 inches

A small Japanese porcelain footed dish. Chrysanthemum sprays in the cavetto, issuing from the rim. Butterflies further adorn the bowl. Probably late 19th century Koransha production. Some Nabeshima characteristics are used including the deep form of the dish, the tall foot with comb pattern, precious objects decoration around the outside, partial blue underglaze decoration in the bowl finished with polychrome enamel, and cash motif along the flattened rim. Departure is made from Nabeshima style, however, with the prolific use of various colors and abundant details. Excellent condition. Dimensions will be added later.

The small, scalloped bowl with persimmon, light teal and yellow floral decoration with red and black outline. A molded decoration of dragon with jewel in the center. A nicely executed chocolate brown rim consistent with tradition. The verso plain and exhibiting impurities and open bubbles in the white glaze. Raised on a ring foot exposing a relatively refined clay. This could be work from another Arita kiln, but perhaps as likely relaxed Kakiemon production after collapse of the supporting export market. We estimate later 18th century. Good condition. Diameter, 5 1/2 inches. Stands about 1 and 1/2 inch from the foot.

A finely made, large mid 20th century Kakiemon style shallow bowl with lobed rim. Persimmon red, light blue, light green and bright yellow enamel decoration with black and red outline of two Hōō (mythical birds of heaven) in the bowl and of Kiri kamon on the verso. The Kiri (or Paulownia) kamon was used by the Toyotomi, branches of the Imperial family, branches of the Matsudaira (related to the Tokugawa) and other prominent families. Very good condition with only minor kiln imperfections attesting to hand production. We are indicating an estimate of mid-20th century origin though it must be either pre-war or post-war (such porcelain production and decorative arts industry having been interrupted). This work already demonstrates some success in reviving Kakiemon traditions (note the well formed foot and relatively pure porcelain visible from the foot). But we know that the traditional pure kaolin body was not successfully repeated (without failure in the kiln) by the Sakaida masters until the later 50s. Diameter, 9 7/8 inches. Height from the foot about 1 and 7/8 inches.

An Edo period Echizen Kinai school iron sukashi tsuba. Strongly carved to depict a coiled dragon. Niji-mei signature “Kinai”. Very good condition. Early 19th century. Height, 3 3/8 inches. Width, 3 5/16 inches. (3/16 of an inch thick)

An Edo period iron sukashi tsuba depicting two sages within a well executed landscape with waterfall, grass, pine and clouds all nicely detailed with sparse gold inlay. Bearing the signature “Soten Sei”. Good condition. Height, 3 1/8 inches. Width, nearly 3 inches

An interesting Owari marugata form tsuba. The sukashi decoration of water caltrop is unusual with the side views top and bottom and the silohuette views left and right of the seppa-dai. Owari examples usually portray the water caltrop with open-work (rather than silhouetted) centers. The water caltrop is referred to in Japanese art terminology as “matsukawa” because of its shape and texture resembling pieces of coarse pine bark. The size, shape, proportion, symmetric decoration and plum color of the iron consistent with Owari. Appears to be scant traces of original lacquer on the surface. One hitsu-ana for kozuka or bashin. Azuchi-Momoyama period, Circa 1600. Good condition. Diameter, 3 1/8 inches

Higo iron tsuba. Hayashi school Sukashi fish net pattern within mimi. Hitsuana for kozuka and kogai flanking the seppa-dai. Edo period. Good condition but could use a little cleaning and care. Height, 2 15/16 inches. Width, 2 13/16 inches. (About 3/16 inches thick)

An Edo period iron sukashi tsuba with “hundred monkeys” motif. 18th century.

A copper alloy (sentoku) example in The Metropolitan Museum of Art posits the motif as “108 human sins in the guise of monkeys” (46.122.77). Signed Hishū Yagami-Jū Mitsuhiro, it and other examples include a silver alloy (shibuichi) tsuba in The Walters Art Museum (from Noda, rather than Yagami, in Hizen province) signed the same (51.133), a second (unsigned and in the nanban manner with patterned seppa-dai) in the Walters has a mimi surrounding the open worked plate, an iron nanban tsuba in the Seattle Art Museum (37.44), a photographed iron nanban tsuba in the J. Paul Getty Museum (56538), and an iron tsuba in the Museum of Fine Arts Boston signed Yagami Shoyoken Mitsuhiro (13.1769).

Of the above examples in prominent public collections, the sentoku [copper alloy] and shibuichi [silver alloy] examples appear to be later generations of the same Mitsuhiro line. The present example (unsigned) and the Boston example (signed Yagami Shoyoken Mitsuhiro) are traditional iron tsuba, taking inspiration but not form from nanban work (proportions, seppa-dai and this tsuba's mimi [rim] being traditional), and exhibit strikingly comparable workmanship including sparse gold details on at least a few eyes of the monkeys. Both also have symmetric hitsu-ana suggestive of the Shoami tsuba movement. The remaining cited examples are nanban work from which the motif derived.

The present, unsigned example may be earlier than the cited examples owing to the prominent mimi consistent with the tradition of katchushi (armorer) tsuba from which the Shoami movement evolved. Later generations were also more likely to sign comparable works. I would characterize this tsuba as early Hizen Yagami Mitsuhiro work in the Shoami tradition and probably the same "Shoyoken Mitsuhiro", as the Boston museum example, or possibly a preceding generation or contemporary. It is reasonable that creative Shoami artists could be expected to pick up influences including from extant nanban work. Hizen province generally being a center for foreign trade, and Yagami specifically being a district of the Nagasaki trade port, further supports this.

An article by Robert Burawoy in Bushido magazine, V3,No1, 3rd quarter 1981, touches on the three generations known to have signed Yagami Mitsuhiro. Some reference is made to economy of simpler execution of the mimi by the first generation - with repetitive pattern in contrast to varied detail by the second generation. The thick, prominent mimi of the present example also provides economy of execution as does the second, nanban example in the Walters (though the present example is clearly by a Japanese artisan while the same cannot be said of the Walters’ unsigned nanban manner tsuba).

Good condition. Height, 3 inches. Width, 2 3/4 inches. (Seppa-dai about an 1/8 inch thick. Mimi a little more than 1/8 inch thick. The monkeys decoration a little less than 1/8 inch thick.)

An attractive, simple Shino low-fired pottery dish with oatmeal colored glaze, flat, Oribe manner scraped foot, also with a glaze swipe and impressed two character mark within cartouche. The rim and a boat decoration accented with brushed iron oxide. Good condition. Edo period. Diameter, about 8 1/2 inches

A small gem of a vase: Hayashi manner silver wire cloisonné. Butterflies decoration in polychrome enamels over a muted green enamel background. Maker’s mark impressed inside the foot rim. Meiji period. Very good condition, with some coarse enamel texture over the intricate cloisons detailing the butterflies. Height, 4 3/4 inches

A Hirado blue and white porcelain bowl. Dragon decoration on the interior center. Flowerhead in mokkogata reserves decoration along the interior below the rim with pale iron oxide wash. Intricate dragon and phoenix decoration around the exterior. The unglazed bottom and foot with the smooth biscuit characteristic of the kiln. Taisho period. Good condition. Diameter, 5 1/2 inches. Height, 2 1:8 inches.

A Hirado blue and white porcelain censer with pierced lattice work cover and sides. Lion masks in relief on opposing sides. Decoration of aromatic flowers and wisps of burning incense. Three feet elevate the censer above surfaces. Early Showa period. Good condition. Lion mask to Lion mask nearly 4 inches in length. Height, covered, just over 3 inches.

A good Hizen-yaki, Arita kilns octagonal blue and white porcelain bowl. Shonsui ‘three friends if winter, decoration in roundels among shape patterns. A single Minogame decorates the interior center. A Fuku mark appear center of the bottom, inside the unglazed ring foot. 19th century. Good condition. 5 inches at widest points. Little more than 3 inches at highest points.

A Hizen-yaki, Arita kilns dish in the Kakiemon style. Probably after design examples from the latter kiln. The cavetto with delicate shironuki decoration of sakura blossoms on waves of water. The center undecorated save a single chrysanthemum blossom. Brown rim induced by iron oxide. The exterior with karakusa around the unglazed ring foot centering a spurious mark suggesting the Chinese Ming dynasty. Early 19th century. Good condition. Diameter about 7 3/4 and a little more in places.