1. An antique Japanese kutani studio ceramic vase with fine polychrome gilt decoration of very animated shishi ascending a symbolic Mt. Meru within a primordial sea. Meiji Period.

Measuring 9 ½" high.

2. A rare and highly attractive Japanese 17th century blue & white charger of significant historical interest. In 1610 in the Arita region of the Southwest Island of Kyushu, skilled ceramic artisans from the Korean Peninsula discovered the vitreous kaolin clay necessary for the creation of fine porcelain. This occurred concurrently with the closing (1620-1683) of China's major porcelain kilns of Jingdezhen due to the Ming - Qing War (1618-1696) – euphemistically referred to as the Transition Period. Regardless of this interruption in production, the Dutch East India Company’s elite trade relations with Japan allowed them to have a reliable resource that produced exceptionally beautiful blue & white to service the high demand for exotic Far Eastern porcelains for their European market.

This charger is an unusually large example (18-inch diameter) and remarkable to have survived for over 350 years. The elegant landscape of deep cobalt blue underglaze, which is painted in the recessed center of the dish, depicts a Taoist Paradise where an Immortal is offered a basket of fruits by a young acolyte. The rather lyrical border is painted in a pattern of butterflies midst scrolling furls of silk brocades and flora (a minor hairline visible on the reverse, characteristic of its age and service). Japan, circa 1670.

Measuring 18” diameter.

3. An unusual pair of antique Chinese polychrome porcelain altar table vases with cameo relief decoration of auspicious fruits, Buddha’s hand – symbol of wisdom, peaches – symbol of longevity, and pomegranates – symbol of progeny. These auspicious fruits are overlaid on a rich enamel ground that is a tapestry of stylized diamond patterns. Late Qing Dynasty, circa 1890.

Measuring 11 ¾” high by 4 ¾” diameter.

4. A beautifully decorated antique Japanese satsuma charger depicting a cockerel and hen beneath a flowering cherry tree. With subtle tone and shading the artist creates a misty scene just before dawn as the gray of night recedes. In the distance is a thatched farm house and in the foreground camellia blossoms and meadow flowers. The overall surface of the plate is suffused with a fine crackle glaze. Bordered in a gold leaf floret pattern. Signed with a Kinkozan Studio impressed seal. Circa 1890.

Measuring 12" diameter.

5. A beautiful Ming Dynasty (1368-1644) celadon deep dish with an elegant interior decoration depicting a raised design of stylized foliate lotus blossom. The encircling contour is scalloped to simulate the edges of flower petals. China, 16th century.

Measuring 11 ¼” diameter.

6. An attractive pair of blue and white crackleware vases decorated in cobalt underglaze with a lively pair of laughing Dragons soaring through a foliate garden. Challenging is the firing of the stages necessary of a white ground, then cobalt, then a crackled translucent overglaze. These charming baluster form vases bear the Chenghua (nian zhi) engraved seal that is an honorary mark to the Ming dynasty created at the close of the Qing dynasty. Late 19th / early 20th century.

Measuring 12” high by 5 ¾” diameter, including wood stands.

7. An exquisite antique Japanese cloisonne covered box with yellow breasted blue birds in a cherry blossom tree above a cluster of beautiful peony blossoms. The nature study extends to include all four sides with flowering branches, pond and water reeds. Most striking is the highly unusual red enamel ground and the round corner contours of the box. The bottom is fully cloisoned in a pattern of foliate design with a cloisonne reserve of the artist's symbol reading Sano, the 'Go' (like a seal) representing Toyosaburo of Kyoto. Fine silver gilt wires and sophisticated graduated enamels are exemplary of this artists work. Japan, circa 1890.

Measuring 4 ¼” square by 2” high.

8. An exquisite antique porcelain and bronze ormalu cache pot. The porcelain is an antique Japanese Imari bowl of lobed ovoid form with classic Imari red overglaze, cobalt blue underglaze and gold leaf detail. The bronze ormalu is finely tooled with stylized elephant head feet and fantastic mythological hydra (sea dragon) handles. The top and base are surrounded by an elegant pierced filigree of stylized lotus petals. An excellent example of 19th Century Chinoiserie.

Measuring 10" high by 15" wide by 8 ½" deep.

9. A most exceptional Hagi-yaki chawan (tea bowl) modeled with textures most pleasing to the hand and glazed with a variegation most pleasing to the eye. The translucency of the Hagi-yaki glaze draws attention to the natural color of the clay's warm earth tones. Throughout the heating and cooling process of this marvelous pottery the cracks form as the glaze shrinks faster than the clay. This is Hagi-yaki's signature fine web of crazing, known as kan-nyuu. At the center of this bowl the craftsman has gifted us with a subtle spiral pattern that the user may discover as the bowl is tipped and the last of the tea consumed. Over time a Hagi ware user will appreciate that the color of the glaze is getting darker (wabi-sabi). As the bowl matures the slightly porous surface absorbs tea residues through its tiny cracks, enhancing the beauty of the kan-nyuu.

The origins of Hagi ware date back to the late 16th century when Japan invaded the Korean peninsula and abducted a large number of exceptional Korean craftsmen to play a crucial role in the establishment of innovative pottery. Many of these craftsmen were settled into the area of Hagi situated in Yamaguchi Prefecture. The feudal lord of the Hagi area was Terumoto Mouri and he appointed potters in his castle town of Matsumoto (present day city of Hagi) to create Hagi-yaki for his personal tea ceremonies and as gifts. The tradition of tea ceremonies and tea houses was prevalent in Hagi, which in turn created the demand for these vessels. Tea wares with a characteristic of earthy feel and looks were most valued by masters of the Cha-no-yu. The Hagi-yaki potters increased their production during the mid-17th century, so that more kilns were established in Fukawa territory, present day Nagato.

Measuring 2 ¾” high by 5 ¼” diameter.

10. An iconic Chinese Kangxi (1662-1722) blue & white porcelain charger with beautiful deep cobalt blue painting of radiating lotus blossoms, the petals of which are further adorned with alternating patterns of flora. Within the center of the concave interior of the dish is an open lotus surrounded by a border of stylized Lingzhi, the sacred mushrooms that symbolize health and longevity. Lotus petals surround this central medallion and then a larger, bolder border completes this radiating composition by reaching out to the scalloped edge of the dish. The lotus is a revered flower in historical China as it became an emblem of the liberation promised by the Buddha's Dharma or teachings. It thrives pure and pristine above the murky waters, symbolizing enlightenment rising undefiled from the fears and ignorance of the world. 

Such large deep dish chargers were a passion of affluent European households (late 1600's, early 1700's) and appeared in the many oil paintings of Still Lifes and Genre Scenes that grace our museums of today. Regardless of their esteem as exotic status symbols of a cultivated life these objects were utilized as functional works of art and enjoyed by the family’s dining experience. It is characteristic of such authentic Kangxi examples that having survived for over three hundred years the edges have become coarse to the touch and as with this beautiful example, there are a couple hairlines visible on the reverse. The center of the bottom foot bears the classic Kangxi period mark of the Artemisia Leaf, one of the Daoist "Eight Precious Objects" and symbol of healing. China, circa 1700.

Measuring 15 ¼” diameter.

11. An antique Chinese brush washer of finely carved vitreous porcelain with details of celestial clouds above a primordial sea, where a five-clawed Dragon swirls in pursuit of the pearl of wisdom that is ascending just the other side of the aperture. The Dragon’s body is most skillfully portrayed with scales that literally overlap, a very expressive face and finely pointed claws. China, Daoguang period (1821-50).

Measuring 3” high by 4 ¾” diameter.