Galen Lowe Antiques

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Wed, 22 May 2013 18:33:26 e

PHILIPPINE WOOD MORTAR

Mon, 31 Dec 2012 21:06:52 e

A Philippine carved wood mortar from the southern islands. Early 20th century 7¼" high x 13½ " long x 8" wide

PHILIPPINE MORTAR

Mon, 31 Dec 2012 20:29:23 e

A Philippine carved wood mortar from the southern islands. Early 20th century

DAIKOKU JIZAI

Mon, 31 Dec 2012 20:19:46 e

Japanese Jizai, hearth hook, of geometric design. The hook was used to suspend a kettle over the irori, or interior sunken hearth. The hook�s design consisting of a "C" shape under a cheveron-like cap. The cap thought to resemble Daikoku, god of good fortune, hat. The upper section with two projecting pegs from which it would have been suspended from the ceiling. The Lower section with a cut groove from which the kettle would have hung. With age cracks. Early 20th century 12½" high, 16" tall on stand, 10¼" wide x 5" thick

FRENCH CANDLESTICKS

Mon, 31 Dec 2012 20:11:30 e

A pair of French metal candle sticks consisting of geometric shapes. Early 20th century 13½" high

AMERICAN WHIMSY

Mon, 31 Dec 2012 20:06:35 e

An American carved wood whimsy. The "ball-in-cage" type of whimsy with three free moving balls within curving legs, all carved from a single piece of wood. Early 20th century 10"high

AMERICAN WHIMSY KISS

Mon, 31 Dec 2012 20:05:16 e

An American carved wood whimsy. The "ball-in-cage" type of whimsy with a free moving ball below a kissing couple, all carved from a single piece of wood. With a loss of one set of hands of the couple. Early 20th century 4¾" high excluding base

MONKEY HAND WARMER

Fri, 28 Dec 2012 20:24:39 e

A very rare Japanese bronze hand warmer (teaburi) in the form of a monkey. The monkey is looking up with two silver rimmed eyes, grasping his large belly with two small arms. It rests on a keyaki (zelkova) wood base. With two repairs to his chest. Late 19th century 9½" high x 9½" wide

MILITARY FAN

Fri, 28 Dec 2012 19:46:14 e

A gunpai military fan, used by a commander to signal his troops and as a symbol of authority. The fan crafted of lacquered paper with gilt surface. With central wood shaft and silk cord. With old repairs. On contemporary metal stand. Momoyama Period, circa 1600 15¾" high, 19½" high on stand, 12" wide

MOTHER OF PEARL TRAY

Fri, 28 Dec 2012 4:01:33 e

A Japanese mother of pearl (raden) inlaid round tray. The tray which with age and use has lost portions of the inlay leaving small voids and creating a very mysterious and beautiful surface. With contemporary metal wall mount. Edo Period, 17th-18th century 17" diameter, 2" thick

BEGGER BOWL

Fri, 28 Dec 2012 3:58:31 e

A Japanese black lacquer Buddhist monk begging bowl. It is primarily a practical object, used as a bowl in which to collect alms (either money or food) from lay supporters. The bowl, combined with its humble monastic uses, have made the simple begging bowl a symbol of the Buddha's teachings on non-attachment. While in many Buddhist countries monks make daily almsrounds and generally receive only food, in Japan the remoteness of many monasteries had lead to a tradition of less frequent almsrounds. Most frequently this can be seen in Japan during monks' takuhatsu, in which monks travel to businesses and residences in order to exchange chanting of sutras for donations of food and money. The bowl with very thin walls and light weight because of its dry lacquer (kanshitsu) construction. With tomobako storage box. 19th century 6" high x 9" diameter

LARGE LACQUER WORKER BOWL

Fri, 28 Dec 2012 3:56:47 e

A Japanese wood lacquer worker's work bowl. This large bowl was used to mix liquid lacquer (urushi) with colorants and to prepare the lacquer for use. After each use a small amounts of lacquer would be allowed to dry in the bowl before the next project. Over the years and many uses the bowl has built up a deep finish from numerous batches of red and black lacquer. 19th-20th century 5½" high x 22" diameter

LACQUER WORKER BOWL

Fri, 28 Dec 2012 3:55:04 e

A Japanese wood lacquer worker's work bowl. Liquid lacquer (urushi) would be kept in this bowl as a reservoir while a lacquer craftsman worked on a piece. After each project the small amounts of lacquer would be allowed to dry in the bowl before the next project. Over the years and many colors of lacquer the bowl has built up numerous layers of lacquer giving a marbled finish. The bowl lightly sanded to emphasize the marbled finish. 19th-20th century 5½" high x 11¾" diameter

MULTI-COLOR LACQUER WORKER BOARD

Fri, 28 Dec 2012 3:49:52 e

Japanese lacquer worker�s work surface. The table covered with innumerable lacquer drippings of various lacquer colors. The surface slightly polished to reveal the numerous layers. Lacquer is a refined sap from the urushi tree (Rhus verniciflua) related to the sumac tree. When being applied to a work it is a viscous oily liquid which often drips on the craftsman's work surface, building up over the years. Early 20th century 1¾" high 12½" deep x 27½" long

WHITE LACQUER WORKER BOARD

Fri, 28 Dec 2012 3:46:52 e

An unusual Japanese lacquer worker�s work surface. The surface primarily a cream colored lacquer with a central "Z" like dark pattern where the lacquer worker polished work. The surface with traces of other colors as well as gold flakes indicating that the lacquer worker did gilt lacquer work as well. Lacquer is a refined sap from the urushi tree (Rhus verniciflua) related to the sumac tree. When being applied to a work it is a viscous oily liquid which often drips on the craftsman's work surface, building up over the years. Early 20th century 1" high 14" deep x 32¼" long

SMALL LACQUER WORKER BOARD

Thu, 27 Dec 2012 2:29:13 e

GEOMETRIC TRAYS

Thu, 27 Dec 2012 2:23:58 e

A set of eight dramatic lacquer trays with various geometric design. Each of the eight ozen trays with a different design. Trays such as these were used as an individual food tray, each guest sitting at the tray with their individual bowls and plates. Minor wear and loss from use and age. Meiji Period (1868-1912) 11¼" square, 3" high

CHECKERBOARD TRAY

Thu, 27 Dec 2012 2:20:26 e

A Japanese lacquered wood tray with red checkerboard (ichimatsu) pattern on the dark brown ground. With flared rim and resting on small corner feet. Late 19th century 10¾" square, 2¼" high

WATER DROPPER

Thu, 27 Dec 2012 2:17:55 e

A well crafted Japanese bronze suiteki, water dropper, for use as a water reservoir for a calligrapher or painter when grinding ink. The rectangular form with unusually fine details including a key fret handle and lid with hinged butterfly pull. Meiji Period (1868-1912) 3¼" long

RED TEAPOT

Thu, 27 Dec 2012 2:16:36 e

A unusual ceramic pot with red lacquer finish. The globular form with overhead bronze handle and short open top spout typically found on sake ewers. With lacquer repair to lid. Early 20th century 6" high to top of handle, body 5" diameter

POWDER FLASK

Thu, 27 Dec 2012 2:15:57 e

A Japanese lacquered wood gunpowder flask. On contemporary metal stand. 19th century 6" long, 9½" tall

CHECKERBOARD PIPE

Thu, 27 Dec 2012 2:14:49 e

A Japanese inlaid mixed metal tobacco pipe with dramatic ichimatsu (checkerboard) pattern. On contemporary metal stand. 19 century 10" high, 11" high on stand

ODD FELLOWS SYMBOLS

Thu, 27 Dec 2012 2:10:40 e

A group of four Odd Fellow badges. The four metal badges represent a star with central heart in hand, an interlocking pair of keys, an pair of crossed quill over an open book, and an hourglass. All the symbols with chain links at the top which represent "The Three Links" represent the principles of Friendship, Love and Truth. Two of the badges represent positions within the lodge. The crossed keys are the symbol of the lodge treasurer and the crossed quills and book that of the scribe. The other two represent symbols to the Odd Fellows. The hourglass (tempus fugit) which is a reminder of the transitory nature of life. The last piece has a heart in hand within a star. The five-pointed star represents the Star of Bethlehem. The Heart and Hand refer to the help which an Odd Fellow should give to a brother or sister who is in need. The heart should always go with the hand. On contemporary metal stands. 19th-early 20th century Tallest (book & quills) 4½ " tall, 8" tall on stand

FLASK

Thu, 27 Dec 2012 2:05:38 e

A lacquered wood flask of flat teardrop shape. The form made of a cross section of a tree trunk. The flask has a central spout and two side handles. With ages cracks and wear from use. Edo Period, 18th century 9½" high x 8¼" wide x 3" thick

BAT VASE

Thu, 27 Dec 2012 2:04:17 e

A large Japanese bronze bat vase. The vase with a central misty moon cast into the neck of the vase and flanked by a pair of large side handles in the form of bats. The bat (koumori) is a symbol of good fortune, an auspicious symbol adopted from China where the words for "bat" and "good fortune" are homophones. The moon is similarly auspicious and is often associated with longevity, the two together forming a rebus wishing the viewer good fortune and a long life. Meiji Period (1868-1912) 15½ " high

SEED ORNAMENT

Thu, 27 Dec 2012 2:00:53 e

A Japanese lacquered wood and bronze Buddhist Sanskrit seed character ornament. Originally a temple altar ornament, the circular cast bronze seed character (shuii) is placed within a carved wood and lacquered lotus blossom. The reverse with the petals finely detailed with red tips and gold leaf lines. Esoteric Japanese Buddhism uses these symbolic Sanskrit characters as magical incantations and representations of particular deities. In this case the Sanskrit seed symbol, pronounced �ban�, is associated with Dainichi (Vairocana) the principal Buddhist deity of the Japanese esoteric sects. Dainichi represents the center or zenith of the cosmos. He is the great, All-Encompassing Buddha. With kiri wood box. Edo Period, 18th - early 19th century 6¼� wide x 1/2� thick

RABBIT NETSUKE

Thu, 27 Dec 2012 1:58:14 e

A Japanese carved boxwood netsuke toggle in the form of a crouching rabbit. Netsuke are toggles used to keep a suspended pouch or item from slipping from ones obi belt. The rabbit is a symbol of good fortune and fecundity, but it is more commonly is thought of as a symbol of longevity for its association with the moon. It is thought that a white rabbit resides on the moon making mochi, glutinous rice cakes, which can grant immortality. 19th century 1¾" long

RABBIT INCENSE BURNER

Thu, 27 Dec 2012 1:57:21 e

A small incense burner (koro) in the form of a rabbit. The teardrop form of the rabbit with a white glaze and simple iron oxide decoration. The rabbit sits looking up at the full moon. The rabbit is a symbol of good fortune and fecundity, but it is more commonly is thought of as a symbol of longevity for its association with the moon. It is thought that a white rabbit resides on the moon making mochi, glutinous rice cakes, which can grant immortality. 19th century, Late Edo Period - early Meiji Period 3¾" high

KOREAN LANTERN

Thu, 27 Dec 2012 1:56:04 e

A rare folding Korean iron lantern. The lantern consisting of six ribs which can be collapsed for ease of traveling. The bottom juncture of the ribs with a bobeche below a spike and ring to hold a candle. The top juncture with an iron ring for suspension of the lantern from the accompanying hook hanger. The lantern would have likely originally had a textile sleeve to slip over the lantern when lit. 19th century Lantern 6½" diameter, 11½� tall, 21" tall including the hanger.

KESA RINGS

Thu, 27 Dec 2012 1:54:53 e

A group of Japanese kesa rings. The rings of various sizes and each carved from thin sheets of ivory. The kesa, a traditional Buddhist monk's outer vestment, has a single ring to which the robe is partially secured. Each mounted on contemporary metal stands. 19th century Tallest mounted 9" tall, Largest 4" diameter

FOLK BUDDHA

Thu, 27 Dec 2012 1:53:35 e

A Japanese wood folk carving of the Buddhist deity Shoumen Kongou. The protective deity stands with six arms, two in prayer, and four holding auspicious Buddhist symbols. His flame like hair with a coiled serpent. He originally was a demon which spread disease and plague across the world, but after his Buddhist enlightenment he dedicated himself to protecting mankind from the suffering he had previously caused. Shoumen Kongou is closely associated with the cult of Koushin. In the Japanese zodiac calendar, days of great misfortune happen six times a year. Followers believed that one was particularly susceptible to sickness and death on these particular days. On these days sculptures and paintings of Shoumen Kongou were held in particular importance and worshipped. Followers stayed up all night to prevent sickness to come during the dangerous night. Shoumen Kongou stands on a rocky outcropping with three monkeys and two roosters. The three monkeys, now associated with more comical stories, originally were considered as guardians and protective animals, particularly against evil spirits. Additionally the word for monkey, saru, is a close homonym to zaru, meaning "to expel, dispel or beat away�. The thinking being that they would expel evil and disease. �Zaru� can also mean �not� and thus the three monkeys can represent �see no evil, hear no evil and speak no evil�. The two depicted roosters likely acts as the herald of sunrise, thus giving notice that the Koushin threat of the night has passed. Edo Period, 18th century 16� high 8" wide x 5" deep

MISCAST BUDDHA

Thu, 27 Dec 2012 1:52:13 e

A miscasting of a bronze Buddhist deity. The fragmentary sculpture miscast to resemble a mysterious figure whose head appears to rest on a nebulous twisting body. 19th century or earlier 6" high

CAT HANDWARMER

Thu, 27 Dec 2012 1:50:03 e

A Japanese ceramic hand warmer (teaburi) in the form of a cat. The hand warmer with a removable fitted lid allowing access to the interior where small charcoals could be placed for warmth. The calico cat sits looking up at the user with its feet folded under its body and a short bobtail. The bobtailed cat, which is prevalent in Japan, became more common in Japan when in 1602 the Shoganate decreed that all cats should be released and unharmed in the hope they would help protect the silk worm industry from vermin. The cat, already a popular subject in Japanese art, continued to this day from the maneki neko, beckoning cat, to Hello Kitty. The underside of the warmer with an inscription reading �Kaei era, first year (1848) February, a lucky day, made by Hanaya.� With old damage including missing ears, repaired lid and crack to base. With old lacquer repairs to lid and ear holes. Edo Period, Kaei era first year, 1848 7� high x 11-1/4� long

BOW STRING REELS

Thu, 27 Dec 2012 1:47:53 e

A group of Japanese woven rattan bowstring reels (tsurumaki). Reels are carried to hold an extra bow string in case the bowstring on the bow breaks. One of the rings with red lacquer over the woven rattan. Mounted on contemporary metal stands. Meiji Period (1868-1912) Each 5¼" diameter, tallest 9½ " high

INCENSE BOX

Tue, 25 Dec 2012 20:17:34 e

A Japanese lacquered wood incense box (kogo) in the form of a seal. The shallow red lacquer box with a lid decorated with four Chinese characters, the side of the box with inlaid mother of pearl and the interior with black lacquer finish. 19th century Approximately 3" square x 3/4" high

FENG SHUI COMPASS

Tue, 25 Dec 2012 20:15:57 e

An unusually complicated Chinese feng shui compass, or luopan. The compass consisting of a octagonal wood base with a central compass and surrounded by four hinged arms. Each arm, which can be adjusted and set to different pre-set angle, with an individual diagram and pin nomen. Early 20th century. 6-1/2" square x 1" high when closed

GEOMETRIC JIZAI.

Tue, 25 Dec 2012 20:13:26 e

Unusual Japanese Jizai, hearth hook, of dramatic geometric design. The hook, crafted of keyaki (zelkova), was used to suspend a kettle over the irori, or interior sunken hearth. The hook�s design consisting of two interlocking squares. The upper section with two projecting pegs from which it would have been suspended from the ceiling. The Lower section with a cut groove from which the kettle would have hung. With age cracks. Early 20th century 18-1/4" high on stand (jizai 14-1/4� tall) x 9-3/4" wide x 4-1/2� thick

GEOMETRIC JIZAI

Tue, 25 Dec 2012 20:11:49 e

CAT SCROLL

Tue, 25 Dec 2012 20:07:00 e

A Japanese scroll, painted in the Chinese style, of two cats. The painting by an unknown artist Tosa Yukimi (土佐行至), dates unknown. The poem, by the Confucian poet Terakado Seiken (1796-1868) is dated to 1864. The poem reads: �Poor stray cat, out in the cold, hugging the fallow field, huddling for warmth, no mice to catch, giving up. While I, inside, warm, safe, on flooring, write.� Edo period (1600-1868) Image: 14-1/4" x 33" Mounted: 17" wide (18-1/2" wide at jiku roller) x 60" high

FOLK CARVING SHINZO

Tue, 25 Dec 2012 20:03:13 e

A Japanese naive folk wood carving of Daiitoku Myoo. The sculpture representing a multi-headed god with one pair of hands in prayer atop his steed, a bull. Daiitoku Myoo (Yamantaka in Sanskrit) is a protector of Buddhism. In esoteric teachings he is the wrathful emanation of Amida Nyorai and is pictured with six faces, and arms holding various weapons while sitting on a white cow, symbolizing pure enlightenment.The naive sculpture likely carved in the countryside by a untrained parishioner or priest. The softwood now dark and with a fine original patina from votive candles and the smoke of fires. Edo Period (1600-1868) 10" high

INARI

Tue, 25 Dec 2012 20:01:24 e

Japanese carved wood sculpture of Inari, the Shinto god of rice and food, riding a fox. More exactly and as a good example of the complexity of Japanese religions the figure represents the syncretistic fusion of the Hindu and Buddhist goddess Dakini with the Shinto Inari. The fox acts as the vehicle of the goddess, her messenger, as well as protector. The magical abilities of the fox and its ability to transform into human form are the basis for numerous traditional Japanese legends and myths. The Shinto Inari's association with Buddhism may have begun in the 8th century, when Shingon Buddhist monk and founder, Kukai, took over administration of the temple of Toji in Kyoto, and chose Inari as a protector of the temple. With losses including to one of Inari's hands and the foxes ear. With losses to pigment. Edo Period (1600-1868) 17" high

DRIFTWOOD..

Tue, 25 Dec 2012 19:59:40 e

A weathered piece of molave wood from the Philippines. 20th century on contemporary metal stand. 31" high

DRIFTWOOD

Tue, 25 Dec 2012 19:57:45 e

A weathered piece of molave wood from the Philippines. 20th century on contemporary metal stand. 31" high

EBISU SCULPTURE..

Tue, 25 Dec 2012 19:55:34 e

A very unusual mingei folk sculpture of Ebisu, God of good fortune, standing on a rocky outcropping. Ebisu, who is also the god of honest dealings and patron of fisherman, is depicted in an extremely stylized manner. Ebisu strides in a dance-like pose with his right foot thrust forward. Over his left shoulder he hoists an equally stylized auspicious tai (sea bream) fish. The tai is always served at weddings, new years and celebrations and is considered auspicious because its name, tai, is contained in the word omedetai, congratulations. The fish also turns red when cooked, a color which is one of celebration and good luck. With old worm damage and fine dark patina from exposure from the smoke of the kitchen stoves. Edo Period (1600-1868), 18th century-early 19th century 5" high

EBISU SCULPTURE.

Tue, 25 Dec 2012 19:51:39 e

QUADRANT DISH

Tue, 25 Dec 2012 19:48:04 e

A Japanese Negoro lacquer footed dish with unusual quadrant design. Unlike typical red Negoro lacquer this example has been crafted with a dramatic alternating red and black design. Negoro refers to utilitarian lacquer ware objects from the Negoro Temple complex of red over a base of black lacquer. Edo Period (1600-1868) 2" high x 7" diameter For other examples of this type see: Negoro, Kawada Sadamu, Kyoto: Shikosha, 1985

ZUSHI SHRINE

Tue, 25 Dec 2012 19:44:58 e

A Japanese gilt and lacquered wood zushi (traveling shrine) which also incorporates a reliquary (sharinto). The front of this unusual example with a pair of hinged doors, opening to reveal a gilt interior with a gilt bronze figure below a teardrop shaped reliquary. Sharinto reliquaries (literally "reliquary for the relics of the Buddha") where meant to enshrine relics of saints or the historic Buddha but their rarity lead to the use of small stones or crystals to act as surrogates for the actual relics. The back of the shrine with an unusual pair of small hinged doors allowing access to the sharinto. Edo Period (1600-1868) 5-1/2" high

NEW SHIPMENT PAGE ONE

Sun, 08 Jul 2012 1:42:21 e

NEW SHIPMENT PAGE TWO

Sun, 08 Jul 2012 1:41:58 e

NEW SHIPMENT PAGE THREE

Sun, 08 Jul 2012 1:40:49 e

NEW SHIPMENT

Mon, 02 Jul 2012 13:16:33 e

KUTANI PLATE

Mon, 02 Jul 2012 13:06:37 e

A small Japanese porcelain plate of Kutani ware. The Ai Kutani, or blue and white Kutani, dish with a dramatic geometric design of three scattered round medallions on a divided ground. One medallion with a phoenix over a white ground contrasted by a blue and a white circle over a karakusa, or arabesque, ground. Dishes of this size were quite popular and traditionally used as a small side dish at meals. They came to be called �go sun zara�, or �Five Sun Dish�. The sun being a traditional measurement roughly equivalent to an inch. With a small crack to the rim. Edo Period, circa 1660-1670 5 - 3/4� diameter

SAMURAI BANNER

Fri, 27 Jan 2012 12:51:35 e

Japanese silk shihan type battle flag (hata sashimono) with dramatic stupa (gorinto) crest. The deep orange banner with a resist dyed serrated edge design to the left of the center gorinto stupa. A gorinto, literally "five wheeled pagoda" represents the five elements esoteric Buddhists believe make up the universe; earth, water, fire, wind and mu (emptiness). The banner, which was worn on the back of a mounted samurai, is reinforced against wear and wind damage with a grid work of stitching. The banner was flown on an inverted "L" shaped pole which was attached to the back of a samurai's armor. Such standards were designed as a form of identification on the battle field, to define friend from foe and to help a commander viewing the battlefield from a distance in his strategy. The banner with wear and damage. On contemporary framed mount. Edo Period, 18th century Banner 34" x 24½"

CLAY & STONE

Tue, 23 Aug 2011 20:41:48 e

AMERICAN BOWL

Fri, 12 Aug 2011 19:51:49 e

Very large American shallow wood bowl. 19th century 3-3/4" high x 35" diameter

NIHONMATSU TANSU

Fri, 12 Aug 2011 19:26:22 e

A Japanese two sectional clothing chest (isho kasane dansu) from the Nihonmatsu region. The large and impressive tansu with two stacking sections, each with two large drawers for the storage of clothing. The lower section with an additional small hinged door (kobirakido) which opens to reveal two small drawers for the storage of valuables. The chest crafted of keyaki (zelkova) with a fine deep transparent lacquer finish for the front of the chest and sugi (cryptomeria) wood for the case work. The chest with large dramatic hardware including warabite (bracken-type) drawer pulls, and large lock plates with sliding lock buttons and handle backplates with the "Three Friends of Winter" (plum, pine & bamboo) motif. Meiji Period (1868-1912) 47-1/4" high x 38-3/4" wide x 17-1/2" deep

SANSKRIT SCROLL

Fri, 12 Aug 2011 17:58:32 e

Fine Japanese Buddhist "Seed Character" painting. The painting with a central gold Sanskrit character within a white full moon reserve, all floating in a deep blue ground. Sanskrit is an ancient Indo-Aryan language, and the liturgical languages of Hinduism and Buddhism. The Sanskrit character represents the "a" sound and is the first letter of the alphabet. As such it is symbolic of beginnings and things all encompassing. Within Buddhism this in turn represents the all encompassing compassion of Buddha. The character resting on a lotus blossom, one of Buddhism�s most revered symbols representing purity and perfection. The lotus which grows in still, turbid ponds with its roots set in the mud rises to bloom in perfection. Similarly Buddha was born of this imperfect world, but transcended it to rise above to heaven. Mounted as a scroll with very fine brocade mounting of peony arabesque. Edo Period (1600-1868) Image 36½" high x 15¼" wide. Scroll 60½" high x 21½" wide, the scroll roller at the base of the scroll 23¼" wide

SNOW SHOES

Wed, 10 Aug 2011 18:22:24 e

A pair of Inuit snow shoes from Nunavik, the northern portion of the province of Quebec, Canada. Circa 1900-1920 For similar examples see: the collection of the American Museum of Natural History, New York Each snow shoe 36" high x 25" wide

WIRE PULL

Tue, 09 Aug 2011 17:40:30 e

TURN PIN

Tue, 09 Aug 2011 17:39:35 e

TRAVELING TRIPOD

Tue, 09 Aug 2011 17:38:53 e

FLORAL TRIPOD

Tue, 09 Aug 2011 17:38:02 e

MYSTERY TOP

Tue, 09 Aug 2011 17:37:07 e

SPIKE AND RING

Tue, 09 Aug 2011 17:36:23 e

PIERCED FORM

Tue, 09 Aug 2011 17:35:39 e

NYOI

Tue, 09 Aug 2011 17:34:33 e

UNAGI GRIPPERS

Tue, 09 Aug 2011 17:33:24 e

Two Japanese hand forged iron unagi eel grippers. Unagi are catadromous eels, living in fresh water but breed in salt water. Freshness being of utmost importance eel are kept alive at restaurants in large water barrels until needed. These grippers were used to grab the very slippery and elusive eels from the barrels. Unagi is most popularly prepared in kabayaki, or charcoal broiled with a teriyaki sauce. Although eaten all year round doyô unagi (unagi eaten at the end of summer) is especially popular. The high protein and fat of the eel was thought to help one's body during the very hot and humid doyô period of eighteen days preceding autumn, also referred to as taisho, or "great heat". Edo Period 19th century 15¾" and 16" long

UNAGI GRABBER

Tue, 09 Aug 2011 17:32:45 e

A Japanese iron tool for grabbing eels (unagi tori). The long slender, slightly curving tool with a two pronged hook at one end for grabbing the unagi eel.Unagi are catadromous eels, living in fresh water but breed in salt water. Freshness being of utmost importance eel are kept alive at restaurants in large water barrels until needed. These grippers were used to grab the very slippery and elusive eels from the barrels. Unagi is most popularly prepared in kabayaki, or charcoal broiled with a teriyaki sauce. Although eaten all year round doyô unagi (unagi eaten at the end of summer) is especially popular. The high protein and fat of the eel was thought to help one's body during the very hot and humid doyô period of eighteen days preceding autumn, also referred to as taisho, or "great heat". Edo Period 19th century

HOE II

Tue, 09 Aug 2011 17:32:00 e

A Japanese forged iron hoe. Mounted on a contemporary metal stand. 19th century

HOE I

Tue, 09 Aug 2011 17:31:06 e

A Japanese iron rake-like hoe. The hoe mounted on a contemporary metal stand. 19th century

SEAWEED COLLECTOR

Tue, 09 Aug 2011 17:30:13 e

Japanese iron seaweed collector. The forged iron spiral would have originally been attached to a wooden pole and pushed into a bed of seaweed from a boat or stilts. The pole would be spun in the seaweed, thus entangling it in the spiral, and pulled up. Early 20th century

OCTOPUS SCRAP METAL

Tue, 09 Aug 2011 17:29:29 e

A piece of scrap iron pierced grating resembling an octopus arm. On contemporary metal stand. 20th century

FIRE CHOPSTICKS

Tue, 09 Aug 2011 17:28:35 e

A pair of iron fire chopsticks (hibashi) for use in a tobacco set or hibachi brazier. The chopsticks with curved ends resembling bracken fern fiddleheads. Late 19th century

GUN BARREL.

Tue, 09 Aug 2011 17:27:51 e

A Japanese iron gun barrel. The gun was introduced into Japan by the Portuguese in the 16th century and soon became a fundamental element of the Japanese military. The country's superior metal smithing skills and traditions allowed Japan to quickly master the manufacture of firearms in large number. But the ruling samurai's distain for what they viewed as an untraditional and unhonorable weapon in conjunction with the relative peace and seclusion during the Edo Period lead to the near abandonment of firearms. The forged iron barrel with an abstract sculptural quality and inlaid silver ring near the mouth of the barrel. Mounted on a contemporary metal stand. 17th century 24½" high on metal stand

FIRE STAND

Tue, 09 Aug 2011 17:27:14 e

Japanese forged iron (matsutogai) fire stand for burning small sticks for light. The fire stand consisting three crossed members supporting a ring. The whole supported on a sharp spike which could be driven into the ground, a wood block or anywhere where light was needed. Given the smoke created and primitive nature of the fire stand implements of this type were generally used by commoners and country workers. For a very similar example see; Akari no Kodogu, Tsubauchi Fujio, Tokyo 1987, p. 36} Edo Period 18th -19th century 9½" tall x 7¼" diameter

S WRENCHES

Tue, 09 Aug 2011 17:24:53 e

A group of four American "S" wrenches. Early 20th century Longest 8-1/4" long

MIRROR

Tue, 09 Aug 2011 17:24:07 e

A mysterious Japanese iron and mirror contraption perhaps representing a tramp art object. The rectangular glass mirror attached and wired to a thick slab of iron. The iron then attached to an old iron nail for possible suspension. 20th century 5-3/4" long

KURA KEY

Tue, 09 Aug 2011 17:21:04 e

A Japanese treasure house key (kura no kagi). The iron key, with wood handle, used to open a traditional large wood door to the kura warehouse where a family kept their valuables. The key is placed in a lock plate in the lower center of the door and when turns lifts a sliding bolt into the floor. 19th century 17" long x 10" wide

TWO DIVIDERS

Tue, 09 Aug 2011 17:20:21 e

Two American dividers, the first double ended and both adjustable, allowing them to be both inside and outside dividers. 20th century 5-1/4" and 14' long

TWO DIVIDERS

Tue, 09 Aug 2011 17:19:15 e

Two American iron measuring tools, one an outside caliper and the other a divider. Early 20th century Divider 8" long, caliper 5' long

CRUSHED CANS.

Tue, 09 Aug 2011 17:17:47 e

COMPASS

Tue, 09 Aug 2011 17:16:54 e

A unusual divider with curved arm to read the angle of the divider. Early 20th century 7-1/4" long

THREE DIVIDERS

Tue, 09 Aug 2011 17:16:06 e

A group of three American iron dividers. Early 20th century 10", 6-3/4" & 5-3/4" long

CAN OPENER

Tue, 09 Aug 2011 16:54:06 e

An "Unconquerable" ratchet type can opener made in Germany. Early 20th century 5-3/4" long

PAGE III

Tue, 09 Aug 2011 16:29:23 e

PAGE II

Tue, 09 Aug 2011 16:29:12 e

PAGE I

Tue, 09 Aug 2011 16:29:01 e

MASSIVE EARRING FORM.

Sat, 06 Aug 2011 20:00:08 e

An extremely rare silver sculpture of a Tamil Nadu earring. The large sculptural piece made of silver sheet and modeled on a traditional earring form from Tamil Nadu, Southern India. These very large examples, possibly from a temple sculpture of a goddess, are referred to as pampadam, and are made up of hollow balls (kundu) and hollow squares (thattu) and thought to resemble a protective Naga serpent. The earrings made of gold sheet folded and formed into geometric forms and filled with a lacquer composition to prevent denting. On contemporary metal stand. Early 20th century 6" high, 7-1/2" high on metal stand

LARGE HANGING LANTERN

Sat, 06 Aug 2011 19:53:22 e

A massive Japanese hanging copper lantern with partial gilt leaf. The hexagonal lantern with overall openwork pattern of the seven autumn grasses and flowers (aki nanakusa). The seven autumn grasses (and flowers) include: kuzu (arrowroot or pueraria), kikyô (bellflower), hagi (bush clover), susuki (pampas grass), obana (flowering eulalia), nadeshiko (wild pink), and ominaeshi (patinia). With minor wear and damage from age. Edo Period (1600-1868) Lantern 17-1/4" high to top of finial, 20" high to top of suspension ring. The hexagonal roof of the lantern 20" wide, 23" wide on the diagonal, i.e. corner to corner.

BRONZE LANTERN

Sat, 06 Aug 2011 19:51:39 e

A fine small bronze hanging lantern. The lantern with cylindrical body with overall hexagonal weave design, and domed top with finial and suspension ring. The top with pierced tsubo tsubo pattern. Late Edo Period (1600-1868) 13-1/2" high

IRON INK STONE

Sat, 06 Aug 2011 19:49:51 e

Extremely rare and unusual Korean cast iron ink stone for grinding ink by a calligrapher or painter. The ink stone with small ink reservoir and starburst like crest for resting brushes against. The sides with Buddhist swastika designs. Circa 18th century 4½" high at starburst x 6" long x 3½" wide

CAST IRON VASE

Sat, 06 Aug 2011 19:48:00 e

Japanese cast iron flower vessel (hanaire). The original origin and use of the vessel is unknown but it was later adapted to be used as a hanaire flower vessel for use in the tea ceremony. The iron vessel with three silver staple repairs at the neck. With inner and black lacquer outer accompanying boxes (tomobako). Vessel adapted as a flower vessel possibly during the 19th-early 20th century 10-1/2" high

SHINTO FAN

Sat, 06 Aug 2011 19:44:30 e

A Japanese iron Shinto standard in the form of a battle fan (gumbai). The front of the fan with a pair of doves above two raised three-character legends reading Hachimangu (八幡宮) and Kasuga-sha (春日社) (�shrine of the deity Tenjin within the Kasuga shrine complex�). Tenjin, the deified spirit of the Heian period scholar- politician Sugawara Michizane, is the patron god of scholars, students and study. The reverse with a cloud above a stylized constellation and a large handle along the center rib. On contemporary metal stand. Late Edo Period (1600-1868) 22� tall

GUN BARREL

Sat, 06 Aug 2011 19:42:28 e

MASSIVE TOMYODAI

Sat, 06 Aug 2011 19:40:20 e

A massive and unusual Japanese forged iron votive candle stand tomyodai with central rotating rings of prickets. The tomyodai in the form of a hoju no tama, or "jewel of wish fulfillment". The hoju no tama is an auspicious Buddhist symbol which is thought to bring enlightenment and rid one of all earthly desires, thereby satisfy all ones wishes. The {tomyodai with numerous prickets for candles and an unusual turning center section. 19th century 43" high

TALL TOMYODAI

Sat, 06 Aug 2011 19:38:20 e

An iron votive candle stand, tomyodai. The tomyodai in the form of a hoju no tama, or "jewel of wish fulfillment", supported on a slender shaft and resting on a �X� form base with curled feet. The hoju no tama is an auspicious Buddhist symbol which thought to bring enlightenment and rid one of all earthly desires, thereby satisfy all ones wishes. The tomyodai with prickets for candles. 19th century 37 ½� high

PHILIPPINE GATES

Sat, 06 Aug 2011 19:34:55 e

An intricate wrought iron gate from a residence of the Philippines. The two part gate with interwoven vine design was originally part of a wealthly estate. The white painted gate with areas of loss and some areas of rust. Early 20th century 77-1/2" high x 63" wide

OBJECT

Sat, 06 Aug 2011 19:22:58 e

LIGHT

Sat, 06 Aug 2011 19:22:45 e

RUST

Sat, 06 Aug 2011 19:22:28 e

CREST BLOCK

Sat, 06 Aug 2011 18:37:29 e

A Japanese carved wood print block depicting six family crests (mon). The block, originally used in the printing of a reference book on family crests, depicts (clockwise, starting in the upper left) a bundle of silk, a group of nested rice measures (masa), a crane with outstretched wings, the character "sen" (仙) or "hermit" within a circle, an unknown Chinese character, and a horse bit. The final horse bit design, resembling a cross within a circle, was most famously used by the powerful Shimazu clan. The family was the daimyo of the Satsuma fiefdom during the Edo Period. Late 19th century 10-1/4" x 9-1/4" x 1"

PILGRAMAGE BLOCK

Sat, 06 Aug 2011 18:34:33 e

A pair of Japanese carved wood printing blocks representing a map and description of a pilgrimage route. The first long printing block with a complicated map consisting of an intricate interlocking network of towns, shrines and temples. The second block with detailed inscription about the shrines and the pilgramage's various stops. 19th century Map block: 12" x 40-3/4" x 2-1/2" thick Written block: 11-1/2" x 39-1/4" x 2-1/4" thick

KITE BLOCK

Sat, 06 Aug 2011 18:30:40 e

A Japanese carved wood printing block for use by a kite maker. It is carved on both sides with the character "washi" (鷲) or "eagle". One side has a carving that would print the outline of the character, and the other side has a carving that would be the field of the character. The double printing allowing the character to be one color with a different colored outline. Late 19th century 15-1/2" x 10" x 3/4" thick

KARAMONO BASKET

Sat, 06 Aug 2011 18:06:22 e

An intricate �Chinese� style Japanese woven bamboo basket. With some water staining. The underside of the basket with the signature of the artist �Chikuyu�. Early 20th century 12-1/2" high

FISH AND WATER YOKOGI.

Sat, 06 Aug 2011 17:39:03 e

Japanese wood friction lock, yokogi, from an adjustable pot hook assembly jizaikage, in the shape of a sea bream (tai) and the Chinese character for "water" (mizu) written in cursive script. While water-shaped yokogi and sea bream yokogi are traditional forms, the two forms together are very rare. The yokogi heavily encrusted from smoke and with fine patina from cleaning. By adjusting the amount of rod which passed through the hole in the back of the fish, one could adjust the height of the hook above the irori, or sunken hearth, fire. The sea bream, tai, is a symbol of abundance and prosperity. It is closely associated with New Years and celebrations. The "water" character was included in the hopes of protect the house from fire, particularly important given the proximity to the hearth of the house. On contemporary metal stand. 19th century 17" long x 15" high on metal stand. For other carp yokogi and water yokogi; Ki no Komingei, by Tadashi Morita, published by Kogeishuppan, Tokyo, 1975 Mingei: Two Centuries of Japanese Folk Art, The Japanese Folk Craft Museum, 1995. Timeless Beauty: Traditional Japanese Art, Skira, Milan 2002.

GOURD SAKE FLASK

Sat, 06 Aug 2011 17:03:38 e

An unusual Japanese traveling sake ewer crafted from a double gourd. The ewer with a finely patinated lustrous black lacquer finish over a fused or naturally formed double gourd. The form with the addition of a short bridge between the necks of the gourds allowing for carrying or suspension. The neck of one gourd with a bronze spout and wooden stopper. The second gourd capped with a copper fitting with a small hole to prevent a vacuum when the sake is poured. On contemporary metal stand. Edo Period, 19th Century 8" tall, 11" tall on stand

STUPA

Sat, 06 Aug 2011 16:32:02 e

Japanese turned wood stupa (to) with fine dark patina. The turned form modeled on the famous 8th century hyakumanto stupa. The top portion of the turned stupa with a removable final opening to expose a small cavity to hold a miniature printed sutra (canonical sermon) which is now missing. 18th-19th century

FISH AND WATER YOKOGI

Sat, 06 Aug 2011 16:20:45 e

LION DOG MASK.

Sat, 06 Aug 2011 16:08:23 e

Japanese carved wood shishi, lion dog, dance mask. In Japan, the shishimai or lion dance is often seen at shrine festivals and at New Year's, when performers visit each home in the neighborhood to cast charms against evil spirits and diseases while receiving offerings. A shishi-gashira, or lion's head, is the headdress worn by the performers. The shishi-gashira is also thought to have protective qualities and is often placed in a newborn baby�s room to protect the child from evil spirits and misfortune. Edo Period (1600-1868) 24 ½" high x 14" wide x 19" deep on contemporary metal stand

JIZO STONE

Sat, 06 Aug 2011 16:00:33 e

A highly stylized Japanese carved stone image of Jizo Bosatsu, Bodhissatva and protector of travelers and children. One of the most popular Buddhist dieties in Japan, this geometric and graphic depiction of him is very unusual, with a simple rectangle representing his body surmounted by a circle representing his shaven head. Edo Period, 18th-19th century 10" high

FORM

Sat, 06 Aug 2011 14:45:06 e

BEAST

Sat, 06 Aug 2011 14:38:06 e

MAN

Sat, 06 Aug 2011 14:37:35 e

CARRYING BOX

Sat, 06 Aug 2011 14:06:07 e

A Japanese keyaki (zelkova) wood carrying box with three drawers and overhead rectangular copper carrying handle. The three drawers opened by pushing them out through small round holes in the back of the box. Meiji Period (1868-1912) 9" high x 11" wide x 6" deep

KOREAN BOX

Sat, 06 Aug 2011 13:56:53 e

A small Korean pine wood storage box with sliding compartment doors. The box with four long rectangular sliding panels surrounding a small central sliding door. The small central door only operable when the outer door is open. Circa 1900

TEA CHEST

Fri, 05 Aug 2011 19:06:23 e

A keyaki (zelkova) wood traveling storage chest of cube-like shape. The small chest opening to reveal a group of shelves. With fine patina from use and age. 19th century

KUSURI IV

Fri, 05 Aug 2011 19:02:13 e

A Japanese apothecary chest (kusuri dansu) for storing the herbs and ingredients used in traditional medicine. Japanese medicine directly descends from the Chinese tradition where the approach taken is to seek to rebalance the patient's chi (vital energy). This is done by blending various medicinal ingredients based on the symptoms and effected organs of the patient. The kiri (paulownia) and sugi (cryptomeria) wood chest with small square drawers for the storage of medicinal herbs and ingredients. Many of the drawers with the original paper labels. The chest originally had a drop front door to secure the drawers, which is now missing. With wear and damage from age and use. Meiji Period (1868-1912) 33-1/2" high x 30-1/2" wide x 8-3/4" deep

KUSURI III

Fri, 05 Aug 2011 19:00:22 e

An unusual large Japanese apothecary chest (kusuri dansu) for storing the herbs and ingredients used in traditional medicine. Japanese medicine directly descends from the Chinese tradition where the approach taken is to seek to rebalance the patient's chi (vital energy). This is done by blending various medicinal ingredients based on the symptoms and effected organs of the patient. The kiri (paulownia) and sugi (cryptomeria) wood chest with ninety small drawers, in three sections of thirty drawers, for the storage of medicinal herbs and ingredients, all above five larger drawers. With wear and damage from age and use. Meiji Period (1868-1912) 34" high x 57-1/2" wide x 7-3/4" deep

KUSURI II

Fri, 05 Aug 2011 18:43:29 e

A Japanese apothecary chest (kusuri dansu) for storing the herbs and ingredients used in traditional medicine. Japanese medicine directly descends from the Chinese tradition where the approach taken is to seek to rebalance the patient's chi (vital energy). This is done by blending various medicinal ingredients based on the symptoms and effected organs of the patient. The keyaki (zelkova) and sugi (cryptomeria) wood chest with unusually large rectangular drawers for the storage of medicinal herbs and ingredients. With wear and damage from age and use. Meiji Period (1868-1912) 33" high x 32-1/2" wide x 13" deep

KUSURI I

Fri, 05 Aug 2011 18:42:16 e

A Japanese apothecary chest (kusuri dansu) for storing the herbs and ingredients used in traditional medicine. Japanese medicine directly descends from the Chinese tradition where the approach taken is to seek to rebalance the patient's chi (vital energy). This is done by blending various medicinal ingredients based on the symptoms and effected organs of the patient. The kiri (paulownia) and sugi (cryptomeria) wood chest with unusually large square drawers for the storage of medicinal herbs and ingredients. With wear and damage from age and use. Meiji Period (1868-1912) 40-1/2" high x 31" wide x 12" deep

SHIPS CHEST II

Fri, 05 Aug 2011 17:24:36 e

Japanese ship�s chest, funa dansu. The cho-bako type chest of keyaki (zelkova) for the case and front and kiri (paulownia) wood for secondary wood. The chest with three small drawers, above two drawers and a full width drawer across the bottom of the chest. The numerous drawers for the storage of valuables abord a ship or by a port merchant. With overall intricate iron fittings and hardware including square drawer pulls (kakute). The side of the chest with inset lift handles. With age cracks to back of chest. Late Edo Period (1600-1868) 17-3/4" high x 21-1/4" wide x 15" deep For a similar example see; Tansu: Traditional Japanese Cabinetry, Heineken, Weatherhill

SHIPS CHEST

Fri, 05 Aug 2011 17:22:39 e

Japanese ship�s chest, funa dansu, from Sado Island. The cho-bako type chest of keyaki (zelkova) for the case and front and kiri (paulownia) wood for secondary wood. The chest with a pair of hinged doors above three drawers. With overall intricate iron fittings and hardware including square drawer pulls (kakute). The side of the chest with inset lift handles. Late Edo Period (1600-1868) 13" high x 22" wide x 12 ½" deep For a similar example see; Tansu: Traditional Japanese Cabinetry, Heineken, Weatherhill

SMALL TANSU

Thu, 04 Aug 2011 19:35:12 e

A small Japanese storage chest (kodansu) with fine iron hardware. The chest with three drawers and a small hinged door (kobirakido) opening to reveal two small drawers for the storage of valuables. The chest with particularly finely crafted iron hardware and fitttings including square type (kakute) drawer pulls and openwork and chased lock plates. Meiji Period (1868-1912) 17-1/2" square x 12-1/4" deep

CHOBA DANSU III

Thu, 04 Aug 2011 19:19:52 e

A Japanese choba dansu, merchant's chest, crafted of keyaki (zelkova) wood for the exterior case, drawer and door fronts and kiri (paulownia) and sugi (cryptomeria) woods for the interior casework. The chest with a pair of sliding doors (hike-do) above five drawers and a small hinged door (kobirakido). The small door opening to reveal two drawers for the storage of valuables. The chest with copper fittings and hardware including hirute-type drawer pulls. Late 19th century 36" high x 36" wide x 18" deep

CHOBA DANSU II

Thu, 04 Aug 2011 19:18:22 e

Japanese single section shop chest crafted entirely of sugi (cryptomeria) wood. The tansu with a deep translucent red lacquer finish. The chest with a series of drawers above and below a pair of sliding doors and a small hinged door. The small hinged door open to reveal three drawers with locks for valuables. With fine iron hardware and fittings including hirute-type drawer pulls. Meiji Period (1868-1912) 35-3/4" high x 35-3/4" wide x 16-1/2" deep

CHOBA DANSU I

Thu, 04 Aug 2011 19:17:12 e

Japanese single section office chest (choba dansu) crafted of keyaki (zelkova) for the drawer and door fronts and sugi (cryptomeria) for the casework. The chest with two drawers above a pair of sliding doors, and three drawers across the bottom. The sliding doors opening to reveal an open storage space to the left and six small drawers to the right side. With fine iron hardware and fittings including well (ido) shaped lockplates. 19th century 31-1/2" high x 35-3/4" wide x 19-3/4" deep

GOURD FLASK

Sun, 31 Jul 2011 13:24:10 e

SAKE FLASK

Sun, 31 Jul 2011 13:22:18 e

A Japanese lacquer wood sake container. The elegant form with a hexagonal body tapering to a slender neck and metal rimmed and lined mouth. With removable stopper. Edo Period early 19th century 10" tall

HORSE EMA

Sun, 31 Jul 2011 13:09:18 e

Japanese wood ema (votive offering plaque); the surface decorated with a rearing figure of a gilt horse set against a black lacquer ground. Ema (meaning "horse picture"), are painted wood plaques left by pilgrims at Shinto shrines to garner favor with the gods. Admired for their strength, speed and sprit, horses are believed to act as messengers and intermediaries between the temporal world and the Shinto Gods. Late Meiji Period (1868-1912) 32" high x 41" wide x 1" deep

STONE JIZO

Sun, 31 Jul 2011 13:03:41 e

A Japanese carved stone stylized image of Jizo, Bodhisattva of travelers and children. The highly stylized and graphic design depicts Jizo with a circle, depicting his shaved head, above a simple rectangular body. Jizo is one of the most popular Buddhist deities in Japan and stone images are often seen in temple gardens as well as along country paths. Edo Period, 18th-19th century 10-1/4" high

KUSURI DANSU

Sun, 31 Jul 2011 12:31:42 e

TANSU

Sun, 31 Jul 2011 12:31:14 e

BOXES

Sun, 31 Jul 2011 12:31:04 e

BOX OF DRAWERS

Sat, 30 Jul 2011 14:29:03 e

TIGER SCROLL

Fri, 29 Jul 2011 19:58:51 e

A Japanese painting on paper of a tiger by Shusen Watanabe (1795-1884). Watanabe, who lived and painted in Nagasaki, was so enamored and noted for his paintings of tigers that his depictions, heavily influenced by Korean tiger paintings, that any tiger depicted in this style was referred to as a "Shusen no tora" (Shusen's tiger). Late Edo Period, 19th century

MOIRE FUTON

Fri, 29 Jul 2011 19:49:07 e

A Japanese cotton futon cover with dramatic moiré pattern (kumano-zome). The textile from Okayama prefecture made of three panels each stenciled with undulating lines to create the pattern. For a similar example see: Katazome, Komon, Chugata. Kyoto Shoin�s Art Library of Japanese Textiles Volume 15. by Kirihara Ken, Shikosha. Kyoto 1993 39" wide x 60" high x 1-1/2" deep

BORO

Fri, 29 Jul 2011 19:48:15 e

Japanese boro (patchwork) futon bedding cover. The indigo dyed cotton textile consisting of numerous patches done over years of use to extend the life of the cover. Early 20th century 32 ½� x 58� x 1 ¾� thick

BASKET

Sat, 18 Dec 2010 19:55:17 e

A Japanese woven bamboo basket with overhead handle by noted artist Chikuunsai. Early 20th century 20" high

FRUIT BASKET

Sat, 18 Dec 2010 19:54:17 e

A Japanese woven bamboo shallow basket with overhead handle by noted artist Chikuunsai. Early 20th century 15" high x 15-1/2" diameter

AFRICAN RATTLE

Tue, 07 Dec 2010 18:34:01 e

An African ceremonial dance rattle of woven cane fiber from the Republic of Congo. On contemporary metal stand. Circa 1900 13" long

FLAT JIZAI

Tue, 07 Dec 2010 14:58:51 e

A Japanese jizai, hearth hook, crafted from a simple plank of wood. The simple design with a rectangular hole for suspension and a hook heavily worn from use. The hook was used to suspend a kettle over the irori, or interior sunken hearth. The crotch of the hook with several heavy grooves from wear of the kettle rope. With fine patination from the smoke and heat of the hearth fire. 19th century 15" high, 17-1/4" high on stand

BOAR FAN PAINTING

Thu, 21 Jan 2010 20:21:48 e

Japanese fan shaped painting of a boar (inoshishi). The boar is depicted running against a ground of grass. The unflinching nature of the boar and its ferocity have made it a symbol of courage and bravery. The painting backed from a previous mounting and with some damage and losses as well as old repairs. Edo Period (1600-1868) 23½� wide

DOG FAN PAINTING

Thu, 21 Jan 2010 20:20:02 e

Japanese fan shaped painting of a dog (inu). The dog is depicted in mid stride looking back over his shoulder. The dog is a symbol of fidelity and loyalty. Its protective nature has also made it a popular subject for talismans, charms and sculptures meant to protect the owner from harm and evil. The painting backed from a previous mounting and with some damage and losses as well as old repairs. Edo Period (1600-1868) 23½� wide

MONKEY FAN PAINTING

Thu, 21 Jan 2010 20:18:16 e

Japanese fan shaped painting of a monkey. The mineral and natural pigment painting depicts the monkey holding a peach. The monkey (saru) is often associated with longevity from a popular Chinese fable in which Sun Wu Kong, the monkey king, steals a peach of immortality. The Queen Mother of the West once every 1,000 years has a Peach Banquet in which she invites the immortals to her garden parties to celebrate the ripening of the peaches of immortality. The monkey king snuck into the party and stole a peach and upon eating it became immortal. The painting backed from a previous mounting and with some damage and losses as well as old repairs. Edo Period (1600-1868) 23½� wide

DRAGON FAN PAINTING

Thu, 21 Jan 2010 20:11:40 e

Japanese fan shaped painting of a dragon. The mineral and natural pigment painting depicts the dragon, claws outstretched, emerging from clouds. The dragon is traditionally considered the most auspicious of creatures and symbolizes water and the female aspects of the ying-yang cosmology. The painting backed from a previous mounting and with some damage and losses as well as old repairs. Edo Period (1600-1868) 23½� wide

TABLE

Thu, 21 Jan 2010 16:50:20 e

A Philippine molave wood table top on contemporary metal base. The heavily worn table top with extensive wear and patina from use, and original holes from where the tenons of the original base attached to the table. With contemporary metal dumbell-shaped butterflies securing old age cracks. Table top early 20th century, base contemporary 18" high x 42" wide x 24" deep

CONCAVE MIRROR.

Thu, 21 Jan 2010 16:13:52 e

A massive metal concave parabolic mirror of military design possibly for use as a reflector from naval signal light. With marks on the reverse from the US Navy and its manufacturer; Bausch and Lomb. The mirror with minor scratches and wear from use and age. Supported on a contemporary elaborate steel base which can raise and pivot the mirror. Mirror circa mid 20th century, stand contemporary 40� high x 25 ½� wide x 17� deep, mirror 25 ½� diameter

GALEN LOWE DESIGN

Thu, 21 Jan 2010 15:24:41 e

BRUSH

Wed, 20 Jan 2010 22:56:01 e

HAT FORM

Wed, 20 Jan 2010 19:45:51 e

An American metal milliners hat mold. While wooden molds are fairly common, metal examples are quite rare. The hat form for a small woman's hat with decorative brim. Early 20th century

SCULPTURE

Wed, 20 Jan 2010 18:15:32 e

DEMON MASK

Wed, 20 Jan 2010 17:42:59 e

A Chinese folk wood mask of a demon. The carving darkly patinated. 19th century

KOMA INU II

Fri, 15 Jan 2010 19:07:44 e

A pair of very unusual and idiosyncratic Japanese carved wood {koma inu}, protective lion dogs, or "Korean Dogs" from a Shinto shrine. The lion dogs likely carved by an armature sculptor who was a practitioner of the shrine they guarded and carved as a votive gift to the shrine. The overall distinctive style of the lion dogs carved in the manner unique to a region of Japan incorporating the northern portion of Lake Biwa. The humorously carved pair sits on their haunches with round faces and stylized bodies. The pair with an overall distinctive orange pigment of a hue closely associated with Shinto shrines. The pair further detailed with white paws, mouths and unusual blue eyes. One figure with his mouth slightly open, one with its mouth closed, mouthing the phrase {A-Un}. {A-Un} is a Sanskrit term adopted by Buddhism, which refers to the all encompassing nature and knowledge of Buddha and of Yin-Yang opposition and interdependence. {A-un} represents a Japanese transliteration from the Sanskrit alphabet of {A} and {Om} the first and last letters of the Sanskrit alphabet. The two letters encapsulate the entire alphabet. The sounds were thought to be all encompassing and together symbolize the start and end of all things. Two figures in such mutual inter-dependence were thought to form a perfect union of cooperation and synergism. The pair which have been repainted over the years during rejuvenation of the shrine, with losses and old insect damage. [Edo Period (1600-1868)] 8� and 8 ¾� high

COFFEE TABLE

Fri, 15 Jan 2010 18:29:41 e

MOUNTED CONCAVE MIRROR

Sat, 24 Oct 2009 15:26:34 e

A massive metal concave Parabolic mirror of military design possibly for use as a reflector from naval signal light. With marks on the reverse from the US Navy and its manufacturer; Bausch and Lomb. The mirror with minor scratches and wear from use and age. Supported on a contemporary elaborate steel base which can raise and pivot the mirror. Mirror circa mid 20th century, stand contemporary 40� high x 25 ½� wide x 17� deep, mirror 25 ½� diameter

LOW TABLE

Tue, 07 Jul 2009 19:20:30 e

A low Japanese writing desk (fumi tsukue) of black lacquer with fine gilt painted design of pine (matsu) and plum (ume). The table supported on flaring legs with horizontal braces. The plum (ume) is a symbol of courage, since it blooms in the midst of winter, and along with the pine (matsu), symbol of longevity and strength, are two of the Three Friends of Winter (sochikubai). The underside of the table decorated with fine vine arabesque (karakusa). With wear and damage from use and age. Circa 1600, Momoyama Period - early Edo Period 11" high x 37" long x 15 ¾" wide

NEGORO OFFERING BOX

Tue, 07 Jul 2009 19:05:59 e

Extremely rare negoro lacquer votive offering box (kumotsu bako). Negoro refers to 12th-17th century utilitarian lacquer ware of red lacquer over a base of black lacquer. Named for the Negoro temple complex and headquarters of Buddhist Shingi Shingon Sect in Wakayama Prefecture where the lacquer was produced for everyday use at the temple. It flourished under Ashikaga patronage during the Muromachi Period and existed for 300 years until Shogun Hideyoshi destroyed the temple complex due to the uprising of its warrior-monks. Late Muromachi Period (1392-1568), circa 1500 10" high x 27" wide x 12-1/2" deep A similar example is found in the Kitamura Bijitsukan Museum of Kyoto, which is pictured in: Negoro, Kawada Sadamu, Kyoto: Shikosha, 1985. p.67 Another example originally from the Manno Museum of Osaka is found in: Buddhism, Koichi Yanagi, New York. 2001. #13

TANUKI BADGER

Sat, 20 Jun 2009 18:36:37 e

Japanese mingei sugi (cryptomeria) wood carving of a badger (tanuki). The folk art carving depicts the tanuki walking on its hind legs carrying a bundle of firewood on its back, possibly depicting the badger in the traditional folktale kachi-kachi yama. The badger in Japan mythology and folklore is a popular creature noted for its magical powers and numerous mischievous escapades. The sculpture with a dark patina from exposure to smoke. Late 19th century, Meiji Period (1868-1912) 7½" high

JIZAI HOOK

Sat, 20 Jun 2009 18:35:26 e

Japanese jizai hearth hook of keyaki (zelkova), a type of Asian elm. The hook was used to suspend a kettle over the irori, or interior sunken hearth. The Ebisu type, or "J" form hook with faceted edges and two projecting pegs from which it would have been suspended from the ceiling. Unlike most �J� form Ebisu hooks, this example unusually wide and particularly dramatic sculptural form. The crotch of the hook with several heavy grooves from wear of the kettle rope. With patination and encrustation from the smoke and heat of the hearth fire. 19th century 18 ¾� high x 18 ¾� wide x 7 ¾� deep

FOX MASK MOLD

Sat, 20 Jun 2009 18:34:49 e

Wood pattern for making papier mâché fox masks. The fox (kitsune) is the guardian spirit of the rice fields and herald-messenger (misaki) to the Shinto rice god, Inari Myôjin. In popular fables the fox also commonly appears as a trickster able to assume human form. Papier mâché masks are popular items at shrines during festivals and market days. 19th century

MONKEY MASK MOLD

Sat, 20 Jun 2009 18:34:37 e
Japanese wood pattern for making papier mâché monkey masks. The monkey (saru) is often associated with longevity from a popular Chinese fable in which Sun Wu Kong, the monkey king, steals a peach of immortality. The Queen Mother Of The West once every 1,000 years has a Peach Banquet in which she invites the immortals to her garden parties to celebrate the ripening of the peaches. The monkey king snuck into the party and stole a peach and upon eating it became immortal. Papier mâché masks are popular at shrines during festivals and market days. 19th century 9½" high

CAT SNAP LINE

Sat, 20 Jun 2009 18:34:17 e
Japanese wood carpenter snap line (sumitsubo) in the form of a cat. The snap line with a wheel to spool the snap line string. The wheel with a winding knob in the form of a hyotan, double gourd, a popular symbol of fecundity. The line would have emerged from the wheel through a round reservoir, which held an ink soaked fiber, and then out the cat's mouth. 19th century 5-1/2" long

MINGEI TOOLS

Sat, 20 Jun 2009 17:40:38 e

MINGEI SCULPTURE & SIGNS

Sat, 20 Jun 2009 17:40:02 e

TEST MINGEI OTHER

Sat, 20 Jun 2009 15:45:52 e

TEST MINGEI YOKOGI JIZAI

Sat, 20 Jun 2009 15:45:38 e

TEST MINGEI TOOL

Sat, 20 Jun 2009 15:45:16 e

TEST MINGEI SCULPTURE

Sat, 20 Jun 2009 15:45:01 e

FISH AND WAVE YOKOGI

Fri, 19 Jun 2009 15:26:16 e
Japanese wood friction lock, yokogi, from an adjustable pot hook assembly jizaikagi, in the shape of a carp (koi) surrounded by waves. The carp heavily encrusted from smoke and with fine patina from constant cleaning. By adjusting the amount of rod which passed through the hole in the back of the carp, one could adjust the height of the hook above the irori, or sunken hearth fire. The carp is a symbol of fulfillment or attainment of one's aspirations or long sought goals. Based on the Chinese legend that dragons are transformed carps that have overcome the dangers of the nearly impassable Lung Men Rapids. The carp surrounded by waves recalling the protective nature of water. Particularly important around the hearth of the house, in a time when fires often destroyed homes. With cracks, wear and damage from age. 19th century 19" long x 5 ½" high at dorsal fin. For similar examples of carp in wave yokogi see; Ki no Komingei, by Tadashi Morita, published by Kogeishuppan, Tokyo, 1975, p. 96 and also see Mingei: Two Centuries of Japanese Folk Art, The Japanese Folk Craft Museum, 1995. p. 120

KEY SHAPED YOKOGI

Fri, 19 Jun 2009 15:04:24 e
Japanese friction lock, yokogi, from an adjustable pothook assembly jizaikage, in the shape of a kura key. By adjusting the amount of rope which passed through the hole in the back of the key form, one could adjust the height of the hook above the irori, or sunken hearth, fire. The key (kagi) is a distinctive type used for a kura treasure house. The keys close association with the treasure house making the key itself an auspicious symbol of wealth and prosperity. Late Edo Period 18th-19th century 11� long x 14 ½� high on stand

FAN SHAPED YOKOGI

Fri, 19 Jun 2009 15:04:04 e
Japanese mingei folk art wood friction lock, yokogi, from an adjustable pot hook assembly jizaikagi, in the shape of two interlocking fans. By adjusting the amount of rope which passed through the hole in the yokogi, one could adjust the height of the hook above the irori, or sunken hearth fire. The fan is a symbol of opening possibilities and expanding futures. The yokogi with dark patina and heavy incrustations from years of exposure to the hearth's smoke. Meiji Period (1868-1912) 16" x 9" x 3" thick

MINGEI YOKOGI

Fri, 19 Jun 2009 14:57:08 e

SPARROW BASKET

Sat, 13 Jun 2009 17:06:30 e
Chinese bamboo sparrow basket. The torus form basket for carrying sparrows home from the market. On contemporary metal stand. Early - Mid 20th century 11" high, 14" high on metal stand

CONCAVE MIRROR

Wed, 10 Jun 2009 19:05:55 e
A massive metal concave Parabolic mirror of military design possibly for use as a reflector from naval signal light. With marks on the reverse from the US Navy and its manufacturer by Bausch and Lomb. The mirror with minor scratches and wear from use and age. Supported on a contemporary elaborate steel base which can raise and pivot the mirror. Mirror circa mid 20th century, stand contemporary 40� high x 25 ½� wide x 17� deep, mirror 25 ½� diameter

MASSIVE EARRING FORM

Wed, 10 Jun 2009 18:55:45 e
An extremely rare silver sculpture of a Tamil Nadu earring. The large sculptural piece made of silver sheet and modeled on a traditional earring form from Tamil Nadu, Southern India. These very large examples, possibly from a temple sculpture of a goddess, are referred to as pampadam, and are made up of hollow balls (kundu) and hollow squares (thattu) and thought to resemble a protective Naga serpent. The earrings made of gold sheet folded and formed into geometric forms and filled with a lacquer composition to prevent denting. On contemporary metal stand. Early 20th century 6" high, 7-1/2" high on metal stand

WIRE CURRENCY

Wed, 10 Jun 2009 18:48:32 e

SNAKE STAFF

Wed, 10 Jun 2009 18:48:16 e
African Toussian iron serpent-like object of authority. From the Burkina Faso the snake is of cultural importance and a figure in many myths and fables. This form is rumored to have been influenced by European military beignets, which the Africans were exposed to during European expansion in Africa. Late 19th century 34½" high on metal stand

X CURRENCY

Wed, 10 Jun 2009 18:47:57 e

AFRICAN

Wed, 10 Jun 2009 18:45:55 e

LION DOG MASK

Wed, 10 Jun 2009 17:22:27 e
Japanese carved wood shishi, lion dog, dance mask. In Japan, the shishimai or lion dance is often seen at shrine festivals and at New Year's, when performers visit each home in the neighborhood to cast charms against evil spirits and diseases while receiving offerings. A shishi-gashira, or lion's head, is the headdress worn by the performers. The shishi-gashira is also thought to have protective qualities and is often placed in a newborn baby�s room to protect the child from evil spirits and misfortune. Edo Period (1600-1868) 24 ½� high x 14� wide x 19� deep on contemporary metal stand

SANTOS HEAD

Tue, 09 Jun 2009 18:59:33 e
Philippine carved wood head of St. Antonio de Padua. The finely carved wood head with tonsured head and inset painted glass eyes. Late 19th century 9 1/4" high

DAIKOKU

Tue, 09 Jun 2009 18:39:02 e
Japanese wood carving of Daikoku, god of good fortune. Daikoku is depicted wearing flowing robes and his characteristic cap. In one hand he holds his big treasure bag (kanebukuro) full of money and treasures (takaramono). He stands on two large straw-wrapped bales of rice, tawara. Bales of rice were traditionally a unit of measuring tithes and came to symbolize wealth and prosperity. The figure with a heavy patination created from years of exposure to the smoke of the kitchen fires. It originally was displayed on a kamidana ("god-shelf") in the kitchen near the household stoves. The underside of the figure with an inscription and date reading; Genroku 16 (1703). Edo Period (1600-1868), early 18th century 11 ½� high

KHMER TWEEZERS

Sat, 21 Jun 2008 19:05:03 e
A pair of bronze Khmer tweezers of simple, beautiful form. The tweezers consisting of two wide tines surmounted by a finial. With fine patina and color. 5" long

MAJAPAHIT HEAD

Sat, 21 Jun 2008 15:20:24 e
Small Javanese Majapahat clay head. The Majapahat was an Indianized kingdom based in eastern Java from 1293 to around 1500. Majapahit kingdom 14th century Head 2-1/2" tall, 5-1/2" tall on contemporary metal stand.

EBISU SCULPTURE

Sat, 21 Jun 2008 15:18:27 e
A very fine mingei folk sculpture of Ebisu, God of good fortune. Ebisu, who is also the god of honest dealings and patron of fisherman, sits on a rocky outcropping in a relaxed pose with an auspicious tai (sea bream) fish under his left arm. The tai is always served at weddings, new years and celebrations and is considered auspicious because its name tai, is contained in the word omedetai, congratulations. The fish also turns red when cooked, a color which is one of celebration and good luck. Edo Period (1600-1868), 18th century-early 19th century 7" high

MOSQUITO NET SCROLL

Sat, 21 Jun 2008 15:12:59 e
A Japanese painting on paper of a mosquito net, accompanied by a poem, attributed to Utagawa Kunisada (1786 - 1865). The painting depicts a portion of a tall flowing mosquito net, supported from one corner by a decorative rope, and surrounded by mosquitoes. Kunisada, also known as Utagawa Toyokuni III, was one of the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. With a poem in running script reading; Akatsuki no Tori no ne yorimo Hitori neno Kaya no uchikoso Kanashi karikere Sleeping alone Inside the mosquito net Is lonelier than the Call of the bird at dawn Mid 19th century Scroll 19" wide (21" wide at jiku rod at base) x 76" high. Image 14" x 45"

FOX SCROLL

Sat, 21 Jun 2008 15:04:22 e
A Japanese ink on paper painting of a fox standing below a full moon. Mounted as a scroll. With creasing and wear from age and use. 19th century

SNAKE SCEPTER

Sat, 21 Jul 2007 18:28:01 e
African Toussian iron serpent-like object of authority. From the Burkina Faso the snake is of cultural importance and a figure in many myths and fables. This form is rumored to have been influenced by European military beignets, which the Africans were exposed to during European expansion in Africa. Late 19th century 34½" high on metal stand

SNAKE NECKLACE

Sat, 21 Jul 2007 18:25:39 e
Philippine necklace made of snake vertebrae. Early 20th century 8' diameter

DAI

Sat, 21 Jul 2007 18:18:35 e
Japanese sugi (cryptomeria) wood display stand (dai). The roughly rectangular stand with dramatic grain from wear and use before use as a stand. Although its original use is unknown it was possibly a work board, as can be seen by an attached wood slat on one side, the slab was later adopted to be used as a display stand on which a large ceramic jar or other object would be placed. Edo Period (1600-1868) 25 ½� x 19 ½� x 2� thick

DECOY BOX

Sat, 21 Jul 2007 15:46:48 e
Canadian painted hunter's decoy storage box with several canvas decoys inside. The cream painted box with a boldly painted Candain goose on one side. First half of the 20th century 31-1/2" x 20-1/2" x 6" thick

NAGA EARRINGS

Sat, 21 Jul 2007 15:38:26 e
Two Naga crystal tribal earrings of geometric form. The rectangular earrings with slit and central hole. The earrings are used by woman either as earrings or draped over the ear on a cord. Although occasionally worn by other Naga tribal groups this type of earring is traditionally made and worn by the Tangkhul Naga group. Nagaland on the Indian-Burma border. With chip to one earring, picture on the left, as well as general wear from use and age. On metal stands. Early 20th century Taller earring on stand 5"

DECOY BOX

Fri, 20 Jul 2007 2:59:47 e

NOREN

Fri, 20 Jul 2007 2:49:07 e
Japanese indigo dyed noren shop curtain. A four panel curtain which originally hung in a large entrance allowing the breeze to enter the building while allowing some privacy for the building from the street. The blue indigo noren with paste resist (tsutsugaki) designs of a central paulownia (kiri) leaf mon crest, below which are two jumping carp amongst waves. The carp is a symbol of fulfillment or attainment of one's aspirations or long sought goals. Based on the legend that dragons are transformed carps that have overcome the dangers of the nearly impassable Lung Men Rapids. Meiji Period (1868-1912) 59" high x approximately 76" wide

MEISEN

Fri, 20 Jul 2007 2:45:40 e
Japanese silk kimono with dramatic diagonal meisen design. The diagonal bands of gradated red and black executed in an ikat-like technique referred to as meisen in which the warp and weft threads are resist dyed before weaving generally using stencils. Meisen was a labor saving technique which in combination with machine spun silk, recent freedoms of class limited clothing restrictions, and western influence brought a whole new range of designs and affordable kimono to an increasing middle class of the early 20th century. This kimono represents a particularly bold example of the meisen technique. Early 20th century 60" high x 50" wide

SAO KYOGEN ROBE

Fri, 20 Jul 2007 2:18:49 e
Japanese large long sleeved garment (sao) for use in Kyogen theater. The bold stylized design of Gojyo Bridge of Kyoto, in natural color against the deep green ground. Finer lines and details of the bridge in yellow on the natural color. With staining and minor damage. Meiji Period (1868-1912) 29" high x 76" wide ONLY HALF OF THE SAO APPEARS IN THE IMAGE ABOVE

DRAGONFLY KIMONO

Thu, 19 Jul 2007 3:55:18 e
Japanese silk kimono with dragonfly (tombo) design. The kimono with black and red (akatomobo) dragonflies against a misty ground. The kimono further decorated with bands of gold and silver thread supplementary weft. Although the alternate name of katsu mushi, or "victory insect" made dragonflies popular amongst the military class, the common sight of dragonfly darting above rice fields has made it a symbol of the fall. With some staining. Early 20th century 58" high x 46" wide

KABU PAINTING

Thu, 19 Jul 2007 3:36:11 e
Japanese painting on paper of a radish (kabu) attributed to Jakuchu (1716-1800). Jakuchu often depicted vegetables in his sumi-e ink paintings, and the radish in particular is quite auspicious as the word kabu is a homonym for the word "stock" and is commonly associated with the expression "kabu ga agaru" or "my stock is going up". With old restorations. 18th century

AMIDA BUDDHA

Thu, 19 Jul 2007 3:35:46 e
Japanese painting of the descent of Amida Buddha with his two attending bodhisattvas (Raigo). A polychrome and gilt painting on silk of Amida Buddha and two attendants descending to earth. Amida Buddha, Lord of the Western Paradise, floats in the center of the painting on a cloud base with radiating rays of golden light emanating from Amida�s aureole. Amida is accompanied in his descent to gather the faithful with two bodhisattvas, Kannon Bosatsu, Bodhisattva of Compassion, and Dai Seishi Bosatsu, Bodhisattva of Strength and Vigor. Amida the focus of Jodo or Pure Land sect of Buddhism focuses on the compassion of Amida who does not wait for the faithful in paradise but descends with his attendant to receive the faithful as depicted in this image. With extensive wear and damage from use and age. See a similar example in the Mary Burke Collection. Late Kamakura Period (1185-1333) � Nanbokucho Period (1333-1392) Image 32" x 14½" Scroll 60" high x 23" wide including jiku roller

KOMA INU I

Tue, 17 Jul 2007 17:08:53 e
A pair of Japanese carved wood koma inu, protective lion dogs, or "Korean Dogs" which would have been guardians of a shrine. The well carved koma inu sitting on their haunches with slightly turned heads. The right figure with his mouth slightly open, the left with its mouth closed, mouthing the phrase A-Un. A-Un is a Sanskrit term adopted by Buddhism, which refers to the all encompassing nature and knowledge of Buddha and of Yin-Yang opposition and interdependence. A-un represents a Japanese transliteration from the Sanskrit alphabet of A and Om the first and last letters of the Sanskrit alphabet. The two letters encapsulate the entire alphabet. The sounds were thought to be all encompassing and together symbolize the start and end of all things. Two figures in such mutual inter-dependence were thought to form a perfect union of cooperation and synergism. With worm damage. Fumigated. Muromachi Period (1393-1573) Each 15 ¼" high

ROOT AND ROCK NYOI

Tue, 17 Jul 2007 16:53:54 e
A Japanese nyoi scepter formed from a root which has incorporated several stones. Nyoi, associated with the Daoist Immortals as well as symbols of Buddhist authority are used as contemplative objects in sencha, the Chinese inspired steeped tea ceremony. The nyoi is adopted from the Chinese Daoist ruyi scepter, an auspicious object signifying good luck and longevity. The word ruyi being a rebus for "as you wish". The head of the scepter is a stylized reishi fungus (Chinese: lingzhi) of immortality. The fungus's auspicious symbolism adopted from the Chinese where the fungus is a rebus for "may you live long and all your wishes come true". Edo Period, 18th-early 19th century 12" long

WOOD ROOT & BAMBOO

Tue, 17 Jul 2007 15:12:17 e

MINGEI

Tue, 17 Jul 2007 15:11:45 e

TANSU & BOXES

Tue, 17 Jul 2007 15:11:32 e

WOOD & ROOT

Tue, 17 Jul 2007 15:08:14 e

RECLINING BUDDHA

Mon, 16 Jul 2007 18:32:12 e
Rare gilt wood sculpture of the reclining Buddha. The pose represents Buddha entering Nirvana. He rests on his right side, the right hand supporting his head, his feet joined and his left hand resting on his side. The gold leaf heavily worn revealing the black lacquer underneath. Although this ga-zo pose (Sanskrit: Parinirvanasana) is quite popular as large sculptures in SE Asia and India it rarely appears in Japan. The figure with kiri (paulownia) wood fitted box. The box inscribed "Shaka nehan mokuzo", or "Wood sculpture of Buddha reaching Nirvana". With minor repair to feet. Early Edo Period (1600-1868) 6 ¾" long

TRIBAL & NON ASIAN

Mon, 16 Jul 2007 18:18:11 e

ROUND NEGORO FOOT TRAY

Mon, 16 Jul 2007 16:37:50 e
Japanese negoro round tray on raised foot, koban. Negoro refers to 12th-17th century utilitarian lacquer ware of red lacquer over a base of black lacquer. Named for the Negoro temple complex and headquarters of Buddhist Shingi Shingon Sect in Wakayama Prefecture where the lacquer was produced for everyday use at the temple. It flourished under Ashikaga patronage during the Muromachi Period and existed for 300 years until Shogun Hideyoshi destroyed the temple complex due to the uprising of its warrior-monks. Early Edo Period (1600-1868), 17th century 4� high x 16¼� diameter Similar examples are found in Negoro, Kawada Sadamu, Kyoto: Shikosha, 1985.

NEGORO TRAY

Mon, 16 Jul 2007 16:33:45 e
Japanese square negoro lacquer tray (obon) of orishi-type with clipped sumikiri corners. The orishi-type tray, or literally "kneeling" tray, was used as an individual place setting tray at the service of meals. The negoro tray with fine color, patina, and wear from years of use and handling. Of well seasoned hinoki (cryptomeria) wood. The red lacquer at the center of the tray entirely worn away from abrasion of ceramics used in meals and from cleaning. Negoro refers sturdy utilitarian lacquer ware objects of red over a base of black lacquer produced at the Negoro temple complex. Edo Period 17th-18th century 1½" high x 14¼" deep x 14 ½" wide For similar examples see; Negoro, Kawada Sadamu, Kyoto: Shikosha, 1985

LACQUER WORKER OBJECTS

Mon, 16 Jul 2007 15:47:03 e

LACQUER OBJECTS

Mon, 16 Jul 2007 15:46:16 e

LACQUER TRAY & TABLE

Mon, 16 Jul 2007 15:45:19 e

LACQUER

Mon, 16 Jul 2007 15:43:16 e

G

Wed, 13 Jun 2007 13:44:12 e

C

Wed, 13 Jun 2007 13:39:16 e

AFRICAN SNAKE FORM

Wed, 13 Jun 2007 12:52:25 e
African Toussian iron serpent-like object of authority. From the Burkina Faso the snake is of cultural importance and a figure in many myths and fables. This form is rumored to have been influenced by European military beignets, which the Africans were exposed to during European expansion in Africa. Late 19th century 32½" high on metal stand

SAO KYOGEN ROBE

Wed, 13 Jun 2007 12:48:34 e
Japanese large long sleeved garment (sao) for use in Kyogen theater. The bold stylized design of Gojyo Bridge of Kyoto, in natural color against the deep green ground. Finer lines and details of the bridge in yellow on the natural color. With staining and minor damage. Meiji Period (1868-1912) 29" high x 76" wide

MIZUGOROMO

Wed, 13 Jun 2007 12:47:59 e
Japanese mizugoromo Noh theater outer robe of diaphanous weave. The yore-type mizugoromo over-garment with water-like texture created by altering the simple weave of the garment by randomly displacing the weft. Mizugoromo which can come in many forms do not generally come with this water-like texture, but instead generally represent a type of over-garment worn by all types of characters including, young and old male and female monks, traveling priests and laymen. Yore-type mizugoromo on the other hand are much less commonly found as the simple watery weave in conjunction with un-dyed and undecorated surface is meant to conjure feelings of loneliness and mystery. With wear and minor staining from use and age. 19th century 40 ½" high x 58 ¼" wide

LEATHER HAORI

Wed, 13 Jun 2007 12:47:30 e
Japanese leather haori overcoat. Leather is rarely used in Japanese garments but when it is it is traditionally associated with a samurai rank overcoats. Often thought of as a fire commander�s overcoat, in contrast to the sashiko stitched cotton jackets worn by the regular firefighters. Although the commander would not enter the burning building a leather coat would provide protection against falling embers as well making him easily identifiable. The jacket with smoked resist designs including a central character reading "dai" ("great") within a rectangle, above a band of stylized characters. The interior with unusual plaid pattern and braided rope. Late Edo,19th century 36" high x 51½� wide

AINU ROBE

Wed, 13 Jun 2007 12:46:50 e
Japanese Ainu robe of the attus type, consisting of a bark fiber robe decorated with traditional kirifuse appliqué. Attus are made from the bast fibers of a Japanese elm tree that is native to Hokkaido. First the tree is cut down and the bark is removed. The fibers, taken from the inner layers of the bark, are soaked in water to soften, bleached in the sun, and then split into fine, fibrous strands. The strands are joined together into thread and this thread is woven into cloth. The finished product is a thick, stiff cloth of a brownish color, like the bark fibers This cloth is then sewn into an attus. The appliqué is applied around the various opening to the robe and was thought to protect the wearer from evil spriits. Meiji Period (1868-1912)

WHITE LEATHER OVERCOAT

Wed, 13 Jun 2007 12:45:38 e
Japanese white deer skin leather haori, short overcoat, for a samurai. The back of the overcoat with a dramatic Sawada family crest of six circles, in black surrounded with gold couched thread, above an appliqué crow (karasu) depicted in flight. Each sleeve of the haori with a band of white damask silk with an interlocking swastika key fret (rinzu). The front of the overcoat with a deep iridescent blue-purple lapel with a damask pattern of chrysanthemum arabesque. Fastened in the front with a pair of strips. With a hole through the back of the jacket, and wear from use and age. 19th century 42" high x 52 ¼" wide

NEPALESE MASK

Wed, 13 Jun 2007 12:29:43 e
Nepalese Middle Hills tribal mask, probably by the Magar people of the northwest portion of Nepal. With extended oval overall form and simple geometric shaped facial features; round eyes and square mouth with vertical bars. With contemporary metal stand. 19th century 11" high, 15-1/4" on metal stand

PHILIPPINE BETEL NUT BOX

Tue, 12 Jun 2007 20:39:24 e

TEST1

Mon, 11 Jun 2007 20:25:03 e

PERCUSSION PENDULUM

Mon, 11 Jun 2007 19:46:18 e
Percussion pendulum apparatus manufactured by the Austrian scientific instrument and demonstration model maker Carl Winter. The oak wood model, with seven oak wood balls suspended on strings, is designed to show the conservation of momentum and transmission of impulses, and shock related phenomena. Carl Winter was active in Vienna during the mid-nineteenth century. Mid to late 19th century Similar examples can be found in many European scientific museums, a similar example can be found in Florence Scientific Museum catalog Catalogue of Mechanical Instruments, Museo di Storia della Sciennza, Paolo Brenni Giunti, Firenze, 1986. 25" tall

CONICAL GLASS CONDENSER

Mon, 11 Jun 2007 19:41:16 e
English scientific instrument with conical glass prism of unknown use. 20th century Adjustable 10"-13-1/2" high

NAGA GLASS EARRINGS

Mon, 11 Jun 2007 19:35:51 e

SCIENCE

Mon, 11 Jun 2007 17:13:00 e

SELECTION FROM NEW AQUISITIONS

Thu, 08 Mar 2007 18:29:50 e

COOL THINGS

Sat, 03 Mar 2007 20:23:45 e

TEXTILE

Sat, 03 Mar 2007 20:22:42 e

METAL

Sat, 03 Mar 2007 20:21:28 e

CONTACT

Tue, 27 Feb 2007 13:00:08 e
NEW ADDRESS:

NEWS

Tue, 27 Feb 2007 12:59:57 e
For those who are interested in the ramblings and interests of Galen Lowe check out the blog at: galenlowe.blogspot.com Galen Lowe Art & Antiques has moved out of its Westlake location and will temporarily be by appointment only. We will continue to participate at the Asian Art Shows in San Francisco and New York as well as the San Francisco Fall Antique Show.

SHOWS

Tue, 27 Feb 2007 12:59:34 e
Galen Lowe Art & Antiques will be participating in several shows this year; SAN FRANCISCO The San Francisco Tribal & Textile Arts Show February 7th-10th, 2013 Fort Mason Center, San Francisco, CA SAN FRANCISCO The San Franciso Fall Antiques Show October 2013 Fort Mason Center, San Francisco, CA