Galen Lowe Antiques

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

RAT FAN PAINTING

Thu, 21 Jan 2010 20:06:58 e

Japanese fan shaped painting of a rat. The mineral and natural pigment painting depicts the white rat sitting back on its haunches with its fore paws resting on a large daikon radish. The daikon is a symbol of good health and the split rooted daikon which on rare occasion occurs naturally, were thought to be talismans symbolizing fertility, and because of this were often given to shrines in the hopes of becoming pregnant. Most famously the daikon radish, beginning in the Edo Period, is a symbol of Daikoku, god of wealth and good fortune. The rat is also closely associated with Daikoku and often accompanies him when depicted in paintings and sculpture. The rat perhaps a reminder that the wealth granted by Daikoku must still be carefully watched over lest it slowly be lost to rats. The painting backed from a previous mounting and with damage and old repairs. Edo Period (1600-1868) 23½� wide

SUGIDO WITH OWL

Thu, 21 Jan 2010 19:57:06 e

A pair of Japanese sugi-do painted cryptomeria wood doors. The doors with large painted floating panels within a black lacquered frame. The painting depicting an owl resting on a tree branch. Edo Period, early 19th century The two doors 70" high x 74" wide

CHOBA DANSU

Thu, 21 Jan 2010 19:42:44 e

A Japanese shop chest, choba dansu, crafted entiely of sugi (cryptomeria) wood. The tansu with a deep brown-red semi-translucent lacquer finish. The chest with three drawers above a pair of sliding doors and tall hinged door, all above a group of drawers of various sizes. The sliding doors open to reveal a large area for the storage of ledger books. The hinged door in front of three small drawers for the storage of valuables. With iron fittings and hardware including hirute-type drawer pulls. Meiji Period, late 19th century 36" high x 36" wide x 16-1/2" deep

MINGEI TANSU

Thu, 21 Jan 2010 19:38:09 e

An unusual and early Japanese kuruma dansu, wheeled chest from the Fukui-Mikuni region. The sugi (cryptomeria) wood chest with two sliding doors with horizontal square slats, above two drawers. The interior of the two small drawers. The chest with small wheels to allow the chest to be moved within a shop. The chest with square (kakute) drawer pulls and finely crafted hardware. The underside of the chest with a long inscription part of which includes the name of the maker, region and date which reads "Temmei san nen" (3rd year of Temmei era (1783)). Edo Period (1600-1868), dated 1783 38 ½� high x 38 ½� wide x 21 ¼� deep

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

PAINTING

Wed, 20 Jan 2010 22:56:01 e

HAT FORM II

Wed, 20 Jan 2010 19:47:24 e

An American metal milliners hat mold. While wooden molds are fairly common, metal examples are quite rare. The hat form for a fedora with down turned brim. Early 20th century

HAT FORM I

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

ACOUSTIC APPARATUS

Wed, 20 Jan 2010 19:39:48 e

A pair of metal acoustic instruments for scientific experiments. The spun metal parabolic dishes fully adjustable on cast iron bases. Late 19th century 24" high x 24" diameter

JAW MODEL

Wed, 20 Jan 2010 19:36:10 e

An early hard rubber dental model of the upper and lower jaw. The two pieces, which separate, illustrating the nerves, vessels and placement of the various teeth. On bent metal stand. With minor wear from age, some crazing to the painted surface and overall patina from age. Circa 1920 9" high x 10" wide

CATFISH

Wed, 20 Jan 2010 18:51:26 e

A finely carved keyaki (zelkova) wood votive sculpture of a giant catfish (namazu) to protect a home from earthquakes. The catfish in Japan is thought to be the source of earthquakes. Traditionally it was thought that the islands of Japan rested on the back of a catfish under the ocean. A benevolent guardian deity, Daimyojin, watched over the catfish, holding a large stone over its head, preventing him from moving. Unfortunately the Daimyojin was occasionally distracted, allowing the catfish to move and cause an earthquake. This catfish sculpture with a hole near its mouth from which it could be suspended in a home would allow the owner to keep a close eye on the catfish and thus prevent an earthquake. 19th century 15" long

SHARINTO RELIQUARY

Wed, 20 Jan 2010 18:50:47 e

A small Japanese wood and glass reliquary, sharitō. The reliquary with central glass chamber with a small crystal ball. While sharitō, which literally means "reliquary for the relics of the Buddha", where meant to enshrine relics of saints or the historic Buddha their rarity lead to the use of small stones or crystals to act as surrogates for the actual relics. Late Edo Period, early 19th century 6" high

SHISHI LION

Wed, 20 Jan 2010 18:48:08 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

LION DOG PUPPET

Wed, 20 Jan 2010 18:47:07 e

A small Japanese 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. This shishi-gashira, or lion's head, is worn on the hand of the performer. 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. 19th century 5� high x 5" wide x 6" deep

DAIKOKU.

Wed, 20 Jan 2010 18:46:08 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), early18th century 11 ½" high

SHINME HORSE

Wed, 20 Jan 2010 18:44:03 e

A Japanese votive horse, shinme, of keyaki (zelkova) wood. The shinme was a votive offering at a Shinto shrine in the hopes of the parishioner�s wishes being granted. A horse was a traditional gift to shrines, but expense and logistics quickly made giving real horses impractical leading to the donation of horse sculptures (shinme), and horse paintings (ema) in their stead. With iron staple repair to split to wood and with one missing ear. 19th century 12½" high

BRONZE RABBIT.

Wed, 20 Jan 2010 18:42:56 e

A Japanese cast bronze sculpture of a rabbit. 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. With some bracing to the finish near the cheek and shoulder. Taisho Period, circa 1920 9½" long

KOMA INU

Wed, 20 Jan 2010 18:38:42 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

CHINESE MASK

Wed, 20 Jan 2010 18:36:09 e

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

SCULPTURE

Wed, 20 Jan 2010 18:15:32 e

GUN BARREL

Wed, 20 Jan 2010 18:13:15 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

HORSE METALWORK

Wed, 20 Jan 2010 18:10:06 e

An unusual piece of Japanese bronze hardware, or fitting from a box or piece of furniture, in the shape of a horse. The surface of the horse worked and chased to give detail to the mane, tail, head and on the body to resemble spots. With original holes for attachment. With small spots of verdigris. On new metal stand. 19th century 2-3/4" high, 4-1/2" high on stand x 4-1/4" wide

FIREWORK FORMS

Wed, 20 Jan 2010 18:06:46 e

A group of unusual Japanese wood spheres used in the production of fireworks (hanabi). The wood spheres were used to make paper mâché forms to contain the explosives and agents that compose the firework. The regularity of size and uniformity of shape being critical for the consistency of the final explosion. 19th century Largest 6½" diameter

ROUND TABLE

Wed, 20 Jan 2010 18:02:28 e

A Japanese low round table of keyaki (zelkova) wood. The simple round top with dramatic grain and carved beaded edge. The table, originally used as a low table for drinks, supported on five cabriolet legs. 19th century 5" high x 23½" diameter

IRON LANTERN

Wed, 20 Jan 2010 17:54:13 e

Japanese iron and copper lantern (toro). The gently flaring designed to be placed on a stone or directly on the verandah or could be hung from the eaves of a residence. The lantern with a hinged bronze door allowing access to the light housing. With a partially legible inscribed date reading Ansei Period (1854-1859). Edo Period, circa 1850 15" high

DEMON MASK

Wed, 20 Jan 2010 17:42:59 e

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

SMALL MASK

Wed, 20 Jan 2010 17:38:55 e

A small Japanese mask depicting a man with a exaggerated expression. The finely carved face with remaining chisels marks. The interior of the mask with rough work marks and the signature of an unknown artist. Early 20th century 4½" high

MASSIVE TOMYODAI

Wed, 20 Jan 2010 17:26:32 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

ZODIAC HIBACHI

Wed, 20 Jan 2010 17:19:24 e

A massive and impressive hibachi brazier of kiri (paulownia) wood and decorated in raised lacquer (takamakie) depicting the twelve zodiac animals. A large and impressive hibachi of this caliber would have traditionally be placed out in a reception room to welcome guests and give some heat in the colder months. The finely rendered animals are grouped together on one side of the hibachi with the dragon alone on the back side of the hibachi. Meiji Period (1868-1912) 12" high x 29" wide

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

BRONZE SUNABACHI

Fri, 15 Jan 2010 19:04:37 e

A Japanese bronze sunabachi container with bamboo motif. The shallow basin cast to resemble a split section of bamboo. The front of the basin with a central node (fuchi) and emerging trimmed branch and leaves. The basin with rhizhome root-shaped side handles and bamboo cane shaped corner feet. Meiji Period (1868-1912) 5-1/2" high x 24-1/2" wide x 13-1/2" deep

ROOT BASKET

Fri, 15 Jan 2010 19:01:25 e

A Japanese root wood basket. The wild and slightly chaotic form of interwoven open root with a simple overhead handle. Root wood object such as this basket were popular amongst Japanese practitioners of sencha, the Chinese inspired steeped tea ceremony, and the Chinese literati movement. These Chinese arts placed great emphasis on the beauty of the natural world, especially in its more unadulterated and "wild" forms. Meiji Period (1868-1912) 15" high x 23" wide

SCHOLARS STONE IV

Fri, 15 Jan 2010 18:44:07 e

Japanese scholar�s stone (suiseki) of unusual horizontal form. The Japanese continue the Chinese tradition of collecting unusual, rare and evocatively shaped stones as objects of appreciation. The Japanese commonly display stones in a tokonoma alcove or on a shelf as an object of beauty and contemplation. These stones, literally "water stone", are prized by collectors for their evocative nature, recalling mountains or scenery, either mythical or real. [Early 20th century] 4½" high x 7� wide

SCHOLARS STONE III

Fri, 15 Jan 2010 18:42:16 e

Japanese tall columnar scholar�s stone (suiseki). The Japanese continue the Chinese tradition of collecting unusual, rare and evocatively shaped stones as objects of appreciation. The Japanese commonly display stones in a tokonoma alcove or on a shelf as an object of beauty and contemplation. These stones, literally "water stone", are prized by collectors for their evocative nature, recalling mountains or scenery, either mythical or real. [Early 20th century] 8" high

SCHOLARS STONE II

Fri, 15 Jan 2010 18:40:30 e

Japanese low flat scholar�s stone (suiseki). The Japanese continue the Chinese tradition of collecting unusual, rare and evocatively shaped stones as objects of appreciation. The Japanese commonly display stones in a tokonoma alcove or on a shelf as an object of beauty and contemplation. These stones, literally "water stone", are prized by collectors for their evocative nature, recalling mountains or scenery, either mythical or real. [Early 20th century] 5½" wide

SCHOLARS STONE I

Fri, 15 Jan 2010 18:35:46 e

Japanese scholar�s stone (suiseki). The Japanese continue the Chinese tradition of collecting unusual, rare and evocatively shaped stones as objects of appreciation. The Japanese commonly display stones in a tokonoma alcove or on a shelf as an object of beauty and contemplation. These stones, literally "water stone", are prized by collectors for their evocative nature, recalling mountains or scenery, either mythical or real. [Early 20th century] 9¾� high

COFFEE TABLE

Fri, 15 Jan 2010 18:29:41 e

TADASHI YOKOGI

Wed, 13 Jan 2010 19:33:36 e

Japanese iron friction lock, yokogi, from an adjustable pot hook assembly (jizaikagi), in the shape of a Chinese character (kanji). By adjusting the amount of rod which passed through the hole in the piece, one could adjust the height of the hook above the irori, or sunken hearth fire. The character, masa, means correct, right, just and fair. While yokogi are occasionally carved in the form of objects, most notably fish, ones in the form of written characters are fairly rare. The character forms that are found generally take the form of the character for the number �one� and for the character for �water�. Other written forms are very unusual. 19th century 6 ½� high x 11� wide x 2� deep For �water� shaped yokogi examples see; Timeless Beauty; Traditional Japanese Art, Skira, Milan 2002 p.101

SHISHI DANCE MASK

Wed, 13 Jan 2010 19:18:48 e

KURA DOOR

Wed, 13 Jan 2010 18:51:52 e

A Japanese kura, treasure house, door crafted of entirely keyaki (zelkova) with fine metal fittings. The unfinshed wood with a dramatic wood grain and a fine patina from years of exposure. The door with iron fittings including a large primary lockplate, fundo shaped secondary lockplate and several rows of bosses. The left stile of the door missing. Edo Period, 18th - early 19th century 68-1/2" high x 40-1/2" wide x 2-1/4" deep

PHILIPPINE GATE

Wed, 13 Jan 2010 17:58:37 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

ABACUS

Wed, 13 Jan 2010 17:54:46 e

A small traveling abacus (soraban) of wood, bone and bronze designed to be carried. The abacus would have been hung from a cord or acted as a netsuke toggle keeping a money pouch secured to the obi belt of the gentleman. Edo Period (1600-1868) 2¾� x 3¼�

SAWFISH

Wed, 13 Jan 2010 17:52:46 e

A group of five small sawfish snouts. On contemporary metal stands. 20th century Tallest one 11-1/2" high

GLASS EYEBALLS

Wed, 13 Jan 2010 17:50:45 e

A pair of glass eyes possibly for use in doll manufacturing. Each eye finely crafted with extremely realistic iris, veins and pupil. On contemporary metal stands. 20th century The tallest 4-1/2" high on stand

RABBIT KOGO BOX

Wed, 13 Jan 2010 17:46:00 e

A Japanese carved wood kogo incense container in the form of a rabbit. The kogo is used in the tea ceremony for both the storage, as well as display, of incense. 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. Early 20th century 4¼� long x 3� high

FROG TEAPOT

Wed, 13 Jan 2010 17:42:54 e

A Japanese ceramic teapot in the form of a frog. The brown glazed frog sits on its haunches with a mouth that acts as a spout, small hole in his head to put in water and a simple hand pinched handle on his back. Early 20th century 5 ¼� high

MANEKI NEKO

Wed, 13 Jan 2010 17:40:37 e

Japanese ceramic beckoning cat (maneki neko). The maneki neko is a popular mascot to many traditional stores and families in Japan; it�s raised paw beckoning in good fortune and prosperity. The fable of the maneki neko, or beckoning cat, tells of a shop owner who down on his luck and due to a lack of business is faced with the prospect of having to close his small family business. On the eve of his last planned day of business the depressed shop owner sat eating a meager dinner of rice and a bit of fish, when a cat wandered in through his open front door. Taking pity on a fellow creature down on its luck the shop owner shares his meal with the cat, who after finishing his portion wanders off. The next morning the shop owner is determined to put a brave face on his situation and opens the store as usual despite the fact he has little hope of selling anything. Much to the shop owner�s surprise customers begin to come into his store and before long he has had his best day of business ever. At the end of the very busy day, saved from the brink of disaster, the shop owner goes out in front of his store to see what could possibly be different or account for his sudden turn of fortune; and sitting by the shop�s door is the cat beckoning customers into the store with an upturned paw. With wear to paint and ceramic from age. Late Edo Period (1600-1868) 7-1/2" high

LACQUER BELL STAND

Wed, 13 Jan 2010 17:37:30 e

A fine Japanese lacquered wood stand for a temple drum mokugyo. This stand for the "wood fish" drum, is used in Buddhist temple ceremonies during chanting and prayers. The red lacquer (negoro) stand with fine patina and metal bosses around the edge. The stand supported on a finely carved base with a camellia (tsubaki) blossom. The camellia is a symbol of November and December, and is closely associated with the tea ceremony. And more appropriately for this religious item it is associated with the Shugendo religion. Shugendo is an indigenous religion to Japan which fuses traits of Buddhism and Shintoism, along with other Japanese and Chinese religious beliefs. Shugendo emphasizes an ascetic lifestyle interested in the unity of natural {kami} spirit and man. Shugendo incorporated numerous Buddhism traditions and this stand might very well come from a Shugendo temple. With wear from age and use. 18th century 3½" high x 7½" diameter

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

GLASS GEOMETRIC SOLIDS

Wed, 08 Jul 2009 18:54:22 e

A pair of European scientific glass and metal geometric solids. The demonstration models for the explanation of geometric solids. The interior with traces of string used to show axis and resting on brass and cast iron stands. With losses to interior strings, and one cracked pane of glass. Late 19th - early 20th century 10-1/2" & 12-1/2" tall

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

MELON TRAY

Tue, 07 Jul 2009 19:15:48 e

Japanese dry lacquer (kanshitsu) melon motif dish by noted Kyoto area lacquer worker Ota Katei (1886-1961). The dish with original paulownia (kiri) wood box (tomobako). The dry lacquer technique uses hemp cloth as a support for liquid lacquer, in place for the more traditional wood base. The motif is a naturalistic portrayal of round striped melons with their leaves (mokko). Design continues on bottom of dish along with the artist�s signature. 20th Century 1" high x 9¾" diameter

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

COLOR BLIND TEST

Sat, 20 Jun 2009 19:14:04 e

A group of framed color blind tests. The five circular tests consisting of dots used to determine color blindness. The grouping �hiding� numbers which would be read differently if one was color blind. Mid 20th century

TABI SOCK PATTERNS

Sat, 20 Jun 2009 19:10:50 e

Six Japanese wooden patterns, or fast, for making Japanese tabi socks. Each pattern marked with its size in black ink. All on contemporary metal stands. 20th century Highest 11¾� high

KITCHEN GOD MASK

Sat, 20 Jun 2009 19:08:45 e

Japanese carved wood kitchen mask (kamado men). The architectural mask, literially "cooking stove" mask, from the mountainous Tohoku region of northern Japan would have hung in the kitchen of a large minka farmhouse, and is darkly patinated from years of exposure to the smoke of kitchen fires. Traditionally these masks were carved by the head carpenter at the end of construction of a home. as a protective mask. The placing of the mask in the kitchen, the symbolic center of the home, signifying the completion of the home. The fierce continance of the mask was meant to act as a protective charm both bringing good luck and protecting the home and its family from evil and bad fortune. The back of the mask with an illegible inscription and mortise for suspenssion. With wear and shrinkage crack. Edo Period (1600-1868) 15¾" high

ANVIL

Sat, 20 Jun 2009 19:05:26 e

A Japanese wood and iron work surface and anvil. The worker's station with two levels, the upper level with numerous marks from hammering, the lower surface with an inset iron anvil in the form of an inverted elongated pyramid. 19th century 7" high x 12" long x 5" wide

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

CATFISH GUARDIAN

Sat, 20 Jun 2009 18:36:12 e

A finely carved keyaki (zelkova) wood votive sculpture of a giant catfish (namazu) to protect a home from earthquakes. The catfish in Japan is thought to be the source of earthquakes. Traditionally it was thought that the islands of Japan rested on the back of a catfish under the ocean. A benevolent guardian deity, daimyojin, watched over the catfish, holding a large stone over its head, preventing him from moving. Unfortunately the daimyojin was occasionally distracted, allowing the catfish to move and cause an earthquake. This catfish sculpture with a hole near its mouth from which it could be suspended in a home would allow the owner to keep a close eye on the catfish and thus prevent an earthquake. 19th century 15� long

SHINME HORSE

Sat, 20 Jun 2009 18:35:59 e

A Japanese votive horse, shinme, of keyaki (zelkova) wood. The shinme was a votive offering at a Shinto shrine in the hopes of the parishioner�s wishes being granted. A horse was a traditional gift to shrines, but expense and logistics quickly made giving real horses impractical leading to the donation of horse sculptures (shinme), and horse paintings (ema) in their stead. With iron staple repair to split to wood and with one missing ear. 19th century 12½" 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

RABBIT SNAP LINE

Sat, 20 Jun 2009 18:34:17 e
Japanese wood carpenter snap line (sumitsubo) in the form of a rabbit. 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 rabbit�s mouth. 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 6-1/2" long

SWEET MOLD

Sat, 20 Jun 2009 18:33:49 e
A Japanese carved wood fish shaped sweet mold (kashigata). The extremely large mold carved in the shape of the auspicious tai, or sea bream. The tai is traditionally eaten at weddings, New Years or anytime of celebration. The name tai, closely resembling the word omedetai, congratulations. The fish also turns red when cooked, a color which is one of celebration and good luck. These amazingly large molds were used for making huge decorative sweets of anko, sweet bean paste, to be served at the same sort of celebrations as the real fish. Early 20th century 43 ¼� long x 21� wide x 4 ½� thick

MINGEI TOOLS

Sat, 20 Jun 2009 17:40:38 e

MINGEI SCULPTURE

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

SHALLOW BASKET

Fri, 19 Jun 2009 15:49:02 e
A very finely crafted woven shallow bamboo basket. The shallow round basket with intricate woven pattern and wrapped rim and foot. The underside with the signature of the artist Housai. Showa Period (1926-1990) 3" high x 18" diameter

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

FISH SHAPED YOKOGI

Fri, 19 Jun 2009 15:04:42 e
Japanese friction lock, yokogi, from an adjustable pothook assembly jizaikage, in the shape of a carp. 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 with heavy patina from the smoke and flame of the fires. 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. On contemporary metal stand. 19th century Fish 12 ½� long, 9� high on contemporary metal stand

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

LACQUER DISHES

Fri, 19 Jun 2009 14:45:08 e
A set of five folk lacquer small dishes with a simple nandina heavenly bamboo (nanten) design. The nandina design in green painted lacquer on a red ground with black lacquer surrounding rim. The dish supported on a tall flaring foot. 19th century 1½" high x 5½" diameter

PAPER CUTTER

Fri, 19 Jun 2009 14:28:44 e
European paper cutter with unusual metal ball end with chased images of four faces. 19th century 14-1/2" long

BRONZE LANTERN

Wed, 17 Jun 2009 15:44:23 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

SHIPS CHEST

Tue, 16 Jun 2009 19:39:08 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 inset side lift handles. Late Edo Period (1600-1868) 13� high x 22� wide x 12 ½� deep For similar examples see; Tansu: Traditional Japanese Cabinetry, Ty & Kiyoko Heineken, Weatherhill, New York, 1981

GLASS BRACELET

Tue, 16 Jun 2009 18:24:27 e
Javanese glass bracelet placed in a burial as a prestige object. On contemporary metal stand. 11th century 4-1/2" diameter, 11" high on stand

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

RABBIT HAND WARMER

Wed, 10 Jun 2009 19:19:28 e
Japanese ceramic hand warmer (teburi) in the form of a crouching rabbit. Hand warmers were traditionally placed out during the winter for a little additional warmth and to provide a place for a pipe to be lit. The stoneware rabbit with slightly cantankerous face and long ears, and four small paws emerging from the bottom of his spherical body. The ends of his ears with opening to allow hot air and smoke to emerge from the interior brazier. The back of the rabbit with a small tail and large round opening revealing the interior space where a few small glowing charcoals would have been placed. The hand warmer, possibly kyoyaki ware from the Kyoto area, with crazed white glaze over the clay body. Meiji Period (1868-1912) 7-1/4" high x 9-1/2" deep For a similar example see; Mingei: Japanese Folk Art From the Montgomery Collection by Robert Moes, Art Services International, Alexandria, Virginia, 1995. p. 68

BIZEN PLATTER

Wed, 10 Jun 2009 19:13:55 e
Bizen ware ceramic slab platter (toban). Bizen is a renowned kiln site in Okayama prefecture noted for its unglazed utilitarian wares, jars and vessels. This toban platter of the botamochi-type with scattered round light "shadows" on the piece. The "shadows" created from other pieces having been fired on top of the platter to save space in the kiln, and thus creating areas which didn�t receive the overall darker color caused from kiln ash and "fire color" (hiiro). The toban platter with various yôhen (kiln effects) and higawari (fire changes) including fire color (hiiro), ash build-up (haikaburi), feldspar stone bursts (ishihaze), traces of another ceramic vessel that partially fused to the platter (kuttsuki) and firing cracks. Momoyama Period (1568-1600) 11" X 11¾� X 1� high

SEA URCHIN PHOTO

Wed, 10 Jun 2009 19:08:01 e
Massive abstract photograph of a sea urchin from a display at the Oakland Museum, circa 1950s. The black and white photograph mounted on its original canvas backing and hanging on wooden dowel. With patch, possibly where part of the display passed through the image, and minor damage from age and wear. circa 1950 8'-10" high x 9' 11-1/2" Wide

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

ALLIGATOR SKULL

Wed, 10 Jun 2009 19:03:14 e
An American alligator skull. From an East Coast collection and acquired in the 1930s. 22" long

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

PAPUA GUINEA BAILER

Wed, 10 Jun 2009 18:54:22 e
Carved wood Papua New Guinea bailer of anthropomorphic design. The Massim canoe bailer with central interior handle and several old repairs. Early 20th century 19" tall, 21-1/2" tall on 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

CHECKERBOARD BOX

Wed, 10 Jun 2009 18:39:55 e
An unusually bold cylindrical lacquer box of checkerboard design. The large black and gold leaf checkerboard design converging on the dome top into a spider web-like pattern. The lid removed reveals a large open storage space. Meiji Period (1868-1912) 12½� diameter x 12½� high

TANGRAM PICNIC BOX

Wed, 10 Jun 2009 17:46:35 e
A Japanese lacquered wood bento, food container, of unusual geometric design resembling a tangram. The bento consisting of seventeen red lacquered geometric food containers of various shapes and two boxes for chopsticks under a two piece lid and all resting on a tray base. The underside of the two part lid with fine gold lacquer line drawings of various designs that can be made from various combinations of the interior containers. Possible combination of containers include dancers, figures in various leisure activities, animals and lanterns as well as a small diagram showing how the various pieces can be fitted back into the supporting tray. Minor wear from use, minor crack and losses to table base portion of set. Meiji Period (1868-1912) 24� square x 7 ½� high

HANGING LANTERN

Wed, 10 Jun 2009 17:28:52 e

IRON TOMYODAI

Wed, 10 Jun 2009 17:26:30 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

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

SAMURAI BANNER

Wed, 10 Jun 2009 17:20:36 e
Japanese silk shihan type hata sashimono flag with dramatic coin (sen) crest. The banner of dark blue silk with resist dyed (tsutsugaki) sen crest and adjacent vertical name bar design. 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 and leather corner guards. A small weight, reinforced with leather, inset into the outside corner The large banner was flown on an inverted "L" shaped pole which was attached to the back of a samurai's armor. The flag with the name of the bearer; Okamura Jyunzaburou Kyusei. 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 minor damage. On contemporary wood frame. Edo Period, 18th-early 19th century Banner 34" x 24½"

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

DOG BOX

Sat, 21 Jun 2008 19:15:08 e
Japanese small lacquered wood box with lacquer painting of three puppies (koinu). The red corners of the black lacquered box giving the type of box its name; sumiaka (�red cornered�). The painting depicts two puppies at play, chewing on a whisk brush, while an additional puppy sleeps. Momoyama Period � early Edo Period, 17th century 4� high x 4 ¼� wide x 5 ¼� deep

SUDARE KOBAKO

Sat, 21 Jun 2008 19:13:39 e
A small Japanese storage box with sudare, reed blind, design. The intricately inlaid mother of pearl (raden) overlaid with scattered hollyhock (hiiragi) leaves. The beautifully designed and crafted small box for the storage of personal items of a wealthy woman, whose personal crest was in all likelihood the hollyhock used as a decorative element on the box. The interior with a series of small drawers for the storage of personal items. With wear and minor damage from age and use. Early Edo Period (1600-1868), 17th - early 18th century 9-1/4" long x 5-1/4" high x 5-1/4" wide

KOREAN POT

Sat, 21 Jun 2008 19:11:23 e
Korean stoneware pot of globular form with large flaring neck. The pot with "fire color" and heavy natural ash glaze depositing during the firing of the kiln. The ash glaze depositing on the shoulder of the pot and forming drips down the side of the body. The neck with two decorative bands decorated with subtle combed wave decoration. With chip to rim. Old Silla Period, circa 1500 12" tall

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

TREEN BOXES

Sat, 21 Jun 2008 18:57:22 e
A pair of unusual Chinese turned wood finial-shaped containers. The hardwood containers with screw tops which have narrow necks perhaps to allow them to be secured with a cord to one's belt. Early 20th century 2-1/2" high

TEA CHEST

Sat, 21 Jun 2008 18:44:34 e
Japanese traveling tea box (tabidansu) crafted of warmly patinated keyaki (zelkova) wood. The cube shaped box hinging at the center, and opening to reveal numerous shelves. With iron hardware including top hirute-shaped lift handle and front lockplate. The box with an attached pin to open the front lock, where the lock button is now lost. 19th century 13" high x 11-1/4" wide x 11-1/2" deep

HANGING LANTERN

Sat, 21 Jun 2008 18:26:04 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.

IRON NYOI

Sat, 21 Jun 2008 18:24:50 e
A Japanese nyoi scepter of iron. A Japanese iron nyoi scepter. 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�. With a hole where a decorative cord was originally attached. Late Edo Period, 18th-early 19th century 15-3/4" long

INCENSE CLOCK

Sat, 21 Jun 2008 18:22:12 e
Chinese paktong incense clock. The cube-like clock with three stacked tiers and intricately pierced lid. The uppermost tier with pierced incense pattern, and tapper with handle, used to layout a path of incense, which would burn at a prescribed rate marking the passage of time. Paktong is also referred to as nickel silver comprised of a mixture of copper, nickel and zinc. 19th century 3-1/2" tall x 3" square

SHINTO FAN

Sat, 21 Jun 2008 18:21:08 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

BRONZE VASE

Sat, 21 Jun 2008 18:18:49 e
A finely crafted Japanese bronze vase of crisp, geometric design. The vase loosely based on the Chinese garlic bulb vase form. The vase with square rimmed mouth, narrow neck with decorative band flaring to a sharpened edged hipped body. The vase resting on a square raised foot. Late Edo Period (1600-1868) 10-1/2" tall

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"

NEPALESE MASK

Sat, 21 Jul 2007 15:30:04 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" tall, 15" on stand

KOREAN BOX

Sat, 21 Jul 2007 15:07:50 e
Korean soft wood, possibly so namu pine wood, box of unusual design. The box with four larger sliding doors surrounding a center "secret" door. The "secret" door accessed by opening the one of the adjoining larger sliding doors. Late 19th - early 20th century 3¾" high x 10¼" square

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 ONLY HALF OF THE NOREN APPEARS IN THE IMAGE ABOVE

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

WHITE LEATHER HAORI

Fri, 20 Jul 2007 2:20:06 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 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

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

MIZUGOROMO

Fri, 20 Jul 2007 2:16:45 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

AINU ROBE

Fri, 20 Jul 2007 2:14:23 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)

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

KOREAN HINGED BOX

Tue, 17 Jul 2007 16:11:50 e
A small Korean box of drawers, of unusual form, perhaps intended as an object for a scholar's table or as a man's incidental box (pit-chop). The small so namu (pine) wood box, hinged at its center and held closed by a clasp, opens to reveal two small drawers in each half. The box with an overall deep semi-translucent red lacquer finish and copper fittings, including corner guards, round lock plate and bale-shaped handles. With age cracks and minor wear. 19th century 5" high x 10" wide x 5¼" deep when closed.

WOOD ROOT & BAMBOO

Tue, 17 Jul 2007 15:12:17 e

MINGEI

Tue, 17 Jul 2007 15:11:45 e

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

BAMBOO INKSTONE BOX

Mon, 16 Jul 2007 17:24:03 e
A Japanese ink stone box, suzuri bako, in the form of a section of bamboo. The box covered in woven blond bamboo. The box with interior compartment for an ink stone and drawer in the lower section for a brush and ink. With storage box. Meiji Period (1868-1912) 3-1/4" high x 10-3/4" long x 4" wide

LACQUER WORKERS BOX

Mon, 16 Jul 2007 17:06:09 e
Japanese lacquer worker�s worktable and storage box. The box with a removable tray top, both sides of which is covered with lacquer drippings of various colors. 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. The box dated Meiji Period 23rd year (1890), 3rd month, eighth day. Meiji Period (1868-1912) dated 23rd year (1890) 18½" long x 12½" deep x 4¾" high as a box

OCTAGONAL TRAY

Mon, 16 Jul 2007 16:46:29 e
A small Japanese Negoro lacquer octagonal tray. The small tray with red Negoro of fine color and wear surrounded by angled sides of inlaid mother of pearl (raden). 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. With kiri (paulownia) wood accompanying box. Early-mid Edo Period (1600-1868) 10 ½� wide

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 BOX

Mon, 16 Jul 2007 15:47:03 e

LACQUER OBJECTS

Mon, 16 Jul 2007 15:46:16 e

LACQUER TRAY

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

CELADON PLATE

Wed, 13 Jun 2007 13:05:13 e
Chinese Longquan celadon plate with Japanese gold lacquer repairs. The porcelain plate with rounded rim, narrow rim and fluted sides. The well of the plate with a carved round flower and leaf medallion. With raised foot. With gilt lacquer repair at the points where the plate broke or cracked. Ming Dynasty 1368-1643 2-1/2" high x 10-3/4" diameter

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

VOTIVE SWORD

Tue, 12 Jun 2007 19:47:58 e
An unusual Japanese gilt bronze Shinto votive ornament. This sword-like object would have been donated by a parishioner to a shrine as a votive offering. The form is thought to attract the attention of the gods as well as to recall some of the protective aspects of the sword. In Buddhism, and Shintoism by syncretization, the sword is an attribute that implies protection for the faithful, while at the same time vanquishing evil and bad luck. In the hands, and as an attribute to, Manjusuri (Bodhisattva of wisdom), it was thought to be able to "cut" through the ignorance that prevented enlightenment. Meiji Period (1868-1912) 18" high x 10" wide

IRON INK STONE

Mon, 11 Jun 2007 23:25:18 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

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

PAPER GEOMETRIC SOLIDS

Mon, 11 Jun 2007 19:44:33 e
A group of European scientific paper demonstration model. The gilt paper demonstration model for the explanation of geometric solids on a brass stand. Late 19th - early 20th century Adjustable tallest approx. 17" high

MOLECULAR MODEL

Mon, 11 Jun 2007 19:42:57 e
English scientific demonstration model of fluorspar (CaF2). Molecular models were typically used in upper educational institutions to help students visualize various molecules. Early 20th century 6-1/2"

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

ARCHASTIC VASE

Mon, 11 Jun 2007 16:54:39 e
Japanese archaistic bronze vase of tall slender form. The square mouth vase based on an ancient Chinese (gu) form. The narrow waist with small raised band and archaic decoration. With areas of gilding. 19th century 11� high

CAST IRON VASE

Mon, 11 Jun 2007 16:51:43 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

SELECTION FROM NEW AQUISITIONS

Thu, 08 Mar 2007 18:29:50 e

CLAY & STONE

Sat, 03 Mar 2007 20:24:09 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 is located in the Westlake area of Seattle. In the same building as Honeychurch Antiques, the two shops offer two distinct gallery experiences under one roof. The address is: 411 Westlake Avenue North (between Harrison & Republican) Seattle, WA 98109 (206) 622-1225 Hours: Tuesday-Saturday 11am-5pm Parking available behind the building.

SHOWS

Tue, 27 Feb 2007 12:59:34 e
Galen Lowe Art & Antiques will be participating in three shows this year; SAN FRANCISCO The San Franciso Arts of Pacific Asia Show February 4th-6th, 2011 Fort Mason Center, San Francisco, CA SAN FRANCISCO The San Francisco Tribal & Textile Arts Show February 11th-13th, 2011 Fort Mason Center, San Francisco, CA LOS ANGELES The Los Angeles Antiques Show April 21st-25th, 2010 The Barker Hangar, Santa Monica, CA