Antique Japanese Oribe Pottery Ogata Kenzan Pitcher

Ogata Kenzan ( 尾形 乾山 1663-1743) Edo period Oribe glaze pottery pitcher water vessel with shrimp, or is it a lobster, signed.  6 1/2" tall. Base approx 5" wide  Excellent condition.  Signed

For Sale; $15,000 usd / obo + shipping & insurance.

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Antique Japanese Meiji Period Cobalt Blue Satsuma Vase Signed Hotoda 保土田 薩摩焼

Antique cobalt blue Satsuma vase   Meiji period   signed Hotoda ( 保土田 ).

The vase is a six sided panel vase standing 8" tall with an image of 8 Rakan & 3 little girls flanking Kannon. 
 
Rakan are legendary disciples of the historical Buddha, Shakyamuni. Following his example, they attained enlightenment through their own efforts and they remain in the world to preserve the teachings of Buddha until the coming of the future Buddha, Maitreya.   Kannon is the Japanese name for the Buddhist bodhisattva Kwan Yin, aka Guanyin, the Buddhist bodhisattva of compassion, Avalokiteshvara






The other side of the vase is a scene of 5 geisha and 3 hangyoku maiko (little girls bonded to the geisha house, in training to become geisha).

The vase is marked with the signature seal of Hotoda 保土田

  Hotoada was a well-known painter of Satsuma wares during the Meiji Period (1868-1912). 
The Hotoda mark is usually associated with some of the best quality wares to bear a Satsuma mark during the Meiji period. 


For Sale:  $3500 usd/ obo + shipping & insurance.

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Yamahiro Pottery Heike Monogatari Ginger Jar by Hayashi Gyokko

  I picked up this Japanese porcelain ginger jar on eBay awhile back and have been intrigued by it ever since.

For me, one of the most fascinating parts of collecting Asian art and antiques is the enormous amount of history learned though researching individual pieces and this ginger jar is no exception.

The jar depicts a Japanese Samurai mounted on a horse and has an inscription with two rakkan seals.

I am told by my friend Seth Lim of Singapore that the inscription is in reference to The Heike monogatari tale of a competition between Japanese Samurai commander Sasaki Takatsuna (佐々木 高綱, 1160 – December 8, 1214) riding a white horse and Samurai warrior Kajiwara Kagesue (梶原 景季, 1162 - February 6, 1200) on a black horse, racing to be the first to engage in battle at the 1184 battle of Uji (宇治川の戦). Takatsuna was first (高綱先陣).

 I believe that the Samurai on the jar is Kajiwara Kagesue since the horse on the jar is dark, even though not entirely black, but more brownish.

 Next to the inscription is a signature and
two rakkan seals that read 林 玉光 , Made by Hayashi Gyokko who was the artist that painted the scene on the vase.   A decal is applied to the vase and is then glazed over with a clear glaze.

The bottom is maker marked with the Kaku seal of Yamahiro Mfg Co. Seto, Aichi, Japan.

The seal reads 山弘陶苑, Yamahiro Toen, which translates as Yamahiro Pottery Studio.(or center).

The pseudo-quasi "expert" Gotheborg erroneously claims the mark says "Sanko Toen" which is not even remotely close.  It's flat out false.

The only thing they got right on this mark is Toen, but I suppose that's the be expected considering the source.




Fact is, the term Sanko is used when counting small objects and literally means 3 pieces, so how some pretentious fool came up with the BS about "porcelain in the big mountain" is beyond me.  Second, there is no character for any form of KO anywhere in the seal, so even though 山 sometimes does mean San, it's usually  at the END in Japanese porcelain marks as "zan", and when it's the first character, 山 is usually always YAMA.   If the seal said Sanko Toen, it would be written as 三 個陶苑 and would translate as 3 pieces pottery center.    It's understandable for someone to misread 山 as San, since several Japanese language characters have more than one meaning, and is an easy mistake to make, but there's no way possible to mistake 弘 as Ko.  It's not even remotely close...


Seals translated by Hung-Yueh Hsu, Taipai, Taiwan.

Unidentified Azuchi-Momoyama Period Japanese Kano School Painting

   I recently found an original Japanese Kano School painting in an antiques shop, and although the painting is unsigned and lacks any text or seals, I believe it to be from Azuchi-Momoyama Period , although it could very well be early Edo period, or even Meiji for that matter, since it's difficult to attribute this work to any particular Kano school painter since it is unsigned.

The painting was re-framed sometime between 1943 & 1955.  I know this because the framer's label marked "Boston Book and Art Shop, 12? Newbury Street, Boston 16, Mass", :on the back has a 2 digit US zipcode, 16, which was only used between 1943 to 1963, however, according to a photograph of Boston Book & Art Shop found in the MIT Libraries collection, they were on Boylston Street in 1955..   I also know that this painting was also framed prior to this framing job, because the work contains at least 2 different matte burns of different sizes, the other being smaller than the matte which was in this particular frame.

Unfortunately it has also been mounted on a thick card stock and not in a traditional Japanese way.  It is my belief that the work may have originally been part of a multi-panel work and that the signature was on a different panel, or that it was originally a larger work, mounted on a scroll and that the scroll was possibly in very poor condition with damage and that someone trimmed the work, mounted and framed the remaining undamaged portion, and that the signature was possibly lost, destroyed or trimmed off prior to framing, however, I believer the former is more likely the case given that the rocks and tree to the left would most likely continue both upward and to the left as part of a more complete scene.

I have been researching Kano school paintings extensively attempting to attribute this work to a specific artist, and it's enough to make my brain explode, therefore I temporarily give up, for now, because what I really need, is the advice and opinion of an expert on Japanese Kano School paintings.

This Japanese painting, painted in Kano-ha style, measures approximately 13¼" wide x 10⅞", is unevenly trimmed, & depicts a woman playing a stringed musical instrument to a mother and female child sitting beneath a pine tree.  The stringed instrument rests across the woman's lap.

Naturally I removed the painting from the frame, which I always do when acquiring art pieces.  If there's one thing I have a pet peeve about, it's mattes, cardboard backings and non-traditional mounting methods, so I always remove paintings from whatever frame they're in, and if possible, hope to remove the work from its existing mounting and have appropriate conservation methods applied by a professional conservator.

If you have any ideas or suggestions on who the artist is of this Japanese Kano School painting, please comment.  Thank you

pp20 est1000+

Utagawa Hiroshige Hodogaya -Shinmachi Bridge (Hodogaya -Shinmachi-bashi, 保土ヶ谷 新町橋)

I was browsing around on eBay and came across a listing for a "Meiji era painting" with a starting bid of $1 and free shipping, and, well, I ended up actually winning the auction for $1 shipped.

I'm happy to have it in my collection as a piece of wall art, and after framing it with a matte, the little torn off bit isn't even visible.  Fortunately for me I had no other bidders to compete with, enabling me to snatch it up for a mere $1.

I initially thought it was a Japanese woodblock print by Utagawa Hiroshige of No. 5 in the series The Fifty-Three Stations of the Tokaido (Tokaido gojusantsugi no uchi)., titled Hodogaya -Shinmachi Bridge (Hodogaya -Shinmachi-bashi, 保土ヶ谷 新町橋 ) which was originally published by Takenouchi Magohachi (Hoeido) in 1832/33 , however, comparing this "print" to known originals, I see many differences in the image as well as the calligraphy and seals, so it's definitely a reproduction created from different carved blocks, perhaps as an item sold to tourists.  It shows a lot of age, so it appears to be an older reproduction.

I'm used to woodblock prints being on paper, so I'm quite puzzled by the fact that this is printed on some form of linen or fabric, but what's even more puzzling is the fact that the roofs of the houses, the brick walls, the trees, even the people's clothing, all have this velvet like feel to them, and I'm not sure what that's called nor what the process is, etc, so if you know something about this, please comment and let me know.

Here is it matted and framed:

Here's some close up detail photos:

Japanese Double Fish Wood Sculpture Made by Ōkawa Kōtarō 幸古郎 作 幸野 氏

Not too long ago I wrote about a Chinese auspicious double fish wind chime I found in a local second hand resale shop, and today I'd like to share with you a Japanese double fish wood sculpture I just found a few days ago.

   Ironic that the double fish symbol is an auspicious symbol, because I literally just found this out of nowhere.  I was walking home with my daughter when I saw a plastic bin full of old photo albums next to trash barrels.   Curious about what else may be in the bin, I decided to take a look, against the objections of my daughter who whined at me "oh my god!. It's just old junk.  There's nothing Chinese in it".   Well, lo and behold, to my delight, and bewildered at this odd coincidence, I happily responded back to her "Yes there is, see" as I pull out and hold up this Japanese wood sculpture of double fish mounted on a tree wood slice.

It appears I have been blessed with good fortune. :)

 






        At the time, when I initially found it, I assumed it to be Chinese, however, having asked my friend Hung in Taiwan for a translation, it turns out that it is Japanese.   The calligraphy text reads 大川 幸太郎, which translates as being made by Master Ōkawa Kōtarō 幸野 氏,

Okawa Kotaro is a traditional wood carver who specialises in Buddhist statuary. He lives and works in the Shitamachi neighbourhood of Tokyo, Asakusa.  He is the author & subject of the book "How to Make Wood Carving of Buddha: Gentle Buddhist Image Maker in Pictures"

Japanese Woodblock Print: Blossoms on Asuka Hill by Keisai Eisen 渓斎 英泉

Original Japanese ukiyo-e woodblock print by Keisai Eisen 渓斎 英泉 ,
original Edo period nishiki-e ukiyo-e woodblock print in the bijinga genre.

The print is Blossoms on Asuka Hill (Asukayama no hana), from the series Matches for the Cherry Blossoms at Famous Places (Mitate meisho sakura tsukushi), by Keisai Eisen 渓斎 英泉 (1790–1848), Published in Edo period Japan, 1830, publisher seal Maruya Jinpachi (Marujin, Enjudô).  The aratame, I believe says Kaiin: Kyoku 改印: 極

The print shows signs of age, but overall is in pretty good shape for a 184 year old print.  The back has somebody's notation marked in red pencil 11818 Gela, possibly a collection reference # or other form of ownership marking.   There is also another notation written in light and faded pencil that I can not make out or read.   The paper itself shows some light foxing, acid burn, etc as well as a small hole, most likely due to improper framing, care & display, otherwise it's in very good condition.    The print was in a frame for so long that the backing of the frame shows lines of the print and although I know absolutely nothing whatsoever about antique picture frames, my assumption is that it's an original frame from Edo period Japan.

Keisai Eisen (渓斎 英泉, 1790 – 1848) was a Japanese ukiyo-e artist who specialized in bijinga (pictures of beautiful women). His best works, including his ōkubi-e ("large head pictures"), are considered to be masterpieces of the "decadent" Bunsei Era (1818–1830). He was also known as Ikeda Eisen, and wrote under the name of Ippitsuan.

Eisen was born in Edo into the Ikeda family, the son of a noted calligrapher. He was apprenticed to Kanō Hakkeisai, from whom he took the name Keisai, and after the death of his father he studied under Kikugawa Eizan. His initial works reflected the influence of his mentor, but he soon developed his own style.

He produced a number of surimono (prints that were privately issued), erotic prints, and landscapes, including The Sixty-nine Stations of the Kiso Kaidō, which he started and which was completed by Hiroshige. However, his most famous works are the bijin-e (pictures of beautiful women) which portrayed the subjects as more worldly than those depicted by earlier artists, replacing their grace and elegance with a less studied sensuality. He produced many portraits and full-length studies depicting the fashions of the time.

In addition to producing a prolific number of prints, he was a writer, producing biographies of the Forty-seven Ronin and several books, including a continuation of the Ukiyo-e Ruiko (History of Prints of the Floating World), a book which documented the lives of the ukiyo-e artists. His supplement is known as "Notes of a Nameless Old Man." He describes himself as a dissolute hard-drinker and claims to have been the owner of a brothel in Nezu in the 1830s which had burned down.

For Sale.  $500 usd /obo + shipping & insurance

Hunting for Asian Art & Antique Treasures Is Only Half The Fun

Today I went out on an Asian art and antiques treasure hunt as I customarily do once every few weeks and I am very pleased with today's finds. Matter of fact, I am extremely happy..

Today's Asian Art and Antiques Finds.

  It's not every day when you get to find a special piece that brightens up your day, but whenever I do find something to add to my collection, it makes me very happy.  

Hunting for Asian art and antiques  is only half the fun.  Browsing around the shelves of thrift stores, rummage sales, yard sales, and yes, even antiques stores, can often be disappointing when you don't find anything you like, or even worse, do find something you like and want, but is way out of your budget, but when you do find something, your eyes widen, your jaw drops and you excitedly pick something up that brings a big smile to your face.  I love it, but like I said, it's only half the fun.

I'm always so excited with my new found treasures and eagerly begin researching each piece, such as maker, age, period, and yes, even its estimate market value, although I have no intentions whatsoever of selling my collection, however, my daughter may wish to do so later on down the road when I'm dead, so I make sure I record everything, just in case.

Researching is exciting and offers an overwhelmingly satisfying learning experience of so many different things, like different cultures, history, production processes, about various artists and makers and so much more, and yes, even with languages too. 

  Collecting is about what you like... what you enjoy..  The pieces that put a smile on your face, the little finds that excite you and make you happy.   You do it because it's fun and you value the rewarding experiences that come with it, and the educational experiences acquired through researching your finds.  Sure it's also naturally rewarding to find a valuable piece too, but monetary value shouldn't be the primary motive in my opinion.. The hunt is only half the fun.

  Some people collect only very old pieces, others like to collect more modern pieces only a few decades old.. but no matter what your tastes and preferences, art is art and should all be appreciated.   There is nothing more distasteful than another so called collector with a negative attitude who makes hasrh remarks against other collectors because said collector's pieces are "worthless", or "crap" in her pseudo-expert, self righteous opinion.  (Yes, I'm talking about you Jennifer Hansen.  You're a scumbag full of BS and everyone knows it!)

  Just because some self proclaimed "serious collector" with a bad attitude says your piece is crap, does not mean it's crap.  To you it is treasure..  your latest find, that brings a smile to your face... that made you happy and filled you with joy and eagerness to find out more about it.   As the old adage goes, "One man's trash is another man's treasure".

Happy hunting and have fun doing what you love.

Jihei of Kamiya Eloping with Koharu of Kinokuniya by Kitagawa Utamaro - 喜多川 歌麿 - 実競色乃美名家見＿紙屋次兵衛・紀ノ国屋小春

Title: Jihei of Kamiya Eloping with Koharu of Kinokuniya,
( Jitsu kurabe iro no minakami: Kamiya Jihei, Kinokuniya Koharu )
Courtesan Kamiya Jihei and Kinokuniya Koharu,
from the series True Feelings Compared: The Founts of Love ( Jitsu kurabe iro no minakami ),
Late Edo period, circa 1798-1799
実競色乃美名家見＿紙屋次兵衛・紀ノ国屋小春
Artist: Kitagawa Utamaro 喜多川 歌麿1753 – 31 October 1806)

Unfortunately mine is not an original Utamaro woodblock print, but a reproduction, art print poster, purchased in the frame from a local framers gallery at a discounted price.  I don't know who republished this print as a poster, however, this particular find is what got me interested in Ukiyo-e in the first place.

Be wary of deceptive sellers selling fakes of this print at excessively inflated prices, such as this one on Amazon, presumably using the "print" as a means of jacking up the price on frames.

Translation by Lita Xú Líng Kelley

Tsukioka Kōgyo Nougaku Hyakuban Hagoromo - 能楽百番羽衣

Title: Nōgaku hyakuban: Hagoromo 能楽百番 羽衣 Series: One Hundred Noh Plays ( One Hundred Prints of Noh ) ワンハンドレッド能楽
Artist: Tsukioka Kōgyo (月岡 耕漁, 1869 - February 25, 1927)
Publisher: Matsuki Heikichi 松木平吉
Date: 1924
Size: ōban tate-e ,approx. 13 ⅜" X 10" trimmed.

Hagoromo 羽衣, (The Feather Mantle), is one of Japan's most performed Japanese Noh plays. Tsukioka Kōgyo's Nougaku Hyakuban Hagoromo depicts the play's principle character, Shite. a celestial maiden, wearing a kazura (a kind of wig), kazura-obi (belt for kazura), onna-basara, tenkan (celestial crown), kitsuke / surihaku (a kind of kimono with gold or silver foils), koshimaki / nuihaku (a kind of kimono with gold or silver foils and embroidery), koshi-obi (belt), a fan and a chōken.  Shite also wears several masks in Hagoromo, Zō, Wakaonna, and Ko'omote, but I'm not sure which is in this picture.   Nōgaku hyakuban was a series of 120 prints released in1923 through 1926.

Tsukioka Kōgyo (月岡 耕漁?), sometimes called Sakamaki Kōgyo (坂巻 耕漁?), (April 18, 1869 - February 25, 1927) was a Japanese artist of the Meiji period. He was a student and adopted son of Tsukioka Yoshitoshi, and also studied with Ogata Gekkō. Although Kōgyo sometimes painted other subjects, for most of his career he made pictures of Japanese noh theatre, either as large-scale paintings or colored woodblock prints. Many of the latter were published in series and sold as multi-volume sets. Some sets, such as Nōgaku zue, have been preserved as albums in their original bindings, including accordion-style bindings known as orihon, while other sets such as Nōga taikan, were issued in sewn bindings known as yamato toji. Although most bound sets belong to institutional collections, individual prints by Kōgyo can still be found through dealers specializing in Japanese prints.

Condition issues:   1 tear, 2 paper hinges, trimmed.  .

For Sale:  $1200 usd /obo + shipping & insurance