Catalog: Antiques: Regional Art (345)

Extremely Rare Edo Period Isho Ningyo Pulling a Wagon with a Crane. Early 18th Century Ningyo like this very rarely come up for sale. This Isho Ningyo is special, as it resembles a Karakui (mechanical) Ningyo. This important Ningyo has a classic face with painted features, sumptuous embroidered textiles, and is pulling a cart that has a crane inside. It stands on a lacquered base. A similar example is in the Homa Museum in Japan. 14.5h x 9.5w inches, 37h x 24w cm.

In keeping with our tradition of bringing you Rare and Fine Japanese Antiques that you can't find elsewhere, we present this 19th Century Elm Wood Japanese Rice Mill, a striking conversation piece for any home or office. 51.5 x 70 x 29 inches (131 x 178 x 74 cm). Excellent Condition.

Gorgeous Pair of Meiji Period Japanese Cloisonné Enamel Vases with Spectacular Phoenix and Cloud motif on a rich yellow ground. circa 1890. 6 inches (15cm) tall. From a widely renowned and published collection that has been exhibited at the Metropolitan Museum and Japan Society. Pristine Condition.

Fine example of a Jomon Period (13,000-300BC) Dogu, the earliest known Japanese figure. This figure was purchased at a Parke Bernet auction by a renowned author on and collector of Asian art. The Dogu acted as effigies of people. They manifested some kind of sympathetic magic. For example, it may have been believed that illnesses could be transferred into the Dogu, then destroyed, clearing the illness, or any other misfortune. Because of the ritual destruction of Dogu, they are quite rare. This primitive abstract fertility figure has a futuristic look. There are fun theories that state that the Dogu may be linked to extra-terrestrial Ancient Astronauts. The figures resemble 'space suits' complete with rivets and a helmet/face mask and goggles. The large eyes are also reminiscent of the traditional gray alien. 4.75 inches, 12 cm tall. Very Good Condition.

Fine early example of a Jomon Period Dogu Clay Figure, the earliest known Japanese figures. The Dogu acted as effigies of people. They manifested some kind of sympathetic magic. For example, it may have been believed that illnesses could be transferred into the Dogu, and then destroyed, clearing the illness, or any other misfortune. Because of the ritual destruction of Dogu, they are quite rare. This primitive abstract fertility figure has a futuristic look. There are fun theories that state that the Dogu may be linked to extra-terrestrial Ancient Astronauts. The figures resemble 'space suits' complete with rivets and a helmet/face mask and goggles. The large eyes are also reminiscent of the traditional grey alien. Many Dogu exhibitions have appeared recently: Tokyo National Museum, British Museum of Art, Miki Gallery New York. This one was on exhibit at the Arts of Pacific Asia Show NYC 2010, a vetted venue. 6 inches, 15.5 cm.

Yoshitoshi Tsukioka's Very Scarce (only about a dozen known copies) Book with Six Full Oban Size Prints, The Flowers of Japan and the Art of Floral Arrangement (First Edition). This is the best known existing copy of this book. Because the prints are in a book, they have been exposed to almost no light, so the colors are more vivid than anything you will ever see. Because there is no color loss, this is a unique opportunity to see what antique Japanese woodblock prints must have looked like when they were new. All but one of the prints are pristine (one has a small spot and a smudge in the margin). Even the text pages are remarkably white, indicating that very high quality, low-acidity paper was used, and the book has been well conserved. Besides Yoshitoshi's 6 oban size (10.5 x14 inches) prints, there are also 4 beautiful prints of Japanese interiors by Kawanabe Kiosui, daughter of Kiosai (or Kyosai), and 54 more full page plates depicting flower arrangements. In addition to these gorgeous and exceedingly rare prints, you get the much reprinted and still authoritative English text on the art of traditional Japanese floral arrangement. The one other copy of this book that is available on the market today is a water stained copy with an asking price of $1475.00. One of the silk ties is missing from the binding of our copy, but the book is still very solid and stable. The cloth at the head of the spine is slightly worn, and there is wear to the cover, a dark line across the corner of one b & w plate, and a 2 inch tear in the fore edge of the title page, otherwise the contents are fine and tight. A beautiful volume and a major monograph addressing the methods of flower arranging, seasonal arrangements, festive arrangements, flower vessels, ceremonies, etiquette, manipulation of cuttings, how to preserve flowers, practical examples, glossary of Japanese terms, selection of material, the history & theory of flower arrangement, and prohibited flowers. The most important and first flower arrangement monograph done in English in the 19th Century. The front and back covers are also by Yoshitoshi!

Finely Painted Six-Panel Crane Screen, in various poses with leaves and flowers on a charcoal silver background. A highly styled creation of the Taisho Period. Taisho screens are very much sort after today for their unique beauty and the way that they complement a contemporary setting. Each Panel: 30h x 13w inches, 76h x 33w cm; total Dimensions: 30h x 80w inches, 76h x 203 cm.

Important Japanese Arita Charger with complex glazes, featuring a performance of Okina by a Noh actor set into an extraordinary design. Okina was traditionally performed for a royal audience. This piece was most likely made for royalty or aristocracy. There are many interesting motifs and intricate patterns in this wonderful work of art. Different from Noh and Kyogen, Okina is a performing art patterned after an ancient ritualistic ceremony. It is related to a folk ritual in which an ancient god brought blessings to the people, and was seen as a prayer for many descendants, peace and tranquility in the land, and bountiful harvests. 16.5 inches, 42cm. From a widely renowned and published collection that has been exhibited at the Metropolitan Museum and Japan Society.

Pair of Inari Foxes of sculptured and fired clay with luminescent powered white glaze. In traditional Japanese art, a pair of foxes typically flank the deity Inari’s shrine image. But in modern times, images of Inari have all but disappeared, replaced instead by images of Oinari’s messenger, the magical shape-shifting fox (kitsune 狐). Here the symbolism is two-fold. First, rice is sacred in Japan, closely associated with fertility (the pregnant earth) and with sustaining life. Inari and Inari’s foxes must therefore be placated -- otherwise it would be disastrous to the livelihood of the nation’s farmers and people. One fox has a jewel (houju) in his mouth, and the other carries in his mouth a letter (makimono), fulfilling his role as a messenger. These striking sculptures will transcend any room with their beauty, charm and elegance. 22 inches, 56cm tall.

Edo Period late 18th/early 19th Century Japanese Ningyo of Yamauba, the Forest Goddess, half woman and half spirit. She found Kintaro abandoned in the forest by his father, and saved his life. She raised him, and he became the Hercules of Japan. For sure one of the rarest of all Ningyo. Also the rarest of female images. Only a few of these may actually exist. She bares her breasts to nurse Kintaro, as seen in Japanese woodblock prints as a popular subject by artists such as Utamaro. She is holding a wild peach branch and Kintaro is in a sumptuous silk textile matching her Obi. She is wearing gorgeous textiles and beautiful tied hair of silk. Her face and bust are of the highest quality burnished gofun, creating her beautiful spirit face. She is sitting on a peach silk pillow. Displayed on a fine black velvet display stand. Overall dimensions: 11.5 x 8 x 8 inches, 29 x 20.5 x 20.5 cm; Yumauba: 10 x 7 inches, 25.5 x 18 cm. Fine Condition.

Set of Three Royal Animal-Shaped Currency Weights from Burma, Dated 1800. From the 15th century up to the end of the 19th century, animal-shaped weights functioned as a means to measure currency, such as silver ingots or any other precious material that was a means of exchange. There were three main animal shapes used, one of which were these duck-like bird figures. These weights could also serve in a religious context as Buddhist reminders of the need for honesty (accuracy in weighing) during commercial transactions. These weights were very common throughout Burma, although their production ended before the 20th century. As with coinage, new weight styles and designs were regularly issued, and these three particular bird weights, with their V shaped indentation on the back, can be exactly dated to 1800. See “Earth to Heaven: the Royal Animal-Shaped Weights of the Burmese Empires” (Gear & Gear 1992) for more information as to their form and function. They are made from a copper-lead alloy. Much of the material culture of Burma was destroyed during its many wars and invasions, and these weights are one of the few kinds of artifacts to have survived the periods of metal shortages and looting that so frequently visited Burma. 2 1/8 inch (5.5cm), 1 3/4 inch (4.5cm), 1 1/8 inch (3cm). Very Good Condition.

Edo Period (circa 1820) Japanese Daki Ningyô (Hugging Doll) standing at the unusual height of 27.5 inches (70 cm), making him a very rare and striking figure. It is most uncommon to see this type of Ningyô outside of Japan, for they are highly prized by the Japanese. A widely held theory has it that these dolls were commissioned by patrons of Geisha as presentation gifts. This one is outstanding in every way. It has a wonderfully expressive face and conveys a very happy spirit. He wears a spectacular kimono with many layers of beautiful textiles and chirimen silk done in shabori motif. From a widely renowned and published collection that has been exhibited at the Metropolitan Museum and Japan Society.

Fine example of a Jomon Period (13,000-300BC) Dogu Head, the earliest known Japanese figure. This figure was purchased in Japan in 1962 by a renowned author on and collector of Asian art. The Dogu acted as effigies of people. They manifested some kind of sympathetic magic. For example, it may have been believed that illnesses could be transferred into the Dogu, then destroyed, clearing the illness, or any other misfortune. Because of the ritual destruction of Dogu, they are quite rare. This primitive abstract fertility figure has a futuristic look. There are fun theories that state that the Dogu may be linked to extra-terrestrial Ancient Astronauts. The figures resemble 'space suits' complete with rivets and a helmet/face mask and goggles. The large eyes are also reminiscent of the traditional grey alien. 3 x 2.25 inches, 7.5 x 5.75 cm. Very Good Condition.

Fine example of a Jomon Period Dogu, the earliest known Japanese figure. This figure was purchased in Japan and belonged to the renowned Japanese art historian, Shirley Day. The Dogu acted as effigies of people. They manifested some kind of sympathetic magic. For example, it may have been believed that illnesses could be transferred into the Dogu, then destroyed, clearing the illness, or any other misfortune. Because of the ritual destruction of Dogu, they are quite rare. This primitive abstract fertility figure has a futuristic look. There are fun theories that state that the Dogu may be linked to extra-terrestrial Ancient Astronauts. The figures resemble 'space suits' complete with rivets and a helmet/face mask and goggles. The large eyes are also reminiscent of the traditional grey alien. 5.5 inches, 14 cm tall.

Very Large 19th Century Meiji Period Japanese Ningyo pair of an Oiran Bijin, the highest ranking Kyoto courtesan bijin and her Kamuro (attendant), an elaborately attired pair of the finest quality. The Oiran and her attendant are wearing the most gorgeous, sumptuous brocades and textiles, all hand woven and painted chirimen silk crepe of beautiful shabori designs. The faces are exquisitely carved and covered with many layers of gofun (white oyster shell lacquer). Their expressions are just wonderful. Their fantastic hairstyles have an array of decorative ornaments. Her draping outer kimono (uchigake) is done in a beautiful floral pattern kinran design with a thick padded hem. There are endless exquisite details creating this masterwork. Mounted on a black lacquered stand. Oiran: 28 inches (71cm), Attendant: 20 inches (51 cm).

Huge (36 inches, 91.5 cm across!) Japanese Meiji Period (1868-1912) Cloisonné Charger with Flower and Bird motif. This is one of the most fantastic 19th Century Japanese Cloisonné works we have ever seen. The colors are magnificent and most vivid on a Robin Egg Blue field framed with a gorgeous pattern. The size is amazing and with the stunningly rendered flowers and birds, it makes for a rare, breathtaking exhibitor work of art that will be a spectacular center piece for any home or office. Excellent Condition.

Late 18th Century Musha Ningyo of Minamoto no Yoshitsune. This wonderful early example of high quality has a great presence, sumptuous brocades, gold lacquered armor, a spectacular helmet, and many other fine details. His face is gorgeously and masterfully carved with finely burnished Gofun. An extraordinary example. Figure height: 15.75 inches, 40 cm. Overall dimensions: 20 x 20 inches, 51 x 51 cm. Excellent Condition.

A 19th Century Isho Ningyo set of two Geisha entertainers, one a Koto Player, the other the highest ranking Orian singing. They are of the finest quality. They have beautifully carved faces and hands, and wear gorgeous, sumptuous brocades with fantastic embroidery. The Orian has fine embroidery of a carp ascending a waterfall, a crane, and turtles on waves. The Koto Player has embroidery of cherry blossoms and patterns of gold threads. The Koto is made of paloma wood, teak, and ivory. Geisha means 'woman of art'. The art may be shamisen playing, singing, dancing, and of course, the arts of conversation and tea ceremony hostess. Sizes: Orian 11.75 inches (30cm) high; Koto Player 7.75 inches (20cm) high; Koto 12 inches (30.5cm) wide.